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In other words, "am I a selfish asshole" vs. "do I want art to be presented properly and accessibly". LLL should get on the digital train after Varese and Intrada, and convince JW too, including the booklets digitally too, THEN limited physical releases would be acceptable. I was insanely lucky to find this site just when all I wanted (or was about to find out I wanted) was about to come out or still available.

This is not correct. The specialty labels are all run by fans of film music, and would love to make all their albums (albums they have to fund entirely themselves) available to everyone who wants them. They'd love to be able to sell them on digital markets, and they'd love to be able to keep the CDs in print either forever or until interest runs out. But sadly, they are denied these options by the corporations that own the music, as well as the American Federation of Musicians. To make these releases happen, they get a license from the corporation that owns the rights to sell music from the score (in the JP set's case, UMG, the entity that owns what was once MCA Records) and the corporation that owns all the music that wasn't on the OST albums (in JP's case, Universal Pictures). Each of these entities only give licenses for physical units to sell - they don't grant licenses for them to sell their albums digitally. So that's why they are CD (and sometimes vinyl) only. As for the number of copies, the AFM requires a massive payment to release for sale any music from these scores that wasn't released before (which the specialty label has to pay). And even making that that payment, the AFM still only grants them to release a certain amount of copies - they don't allow them to just print and sell as many copies as they want. So that is why all these releases are limited. If the AFM did not have this stipulation, there'd be no more specialty label sellouts - the specialty labels would continue to keep any title in print that there was clear interest that people still wanted to buy. I'd love for you to go out and find examples of someone who is not a die-hard John Williams fan who bought a specialty label release because it was limited, and not because they just wanted to own that music. I'll wait. I think that the non-die-hard JW fan would buy these titles if they somehow found out about them and wanted to listen to that music, and not buy them if they didn't care that much. These days, the shipping costs, and general interest among people on earth who want to own music on physical media instead of digitally, is what keeps people from buying music on CDs. These specialty labels are primarily making these releases happen for us, not for casual fans. Casual fans of film music just stream what they want to hear. I strongly disagree. I think if LLL had their way, this set would still be in print right now available to anyone who wanted it, and they would have easily sold more than 5,000 copies by now.

There’s nothing better than seeing someone hoard Limited releases only for their investment to fall flat when they’re re-released.

They should never be limited. If you are a new John Williams fan you should have the right to have the complete score of your favorite scores in a legal way. I never hade the opportunity to buy the Jurassic Park Collection so I had to downloade it illegaly instead. If it was unlimited I would be happy to buy it because I would own the set legaly and I would support La La Land Records.

and the “Nobody cares that Thor doesn’t care” option

God doesn't exist, and even if he did he certainly wouldn't care about expanded soundtracks. On the subject at hand, the poll results speak for themselves. Who in their right mind would want releases to be limited so only a select amount of fans can own them? What a thoroughly selfish, entitled view to have. Literally the only reason labels don't keep these expansions in permanent print, or release them digitally on streaming services, is because of backwards AFM or studio policies. Everyone has the right to enjoy these releases, not only current fans but Williams fans in generations to come.

This is why having those releases available digitally, also with a digital booklet, might be a great solution! Limited physical releases but unlimited digital ones would be a great compromise.

Indeed. Of course I'd *like* them to be unlimited. I'd like them to be much cheaper, too. We all know why they're limited, and why they're expensive, and most of us are willing to pay the price (economically and ideologically) for having this music available in the first place. But if it were a simple choice between limited and unlimited? Why would I want anything to be limited - in other words, why would I want to be anything made so that some people who would also like to enjoy it (and have as much right to enjoy it as I do, but may not be fast enough to get it) couldn't enjoy it, for no other reason than the fact that those people will miss out on it? This is where this whole thing does get rather beyond the board rules. It's an example of an entirely different thing, because stealing a car is taking the car away from someone else who bought it (and presumably needs it). Copying music doesn't take anything away from the person who has the original. What it does is (possibly) make you not *buy* it and thus not giving money to those who have produced it in the first place. Here you can start a long discussion as to how relevant that is when it comes to music that you wouldn't buy anyway, e.g. because you can't afford that much and would have to be much more selective in what you get (personally, I don't have a problem with that if you still buy the stuff you'd buy anyway, i.e. if the labels don't make less money because of it), but even that isn't the point here: If you copy something that has sold out any isn't available anymore, nobody loses - unless it is then re-released and you skip that release because you already have a copy (in this case see before). But this whole discussion isn't about wanting to "own" something without paying for it anyway. It's about wanting to have access to something that you'd be prepared to pay for, but which you are prevented from buying. But that's not true in this case. All the speciality label releases are limited because it's a choice between producing a limited number of copies (usually as many as they can afford), or not releasing it at all.

