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I’m not at home so I don’t have the information directly in front of me for time codes but based on what I have I can give some guidance. -“[3m2A] Entrance to the Park” the end of this cue on the 2013 release has a ‘clean’ (no chair creek) ending. I don’t mind because it’s what they used for the film edit ending of the cue “[10m3] Eggs in the Forest” -“[9m3-10mA] A Tree for my Bed” this has a slightly different performance in the opening and the ending if I recall -“[10m2] My Friend the Brachiosaurus” has an alternate take near the middle part when the tempo perks up. The ending especially is performed faster. -“[11m2] Preparing to Meet the Monster” I don’t quite recall the difference but I THINK it’s the cue up until the percussive chase moment. -“[11m3-12m1] High Wire Stunts” this has some slight performance differences but the biggest to ear is the final carnivore motif at the end being faster. Possibly because the next cue technically would come in VERY soon after and the album version is more relaxed and doesn’t quite get out of the way in time when synced to the scene. -“[14m2] End Credits (part 1)” If I recall the big difference was in the horn to piano pass off where they aren’t quite in step with eachother. -“[14m2] End Credits (part 2)” again I think the big difference were some edit points and the final part with the carnivore motif (the quieter moments) I can get more specifics later but these are the major changes on the 2013 set I’m really excited for this set! It perfects and finalizes this for me and I can’t wait to explore it again!

Okay, I am officially addicted to this show. I'm done with the 1st episode of S3. You can definitely see that there is a higher budget. The whole storyline with Isaac was lerfect writing. At this point I'm not a fan of Charly Burke. Let's see what happens later in the season. The whole series is just soo good and some of the best tv at this moment. As others have said. Kevin Kaska is a terrific addition to the composer team. His music in the first episode is absolutely wonderful on all counts. The action music is complicated but pleasant to listen to. His emotional scoring is beautiful and heartbreaking. And the scenes of flying etc just put a smile on my face. This would've been THE show to do album releases for each episode. There better be a long release (even longer than the previous seasons).

Set looks great, can’t wait till mine arrives!

Yep, this is apparently where the scherzo was originally intended to begin, with the motorcycle bursting out of the crate, until an insert was written to add the new introduction. And this abbreviated version of Indy’s Very First Adventure begins right where we now know 1M3 Away We Go! begins. I’d known Escape from Venice was two cues (5M3 To The Boats and 5M4, title still unknown) thanks to GEMA, not counting a very brief introductory insert, and I’d suspected this is where the cues were split, but this seems to confirm it. It makes sense to split where there’s a sudden change in tempo like this, especially when using a click. SF5813 To The Boats - Intro SF5814 Escape from Venice Part 1 SF5815 Escape from Venice Part 2

You can think of it as he's an A list (top call). Like Zimmer, James Newton Howard, Powell, etc. They charge about one million to two million per film JUST for creative fees but also make royalties and charge for other services like conducting and orchestrating. We know those fees because those are union scales which usually are set as minimums, but you again know with these people, they charge a premium so can charge quadruple scale. That means if JW conducts his music for his film, he is charging at least four times the union scale. It's not that easy to know what union scale is because it's based on the budget of the film. An ultra-low budget film might be $one million and less which pretty much none of these people do, so the conducting fee for that film would be maybe $100 per hour including pension (then JW and the other A listers would charge quadruple scale) so $400 an hour at the low end. For big budget like Indiana Jones, Marvel, etc., union scale is around $250 with all pensions and fees so A listers would charge $1,000 per hour. They'd record 6 hours per day if in LA (steep surcharge if it goes into overtime) and can take two to three weeks so on a very big budget film, you can imagine JW making $90,000 for conducting the score ($1,000 per hour x 6 hours a day x 5 days a week for 3 weeks). These days, he'd outsource to Dudamel and Ross some of those hours. Also keep in mind the Star Wars films had multiple sessions but clearly budget wasn't an issue in that case. Those might have been six weeks of sessions spread across a few months. I doubt JW ever charged more than 2 million for a creative fee because he pretty much only works with his friends or passion projects. In short, he isn't really a business and when you calculate all the money he's made (remember Star Wars soundtrack was the highest selling classical album for like a decade with something like 11 million copies sold...now Titanic is considered #1 but all the Star Wars albums have sold millions and are in the top 200 so all combined are probably 50 million plus copies), plus with his relatively modest lifestyle, he has way more money than he can ever spend. Marvel and Star Wars seems to be on TV all the time so they also get nice royalty checks. Again, these are very, very complicated because they don't pay straight rates. Prime time and major channels pay higher than 1am cable. I would bet these A listers get at least another one or two million a year purely from royalties of their movies always being played around the world and having a long catalog of popular films. These are very, very rich people.

