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2049 is a good movie, that - not only is able to stand on its own - but also gently and caringly builds on the lore established by the original. Not many sequels that are produced 25 years after the fact can say that.

Recently rewatched Smith/Moffat's first season and really, honestly just can't get over how much fun it is. I loved it at the time, but now it just hurts to see how much the show has dipped in quality since. I know the Chibnall-bashing is flogging a dead horse but the difference is night and day. What stuck with me wasn't the arc-centric episodes (which are very good), but how entertaining the monsters-of-the week are. Vampires of Venice is a delightful romp with a wonderful villain in the late Helen McCrory, jam-packed with fun and illuminating character beats from Amy, Rory and the Doctor. The Lodger makes me laugh out loud despite the broad humour sometimes falling flat - it's almost always made up for by Smith's earnest performance. Victory of the Daleks, which I recall being very tepid on, just sings in comparison to something like Revolution of the Daleks (the blatant plot similarities notwithstanding). Even the most expository scenes vibrate with energy and movement. To then watch something as anaemic, simplistic and procedural as Orphan-55 or Arachnids in the UK is such a drag. As I said, flogging a dead horse, but man, remember when Doctor Who was fun? Or at least tried to be?

I was going to make a thread that would serve as an ultimate guide to all of JWs concert works where, in one big post, I would give piece details, recording details and the like. I have not been able to find the time to really sit down and do that, and the end result may be a bit overwhelming. So I decided to go for a different format instead, and do a chronological listening and discussion thread for all of John's concert pieces. Every few days in this thread, I will make an main post about one of JWs concert works, and the discussion will go from there as we all listen to the piece and share our impressions and any additional information y'all have. Of course, some pieces won't have any recordings that I can share here, or any recordings at all, but we can still discuss those pieces when we get to them. I will continuously edit this post to serve as a sort of glossary as we go along, with links to the individual discussions. I hope many of you will discover JWs rich body of concert work for the first time or gain a greater appreciation for it. We'll start properly on Monday. Prelude and Fugue (1965) Essay for Strings (1965) Symphony No. 1 (1966) Sinfonietta for Wind Ensemble (1968) Flute Concerto (1969) A Nostalgic Jazz Odyssey (1971) Violin Concerto No. 1 (1974-1976) Fanfare for a Festive Occasion(1980) Jubilee 350 Fanfare(1980) Pops On The March(1981) America, The Dream Goes On(1982) Esplanade Overture(1983) Olympic Fanfare and Theme(1984) (The Mission) (1985) Tuba Concerto (1985) Liberty Fanfare (1986) Celebration Fanfare (1986) & A Hymn To New England (1987) We're Looking Good! (1987) The Olympic Spirit (1988) Fanfare For Michael Dukakis (1988) & Fanfare For Ten Year Olds (1988) To Lenny! To Lenny! (1988) Winter Games Fanfare (1989) Celebrate Discovery!(1990) Clarinet Concerto (1991) Aloft! To The Royal Masthead...(Fanfare For Prince Phillip) 1992 Sound The Bells (1993) Cello Concerto (1994) Satellite Celebration (Song For World Peace) (1995) Happy Birthday Variations (1995) Bassoon Concerto "The Five Sacred Trees" (1995)

Thanks, everyone! This feedback means so much to us, we are super glad you're looking forward to HBP! @mrbellamy that is awesome, and we're excited to tackle this scene when we get there. I felt the same that the theme reference was amazing but possibly unintentional, but I'd join in on the restraining-order-receiving for that one. For today - we're so excited to be releasing the first cue from HBP! Thank you to all who have listened to the first two scores we've put out! We probably wouldn't have gotten to this point had there not been a response. (Actually that's a lie, we may have, but it makes it so much more fun to have other fans to share this with.) Here's Cue No. 1: Opening and the London Attack! MS

The mid-90's Goldsmith weekend: The Edge The Ghost and the Darkness The Shadow First Knight Karol

Terrific score from the italian master. There some great cues that I don't recall to be part of the original program like Titoli Finali and a nice version of Titoli Principali. I also kind of prefer this presentation to the original album, it has a better flow IMO

