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Today's digital purchase batch:

Looks like this was performed again! Someone else conducting (can't tell who):

Infinity War and Endgame. It was an accident! Someone put IW on for background noise while we were doing housework. We weren't really even going to be paying attention! I think I knew I was in trouble when the hairs on Peter's arm stand up and my whole brain went "YAY!" I thought these films had kind of settled down a bit in my consciousness. They were terrific but we've seen them so many times. Next thing I know it's past the time we wanted to go to bed for our plans today. We'll go to bed after this part. No that part. How about? "Assemble!" Ohhhhh we're in it for the rest of the ride. ("On your left." Kills me every time. Except the first time because I didn't hear it.) It's been three years but that finale still makes me cheer, makes me cry, makes my heart beat faster. And I thought after Tony dies (spoilers) I thought we'd be done. Nope, gotta watch the funeral (bless you, Silverstri). Even the epilogue with Steve and Sam. And then It's Been a Long, Long Time and Main on End. (Bless you, Silvestri.) I know it's a giant dumb popcorn movie. But it plays me like a fiddle and I love it.

I reckon there'll be a fun action cue blending diegetic parade music with a classic Indy action cue (in the vein of Nightclub Brawl and the band playing Anything Goes in the midst of the chaos). Definitely lots of potential for Williams to have fun here!

(ahem) KHAAAAAAAAAN!!!! KHAAAAAAAAAANNNN!!!!!

Temple of Doom is awesome not because of a Goonie but because of Harrison Ford's terrific acting and the most wonderful and insane JW score with the best Indy Endtitles ever, unless next years film were to somehow surpass it.

Khan. You guys cant even spell or pronounce it even right !!!

If they’re tired of it, I recommend mixing things up. A new position or just some good old fashioned roleplaying

I went to a great BBC Proms concert yesterday in which every piece pertained to the sea. The undoubted highlight was Ralph Vaughan Williams's Sea Symphony in the second half, but the first half also featured two works by British female composers which deserve to be heard more often. Before Grace Williams's Sea Sketches, the concert opened with Doreen Carwithen's Bishop Rock. Carwithen would later marry film composer William Alwyn following a lengthy clandestine affair. The concert will be broadcast on BBC TV tomorrow evening (Friday) for anyone interested.

Fair play. Even as I wrote that I thought "This is one of the smartest 'dumb' movies ever made." Both movies are separate, distinct, and they run like a Swiss watch. It's amazing how much setup and payoff goes on over the run time of both of them. AND paying off moments from, what, 20 other movies? That many characters and pretty much all of them get to actually shine? For a long time I called The Avengers "The Impossible Movie" because The Big Team-up Movie had been the impossible dream for so long. IW/EG are impossible not in that they happened at all but that they don't collapse under their own casts and complexity. But they don't collapse they soar.

^^^ That transition just screams "bootleg recording" Oh, um, it's my turn, um... I really love the string chords from 2:26

Finally caught the film and actually enjoyed the pulpy nonsense of it all. Helped that I spent 2 months seeing everyone trash it, so my expectations were low. Thought Gia's score was great! Not as good as Fallen Kingdom but much more mature than Jurassic World. The cue where Grant/Ellie fly to Biosyn was an instant favourite (A-Biosyn We Will Go). Da Bike and Da Plane obviously. Therizinosaurus Will Be Blood is incredibly effective in the film, as was the opening logo cue (album mix is disappointingly muted by comparison). Love the early cues with Blue and Beta, especially the music on oboe as she ventures through the snow (1:01 onwards, track 5). Love how the theme returns with broader orchestration when the two raptors journey in tandem, nice touch. The flute material that opens Free-Range Kidnapping is gorgeous; doesn't seem to be a recurring idea sadly... it really should be. All the percussive material for the Malta scenes works a treat, fantastically recorded too. I appreciated the restraint and more emotional grounding for the last few cues (both the montage in A-O-Kayla and the various goodbyes in All The Jurassic World's A Rage). A lovely way to close the trilogy, especially the rarely used B-section of the Jurassic Park theme in the end credits. There's definitely a maturity to Gia's writing across the trilogy and he's improved out of sight integrating JW's material alongside his own (maybe except the island fanfare in that moment with the Giga). Has anyone checked the film to see what's unreleased from the digital album? At first glance the Pyroraptor on Ice cue seems to be missing, also the cue where Dilophosaurs are stalking Claire. Overall I think the highlights are accounted for though, and all the Williams quotes are intact... and the sessions will leak within a year so whatever

If I knew which shop did this, I would always shop there.

No. Kahn.

