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Just saw this post on MVs Facebook: Perhaps the most amazing credit our little 20 year old label has ever achieved...can't wait to see E.T. in Imax this August! #et40th #ettheextraterrestrial This means a reissue right?

Just saw this post on MVs Facebook: Perhaps the most amazing credit our little 20 year old label has ever achieved...can't wait to see E.T. in Imax this August! #et40th #ettheextraterrestri Can this mean a reissue is expected?

I know him best from Tron (1982)

He was terrific in the Omen. He was an amazing actor who portrayed both the good guy and the bad guy equally well.

He was also terrific as the voice of Ra's Al Ghul in Batman, the Animated Series

You mean, Mike is so good at remstering from old sources, he could even do it from the ashes of the burned original tapes?

So some updates! The project was successful, of course -- in fact it even went more than £1,000 over the stretch goal to add on a second score: https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith/ Both Goldsmith GE Theater scores were recorded, and the 154 backers received their lossless digital copy of "The Bar Mitzvah of Major Orlovsky" early yesterday morning, and those who did the stretch goal also got "Sarah's Laughter" this morning. Getting lots of great feedback on these already! They should be available for wide download purchase in a month or so, but for anyone interested (whether or not they were a Kickstarter backer), here's an in depth conversation with Leigh Phillips about these new recordings, with substantial sound clips from them! https://goldsmithodyssey.buzzsprout.com/159614/10957890-production-report-the-bar-mitzvah-of-major-orlovsky-sarah-s-laughter-2022-leigh-phillips-recording Yavar

Absolutely 100% guaranteed not to happen Again, there are so many reasons why I hope that Indy and SW are done digitally. There is no designer or editor on the planet who is capable of satisfying the flaw-hunting, repressing demanding hordes of JWFan. And yes, that includes MM and Titus. There are too many varying opinions on combining tracks, arrangement of bonus tracks, etc, to please everyone, and SW and Indy would be the highest profile scores they've worked on. I just think a bit of expectation management is needed when it eventually happens.

Bolsa's reaction when Eladio finally left was priceless. The biggest "thank fuck that's over" expression. And then he immediately pours a drink. Now Kim is no longer a lawyer, Jimmy's taken top place.

A fantastic release that sounds better than ever in any previous edition, with a couple real new gems!

There is some Soylent Green in Blade Runner, both Film Noir detective stories set in the future, and of course some visual references as well ...

David Warner was a LEGEND. Always happy anytime he was on screen. RIP.

I would say so! And rightly so.

I’m more curious about the other book from the 601 cold open - HG Wells’ The Time Machine. My theory: after Kim’s departure Saul obsessively reads the book again, this time in order to go back in time and prevent it from ever happening. The reason he works for Walt is so he can use his scientific knowledge to create a time machine and- lol not really. But man, I’ve been reading some pretty dumb theories on the BCS subreddit lately. Can’t wait for the next ep. When do the episode posters/artwork usually come out?

Between Twister and Tarzan, Mancina scored some of my favorite movies as a child. I'd surely welcome a Legacy Edition of both Tarzan and Brother Bear, but Disney is unfortunately slow as a snail when expanding their classic scores.

Basic Instinct and Total Recall from Quartet are two of my favorite albums I own

Summer Shocks! Jerry Goldsmith - Twilight Zone: The Movie - Expanded Score James Horner - Star Trek II: The Wrath of Khan - Expanded Score Ennio Morricone - The Thing - Remastered Score Jerry Goldsmith - Poltergeist - Expanded Score

Beyond the choral aspect and the ample use of folk instruments, Shore has a very specific sound orchestration-wise: he tends to have a lot of different instruments in the same register doubling lines. That alone sets him apart from most film and TV composers: his way of thinking of the orchestra in "ranges" rather than in "colours", resulting a rather heavy, "rough" sound; which is to say nothing of his fondness for aleatorics and clusters and other modernist techniques. I actually think that was the thing that most readily hit audiences when they first heard it: that it wasn't yet another late-Romantic-styled score. It has its own unique soundscape. Ontop of that - and this is absolutely where you should watch Monoverantus' channel - structurally his use of the leitmotif technique is much more thorough than what you see in other scores: its not a quilt of repeated musical reminiscences, which is what I expect of Bear's score, but rather a network of connected leitmotives that change their associations, their musical character, their connections to other motives and indeed their function within the piece and, in changing, relate to each other. By The Return of the King, it becomes difficult to tell individual themes apart anymore: they blur into each other completely, which is certainly not something I expect of any TV score.