Several months back I started working on an isolated score presentation for Always, using material contained on the OST. With the announcement of a remastered expansion coming from LLL, it became a 'now or never' moment to finish what I started. I've since gone back and expanded the project to include the film's unreleased music, in the hope these videos whet people's appetite for the upcoming expansion. Despite all the knocks this score has received over the years, when finally watching the film I was surprised to discover a very nuanced work from Williams. While Spielberg's collaborations with Williams through the early 80s would be associated with large-scale, virtuosic orchestral brilliance, the director's shift towards restrained dramas was well underway by the mid-80s. A trilogy-capping Indiana Jones film notwithstanding, Always rounded out the tail end of a boisterous decade of film scoring for Williams. While moments of lush scoring would prove scarce, the score's greatest strength is the impressive restraint of its central love theme, equal parts tender and wistful. Although commonplace in collaborations to follow, the surprisingly late first instance of a score cue (22 minutes into the film) was unusual for its time in a Spielberg feature. We begin with a short, atmospheric cue that underscores a (seemingly prophetic) moment of unease for Dorinda, as she sights the fateful plane of her partner's (Pete) future demise. Cue Status: OST T15 Intimate Conversations (0:00-0:31) A similar moment of retrospection follows soon after, as Dorinda notices something amiss with the glowing blue halo that engulfs Pete as he opens the fridge door. Interestingly, Spielberg opted to track the immediately preceding cue into this moment. Williams' intended score is therefore both unused and unreleased, but the tracking works effectively. Cue Status: Tracked from OST T15 Intimate Conversations (0:00-0:31), JW's Intended Version Unreleased & Unused Increasingly worried over Pete's cavalier attitude towards the dangers of his work (flying planes over raging bush fires, dousing them with fire retardant), Dorinda begs Pete to consider a new role in Colorado. This cue is unreleased. Cue Status: Unreleased Two pilots down with a new burn in the South Rim, and despite being his layoff day, Pete is called for help. With the previous night's discussion weighing on her mind, Dorinda rushes to the airfield before Pete's departure. In one of the score's highlights, Dorinda expresses her love for Pete, insisting he can't leave the ground without knowing. As Dorinda returns to her bike, Pete returns the gesture... but his declaration of love goes unheard, drowned out by the propellers. Cue Status: OST T10 Saying Goodbye (2:46 onward dialed out in the film, omitting Williams' dramatic conclusion).

Legends of the Fall (James Horner) - perhaps the only generally considered top Horner score that I’ve never loved quite as much as everyone else. Don’t get me wrong, it’s a great score, but I’d probably take Braveheart in preference, all that misty Scottish atmosphere and more anguished tone make it a much more interesting listen for me. But hey, Legends is great too and full of terrific themes. It’s the kind of film made for Horner. Enemy at the Gates (James Horner) - full on James Horner does Shostakovich meets Schindler’s List epic score. Not sure if this counts as underrated but it’s a really great score. The recent Movie Wave review suggests that it has some Mahler references in there too but I have that admit I can’t hear them (and I’m massive Mahler fan). Anyone know what they might be? In the Army Now (Robert Folk) - fun, typically exciting military score from Folk. How did he never get m/any decent assignments?! Ok so the main theme sounds like the B section from the Raiders March but so does the theme from The Last Starfighter… great fun.

Perhaps. But I'm fairly certain of one thing...Villeneuve made a better sequel than Scott would have.

I think, I already said it before somewhere in this thread. I did not like the movie 2049. Because for me it makes the same mistake like Prometheus, a little story about a group of people, which is originally supposed to be just one of many other stories in a universe suddenly in the late sequel becomes super important and results in some kind of a christ like saviour story or a craddle of mankind story or meaning of life story. But I liked the animé short film. Favourite quote from it, the one replicant asking the other one "When we die, do we go to heaven?" That gave me goose bumps.

Potentially relevant info for those within travelling distance to Vienna: The Staatsoper is reviving its production of Korngold's Die tote Stadt for 4 performances next February: https://www.wiener-staatsoper.at/spielplan-tickets/detail/event/983447514-die-tote-stadt/ I'm perhaps biased because it's the first and only production I've seen, but I think it's terrific and I can't imagine any other presentation underlining its psycho-nightmarish qualities so well.

I'm going to keep an open mind on this film. At a minimum, joining Indy on his latest supernatural treasure hunt will be legendary composer John Williams. Once again, William's music will let Jones know when to run and when to duck. When to kiss the heroine or smash the enemy. Others can do as they wish, but as for me, I'll be there to watch. And listen. And live. John Williams will save yet another life, and give Indy a refreshing new life of his own.