The Mule - Clint Eastwood directed and stars in this unlikely-but-based-on-true-events tale of an elderly horticulturalist who, after his business is ruined by the internet, drifts into drug-smuggling for a Mexican cartel. Eastwood brings a great deal of grizzled charm to the lead character and there's a solid supporting cast including Bradley Cooper, Dianne Wiest and Laurence Fishburne.

I love the work you've done, ragoz350! Painstaiking fan work like yours never ceases to amaze me. It gives us such insight into the evolution of these works as we will never be able to grasp from any official source. One more fact that I'm often surprised by is the existance of these leaked JW manuscripts. I have looked for those online without any luck. I am aware that it's copyrighted material, and therefore its improper to ask for them in these forums... However, any clue as to how one may make oneself acquainted with such treasures will be greatly appreciated.

The biggest trouble with her, is the noise.

King Kong Discs 1 & 2 = The complete James Newton Howard score Disc 3 = The rejected Howard Shore score

Solo: A Star Wars Story Discs 1 & 2 = the complete John Powell score, with previously unreleased alternates included as bonus tracks Disc 3 = John Williams' theme track and original LA demos

Since it just came up as a clip in stuff I was watching I will take a stand and say that "Carrie Poppins" was one of the most thrilling scenes in The Last Jedi. I'm sure the music helped a lot. But more than anything in all six movies it underlined that Leia is a GORRAM SKYWALKER!

I actually think that the HP screen adaptations from GoF onwards should've been two movies because I really like how DH take it's time in pacing. But not directed by David Yates.

A post which has since been proven right in some ways

It might be bit much in terms of sheer noise but definitely a lot of fun. Karol

Never knew you were a Kraftwerkian

The original release is almost perfect in my eyes. Literally the only thing they could improve is the audio quality of The E.T. Adventure but they'd need better elements to miraculously turn up. Also the slim possibility of album sessions turning up and having unreleased suites JW didn't use for the OST. Any extra music would require a third disc anyway.

I'd say there is, he didn't specify "his" album, but "LOTRonPrime's album.

Probably not likely, but could be The Last Of The Mohicans.

The fourth note is a single half note with fermata. The eigth note is a half note tied to another half note with fermata. So while the fermate leave the exact lengths to the performers, the eigth is clearly written to be longer than the fourth.

93 is a long and fulfilling run. I hope to make it to half that. Rest in peace.

A heads-up, folks. BBC Radio 3's The Sound Of Cinema programme has a Stranger Things special, this Saturday, at 3pm BST. The "classic score" (it has one of those, every week) is TWILIGHT ZONE THE MOVIE.

I like Ike.

This fan scored a meet-n-greet and an autograph with the composer at that LTP concert in San Francisco, CA early July 2022. https://www.instagram.com/p/Cfhu1ZnPvqB/

Revisiting Crispin Glover’s masterpiece “Clowny Clown Clown.” Good memories of the early days of YouTube me and my friends sharing the most out there videos we could find

Peraps a reissue of Horner's TROY on 2 CDs, then 1 CD with Gabriel Yared's famously rejected score?

No rejected score to my knowledge, and therefore also no way it would get to 3 CDs. But would love Intrada to expand that sometime! How about an expansion of a DIFFERENT (Disney-controlled) Hollywood Records album? I'm thinking LES MISERABLES, my favorite Basil Poledouris score, spread over 2CDs (maybe the original four-suite album included on disc 2)? And then the 1CD would be for the rejected Gabriel Yared score for the same film! Yavar

I tend to prefer the ones with Michael Caine.

If Bear's Lord of the Rings music is half as good as his He-Man music, we're in for a treat.

Temple of Doom is very funny because Capshaw is screaming from the begining to the end!

Do we need to start a campaign to record Arnold’s unused score? Sounds like it would have been amazing (and I have to admit that JW’s score always felt a bit less inspired than usual, fine though it is). Although there’s Jerry’s unused Babe score. Damn I need that lottery win.

I don't understand why they didn't look at Prisoner of Ahzkaban (I'm not looking that up) and say "Ohhhh. Make them all like THAT one? OK!"

