Delorean90

I don't think of the score theme as more generic, but I DO wish we'd gotten some of those song progressions in iterations of the theme for sure. Looking forward to listening to this!

My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version. Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind. I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.

I still want that big xylophone-accented variation of the Imperial March one way or another though.

It actually doesn't! They complement excellently with the fanfare, giving it a glorious shimmer (that also parallels the orchestration of the later outburst of the fanfare in Kryptonquake).

"Destruction of Krypton" and "The Kryptonquake." It is nice to be able to hear the fanfare at the start on its own, but when I'm listening through, it's so much more satisfying with that ending build-up paying off with the theme.

I'm pretty weary on MCU shenanigans at this point, but this is fun. Seems to be following in the vein of something closer to Beck's work for Ant-Man and WandaVision, with a bit of an Avengers-adjacent harmonic language the way the Guardians of the Galaxy theme was. Pretty good!

The Sandlot David Newman LLL release 01. Main Title 02. Would You Teach Me to Catch 03. The Beast/Scotty Gets the Ball 04a. Benny Defends Scotty/Scotty Talks to Mom (0:00-1:50) 05. Scotty and Dad Play Ball 04b. Benny Defends Scotty/Scotty Talks to Mom (1:50-end; alt. title: Benny Invites Scotty) 06. Scotty and the Guys (for intended segue, mix from beginning into 04b, 2:26 of track 04) 07. Benny Coaches Scotty 08. Scotty Catches Ball – The Beast 09. Wear My Old Hat/Playing Baseball 10. Meeting The Beast 11. The Legend 12. Wendy Lotioning/Fake Drowning 13. Baseball Game 14b. The Babe Ruth Ball/Scotty Hits a Home Run (0:20-0:50; alt. title: Man of the House) 14c. The Babe Ruth Ball/Scotty Hits a Home Run (0:50-2:24; alt. title: An Omen) 14a. The Babe Ruth Ball/Scotty Hits a Home Run (0:00-0:20; alt. title: The Babe Ruth Ball) 14d. The Babe Ruth Ball/Scotty Hits a Home Run (2:24-end; alt. title: Scotty Hits a Home Run) 15. Baby Ruth 16. The Beast Is Darin’ Us 17. Getting the Ball 18. Getting the Ball (Again!) 19. Airborne Attack 20. Erector Set 21. Benny Prepares for Battle 22. The Showdown 23. Chase 24. Benny Runs Around Bend 25. Beast Under the Fence 26. Kids Follow the Dog 27. You Knew Babe Ruth? 28. Benny Steals Home I also strongly recommend subbing back in the original alternates, tracks 29-31, for tracks 18-20. Feels much more of a piece with the rest of the score and is some really good stuff.

Oh hell yeah, this is great news!

Watched it last night, having only seen the theatrical version prior (and parts of the longer TV cut over 20 years ago--"We all create God in our own image" has always been missing in my memory haha), and I thought it was pretty fantastic. The colors are fantastic. The sound mix is incredible. I'm the kind of guy that doesn't mind watching the complete Cloud/Vejur Flyover/Force Field sequence at all, I can bask, but the cuts made here are such that you still get a sense of a journey without it dragging. I will say that I last watched the theatrical a couple years ago, and having since seen the video with the Joe Kraemer mockup of Goldsmith's original "Body Meld" cue, I think watching this, with the Ilia's Theme Overture over a starfield, really firmed up my conviction that Goldsmith had it right the first time. It really works to bring the whole journey together with a big emotional punch. It's funny, because watching with the final "The Meld" cue now makes it feel like something that would have been in the initial slate of cues that Wise rejected because, "Where's the theme?" It's beautiful and transcendent, but not as specific.

Ordered, at long last!

I hadn't been aware of Reel to Reel! I wonder if there's any chance of that being resurrected someday...

Same here!

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light! Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages. 01. Main Title "End Title" 02. For Gillian "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32) 03. Vision on the Stairs "Vision on the Stairs" (0:00-1:18) "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53) 04. Hester's Theme and The House "Hester's Theme and The House" (0:00-1:41) "Before Dinner" (0:00-0:17, 0:37-end) "Approaching the House" 05. Gillian's Escape "Gillian's Escape" 06. The Search for Robin "Remembering Robin" (extended at 1:26) 07. Gillian's Vision "Gillian's Vision" 08. Death on the Carousel and End Titles "Coming Down the Stairs" "Calliope Goes Wild/Death on a Carousel" "Gillian's Power" 09. Epilogue

Jesus Christ. The Uwe Boll quote is hilarious. The rest is largely depressing.

In addition to the above comments, I would say that I love the way Herrmann develops the themes in a very operatic fashion. There's a Wagnerian touch to the score that I'm sure was intentional--indeed, the film is very much like a cinematic opera without singing. Ultimately it's up to you what clicks in terms of the musical taste, of course.

Oh, fuck yes.

Oh, that's badass.

That last quote was the big facepalm moment for me.

Bilbo and Marian hit on the big issues for me. I think GL had Williams overdo it with the foreshadowing, with this being a big example. I don't fathom the logic that prevailed: "We COULD tease and hint the Imperial March over the course of the trilogy, finally unleashing it in Episode III, when the Empire becomes reality and Anakin turns to the Dark Side. Fuck that. How about we just shoot our load now, and then track these really iconic, important scenes with the music that should've been kept in for the CGI monster battle?"

This looks awesome. I don't think I've seen any Polish films, but I've heard of Kieslowski and have wanted to see his stuff. I hope this comes to a city at least near me.

The sequence of Craig entering the town, with the character introductions (especially Rockwell), had me wishing that the whole thing would be a straight Western.

Indeed, more character stuff, and an alternate climax would be smashing.

I enjoyed it. I also would've enjoyed an extended pilot, but for the beginning, it was pretty entertaining. I liked that the plot took turns I wasn't always expecting, and overall I kind of got a sort of Batman: The Animated Series vibe at times from the treatment of the first case we see here. Coulson stole the show, especially in his final confrontation with Michael, and that scene had me looking forward to where this show will go. Coulson's earnestness and idealism is such a refreshing quality that served the pilot well, and will hopefully continue to do so. He seems to be a guy that recognizes that S.H.I.E.L.D. isn't squeaky clean, but it's his best shot to do good in this arena. It will be interesting to see if/how his convictions grate against the darker side of the organization; I can't imagine there won't be some revelation to him what happened that isn't Tahiti, and judging by the exchange between Sherbatzky and Shepherd Book, that could start some serious shit. All that said, I'm hoping we get to know the rest of the team more. This should definitely be an ensemble series, albeit one with a serious M.V.P. in Coulson. They did show promise, though (again, an extended pilot might have afforded us a little more bonding time), and I look forward to seeing how that all plays out. Nothing majorly stuck out in the score, other than the fact that it was clearly reaching to go beyond the standard wallpaper. Here's hoping McCreary gets a chance to flex his muscles in future episodes. I'll be watching for sure.

Picked up Under Fire and Jericho/The Ghostbreaker.

A number of "finally" purchases: Players - Jerry Goldsmith Led Zeppelin - Led Zeppelin The Fury - John Williams Family Plot - John Williams Origin of Symmetry - Muse