BigMacGyver

There are a couple of unreleased cues from BTTF that I would love to hear on a beautifully produced official release with good sound quality. However, what I find frightening is the lack of solidarity of people like Southall who just don't want the score released because it's what people actually want to see released. For him, it just seems to be a principle of being opposition and the most scary thing is: his review proofed that he has no clue about silvestri or the BTTF score. He made really terrible factual errors and that, along with his lack of solidarity, are inexcusable in my eyes.

Yet these occasions are exceptions to the rule and only possible under special circumstances and mainly for individual scenes only. Zimmer on the other hand, feels that the old way of composing to locked pictures is entirely dated according to his latest interview with soundtrack.net and that's what bothers me so terribly. He wants to make the exception a rule. And it just fits in with his whole approach. Zimmer is a composer who makes music primarily for CDs and not for films. Why not composing the score months before a film starts shooting only by reading the script? In Zimmer's world it would only work that way no matter how screwed up the result would be because the CD would sell anyways. That a script can't give you any idea about timing, rhythm or atmosphere is entirely irrelevant to him because his music is mainly bare of these factors anyways. That's the reason why real film composers depend on a film that has reached a certain phase of production in order to produce good results. Ask real film composers and they will confirm this. The way you relate to a locked picture is entirely different compared to the way you relate to a script which can be largely misleading. Such occasions are therefore exceptions and demand an incredible amount of understanding, communication and intelligence for the craft of scoring not only from the composer but also from the director. Such an approach can only work out under special working conditions. Yes, it is true that post-pro schedules have become insane for composers, often writing lengthy scores within weeks before the premiere but that's part of the reality of the job and every good composer can cope with that. If hans zimmer can't deal with tight post-pro schedules and needs a legion of youngsters to finish his scores, then by all means he has choosen the wrong profession because other composers are able to do it and produce much better results.

The academy didn't give Williams the oscar for Geisha, Empire Strikes Back and Raiders, so they are seriously uncool! so what?

You all forget that John Williams was banned from flying by the US government and therefore can't fly to china: http://www.buzzflash.com/articles/analysis/118

He is seriously uncool and I have to agree with Marcus on the reasons. Besides, he has a really unsymphatic grin. Not in a cool elfman-wacky way but in a cheater kind of way which makes him incredibly unsymphatic as a person. He also constantly claims how he re-invents stuff when he actually destroys it. And no film composer can be named cool who really thinks that composing music before the film is actually finished is a good thing. He always comes off like he has no idea about film scoring by saying crap like that. Hardly have I experienced a composer talking more unintelligently but constantly self-confident about his craft like Zimmer. So I find him seriously uncool not only as a composer but also as a person.

random guesses. My guesses are probably as good as those of any other when it comes to varese's club CDs.

Intrada will release Broughton's Eloise at the Plaza and Eloise at Christmastime shortly. My guess for the varese CDs: Hook - John Williams - 2-CD set limited to 3000 copies Boys From Brazil - Jerry Goldsmith - limited to 2000 copies and for their 1000 unit lp to cd deal: The Formula - Bill Conti or Cat's Eye - Alan Silvestri or Russkies - James Newton Howard You see... I have no clue!

Uhm, Quincy Jones only has a consulting function on this one. Besides, this is not Spielberg directing a film anyways, this is Spielberg overseeing an event, so Spielberg certainly isn't cheating the spielberg-williams relationship.

If I remember correctly, Spy Game was the first film to utilize the E.T. anniversary logo, so it's possible that Harry Gregson-Williams is actually responsible for this arrangement. It sounds quite synthetic orchestration-wise, so this might fit in. However, I am not really sure about this. Soundtrack.net is quite unspecific about it too.

Alan Silvestri's A Night At The Museum - could easily become the best score of the year! David Arnold - Casino Royale - promising sound clips! James Newton Howard - The Blood Diamond - another jnh adventure score with violin solos.

It seems that Silvestri was a bit more selective with his projects, especially last year, to spend more time with the family and develop the vineyard because he is aware that the next few years are going to be pretty busy. Stephen Sommers has a lot of pictures in development and Silvestri is always involved when Sommers or his friend Ducsay are doing new stuff (with Ducsay, the chances are at least very high). Projects with a big LOTR scale are also on his list of upcoming scoring jobs. I only say Beowulf and When Worlds Collide, it can't get bigger than that. But I can fully understand that he did not want to score stuff like Click or Firewall and the bad performance of The Wild wasn't really foreseeable for him because he already joined that project way back in 2004. It seems he does not want to be rushed into tight post-pro schedules anymore. Now if Robert Zemeckis is really going to direct the christmas drama The Corrections in 2007 besides Beowulf's post-pro, it is going to be a great new year for Silvestri fans.