I think it's incredibly sad that the director of series producer (for shows that have multiple directors) don't have final say on the score. The score should be a collaboration between the composer (and everyone they work with) and the primary storyteller, be that a director or series producer. High level executives vetoing or giving notes on the score seems like a bad structure for making films and TV shows or any creative endeavor.

The music in S3 is truly next level - and it was great to begin with!

Can you imagine being this animated and full of joy when you turn 90?

Flute legend Sheridon Stokes has died. He was one of the most revered and beloved studio musicians of all time, having performed for 50+ years with virtually all the great film composers in many popular films. He was John Williams’ preferred principal flute for 20+ years, starting in the 1960s. He has beautiful solos in some of JW’s most beloved scores including Jaws, E.T. and The Witches of Eastwick. In the early 1970s, Sheridon also premiered Williams’ Flute Concerto at UCLA. I had the privilege of knowing Sheridon as he has been one of the guests on The Legacy of JW podcast and also joined the LA musicians video tribute we did last year. He was a generous, kind and fun person. We stayed in touch until recently and he was a lovely man other than being a terrifically talented musician. He will be missed, but his playing will live forever. https://thelegacyofjohnwilliams.com/2021/01/18/sheridon-stokes-podcast/

Universal Orlando’s Islands Of Adventure Jurassic Park island plays the iso percussion from “The Hunt.” The unused track for when ingen shows up to catch the dinos Its incomplete but it played in the Discovery Center outdoor area. I recorded it lol its at 2:56-5:49 in that video. Islands of adventure was in final development just after the lost world came out. A lot of the props and vehicles were sent to Universal Orlando to be put on display and remain there to this day (if they haven’t been thrown out…) The Jurassic Park island has some zones of music written specifically for it but is otherwise mostly music from “The Lost World.” Even the “theme from Jurassic Park” that plays at the entrances to the island is the version recorded for The Lost World.

They must have gotten quite a shock when they heard him turning over!

OMG my nephew ran around the house shouting "Why do we even HAVE that lever!" for a LONG time.

I expect they are taken from the same sources as the 2CD album, although I don't have both to compare, however that is pretty much their business model when it comes to film music collections! Again, sure the Rota on this are the same recordings. However, since you mentioned it, one of my favourite Silva collections. Absolutely delightful choices, mostly in excellent performances too. When you have 101 JW collections to choose from, the Silva one is hardly a top choice, but when it comes to pulling together a quirky range of tracks with lots of stuff you may never have heard before, albums like this are often terrific (and terrific value).

Fixed. Well... Seth 'released' that final cue from Episode 5 because of many requests. If we want a score release, we should tell him that. On every platform. ^ This right there.

Saw the film yesterday. I think one of the problems of the score is that, as many before it, the main important scenes are tracked by popular songs. The only big scene scored i think is the arrival of thor jane, and it is effective. (I think the idea was to replicate wonder womans arrival on BvsS) The music is not bad, but it is not allowed to develop as in a fully orchestral only film. It is disjointed as some dots are missing. Maybe there is not even much score left unreleased as the film is just under 2 hours, and the digital release is not even 70 minutes….

I'm really curious what she would have been able to deliver without all of the executives and producers micro-managing her music.

TWO more books?!😳😳😵😵 She was " bad" from the time she decided she was the rightful heir to the throne. That was always her main motivation. She could afford to be altruistic and idealistic I.e. freeing the slaves, because it didn't stand in opposition to that goal.

I was going through the last episode listening through some of the music... I was 100% convinced it was John Debney. Especially during the action music, it definitely sounded like his style of writing. ...Then I went back to the opening credits just not to make sure I was correct, and to my surprise it said "Music by Andrew Cottee". Damn, Andrew has been doing some incredible scores lately! His action writing is top-notch, he certainly doesn't get enough of it!

When I watched the first episode, I really liked all the Ross variations on William's theme that played throughout the episode. Did they really only put the final one of those on the OST album? I wish they had just released two OST albums, one with all of Holt's stuff (including cues replaced in the final episodes), and one with all of Williams and Ross's stuff...

Great cue.

George Lucas gave JW profit participation AFTER SW became a huge hit! First time that was ever.done. HITCHCOCK should have done the same for PSYCHO- cheap bastard#! The big money is in tv theme songs. Elfman makes a shitload from SIMPSONS esp. because it's technically considered a SONG. JW wouldn't be that rich just from soundtrack post- SW sales, which have never approached the numbers of SW, LION KING or TITANIC.

