Richard Penna

While I wouldn't expect the full film version of Viktor's exit to feature on an expansion (it's an edit, no two ways about it) I'd absolutely expect active consideration that they would include an orchestral version of that cue without all the bits they added after. I'm glad someone else finds the plucky strings as annoying as I do.
 
It's not difficult to use A.I. remove the plucking where Victor finally reaches the outside but heck... we shouldn't have to. I suppose the only thing that might stand in Mike's way might be if the cue was put into the film at a point where the elements were available separately but only the full album mix was stored (similar to the stems not being available now for Ripples). That or Williams loves his Jazz so much that he vetoes an orchestra-only version.

Woah!
 
I noticed this yesterday amongst my other earlier Intrada purchases when looking on my shelf, and remembered being annoyed that Horner had evidently nixed some cues and generally wanted his usual 'listening experience' when making the first one - the entire album feels far more curated than it probably is in the film. First rate Horner score and a great movie too.
 
A bit like Ghostbusters 2, the initial album largedly satisfied my needs but I'm sure I'll end up getting this one too. The labels are collectively going nuclear with Horner right now!

Listening again, you've actually got two distinct parts of this cue - the piano and string wanderings at the start (which just annoy me - it's not my style at all) then the strings come in for the section used in the film, then back to more piano faffling.
 
The beginning of the strings sounds like it's composed to merge with the very ending of the piano section, hence it seems to me to be a whole composition and they just recorded the elements separately.
 
But yes, please please please include the string section by itself  

I've got the digipack version, which is worse than not having it at all.

IMO there should be samples of every single track, not just half a dozen randomly selected tracks, some of which aren't unreleased music.
 
I don't know about anyone else, but with a score like this where I've never seen the film and only have the prior release, being able to hear significant representative parts of the entire work before a purchase is a pretty critical factor. I don't buy stuff just because it's Young or other completist reason - it has to properly interest me. I bought Varese's Nightwing based entirely on hearing a large handful of samples and no other reason.
 
Of course, instant streaming is the best way to address that...

Given that Mike did Hook and got it approved by KK and co., I find it hard to believe credentials are a problem.
 
I still think there are two problems here - (1) a reluctance to release something expensive (to them) that won't have a guaranteed significant return and (2).... only nerds understand or care what's wrong with the existing OT releases. Same with the Indy box - in a relative sense absolutely no one knows what's wrong with those.
 
There are less obvious issues with the prequels, assuming they exist as digital sessions or tapes that can be transferred like any other 00s era project. In a purely musical sense I don't see what makes them so hard to conceive and assemble as an intended score plus alternates, other than a deep-down expectation that given "it's Star Wars" no one's allowed to make any mistakes or leave anything off.

I think they should go digital. A 20-disc box set will be expensive and niche and cause all sorts of complications with fitting tracks on and the inevitable scratched CD in the process.

I think they should go digital. A 20-disc box set will be expensive and niche and cause all sorts of complications with fitting tracks on and the inevitable scratched CD in the process.

I think they should go digital. A 20-disc box set will be expensive and niche and cause all sorts of complications with fitting tracks on and the inevitable scratched CD in the process.

I think they should go digital. A 20-disc box set will be expensive and niche and cause all sorts of complications with fitting tracks on and the inevitable scratched CD in the process.

Opposite for me actually - I really liked Omaha Beach and most of the rest other than the standard patriotic stuff (proud brass and strings aren't my thing). I've found it drifted more from my tastes in more recent years. I still think Omaha is a superbly crafted piece but it does drag on a bit. The whole album is an example for me of fine craftsmanship but not having enough variety in its sound to hold interest. In the listenability and variety respect, The Thin Red Line is a vast improvement in Zimmer's near-perfectly curated album.

Indeed. I know certainly there are Indians who may not have appreciated the portrayal (notably the Indian government at the time), and, well, fair enough. But frankly, most of the people I've seen take great offence at this film haven't been Indians, but rather the usual sort who are eager to take offence on behalf of someone else.
 
