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E.T. - The Extra-Terrestrial celebrates its 40th anniversary today. 40 years later and this little guy still has the power to fill me with childlike wonder and turn me into a blubbering mess. It’s somehow easy to forget how huge the cultural impact was at the time. It unseated Star Wars at the box office. It inspired a song by Elton John Neil Diamond and a Michael Jackson collaboration. E.T. Dominated the summer of 82, and yet popular Internet culture seems to have diminished enthusiasm for such a sweet and sincere film. I hear more talk about The Thing, Tron, and Blade Runner these days. I saw it when I was Elliot’s age, and while my parents didn’t divorce, I really felt like I was him. Here is a picture of some of my collection of E.T. junk. (The Speak And Spell is movie accurate and works perfectly) Fun fact: for the children’s record and book read along, Drew Barrymore was brought in to do the narration. She was directed in the recording studio by Steven Spielberg himself! Remember when mail away Fan Clubs were a thing? John Williams in the newsletter! And remember those Flexi Disc paper records? Evidently they isolated some of E.T.’s dialogue for this one. Fun! Anyways, thanks for indulging me on this sentimental look back. I love all things E.T. and would love to hear your thoughts and memories. Did you see E.T. In its first theatrical run?

Why do you even hang out here? It seems like all you do is get mad at the people who actually like film music for daring to want more. Maybe the rest of us should change our opinions to match yours and give up on those missing cues since you personally don’t want them. That would be reasonable, right?

I have seen this movie so much that there is literally not a month that goes by in my life where I do not at least once sing the little section of Elvis Costello's "Accidents Will Happen" that Michael sings while piddling around my house. Greatest movie ever made with the greatest score ever writen.

E.T. the Extra-terrestrial (LLL) by John Williams (I know nobody elsecould have written it) Perfection! From the scary and tense writing of Far From Home, the melancholic and sweet The Beginning of a Frienship, to the heartlifting and greatest finale of soundtrack, Williams touches every single emotion with absolut brio.

My official stance on this matter is that it depends of which score we're talking about. Some scores are better represented in its complete form, like, for example, The Lord of the Rings. You can only grasp at what Shore has achieved if you are aware of his music in complete form. This is why I've been longing for a complete release of The Patriot. The true beauty of this score will be revealed in its fullest form once it gets the "Matessino treatment". However, I, a "completionist", do admit that, with some scores (like almost all of Gia's body of work) you can pretty much have an idea of all that a score has to offer with a 60 to 75 minute collection that includes all the highlights and important beats and excludes the "boring suspense cues". These unnecessary tracks don't add nothing to the main body of score and they just make the experience of listening to the album more tiresome, which in turn detracts from the highlights. TLDR: It depends of the score, not all of them are best represented in complete form. I know the subject is more complex than this (JWFan members have been discussing it for years now), but in general that's my opinion.

The album better have William Ross' stuff on it. In some ways I can't imagine it not having it, as that would be absolutely insane. But still, for some reason I'm worried...

Ah, how I love such sweet, sweet jizz. https://starwars.fandom.com/wiki/Jizz

From the ominous opening titles to the fanfare with the rainbow...a perfect score, and imo the best of all time. it's also the greatest "emotional" scifi film of all time.

I've sadly never been able to see it when it came out though it has been a major part of my childhood and I still watch it regularly and listen to it once a month. I was lucky enough though to see it last year in theater during a homage week to Spielberg which has been one of the highlight of 2021 for me. I'll conclude by saying that if I had to choose a perfect movie E.T. would be my first choice for it uniqueness and timelessness!

