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Didn't know where else to put this but I've ripped and uploaded all of the unreleased tracks from "Nixon" onto my YT channel in this playlist. I used the 5.1 channels to isolate the score and used the cue sheets/titles to figure out what was released/unreleased. It actually turned out pretty clean and we can finally hear some of these tracks in good form. I did this same thing for "JFK" on the channel in a separate playlist.

Please no Inchon talk in this thread thanks

I'm not sure why Intrada's artwork is so low effort but it's certainly another missed opportunity. For anyone who can't see how the official artwork is flawed, this GIF might help. I did basic colour correction, digital dirt removal and fixed the white levels (they're actually a dull greenish grey on the official art). The key art is riddled with dirt from the raw scan of the poster artwork, and the photographic elements have an ugly blue tint... frankly it's baffling even the most basic cleanup wasn't attempted. Even the background is riddled with dirt! This cleanup took barely 30 minutes. Roger is missing the forest for the trees when people take issue with Intrada's artwork. It's not that reusing existing artwork is flawed. It's that it's presented so poorly when it is used.

lol, right, a "nod"

Roger says Coming April 30th. Expanded edition. https://www.facebook.com/groups/95015405220/posts/10168942967095221

My copy arrived today!

An homage - using Crumbs stellar work then making it worse (but I prefer the 80s stylee font :-)

Cleaned up cover art: For comparison's sake:

1. Alien 2. Aliens 3. Alien3 4. Alien Resurrection 5. Alien vs. Predator 6. The Blop 7. Forbidden Planet 8. My Stepmother is an Alien 9. Alien Covenant 10. Prometheus Never watched Aliens vs.Predator Requiem. But I am sure it is better than Prometheus.

Being familiar with the old bootleg and the old Intrada release, I can say (with pretty good certainty) that this release has everything from them (and MAYBE slightly more?). The first two "extra" tracks at the end are very short little moments for when the baseball hits the window and then when each of the kids get zapped by the machine, so I can maybe see why they were placed there for listenability. Hey, I'm just happy they made it this time. There were originally two cues for when the kids are zapped, but I see they combined them into one track. However "Astride The Ant" seems to be something that was NOT on the old bootleg! I'm not sure what that is, honestly, since it doesn't match up with anything. I'd have to watch the film again to see if there was music missing from one of the ant moments that even the bootleg never had. But if that's the case, I had never noticed before. The one thing that always confused me in the past was that the bootleg had a version of "A New World" with an opening about 35 seconds longer that is not heard in the film or on the old Intrada release. But looking at that track list, "Bee Flight" is combined with something called "After The Bees." Well, combining the old bootleg of the bee cue with that mystery bit from the bootleg fits the track times! I do wonder why that bootleg had mixed it as an intro to "A New World" though since it led to so much confusion, but I am 99% certain this solves it. Just thought I would let people know who were familiar with the older release and the bootleg from long ago. Can't wait to order this new release!

Apparently these short tracks do not have place in the main programme on some of these Intrada releases. They also relegated the shorter mainly synth tracks on Apollo 13 release to the bonus track section after the main programme of the score. And still retained one of Horner's previous edits on the Something Wicked This Way Comes release (The Library Pt. 2), because it apparently made sense musically.

Arsene Lupin? Yeah it is a fine full blooded orchestral action adventure score and one of Debbie Wiseman's best scores.

