A. A. Ron

I think some forums do have moderators that don't like bumping old threads for any reason, but I've always thought it made sense to continue to use existing threads for new discussions of the same topic.
 
The only thing I haven't liked if if some old thread is bumped for a similar but not exactly the same topic that would just make more sense to be a brand new thread, or when its bumped only to make a really bad, not funny to almost anyone joke.

Reported Jay for necroing.

I wouldn’t be surprised if this has been in the pipeline for a while and just got held up with licensing or something.

Yeah I disagree that Beyond “didn’t click with fans.” I think most people waited for it to stream, but the fans who actually saw it, generally seem to have liked it.

We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc
 
Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong.  Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well.  The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with.  However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3.  It's kind of nicer to have disc 3 be more of its own thing. 
 
Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard.  The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible.  Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way!
 
 
Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone.  And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences.
 
For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music.  I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version.  Just my preference.
 
For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change.  We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one!  But since the revision is what's in the film it worked out nicely in that regard anyway.
 
For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed.  This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger.  And again because the revision is what's in the film it worked out nicely anyway.
 
For The Lost Boy Chase, I really like the percussion insert section.  But John Williams wanted the album version in the main program.  I don't really think it matters much either way.  If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround.  At least each instance is on a different disc!
 
For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks.  Just my preference.
 
One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)).  At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score.  And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied.  So, I'm still undecided which I like better! 
 
I think that's about it.  I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything.  And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below".  Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score).   Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.

Obviously, he is going to say he was very happy with it lol

They always do. Their entire FB page reads as like a 'stop complaining please' plea which is uncalled for I think. Wait, maybe I shouldn't say that or I''ll get banned again.

The film edits are wildly butchered from the original compositions. The film version would be unlistenable.

The film edits are wildly butchered from the original compositions. The film version would be unlistenable.

The bigger problem with that set is some missing film takes such as the ending, iirc. Putting album/original versions in the main program is pretty far down the list of priorities for me compared to that.

I really, really want Catch Me If You Can.

I can. I can honestly happily say that, while such sets would certainly be exciting, I don't need them at all. I don't plan on getting swept up in unreleased Star Wars or Indy music mania. Those days are over. Too much music to listen to anyway. One day, Mike will do them and then I'll sit back and enjoy it all.

Don’t go giving them ideas!

Don’t go giving them ideas!

I really, really want Catch Me If You Can.

Don’t go giving them ideas!

I really, really want Catch Me If You Can.

I really, really want Catch Me If You Can.

No jokes today, just an unfortunate apparent reality.

Per Cinema Herald:
 
Legendary composer John Williams has been tapped to score Oliver Stone's upcoming film, "Donald Trump," set for release in 2027. The film will explore the life and presidency of Donald Trump. Stone, known for his provocative and politically charged filmmaking style, is expected to bring his unique perspective to this highly anticipated project.
 
Williams expressed his excitement for the collaboration, stating, "Working with Oliver Stone is always a creatively fulfilling experience, and I am thrilled to be a part of this project."
 
Williams revealed that he has already written the main theme. “Oliver wanted me to write an ambiguous theme that could be played in either a major or minor key, depending on the context. So I wrote a motif that goes up a major second, down a perfect fifth, and then up a perfect fourth. Hopefully, I’ve written something that might contribute in some way to the audience’s listening experience, if only on a subconscious level.”
 
This collaboration is set to deliver a captivating musical narrative, leaving fans eagerly awaiting the film's release.

Hey fellow Jay Dubs fans,
 
The new 2023 edition of Hook is an absolute masterpiece in full form and IMO every bit the revelation that the Harry Potter Collection was. These scores offer such an astounding amount of great music -- a cornucopia if you will -- that I feel they invite and in some ways even demand that you continually find new ways to experience them. I feel that Disc 3 of the Hook set serves as proof of this concept, just as Mike's creative assembly for Close Encounters did as well.
 
Anyway, I had a lot of fun reading about the creative edits some of you made with the Potter box and I figured that Hook was just as deserving of that kind of love and attention. So if you're like me and you like to make shorter custom albums to serve as companions to the whole enchilada, here's a whittling and editing guide like the one we had for the Potter box.
 
