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#1.38 SW (1977) - 12m2 End Titles (Wook link)

The main purpose of consulting critics' reviews is not to be told what one should like, but to obtain some insight into how much promise there is with any particular unseen film. There are so many available films that one has to apply some sort of filter in the selection process, and seeking reports from people who have already seen a film (and, in particular, people who have a fair amount of experience of the medium and knowledge of the repertoire) is one of the most natural things to do in that regard. Of course, someone who finds little or no correlation between their own tastes and those of critics (in general) will do well to disregard them. Rotten Tomatoes can sometimes be useful as a hub which can be used to survey a range of different responses to a given film, but I don't find the Tomatometer itself particularly informative. Binarising each review and then calculating a percentage of fresh ones feels a bit like doing a calculation in which the inputs are all rounded off to the nearest whole number but the final answer is given to several decimal places. A film can get a score above 90% with most reviewers willing to call it "good" but none of them deeming it "great".

Fuck Rotten Tomatoes, fuck critics, and fuck audiences. I know what I like, and that's good enough for me. How dare any aggregate computer score dictate what I enjoy to watch, read, or listen to. Critics have often got it wrong (CITIZEN KANE; THE WIZARD OF OZ; 2001: A SPACE ODYSSEY - Pauline Kael hated that one; BLADE RUNNER). If someone likes something, they like it, and no-one should try to tell them otherwise. I mean no offence whatsoever to you, Alex; I just get mad when someone tells me what to like and what not to like. Stuff 'em.

Found the source.

They often include alternate takes that have virtually no actual differences, just because they were already included on a previously leaked bootleg or a previous release, in order to delegitimise/devalue those completely, so no one could go "oh this boot still has an alternate unreleased take, I have to buy/pirate that too" etc

OnlyJWFans.

C&C all the way, for me. Sometimes I may want to listen to a shorter representation of the score, but I don't let the OST dictate what that shorter program will look like. I decide that on my own terms.

Isn't that an average Friday night at your place?

We've been coping with this dude on FSM for ages. Funny that he/she/it now also appears on JWFAN. It is a GREAT strategy, I think -- offend the membership into saying what the music is.

Dare I bring up the sacred composer, Jerry Goldsmith, and suggest that many of his OSTs contain sufficient musical highlights to maintain interest while his complete scores tend to repeat material a little too frequently? EXCEPT for Star Trek TMP, of course.

Because it's supposed to look like this: https://en.m.wikipedia.org/wiki/Kintsugi

After Thor made us aware of Williams' marvellous TV work from the 60s and most of his movie scores from the period are available via FSM, what part of his work do you prefer? I have to say, I like both, but think, maybe his TV work has more of a personal signature of Williams and left more room for experiments and developing a personal style as the movie comedy scores follow quite straight the genre conventions of the time in kind of a Mancini style and main themes like The Time Tunnel or Land of the Giants appear quite individual to me. Yes, TV work was often under high pressure without much time and not all there is pure gold. Still I wish there was more of his work available, as rerecording at best. What do others think about this?

Well, this is an older title, but we're delighted with it and the fact we Included piano versions of STORY OF A WOMAN and THE EIGER SANCTION that a total delight. For the record Redfeld did a fine job in our opinion, you should check his James Horner album which is also quite good. Ford A. Thaxton

Yes, according to the released recording log.

When I hear people taking a dump on 'Aliens', I'm all like, "What the hell more do you want out of an action movie?" It just reeks of smugness to me... "You know that movie you all like? Well I don't like it!" Why not instead say, yes, it's a terrific achievement, but it's not my cup of tea.

Where does the clean ending come from then? I thought it was this cue, then the next cue with a different opening, then they recorded a new opening for that one.

Also even if it would be possible, using complicated phrases like "please" and "thank you" might increase your chances.

