Once

A few highlights jump out: I've already mentioned that I found it very profound when discussing spirituality/philosophy with him. I also loved hearing him talk about his favorite books and his favorite poets. He is a very well read person, with incredibly sophisticated taste, and I learned a lot from him. Another highlight was when he told me in detail about his early piano lessons and the unique methods he was taught—and actually demonstrated for me on the piano.
 
One word? Surreal.

ANY label resurrecting an OOP title for another group of fans to pick it up gets big points from me.  I liked when Intrada brought back Clash of the Titans and The Shadow.  More of this. Even if it’s not a title for me personally, more of this. 

I had not seen this post, thank you for the clarification. That's why Mike is one of the best, the fact that he corrected the problem himself, I can absolutely appreciate that and more album producers/masterers should strive to be like him. Any time I see his name attached to a project, I know it'll be done right.

In the year 2000, the multitrack would very likely have been recorded onto analog tape.
 
In fact, maybe the reason this new album uses a remix from the original multitrack instead of Shawn Murphy's existing mixes from 2000 could be if the mixes were only saved back then in a digital format that isn't considered high enough quality for today's standards.
 
That happened with Harry Potter 1 in 2001.  The performance edits were only saved as 44.1khz files, so Mike rebuilt every single performance edit from scratch from a high res transfer of the original analog tape that held every take of every cue

And so, it is basically Anne's theme now.

 
 
And so, it is basically Sarah's theme now.

 

I discovered this OST recently and it is a really excellent score. I especially love the track "The Wedding of Officer Torres" (sounds like an extension of the rhythmic material in Catch Me If You Can).
 
I would buy an expansion of The Terminal and Catch Me If You Can instantly. 2001-2005 has slowly become one of my favourite JW periods, and I love hearing all the little connections between the works from this time.

I can step out of the shadows and provide some proof here to the above. The source material at our disposal runs deep. It's been a true collaborative effort, and while we can't do too much without direct permission from the appropriate copyright holders, we're both excited to share snippets of what we've learned in the spirit of both critical analysis and "how the sausage is made" when it comes to scoring a major motion picture. More to come in the future on this; we have a much larger project in the works outlining this whole story - thematic analysis, comparisons with other scores, etc.
 
I see this as Horner's swan song, and we both desperately would love to see this officially released someday.

One last thing: 

AI was not used to make this project. As the opening text of the video states, we used various workprints and original film stems, in addition to the theatrical Blu-ray, itself used only for video, no audio.  

A major factor in why Horner's music wasn't working for the producers had nothing to do with reuse:
 
They wanted "Legends of the Fall" Horner, but instead hired "House of Sand and Fog" Horner.
 
I spent two and a half years working on this thing off and on - I'd take months-long breaks just to clear my head and find new ways to achieve better results in the film editing which is a long story in itself, but basically I'm a rank amateur who sought out to make something as professional as I could with my limitations, with professional assets at my disposal. It's kind of crazy and I say that no hyperbole intended.
 
I did the entire movie - the theatrical version of it - and then went back and spent the majority of those 2.5 years on restoring the original intent of the film, which admittedly isn't very different. The biggest difference in the theatrical cut versus the intent, was the first 20 minutes or so were shuffled into different order to introduce characters faster, and the pace of the film was trimmed to make it more brisk.
 
The impression I got was they wanted to make it 'faster, more intense' for short attention spans.
 
The restoration of this longer cut is about 18 minutes longer, but changes absolutely nothing in terms of the basic plot. It's just allowed to breathe a bit more.
 
I wish we could screen it for the masses, but alas that's not something we're allowed to do. We can't do so and claim Fair Use on such a thing. Videos like what we're planning are more transformative and will be in-depth with insight into the film and score.
 
My friend was absolutely invaluable not only for providing the material, but going over it all with a fine-tooth comb to ensure that this whole project covers all the bases from start to finish. Absolutely the best collaboration I've ever had in my life!
 
(If he wants his name out there, that's his choice, I won't make it for him)
 
Add in replacing the replacement score (such a curious thing to say), and that was actually one of the easier parts of this whole endeavor. Most of it was right there plain - just put it where it belonged. The rest (revisions, rescore, etc) were more of an educated guess that worked wonderfully well.
 
