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Exciting news from Powell himself! He's working on a concert suite for the score https://www.instagram.com/p/CTCzhHzPC58/?utm_medium=copy_link

The new arrivals!

I wonder what happened to poor Jurassic Park 3. Like HP4, I figured that would be on the horizon soon after the other scores were released by LLL. JP3 needs some love - that existing OST doesn't sound great (and it's way too short). Kinda weird because the Matrix scores sound comparatively excellent and they had the same composer AND recordist.

The applause as Williams entered the stage and walked across it to take his place at the podium was wonderful, another step up in enjoying the whole night that the change in weather already had been. I always keep my eye out to see how Williams is doing, and I am happy to report he seemed to have even more pep in his step then he had just a few weeks ago for the Violin Concerto #2 premiere - perhaps he too was invigorated by the change in weather! As is typically the case, as the applause died down he began the first selection right away, without saying anything to the audience. Overture to the Oscars It’s always nice hearing a new Williams composition, and especially nice you go to a concert with no knowledge that you’d even be hearing one! I assume this was commissioned for the opening of the Academy Museum next month, and it is certainly fitting for such an event. Full of resplendence and elegance, I have a feeling this will become a staple of Academy Awards broadcasts going forward as well. Here’s hoping a studio recording gets released at some point! After the piece finished, Williams took to the microphone for the first time of the night: “Thank you very much. I wonder if you are as happy to see me as I am happy to see YOU <massive audience applause> After eighteen months of no concerts, no rehearsal, no television… Hollywood was really a dry place for a year and a half! It is wonderful to be back with you and back with the orchestra <audience applause> and like me probably many of you have watched the Olympics on NBC, and they have done so beautifully, presenting the Olympics. And my association with NBC is a long time one, I've written the music for Meet The Press, the Nightly News, the Today Show, and Sunday Night Football, and let’s see, the Olympics in Los Angeles and Seoul Korea, and Atlanta, and Keith Lockhart and I did the Olympics in Salt Lake City, the Winter Olympics I think it was in ‘02. It's already nearly 20 years! And you will see tonight, some fabulous footage that we were fortunate enough to have allowed us to use by NBC and the Olympic Committee. And these fabulous images I know you will agree when you see them, were put together by Susan Dangle of WGBH in Boston, and it’s quite a... they chose so many treasured faces, there’s a shot in there of Kobe Bryant I can't get over, it's so beautiful. When you watch this I think you’ll enjoy it. Olympics.” Olympic Fanfare and Theme This is, simply, one of my favorite pieces of music of all time, and one that wows with me its power every time I get to hear it live. This performance was no exception, and was the absolute highlight of the evening for me. The Pops played the piece perfectly, with a lot of enthusiasm, capturing all the power the piece contains. Tremendous. The video montage of athletes from across many years of Olympics competitions was nicely done (though admittedly, I spent more time watching the orchestra playing the music and did not focus on it too much). The audience erupted into quick and enthusiastic applause when Simone Biles showed up in the montage. Then, Williams grabbed the mic again: “Here is something that I wanted to show you and have you hear. It’s from a film called Big Friendly Giant, which Steven Spielberg made 2 or 3 years ago, which not too many people saw <audience laughter> But it was written by um, oh dear... Charlie and the Chocolate Factory <audience helps him out> Thank you very much - Roald Dahl! And it’s called Big Friendly Giant. And Steven wanted to make this film for technical reasons, because he wanted to present an adult man, the giant, having scenes and playing the entire film with a young girl, 8 or 9 years old, small enough to be held in his hand. And he would take the little girl to the land of dreams, and find dreams, searches for them - good dreams not bad ones - and capture them and enclose them in bottles. And then the giant could distribute these to children throughout the world. And what you’ll see here is a montage put together from this, of all the searching for the dreams, and the orchestra - particularly the flutes - will accompany all this choreography and these gyrations. And the lighting I think you’ll agree is very beautiful. I hope you enjoy this. Big Friendly Giant.” A Child’s Tale: Suite from The BFG This is a favorite of Williams scores for me, and one of the best works of his recent output. I love that Williams seems to be particularly fond of it, developing this lengthy (this performance ran slightly over 7 minutes) suite from most of its themes and ideas, and taking the time to introduce it and highlight what he’d like the audience to pay attention to. The montage was a nicely done assembly of the parts of the