It’s a better option than being a chump and spending a fortune on the secondary market from a scumbag scalper

And what about people who will become fans in 5 years when even great releases that haven't come out yet will be sold out? Doesn't matter as long as you can feel important.

So you actively want fans to not have access to some of JW's best work.

Well it's not like they have a choice. And that's got nothing to do with "feeling a sense of exclusivity and like sitting on more cash", that's the selfish asshole part. YOU get to be in a little exclusive club, others who were born later or didn't find out about these in time can go to hell or buy them from you at their increased value, right?

For myself, getting expansions over the decades has been a delight, and part of the fun of being a soundtrack fan. The delayed gratification made me appreciate both album arrangements and the newly released material when it came out. I wouldn't change that for the world, because when there's a cue you want, but don't have, it shapes your estimation of all of it, for better or worse. A new fan who gets everything all in one shot is denied the thrill of the yearning and the satisfaction of the new release. I'd imagine someone whose first exposure to these scores is the complete score will regard little incidental cues very differently than those of us who hungered for them for decades. A weird psychology, I know, but I enjoyed growing up in the OST era, and now living through the expansion era.

CBS Sunday Morning just had an interview with the maestro!

Just about to do the final boss(es) of Skyward Sword later today. I've been playing through the game at an average of just an hour or so a day, with my kids often watching, commentating, helping spot stuff for me, etc. It's actually been a blast. When I played the game 10 years ago I thought the game was perfectly fine but not amazing, I've never hated it as some do. But this playthrough has actually made me like the game more. I really like the personality of the game. My daughter has gotten full on obsessed with Skyward Sword though. She and her best friend and my son pretty much exclusively pretend as characters from the game this last month; she is constantly looking at the Hyrule Historia book, especially enjoying drawing characters out of the book. The game is all she talks about!

This question was a lot tougher for me. On the one hand, of course I want every fan who wants to get the scores they want to have the ability to go and get those scores and enjoy them to the fullest like so many of us have been fortunate enough to do. This keeps the music alive, preserved and keeps these labels who have dedicated their working lives to these things in business and doing the work that we have enjoyed the fruits of so far. On the other hand, I started collecting this stuff when I was 14 (now about to turn 39) that is a lot of time saving and scrounging and collecting. Of course I still want people to have access but I can't lie there's a certain feeling I get when I look at the cd shelves in my office and think... You know I'm probably one of only 5000 to 10000 people on the planet with this kind of collection. Picking up these beautiful packages of music and knowing I can't just go to Walmart or Amazon to get them... there's something to that... I know that the days of the CD are numbered and these physical releases are probably only going to last so long but for now I'm enjoying the heck out of the music and the game of collecting. After all is said and done, I think the idea of limited physical releases and unlimited digital releases that has been mentioned here is a good idea (assuming the business side of things would ever work out!) It allows both camps to co-exist and in the end it's about getting the people who love this music a chance to hear it and feel like part of this family. So if I have to lose part of that pride when something in the Varese club comes out digital that I've treasured as physical for so long that others get to share in it... so be it and we're better for it. [Edit: and I just noticed it only took me almost 20 years to hit 500 posts.... that's pathetic lol ]

I was about to write just that, when I saw that it was already done in the first reply. EDIT: Even my prior post was already covered in similar fashion.

I was about to explain my point too but you said it all already!