I feel like I love the movie not because it's good (it isn't) but because my friend and I spent so much time on it that we grew to love it warts and all.
 
Hailee Steinfeld is great...in other roles. Edge of Seventeen, even Hawkeye. just not in this movie. She was reading lines with little to no understanding of them.
 
Douglas Booth was a bit too monotone, but at least I believed him when he spoke. He brought his A-game to the scene with Friar when he's breaking down after being banished. I liked the bloke.
 
Christian Cooke as Mercutio and Kodi Smit-McPhee as Benvolio were better than their leads with the roles they had.
 
Ed Westwick as Tybalt...well. He was the villain. (he's the reason why the Sneakers / Pelican Brief piano riffs are in the score.) Was Gossip Girl still on TV when he did this? I can't recall.
 
Paul Giamatti was definitely the MVP of the cast. Lesley Manville as Nurse was completely committed, standing rightfully alongside him.
 
It's been very educational. I learned new ways of thinking about how music and the visual can work together (or against each other), and the line that can blur or even break between artistic intent and commercial intent. Sacrificing integrity for audience scores, personal vision being taken over by studio meddling.
 
Nothing groundbreaking, just very eye opening.
 
My friend and I can confidently say we are the world's foremost authority on Carlo Carlei's Romeo & Juliet (2013) which is both kind of neat to say and a bit cringe at the same time. There are worse things to be an authority on...but everyone's got something!
 

Thank you so much for your kind words. If you do enjoy the soundtrack, please make sure to share it as much as you can, as in the internet age attention is the biggest factor and small releases like that can easily be lost in the cracks.

For the musicians and interested people around here, I have a little bonus. I made the entire sheet music of the score available for download for study purposes.
 
Find it here: https://www.robin-hoffmann.com/score-sheets/treasure-trackers-complete-score-sheet/
 

This one hurts. I wish I was born earlier so I could've watched more of her stage work. I don't think she got many roles on screen that matched her magnificent acting skills. And I really wish they had filmed the adaptation of A German Life they announced!

What movie is it from?

Most of them are new releases of scores that have just been rotting away (sometimes literally) in vaults for years or decades. Nobody in the studio cared about them. Along comes a weird niche label and offers you time and money in exchange for access to the vaults and the rights to release a limited number of CDs. A good deal and a property nobody cares about, so I imagine it takes relatively few people to sign off on it, and they can easily be convinced of the benefits.
 
Star Wars is different: Companies (lately Sony, now Disney) have been milking that franchise for decades, and that includes the soundtracks. They actively know they can make money by releasing them again, in different formats, so many people from many departments are already involved with that from a pure marketing POV. Most of them probably care little or not at all about the music, it's just one of several things they own and can exploit in multiple ways, and those ways are by and large written down in some marketing  manual that defines how the company and the various departments deal with those kinds of things. Along comes a weird niche label and offers you time and money in exchange for access to the vaults and the rights to release a limited number of CDs, but they want to do everything about it totally differently than the people in charge know how this things are "supposed" to be done, and they want to spend lots of time (including Disney's, for all the paperwork) and money (including Disney's, for all that time), just to sell something that they've been successfully selling for decades all along.

Different film studios license more music to the specialty labels than others.  Why?  Who knows!
 
If you click open this thread, you can see the numbers of just the past 5 years of specialty label licenses
 
20th Century - 16 titles
Disney - 8 titles
MGM - 37 titles
Paramount - 70 titles
Universal - 70 titles
Warner Bros - 14 titles
 
Historically, there was a time when Fox and WB were the most prolific, and Universal and Paramount were completely shut.  Things change over time, and will hopefully continue to change in the future!

Mike used the goose-honking analogy in broad terms, referring to the need from the fan community to keep showing they care about how the product is made and make their voices heard. That doesn't mean that setting up petitions or e-mail bombing studio people is the best approach.
 