Presumed Innocent (Expanded) by John Williams Unlike many here I absolutely don't mind the repetitive aspect of this score, espacially since the theme is gorgeous. This new expansion is really terrific SpaceCamp (Expanded) by John Williams Simply wonderful and majestic (a four + score)

Big batch today with lot of Williams : A Gathering of Friends Violin Concert #2 and Selected Film Themes Hooten Plays Williams Treesong | Violin Concerto #1 Presumed Innocent (Varèse) SpaceCamp (Intrada) And two little rogue scores Jumanji (Intrada) Stagecoach (LLL)

I created this thread, because as my knowledge of film music in general is evolving, I discover that Dirk Brossé is perhaps like the new Erich Kunzel in terms of film music re-recordings. And in addition to being a conductor emeritus (of live shows, of classical music, of film music and also of OSTs), he is also a composer and he recorded some of his works. But for now, let's focus on the very nice film music albums he recorded over the years, because it's beginning to make a great collection! First of all, it seems that no single site does the tour of its entire discography as a conductor of those film music re-recordings... In the different databases, he's not always properly credited, which made the research a bit hard. Okay, challenge accepted! Discography of Dirk Brossé as a conductor of film music re-recordings 2001 "The Wings of a Film ‎– The Music of Hans Zimmer". VRO Flemish Radio O/Dirk Brossé, Decca 2007 "For The Record: Craig Armstrong". Flemish Radio O & Choir/Dirk Brossé, Film Fest Ghent 2008 "For The Record: Mychael Danna". Brussels Philh. (Flemish Radio O)/Dirk Brossé, Film Fest Ghent 2008 "For The Record: Angelo Badalamenti". Brussels Philh./Dirk Brossé, Film Fest Ghent (2 CD) 2010 "For The Record: Shigeru Umebayashi". Brussels Philh./Dirk Brossé, Film Fest Ghent 2011 "For The Record: Gabriel Yared". Brussels Philh./Dirk Brossé, Film Fest Ghent 2011 "For The Record Box". Brussels Philh./Dirk Brossé, compilation of the 5 previously released albums, Film Fest Ghent (6 CD) 2013 "Scoring For Scorsese". Brussels Philh./Dirk Brossé, Silva Screen 2014 "Cliff Martinez ‎– Film Fest Gent". Brussels Philh./Dirk Brossé, Silva Screen 2014 "Angelo Badalamenti: Music For Film And Television". Brussels Philh./Dirk Brossé, compilation of previously released material, Varèse Sarabande 2015 "15 Years WSA ‎– A Film Music Celebration". Brussels Philh./Dirk Brossé, compilation, promo 2015 "Alan Silvestri World Soundtrack Awards 2015". Brussels Philh./Dirk Brossé, Silva Screen 2016 "Ryuichi Sakamoto ‎– Music for Film". Brussels Philh./Dirk Brossé, Silva Screen 2017 "Terence Blanchard ‎– Music For Film". Brussels Philh./Dirk Brossé, Silva Screen 2018 "Carter Burwell ‎– Music for Film". Brussels Philh./Dirk Brossé, Silva Screen 2018 "Genius Of Film Music, Vol. 2 ‎– Hollywood blockbusters 1980s to 2000s". London Philh. O/Dirk Brossé, LPO (2 CD) 2019 "Marco Beltrami ‎– Music for Film". Brussels Philh./Dirk Brossé, Silva Screen 2020 "World Soundtrack Awards: Tribute To The Film Composer". Brussels Philh./Dirk Brossé, Silva Screen 2021 "Mychael Danna ‎– Music for Film". Brussels Philh./Dirk Brossé, expanded reissue (contains some previously released material), Silva Screen 2021 "Gabriel Yared ‎– Music for Film". Brussels Philh./Dirk Brossé, expanded reissue (contains some previously released material)l, Silva Screen 2021 "Shigeru Umebayashi ‎– Music for Film". Brussels Philh./Dirk Brossé, expanded reissue (contains some previously released material), Silva Screen 2022 "Mark Isham ‎– Music for Film". Brussels Philh./Dirk Brossé, Silva Screen Anything else?

I’ll say this for it. After listening to the full presentation AND the album bonus tracks…. It’s an earworm. Seriously, I cannot for days get that piano motif out of my head.