Is it just me, or does this film look a little too grey, fresh, clean and synthetic?

There are two types of people in this world: those who say, "I had it rough - why should the next generation have it any easier?" and those who say, "I had it rough - why should the next generation have to struggle like I did?" (Actually, there are a lot of other types of people, but what the hell.) Well said!

SKYFALL was shot digitally. It works.

But he is getting somewhat mainstream attention so I'm good with it!

Thanks, @ATXHusker!! This "new" interview is a mix of footage from an appearance on the program in September 2019 (linked to below) with new footage from Tanglewood this year, with a majority of the footage being the former.

He exists. He wears turtlenecks and goes by the name of John. And he wrote Yub Nub.

And the "Nobody cares that Thor really cares about everyone caring about his not caring" option

Poll is missing an option: "Makes no difference to me. Have no interest in them in the first place".

@Josh500 Give up, vote "No" with all of us so we can have a perfect 100% - 0%!

Total Recall - 4K-restored cinema screening for this Ahnult-in-his-pomp classic. Robocop, this, Starship Troopers ... without a doubt, Verhoeven used to be the go-to guy for sci-fi actioners with a satirical edge.

Welcome to 2021 where you can buy soundtrack digital. You don't have to press new copies every few years if we can buy this digital instead. Yes I understand, I can't listen to the scores I like because I didn't have the money at the time to buy it. And the future generation can not listen to the scores they like because they didn't know or was to young at the time.

This was one of (if not definitively) my most wanted expanded/remastered scores!!! We basically had nothing except the OST, which I love. So thrilled to get it. Listening to it now... the remastered OST is excellent -- hearing stuff I never noticed before, and the film score is a welcome full CD length! Been waiting to crack open the recent Blu-Ray of it after I become more familiar with the film score (very familiar with the album). Absolutely LOVE it! What the?! That's not for real, is it?! Fooled me for a sec! Hade me scrambling to Target's site, Yeah, it's been a goal of mine since the 1990s to have every CD release of all of Williams' scores. And I don't sell the OSTs when a new expanded/remaster comes out, either. I used to get even re-pressings with different covers and such, but I had to draw a line somewhere for my sanity's sake. The hardest ones to get for me were the 'Yes, Giorgio' OST and the original pressing of the 'SpaceCamp' CD (before Stefancos turned to evil, he helped me find that one!). It kind of stuns me when I hear 'Goodbye Mr. Chips' is so hard to get, now?

I wouldn't try to deduce too much about the film's look from production still photographs. That being said, some of those faux-beduin in the back of some of the shots do look quite grubby. My own issue is that the promotion is quite simply not doing enough to tell the average bloke that this isn't some Star Wars clone. I mean, I look at the bottom shot and I can kinda see Hux standing in front of the troops in The Force Awakens. I'm sure the actual movie will very much have its own sensibility but its the job of the marketing to communicate this to the audience. The trailers arguably did it reasonably well. Everything else - not so much.

Get a boat, then when you get too many CD's, you're "gonna need a bigger boat"

Like a poor marksman, you keep missing the target.