Have any of you guys heard of or used GRUV.com before? It's some kind of online store run by Universal, though they sell titles from other studios as well. DVD, BD, and 4K UHD. There's a coupon code to give 20% off for a first-time purchase on a new account - SIGNUP20. They have a "3 for $30" 4K section that doesn't stack with it, but everything else seems to, including a Black Friday sale they have going on now. Seems like it's pretty good for 4K UHD boxsets when using the 20% code on top of the current sale. For example, I saw Bourne 1-5 box for $23.99 ($4.79 per film) Nolan Batman trilogy for $23.99 ($5.99 per film) Jurassic Park/World 1-6 box for $39.99 ($6.66 per film) Batman '89-'97 box for $31.99 ($7.99 per film) Oceans' 11/12/13 for $31.99 ($10.66 per film) Amazon's black friday price for all of those is higher

New musician interview! 🔴 NEW EPISODE! LEGACY CONVERSATIONS: NEIL PERCY When it comes to the world of percussion in the orchestral canon, very few musicians in the world can bring to the table the same level of expertise, knowledge and mastery as Neil Percy, the Principal Percussion of the London Symphony Orchestra since 1990 and Head of Timpani and Percussion at the Royal Academy of Music since 2000. Neil performed in more than 150 film soundtracks, working with such composers as John Williams, James Horner, Patrick Doyle, Trevor Jones and Alexandre Desplat with their music for films such as Harry Potter, Star Wars, Braveheart, to name a very few. His experiences with John Williams are among Neil’s most cherished memories of playing with the LSO, as he matured a sincere love for the Maestro’s music over the years. In this conversation, Neil Percy sits down with The Legacy of John Williams to talk about his career in music, the fulfilling of his dream of being part of the LSO and his many memories of playing for John Williams on such film scores as STAR WARS and HARRY POTTER, and also on several studio recordings conducted by the Maestro, offering his unique perspective as a percussion player. 🎧 LISTEN 👉🏻 https://thelegacyofjohnwilliams.com/.../neil-percy-podcast/ https://www.facebook.com/thelegacyofjohnwilliams/posts/pfbid0yYinnDE4p6y6QUbiGRcK6EzMUVBN2xskrRBNR9StGakS9FEWtt2z48z7qmq6eYNcl https://thelegacyofjohnwilliams.com/2024/11/29/neil-percy-podcast/

Right. But you need the skill, not just the software. Of course you can write Hamlet with MS Word. But just having MS Word doesn't make you a Shakespear. That was my point.

Indeed

Another JW dream last night. We (I don't know who else but me, but it wasn't me alone) basically turned Williams into a golfing Rube Goldberg machine, though how I couldn't remember even right after waking up (I think it simply wasn't part of the dream). Apparently the whole thing too place in a train. Williams was in one car, on a couch or something, and I think asleep. But something made him shoot a golf ball every once in a while, and I figured out that if I placed a chair just right in the direction he was shooting at, the ball would bounce off it into the next car and hit a target. We'd managed at least two hole in ones in a row that way, but then somebody complained that we couldn't do this to JW and in the process made me doubt my chair placement and I moved it slightly, so the next shot missed. Cut to Williams coming to our car, perfectly happy with no complaints about that golf thing. He was talking to an Asian woman when I joined - I think she was part of my golf thing, and she might have been Maxine Kwok, but I think she wasn't. Williams was very excited to speak to her, but I woke up before I found out what they were talking about.

It's a preference. No more, no less.

No SyncMan, because I am not going. But when the movie comes live, you should do a recording of; This movie should have 2 parts. I want you to do a video recording of part 1 and then another for part 2. When you are done with the each video recording, just send it to me.

Well, that pizza is best with pineapple on is an objective truth.

I'm on the same page as @GerateWohl, assessing each score individually. Some extended releases have additional music I want, some don't. Whether the extended release is a better (or just as good) listening experience is a different question. Often it's not, unless it's John Williams.

I cared with my wallet. And I’m not a hardcore Barry or Bond fan, but I like both a whole lot, if that distinction makes sense.