I saw it the Monday after it opened. THE greatest movie going experience of my life! It was so transcendent, so mystical, that I never watched it again. Nothing could ever duplicate that once in a lifetime event!

I saw E.T. in a theater when I was 8, it was a school activity. I remember it was in english, so I didn’t understand anything! I rediscovered it later in french (on TV I guess?) and I loved it. E.T., you are still right there.

I love jazz and listen to the works of Charles Mingus regularly. He's one of my favorite artists.

Just arrived! Only listened to SpaceCamp for now with @Holko, what a beautiful, gorgeous, magic score. As always, great assembly/editing/mastering by Mike Matessino, this sounds amazing. Can't wait to discover Presumed Innocent!

It’s just temporary, until we get these four + out of the picture!

BTW I recommend this 1998 Jazznavour album. It may unfortunately have the voice of Aznavour , but it have the magic of many jazz legends like Michel Petrucciani, Richard Galliano, Jacky Terrasson, Eddy Louis and Pierre Dreve.

Star Wars: Shadows of the Empire (Joel McNeely) - I can't for the life of me think what made me listen to a score which is an effective pastiche of JW, mixing a few sections of the classic themes with strong new material, with perfect classical reference points (notably a lot of Walton and Prokofiev)... or, why Seth McFarland should have been the music producer for Obi-Wan Kenobi (or, you know, full producer as I doubt he'd have made a show less involving than what they have actually made, so far at least). A MillIon Ways to Die in the West (JMcN) - Since I was on a Joel (not Goldsmith) roll and with Seth McFarland in mind, it seemed only appropriate to give their live action, big screen collaboration another listen. Probably the best western score Elmer Bernstein never wrote; terrifically memorable, energetic main theme and a charming love theme (which sounds a bit James Horner-ish but I can't quite put my finger on what).

Oh my god that was quick before this thread reached the "Kenny G" point!

But oh, the music itself... glorious! Never heard a note of it before the announcement of this but I'm loving it! Optimistically uplifting, gloriously breathing and soaring, elements or precursors of 90s, 2000s, even ST-era JW writing... my one worry midway through was there wouldn't really be action/tension/darkness to play the happy finale off of, but then just enough of that arrived too. Really liked the main program. The extras are pretty much filler but there's space to fill so no problem. Spent about 20 seconds skipping back and forth between the disc 1 and 2 main title and decided that was that, not gonna bother with it more - disc 1 sounds incredible, disc 2 in comparison is narrow, distant and flat.

Bonus points if it comes with instructions for the chronological version

I have no preference, I'm just so glad to have both. I think both performances are incredible and that the themes choosen by Williams suite perfectly both instrument (A Prayer for Peace sounds like if it was composed for Cello now, same for Han Solo and the Princess). The only piece I was septical at first was the Cello version of the Schindler's List's pieces but now I've listen to them I'm so glad it happened

MOZART REQUIEM. John Eliot Gardiner. Montiverdi Choir/English Baroque Soloists. Remember when I posted... ... about... ...? Well, it goes double, for this.

So now that I have it... That back tray image. Are those crosses there part of the shot in the movie (maybe it's seen through some viewscreen or I dunno) or did our favourite professional designer or the printing plant forget to turn off a goddamn guiding layer? Right across from the terribly blown up lowres alternate cover that's an eyesore anyway? I so often pull out the case and booklet for LLL releases just to flip through them while listening, see the artwork and get in the mood, even with Varese. I never get that urge with intrada, with their bland formulaic design and numerous fuckups and lazy covers. Maybe Jaws and Sleepy Hollow are the exceptions I can think of where it ended up having real personality.

Actually , I don't edit albums, I program them each time I listen. The program takes many listens to create. Only scores I really love inspire me to take the time to create a playlist. If I'm on the fence , I'll pass on a score that is hopelessly bloated I can't tell you how many.times folks have posted they couldn't get into a release; then, after I give them MY program, they say " thank you, I enjoy it now". It's in Composers own best interest to make an attempt at creating a great listening experience. Just look at the albums created by people like JW, MMorricone, Zimmer* Goldsmith. They understood this. * I bought the two disc of version of INTERSTELLAR and KOTM!