The Terminal Complete score breakdown by Jason LeBlanc For of all, HUGE ENORMOUS thanks to @filmmusic who did all the hard work comparing the sheet music to the album for this project! Google Doc link COMPLETE CUE LIST: 01 Krakozhia National Anthem [speculated title] 02 1M2 War In Krakozhia 03A 2M1 Viktor's Theme 03B 2M1 Rev 04 2M3 Refusing To Escape 05 2M5 Finding Coins 06 2M7 Learning To Read 07 3M1 A Stallion 08 3M2 Visitor To Dixon's Office 09 3M4 Looking For Work 10 4M3 Napoleon and a Lunch Offer 11 4M4 Medicine for Goat 12 5M1&2 A Legend Is Born 13 5M3 Viktor Buys Clothes 14A 5M4 Amelia 14B 5MA Theme Ending 15 5M6 Engagement and Wedding 16 6M1 The Fountain Scene 17A 6M2 The Old Boyfriend 17B 6M2 Alt Revised Version 18 6M4 Gupta and the Plane 19 7M1 Viktor's Leaving 20 7M4 Destiny... Cannaloni 21 End Credits 22 End Credits Tango Ending 23 End Credits Part II COMPLETE CUE LIST, with notes about film and album appearances: 01 Krakozhia National Anthem [speculated title] FILM: The first 20 seconds of the cue are used twice OST: Appears in its entirety in track 9, from 0:00-0:44. 02 1M2 War In Krakozhia FILM: Used as intended OST: Does not appear; This cue is completely unreleased 03A 2M1 Viktor's Theme FILM: Does not appear (2M1 Rev is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 2M1 Rev was written before they got to record this. 03B 2M1 Rev FILM: Used as intended OST: Does not appear; This cue is completely unreleased 04 2M3 Refusing To Escape FILM: Used as intended OST: Appears in its entirety in track 8 05 2M5 Finding Coins FILM: Used as intended OST: Appears in its entirety in track 12, from 1:24-end NOTE: There could be an earlier take with different instrumentation recorded, as the flute melody at 1:52 was originally written for oboe 06 2M7 Learning To Read FILM: Used as intended OST: Appears in track 12, from 0:00-1:24, but bars 1-2 are missing here and remain unreleased. These bars are used in the film. 07 3M1 A Stallion FILM: Used as intended OST: Appears in its entirety in track 6, from 0:00-3:50 / 4:27-end. NOTE: JW inserted a portion of 5M6 into the middle of the cue for the album presentation, from 3:50-4:27. 08 3M2 Visitor To Dixon's Office FILM: Used as intended OST: Does not appear; This cue is completely unreleased 09 3M4 Looking For Work FILM: Used as intended OST: Appears in its entirety in track 10 10 4M3 Napoleon and a Lunch Offer FILM: Used as intended OST: Appears in track 11, from 1:04-2:06, but only bars 1-16. Bars 17-end are unreleased 11 4M4 Medicine for Goat FILM: Used, but edited down / partially replaced with tracked music OST: Does not appear; This cue is completely unreleased 12 5M1&2 A Legend Is Born FILM: Used as intended OST: Appears in its entirety in track 03 from 0:00-2:00 13 5M3 Viktor Buys Clothes FILM: Bars 1-25 are used with internal looping, then it segues to music tracked in from 3M2 (bar 9-end) OST: Appears in its entirety in track 03 from 2:00-end 14A 5M4 Amelia FILM: Bars 1-165 are used before seguing to 5MA OST: Bars 1-165 appear in track 2 from 0:00-6:55 before seguing to 5MA NOTE: It is possible bars 165-end were never recorded if 5MA was written before 5M4 was recorded in full NOTE: ALSO appears AGAIN on the OST in track 14 from 0:00-1:44 (bars 1-36 only this time, see End Credits Tango Ending notes below) 14B 5MA Theme Ending FILM: Used as intended, and then additionally most of 5M1&2 appears again afterwards OST: Appears in its entirety in track 2 from 6:55-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 165 of the original cue 15 5M6 Engagement and Wedding FILM: Used as intended OST: Appears in track 6 from 3:50-4:27, but only bars 15-end. Bars 1-14 are unreleased 16 6M1 The Fountain Scene FILM: Used in film, but partially replaced with tracked music (including a version of 6M2 Alt, see below) OST: Appears in its entirety in track 5 NOTE: ALSO appears AGAIN on the OST in track 11 from 2:06-end (bars 71-end only this time) 17A 6M2 The Old Boyfriend FILM: Does not appear (6M2 Alt is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 6M2 Alt was written before they got to record this. 17B 6M2 Alt Revised Version NOTE: It appears they recorded this cue at least 3 times, with instrumentation changes done at the podium Piano Version: Solo piano all the way through Accordion Version: Accordion and Harp all the way through Clarinet Version: Clarinet and Harp all the way through FILM: The Piano Version is used as intended. Additionally, a portion of the Clarinet version is heard tracked into a part of 6M1 OST: The Accordion Version in its entirety in track 09 from 0:44-end 18 6M4 Gupta and the Plane FILM: Used as intended OST: Appears in track 