Superior? Where are the tits??

Acolyte, The (Michael Abels) has been re-uploaded in MP3 instead of WAV

4K UHD Director's Cut. This is a 10/10 transfer.

Glad you enjoyed. It’s actually tricky doing group interviews as it’s easy to talk over each other too much and sometimes you end up wanting to ask the same questions. Thankfully Maurizio and I have known each other long enough to predict what the other is about to say. We have pre prepared notes but we’re careful not to sound like we are reading from a script as it can sound wooden. Mike asked about the physical media release and we were glad to hear that Laurent had been thinking about that the days before our session. We loved how Mike and Laurent were interviewing each other at times. Here’s our LSO members conversation from a few years ago. More are planned for the future so stay tuned as they say in TV land! :-)

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So what was the good ol' days of this place? A hotbed of political debate, with a side of John Williams?

This drop-dead gorgeous score - maybe the most classical-orchestral Zimmer has ever been (check that one out, Zimmer haters!) - is a top favourite for me. Slow, powerful, melancholic, it just hits every note. I tear my hair out in frustration over selling the CD years ago.

Then purchase some tickets and go.

To me he clarified his meaning quite clearly:

I envy you! I admit I've been drawn into the "Aliens is not 1/10 the film that Alien is" camp. I watched both films for the very first time back to back on Aliens' opening night. (Watched Alien at home and then went to see Aliens in the greatest cinema I have ever been in.) Alien certainly has only increased in my estimation over the years. We watched Aliens as a family a month or two ago (theatrical cut, thank you) and it freaking blew me away. The story, the characters, the design, and yes, the direction. True Lies has never taken up much space in my head. I haven't seen Titanic in 20 years. (I'm sure I will soon.) But I was obsessed with it when it came out. I cannot go near Avatar. The Abyss is one of my top ten favorite movies of all time. This is peak Cameron. Especially the theatrical cut. It's all of Cameron's best and they had to trim all of his indulgences for time. (The extended cut has all of the signposts for T2.) Interesting...

No wonder why you guys don't trust Rotten Tomatoes! It has one of the lowest scores from both critics and audiences in RT's history.

Everyone knows where I stand on this. I don't find it "dogmatic and pointless", it's just my preference. So very much a point. But it's fascinating how different brains are. ALIENS, for example, which Gerate mentions as one he prefers in extended version over the OST. I got the expanded version years ago, just because I'm a fan of the score, but it almost ruined my deep love of it. Endless military percussion and suspense. Fortunately, I quickly got rid of it, so I could go back to enjoying the score in its OST format, which presents the military with the suspense and action JUST enough. It's brilliant, but also very TENSE music, so 40 minutes is about the max for me.

OST. No exception. Just junk that extra music, you don't need it. The composer never wanted you to have it.

Anyone know what the difference with The Goblin Returns (Alternate Mix) is supposed to be? After not noticing anything I phase inverted both versions and they cancelled each other out.

It's the kind of stuff that's understandable that a computer could do, but inexcusable that it was released to the public

Nothing new? We are introduced to John Connor. We see Sarah Connor—who was an unwitting and forced participant in the first—take up the mission to make sure Skynet never happens, to save the human race. We get, as Edmilson pointed out, a cool and formidable, new kind of 'Terminator' to be the villain. And, in an early example of expectation subversion—but that works—we get to see a 'Terminator' be a protagonist in the story. What more do you want?

M*A*S*H did an episode that explained this perfectly

You can imagine how hard I had to make up my mind to get that out off my head and come up with that coffee thing...

Jim Titus did a great job. Thanks to Matt and MV for releasing the Jurassic Trilogy. They have two more big tasks before they can retire: 1. Star Wars 2. Indiana Jones

I’ve always found it interesting that this is the only one of the 6 films without an end credits song. Weird.

I am sure, there are many helpful YouTube videos.