film that showcase Sophie and the BFG’s friendship, and their adventures with the dreams. The whole adventure with the Queen is not shown, and the bad Giants were not featured much either. It was nicely done, and overall, this really shows how much can outlive the films they were written for. I don’t know how many people in the audience who had not seen this film might have been compelled to go see it after this night, but they might be more inclined to listen to the music again. “Thank you. This is from Indiana Jones, Scherzo for Motorcycle and Orchestra. And the reason for "Motorcycle" is that we had Sean Connery and Harrison Ford on a motorcycle being chased by Nazis, and they had to get away very quickly. And I had to write this piece to accompany that scene. Unfortunately when I went to the theater to hear the scene, all I could hear was the motorcycle. So I resolved to make it a piece for Orchestra. Motorcycle and Orchestra, without the Motorcycle. All right!” Scherzo for Motorcycle and Orchestra from The Last Crusade This is the wonderful, updated concert arrangement version that premiered some time after the initial concert arrangement version (the one heard on The Spielberg / Williams Collaboration album). I was so thrilled to get this selection instead of something like The Raiders March or Adventures of Mutt; This was another major highlight of the evening. The performance was wonderful, and since I am not very familiar with the newer changes this arrangement has, I got to enjoy some musical surprises for the first time since Overture To The Oscars. Marion’s Theme from Raiders of the Lost Ark This was the wonderful arrangement from 2008 that I have heard a few times, yet enjoy hearing very much every time. Unlike the later Han Solo and the Princess arrangement, this arrangement could have easily been done at the time of the original film and felt at home there. I have always loved this theme, and this arrangement of it is a great selection for any film music concert. Throne Room and Finale from Star Wars: A New Hope Perhaps because of time length limitations for the concert, Williams didn’t say anything after the Indiana Jones selections, and instead launched into this after a not very long applause break following Marion’s theme. Much like the Scherzo, I am always thrilled to hear this piece performed live instead of the Main Title arrangement yet again, and the Pops did not disappoint at all with a great performance of it. The applause afterward was the loudest and longest yet of the night, as Williams seemed to really appreciate the audience immensely before leaving the stage, only to come back relatively quickly for the first encore The Imperial March from The Empire Strikes Back There is nothing left to say about this, I think I have heard it at seemingly every Boston Pops Film Night concert I have ever attended, and it always sounds great. The audience began applauding long before its final chord, which didn’t surprise me at all. As the applause continued, Williams left the stage only to return… with Keith Lockhart! I thought this meant that there would be no second encore and he was going through the final motions of the night, but that was not the case! Instead, both Williams and Lockhart went up on the podium, and then Lockhart stepped down and to the side and let Williams begin conducting: Flying from E.T. The Extra-Terrestrial Another classic I’ve heard a million times, but the music is so good how can you complain? I was mostly fascinated by trying to figure out what was going on on-stage. Williams was conducting and Lockhart was standing off the to the side watching… until suddenly, Williams stepped down (and of course, all the musicians know this piece so well, they don’t need a conductor to keep going perfectly), and Lockhart stepped up and after a bit, started conducting himself! I had my eyes locked on Williams, who had slowly stepped downs towards the violin section, and had to move one of their stands a bit to make room for himself. He then slowly turned and observed each section of the orchestra as they played his music to Lockhart’s conducting, and he seemed to just really be enjoying being literally in the middle of all this happening. Towards the end of the piece, they swapped spots again, and Williams conducted to the end while Lockhart watched. Then, both men bowed and made sure to highlight all the musicians on stage as the applause kept going and going, until Williams eventually made his classic “sleepy time” pose, generating the usual laughter from the audience, and they made they way out the side door and the standing ovation continued for a while until it was clear the night was over and the stage lights came on. A truly magical evening of music, and one of the best film music concerts I have ever attending. I was so thrilled to see Williams in excellent health, to hear one of his newest compositions, to hear many favorite pieces played splendidly, and to enjoy it all with an enthusiastic crowd in the gorgeous weather outdoors. As we walked back to the parking lot, the sky constantly lit up with amazing lightning bolts, and in fact the coming rain only arrive literally as we were entering our car. One last little bit of happenstance to end a wonderful night.