1977? 1993? 2005? 2015? Yet to come? I am wondering about 2019/2020. December 2019 Star Wars IX as usual brings seasonal attention January 2020 announced as the previous year's world's most performed living composer January 2020 concert in Vienna April 2020 in the poll of the British Classic FM radio Williams turns out to be the 5th most popular composer, behind only Bach, Mozart, Beethoven, and Tchaikovsky (#6 in April 2021) June 2020 John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts November 2020 John Williams Awarded the Royal Philharmonic Society Gold Medal December 2020 John Williams in Vienna 'confirmed as the biggest classical best-seller of 2020, with 100,000 CD sales and 150 million streams' A glance at the Spotify monthly listens shows him currently in the top 10, and I presume he might have been relatively higher at various points of 2019/2020 History of Google searches seems to show a diminishing interest, but this is true for many composers, from Mozart to Goldsmith (not for Zimmer though!): The year of his death might be big too. It was for Goldsmith.

and RVW!

Ralph Vaughn Williams wrote nothing as good as The Planets, but he was still a better composer than Holst.

Nonsense. JWFanners are a single sex species, and they reproduce. Nature finds a way.

Herrmann was much more of a visionary and innovator than Shore is. Honestly, in terms of innovation, nobody beats Hermann and North. Not even Williams and Goldsmith.

I was 15 and Alien was the very first KNT* movie that I watched in theaters. I was shaking from tension most of the time (especially after the chestburster scene). *Kinderen onder 16 Niet Toegelaten

Yeah. Maybe it was just that.

Just read that. Cool to see Clemmensen finally toss him a bone. I’d say WW1984 is definitely his best between 2010-2020. Interstellar being a close second and DKR third. But the rest of his work from that decade really didn’t do much for me.

That's a pretty average move, maybe not even that. I keep saying All The Money In The World is his best movie in... a very, very long time. It has that same effortlessness of Thelma & Louise . Scott's direction swings, it grooves. In Blade Runner, the story was merely a bonus*, and it's certainly not my main gripe with the sequel. *Just as it is in Alien.

Nah. 2049 is a good example, I'm not a fan of it, really didn't like the weakness of the story for instance but this weakness doesn't make a bad movie

I don't think that this is the point. Look, I am one of the three people that liked the Matrix sequels. I would have prefered they had shortened the action sequences and merged the two sequels into one movie, nur anyway. The sequels were a logical development of the story from the first movie. Neo was a saviour from the very beginning, so that was his story. Therefore, in my eyes good sequel. 2049 mystified the story in a way that did not do any good. A little bit like in the Highlander sequel where Sean Connery's character is suddenly alive again and now they came from a foreign planet. That was as well a bad sequel.

He knows the score. You’re JWFanner or you’re little people.

Lucky you!

Yep!

I alternate between Return of the Jedi and The Phantom Menace as my favorite Star Wars score. It's definitely the one that feels most expansive, although some may say it lacks the dramatic highlights of ESB and ROTJ

Enjoyable in a “not quite as good as James Horner” kind of way.

Not big statements, but the Imperial March and Yoda's theme are in there, alright. There are still many important themes missing. You couldn't concievably create a comprehensive overture to the series using just those three scores.

This isn't a question, just pointing some cool harmony/modulation stuff. I've been in a big Scott Joplin thing this year and have really come to love his "A Breeze from Alabama" especially for its lurch of a key change from C to A-flat at 1:39 below, then the cool modulation to E at 1:49 (the music below). It's the rare rag that changes between anything other than tonic and subdominant or dominant, let alone changing key in the middle of a section too. My big take is that in some ways Joplin's style of ragtime, often called "classic" ragtime, was sorta like the prog rock of its day. Working within the form of popular music (despite our perceptions today, most ragtime was actually in the form of vocal songs) but more ambitious and mostly instrumental within the form.

@toothlessI really enjoyed the French YouTuber’s TFA critique videos, thanks for the recommendation! I really want to watch his TLJ ones but it doesn’t seem like there’s any English subtitles so I don’t know what I can do there

Imagine the complete sheet music of the score in a tiny CD booklet.

