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I had a go at restoring 'The Speeder Chase' from The Rise of Skywalker, filling in missing footage with some concept art and storyboards as placeholders: https://drive.google.com/file/d/17-D5f9NIfu6U4UCH8RcjfTT5RYMNPRJy/view?usp=sharing

I'd watch Harrison Ford in anything anyway but I want anything that gets John Williams to write a ST era Indy score to go with the PT era Kingdom and the OT era originals. Indy deserves to have a score in all three periods as well as Star Wars. If that requires an 80-year old Indy then the production can go with god.

Yep.

Okay, ASCAP has just barely got the full cue credits to WW84, down to them still adding entries every check that I have made so far. I'll post what the list currently is, and update if there is any more: The most interesting thing thus far is the lack of credits for the use of pre-existing material (Beautiful Lie (BvS), Adagio In D Minor (Sunshine), I Won't Leave You (Pompeii)). In the case of the first, its lack of mention in the music section of the end credits as well suggests that it wasn't necessary as it purely is a solo HZ composition. For the last two, the Murphy track is mentioned as being an existing licensed copy (despite being newly recorded), and the Shortner track is only credited as merely being the base composition. So with those factors in mind, it likely could explain why they are absent here. Can't say I'm too surprised that there doesn't seem to be any solo HZ cues, given this would've been at the start of his recent large workload. I can already surmise who had more of an hand in key ideas, like Fleming with the Max and love material, and Mazzaro basically being the co-composer in handling much of the underscore and general traditional/heroic sound. Was a bit surprised to discover Benyamin being here in general, since he doesn't even seem to be on the HZ.com website, yet is mentioned on his own sites as being employed in RCP as a composer (though his official credit on the film is "score programmer/sequencer programmer"). I assume he patched things in spots the others couldn't. Ryan Rubin is on all cues, but I don't think he composed anything, as he's just the music editor. I've taken a crack at attempting to tag the bootleg, based on how much I know about the film and what the fan made titles have been. I've separated the ones I haven't identified: Any help in regards to IDing the remaining the cues, as well as correcting some of the choices I made is appreciated. I'll post the full thing in the slates thread once we're fully certain of the choices made.

Films used to be separated into film reels, 1-x, could be 1-7 or 1-15 or however long it needed to be. Nowadays since film is not analog anymore, it's mostly kept up just arbitrarily for production. 1m1 means reel 1, music 1 - the first piece of music heard on the first reel. 4m3 means it's the third piece of music heard on the fourth reel. But this was not always consistently applied, sometimes it goes reel number+number of music cue in the entire film, so 2m32 would mean we're in reel 2 and this is the 32nd piece of music heard in the entire film. This latter is more problematic when the cut changes a lot - you cut out a scene and suddenly every piece of music after it would have to go down a number. In the first system I explained, if you remove the scene containing 3m3, 3m4 and 3m5 would have to go down, but 4m1, 4m2, ..., 5m1, 5m2, ... 6m1, 6m2... would still remain the same.

Got mine! I haven't done a really nitty gritty look (and what I call "nitty gritty" many members here call "a passing glance") but all of the tracks from the OST ARE the tracks from the OST. An interesting choice and one that I can't say I'm unhappy with. (I would rather have had uncombined tracks, but Mike made Close Encounters listenable again so I trust his judgement.) I've had this CD since 1990 but it never occurred to me to put this in chronological order. It has an interesting effect. First off you realize (if you know the movie) how much of this film is unscored! Second you get how synth heavy this is. For Williams, certainly. There were a few moments that stood out to me even in the cinema in 1989. Rescue Operation has a moment at around 3 minutes in that makes my hair stand on end even now. (Before the 1997 Return of the Jedi this was the track that I listened to because I couldn't listen to Alliance Assembly.) But there's a lot of synth in this score. Or at least electric piano? Pete in Heaven still goes on forever. But I finally started listening to all of Fortress of Solitude. Maybe I'm finally grown up enough to get this one. Opening with Intimate Conversation is a way different intro than Among the Clouds. The score builds and it's magnificent. So many of the alternate tracks are so ethereal that I haven't pieced together what's different about them yet. I love having the original End Credits. The alternates are nice but as I said upthread, could do with one less Smoke Gets in Your Eyes. The second one is far better. The first one has an amazing finish but the opening just seems so "off" to me somehow. People (somewhat rightly) compare this movie to Ghost. But consider this: We got this and Field of Dreams in the same year. Williams and Horner played in the same sonic (cough) ballpark beautifully. If you already have the original but you're buying this for the booklet? You're not wrong! It's been 32 years but I'm finally making my film edit of the movie!