NEW SCORES/SONGS AVAILABLE: Apple Original Films After Party, The (Daniel Pemberton) [31 cues, 1:06:15] [NOTE: Two additional cues/songs by other composers lead to dead links.] After Party, The [Song - "Two Shots" (Ben Schwartz, Sam Richardson and Jamie Demetriou), 02:39] Roar (Isobel Waller-Bridge) [11 cues, 15:17] Slow Horses [Song - "Strange Game" (Mick Jagger), 03:33]

To the boats intro must be the alternate intro insert in the film version.

I will try to give to this tv series a fair chance without preconceptions and prejudices based on the leaks I've known and the things I've seen so far. But it's tough you know. There are a couple of things that I really don't like: the harfoots and the huge ammount of screentime they're getting(it seems reading among the statements of the two showrunners there will be many spotlights on them, too many OC characters from Meteor Man being potentially an OC Maia to Adar the surrogate main villain of season 1 who will probably steal the role that should belong to Sauron since the beginning and not since season two and of course timeline compression's consequences on the storyline of Numenor and on themes like immortality vs mortality, fear of death, Numenorean colonialism and much more.For example I would hate if in the show Ar Pharazon will take all the blame for the downfall of Numenor which even for a disgusting character like Pharazon it's too much and very far from what Tolkien wrote and said. But what really makes me sad and also a bit angry are two statements from the showrunners: "we're writing the book Tolkien never wrote" and "we're doing what Tolkien would do".

There's perhaps a tiny bit of wow in there, but @Chris Malone has done a stellar job patching it up.

That's not really how it works. First of all, Williams never worked on 'low budget' films (Home Alone or The Post sure weren't low in production values or marketing budget) and savvy agencies like Gorfaine/Schwartz usually trade lower upfront salaries for gross points or other compensation perks. And i'm rather sure a package deal gamble, like Horner took on 'Titanic', paying for the sessions himself, wouldn't be in Williams' ballpark (Williams needs his orchestras, whereas more flexible guys would do a more cheap piano/synth score, 'Titanic', after all, has not that much orchestra, either). There's a interesting story in Paul Hirsch's 'Long Time Ago in a Cutting Room Far, Far Away', how Horner in the wake of the Titanic juggernaut commanded a 3 Mio. $ music budget on a trifle like 'Mighty Joe Young', going as far as elevating a whole recording stage, by all accounts just reckless spending because he could do it. He basically punished Disney for having to toil on 'Titanic' for his own money!

It's because on the 1993 album, the next track (A Tree For My Bed) begins as Dennis Steals The Embryo is still fading out. Dennis doesn't actually fully finish until a few seconds into the A Tree For My Bed track. This overlap is not retained on the 2013 or 2022 album rebuilds.

More tough moral decisions in this episode! I very much enjoyed seeing the contrast between 21st Century and 24th Century worldviews, and it was ingenious to tie in this episode to a previous one because it makes the events hit so much harder with all that previous development. I noticed that has been a trend for Season 3 and as someone that loves interconnectivity between stories and attention to detail with continuity, it has been greatly appreciated Music was fantastic again as always, some really interesting sounding fanfares with a kind of brass sound I don't think I've heard before but enjoyed quite a bit

it’s on La-La Land’s Instagram. https://www.instagram.com/p/CfzKK0gJP5_/?igshid=YmMyMTA2M2Y=

You're right, although that was also its own funny case with it being in the can for so long because of COVID. First Oscar preview in March, teaser in April? I guess the full trailer and heavier promotion starting in September? It depends on the commercial prospects too. Like West Side Story is a known property so they hoped to build up hype all year, even though it didn't pan out. That would never happen anyway with Fabelmans, even if it's a surprise Lincoln-size hit, so it might make sense for them to wait until September as people start getting their heads in award season. Looking back, I guess the first War Horse teaser was in June, and that was a December movie. So who knows. Again, feel like it could easily drop any second or not for another 2-3 months.

Wouldn't that mean that senility set in years ago?

You know, I didn't get the in-joke of the title until recently! Is senility settling in?😅😰

I just watched episodes 8 & 9 (Identity) from Season 2. Woow. These 2 episodes were amazing! The stakes were really high and I though the whole arc was so well done. I was on the edge of my seat. The music by Debney & McNeely was the best up to this point. Especially McNeely's music from episode 9 was terrific. The 9 minute battle cue is some of the best music of the last 20 years. Amazing!!!

Spiderwick Chronicles (Original Soundtrack), James Horner Apocalypto OST, James Horner The New World, James Horner Once Around, James Horner To Gillian On Her 37th Birthday, James Horner The Godfather Trilogy, Bateman, Silva Screen Records

Naughty!

I wouldn't believe I'd ever say this but I want more of a conversation between those two than music (conducted by Dudamel). I'm glad to hear that his mental health is good.

And you can get your pain individually with both 4k and Blu-ray or as part of the 6 movie set.