Giacchino scores have highlights?

Well, the Age of Ultron album had both Tyler's and Elfman's material in it. I'd say the chances of getting Ross' stuff are pretty decent.

The most interesting part for me was, when ASM was asked how it is to play on stage besides John Williams and what she appreciates , then ASM said "He has an ear that is focussed on the harmonic structure of the score, the ear of the composer, much less the ear of the performer, who hasn't gone that deep into the matter, who can only learn. Beside the focus on the balance within the orchestra and the harmonic structures, so to say, the common thread of the piece it is great to see the joy, that he expresses for the music, which is very touching. To stand beside him. That is the case in the violin concerto (where he might be a little bit more tense than at conducting his film music, which he conducts a little longer already, to see his joy watching you at a Hedwig cadence or the orchestra musicians on the edge of their seats, when you see this joy of a man who makes and writes music since such a long time and who still struggles for the perfect musical expression. There has hardly passed a concert where he didn't leave the stage saying something like 'I have to talk to the harp' or 'there with the horns, I can reorchestrate that'. He is a driven person, driven by his aim for perfection. And the reporter asked her if she collaborated with Willams on the creation of the concerto. And she answered that did a lot of collaboration with performers about the capabilities of their instruments, what can be done, what cannot be done, but on writing for violin he has so much experience, so this is rather like with Richard Strauss and his beloved horns, who said: 'I write, you play.' If I translated something incorrectly, don't anyone hesitate to correct me.

So you think, as he was writing it, Williams was thinking about the divorce of Mutter and Previn? That's odd.

Yeah, anime really seems to have western tv/film beat for music

Hearing the Fallen Kingdom theme a couple times brought a smile. Earlier ribbing aside, FK’s still a fun listen. Giacchino’s action writing is really corny in a way I find endearing in a monster movie context. My main gripe is that, compared to, say, Powell, he doesn’t intertwine his themes within the score nearly enough. Powell sees action sequences as just as much of a chance to express character or story themes as any other kind of scene, whereas Giacchino just sledgehammers away and has nothing to say.

On my summer listening list: Louis Armstrong, “The Complete RCA Victor Recordings” (RCA, 2001; tracks recorded 1932-33 and 1946-47). Fletcher Henderson, “Tidal Wave” (Verve, 1994; tracks recorded 1931-1934). Jelly Roll Morton, “Jelly Roll Morton: 1926-1930” (JSP, 2000). Coleman Hawkins, “The Bebop Years” (Proper, 2001; tracks recorded 1939-49). Billie Holiday, “Lady Day: The Master Takes and Singles” (Sony, 2007; tracks recorded 1933-44). Teddy Wilson, “The Noble Art of Teddy Wilson” (ASV Living Era, 2002; tracks recorded 1933-46). Lester Young, “The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008; available direct through Mosaic). Lester Young, “Kansas City Swing” (Definitive, 2004; tracks recorded 1938-44). Count Basie, “The Complete Decca Recordings” (Verve, 1992; tracks recorded 1937-39). Benny Goodman, “At Carnegie Hall—1938—Complete” (Columbia, 1999). John Kirby Sextet, “Night Whispers: 1938-46” (Jazz Legends, 2005). Charlie Christian, “The Genius of the Electric Guitar” (Definitive, 2005; tracks recorded 1939-41). Duke Ellington, “Never No Lament: The Blanton-Webster Band” (RCA, 2003; tracks recorded 1940-42). James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos” (Smithsonian Folkways, 1996). The Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classics, Vol. 1, 1942-1946” (Blue Note, 1995). Charlie Parker, “The Complete Savoy and Dial Sessions” (Uptown Jazz, 2005; tracks recorded 1944-48). Charlie Parker, “Best of the Complete Live Performances on Savoy” (Savoy, 2002; tracks recorded 1948-49). Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945” (Uptown Jazz, 2005). Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49” (RCA, 1995). Thelonious Monk, “Genius of Modern Music, Vol. 1” (Blue Note, 2001; tracks recorded 1947). Miles Davis, “The Complete Birth of the Cool” (Blue Note, 1998; tracks recorded 1948-50). Bud Powell, “The Amazing Bud Powell, Vol. 1” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953).