It’s not that KOTCS had too much bompetibop... it was too frantic with its bam-di-diddle-dee. Indy 5 needs some dum..dum-de-de-de-dum... bum-bum-de-de-boom-tishh. And maybe a little more bah-da-dum...de-de-dum... ba-da-DA-dum! More seriously, why on earth did Williams never bring back the “Using the Whip to Get The Job Done” motif established when Indy and Satipo swing across the pit and when Indy Climbs The Statue? It’s so badass, promising the audience that they were about to watch a professional do something dangerous and to get ready for the adrenaline rush. Another example of the kind of dangerous business music is the Tanis Digs music heard in “Reunion in the Desert”. It’s the kind of military danger that Williams had been experimenting with in 1941, ESB, and a bit in Superman. I love that stuff, and would love the low strings to propel the drama of Indy 5.

That's... actually a very astute observation.

2:11 till the end still holds up for me as one of the best and most unique of Powell compositions for film. I wish he did more horror/suspense xD

I love Lonesome Dove and would happily buy a complete score.

I'm not really a scholar of JW's pre-Jaws work, and from how the eras are separated, I always kind of thought Jaws was somewhat of a big out of nowhere change. Cowboys is pretty different and could have be an anomaly as far as I knew, Long Goodbye is its own thing, the Disaster scores don't seem like my kind of thing, and recently I didn't get many other chances or impetus to check others out. Images made me realise Jaws wasn't "the one where JW was great now", an out of nowhere lightning strike, it's more like the ultimate culmination of his gradual growth and evolution in that era. SW is much more of a direction shift.

No one in more recent decades did swashbuckling better than Horner: Karol

Wait! The man behind the upcoming Alien TV series is Noah 'Fargo' Hawley?! Why wasn't I notified?! Or is it my Cremerits again?

The liner notes explain what's different about each No

You mean a ca. 15-years period of music? Wolfgang Mozart 1776-1791 (end of Salzburg period - Requiem) Ludwig van Beethoven 1803-1818 / 1812-1827 Richard Wagner 1844-1859 (Tannhäuser - Tristan & Isolde) Pyotr Tchaikovsky 1876-1891 / 1878-1893 (most of his career took place in little more than 15 years!) to name the few Edit: Williams 1977-1993 and Tchaikovsky 1876-1893 are about the closest match there ever was and likely there ever will be in the context of this topic.

Oh come on Thor, whether or not a sword was used in the scene it was written for, that Star Wars cue linked above (Chasm Crossfire) is absolutely a swashbuckling piece. It was written to emulate the Korngold sound and as you probably know, Williams even titled it “The Swashbucklers.”

A rousing fist fight scored with heavy brass ostinatos. A cracking rendition of the full Raiders March to underscore Indy's perseverance a la when he boarded the Nazi Sub. A sweeping exotic adventure farewell theme that blends Slave Children's Crusade with Rise of Skywalker.

I'd like this one to ditch the rather dull underscore that causes KOTCS to drag. Those sorts of scenes are scored in more interesting ways in the first three films. Along with that, naturally I'm hoping for fun, fresh themes for the MacGuffin, villains, and new characters. Ultimately, I'd really just like to come away from the film and score with the feeling that these were crucial additions/conclusions to the series.

I hope he gets to finish writing it in good health. Karol

Yeah I have no idea what her role will be (academic sidekick seems the logical route) but I'm excited at the possibility Williams writing a theme for her. Every sidekick gets a theme in his Indy scores (Marion, Shorty, Henry, Mutt) and they're all great! Pair that with a theme for the villains and something for the McGuffin(s) and we're cooking!

He's been chasing this one score i won't disclose. Rights headache.

