jwalk713

Very interesting. This reminds me of the Donner Cut of Superman 2 having a couple extra scenes only available via the Vudu site, and no one’s sure who added them in, because Donner apparently did not. And it’s 7ish minutes longer than the standard Donner Cut available on disc.

It's kind of amazing. I'm going to go through the entire film this weekend and write it up. The takes used in the original version of the film (and on the soundtrack release) are superior, but it is a fascinating treat to hear some of these cues. Additionally, the London cues that ARE used, are mixed VERY differently. The main title really sticks out, with a few lovely flourishes and a few tragic twangs. My suspicion is that they used the Germany cues for as much as they could, and filled in the gaps with the London bits. I'd love to hear other people's thoughts on this! 

Jim Bowers of Caped Wonder is reporting that the new remaster on iTunes is featuring alternate music takes from the Germany sessions, never before heard. 
 

Yes, I read that in the liner notes (haven't actually seen the film...). But my point was that it seems the transfer of the end title (every time it appears in "The Prison Yard and End Title", "Prelude and Main Title [Film Version]" and "Theme from Superman [Main Title]") is pitched slightly lower and plays back slightly slower than in previous soundtrack releases of Superman. The same goes for other tracks, like "March of the Villains".
 
Check it out for yourself. JW's original main title sounds incredible, whereas there's a slight drop in pitch for the "film version" main title, where the end title music is used. The pitch drop is less noticeable in the full "The Prison Yard and End Title" track, since the whole track is slightly pitched down - It's more noticeable in the build-up from the "film version" main title as it is an edit that sticks 2 different bits of music side by side, where the tuning doesn't completely line up (again, I assume due to differing tape transfer speeds or some other technicality). I hope that makes a bit more sense.
 
Superman - Prelude and Main Title (Film Version) Excerpt.m4a Superman - Prelude and Main Title Excerpt.m4a

The Orville's Chad L. Coleman Shares The Most Positive Update Yet For Season 4
 
We’re all in the loop and out of the loop. We think it’s gonna happen, but it’s still up in the air. There’s so much going on with all of these studios that it’s just like, ‘Well, we gotta settle this thing first, then we can really decide on that thing.’ A bunch of that is going on. We hope so. Seth has an amazing relationship with Dana [Walden] and with Disney, who’s running it now. And they said they’ve had promising meetings, so we’ll see.

Yea season 3 was the best yet.  The thoughts of what kinds of stories they could tell in a fourth season is tantalizing!

Funny coincidence I just finished watching up to season 3 last week! 
 
I had watched season 1 weekly when it first came out but I don't remember liking it very much and I stopped watching. After seeing everyone glowing about the season 3 score album that just came out I figured I'd give the show another chance - I really loved it. It really is the modern Star Trek, I enjoyed the heavy focus on moral dilemmas and, as others have mentioned, the generally optimistic attitude it takes. Season 3 in particular was spectacular. I'm definitely excited for more

This is fascinating to learn. Can you confirm-- did the RSNO John Debney Recording from '98 utilize this version? Because, in that recording, the music preceding Superman's descent to the street is almost identical to the moment in 'II,' right before Clark uses his heat vision.

I recall the Debney version being closer to the final recorded version, just with different orchestration/mixing.

This is fascinating to learn. Can you confirm-- did the RSNO John Debney Recording from '98 utilize this version? Because, in that recording, the music preceding Superman's descent to the street is almost identical to the moment in 'II,' right before Clark uses his heat vision.

Another Fun fact: "Suspecting Lois Takes the Plunge" is based on an unrecorded version of "To The Lair" from Superman TM.
 
Not many people know that.

I wathed the first 2 episodes. I really enjoyed it. It's right up my alley. As both a big fan of the films from the 90's and as a Bueton fan  this is a real treat. It really feels like it's a mix between these 2 worlds.
Burton's usual stylings are noticable but it's the most mainstream thing he has done in years.
The whole production is magnificent. You can feel that the sets have actually been build. It all feels very real. It's not a show that throws CGI at you.
 