It seems like a pretty obvious release to want to do. Old enough for reuse not to be an issue. Popular film series that’s still going (albeit in a way that I can’t imagine it’s too problematic in terms of marketing wankers getting twitchy like the Bond marketing wankers). And it’s got themes by one super popular from one of my best know scores turned into a new score be a composer who is also popular in his own right. Slam dunk I’d have thought. So I can only imagine it’s behind the scenes issues that are stalling (around*) it. *track title joke for those wondering

OK so now that I listened to both discs all the way through as-is in my car with no distractions as my first listen, today I did more detailed comparisons between different versions of tracks 1-04 The Eels of Ceti Alpha V / Kirk In Space Shuttle vs 2-11 The Eels of Ceti Alpha V (Discrete) & 2-12 Kirk In Space Shuttle (Discrete) Basically, we already had the full ending of "The Eels of Ceti Alpha V". The beginning of "Kirk In Space Shuttle" only overlaps the very very end of it. It comes completely down to personal choice if you prefer this overlap for your custom playlist, or a bit of space in between. I think I have no strong opinion either way. 1-08 Kirk Takes Command / He Tasks Me vs 2-13 Kirk Takes Command (Proposed Album Take) I can see why Horner selected a different take than the one in the film to potentially going on the album; It isn't drastically different by any stretch of the imagination, but the performance has a bit more urgency to it, and just overall is a better one. "He Tasks Me" does not overlap the end of the film take at all, so you can completely separate them if you wish. So that's why no "He Tasks Me (Discrete)" track was needed for the bonus track section. 1-14 Buried Alive vs 2-14 Buried Alive (Alternate) So the difference here is very similar to the difference between "Petrified Colin" and "Petrified Colin (Alternate)" from Harry Potter 2: they're exactly the same until the very end, where the Alternate has a cool little extra ditty that was taceted out for the take that went into the film. (Of course in this case, each is a completely different take from the other while the Harry Potter track is the same assembly of takes until the very end). So my personal preference would be to replace the main program version with this version for my custom playlist. The cue is just more interesting with the extra music (the string pattern from "Khan's Pets" and "Brainwashed") left in! 1-16 Battle In The Mutara Nebula (Film Version) vs 2-07 Battle In The Mutara Nebula & 2-17 Wild Orchestra So we all know that the OST version on disc 2 contains the base cue as-recorded from 7:14-7:31, basically just a held note fading down to total silence before the full orchestra comes back as the Reliant appears on the viewscreen... and the Film Version mixes in Wild Orchestra take 168 over that timestamp, adding a sense of mystery to this passage. Some people prefer the track with this overlay, some prefer the silence. I think my ultimate preference is that it works better without; The total silence really makes the return of the orchestra that much more impactful. Well the "Wild Orchestra" track contains two different cues, the first from 0:00-0:46 I have no idea what it was intended for or where a good spot would be for it in a custom playlist. BUT! The second cue in the track, from 0:46-end, is another idea that could have been mixed over that "Battle In The Mutara Nebula" 7:14-7:31 spot (Take 169). I did just that, mixed it over that timestamp of the OST track, and it sounded awesome!!! In fact, I'd say it's by far my preferred version of the track; the low thumping bass sounds perfectly enhance the dread and uncertainty of the scene, and lead into the return of the full orchestra better than the film take does, and in my opinion better than the full silence version does. Very cool! The only problem is that the OST track of course comes from the 3M output rather than the pure analog output, so to actually create this mix in the best quality, you have to take the main program track, then replace the portion where take 168 is heard and carefully replace it with the OST track to get the overlay-free version, the mix take 169 over that. That might be beyond my skill level... 1-18 Genesis Countdown (Film Version) vs 2-08 Genesis Countdown I was curious what part of this album version used take 10 to cover up the noise heard on take 12, but even doing the trick of panning one version to the left and the other to the right and playing them in sync, I couldn't figure it out. Since the OST version comes from the 3M output and the main program the analog, there are numerous mixing differences that make it harder to find the performance difference. Maybe somebody else will figure it out, but I think it's clear the difference is negligible at best. 1-20 Amazing Grace vs 2-15 Amazing Grace (Alternate) & 2-18 Amazing Grace (Alternate Bagpipes) So the main program "Amazing Grace" and the "Alternate Bagpipes" are identical presentations of the D versions of the intro (take 166) and outro (take 162) cues, but the middle uses the film performance of the bagpipes (take 172) in the main program, and the bonus track version uses the same bagpipe performance, but digitally manipulated to be in tune with the orchestra. The interesting thing is that this manipulation causes the performance to take longer, so the outro cue starts later in the track. "Amazing Grace (Alternate)" however uses the E-Flat version of the intro (take 167) and outro (take 164) cues.... and the bagpipe performance in the middle is a completely different performance than the one used in the film, it's take 171 here. This is a slower performance than the used version, so the outro cue starts even later in the track. I think my preference is to just stick with the main program version. 1-21 Epilogue / End Title (Film Version) vs 2-09 Epilogue / End Title Of course the only difference with the "Epilogue" is the Spock narration. For the "End Title", the film version is take 145 all the way through while the album version briefly uses take 141 towards the end; Doing the panning trick, you can hear the difference starts around 8:27 or so; the album take is faster than the film take, causing the cue to end very slightly earlier there compared to the film version. The performance is so minorly different, no reason not to just stick with the main program version.