11, from 0:00-1:04, but only bars 1-19. Bars 20-end are unreleased 19 7M1 Viktor's Leaving FILM: Partially replaced with music tracked in from End Credits Part II (Jazz Autographs) [an alternate mix without the plucked strings] OST: Appears in its entirety in track 4 20 7M4 Destiny... Cannaloni FILM: Used as intended OST: Appears in its entirety in track 13 from 0:00-1:33 21 End Credits FILM: Used as intended? OST: Appears in its entirety in track 1 NOTE: ALSO appears AGAIN on the OST in track 13 from 1:33-end, with bars 82-87 removed 22 End Credits Tango Ending FILM: Used as intended? OST: Appears in its entirety in track 14, from 1:14-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 36 of the original cue. This means the repeat of 5M4 that opens track 14 of the OST is completely intentional and not an "album experience" repeat. 23 End Credits Part II FILM: Partially tracked into 7M1 OST: Appears in its entirety in track 7 ALBUM BREAKDOWN OST 01 The Tale Of Viktor Navorski [all] = End Credits OST 02 Dinner With Amelia [0:00-6:55] = 5M4 Amelia, bars 1-165 [6:55-end] = 5MA Theme Ending OST 03 A Legend Is Born [0:00-2:00] = 5M1&2 A Legend Is Born, bars 3-end [2:00-end] = 5M3 Viktor Buys Clothes OST 04 Viktor And His Friends [all] = 7M1 Viktor's Leaving OST 05 The Fountain Scene [all] = 6M1 The Fountain Scene OST 06 The Wedding Of Officer Torres [0:00-3:50] = Beginning of 3M1 A Stallion, bars 1-125 [3:50-4:27] = 5M6 Engagement and Wedding, but only bars 15-end [4:27-end] = Ending of 3M1 A Stallion, bars 126-end OST 07 Jazz Autographs [all] = End Credits Part II OST 08 Refusing To Escape [all] = 2M3 Refusing to Escape OST 09 Krakozhia National Anthem and Homesickness [0:00-0:44] = the Krakozhia National Anthem [0:44-end] = 6M2 Alt Revised Version (Accordion Version) OST 10 Looking For Work [all] = 3M4 Looking For Work OST 11 Gupta's Deliverance [0:00-1:04] = 6M4 Gupta and the Plane, but only bars 1-19 (bars 20-end are unreleased) [1:04-2:06] = 4M3 Napoleon and a Lunch Offer, but only bars 1-16 (bars 17-end are unreleased) [2:06-end] = A REPEAT OF THE ENDING OF TRACK 5 [6M1 The Fountain Scene bars 71-end] OST 12 Finding Coins and Learning To Read [0:00-1:24] = 2M7 Learning To Read, bars 3-end (bars 1-2 are unreleased) [1:24-end] = 2M5 Finding Coins OST 13 Destiny, Canneloni, and The Tale Of Viktor Navorski (Reprise) [0:00-1:33] = 7M4 Destiny... Cannaloni [1:33-end] = A REPEAT OF TRACK 1 [End Credits, but with bars 82-87 removed] OST 14 A Happy Navorski Ending [0:00-1:44] = A REPEAT OF THE BEGINNING OF TRACK 2 [5M4 Amelia, bars 1-36 only] [1:44-end] = End Credits Tango Ending CHRONOLOGICAL ORDER OF THE ALBUM 01 09A [0:00-0:44] Krakozhia National Anthem 02 08 Refusing To Escape 03 12B [1:24-end] Finding Coins 04 12A [0:00-1:24] Learning To Read 05 06A [0:00-3:50] / 06C [4:27-end] "A Stallion" 06 10 Looking For Work 07 11B [1:04-2:06] "Napoleon and a Lunch Offer" 08 03 A Legend Is Born 09 02 Dinner With Amelia 10 06B [3:50-4:27] The Wedding Of Officer Torres 11 05 The Fountain Scene 12 09B [0:44-end] Homesickness 13 11A [0:00-1:04] Gupta's Deliverance 14 04 Viktor And His Friends 15 13A [0:00-1:33] Destiny, Canneloni 16 01 The Tale Of Viktor Navorski ("End Credits") 17 14 A Happy Navorski Ending ("End Credits Tango Ending") 18 07 Jazz Autographs ("End Credits Part II") Notes: Track 11C [2:06-end] is a repeat of Track 5's ending and is not needed Track 13B [1:33-end] is a repeat of Track 1, with a portion removed Track 14A [0:00-1:44] is a repeat of track 2's opening, but can be kept as it is an intended repeat to segue into the Tango Ending. NO EDITING REQUIRED, MOSTLY CHRONOLOGICAL ALBUM SEQUENCE 01 - 08 - 12 - 10 - 03 - 02 - 06 - 05 - 09 - 11 - 04 - 07 - 13 - 14 UNRELEASED MUSIC LIST 01 1M2 War In Krakozhia - completely unreleased cue! 02 2M1 Viktor's Theme (if it was recorded) - completely unreleased alternate! 03 2M1 Rev - completely unreleased cue! 04 2M5 Finding Coins bars 1-2 [bars 3-end are on the OST] 05 3M2 Visitor To Dixon's Office - completely unreleased cue! 06 4M3 Napoleon and a Lunch Offer bars 17-end [bars 1-16 are on the OST] 07 4M4 Medicine for Goat - completely unreleased cue! 08 5M1&2 A Legend Is Born bars 1-3 [bars 4-end are on the OST] 09 5M4 Amelia original ending (bars 166-end) [bars 1-165 are on the OST] (if it was recorded) 10 5M6 Engagement and Wedding bars 1-14 [bars 15-end are on the OST] 11 6M2 The Old Boyfriend (if it was recorded) - completely unreleased alternate! 13 6M2 Alt Revised Version (Piano Version) - completely unreleased alternate! 14 6M2 Alt Revised Version (Clarinet Version) - completely unreleased alternate! 15 6M4 Gupta and the Plane bars 20-end [bars 1-19 are on the OST]