As the silvestri fan that I am, Night At The Museum will be a must-see and hopefully there will be an album with a good amount of score. The saddest thing is that most of Silvestri's really impressive works are still unreleased. Siegfried & Roy: The Magic Box is an absolute thrill but there is only a bootleg. The Polar Express is a really outstanding effort, probably his best score ever but there is only a short promo and 9 minutes on the album. I won't even start talking about BTTF. His very first orchestral score for Fandango was an outstanding work but remains unreleased and very few bits were used in the messed up film. I think if there would be more releases of the really good Silvestri scores and not just his comedy and action stuff people would finally realize what an amazing talent this guy is and how big his range actually is. He can switch from complete action overscoring ala mummy returns which despite being overbusy always ends up as really exciting, to marvelously spotted, careful dramatic stuff like Cast Away - seemingly within a heartbeat. He is even doing music for free as it was the case with Two Soldiers, Aaron Schneider's Academy Award winning short film, which I heard is excellent as well and I wish there would be a way to enjoy it. A DVD iso score was planned but the DVD got cancelled for reasons unknown. It's great that Silvestri has established strong friendships with Zemeckis and Sommers, because there is some really amazing stuff coming from these guys and Silvestri will almost certainly score all of them. In an interview with music from the movies, Stephen Sommers said: "My next Movie will be composed by Alan Silvestri!". Sommer's company has a lot of cool stuff in the works, such as Nightmare Academy, The Mummy 3, When Worlds Collide, Jason and the Argonauts, Flash Gordon, Magic Kingdom for Sale and many more. Zemeckis is currently working on Beowulf and the official site of this one is already up with a demo cue of Silvestri's music! Besides being an excellent artist and master of his craft, he is also a very nice person. He donated an expensive recording studio to a music school which is a very kind gesture and he even invites his closest fans to scoring sessions. There surely can't be a cooler guy than Silvestri in the business right now. And he is just getting better and better with each film he is scoring. IMO, the guy has just began... he is going to surprise a lot of people in the years to come.

So why did the Young Sherlock Holmes promo get only 500 copies? :? I'm very curious as to what these are. Hmm... You basically answered your own question. Young Sherlock Holmes was a promotional release and as such not allowed for a wide spread distribution. The amount of copies in this case was certainly influenced by a lot of restrictions since promos are usually not allowed for sale at all.

Doug gave away another clue which pretty much cancels out John Williams, Horner, Goldsmith, Alfred Newman and every composer who died prior to the 70's:

I can, if the title is an obscure one like Images. Doug Fake said that Intrada estamines the amount of copies mainly by looking at the popularity of the title. Saturn 3 was according to him a most requested one and that "only" received 2500 copies. Bandolero and Inchon on the other hand, were Goldsmith-releases and both had less than 2000 copies pressed mainly because the titles were not exactly popular or requested. Now, if there is a release of Images which most people except hardcore williams fans probably never heard of before, a limitation of 1200 units would make sense.

But there is still "most popular composer (...) of all time" and that pretty much only fits John Williams. At least I am not aware of a composer who is more commonly known and popular than him. Besides, Doug Fake said there aren't any Golden Age titles on their schedule for now because their last few golden age releases sold very slow and he feels that people want more of the recent stuff.

It can't be Sugarland Express, because Williams does not want that one out. He feels that the re-recording of the theme is all that folks need. That's at least what Doug Fake said, so we should not expect Sugarland Express to come out anytime soon. This is fake's original statement: "Believe this or not, Williams has specifically asked Universal not to issue this. He really doesn't feel the whole score is listenable though we've certainly told him we think it is. He feels the theme that he recorded is enough to satisfy. In any case, Universal wants to respect his desires for some strange reason. Gads. You'd think this Williams guy is somebody important... "

I am rather getting physical pain from the prices and the offerings at my local CD store 8O

You guys are still buying Williams' CDs in real stores? 8O I think the last CD i bought in a store was the King Kong OST when it came out. Everything else I buy online.

Well, after taking everything into account I am pretty sure now that this is going to be Images. It would also make sense to pair this rather short score with a work from a more unknown composer and make it a limited edition single disc release of 1200 copies, although I assume this one will sell as fast as Inchon did. Only a little more than 10 days until we will find out.

It cant be Sugarland Express, simply because Doug Fake stated in the intrada forum that Williams himself does not want that score to be released. Black Sunday is Paramount and out of the game. Family Plot is Universal and it is still uncertain if Intrada has any access to that Studio's music catalogue beyond the special arrangement that was developed for the Amazing Stories anthology release.

But on LP and thus it does not qualify as world premiere release.

Hm, maybe Spacecamp is another possibility? But there is an LP of this one as well. There is even an LP of Cinderella Liberty. Maybe it is Images? There was only a promo LP if I remember correctly.

Doug Fake gave us some clues for Intrada's next Special Collection release: "World premiere" release by "one of the most popular and represented academy award winning composers of all time". Certainly fits Williams and as far as I know, the only releaseable williams-score for Intrada that is still left and without a proper release would be Monsignor. What do you guys think?

I haven't heard anything about this, but it sounds interesting. What is it? Ray Barnsbury When did "The Wild" come out? The Wild Soundtrack CD is out since april and features 31 minutes of score. Silvestri recorded the music for Sea Legend in L.A. one month later in early may and the live show premiered July 14th.