Another nice aspect of the liner notes (and radio discussion) is that it put into words things I sort of subconciously knew about the score, but hadn't ever directly thought about before. Like the aforementioned sad, unfinished versions of Spock's Theme in Genesis Countdown and Amazing Grace. But also the winding, twisting nature of Khan's theme, how it can sort of endlessly loop through itself, perfectly encapsulating the inner turmoil of Khan. But what really cooked my noodle was realizing that the "danger motif" opening of Suprise Attack is not just a "variant" of Khan's theme, it's Khan's theme with the first 3 notes missing (so, its notes 4-7 of the theme). Can't believe I never realized that before. I'm definitely going to read through the booklet again before it goes on my shelf. I finished disc 2 last night, heard all the bonus tracks. After all this time, hearing "The Eels of Ceti Alpha V" with its full clean ending was kind of amusing - turns out we weren't really missing much of it with the "Kirk In Space Shuttle" overlap after all. The alternate take of Buried Alive is cool, might be more musically interesting than the used take The alternate Amazing Grace just sounded wrong to me! They were wise to go with the D version for the film, FSM CD, and LLL Main program. The E-Flat version just sounds... well, wrong is the only word my musically uneducated brain can use to describe it. Wild Orchestra is pretty cool to hear, I wish the used take (the one mixed into Battle In The Mutara Nebula on disc 1) was included in this track as well. Why not? The third Amazing Grace track uses the D version like the main program, but the bagpipes are digitally manipulated to no longer be playing in between D and E-flat. I'd have to listen again to see if I prefer this over the main program version or not. I actually realized when listening to this that what I personally would have ultimately preferred is a version of this track without the bagpipes at all, just the short Horner intro cue and full Horner outro cue nice and clean. Oh well. The "Edited End Title" from the old 45RPM single is nice to have for completion's sake, but not sure how often I'll listen to it. I guess it's the right track to put on a compilation of Horner's best themes or something. Overall great release. I'll listen to the main program a lot for the rest of my life. And the bonus tracks are all great to have.

