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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...

Looks cool!

Today I received a very special present...

This combo between Lebo M's African vocals and JNH's orchestral excellence is pure film music magic And I just LOVE the warm, reflexive passage starting at 2:50

That's great! His Ant-Man scores are a lot of fun, and I really like his themes. And I also really like the other scores he has done for the MCU such as WandaVision or Hawkeye, as a I think he's one of the few that manages to incorporate previously established themes in an organic way with great ability (one of the best examples that comes to mind is Yelena's theme from Balfe's Black Widow into his Hawkeye score)

Yep. And this basically encapsulates my issue with the series. I don't care how good, or bad, the visuals look, the entire premise is fundamentally flawed at conception. They're pretty much admitting what we already know...it's not adaptation. It's expensive, algorithmically & agenda driven, fan fiction. And if they really said "we're doing what Tolkien would do"...well, that's shameful.

@OneBuckFilmsand @Tallguy I found a way to lessen the pain. The UK version is 5 discs versus the 3 disk US version. They include the Theatrical and the Director Edition on separate Blu-Rays. After doing some research on Bluray.com, it seems there is no release that has the Special Longer Version in standard Blu Ray. It is unique on 4K UHD. According to the product details they are Region A, B, and C so that’s good. I am assuming that is referring to the Blu rays and not the 4K discs. I preordered from Amazon UK and they remove the VAT so it comes out to £54 shipped, which could go even less if they price match. And is cheaper already than the US release. You can also get it from Zavvi if you prefer. I guess paramount is forcing us to be “motivated consumers”.

This was a movie (at least as an adult) you either "got" and it sang to your absurd comedy heart or you thought "What the hell is this $%#*?" Most of the movie going public apparently went with the latter. I still quote this movie A LOT. "BAD llama!" "SMASH IT WITH A HAMMMMMEEERRRRRR!" "I'm sorry. You've thrown off the Emperor's Groove." "Sorrrryyyyyyyyyy!"

Oh wow. A far preferable experience to these "live to projection" with sound FX and dialog. I was listening to Toy Story 2 the other day (not one of my go to's) and it kind of blew me away. Newman manages to be totally sincere while also being very tongue in cheek. A tough mix to pull off. (I was listening to The Natural on Spotify and Spotify decided "Ohhh. You must want a bunch of Disney stuff." The man's had an odd career.)

That’s “Klinek”

Based on the trailers, Rings of Power goes into the a certain fantasy category that includes Wheel of Time, the Witcher, Shadow and Bone etc where everything looks very hyped and kind of over the top and too clean (including the costumes, the characters themselves etc). I definitively won't watch the show as it airs but if the reviews are very good I might check it out sometime in the future. I am definitively not anticipating it though because of things like meteor man, hobbits that shouldn't be in the show with shire names, Galadriel seemingly having little resemblance to the character in Tolkien's work and the timeline hodgepodge.

The Emperor's New Groove (2000) A classic from my childhood. I remember watching this one A LOT when I was about 8. Kid me thought it is a very funny movie - and adult me concurs. Looking in retrospect, this is the movie that predated Shrek for about 6 months. Both films are very early 2000s comedies that, despite being set in the past, still have a lot of pop culture jokes and references to stuff that haven't even being invented when these films take place. The Brazilian Portuguese dubbing is so perfect that I never even heard the original English version. Kuzco here is dubbed by one of our finest actors, Selton Mello, who earlier in that year had memorably starred in one of my country's most beloved movies, O Auto da Compadecida. A lot of the jokes were translated to our context, so we have references to typically Brazilian stuff like capoeira and tutu de feijão, instead of things from North America (that despite the movie being set on pre-colonial Peru). John Debney's score has a lot of mickeymousing but it still as entertaining as the movie.

Super thank you it does. I have it and will have to give it another listen!

Given that there are a decent number of Rota compilations out there, some by pretty distinguished orchestras and conductors, this one still holds up pretty well. It helps that it has a somewhat wider choice of selections too.

A Tribute to the flutist Sheridon Stokes (1935-2022) John Williams - The Witches of Eastwick OST John Williams - E.T. The Extra-Terrestrial OST John Williams - The Fury OST John Williams - Jaws OST

This seems like the sort of movie where we might get Williams's score in the trailer. Shouldn't there be a trailer soon?

Oh boy. The last Month. All great music. Filling some gaps in my collection. But I have to confess, the most I am struggling with the Williams releases. The added value compared to the OSTs, that I own as well, has its limits.

Not unlike JNH's Water Horse, though much simpler in concept and execution. Has its charming moments, celtic-wise.

Yes! The performances were wonderful! The acoustics sound bright and lively.

Loved every second of this. Can't get enough of Williams talking, I wish it was much much longer. Also, beautiful performances, brilliantly filmed and recorded (How come I'd never realised before that there was a piano in Princess Leia's Theme?) Simply wonderful.

I was/am on the music team. The series original composers are back but this time, we have live instruments! The original two games were early 90's midi. The original composers are LucasArts originals and legends I'm so honored to be working with them all because I'm huge fans of them. They are Michael Land, Peter McConnell, and Clint Bajakian. They are exceptionally talented and awesome people! I don't know anything about the story other than I worked on music related to locations and cinematics.

Begun this Monkey Island replay has.

Really strong season and strong finale. And while I am looking forward to season 4 it is probably time to start wrapping things up. Karol

Very likely, yes!

