Leaderboard

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:

In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie. The cue for the rebel briefing is not on the album. In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue. In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase. The cue for when they leave Venice for Austria isn't on the album. In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together. The actual cue for her being rescued from the glass isn't on the album. In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home. Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it). In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track. In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track. In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead). The actual cue for Roy killing Ogilvy isn't on the album. In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie. Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album. (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You mean images?

I love JWFan

Released 4/11/2024: https://www.thirdeditions.com/first-print/603-l-oeuvre-de-john-williams-le-chef-d-orchestre-des-emotions-first-print-9782377844371.html Press release pdf (in French): https://www.thirdeditions.com/index.php?controller=attachment&id_attachment=199

1M3

I think some forums do have moderators that don't like bumping old threads for any reason, but I've always thought it made sense to continue to use existing threads for new discussions of the same topic. The only thing I haven't liked if if some old thread is bumped for a similar but not exactly the same topic that would just make more sense to be a brand new thread.

My mantra while writing it out was "make Daddy Jay proud"

Also on the same album, "Confrontation with Count Dooku and Finale". The finale is there, but no confrontation. And "Star Wars and the Revenge of the Sith"... where is the revenge? Is it safe? Is it alright?

The Issues with Gmail banner looking at me everytime I come here like

Yep. Complete programs for the prequels would be pretty easy. Complete programs for the sequels … oof. Nightmare. (But one I still fervently hope happens during my lifetime!)

Intrada announces the premiere release of Christopher Young's stunning score for The Piper. Writer/Director Erlingur Thoroddsen sought out the veteran composer not only for the task of scoring The Piper, but to compose the three-movement Concerto for Children, which is rehearsed and performed in several pivotal scenes in the movie and whose motifs haunt the soundtrack of the movie and its characters. The filmmaker tasked Young with creating a work that was sophisticated enough to convince as a concert hall composition, maddening enough to compel characters to stab their ears as it unfolds, dynamic and dramatic enough to work as underscore during some of the film’s most frightening and powerful moments, and so compelling in its unearthly beauty that it seems capable of holding characters—from unscrupulous conductors to innocent children—in its spectral grip. “It turned out to be a 30-minute, three movement concerto that I had to write in advance,” Young says. “Erlingur basically told me that he needed one movement that was going to be crazy, because it was going to be played toward the end of the movie when the whole theater is going to pot. But beyond that, it was pretty open ended." The concerto employs standard flutes with the performer providing more exotic timbres through his playing. “I used piccolos through the lower C flute, alto flute, into the bass flute range, for these lower chords. For the Piper himself, when we see him play, it’s a normal flute that has been completely altered through electronic modification.” As Young notes, all these factors add up to one problem: “My flute concerto can never be performed as written. I’d have to make changes because the performer is required to move from the alto flute to the C flute to piccolo all within a handful of bars. It was easy to punch in and record them, but I’m going to have to make some revisions if I ever want to have this performed live.” The result is a powerful and sophisticated work that would stand up well in the concert hall ... if only it could be performed as written! Thoroddsen’s supernatural horror film follows Melanie Walker (Charlotte Hope), an ambitious young flautist, composer and single mom working under the auspices of imperious conductor Gustafson (Julian Sands), who leads the orchestra at the fabled but financially troubled Virgil Hall. Struggling to maintain her first-chair position in the orchestra, Melanie hopes to impress Gustafson with a flute concerto she’s composed, but she’s being undercut by the equally ambitious flautist and composer Franklin (Philipp Christopher), who has his own concerto in front of the demanding conductor. Gustafson also has a connection to another troubled composer—the late Katherine Fleischer, whose Concerto for Children No. 1 was given but a single, disastrous performance in 1975. That uncompleted rendition resulted in the Virgil Hall Tragedy, a fire that killed over 100 children. Katherine had been Melanie’s mentor before the elder composer took her own life by burning herself to death—after Gustafson tried to browbeat her into another performance of the concerto. Struggling to maintain her position with the conductor, Melanie Walker insists that she can find Katherine Fleischer’s written music so that Gustafson can conduct it at a crucial upcoming fundraiser for the hall and orchestra. FLUTE CONCERTO: A Concerto for Flute, Children's Choir and Orchestra 01. Movement 1 (11:12) 02. Movement 2 (07:33) 03. Movement 3 (11:24) Concerto Time : 30:11 THE SCORE 04. Suite (21:11) CD Total Time: 51:13 THE PIPER (intrada.com)

Holko: Jay:

Reported Jay for necroing.