Roger says INTRADA Announces: HONEY, I SHRUNK THE KIDS Composed and Conducted by JAMES HORNER INTRADA ISC 492 Intrada presents an expanded edition of James Horner's rollicking score to Honey, I Shrunk the Kids (1989). The original release, produced by Simon Rhodes and James Horner, was a sparkling and largely representative showcase for Horner's colorful and animated score. For this new edition, Intrada has inserted three additional tracks, often asked for by collectors: "A Long Way Home, Bee Flight/After the Bees" and "Letting Anthony Go." As an added bonus, a few additional tracks are included as Extras to ensure every cue Horner recorded was present: "Grand Slam," "Laser Beam," and "Astride the Ant." Horner’s main title music is a nod to Raymond Scott’s 1937 “Powerhouse B” tune, often referenced in Carl Stalling’s Warner Bros. cartoon scores and a perfect accompaniment for the Rube Goldberg-style contraptions of Wayne Szalinski. With the main title tune covering most of the film’s comic moments, Horner was free to use straight dramatic scoring to address the bizarre miniature landscapes in which the four young heroes find themselves. Horner uses a warm melody for the relationships between the film’s young heroes and their growing bond both among themselves. It all ties together into a musical adventure as exciting and colorful as the film itself, and is a true gem from Disney's orchestral film music legacy. In the film, amateur scientist Wayne Szalinski (Rick Moranis) is in the midst of testing his shrinking machine but can't quite get it to work. When a baseball accidentally gets lodged in the machine and activates the shrinking function, the Szalinski kids and the next door neighbor's kids are reduced to a quarter of an inch in size and swept out into the garbage at the far end of the backyard. Trapped in a fantastic alien environment, the kids must stay alive and fight their way across the lawn while Wayne launches a desperate search for the children. INTRADA ISC 492 Retail Price: $22.99 Bar Code: 7 20258 54920 4 Starts shipping 4/30/2024 For track listing, please visit the Honey I Shrunk the Kids soundtrack page at https://store.intrada.com/s.nl/it.A/id.12898/.f https://www.facebook.com/groups/95015405220/permalink/10168954537895221 HONEY, I SHRUNK THE KIDS (EXPANDED) James Horner Label: Intrada Special Collection Volume ISC 492 Film Date: 1989 Album Date: 2024 Time: 61:45 Tracks: 21 Price: $22.99 01. Main Title (1:58) 02. Strange Neighbors (1:49) 03. Test Run (2:08) 04. Shrunk (5:38) 05. A New World (3:31) 06. A Long Way Home (3:33) 07. Bee Flight/After The Bees (2:48) 08. The Machine Works (2:05) 09. Watering The Grass (4:13) 10. Ant Rodeo (3:45) 11. Flying Szalinski (1:59) 12. Letting Antony Go (1:51) 13. Night Time (5:04) 14. Scorpion Attack (3:34) 15. Lawn Mower! (5:44) 16. Eaten Alive (2:45) 17. Big Russ Volunteers (1:24) 18. Thanksgiving Dinner And End Credits (5:28) Total Score Time: 59:37 THE EXTRAS 19. Grand Slam (0:32) 20. Laser Beam (0:31) 21. Astride The Ant (0:47) Total Extras Time: 1:58) Total CD Time: 61:45 https://store.intrada.com/s.nl/it.A/id.12898/.f

