publicist

'DRACULA'!!!!!!!!!!!!!

Then it just has to be 'BttF' or 'Conan'...None of the Goldsmith's mentioned is really of such elevated status in the composer's oeuvre.

I guess it will be either that, 'Back to the Future' or 'Young Sherlock Holmes'. For me, the only title of interest off that list would be 'Gremlins'. We got more than enough of 'Young Sherlock Holmes' on numerous promos and bootlegs, 'Back to the Future' has everything of interest on the short MCA CD for me (really). 'Gremlins' was bootlegged, too, but the sound is nothing to write home about. 'Masada' even had a 2-CD boot which i heard once but i stand by my MCA CD of that. Short and to the point. As for Williams, what could it possibly be that demands 5000 units? I'm not convinced 'Gremlins' or any of the titles mentioned really has that much potential and the only Williams'ses left are not releasable for Intrada (Lucasfilm stuff, basically, or an expensive-as-hell-set for 'Hook'). The one complete Goldsimth i'd buy in a nanosecond is 'The Shadow' where the boot revealed a gothic fantasy score of 'Mummy' proportions. But this ain't gonna happen, i guess...

No. Especially with modern art forms like concept/visual art there is so much subtext involved that simply play 'consumer' won't do. With music, it's almost the same. One can't judge a late 20th century piece by the same standards one judges 'The Raider's March'. Or at least not say it loudly.

Certainly more likely than 'Hook'. Or could anyone imagine Intrada selling 5000 3-CD-sets of 'Hook'???

And i gave you an explanation for it. What else he COULD have shown? It's a film about a killer squad, so he went with his cinematic instinct. I got the distinct impression he wanted to film one of those muddy 70's thriller like the european thrillers of the time or Don Siegel's stuff and update it. Because apart from the detailed killings, i was astonished by the authenticity of it. It really felt like a 70s film.

I don't think he was more interested in that...it was just the most attractive thing to realize, cinematically. And Spielberg is clever enough to know in what troubles such a movie could get him if he would try to illuminate the political aspects in greater detail. And i don't think he'd like to walk in Oliver Stone's shoes.

Is there any more valid film about this vengeance act? I know that they filmed such stuff in the 70s and 80s, but are to lazy to look it up. In all honesty, i find the film rather apolitical. Of course, it somehow delves into the political sphere of the conflict, but is careful to present anything as larger-than-life fable where every character has to say something to balance views out. This becomes really irritating when Avner gets to Michel Lonsdale, a wise pater familias bathed in sunlight in a Provence garden surrounded by his children, mumbling wise stuff about the ways of the world. This is the life-affirming Spielberg who needs to remind himself that there's always hope in men...but it hurts the film. It just doesn't fit, at least not when Lonsdale is supposed to be a shady figure in the murky waters of international terrorism.

The movie falls over itself just to portray everything and anything 'balanced'. The thing with the girl was ok in my book, even if it is clichéd. But the film's notion here is just that the squad isn't as unscrupulous yet as it will become later on.

That doesn't mean much. It's one of those many movies that makes great impact on the first date but already wears thin on the second. Alex If Eric Bana wouldn't have been a soon-to-be-father (clearly a kneefall before the american B. O.) i even would not have quarreled about the numerous historical inaccuracies and the Michel Lonsdale stuff...but everything on top of another makes the sum of it's parts better than the movie as such.

Apparently not.

I meant that the soundtrack CD of 'BTTF 2' was a carbon copy of pieces from the first score.

'Back to the Future' got a rather good representation on the 'Back to the Future 2' cd, hasn't it? And 'Family Plot' would be more than served with a 15 or 20 minute suite. Apart from the longer pieces, there really isn't much of note in it. If i muse over it, the same goes for 'BTTF'. Of course, such lofty considerations have never interfered with the good business sense of Intrada or Varése, who estimate the hamster mentality of most of their customers quite correct.