With firefighters trapped in a raging firestorm and the nearest rescue choppers 40 minutes away, Pete inspires Ted to lead a dangerous rescue mission. Perturbed by echoes of the past, Al calls Dorinda to inform her of Ted's intentions. Unable to bear another loss, Dorinda takes charge and pilots the plane into the furnace. Cue Status: OST T13 The Rescue Operation With Pete's guidance, Dorinda saves the firefighters and escapes the blaze. At last, Pete is able to tell Dorinda everything he wanted to say in life. Mechanical trouble forces an emergency landing on the lake. Dorinda survives but the plane sinks to the lake bed. Seemingly reluctant to escape the flooding cockpit, Dorinda pauses before easing back into the chair and accepting her fate... until Pete appears before her. He extends his hand and Dorinda chooses to live. At last Pete releases Dorinda, who embraces her future with Ted. Pete smiles and walks in the opposite direction, assuming his place in heaven. (Note: The film's climactic cue (from 4:33 onward) is actually a revision. Williams' darker, more pensive original version was nonetheless paired with the penultimate cue in OST T7 Among the Clouds, segueing as Williams originally intended). Cue Status: OST T7 Among the Clouds (0:00-4:28), T18 Dorinda Solo Flight Another version of Smoke Gets In Your Eyes opens the end credits, which segues into Williams' unreleased end credits suite. Sadly the song partially replaces the start of the suite, and the ending was tracked over by a reprise of Dorinda Solo Flight. For this presentation, I have used all the music that appears in the film (0:08-3:38) and patched in the start and end using Theme from Always from the first Spielberg/Williams collaboration album (which appears to be derived from the film's credits suite). Cue Status: Unreleased, partially unused in film

Nice try, Jason

Pete and Dorinda are finally reunited... in spirit. Despite Hap's warning, Pete uses this opportunity to say all the things he wishes he'd said while alive. Dorinda, perhaps aware of his spiritual presence, pauses to reminisce... until Ted interrupts. Cue Status: OST T14 Seeing Dorinda While sharing a ride, Dorinda and Ted stumble upon a bus driver suffering a heart attack. Ted responds with CPR and saves his life. Although they started on shaky ground, Dorinda begins to feel something for Ted. Cue Status: Unreleased While enjoying their first dinner together, Ted and Dorinda split a wishbone. Rather than wishes, discussion turns to Pete. But before long, the pair acknowledge their deepening feelings for each other, much to Pete's dismay. Cue Status: Unreleased Her newfound feelings for Ted progressing too fast, Dorinda ends the night prematurely. With the one year anniversary of Pete's death lingering on her mind, she tries on the dress Pete gifted her one year prior. She dances alone to Smoke Gets In Your Eyes before retiring to bed. Pete resumes his spiritual courtship while Dorinda sleeps, unable to let go. (Note: Williams wrote two equally touching versions of this cue, and combined both versions in OST track 11 Pete And Dorinda). Waking in Heaven, Pete is reunited with Hap. Disappointed by Pete's self-serving use of spiritual energy, Hap offers him another chance to say goodbye to Dorinda. "I sent you back to settle with the one you love. I sent you back to say goodbye. Until you do that, she won't be free... and neither will you." Heartbroken, Pete responds, "I'm not ready to say goodbye." Hap wisely explains, "You still have to learn... to gain your freedom, you have to give it." Cue Status: This video features the film version of Pete and Dorinda from OST T11 0:00-1:36, followed by T10 Promise to Hap.

The fire operation goes awry. A dangerous dive into the flames results in Pete's left engine catching fire. Fellow pilot Al witnesses the resulting explosion -- Pete's number is up. A heartbroken Dorinda ruminates. (Note: The film version of this cue is unreleased, which features celesta, bells & ethereal synth overlays in addition to the strings-based OST version). Soon after, Pete finds himself wandering through an ashen forest, uncertain of his situation. Atop an impossibly lush hill in barren surrounds, Pete meets Hap. There, he ponders if he isn't dead, he must be crazy. Hap assures him he isn't crazy. Pete is thus given an opportunity: return to the real world and inspire another, before moving into the afterlife. "They hear you inside their minds, as if it were their own thoughts," Hap explains, before a warning. "Remember, you've had your life... and anything you do for yourself now is a waste of spirit." Cue Status: Film version of The Explosion is Unreleased. This video features the alternate OST version (T12 The Return, 0:00-1:19) followed by T9 Pete in Heaven. Pete returns to Flat Rock airfield and finds the target of his inspiration, a young pilot named Ted. He also 'reunites' with old friend Al (now the base commander) who also meets Ted for the first time. Cue Status: Unreleased As Pete embarks on his first 'lesson' with Ted, Dorinda arrives at Flat Rock. Although unaware their paths have intertwined (albeit spiritually), the pair sense an immediate connection. Williams underscores this moment with a melancholic, strained variation on Pete & Dorinda's love theme. Cue Status: OST T12 The Return (1:17-end) Taking refuge from the storm in an abandoned base, Pete discovers an Old Timer who can seemingly hear what he says. He attempts communicating to Ted via the Old Timer, but choice words are lost in translation and Pete's intent doesn't go to plan. (Note: the film only partially uses the OST version of this cue before trailing off in a more lighthearted, playful direction; the film version is unreleased. Also of note is a substantial section of music on album which has no corresponding footage, indicating this sequence was heavily trimmed down after Williams scored it). Excited by Ted's return to Flat Rock, a young mechanic gussies up in preparation for his arrival. Mechanical trouble and wacky hijinks ensues. Cue Status: Film version partially uses an unreleased alternate. This video uses the OST version from T17 The Old Timer's Shack, followed by T8 Follow Me.