Here I am. Hello everyone, Maurizio aka TownerFan here, I got a notice about this drama related to me by one of the admins, who reached out to me a few days ago privately. As all of you might have noticed, I didn’t log in on JWFan for more than a year now and I didn’t even visit the place for a long time. I only lurked for a while when Indiana Jones was released because I was curious to read some of the commentary, but after that I didn’t come back, so I was completely unaware of what happened. First of all, I didn’t ask any of the moderators to speak on my behalf. I didn't ask them to ban you @JTN because of your vicious private message you sent me on December 2022. It was a message full of useless vitriol and insults. For reasons I still cannot understand, I rub your feelings very badly. I cannot help if you don’t like me or what I do (and honestly I don’t care, I cannot please everyone), but I don’t accept being called “pathetic little wheedler” (or other unpleasant adjectives you used) by someone who I don’t know nor I never interacted with before. I could’ve simply ignored you and move on, but the level of hate in your message was frankly too much so it was my duty to report what happened. I was told that you were then banned for a month because of that, but as I said I didn’t ask Jay or Ricard to do so on my behalf or to “protect me”. This is their place and it was completely their own decision. I decided to step away from JWFan nonetheless after that because I felt uncomfortable being around here, so for me it was case closed. I was befuddled to discover this was still going on and after reading all the trash you kept posting about me in this and other threads, I think a response is due. I hope this clarifies everything for you—and also for anyone else who think I am shit. Enough is enough. All the stuff I did so far with my project (The Legacy of John Williams) always had one single aim: celebrating the music of John Williams. It’s certainly a project where flattery is very strong (and perhaps even a tad too much), but believe it or not, I do not worship Mr. Williams. I admire his music profoundly and sincerely, and I always felt deeply grateful for the joy he brought to my life, but he is not my hero or my idol. The project is my own very little and very modest way to pay the debt of gratitude I feel toward Mr. Williams and his art. I did it the only way I knew I could do: creating something where I could invite people to talk about Mr. Williams’ musicianship and celebrate his art. It was never about myself or my own story. I always tried to do my best to avoid putting the spotlight on me and I also felt uncomfortable whenever I had to show up on camera for podcasts or in person; during the event in London last year, I blabbered something at the beginning, but I felt so awkward because I am bad at public speaking so I immediately left the word to Tim Burden, Mike Matessino and the other guests, who were the eloquent guys there, I was just the useful idiot. I also never used the project to obtain a privileged access to Mr. Williams, or any other people in his inner circle, just to make myself look cooler than anyone else. I felt honoured and privileged of being given the chance to meet him backstage a couple of times for a few minutes, first in Vienna in 2020 and then in Milan in 2022, but in both cases it was an invite I received from his personal assistant after I asked for a reception to present formally the project, which he was happy to be informed about. In both cases, I simply said thank you and tried to express him my gratitude. I am well aware that it was truly a rare privilege, as access to the Maestro backstage is usually restricted to a very few people he knows and who he’s glad to greet, so I was really the exception to the rule and I am very thankful to his manager that they granted me the access. I know this is something that fuels a lot (and I mean a lot) of envy from many fans. Sadly, this is hardly the first time another fan manifested resentful feelings to me directly. I don't know what to do with it. Ask yourself why such a thing generates so much hate in you. That being said, I never considered Mr. Williams a friend or a personal acquaintance. I don’t call him “John” like other people do. I always refer to him as “Mr. Williams” or “Maestro”, because he’s not my buddy and I don't know him personally. Again, I am sorry if this rubbed JTN the wrong way and made him think that I bribed someone to meet him or snook my way in using some shady subterfuge. What happened is exactly what I wrote above. Everything I did for this project was always done without expecting something back and whatever came was just an act of generosity from truly nice people. Back to your point here, I do not consider myself an obsessed fan. I never wanted to look, speak, or behave like Mr. Williams. I think I have a healthy relationship with my love for his music. I certainly spend an awful lot of time listening to it, but also thinking, writing, pondering, doing something about it because it’s something that just gives me joy. I take my love for the music seriously, but I'm not a priest with the mission of evangelizing people to the gospel of John Williams. I just like his music. That's it. Since my personal life was also put in question, let me just say that I am a happily married man, I have a good job and I am blessed with other great fortunes in life such as a wonderful family and many friends, including several with whom I share the same love for John Williams’ music. Perhaps I wear turtlenecks too much, but my wife says I look good in it, so that’s what she said Anyway, work and family obligations always have precedence and I never put anything about John Williams or any other of my hobbies before those. However, I concede one argument to you @JTN: you’re correct when you say that perhaps too much time is spent in talking, thinking and analyzing music, when the principal activity should be just listening to it and enjoying it. By talking with musicians who played for him, I learned a lot about Mr. Williams’ music, and also a little about his personality, and nowadays I have possibly an even greater and fuller appreciation for it. That was perhaps the most wonderful outcome of this project, in addition to make the acquaintance of some truly lovely and generous people. That’s why I think what I did so far is more than enough. I will keep running the website, but it will be mostly written articles and the (slow) ongoing building of a well-researched database of information about filmography, discography and other pieces of material that I hope will be useful for scholars, historians and researchers. The podcast has been a great fun, but also time-consuming and a lot of work completely on my shoulders. I will do the occasional episode once in a while (I have a couple almost ready to go which I hope to post soon), but it won’t be the main activity anymore. What I contributed to the studies of Mr. Williams’ music is already enough, I think. I have other obligations going on at the moment that have precedence so I won’t be able to give much time to this side project of mine. On top of that, there are much better people out there equipped with incredible scholar knowledge about John Williams, and some of them (Mike Matessino, Tim Greiving, Frank Lehman, Emilio Audissino) are also writing books and working on great projects devoted to his oeuvre. I cannot achieve that level of scholarship in my whole life and, like Mike once said, I feel happy enough to be just a student of his work. I hope this clarifies everything once and for all. I don’t want to be the subject of any discussion anymore and I hope people will respect that. I will go back in the shadows and won’t return again. I’m not interested in arguing anymore and justify about who I am or what I do. I won’t come back to defend myself nor I will ask moderators to act on my behalf. We’re all grown men here and I hope we know what a good behaviour is. Just be respectful of the people around you. This is certainly a long goodbye. Thanks goodness it doesn't happen every day Peace out. Maurizio

I’m going to abuse a Paderewski quote but it’s “the greatest accomplishment of any artist in any form of human endeavour whatsoever.” Not telling you to go give it another spin right this instant, but...yeah.