Soylent Green - my first time watching this slice of dystopian 70s sci-fi (although I already knew about the shocking discovery the lead character makes), in which overpopulation coupled with pollution/climate change has led to mass food shortages. The authorities claim that they are making the titular foodstuff from plankton in order to tackle the problem, but whilst investigating the murder of a figure involved in its production Charlton Heston's copper becomes suspicious and starts 'digging'. Set in this very year, it's interesting to note how they weren't too far wide of the mark about some things. Also noteworthy for being Edward G Robinson's final film.

I liked Split, but Glass and Old are terrible films. Shyamalan isn’t getting better. Just making the same schlock with a smaller budget.

NEW EPISODE THE ESSENTIAL SOUNDTRACKS - THE LAST STARFIGHTER http://www.cinematicsound.net/the-essential-soundtracks-the-last-starfighter/ SOUNDTRACK ALLEY has become THE ESSENTIAL SOUNDTRACKS! Two years ago this month, host and producer Randy Andrews brought his film music podcast SOUNDTRACK ALLEY to the CINEMATIC SOUND RADIO PODCAST. We’ve enjoyed the partnership immensely and his show has brought a new dimension to the podcast in the form of long-formed reviews and analyses of soundtracks. However, we felt the need to separate our version of the show from the version that he still produces on his own under the SOUNDTRACK ALLEY moniker. Therefore, all SOUNDTRACK ALLEY episodes produced expressly for CINEMATIC SOUND RADIO will now be known as THE ESSENTIAL SOUNDTRACKS. The format of the show won’t change. It will always remain a deep dive review into some of the best soundtracks of all time… scores that everyone should have in their collections… THE ESSENTIAL SOUNDTRACKS. On this premiere episode of the newly rebranded THE ESSENTIAL SOUNDTRACKS, host Randy Andrews and Erik Woods talk about the film and score to the 1984 Nick Castle-directed sci-fi/fantasy/adventure film, THE LAST STARFIGHTER, starring Lance Guest, Robert Preston, Dan O’Herlihy, Catherine Mary Stewart, Norman Snow, and Kay E. Kuter. The film tells the story of Alex Rogan, a teenager recruited by an alien defence force to fight in an interstellar war. Randy and Erik also detail the numerous themes in the score, the recording of the soundtrack, the composition and form of the action material, and the heart behind the music, especially the finale cue “Into The Starscape” The original score for the film was composed by Craig Safan and was recorded by Lyle Burbridge in Los Angeles. The original soundtrack recording was originally released on Southern Cross Records both on CD and LP in 1987. Intrada Records expanded the album both in 1995 and 2015. Earlier this year, Intrada released the definitive release of the score featuring the same program as the 2015 version but with greatly improved sound quality. You can buy that version of the album by going to https://store.intrada.com/s.nl/it.A/id.12634/.f Thanks to Jason Drury and Tim Burden for their assistance. And a big thanks to Intrada’s own Roger Feigelson for providing the updated album to play on this show for you. The Essential Soundtracks Theme by Alexander Schiebel

And of course, best known for the role of Thomas in season 2 of Twin Peaks.

German influencers about the music for the series: Translation: "If it's not Hans Zimmer, then I'm really pissed, [...] Lord of the Rings [...] is the most awesome soundtrack a movie has ever had." - Speech-disturbed influencer on the music of Howard Shore GOD

I'm not sure what she thinks playing the violin like that does for her...

One of my favorite movies (the remake is a joke) but apparently Warner was uncredited for his part.

Put your faith in what you most believe in.

You might have seen him in more than you think. He is in three of the ST movies and the torture episode of TNG.

Follow the $$$

I don't made. Shows these days sometimes have better scores than some films. And I'm glad a composer like Howard gets to expand his music beyong the 2 hours of most films.

Yes. It seems so. I guess it will be the same program. Unless they miraculously found the lost tapes of the OST session and redid the OST album as a new remaster. Otherwise it will be same reissue. Good opportunity for those who missed it. OH!! they might redo the cover design because it's the 40th. Just like the 20th Anniversary artwork on AI.

The guy can be capable of good story ideas. And when somebody else writes and directs his stories they generally turn out pretty good. Buuut…this was definitely not one of those times. I get him being surrounded by yes-men who tell him everything he comes up with is brilliant. But when his peers (Spielberg and Ford!) tell him for 15 years that it’s a terrible idea…well…you’d think he might take that to heart. (I mean he backed off the haunted house idea for Indy 3 in much less time)