Wonder Woman 1984 (2020) - Hans Zimmer & Co. Source: ASCAP & GEMA (thanks to ArchiveCollection for providing the order) Co-composer credits: * = Steve Mazzaro ** = Dave Fleming *** = Omer Benyamin **** = SM & OB 1M01 OPENING GAMES** BBF905 1M02 GAMES BEGIN* BBF907 1M03 DIANA FALLS BEHIND* BBF910 1M04 NOT READY TO WIN* BBF911 1M05 1984 OPENING* BBF912 2M08-09 MALL HEIST PT 1* BBF913 2M08-09 MALL HEIST PT 2* BBF914 2M10-11 DIANA HOME/TABLE FOR ONE* BBF915 2M12 FBI NEEDS HELP* BBF916 2M13-14 DIANA'S WISH* BBF917 2M15 DIANA SAVES BARBARA* BBF919 3M16 BARBARA'S WISH PT 1* BBF920 3M16 BARBARA'S WISH PT 2* BBF921 3M17 BARBARA WAKES UP* BBF922 3M18 MAX TOURS MUSEUM** BBF930 3M19 MAX GOES TO OFFICE** BBF932 3M20 NOT A LOSER/DIANA LOOKS FOR STONE** BBF933 3M22 IT FITS PERFECT** BBF934 3M24 MAX GRABS STONE** BBF935 3M26 MORE TIME/WALK IN THE PARK** BBF936 3M28 STEVE LOOKS IN MIRROR* BBF937 3M29 MAX BECOMES STONE* BBF938 4M30-32 NEW STRENGTH/MORNING STEVE PT 1* BBF939 4M30-32 NEW STRENGTH/MORNING STEVE PT 2* BBF940 4M33 MAX VISITS SIMON** BBF941 4M34 STEVE TRIES ON CLOTHES* BBF942 4M36 MORE HELP** BBF996 4M37 MAX HAS THE STONE** BBF997 4M38 WHAT IS THE STONE?*** BBG025 4M39A STOLEN PLANE** BBG035 4M39B FLYING* BBG036 5M41 BREAKING AND ENTERING/JOGGING PT 1* BBG037 5M41 BREAKING AND ENTERING/JOGGING PT 2* BBG038 5M42 KING'S WISH/THE WALL** BBG039 5M44 OPEN ROAD PT 2* BBG041 5M45 BEDLAM*** BBG042 5M46 HISTORY OF THE STONE*** BBG043 5M47 MAX COLLECTING MORE WISHES PT 1** BBG045 5M47 MAX COLLECTING MORE WISHES PT 2** BBG046 6M48 I CAN'T GIVE YOU UP** BBG047 6M49 MAX VISITS PRESIDENT PT 1** BBG048 6M49 MAX VISITS PRESIDENT PT 2** BBG049 6M49 MAX VISITS PRESIDENT PT 4** BBG050 6M50 WHITE HOUSE STANDOFF* BBG051 6M51A PENN AVE PT 1** BBG052 6M51A PENN AVE PT 2** BBG053 7M51B WISH RENOUNCED** BBG054 7M52C BARBARA'S SECOND WISH* BBG055 7M53 WALL FALLS* BBG056 7M54 MAX TRANSMITS**** BBG057 7M55 CHEETAH FIGHT PT 1* BBG058 7M55 CHEETAH FIGHT PT 3* BBG059 7M56 INNER CHAMBER** BBG060 8M57 MAX SEES THE LIGHT** BBG061 8M58A GLOBAL WISHES RENOUNCED* BBG062 8M58B MAX REUNITES WITH ALISTAIR** BBG063 8M59 WONDER WOMAN 1984 - END CREDITS 1* BBG064 WONDER WOMAN 1984 - END CREDITS / MID CREDITS SEQUENCE - 1M01** BBG066 WONDER WOMAN 1984 - END CREDITS 2 - LOST AND FOUND SUITE** BBG067 ASCAP lists an extra cue called DINNER FOR TWO*, but there's currently no way of confirming if it's actually related to WW84 in any way.

Well, it does re-invent it. But unlike most sequels, it actually re-*invents* it. Like BTTF2 does, too. G2 ranks higher for me. The original score has some great stuff, including the wonderful Late for Work, but G2 has Pot Luck (one of my top Goldsmith tracks, period) and a far superior (less goofy) version of the rag. There were three films that I recorded the end credits off from my VHS tapes on to cassette tapes as a kid: The Lord of the Rings (the Rosenman, obviously), Ghostbusters (though that was the song), and Gremlins 2.