I saw the film. I think there’s the usual Gia trick here. Have an extremely simple theme with very simple progressions, play it often enough and even your grandma will remember it. Does it make it memorable? I am not sure. Is it something I feel compelled to finger on the piano. Not at all. It is “memorable” in the sense I can recognize it when it plays in the movie but does it illicit an iota or reaction from me? No. The theme has no meaning for me. It doesn’t set my heart a flutter. It doesn’t tell me anything about the scene or the moment. It comes on because there ought to be music and scores ought to have themes. It doesn’t represent to me any kind of music excellence. And this coming from a man who once was able to illicit a tsunami of tears from audiences by playing a few notes of his theme on the piano. Why - because that had meaning. I am not saying this needs to be like that but just saying - Gia is capable of wonder and excellence, he just doesn’t seem disposed to it in recent times.

Yea It should be noted that the 4K Ultra HD and remastered Blu-ray editions of Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock, and Star Trek IV: The Voyage Home are the exact same discs that were released last year. See our announcement of that release here from 7/7/21, which details the special features included on each. (You can also read our in-depth review of The Original 4-Movie Collection 4K Ultra HD box set here). Note that the previously-released Star Trek: The Motion Picture – Theatrical Cut is ONLY included in the new Star Trek: The Motion Picture – The Director’s Edition – The Complete Adventure Limited Edition package and in the Star Trek: The Original Motion Picture 6-Movie Collection box set. It is NOT included in the single film SKU of The Director’s Edition in 4K Ultra HD or Blu-ray, so be sure to plan accordingly. Though it wasn’t included in today’s press release, we’ve asked Paramount about the special features that are being included on Star Trek V and Star Trek VI in 4K Ultra HD (and remastered Blu-ray), and we’ve now got those details for you here as follows... STAR TREK V: THE FINAL FRONTIER (4K ULTRA HD) Commentary by William Shatner and Liz Shatner Commentary by Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman STAR TREK V: THE FINAL FRONTIER (BLU-RAY DISC) Commentary by William Shatner and Liz Shatner Commentary by Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman Library Computer (HD) Production Harve Bennett’s Pitch to Sales Team The Journey: A Behind-The-Scenes Documentary Makeup Tests Pre-Visualization Models Rockman in the Raw Star Trek V Press Conference The Star Trek Universe Herman Zimmerman: A Tribute Original Interview: William Shatner Cosmic Thoughts That Klingon Couple A Green Future? Star Trek Honors NASA (HD) Hollywood Walk of Fame: James Doohan (HD) Starfleet Academy SCISEC Brief 005: Nimbus III (HD) Deleted Scenes Mount Rushmore Insults Behold Paradise Spock’s Pain Production Gallery Storyboards (HD) Sha ka ree The Face of God Escape Theatrical Trailer 1 (HD) Theatrical Trailer 2 (HD) TV Spots Vacation Is Over Renegade Challenge of Rebellion Brothers Beyond Adventure Warp Speed Now The Gag Reel STAR TREK VI: THE UNDISCOVERED COUNTRY (THEATRICAL CUT & DIRECTOR’S CUT – 4K ULTRA HD) Commentary by Director Nicholas Meyer and Screenwriter Denny Martin Flinn* Commentary by Larry Nemecek and Ira Steven Behr* *Audio Commentaries apply to Theatrical Cut ONLY. STAR TREK V: THE UNDISCOVERED COUNTRY (THEATRICAL CUT & DIRECTOR’S CUT – BLU-RAY DISC) Commentary by Director Nicholas Meyer and Screenwriter Denny Martin Flinn* Commentary by Larry Nemecek and Ira Steven Behr* Text Commentary by Michael and Denise Okuda (co-authors of The Star Trek Encyclopedia)* Library Computer (HD) The Perils of Peacemaking Stories from Star Trek VI It Started with a Story Prejudice Director Nicholas Meyer Shakespeare & General Chang Bring It to Life Farewell & Goodbye The Star Trek Universe Conversations with Nicholas Meyer Klingons: Conjuring the Legend Federation Operatives Penny’s Toy Box Together Again Tom Morga: Alien Stuntman (HD) To Be or Not to Be: Klingons and Shakespeare (HD) Starfleet Academy SCISEC Brief 006: Praxis (HD) Farewell DeForest Kelley: A Tribute Original Interviews William Shatner Leonard Nimoy DeForest Kelley James Doohan Nichelle Nichols George Takei Walter Koenig Iman Production Gallery Storyboards Praxis Assassins Rura Penthe Leaving Spacedock (Omitted) Promotional Material Teaser Trailer (HD) Theatrical Trailer (HD) 1991 Convention Presentation by Nicholas Meyer

I've got the 2016 box but couldn't be more thrilled for this release and mine is Awaiting Shipment! I know people have issues with the OST due to the repeated music, which was certainly an odd choice. For me personally though, there are very few score presentations I hold more dearly than the Jurassic Park OST. I saw the film on opening weekend at the mall theater and immediately walked down to the music store and bought the soundtrack and WORE IT OUT. I still have it to this day. We all have these pivotal scores that helped ignite or fuel our love of film music. For me, Jurassic Park and it's original soundtrack album represent one of those moments for me.

It's been discussed before on JWFan, sure, but it's definitely not something too many people know about so is worth bringing up!

I found even more of this footage! In much better quality too. This comes from the Enhanced Edition ebook of J.W. Rinzler's "The Making of Star Wars: The Empire Strikes Back": ESB_JohnWilliams_clip3_ProRes.mp4 Interestingly, even though the audio is largely the same, lots of the accompanying shots are different (especially in the first half), making me think that one of the two sources is edited, if not both of them. There's definitely footage edited out of this clip because there's an obvious jump cut at 0:18

The truth hurts! 😅

" Quickly"?. Go back and listen to Tyrians speech to Jon Snow in the last episode. You werent watching closely.

Have fans calmed down yet over season 8?😅 Maybe, someday, they will realize that Kaleesi turning into a tyrant was the only logical conclusion. Napoleon Bonaparte Alexander the Great... There is no such thing as a ' benevolent dicatator'.