God I wish

If I'm a big fan of a director, I want to see everything he or she has ever done. I've more or less reached that goal with Spielberg (missing a few obscure TV things), Scott (well, obviously not ALL the commercials), Burton, Lynch, Antonioni and others.

I was thinking the exact same thing, found nothing from DME so decided to create my own composite to match the new cover (which you're welcome to use until an official hi-rez one turns up):

Technically that first one could also be VI This should really be I III IV VII? IX

There were 23 cues recorded for Honey, I Shrunk The Kids. Looking at the tracklist, this 2024 Intrada has every single one of them included and the chronological order would be: 01 Main Title (1:58) 02 Strange Neighbors (1:49) 03 Test Run (2:08) 19 Grand Slam (0:32) 20 Laser Beam (0:31) {this track contains two cues} 04 Shrunk (5:38) 05 A New World (3:31) 06 A Long Way Home (3:33) 07A Bee Flight 08 The Machine Works (2:05) 07B After The Bees 09 Watering The Grass (4:13) 10 Ant Rodeo (3:45) 11 Flying Szalinski (1:59) {this track contains two cues} 12 Letting Antony Go (1:51) 13 Night Time (5:04) 14 Scorpion Attack (3:34) 15 Lawn Mower! (5:44) 16 Eaten Alive (2:45) 17 Big Russ Volunteers (1:24) 18 Thanksgiving Dinner And End Credits (5:28) Now, track 21 "Astride The Ant", based on the name and length, appears to be the same cue that already makes up the second half of the track "Flying Szalinki". However, it could be an alternate, or something else previously unknown to exist for this score. It remains to be seen!

But an Englishman in New York, that's great!

That's enough, isn't it? As Ed Byrne said, on MTW: "Explosions! Tom Cruise! A flash of boob! That'll do ya"

My abiding memories of it are the guy getting the hole blown through his head and Stone getting her kit off.

E-mail Intrada asking for your free copy (stating your case for why you should get one), then share Roger's reply with us - which I'm sure you will have no issue doing unless his response is to point out that you are wrong....

I think it's also the fact that this release (like Something Wicked before it) is a pretty much identical release to a prior Intrada score. So reusing (and as you say, reusing quite badly) the same album art with just a bit of extra script, just feels a tad deflating. By all means retain the original "iconic" artwork, but have it as the reverse of a flipper, or have new artwork on a slipcase... just something to make it feel like it's special and worth the $40 (inc delivery to the UK).

Haha those terms are pretty alien to them. I love most of the things Titus does and like most of the things Goldwasser does, but I generally dislike that Intrada always lazily reuses the originally used art, be it good or bad, and executes the reworking usually not very well. But in some cases like this where it's good art and iconic/memorable enough for what it is (not exactly a milestone masterpiece movie or score in most contexts), I have no real problem with it, only with the execution (surface level cleanup with a lot of dirt left in, no real color correction so the white is not actually white and the shadows are bluish, not fitting font for the added "Expanded..." text, and a very cramped feeling down there with the text just barely not touching things on both sides).

You missed one that’s still better than Prometheus and Covenant.

Fixed that for you

Even Spielberg himself probably forgets that he made Always lol The Abyss did bomb at the box office back in 89. It's funny that in the late 80s a James Cameron science fiction about water was a box office failure while a DC superhero movie starring Michael Keaton as Batman and an Indiana Jones movie where he fights nazis were breaking records. A little more than three decades later and the exact opposite of that happened

"Do you know what "nemesis" means? A righteous infliction of retribution manifested by an appropriate agent. Personified in this case by an 'orrible c**t... me."

Thanks Thor. Ok. So, I take everything back. One more thing what I thought was cool, about the movie isn't cool anymore.

Is that a fact? a·li·en adjective: relating to or denoting beings supposedly from other worlds; extraterrestrial. noun: a hypothetical or fictional being from another world.

It also brought us James Bond dressed like this, FOR THE LOVE OF GOD -

It's entertaining and fun, which can't be said about many movies nowadays. Except DoD, of course.