The Force Awakens. 6m56,6m56R,6m56R Ext - "Preparing for the Mission" [6m56B],6m56BRv1 (+New Ending) - "Kylo's Rage" 6m56C - "To Lightspeed" Among the TFA cues there are several that have the same number 6M56. These cues were written for the film sequence, beginning with the Resistance team's preparation for departure, and ending when Han, Finn and Chewy infiltrate the base. Apparently the filmmakers weren't sure of the order of these scenes (and they did move them around all the time), so these slots were not numbered. Here I have made "partial" mockups of only the first three cues. They (6m56, 6m56B, and 6m56C) were written for an early editing in spring 2015. JW also wrote 6m56D Ice Landing and 6m56E Ren In Cockpit in early August (after the first cues were recorded), and William Ross wrote 6m56F Hey! in October. 1.1. 6m56 Preparing for the Mission (written no later than March 19) The cue is for the scene of the Resistance team preparing for takeoff and the last dialogue between Han and Leia. The dialogue was originally longer: a couple of lines were cut from final movie, remaining in the novelizations (and the sync hint confirms it): But more importantly, there was a deleted further scene where Leia gives Finn the lightsaber (according to the leaked shot list), Han and Co go aboard, and the Falcon takes off. --- Interestingly, this is the first written cue featuring the March of the Resistance. The video starts in the middle of the previous cue (6m55R, I just like that buildup). 6m56 starts at 0:37. There is also one cut bar at 0:36, but I was lazy to reconstruct it. 1.2. 6m56R Preparing for the Mission (no later than June 11) There are changes in the second half of the cue. The beginning of the dialogue now has Leia's theme added to Han and Leia's theme. Only the shot of Falcon taking off is left from the last part of the scene: JW wrote an "optional" ending to it, alternatively suggesting to just hold the last chord until then. 2.1. 6m56B [Kylo's Rage!] (probably March/April) 6m56R Ext (no later than June 19; recorded) 6m56B was originally a short cue, played when Kylo discovers that Rey has escaped. That said, the scene of Rey's escape itself was apparently without music. However, the scene was later split: the Rey's escape was placed before the Resistance scene, but Kylo comes to the empty chair after that scene. So JW decided to "join" 6m56B cue to 6m56R (since they weren't recorded yet), while removing the first 4 bars of the original cue. And this is how the cue was recorded (and leaked). JW also added a low string crescendo at the end of the cue. 2.2. 6m56BRv1 Kylo's Rage! (no later than October 10) 6m56BRv1 New Ending (no later than October 12) The story of this cue was continued when filmmakers decided to place the scene with Kylo before the Resistance scene as well, and added (or asked to write music for it) a short scene with the "charging" of the weapon on the planet. So William Ross wrote an addition to the old cue (and made slight changes to the old material), and seems to have made more than one version of it, but only the first is available. Later, JW himself decided to rewrite the last bars of the cue, writing a "new ending", which was recorded. This video includes both endings. Later, 1m2A was written based on this cue, which is heard at the beginning of the film. 3. 6m56C To Lightspeed (probably March/April; fixed on June 15) The numbering isn't chronological here, as 6m56D Ice Landing must play earlier. Perhaps the Falcon landing scene wasn't ready yet, so JW skipped it. The main part of this cue is for the deleted scene where the X-wings are commanded to activate lightspeed. The scene was officially released, but JW worked with another edit where there was no footage of the X-wings taking off, but there was dialogue with Leia, who was told that the Falcon had landed (according to the novelization and the hint in the sketch). Nevertheless, the first bars of the cue are used in the film instead of the opening of 6m58 The Bombing Run. Also the first half is heard in the released deleted scene, but it isn't synced properly. The cue only lasts 52 seconds, but there's a lot going on in it! Bonus: in "unfixed" version of this cue the underscoring of the planet's wide shot was a little different: instead of quiet flute chords, flute trills were used, accompanied by "something like a high wind machine". Also further string pizzicatos are missing. ragoz350 · 6M56C - Old fragment

Why this section from 00:50-01:15 was cut from the album arrangement, I have no idea. Those stabs from the celli and brass as Brody collects his gear to begin climbing the mast. And then... somehow the strings feel so strained and tired as the Orca sinks. The strings and harp pair so well with the shot of the sunlight seeming to wane.

1:25-1:27. The Desert Chase is already perfect but this 2 second moment underscoring Indy looking down onto the truck is something I look forward to every time this track starts.

Yes, I think you're right. I don't hear any full-fledged 8-bar theme anywhere here. Several times there are 4-bar phrases that are restated at a new transposition then they develop in a different direction. So it kind of suggests it might go the full 8 bars but never seems to. What would be really helpful is a thematic map of the piece like we've seen with those colored bars representing different themes or otherwise consistent material. It's funny that despite it being a fun piece, it's surprisingly hard to get a grasp of its structure. Every time I hear it (and it's been 3 now), I hear the sections coming back more clearly, but I don't get a big-picture structure of the piece as I listen to it. Would be great to see how it's put together, though!

Anything other than a Murray Gold score for this would be anticlimactic.