It's great that Jim reinforced the deep blue hue of the sky as well. Reminds me of his restoration of the Superman key artwork for that expansion (while previous releases had an awful, muddy brown tint). Is it just dated printing technology or scanners that resulted in such horribly inaccurate covers in the past? There should be no less than 6 alternates on the release. Follow Me (alternate leaked on the BOT4J bootleg) Dorinda Survives (an early version of Dorinda's Solo Flight, would make a perfect album closer) Pete and Dorinda (the OST already included both versions of this cue in the same track, but only one version belongs in the film assembly) The Death of Pete (film version has a different mix including a celeste/synth overlay missing from the OST version) The Old Timer's Shack (film version is totally different to album version, with more playful sections and a different ending) The Rescue Operation (the film has alternate sections vs the OST, though these might be tracked from other cues. I suspect they're inserts though) Track 9 of the OST from 0:31-end features music unused in the film, so that's either an unused cue or yet another alternate. Who knows what for? Guess we'll find out in a few weeks. And who knows what else was recorded that didn't make the OST or leak in the bootleg? I'm sure it'll be a packed album, whatever Mike includes.

It'll be hard to top Desplat's blending of his theme for Ron, Harry, and Hermione with Williams' Dobby theme, but I'm sure they'll figure something out.

3000 copies. Thats optimistic.

John Williams - Sleepers (OST Album) I finally saw the film yesterday, so I listened to the OST album today. Guess what? It's great! The album. Not the film. The film was fine.