You mean the tacked-on-last-minute-without-the-writer/director's-involvement-or-approval ending? So the actual script written by Nicholas Meyer conceived the Genesis device with a "plot relevance" that didn't exist until he was no longer on the project? You are making no sense, and your issues are still clearly with Star Trek III. Ok, thanks for explaining what you meant. I mean, okay... how do you feel about how the borg queen is outsmarted(?) at the end of your beloved Star Trek: First Contact then? But really I don't think this is even a dumb concept at all: Khan left Earth in the year 1996. What he thinks of as battleships operate on a two dimensional plane of the ocean's surface. The point is simply that he doesn't have experience with true three-dimensional space battleship combat, even if the concept might click for him if he thinks about it for a while. In a way I think it feels like a bit of an in-joke dig at the Star Trek franchise itself, which much of the time just like Khan *does* treat spaceship combat as two-dimensional! (The computer game Starfleet Command is the ultimate expression of this phenomenon which was present throughout TOS and TNG in particular.) Like I wonder if Nicholas Meyer watched Star Trek: The Motion Picture, saw the three Klingon cruisers in formation firing on V'Ger as if they all had to be operating in the same plane, and then cooked up that little bit of script. I'm anticipating that you'll come at me with, "but in 1996 Khan would have been familiar with submarines and airplanes, which operate more three-dimensionally". But you know what? Even though the battle in the Mutara Nebula sequence was inspired by submarine movies, it's not even true that space combat would behave the same way, because of gravity. There is still an "up" and a "down" when it comes to air and underwater combat, and sure you might change your elevation but you're still not going to behave fully three-dimensionally like you would in space, where even with your artificial gravity, it's tied only to your floorboards or whatever, and not your vessel's surrounding environment. But the *smart* idea at the core of what Meyer wrote with that "two-dimensional thinking" line is that the villain might be smarter than Kirk, but he is less experienced with the kind of starship combat maneuvers that Kirk knows well. That is an interesting idea, and a good way to write a story with a menacing and intelligent villain that can still be defeated in a way that makes sense. "They"? Again, are you really so unaware of how last minute an addition to the film that was, by Paramount brass? You're dismissing Nicholas Meyer's work (which is why I originally brought up Star Trek II in the context of this thread -- a Star Trek film done by a non-Trek fan) as "comic book nonsense"... when he vehemently opposed that last minute modification which was NOWHERE in the script he wrote (or shot). And you're acting like that was the POINT of the movie that it was building to... when that couldn't be further from the truth! Hard disagree, to say the least. There are lots of things about it which make it the worst of the original six films, no question. The shoddy effects and most of all, the treatment of the supporting cast... after how well Nimoy treated them in his two films, that honestly really pisses me off. The script needed another pass or two. But at its core, Star Trek V: The Final Frontier has the absolute BEST depiction of the Kirk/Spock/McCoy friendship in all of the original six movies. And it has more TREK feeling/essence in what it's about (even if often executed sloppily) than any of the other movies with the possible exception of TMP: Oh, and for my money it has the best score of the entire franchise. I will watch it over and over again before I ever feel like EVER rewatching the overrated Star Trek: First Contact, which frankly feels like it betrays the familiar TNG characters in a way similar to how The Final Frontier treats Uhura/Scotty/Chekov/Sulu. Don't understand what point you were trying to make with the Moby Dick quote...Picard's Borg trauma is a "petty personal struggle"? What the First Contact writers did with Picard was criminal, and didn't in any way grow naturally out of his arc and character development on the series itself. You're really going to try and square FIRST CONTACT Picard with the Picard that refused to send Hugh back to the Collective with a virus?? First Contact is the epitome of dumb action movie made for dumb normies who "don't really like Star Trek, but this one is cool"...which is why it was successful, I guess. Even though it's far from perfect, I think I'll stick with The Voyage Home for the kind of idealism you're talking about here. First Contact honestly makes me angry every time I try and give it another chance. I'd rather rewatch Generations or even Insurrection. Not Nemesis though... somehow they found a way to betray all the characters and make an even more dour I-don't-understand-Star-Trek film than First Contact, with that one. Are you serious right now? StarFLEET *is* and always WAS a military organization! Now, yes the conceit is that it's somehow a peaceful one (just like the United States military supposedly is, lol...) But dude, get real. The ship has phasers and photon torpedoes. Since the 60s TV series! All of the characters on the ship wear uniforms, have ranks, and follow orders/answer to superiors in a military hierarchy: Yeah, there are scientists on the ship too... military scientists, with ranks fitting into a military hierarchy! They are explorers, but they are explorers that are part of a MILITARY ORGANIZATION. They go on away missions to "new worlds and new civilizations"... ARMED WITH GUNS. Even in the "more cerebral" original pilot episode "The Cage" (before "Where No Man Has Gone Before" went in an even more action-oriented direction!) Good grief, man: So yeah, when I see THIS, I don't think Nicholas Meyer messed up, as you seem to; I think he did his homework as a "non-fan": As for your "straight up naval uniforms"... did the navy somehow start wearing deep maroon and I missed it? These uniforms look far more "naval" to me: By using arguments like, "the Genesis device only existed for the plot purpose of resurrecting Spock at the end in comic book fashion", apparently completely oblivious to the fact that the ending wasn't a part of the film Meyer wrote, shot, and edited, and was only added last minute without his involvement and over his vehement objections. Yeah... it appears to me that non-fan Meyer did his Star Trek homework far better than you. And to finally bring this back sort-of-on-topic... so did Tony Gilroy do his Star Wars homework, before going into his first role as sole creator/showrunner, with ANDOR. Yavar