Jenna Ortega IS Wednesday. It's absolutely perfect casting and Ortega gives a star performance. I love it.
Gwendoline Christie is also very good and her character is very interesting.
Catherine-Zeta Jones & Luis Guzman are both good and lots of fun as Morticia & Gomez. Both are also perfectly cast.
It's also really nice to see Christina Ricci. Her role is not very big, but she's a joy to watch. But if you're watchimg for her, then you can better watch Yellowjackets, where she's incredible.
 
The script is very clever and the mystery at the center of the story is exciting and fun. The writers, I think, do a great job.
 
The music by Elfman & Bacon is similarly great. It's very much a Burton/Elfman score, but also fits perfectly with Shaiman's Addams Family scores. I really like it.
The album's not chronological, but I'm working on that while watching the show.

This has been a holy grail of mine since I began collecting film scores in the mid 1990s.  I can't believe it's finally happening!

Stranger Things 4x04 Dear Billy
 
Holy hell, that was a good episode of television!  Every single story thread moved forward in exciting and satisfying ways, except for Eleven who sat the episode out, which was probably for the better considering the runtime.
 
The least good of the threads was probably Hopper's escape; As cool as it was to see him get away and find blankets and peanut butter, when he gets recaptured anyway it starts to make you wonder why they are spending so much time showing what he got up to before Joyce and Murray eventually get to him.  I assumed the only reason to show his time in Russia for multiple episodes would be if he gets some sort of information of some kind will help win the day at the end of the season, but there's really been no hint of that yet.  Hmmm
 
Speaking of Joyce and Murray, I'm really liking all their stuff this season; Winona Ryder is much better used as a straightman to Murray's wackiness than she was just worrying about her kids all the time.  But I feel like they've slightly dumbed her down this season or something, with her so brazenly taking $40k out of the bank, leaving her 3 kids at home, flying to Alaska with it, trusting Yuri to help her out - all just to rescue one guy with only Murray as backup.  She should have seen the drugged beverage coming...
 
One of the best and most surprising sequences of the episode was also one of the most intense they've ever done: the attack on the Byer's house in Cali.  I loved the bait-and-switch of expecting Argyle to be arriving but it's a frickin SWAT team of some kind (who the the hell are these guys!?) that clearly would have easily apprehended all the kids if not for Agent Harmon who was a total badass.  The attack was brutal and shocking, and the escape had not the right comic relief from Argyle.  Damn!
 
I'm kinda liking Nancy and Robin as a detective duo: Their infiltration into the aslyum where Victor Creel is staying was over the top and goofy; I'm glad later in the episode the director came to his senses after Robin's off the cuff speech initially swayed him.  Robert Englund was pretty damn good as Victor - I remember thinking when I saw he was cast he'd make a cool bad guy - I love the reveal that he's not the bad guy, but a victim of the bad guy!  His narration of the story as we see it potrayed via the guy from Ozark as the young version of himself was really well done.  I love that Victor himself had trauma / PTSD from WWII so fits into the same pattern we've seen from Vecna's other victims.  The reveal that he attempted to commit suicide while in jail by slicing his eyelids was kinda strange (has anyone ever attempted suicide in that manner?) but I guess was just done to have a reveal of his current face to the girls?  I dunno, maybe I'm missing something about the eyes.
 
Max writing letters to everyone throughout the episode was interesting, she's starting to become one of my favorite characters (it helps that Sadie Sink is one of the better child actors in the show).  The conversation with her mom was really well done, though the final reveal that her mom was never really there was a bit odd.  I loved the letter she wrote to Billy and that she read it all out at the cemetary, and we got a nice cameo from him in the Upside Down (or wherever Vecna's dreamworld is).  It was no surprise that she was in a trance after that, and would be the next victim if not saved by our heroes.  I loved that Nancy and Robin got a clue from talking to Victor that saved her, and the execution of all that was excellent, with "Running Up That Hill" sounding great and the visualizing of it giving her just a tiny window to escape through, etc.  Chef's kiss ending to an excellent episode!