I think McCreary's tracks are great on their own, but have no idea how well they'll work in the show to come. But the reason a lot of people don't associate his tracks with the soundscape of LotR can be mostly chalked up to orchestration. Shore was very deliberate when he crafted the culturally distinct sounds of LotR, while McCreary's tracks are more conventional. "Galadriel" begins with female voices, harp, strings and flutes (which does fit very well with Shore's "Elf sound"), but the melody itself is presented with horns, evoking a melancholic, graceful character with an inner strength. Problem is, Shore associates horns with the world of Men, and none of the instruments he specifically associates with Galadriel, such as the monochord or sarangi are used. "Sauron"... sounds evil. It has some fittingly harsh instrumentations and dynamics (the 7/8 rhythm is a nice touch), but Shore has only used deep male voices for Dwarves. And once again, the rhaita that Shore would have used for Sauron is nowhere to be heard. This might be a bit nit-picky. I wouldn't even say it's impossible for McCreary to start from his sound and gradually approach Shore's over the series. But it explains why a lot of people don't feel like these themes fit Shore's Middle-earth.

You're not alone! I shut it off after 10-15 minutes.

Possibly the best theme ever.

The Best Summers of Our Lives! Jaws - Expanded Score The Omen - Expanded Score Damien: Omen II - Expanded Score Jaws 2 - Expanded Score

Wow. I keep thinking I'll like Explorers because the idea is cute and I love the score. Then the movie keeps telling me I'm wrong. I'm not a Goonies fan either. It almost makes me want to turn in my Gen X Nerd card. Real Genius? That's the stuff.

Movie poster for Walter Hill's Dead For A Dollar

Just gotta hope when they come out everyone is happy with it and they release everything

Wouldn't you say this is more of a... Tolkien-involvement? (•_•) ( •_•)>⌐■-■ (⌐■_■)

I wonder whether getting Shore's token-involvement with the opening logos was a rather cheap attempt at some attention/legitimacy.

Bear is an obvious choice. He's reliable, well known, knows how to score TV, and compared to doing a full orchestral score, comes relatively cheap. Which is what makes him all wrong for the project. I mean, when PJ's LOTR was announced, who picked the guy who scored Dogma & Striptease to score? Anyone? I was personally guessing and hoping for Horner after Braveheart. I was wrong, and happily so. Bear (again, who is a talented guy) composing just brings the underlying problem with the show into sharp relief, i.e. Amazon fundamentally doesn't understand the thing they paid so much money for. So they're just treating it like any other big-budget fantasy show, which is why it's going to look and sound like every other big budget fantasy show. Need a composer? Hey, let's get the biggest TV composer out there, that will do the trick! He did a great job with these other scifi/fantasy projects, so he's perfect for Middle-Earth! It's all the same after all! Gnomes and people with swords and stuff. I'm frankly surprised they didn't go with Djawadi. This whole thing started when Bezos said "bring me my Game of Thrones!" after all. This. This. This. With the exception of Williams & Star Wars, I can't think of a film that owes more to the score than Lord of the Rings.

Raymond Scott (the band leader that JW's father played with who wrote "Powerhouse", "The Toy Trumpet", etc.) in later life was involved in research and experimentation with early synthesizers, which included lots of commercial jingles in the 50s and 60s. I really like this one he did for a commercial for Sprite (the soda) And this one's fun too

I would normally agree, but it seems that she didn't get to write the music she wanted to, so in the end it's not even her score. It's a corporate think-tank score with her attempting to write a shell around it.

Funnily enough I was actually thinking of creating something similar for non-JW uses of JW themes, so I would definitely be interested in a thread like this

Either way I'm glad she's doing all these interviews. It's given us a lot of insight into what happened, and we practically have the whole picture at this point (or at least enough information to piece it all together), instead of being left in the dark only being able to guess at what went down as usual.

I think, your statement highly depends on who this high level executive is. If it would be George Lucas or a Steven Spielberg, you might say, luckily there is a high level executive for some kind of quality assurance. It doesn't matter who has the last word, as long as it is someone with the right taste, or? In general I would say, creative directors, composers, high level executives should just be aligned better in advance what they expect and not say "Sure. You are the creative power here. Do what you want." And afterwards starting to micro-manage everything.

A younger JNH, practicing piano with Goldsmith, David Newman and Charles Fox.

Hmm... well, better masters did exist at some point for Jaws. But according to Mike, they no longer exist. They only had a 1/2" 3-track source for the film score cues in 2015. Courtesy of Jay's interview: And the multi-track masters of the album sessions are lost as well Maybe a better source turned up in the last few years for the film sessions or the album sessions? Or Mike thought he could do a better job with the same elements from 2015? I'm holding out hope Intrada found a way to improve the album for a reissue, rather than removing 25% of the music. Who knows, maybe JW has mellowed on source music in the last 7 years and wouldn't mind including that omitted music for a reissue? Would that make the assembly sufficiently different for the AFM?

As far as I know, it's first and only mention is by this user.

Got teary-eyed listening to track 2, so god help me in 45 minutes or so.