I think it's just as silly to expect that Indiana Jones and the Temple of Doom be a complete, and accurate portrayal of Indians as it is to expect The Godfather to be a complete and accurate portrayal of Italians. I grew up watching wuxia films but I never thought every Chinese person was a martial arts expert who spent their days fighting. 
 
The great Amrish Puri (Mola Ram), put it best...
 
"It's based on an ancient cult that existed in India and was recreated like a fantasy. If you recall those imaginary places like Pankot Palace, starting with Shanghai, where the plane breaks down and the passengers use a raft to jump over it, slide down a hill and reach India, can this ever happen? But fantasies are fantasies, like our Panchatantra and folklore. I know we are sensitive about our cultural identity, but we do this to ourselves in our own films. It's only when some foreign directors do it that we start cribbing."
 

They're better programs than the OSTs, at least... I mean there's more music.

IMO there should be samples of every single track, not just half a dozen randomly selected tracks, some of which aren't unreleased music.
 
I don't know about anyone else, but with a score like this where I've never seen the film and only have the prior release, being able to hear significant representative parts of the entire work before a purchase is a pretty critical factor. I don't buy stuff just because it's Young or other completist reason - it has to properly interest me. I bought Varese's Nightwing based entirely on hearing a large handful of samples and no other reason.
 
Of course, instant streaming is the best way to address that...

I got far more interested in checking out this release from a pirated rip than from the intrada store with its zero samples and awful art, or this minute of dvdrip cut to some random tension. The original main title is awesome!

Cool, they're remembering that they have to sell their product somehow!

2012 edition finally gone.
 

 
And in non-Williams news, Djawadi's Fallout likely on my imminent purchase list.

I can understand shipping costing $10 or so, but when it costs multiples of the value of the product itself, something's very wrong. I only bought this on CD out of a desire to have all Indys physically.

They'd get away with it if they were spoiling ESB, but this is not a huge movie and a lot of people will never have seen it. I think I've seen bits, but I certainly hadn't remembered the ending.

Boy, did we get #2 wrong. I have a track from Doom which appeared in Top Gear years ago.
 
Does anyone do samples any more?

Yes, there are composers, that I like primarily for their great themes, like Elmer Bernstein, John Powell or Joe Hisaishi. And there are others, that I like for their way of musical textures, motivic development, variety, poliphony, counterpointing, harmonization, rhythm etc. like Danny Elfman, Don Davis, Dario Marianelli, Franz Waxman.
There are few, who seem to have it all. John Williams is for me one of them. Hans Zimmer wins for me on none of these fields. But as I said, that's just me. But the Lone Ranger theme in that video is really nice. Thank you for the hint.

Your experience is why I don't have it. I love the OST - it's an hour of serene, concept material. The full release that I sampled just felt like it was going on and on without that variation you need for an interesting few hours.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

Yep - I don't find either of those tracks interesting.
 
 
Absolutely - agree 100%.
 
The difference between your stance and some others' is some deciding that not only is that score or composer not worth your time and study, but that no one else is allowed to positively discuss the work without constant reminders that someone doesn't like the score.
 
As an example of themes that may not be evident on first listen to the album are in the sadly officially unreleased end credits from The Lone Ranger. The first one starts where I started this video, and the second a minute in. Both are lone-lined, memorable themes, but if you only listened to the first track of the album and gave up (and you're fully justified in doing that) you'll never hear and appreciate them. I know I'm not hearing probably hundreds of memorable themes because I don't find the surrounding score to my tastes.
 
 

That leaves you cold?
 
And this??
 
 
I can't deny that. It’s probably true. But if I hear repeatedly music by a composer, that leaves me cold or that I even dislike, then my ambition to dig deeper is quite low.
One may claim, if I haven't explored everything in more detail, then I shouldn't judge on the work. On the other hand, I am not claiming, that my opinion was some kind of objective wisdom. It isn't. It is just my personal opinion, taste and preference. 
Never was a fan of Janis Joplin. Or Mike Oldfield. But I am sure, if I really digged deep into their musical work, I could find a lot enriching musical quality, that I missed so far. But there is so much music, that I like better. So, why spend the effort? To become some kind of expert? Not my goal.