Like all things, I think you have to see a movie through a lens of the time of when it was released.
 
If anyone went into Superman The Movie expecting to see Avengers Endgame, I can see that person getting disappointed. But - and I don’t mean this to be rude - that would be a naive opinion.
 
Superman is what it is - a big budget and serious attempt (in spite of Lex & Otis’ goofy relationship!) of a flying man in blue tights with a heart of gold and a kick ass score - and it carries the mark of its time with it.

This is so exciting!  Jumanji is one of my favorite Horner scores.
 
The OST album was 51 minutes long, and the isolated score track on the DVD has about 71 minutes of music as heard in the final film, and none of it is really any different to the OST versions (other then some extra percussion in the long "Jumanji" cue), so I'm surprised that it's a 2-CD set.  I guess the second disc must contain the entire OST program, unless a whole slew of alternates were recorded that we know nothing about!
 
There was some source music recorded for the film - Cole Porter's Night and Day, Hark! the Herald Angels Sing, We Wish You a Merry Christmas, etc - I wonder if that will be included?

Michael Keaton suits up
 
 

In the latest episode of Maurizio's The Legacy of John Williams podcast, Mike Matessino talks about Can You Read My Mind cane about for Superman, and is very interesting.  I think it's been known before that they wanted it to be sung onscreen instead of only spoken, but MM talks about how Donner only wanted it sung in the movie if Margot Kidder herself sung it, and no one else.  MM reveals that Margot's attempts to sing it were recorded, and that he has heard them, and that the recording includes JW in the booth with her, helping her out. 
 
The other really interesting bit of information that I do not believe was publicly known before, is that the orchestral backing behind "Can You Read My Mind" was NOT recorded with the LSO at all, but was recoded in LA with Jim Thatcher playing!
 
https://thelegacyofjohnwilliams.com/2022/01/29/remembering-leslie-bricusse/
 
The Superman discussion begins about 1 hour, 16 minutes in, but the entire episode is well worth a listen!

+1 - magical score and superlative release. 
 
Hammered it in December - a must to get me in the festive mood along with Vince Guaraldi’s score for Charlie Brown Christmas. 

This is a Jerry score I own no version of (and maybe only heard one of the old albums one time or so), so I'm very excited to finally discover this score, and do so via the best possible presentation.  Woohoo!

It's all downhill after Cuaron's masterpiece -- truly the only standout of the entire series. It stands apart as a great film above all else, not just a great Harry Potter film.
 
It's probably a coincidence the series went to shit after Williams departed, but I certainly don't lose sleep over the fact he never returned to bring some energy to Yates' lifeless snoozefests. His films don't deserve Williams' talent, which would be wasted on those stilted duds.

I still believe.
 
In fact, I know it's coming, even if it isn't this year. Williams knows how much we love it, Matessino knows how much we want it. We got a longer Stanley n Iris, folks. We're going to get a better Hook.
 
So I'm just going to stay over here, speaking my desire into a conscious universe, magicking a new Hook release into being with nothing but my willpower and intention because if anybody ever wanted anything enough to will it into existence, honey, it's me and this score
 
And that's on periodt
 
*snap*

Quick skim through the film suggests at least some of it is from the courtroom scene, and the brief bit from 1:20 stylistically sounds very much like the bit I always loved outside the museum when their proton packs fail to break the slime. (although this bit will just be a similar part of the score)
 
I suspect Order in the Court is additional music from that scene, and Edelman decided to move this later in the album for some reason.
 
I'd imagine this is rearranged/intended/similar, but if this track representative of what the rest of the score sounds like, and it's complete, this could be really good 

Yea I hope it's not the last as well!
 
It's easily one of the shows I looked forward to watching most in the pat few years