I'm playing the classic VGA version patched with the voice and music assets from the SE. I'd gotten tired of insult swordfightingTM years ago, but with voice acting it's a new highlight.

https://filmmusicreporter.com/2022/07/08/christophe-beck-to-return-for-marvels-ant-man-and-the-wasp-quantumania/ Glad to see, like Spider-Man, another character series of films. His scores are great. Not happy to see Bates replaced by Murphy on Guardians 3. It also could've been great to have Bates do 3 films.

A great conversation! I'm so glad JW is giving more interviews and speaking perhaps more honestly and more openly than he has before.

Some of these seem like cue splits that we'd later dicover would turn out to be authentic (Scherzo's discrete intro, for instance). Is it possible that the split for the boat chase (In the video, it'd be 7:13 Escape From Venice and 22:16 Canyon Of The Crescent Moon) is also authentic?

Because weren't you one of the first to complain (whether it was a poorly executed joke post or not) about the label leaving previous buyers in the dust by releasing a more refined product after a supposedly definitive set? The potentially unintended implication being that LLL should not have bothered with a re-release if it meant possibly leaving some to double dip in case there's some fixes here and there? It may be a bit of an obvious statement, but given the amount of complaining this thread has had so far, you don't get to cry foul if the opposite viewpoint gets to also have a spotlight too. There's no other word for it: it just reeks of elitism to me if a good few can cry about the alleged faults of a company/set they hadn't even fully heard the details from then, yet get very pissy when we remind them that this community isn't strictly 5,000 people. And get out of here with mentioning political correctness, as if to imply being happy for others is some sign of weakness. You've already seen quite a few here (including myself) mention not having been able to grab the previous set for whatever reason. So am I supposed to be silent or maybe even act malicious instead for those finally being able to own a piece of art? It's a community, for Christ sake. What good is a forum to exist if little comradery actually takes place within it? "A fan base of self obsessed OCD soundtrack nerds" is just a basic descriptor, and to insist that's all there is is a very reductionist viewpoint.

They recorded a huge finale cue with 208 piece choir, 314 piece trumpet section, and an 18 minute end credits suite conducted by Gustavo Dudamel. Anne Sophie Mutter and Yo-Yo Ma performed a Raiders March duet with accompanying nose flute, while Steven Spielberg brought everything full circle by performing as principal clarinetist. Williams extended an olive branch to Giacchino, allowing him to adapt the new theme in over a dozen cues, then shredded every page of music in front of the orchestra.

Been trying to familiarize myself more with the works of Lalo Schifrin here lately. Certainly some parallels to Williams. Started out with a background rooted in being a jazz pianist, worked in TV before mostly switching to larger films, born in 1932. His last big scoring effort, however, was in 2007 with the third Rush Hour movie. And it's easy for me to forget how easily that could have been the case with Williams. Music is so ingrained into his DNA that, indeed, I think it unlikely that he would ever truly step away from the music creation process. Say he'd stepped away from film scores back in 2007. For one thing, he's already cemented himself as one of the greats, with that title being secured even going back a considerable number of years prior. But also think of how much career-defining music he has put out since then. I think of his work on Lincoln, another entire film trilogy of Star Wars films, all of his concert pieces, etc. It all feels a little surreal. Other users, including myself, have waxed poetic on this strain of conversation before, so I realize I'm not making light of anything new. I think more than anything I'm trying to speak to myself trying to rationalize how bizarre it is that we're here on this forum still discussing, debating, and analyzing the continued film scoring efforts of John Williams, and that many think that some of these such efforts are among the best he's ever contributed to the musical form. He wrote Rey's theme at 83. Imagine living a life such that you are able to say that, perhaps, your best work was in your 80s. That's insane. Goldsmith. Bernstein. Hermann. Steiner. Mancini. Morricone. Titans of the industry that we look to as being emblematic of the old guard. Williams met, worked with, or was active alongside all of them at some point in their lives. He's that singular bridge tethering us in the here and now to old Hollywood. And somehow here we are getting ready to see him record a score to another one of the biggest movies ever made. To have a man be so prolific for so long at such a level of quality is a gift. To have a place like these forums for the 3+ generations of fans that have grown up and been inspired by his work is another. We could be in a timeline where Williams closed up shop in 2007 and we're all here in a dark cave driving ourselves mad with what could have been. But we're not. He's scoring another fucking Indiana Jones movie. And I still can't believe it.

IMG_3088.MOV

This is not a 90 year old man. This is an ageless and timeless wizard!

https://www.instagram.com/p/CfL3OATuScW/?igshid=YmMyMTA2M2Y= Alan Silvestri was a guest. Lol

Anne-Sophie is gonna need some more cookies.