TROS ending with stock music. You're welcome

I'm another who hears Williams fine craftmanship and sensibilities all over this. And since I play a little guitar - well, a normal sized guitar a little - I especially like to hear Williams writing for guitar. I certainly have a softspot for Taking Pictures and The Days Between arrangement which features more guitar. In my mind, they're up there with Williams most beautiful pieces. I hope Williams writes a guitar concerto one day. A nice one like Elmer Bernstein's - not a weird one!

Me popping into this thread to see if there's any interesting discussion related to the thread title

We should create a thread: Top 10 scores for movies you didn't grow up on and only fell in love with it after you were out of your formative years

Very glad to hear that it's been made available again, for those who didn't get it the first time around (or the second or third). As I said earlier in the thread, I was 99% certain that this would pop up again, and I'm still confident it will be available in the foreseeable future, perhaps with some intervals. Kudos to those who managed to sell it on the secondary market for hundreds of dollars in the interim, but that's not my thing, despite poverty. My copy is not for sale, and never will be.

"Oops we accidentally made 13 extra copies, might as well sell those by themselves"

Yeah, but then we got Rogue One, Solo, Obi Wan etc... Imagine watching all that stuff and then seeing the original for the first time: Vader's entrance? Meh. Seen him plenty for that to maintain its drama. The Droids wandering through the dunes? Meh, we've seen endless amounts of far-more-impressively-framed desert shots AND we know Tatooine so its no longer about the Droids venturing into the unknown. The cantina? Pfft, we've seen more weird aliens than stars in the sky. The Death Star blowing up Leia's home? Pfft, please! We've seen the Death Star blow up several planets by this point. The lightsaber battle? Pfft, we've seen people - including Vader and Obi Wan - slash and jump and throw objects at each other, so these two geezers gently poking at each other? NEXT! etc... You get my point.

If you like drama scores, you should definitely check Murder in the First. I think it's Young's masterpiece!

New edition arriving Tuesday Coming 4/16. https://www.facebook.com/groups/95015405220/posts/10168907378520221/

"For heaven's sake, just fix that GMAIL thingy!!!"

Guy: you've forgotten to button half of your hood. JW: I could have done more.

Damn! I remember him on my Lost scoring sessions. They were all top notch, and I didn't realize how great they were. Emil Richards literally proudly showed me his custom percussion instruments that he identified as being made from airplane parts. In the booth was Dan Wallin who was a true professional. Focused and mixing in near real time. Our session was just three hours and he had it mixed live. Superfast to keep us on time and budget. He was a true pro. RIP.

