Jim Ware

Avex also lists the sequel, but it does not appear to have any bookings yet - https://www.avexclassicsinternational.co.uk/avatar-the-way-of-water-live
 
Odd - could have reverted to Disney?

This is the segue between 1m6 Zam's Dirty Trick and 1m7a Zam Chase Pt. 1 which is aligned slightly differently on the 2018. There aren't any horns playing it this point - just bones and tuba.

This is the segue between 1m6 Zam's Dirty Trick and 1m7a Zam Chase Pt. 1 which is aligned slightly differently on the 2018. There aren't any horns playing it this point - just bones and tuba.

Intermission time. Loving it.
 

 
Karol 

Dulcima Records is planning to release Johnny Douglas’ music for the Dungeons and Dragons animated series later this year. The Transformers album that was previously issued on LP will also be re-released digitally as part of the 40th anniversary.

Dulcima Records is planning to release Johnny Douglas’ music for the Dungeons and Dragons animated series later this year. The Transformers album that was previously issued on LP will also be re-released digitally as part of the 40th anniversary.

The manuscript is less sweary!

Well sure, but I didn't know any of that when I wrote that post on January 7th!

Howard Shore is scoring David Cronenberg's The Shrouds.
Michael Giacchino may be concentrating on pre-production of Them!
Alexandre Desplat scored the first three episodes HBO's The Regime (with Alex Heffes scoring the final three).

Howard Shore is scoring David Cronenberg's The Shrouds.
Michael Giacchino may be concentrating on pre-production of Them!
Alexandre Desplat scored the first three episodes HBO's The Regime (with Alex Heffes scoring the final three).

It's an excellent performance let down by technical issues that mar a few tracks. I can live with the artefacts, but they really shouldn't be there. 
 
I'll defer to @thx99 for a more detailed explanation:
 

It's an excellent performance let down by technical issues that mar a few tracks. I can live with the artefacts, but they really shouldn't be there. 
 
I'll defer to @thx99 for a more detailed explanation:
 

The manuscript is less sweary!

The manuscript is less sweary!

There needs to be two categories
 
Instead of:
 
BEST ARCHIVAL RELEASE
CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon)  
It should be:
 
BEST ARCHIVAL RELEASE
CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) BEST RE-RECORDING
LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon)  
These two types of releases have nothing to do with one another at all.

The one where a third of the tracks phase. Fucking beautiful.

Yes - incorrect takes (Just an Oasis), incorrect assembly of takes (My First Bus Ride - neither version on the Intrada release is correct) and everything recorded in LA sounds like a rough mix. With a few exceptions, it duplicates the sound and content of one of bootlegs.
 
Thankfully it does not have any egregious phasing like Goldsmith's The Mummy (which also has incorrect takes in a few spots - Night Boarders for one).

Horner (RIP) was involved in the 2009 releases, hence the ‘album style’ programmes. I don’t know what’s missing from this one, but Honey, I Shrunk The Kids left out a few fun cues.
 
The first generation masters of Journey of Natty Gann were missing. I believe the Intrada release utilised an unreleased album master and additional cues from secondary sources in Horner’s own archive.
 
Incidentally, Something Wicked This Way Comes was an early digital recording, using the same technology as The Black Hole and Star Trek II - there’s only one machine left capable of playing it!

Yes - incorrect takes (Just an Oasis), incorrect assembly of takes (My First Bus Ride - neither version on the Intrada release is correct) and everything recorded in LA sounds like a rough mix. With a few exceptions, it duplicates the sound and content of one of bootlegs.
 
Thankfully it does not have any egregious phasing like Goldsmith's The Mummy (which also has incorrect takes in a few spots - Night Boarders for one).

Howard Shore's The Lighting of the Beacons from The Return of the King - the first piece recorded on the first day of the sessions.

I really liked Monuments Men a lot - film and score - and didn't understand why it wasn't a bigger hit

Howard Shore's The Lighting of the Beacons from The Return of the King - the first piece recorded on the first day of the sessions.

Giacchino seemed to enjoy it!
Giacchino So Good.mp3

Howard Shore's The Lighting of the Beacons from The Return of the King - the first piece recorded on the first day of the sessions.

According to this article - https://variety.com/2005/scene/awards/the-malick-conundrum-1117933724/
 
I've not seen anything else to verify that.