This is, quite comfortably, the most breathtakingly hamfisted analogy I've read on JWFan. Understatement of the millennium? Maybe your next analogy can liken limited soundtracks to the availability of clean drinking water in Malibu versus Sub-Saharan Africa?

Not just the artwork. He signed his own boot off.

I hear there is a map to it--perhaps R2 can help.

You're allowed to be as grounded as you want, however, the way you argue indicates that you have not read the poll question properly which is about preference not possibilities. Even the poll answers are quite clear about that, so if you preferred all releases to be unlimited, even if that is not likely to happen, you would have to choose what the majority of us chose.

I would be very happy to see JP3 released, both because it is a good score (from what I remember), and to complete the Jurassic Park trilogy musically.

Producers of Alien only had The Duellists to go on. But Lynch has a style, a voice. So many movies feel like they are directed by a machinery, a system, and not by an artist with a personal vision.

Doyle's HP4 is a great score. I wouldn't be listening to film music if it wasn't for that score.

True. There's Hook 3CD set, Hook 2CD set, Hook 1CD set, HP4 rejected score 2CD set and HP4 (Doyle featuring some JW music) 2CD set So obviously more than one. Warning: this post contains no ounce of denial

If that's the way you think and you also feel the need to illustrate it with this tasteless comparison of housing, then don't be surprised about many mad posts. He was complaining about the lack of availability and the high prices which depend on the fact that these releases are limited. Has nothing to do with this "for free" nonsense. Thus you do not seem to follow the argumentation, you instead warp his statements.

Dear Lord, a Thomas Newman fan? What's his take on Newman replacing Williams on Bridge of Spies?

He just means that it seems you are excited enough about next months flyer, that you made a post pointing out how close it is to being posted.

I wouldn't normally weigh in on a thread like this, but I must say that I find it rather disconcerting that there's really anything to discuss here. I'm not sure how anyone who finds joy and inspiration in John Williams' music and has thus supported the fantastic work of the expansion labels could ever attempt to present a valid reason in favour of limited releases unless it was out of selfishness. Talk about commercial viability and an added sense of exclusivity (yuck!) all you want, but this is what it really comes down to. It has always bothered me that, in the grand scheme of things, the window to purchase many of these expansions is typically limited to a 5 or 6 year time frame at the most (although some have disappeared in as little as 2 or 3 years, as we have seen). For many releases, particularly JW scores, this period has fallen sometime within the last decade. A constant stream of releases has meant that JWFan has been eating good during this time. However, many of these sets have already gone out of print, or are very near the end of their stock. What about the future JWFans who will have missed out on these? What about the JWFans who are still too young and not financially independent, or those who are not even aware of these releases because they aren't active members of the online film score community? I would think that anyone on this forum would be in favour of ensuring these were made available to them. Whatever fevered value one might find in a particular release being limited is not only void, but just plain false. How can you hold something like the E.T. set in your hands, and as you flip through the liner notes and listen to the climax of The Departure think that the thing that makes it special is the fact that "I'm one of 5000 people who own this"? That's really sad to me. I am a student. I do not have a full-time job. I do not have a lot of wiggle room when it comes to making purchases like these, and while there are certainly many sets I would happily pick up, my collection remains fairly small. To be clear, I could not be more thankful for the sets I do own. E.T., CE3K, Superman, Saving Private Ryan - these are without question some of the maestro's finest works, and the flawless presentations as tirelessly constructed by Mike Matessino and the folks at LLL could not possibly reflect that any better. I was lucky enough to discover JWFan in late 2017. Of course, I had great admiration for John Williams' music prior to joining in January 2018, but my knowledge of the scores and cues and facts that I am now very much familiar with was limited then. Most significantly, I was not even remotely aware of these expanded releases at the time. Obviously, I had already missed a number of them, and in the process of "catching up" this continues to be the case for me. I try to follow the news on the forum and keep up with the relevant threads, but the reality is that I will not be able to pick up majority of these scores while they're still around. I cannot stress enough how immensely grateful I am for the sets that I do own, but my need to prioritize and become especially selective as a result of this scenario admittedly remains frustrating to me, although I have still managed to be smart about what I buy and when. I know our dear friend Mattris has already posted his dissertation, a good indication that a thread is about to go off the rails, but I guess I just need to say that I am ultimately surprised and disappointed by what I can only describe as a certain level of ignorance and, yeah, selfishness inherent in the question this thread poses. Oh well.