This is a fantastic score. It reminded me of JW’s THE LOST WORLD, and in a good way.

If Star Wars was a flop in 1977, nobody today would be talking about it. It just would have been another Zardoz.

While I would never rank PROMETHEUS above the first three films, it's still a spectacularly good film. Glad to hear someone else liking it too, amidst an ocean of naysayers. I salute you on your rare and fine taste! PROMETHEUS, COVENANT and RESSURECTION are all brilliant films, IMO (more or less evenly matched, for different reasons), although they can't match the first three. Can't rank them. They're all great, for different reasons.

Of the ones of I've seen: Alien Aliens (but it's close to #1) Prometheus Alien³ Alien Resurrection (I guess, since I forgot about it altogether)

I like Curoscant - its important to see what the Republic was before it all goes to pot - and I like seeing an army of Jedi throw down. The choice to shift the story to a Noir storyline was not uninspired, and I do enjoy Kamino as a setting. There's a noble effort here from Williams, ontop of it all. The issue for me is the mystery is lacklustre (and the person who tried killing Padme is...the person that, thanks to the opening crawl, we would naturally suspect were it not for Mace Windu telling us "nah, it ain't him), its long and light on action and those setpieces that are there aren't the best and the romance is terrible: the main conceptual error was to have the assasination attempts on Padme cease. If Padme and Anakin were busy evading death traps left and right, it would add a sense of urgency both to their storyline and to Obi Wan's investigation. What really sends me over the edge is the way Anakin confessing his murder of the sand people is played as Padme realizing "Ahw, he has feelings!" It the most morally-bankrupt Star Wars film.

He's charged with several counts of plagiarism. The internet sleuths on YouTube did the detective work and brought the evidence to the police.

Is this another one of those ironic JWFAN posts or are you being serious? Bizet did write a symphony...and it's pretty good. He's probably listening to this recording:

A chap can end up not knowing where to look at a convention (and then gives up and looks anyway) ... some of those female cosplayers, HOT DAMN. It can be a strange experience finding yourself in a vast conference space on a Saturday morning realising that if you don't stop staring at Poison Ivy's ass soon, somebody's gonna notice. Allegedly .

Lord of the Rings Trilogy Returning to Theaters in June

1984

Hard to believe this film is 35 years old now

The White Man Group.

Yep, that’s it! It’s identical. Literally the only change is subbing cello for oboe. He probably just decided on a whim to try it with cello, and liked the results enough to include both on the album, though separated by quite a bit of music in between. Right. Here’s the complete cue list for reference: Munich Vocal Opening 1M3 Outside The Fence 1M3A Gaining Entry 1M3A New Start - Gaining Entry 1M19 Broadcast Report 1M21 Hatikvah 9M43 First Flashback 2M52 Bonding 2M52 New - Bonding 2M52 New Beginning - Bonding 2M59 Drawing Straws 2M60 Stalking Carl 2M60 New - Stalking Carl 9M99 Letter Bombs 9M99 String Addition 4M116B Hotel Lamp 4M116BA Hotel Room Bomb 4M122 Kitchen Motel Window (Guitar Version) 4M122 Kitchen Motel Window (String Version) R6M157 Greek Hotel 6M164 Russians, And The Bomb Malfunctions 6M164 Overlay 6M164 2nd Overlay 6M173 The Death of Eli 7M190 London Rain 7M190 Overlay London Rain 7M194 From Bus To Helicopter 6M202 Finding Carl 7M206 Approaching The Houseboat 7M206N Approaching The Houseboat 7M207 The Death of Jeannette 7M211 Avner Alone and the Death of Robert 7M211N Paranoia and Robert’s Death 7M211NX New Ending 8M216 Explosion and News of Robert 8M220 Meeting With Louis 8M230 The Discovery of Hans (Bonding Version) 8M230 The Discovery of Hans (Clarinet Version) 7M230 Discovery of Hans (Oboe Version) 8M237 Raid In Spain 8M239 Remembering Munich 9M259 Brooklyn Street 8M272 End Credit Avner’s Theme [solo guitar] Avner’s Theme Strings Katikva (Band Source) Oboe Theme Untitled Loops I think the ordering makes sense only if you just ignore the reel numbers. I can’t figure out much rhyme or reason to those.