Since the film seemingly got re-balanced mid-scoring and you can't rely on just sorting by reel/part number to get the chronological order, here it is: 1M1 Sleepers [OST 1 "Sleepers at Wilkinson" 0:00-2:18] 1M4 Hell's Kitchen [unreleased] 1M8 Teaching Revenge [unreleased] 1M10 Lessons in an Alley [OST 9 "Learning The Hard Way" 0:00-1:05] 2M4 Down Subway Stairs [OST 9 "Learning The Hard Way" 1:05-1:43] 2M6 Talking to Father [OST 11 "Father Bobby's Decision"] 2M7-2M8 The Sentencing [OST 5 "The Trip To Wilkinson"] 3M1 Life at Wilkinsons [OST 12 "Reliving The Past" 0:00-2:40] 3M1New The Basement at Wilkinsons [OST 9 "Learning The Hard Way" 1:43-end] 3M2New Muffled Cries [unreleased] 3M3New The Football Game [OST 3 "The Football Game"] 4M2 Football Star [OST 6 "Time In Solitary"] 4M2 Insert #1 [unreleased] 4M2 Insert #2 [unreleased] 3M5New Last Night at Wilkinsons [OST 10 "Last Night AT Wilkinson" in full, also appears partially in OST 1 "Sleepers at Wilkinson" 2:18-end] 4M3New Harlem Source [unreleased] 4M4New Michael's Plan [unreleased] {manuscript accidentally says 5M4New} 5M1New King Benny's Sleepers [unreleased] 5M1ANew The Old Fire Hydrant [unreleased] 5M4New The Fat Man's Speech [unreleased] 5M4New Insert [unreleased] 6M5 Saying The Rosary [OST 4 "Saying The Rosary" 2:22-end] 7M1 Remembering Wilkinsons [unreleased] 7M3 At Mass (Chorus A Cappella) [OST 4 Saying The Rosary 0:00-0:48] 7M3 At Mass (Chorus & Orchestra) [OST 4 Saying The Rosary 0:48-2:22] 7M4 Michael and Carol [unreleased] 7M1New Ferguson's Entry at Court [unreleased] 7M2New Remembering in Court [unreleased] 7M3New The Crossexamination of Ferguson [OST 8 "Michael's Witness"] 7M4New Revenge for Rizzo [OST 7 "Revenge"] 8M8 Father Bobby Reflects [OST 12 "Reliving The Past" 2:40-end] 9M1New Passing the Tickets [unreleased] 9M2 Not Guilty [unreleased] 9M3 The Reunion [OST 13 "Reunion And Finale" 0:00-2:40] 9M5 Finale [OST 13 "Reunion And Finale" 2:40-end] 8M5New Hell's Kitchen [OST 2 "Hell's Kitchen"] So a rough chronological order of the OST album without doing any in-track editing would be 01 Sleepers at Wilkinson (3:41) 11 Father Bobby's Decision (3:56) 05 The Trip to Wilkinson (2:35) 12 Reliving the Past (3:40) 09 Learning the Hard Way (5:21) 03 The Football Game (4:09) 06 Time in Solitary (4:23) 10 Last Night at Wilkinson (3:51) 04 Saying the Rosary (6:53) 08 Michael's Witness (4:09) 07 Revenge (2:46) 13 Reunion and Finale (5:30) 02 Hell's Kitchen (5:23) While a full chronological re-edit would be 01A Sleepers at Wilkinson [0:00-2:18], retitle to "Sleepers" or "Main Titles" 09A Learning the Hard Way [0:00-1:43], retitle to "Lessons in an Alley / Down Subway Stairs" 11 Father Bobby's Decision (3:56), retitle to "Talking to Father" 05 The Trip to Wilkinson (2:35) 12A Reliving the Past [0:00-2:40], retitle to "Life at Wilkinson" 09B Learning the Hard Way [1:43-end], retitle to "The Basement at Wilkinson" 03 The Football Game (4:09) 06 Time in Solitary (4:23) 10 Last Night at Wilkinson (3:51) 04B Saying the Rosary [2:22-end] 04A Saying the Rosary [0:00-2:22], retitle to "At Mass" 08 Michael's Witness (4:09) 07 Revenge (2:46), can retitle to "Revenge for Rizzo" 12B Reliving The Past [2:40-end], retitle to "Father Bobby Reflects" 13 Reunion and Finale (5:30) 02 Hell's Kitchen (5:23), can be retitled to "End Credits" or "Hell's Kitchen (End Credits)" OST 01 2:18-end is just a repeat of the end of track 10 and isn't needed.

Not film music but it's by Michael Kamen (and it's great...)...

These are such a joy to go through. I admire all of the hard work and effort that you all have been putting behind these. Thanks so much for your contributions to the community. So glad you are tackling HBP.

I'd also like to recommend Basie's 50s albums April in Paris and E = mc^2 if you don't mind an evolved swing style. Same goes for Frank Sinatra's Songs for Swingin' Lovers on Capitol and The Platinum Collection, which is a highlight of his Capitol years. Ella Fitzgerald's songbook albums are also a must, especially the Gershwin, Cole Porter, Irving Berlin, Rodgers and Heart, and Duke Ellington songbooks.

Army of the Dead Wow, that was horrible. It has some decent action scenes, but the script is terrible, filled with plot holes and things that don't make any sense. Can't believe I'm gonna say that, but the best Zack Snyder movie of 2021 is still Justice League. At least AofD gave us this super funny Pitch Meeting:

They still have those 2 mystery titles as well, which were first mentioned well over a year ago (before there was any hint of issues with Sony). Seems like those have been in development for an unusually long time. A 30th Anniversary expansion for Hook seems like such a no-brainer, Not sure what's stopping them from re-releasing that score under Mike's supervision (other than cost; they said the initial release was extremely expensive IIRC). If what they said about the vaulted unreleased music is true, maybe it's just a licensing nightmare.

It is a specific passage from Alan Silvestri's score to Captain America: The First Avenger; "This Is My Choice." One of the reasons I believe Alan Silvestri outdid himself with the score to Avengers: Endgame is not just the large scale sequences, but the intimate character moments as well, particularly this one. It completes the character's arc perfectly, both in terms of what is happening on-screen and score.

Same, I think it's a great score.. Very sincere, definitely not generic. Really nailed the feeling of nostalgia and just, everything coming to an end. Loved the references to other scores as well.