Iirc Spielberg got a ten minute standing ovation at Cannes! There were articles by psychologists discussing the intense emotional reactions to the film. I was far from the only one who had such strong feelings. It was truly a phenomenon!

I was 8, it was just fun to get out of school!

Why not do both?

I can just see everyone boogieing along, to Watermelon Man Kenny G. is not jazz! At best, it's after dinner wallpaper. I agree with Pat Metheny. As somebody once said: "If you have to ask what jazz is, you'll never know". Ps, I don't ever - ever! - want to see, or read about, Kenny G., on this thread, again. Ever!

Cheers for making this extensive overview. All of these recordings (except for the Genius of Film Music album, which is unrelated to the festival) have been produced by Film Fest Ghent in the context of the festival's focus on film music. If any of you'd like to support the source, you can find and buy all in-print albums here: https://shop.filmfestival.be/collections/cd Incidentally, all other Film Fest Ghent albums - except the Zimmer CD and the 15 Year WSA promo CD - are studio recordings. I believe you missed one promo album, which is a live concert recording of one of the earliest World Soundtrack Awards concerts featuring music by Delerue and Fenton. It's included in this book: https://shop.filmfestival.be/collections/books/products/moving-music-engelstalig-boek-cd-beroemde-filmcomponisten-aan-het-woord

Thank you! I couldn't think of a way to say what I really meant, but that's what I mean, there is no r anywhere. The closest that English has would be the u in hurt.

Make sure you look at 'Tweets and re-tweets' as I don't think all the relevant tweets show up when you're just looking at 'Tweets'

That's why I asked for a link - I recently looked through his tweets up to Dec. 2021 to remember what all had happened to him after seeing his KOTOR II release tweet, and I just didn't see an exact quote on what you were stating. Again, I super appreciate it.

I missed 2 big action cues for the Indorex in the first JW soundtrack, but other than that they were both very well put together yeah.

It would be nice if the liners went into details like that. Not only from an analytical pov, but they know very well that people buying these expansions will know the score and notice things that appear to be missing.

It doesn't have to be bad but I wish this energy in making things went to something else. Or at least that it didn't want to use the format of heavily serialized drama that jumps every episode between five paralell storylines. Or at least that it didn't compress the storyline to fit itself into that "prestige television" structure. By far the most fun thing to me here could be the bits and pieces of flashbacks to the first age, which i guess might play in a similar tone to the prologue in Fellowship of the Ring. Or the CAST IT INTO THE FIRE! scene. But those may also turn into "ooooh references I recognize that thing!".

This ^

Some of the visions music was quite good. I'm glad more composers are working in the Star Wars galaxy. Edit: this music from the short The 9th Jedi is probably my favorite music from Visions. So beautiful, flowing, and perfectly SW. https://youtu.be/uykp3XDaOWE

I think this is going to suck because of the time compression. I think the way to do this was to make a FANTASY show and let the mortal characters die. Have huge jumps in time. Let the immortal characters be the joining thread. Both kinds of characters could be pov characters, but some die. Then again, I wouldn't have made this in the first place. It's just Amazon wanting mainstream appeal. Normal people make this and post it Ao3. Less normal people demand huge budgets and are desperate to be taken seriously as "adaptations".

What makes me like Loki is that it creates a singular soundscape (very much like Djawadi in Ethernals). It also switches and works well through different emotions and all. TVA first view is just perfect scoring.