@Josh500 You're not alone anymore!

Wow, I had completely forgotten I ever did this. Looking at the main post, this is an excellent format for these types of things! Easy to read and follow, nice use for red and blue when needed (and these colors work nicely in both the Light Theme and Dark Theme here). I'll try to replicate this format for some similar analysises I have brewing

Inspired by the recent concert!

But Hook exists, and I want it!

Firmly in the camp of making them non limited, even if I understand why they are.

Ooh. Didn't know about that last one. Sounds like another fun Adams "journey" piece, a la Fearful Symmetries and Guide to Strange Places. The latter is fantastic and underrated.

With the 2 months it took to get the credits fixed, maybe someone went back and double checked.

Batman by Danny Elfman (La La Land Records) Batman Returns by Danny Elfman (La La Land Records) Far And Away by John Williams (La La Land Records) Saving Private Ryan by John Williams (La La Land Records) A.I. Artificial Intelligence by John Williams (La La Land Records misprinted)

New digital releases! Might pick up the third Star Trek. Have all the rest I want personally. https://www.varesesarabande.com/collections/digital-albums

I forgot where I read it, but I read an interview or saw a video in which Williams described the Jaws period as a very difficult period of his life (obviously it was considering what happened), and I think he also said something along the lines of he could have spent more time with his children.

Was he very productive, though? In the 1 year period from March 74 to March 75, he worked on the violin concerto, then wrote/recorded Earthquake -> Towering Inferno -> Eiger Sanction -> Jaws. 4 scores within 12 months seems about his normal pace throughout the 70s, no? After Jaws, 9 whole months would pass until he recorded his next score (Midway).

Wouldn't it be nice if the album masters got lost and only the complete film score masters survived, for a change? First Jane Eyre, now this

I can see why Williams might not want to revisit Sugarland express. It was released the very month of hisr wife's passing

The Concerto, while wrote between 1974/76, was only premiered in 1981.