Received a box full of good things today! Again another John Williams score to discover; like all the others, I'm sure this one is not gonna disappoint

Ditto. I've mentioned a number of times my considerable appreciation for this score which I still find significantly more enjoyable than the Jurassic World scores, and with a better appreciation of JW's style mixed with Davis's own style. Fingers crossed for that. Good idea! I'm not sure I'd get a great deal out of expanded versions of the Desplat scores as I find them hard work at times as they are (and less outright enjoyable than any of the other scores in the series) but maybe an expansion would increase my appreciation.

Teasers for Pablo Larraín's Spencer, whose excellent poster is above, and Jane Campion's The Power of the Dog, starring Benedict Cumberbatch, Jesse Plemons and Kirsten Dunst, have dropped. Coincidentally, Jonny Greenwood scored both of these films. Much anticipated.

Nipping this in the bud before any rumors get going! I just had @crumbs' cover printed.

Everything he said that night was touching (or funny). You could really tell how happy he was to be performing for an audience again, as well as directly talking to them and thriving off the feedback. It really came through in everything he said. You can just tell this man has absolutely no desire to retire and live a quiet life. He wants to keep composing and he wants to keep performing. It's great.

I enjoy it and would welcome an expanded / complete release.

I haven't seen Twilight, but from the half dozen or so films I've seen Stewart in (especially the Reichardt and Assayas ones) she appears to be a perfectly good actor. Pattinson even more so; like Christopher Abbott, he seems to have consistently sought out genuinely interesting projects to work on and, even though not all of these films have turned out to be great, I think it's made him one of the most notable actors of his generation. Vicky Krieps and Lesley Manville are both awesome in Phantom Thread!

I really enjoy the love being shown to BFG in multiple threads. It is a magical score with unique touches that separate it from his Hook/Potter magic sound, and has a top-tier concert suite (Williams nailed these longer suites with the "more recent" scores: Warhorse, The Book Thief, TFA, and BFG).

Thank you, Stewart.

I think it’s too early to tell how greedy my one month and two year olds are. Although, when I try to play a JW record, the two year old gives me a mean look and says he wants to watch Nemo. So it’s not looking too good.

And as far as I can see, nobody participating in this thread expressed that wish... Nobody. It's really a question of whether an album is advertised as limited from its release... That's obviously different from an unlimited album eventually going OOP after several years, for whatever reason. Exactly! Well said. I wanted to write something exactly like that myself. I think some people just have a very hard time accepting the fact that other people have a different view on things than themselves.... Something you see more and more often these days, on not just on this topic.

@The Illustrious Jerry Hold on. I think everyone who is in favour of limited releases made very clear that this is not about the intention to keep expanded releases from fans that cannot effort them at the moment or something like that. And I have seen major releases of soundtrack vanish from the market in five years. So this limited or not limited discussion is kind of a fake discussion since all physical releases are limited. That has been said here multiple times as well. And of course that is bad for fans who were informed or born too late to get the info. But there are practical constraints. But of course these can be ignored in such a question and we can just decide what would be the solution that fulfilles the fan's desires best, no matter at which cost. But if I follow that argumentation then we can open the next poll with the question "Should the labels give their releases to fans for free or take money from us?"And of course we can all vote for "They should give them to fans for free", because that would be best for everyone, especially those who cannot affort them if they cost money. And who ever would vote for, they should take money for it, is a selfish ashole according to your logic. Next poll: LLL Records should donate 1000 $ to Amnesty International for every CD they are giving to a fan for free because that would make this world a better place. And who would say that donating 1000$ to Amnesty is a bad thing? Right. Only selfish people. But.. seriously?