I think everyone should really stop making conspiracy theories about why a definitive Star Wars soundtrack collection hasn't been done yet, be it the composer sitting on the masters or the studio being an ugly behemoth who doesn't want to give fans what they want. Key people know how to make the best case, but sometimes things are complicated to get done and you have to wait for stars to align, especially if you want to do them properly. It's Star Wars, so the numbers of stakeholders is high.
 

I understand the frustration and if making up a narrative that it's the artist preventing to release the music you want to hear is more comfortable to you, so be it. But that's not the case here. Star Wars is a big property, yes, and it's now controlled by one of the biggest studios in the world, so you have to navigate all through the waters of such a large, hyper-structured, always-evolving company to make yourself heard. It just may not be the studio's priority at any given moment to put a lot of money and efforts in something like a full restoration of the whole John Williams works for the franchise. So, as I said, you have to bring several people on your side to make things happen. Key people know what the fans want. Anyone just wish it would be simpler, cheaper and smoother to release soundtrack music out there.

It's not because of that. As it has been evidenced by dozens of expanded releases now, Mr. Williams and his camp are more than happy with having his scores restored, released and preserved at their fullest. What a lot of people don't know (or just don't seem to understand) is the level of admin and bureaucracy there is behind the scenes to get those lavish expanded releases out there. You have to deal with movie studios, record labels, publishing rights companies, musicians unions and other stakeholders. It takes a lot of work and patience to get them all on your side and collaborate to produce something of value.
 
But as Mike M. said not too long ago, we need the fans keep honking at the goose to make the powers that be aware that there is interest for these kind of things.

I don't think this was meant as a direct reply to my comment, but for what it's worth I completely agree with just about everything you said and I wasn't trying to set any expectations at all. In fact, I've never expected this documentary to be anything in particular - and certainly not an exposé (I wouldn't even be interested in that). I'm just glad it exists.
I do however think it would be lovely if this documentary could make casual fans see beyond the franchise and Spielberg scores, that's all. I'm not expecting it to, but it would be nice.
Less than a month now!  Wish I could see it in the cinema like I did with Ennio.

It would be lovely if this documentary could make the masses see beyond the franchise and Spielberg scores, though. The masses still think Williams only goes big.

I don't think this was meant as a direct reply to my comment, but for what it's worth I completely agree with just about everything you said and I wasn't trying to set any expectations at all. In fact, I've never expected this documentary to be anything in particular - and certainly not an exposé (I wouldn't even be interested in that). I'm just glad it exists.
I do however think it would be lovely if this documentary could make casual fans see beyond the franchise and Spielberg scores, that's all. I'm not expecting it to, but it would be nice.
Less than a month now!  Wish I could see it in the cinema like I did with Ennio.

I don't think this was meant as a direct reply to my comment, but for what it's worth I completely agree with just about everything you said and I wasn't trying to set any expectations at all. In fact, I've never expected this documentary to be anything in particular - and certainly not an exposé (I wouldn't even be interested in that). I'm just glad it exists.
I do however think it would be lovely if this documentary could make casual fans see beyond the franchise and Spielberg scores, that's all. I'm not expecting it to, but it would be nice.
Less than a month now!  Wish I could see it in the cinema like I did with Ennio.

I don't think this was meant as a direct reply to my comment, but for what it's worth I completely agree with just about everything you said and I wasn't trying to set any expectations at all. In fact, I've never expected this documentary to be anything in particular - and certainly not an exposé (I wouldn't even be interested in that). I'm just glad it exists.
I do however think it would be lovely if this documentary could make casual fans see beyond the franchise and Spielberg scores, that's all. I'm not expecting it to, but it would be nice.
Less than a month now!  Wish I could see it in the cinema like I did with Ennio.

I had the opportunity to talk with astronaut, rocket scientist, spacewalker, violinist, and John Williams fan, Sarah Gillis!  Our wide ranging conversation talked about her passions for music, music education, John Williams, her experience working with The Maestro and the other musicians, plus her work and voyage to space which she just returned from. 
 
The full interview is here: Violinist Sarah Gillis on Playing John Williams’ Music in Space (Exclusive Interview) – JOHN WILLIAMS Fan Network – JWFan.com