'Airport 80 - The Concorde' (or whatever the non-german title was)... Normally, i don't post much in these threads but this film, directed by David Lowell Rich and scripted by producer Jennings Lang, is such a howler that i couldn't resist. The story is ace: tycoon Robert Wagner has to destroy evidence of some crummy business he did and the proof travels with a female journalist aboard the title-defining Concorde. The flight is scheduled to go to Moscow via Paris. Of course, Prince Valiant's plan would be too simple if he just would let her get it in a murky, narrow alley in Paris, no, kinky guided missiles have to shoot down the plane. Which of course can be averted in the last minute, so a mysterious fighter plane has to attack the Concorde, which finally manages to land in Paris with a few scratches. To make this heroic act possible, captain George Kennedy OPENS THE WINDOW of the nearly supersonic air wonder and fires a signal gun to misdirect the rockets. I'm no engineer, but this certainly would have caused disastrous results in real life and would cost him more than some ranks, but who wants to be narrow-minded if he can see Martha Raye, playing an elderly lady with bladder weakness, live! Now, if you think a plane navigated by such old troopers as George Kennedy and Alain Delon would be intimidated by TWO serious and obvious sabotage acts and postpone the flight until some kind of investigation has taken place...or god forbid, anyone would realize that only a handful of people in the whole world would be even able to command such forces as this guided missile, on of them of course suave Al Mundy himself. Anyway, believe it or not, the plane leaves for Moscow the next day without as much as an eye blinking. Wait, co-pilot Alain Delon has bought George Kennedy a hooker for the night, which gifts us the delight of seeing George Kennedy laying nearly naked on a polar bear rug. Universal had no mercy! Robert Wagner now has thrown himself in full charge and this time, a saboteur is IN the plan, deposing acid with the result that the whole floor corrodes away in flight. To make a long story short, before the plane can land on some glacier, an american journalists marries a russian athlete on the whim...after all, doesn't the brink of death overrides any ideological issue people may have...and at the end, Robert Wagner sits there with an egg on his face. His wrong-doings finally exposed after burning hundreds of millions on destroying that damn plane! Or maybe that was him realizing that profitshare instead of a fixed fee was a bad deal this time...

There's almost no bass in it and too much digital highs, as in Philips' 'By Request' recording. I hope the new thing has a bit more ooomph to it!

its over Indy4, Indy and the KOTCS will not surpass Iron Man, face facts. NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!! First 'Gustav'. now this? What wrath god has up his sleeve next??

I have the Morricone ('Hills Run Red') on an ancient bootleg with god-awful sound. Since Lukas said it's mastered from the boot, what's the sound like? Halfway accebtable? The score is a little brother to 'Navajo Joe' and Morricone was really on a roll the year he composed both!

Not even talking about the gags which just ARE miles better than in all those lame 90s/00 turkeys. It's certainly a lot easier to ridicule a genre as faux-serious as the 'Airport' movies than this postmodern hipster stuff like 'Scream' and even 'POTC', but ZAZ managed to transcend simple spoof and added (sometimes) a Pythonesque absurdity to the proceedings which holds water even today. Case-in-point: composer Elmer Bernstein's howling chorus at the finale.

Concord has answered my request regarding the release with an exact duplicate of the press announcement ...and the statement that at present time no further information is available.

Let's get the torches and the plastic explosives and start a terrorist march to the Concorde tower, i say. Shoot first, ask later

Of course, totally improbable. Like Sony's big stunt with 'Episode I - The Ultimate Edition': 'Every last minute Williams recorded'. And i can see Miss Padmé's jaw drop in utter agony...how could they?? Let the nerd police arrest them and trial them on court for a wrong wording!! To get away from this silly debate, of course every one wants this stuff but at the moment the whole affair smells a bit fishy to me, because nobody of the usual suspects seems to be involved and considering the status of the Indiana Jones films, the production time seems rather short for such a project. The decision to release the trilogy certainly wasn't made before spring around the time Concorde acquired the rights. Assembling all the masters, cleaning them up, writing notes up to the pressing process is VERY short here. From all i know about the production of such projects like the 'Blue Box' it sometimes takes years to have everything in place. But let's be optimistic. If they've expanded the last two, there MUST something of interest on them.

You still don't get it. Nobody doubts that every CD will be remastered (with which success is anybody's question), but as far as my semantic understanding goes and considering how unpro the announcement is written it also could read: 1. 'Indy 1' expanded + remastered 2. 'Indy 2+3' remastered = "Oops, sorry for the misunderstanding, dear folks'. So anybody bothered to ask Concorde? Certainly they'll have some customer service?

yes we have No, we don't. We do have interpretations of a badly written press release by people who are not more in-the-know than you and me.

We still don't have any real confirmation if the second and third films have longer albums, haven't we? This press release is a bich 'Concorde proudly presents the longer version of 'Temple of Doom': exclusive to this are 5 demo's of Kate Capshaw trying to sing 'Anything Goes'...or the source marches from 'Last Crusade'.

Who can forget eminent composer J. G. himself preventing a complete release of his own 'Star Trek - TMP', even quarreling the 'Floating Office' cue until it was added to a longer track? But i'm in good spirits that Williams has closed the book on 25-year-old scores, so he won't be too involved. Even with my more fleeting interest in longer albums in most cases, i would be crushed if the Trek music would remain unreleased or the whole mine and bridge stuff. As far as Williams goes, this and 'Hook' (even if it is too childish most of the time) and the first and last prequel score are really essential scores for long releases.