Yesterday on my lunch break, I read the liner notes by Deniz Cordell - wow! They are fantastic! I had never heard of Deniz before last week, but after the Burden special and the liner notes, count me a fan. The way he goes through every theme, not just theme but musical idea that recurs throughout the score and explains how they work and where Horner uses them is immaculate. There's no need for track-by-track analysis the way he goes through everything! Then on my ride home from work last night, I finished the main program in the car. As great as the new sound quality was in the early cues I had heard that morning, there's even more to enjoy in the back half of the score. And boy, did listening after reading Cordell's notes really enhance my love for the score. I had never really noticed the sad, unfinished versions of Spock's theme towards the end of the score (like in Genesis Countdown) before, and numerous other little things. The new main program is just perfect! Removing "Genesis Project" from it is a great choice. Removing Spock's narration is a great choice. Everything sounds great and flows great. You can put this disc in, press play, and enjoy a great presentation of a great score with no issues. It's so wonderful. On my way to work this morning I heard most of the OST rebuilt on disc 2. This is one of the best album arrangements of all time I think, Horner really chose the right cues to present and the right order to present them in. I don't have any specific comments about the sound quality, except I don't think the stereo field sounded quite as wide, perhaps. Tonight, I'll finally hear the bonus tracks!

Right now they’re listening to records. Give them 20-30 years to discover better physical formats like the CD.

I don't plan on dying.

New pic from the Arizona shoot

Hah, every time I see JP3 mentioned, I keep scrolling up to try to find some clue or announcement, and always find it's just the usual 'why hasn't it come out yet?'

Finnally it arrived

Fantastic location! I loved going there as a kid.

No one said it was only gonna be ONE JW title.

I wouldn't be quite so harsh, but I have to agree that it's a slightly disappointing realisation of what could have been an excellent programmatic symphony rather than effectively a very long tone poem. I actually prefer the Silva Screen LOTR album which covers much of the same ground and provides excellent highlights of all three scores in better sound and performance.

They're god damn idiots. That's all.

Before this project was announced, I had three dream choices for directing Dune: Peter Weir, Ang Lee and Denis Villeneuve. So I was ecstatic when he was announced. His whole filmography seems to be building up to this But I can also imagine how exciting it must've been in the 80's to learn that Lynch would be be directing Dune

John Williams and His Music for E.T. The Extra-Terrestrial, by Robert Normandie (PDF)

Bring in the heavy guns, Perseverance, they managed to get Slipstream out…... 😬😏

I think i have it.

Although impractical due to the costs involved in a more general release, I ideally would have these given more general releases so that others can discover these great scores. It should be noted that the OST arrangements of these scores are obviously more wisely available, and the albums actually do a good job as an introduction to each score, but that's a situational mitigation rather than the ideal and preference for availability.

@David Müller wow, thank you!! We've had a lot going on and somehow this notification got lost, but Ben will add his thoughts tomorrow as well - this means so much and we are thrilled that some of our initial plans when starting this project are hitting home for you and achieving the emotional beats we had also wanted to see from the beginning. It's still crazy for us that people are listening at all, so sincerely, thank you. I personally cried in theaters too when Desplat quoted Williams - it's really telling how powerful this music can be. We're really glad we can bring a little bit of that impact from Williams into the other films in some way (I would always listen to the JW scores while reading the series and it's been so exciting to work on this project with the thought of hearing those motifs over the whole journey). @superultramegaa hopefully! We feel the same! MS Also, we have two cues today for everyone! Lots of Prisoner of Azkaban-like statements as well. Here's Cues 16 - The Half-Blood Prince and 17 - The Cursed Necklace.