Stepmom doesn't need an expansion. OST is already perfect

Yes, there is a systematic thought beyond that. I'll explain with an example. Suppose you have a melodic theme in (say) 4/4, with a clear and regular harmonic and melodic rhythm. The procedure of "suspended strings" consists in letting the 4 upper parts of the strings (violins I, violins II, violas, and cellos) be made of sequences of held notes, each one having the duration of 5/8, and in letting the 4 sequences corresponding to the 4 parts start in different eighths of the first measure. For example: in bar 1, violins I start playing sequences of 5/8 notes starting on the first eighth of the measure; violins II start a different sequence of 5/8 notes on the fourth eighth; violas start another sequence on the third eighth, and cellos start another sequence on the second eighth. In this way, no two parts are ever going to attack any note simultaneously, therefore chords become kind of "blurry" and, indeed, harmonies are "suspended". This generates sequences of very short chords that are extremely strange but preserve a reminiscence of the original harmony, and a sense of motion due to the fact that, basically, at every eighth the harmony changes in one voice. If you can read music, you may want to see it written down, for example in this publicly visible perusal score: https://www.wisemusicclassical.com/work/63469/The-Legend-of-1900-Suite--Ennio-Morricone/ You will find two examples of this kind of writing, starting at page 5 and at page 22. The one starting at page 5 is probably the first version of "The Crisis", which I was mentioning in an earlier post. There are also plenty of examples of this technique in Morricone's commercially available concert pieces.

as @Yavar Moradipointed out, yes that article linked doesn't back up any claim made by @Schilkeman and I actually remember reading that interview in preparation for the series and feeling a glow of hope because of how much Star Wars had been caught in the glut of self-reference and how inaccessible it had become the snippet from his Rogue One interview I don't think says anything we didn't already know, but given this was well before Andor was even conceived of I don't think it's a very up to date perspective for Gilroy, especially since the nature of his involvement in that project is very different from being the idea progenitor and showrunner of Andor Yavar brought up Star Trek, but to bring up an example closer to home, Chris Avellone the lead narrative designer of KOTOR 2 which is one of the most critically claimed Star Wars stories ever, was on record saying how he wasn't really a fan of Star Wars and had gripes with it. despite this, he did his due diligence and dived into the expanded material and in the process fell in love with the series, whilst also grounding his ability to critique long-accepted facets of the Star Wars universe in the story such as the Force it would not surprise me in the least to learn that in the process of diving into this universe, Gilroy has actually found things to appreciate about Star Wars that he didn't before. he strikes me in the vein of Irvin Kershner, director of ESB, who if you listen to him talk about the film it's clear he's not bogged down in the lore but is far more interested at the character drama at the heart of the piece and that's where his interest lies instead. something far more important from a film-making standpoint than knowing and being a database for lore factoids, I have to say. that's the job of other people in the production like the Lucasfilm Story Group anyway, and they did a very good job because there's a lot of deep cut references and no contradictions at all that I could tell

Conan the Destroyer. Yeah, it is a "bad" sequel. One of those goofy 80s fantasy movies. But it was nowhere near as terrible as I was expecting. Karol

SPECIES

Although I'm sure Lucas had a lot of input into this book - and especially the prologue - the book was principally the work of Alan Dean Foster and was only credited to Lucas to keep the appearance of the single visionary. In fact, the requirement to have the book credited to Lucas deterred his first choice of writer, Dan Glut. All the "Whills" stuff is from Lucas' early drafts. Its basically his version of Burroughs' "Girdley Wave." None of which is to go against your basic argument, of course. Oh, and just one more thing I can't resist: This is supposed to be in the background of the movie: The whole idea is that the Emperor is the lackey of the Imperial officers and, specifically, Tarkin, not the other way around. Tarkin's line "regional governors now have direct control over their territories" was obviously mean to be read more smug than it does in the film, being that Tarkin is a regional governor.

The simple truth is that, in every case, release order is the preferred order for watching a film series for the first time.

should honestly be a thread called "Did you get f*cked by The Mouse with anything CD related?" poll options: Yes

I leave you people alone for a little bit, and y'all go off and talk about Star Trek!

FIX IT NAAAUUUUGHHHHH!!!!

Just got back. It was rather good! Despite a full orchestra involved (slightly under-appreciated), the emphasis was fully on the soloists - all of whom were superb. Highlights: A brief but intense suite from The Rock - didn’t expect that to turn up but it was fun A glorious - and very lengthy - suite from The Prince Of Egypt. This was utterly superb. Parts from the burning bush and chariot sequences, punctuated by some fantastic live vocals. Gladiator - this was great due to the presence of Lisa Gerrard. The Gladiator Waltz, the wheat stuff… all covered Lot’s of other enjoyable smatters. Bit drunk.

He wrote a wonderful little solo piece for the Christopher Parkening Prize, "Rounds", premiered by Pablo Villegas. The piece's score was published and Villegas also recorded it.

Now... now eventually you do plan to have TALES OF THE EMPIRE in your Tales of the Empire thread?