Jilal

That's definitely Williams's handwriting.

Are you sure you know what an elephant looks like?

I think you can hear the snare(s) in the center channel of the Atmos mix. (It sounded like a single snare drum to me, but I could be wrong of course.) They sound noticeably duller (more tom-like) than they do in other cues. And yes, so cool to finally have a peak at this sketch! Really makes me wish the entire sketch score were available for study.

Because we know exactly what JW's and Herb Spencer's handwriting looks like, and also because this is a sketch score, not a fully orchestrated score which Spencer would have produced based on the sketch score.

Not sure what's so weird about his beard, I'd say he's well groomed.

Yeah, apart from the similarities in orchestration, I'd say those two segments don't have all that much in common. Are we going to shame composers for using tremolo strings now?

I'd say Beverly Hills Cop has a pretty iconic score, or main theme at least. Maybe that's because it was adapted into that obnoxious eurodance classic.

On his official website, his credit for COS reads "score adaptation, conductor", so I don't think he worked as an orchestrator on COS.

He has?

"Dont not follow this artist"

Very cool interview, but the background music is terribly distracting to me.

inequality

I'd like to request one for Harry Potter and the Chamber of Secrets.

It's become a bit of a meme these days. I've seen it on FB a couple of times. Ben Burtt has left the chat.

It's a direct quote during the prologue, IIRC

Fair enough, although I'd feel a little uncomfortable if someone posted screenshots of my Facebook posts on a public forum (not that I post anything there, anyway). Of course, when you see something like this, it's hard not to get excited and jump to the OP's interpretation of a big expansion being in the works, and I guess those considerations might not come to mind immediately.

I'm not sure what to think of multiple people sharing screenshots of a friends-only Facebook post. Mike might not have wanted to get a lot of people's hopes up for something as big as SW or Indy.

Sounds about right to me! Although for all we know, there might be a first take of the entire cue including the Ark theme. I'll let Doug chime in in case he knows more! Interestingly, there are no indications of a rewrite on Spencer's manuscript, at least not on the copy I'm referring to.

Herb Spencer's manuscript for the cue (R5P5-R6P6 Don't Touch That) does include that statement of the Ark theme that Doug is referring to. I'm guessing its omission was dictated from the podium during the recording sessions, since the Bad Dates track doesn't really sound like an edit to me (in fact, as originally written, the cue ends on an F# instead of a G as in the film/Bad Dates track/LTP).

Yeah, I imagine some replicated edits could be avoided by simply altering the tempo a bit here and there.

The LTP score (the current version, at least) matches the Bad Dates track on the Concord album as well as what's heard in the film, and so does the performance by the BP I heard last Sunday. They played nothing beyond bar 7.

Can anyone explain why there were five horn players present instead of four? I'm asking this because the LTP score is arranged for four horns. I've noticed the same thing in some other orchestral performances on YouTube, and it's mostly extra brass players. Maybe to lessen the workload and alternate between players? Or perhaps to double one of the parts in order to create a more powerful sound? (You can't see all five horn players on the picture I posted—I guess some were still at dinner. )

That's such a beautiful shot by the way. I loved seeing all of Douglas Slocombe's beautiful cinematography on the big screen. Also, there was no explanation about the choice of music for the intermission either. I imagined they'd project something along the lines of "Swashbuckler—from Indiana Jones and the Kingdom and the Crystal Skull". But they didn't, I think the screen only read "Intermission".