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Went back through my project files and realised I saved a bunch of colour variants for this custom art. So for anyone who cares (or wants some new alternate covers), here they are! Retro: Charcoal: Teal: Orange: Blue: Purple:

I'd totally forgotten that! You're right, I don't think this music appears anywhere in the final film.

Exactly. And I'd pay a handsome price to hear what he wrote for V1 and V2 of Battle of Syracuse. *cough Disney Records cough* Clearly he devoted more energy to the parts that inspired him the most. No surprise most people cite that third act as the film's best.

Large chunks of the Prologue were almost certainly temp track re-records. A little disappointing, but I get it. The man was 90 and wanted to focus his priorities elsewhere, which yielded pieces like Helena's Theme. Considering the alternative was Chamber of Secrets 2.0 (a few new themes paired with mostly Ross adapted music) I'm perfectly happy with what we got. And as the cue list revealed, there were lots of patches and rewrites. For all we know JW's original cues were totally new music.

Same, been stuck on "in progress" since I ordered.

Buy the right foods and you get gas for free!

Not to mention he wrote at least 3 versions of it!

I think that already came out – the Munsters release from LLL.

I wonder if it's a documentary about something film-related? IIRC Mike used to direct video content/special features for catalog releases. The Alien Legacy doco springs to mind.

I thought the rumour was LLL were aware of the Hook boot with superior audio quality, but Sony had a policy of not using bootlegged material (so they had to use film stems). No idea if there's any truth to that.

But AI technology that can be fed all this data and generate new content that approximates the data didn't exist before. Pair the results with a music editor who can cut and paste the output wherever it fits in the film and suddenly you've bypassed composers from the workflow.

It's surprising Zimmer agreed to work with him after this stunt. Yeah, we all know Zimmer farms out work to underlings but I think anyone in a creative industry would be insulted if someone high-ranking from another department walked up to them and said, "look how close this AI came to approximating your work." How long until composers are striking over conditions? It seems long overdue. Considering the way music editors have become de facto composers, samples are supplanting orchestras, and the plethora of library music is making original scores redundant, I can't help but wonder if companies like RCP have architected the demise of an entire industry.

The biggest issue with Love and Thunder is the undercutting of every single dramatic moment with comedy (and I use that word lightly, considering most of the "jokes" barely register a smile). That's long been a criticism of Marvel movies but they went completely overboard here; almost every character plays the comic relief, meaning nothing has any dramatic weight. Thor is reduced to a bumbling, moronic buffoon, reminiscent of Homer in modern Simpsons. The icing on the cake was shoehorning a cancer narrative into this epileptic seizure of tonal deafness.

"Zimmer, he said, found it amusing. Zimmer wasn’t reachable for comment." Says it all, really.

There's a big JP fanbase out there. Makes me wonder if LLL are fast-tracking JP3 and the Giacchino scores, considering 3/4 aren't subject to union fees and Universal's easy to deal with currently. Might as well strike while the iron's hot.