This release on the 30th Anniversary depressed the fuck out of me. If ever there was a time to release the complete Lonesome Dove, it was this time. I don't mind respecting the composer's wishes but we had two albums that did that already. This and Amerika need a complete release more than any other Poledouris. Considering he talked about adapting it into an opera, I think we should hear it all. There is so little Poledouris out there. Since this is also the closest we will ever get to his Dances With Wolves, I hope the soundtrack producers who care about his work care enough to preserve this entire score and not just this album. It is an integral part of his legacy. It's nice to know what we have was curated but we have less than 25% of the score. Please, please, friends and fans and colleagues of Basil. Please make this happen. If we can get 6 Goldsmith releases in a year, I think we can get one more complete Poledouris soon. But considering this was just re-released, my hopes are low. My spirits are low. My frustration is high. I have strong feelings. Lonesome Dove premiered on my birthday, the actual day of my birth. I have always felt a very strong connection to this score.

Still, with Hawley at the helm, the TV series has the potential to wipe the floor with Ridley Scott's Prometheus series. The only drawback that I can see is that it takes place on Earth.

Charles Tenet, excellent!

James Horner had a pretty amazing year in 1995: Braveheart, Apollo 13, Balto, Jumanji, Casper...

Yep, great score (and movie).

Also picked some stuff from HMV: Karol

I love how much Gremlins 2 love there is on this board for both the score and film.

I think swashbuckling should be a broad enough term to include any piece of music that summons images of sword fighting.

That's how I interpret the term when applied to music. The Williams example definitely qualifies, but little else does to my mind. Debney probably, or at least he comes close. But both were intentionally writing in that very specific style. Most of the other examples I've seen don't fit the term for me. Parts of Tintin do - a rare case of post-Golden-Age swashbuckling music that isn't an outright Korngold pastiche.

Tenet Cool idea. But what a mess. Overly complex yet laughably predictable. Both protagonist and antagonist are paper thin as characters. In fact, the whole movie feels heartless making it feel utterly pointless and uninteresting. I’ve read that that dialogue was overall muffled and that people have problems hearing through the masks and the backward speak translated walkie talkies, but that wasn’t the problem at all - the problem is the audio mix. Dialogue is much too low throughout the movie, even in a casual conversation - so you turn the volume up. But then a moment later the soundtrack and FX is much too high - so you turn the volume back down again. This little ritual repeats itself every 10-20 minutes or so, which is very often in a 2.5 hr movie. It bugged the hell out of me. Annoying AF, as the kids might say. Uninteresting and annoying.

Does this count?

Swashbuckling?

Apparently Batfleck will be in the Flash movie, so he had to get in shape again.

And publish the CRs too because just reading about music we can't listen to will be infuriating. Or not being able to read about music he didn't write about that gets released later.

We already know his music is bad.

It's fun, but certainly far from *the* greats. Neither in concept nor execution. And the last SW Williams'ses aren't, either.

Wait, someone was supposed to pay me for that!? Rats! Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way. Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.) Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good. And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!

Good Omens will be back for season 2 on Prime Video. https://www.hollywoodreporter.com/tv/tv-news/good-omens-season-2-1234975117/

Can’t wait to hear the Scherzo for Broken Shoulder and Orchestra

That Willie's Theme is reprised for her cameo.

The Old Indiana Jones Chronicles! Indy is doing some consultancy for a film studio where he happens to bump into Williams and a young Spielberg...

Naturally, because the film was an Indy film.

As much as I'd like that, I don't think it will happen. Not even the Star Wars Sequels had 2CD releases. I think the best we can hope is for Mangold to fall in love with Williams' music as much as Rian Johnson did and then release an isolated score version of the movie, out of which bootlegs can be created.

Number 1 wish: something as good as Rise of Skywalker (at least one good new theme, great new statements of old themes, a few good action cues, some old fashioned strings à la Join Me, something elegiac à la Farewell...) Number 2 wish: another oscar. It's about time. Nearly 30 years after Schindler's List.

Assuming that the Phoebe Waller-Bridge characters is a sidekick, I'd love some heroic theme for her. His music for Rey and Rose recently has stepped beyond the female "love theme" cliché. Also, something balletic and melodic à la "basket game" or "mine cart chase" for an action set piece!

I made these two covers for my HP edits (to make a set with Titus's square format HP1 cover), I was never 100% happy with them just having the OST covers:

Eventually they'll own JWFan, and any post asking for SW expansions will be immediately removed.