The goals for this thread are the same. It's intended as a place to share ideas on how to:
 
- Connect cues (not necessarily chronological!)
- Make creative microedits
- Intelligently create suites with listening experience as a higher priority than strict chronology
As an example, my current custom companion album for Hook is short and covers all of my favorite highlights, but is not at all intended to replace the main program of the Ultimate Edition. It breaks down like this:
 
01. From Page to Stage... (1:22)
UE D1T2 We Don't Wanna Grow Up (START-1:22)

02. ...And Stage to Screen (1:26)
UE D2T11 Prologue (Alternate)

03. Nutty Wendy and Hook Returns to Kensington (8:03)
UE D1T5 The Bedroom (ALL)
UE D3T5 The Stories Are True (Alternate) (START-1:04)
UE D1T16 Draw Your Sword (1:24-END)
UE D1T15 Hook's Entrance (1:15-END)
UE D1T8 Hook Returns to Kensington (ALL)
UE D1T9 Hook-napped (ALL)
 
I wanted to start my album with a suite that emphasizes both the whimsical and some of the darker moments of the score. I really love the transitions in this suite, especially from The Bedroom into The Stories Are True and from Hook's Entrance into Hook Returns to Kensington. I also made the stinger at the end of Hook-napped come in a bit earlier to keep the momentum going.

04. Tinker Bell and The Flight to Neverland (3:29)
UE D1T12 The Arrival of Tink (1:40-END)
UE D1T13 The Flight to Neverland (0:59-END)
 
I'm really proud of this suite. It jumps straight to Tinker Bell's theme and never loses too much momentum.
 
05. Give Us the Hook! (3:49)
UE D1T14 Pirate Town and Presenting the Hook (START-1:22)
UE D1T15 Pirate Town and Presenting the Hook (2:44-3:31)
UE D3T24 Presenting the Hook (Vocal Version Segment) (ALL)
 
I used the sessions leak for the clean ending of Arrival at Neverland and the clean opening of I'll Take Those Shoes and then switched to the vocal version of Presenting the Hook shortly before the vocals come in.
 
06. The Lost Boys Ballet (2:23)
UE D1T20 The Lost Boys Chase (START-1:20)
 
Nothing special here. I used the End Credits track for a cleaner, concert suite sort of ending.

07. Hook's Ennui and Smee's Epiphany (6:04)
UE D1T22 Hook's Epiphany (ALL)
UE D1T25 Hook's Lesson (START-2:00)
UE D1T25 Hook's Lesson (2:49-END)
UE D1T23 Smee's Plan (ALL)
 
I feel this suite could maybe use some more trimming, but at least I'm happy with all the transitions between cues.

08. Believe Your Eyes (4:22)
UE D1T29 Goodnight Neverland (ALL)
UE D2T14 The Face of Pan (Choral Version) (ALL)
 
09. Never-Feast and Food Fight (6:06)
UE D1T26 The Banquet (ALL)
UE D1T27 The Never-Feast (Film Version)
UE D3T13 The Never-Feast
 
For this track, I did my best to imitate the way the concert suite transitions from The Banquet into The Never-Feast. Then somewhere after the big film version insert, I switched to the album version of The Never-Feast for the longer ending. I decided to omit Cutting the Coconut since it's very similar to the cue Follow That Shadow, which opens the next track.

10. Childhood Memories Montage and Pan Is Back (12:08)
UE D2T2 Home Run and Follow That Shadow (2:46-END)
UE D2T3 Peter Remembers (The Flying Sequence) (ALL)
UE D2T4 You Are the Pan (Film Version) (ALL)
 
I got the clean opening for Follow That Shadow from the partial sessions leak. For years now, all of my Hook edits have had The Flying Sequence crossfaded with You Are the Pan and at this point, it doesn't sound right to me to have the cues separate.

11. The Ultimate War (7:48)
UE D2T15 The Ultimate War (ALL)
 
Just to make this album a little more different from the UE main program, I used the album version of The Ultimate War without the film version inserts and crossfaded it with the next track.

12. Death of Rufio (4:13)
UE D2T7 Death of Rufio (ALL)
 
Crossfaded with previous and next tracks.

13. The Sword Fight and The End of Hook (7:09)
UE D2T8 The Sword Fight and the End of Hook (ALL)
 
Crossfaded with previous track.

14. Farewell Neverland (10:29)
UE D2T9 Farewell Neverland (START-5:58)
UE D3T20 Farewell Neverland (Short Version / Alternate) (2:24-END)

Nice beard. Almost as good as your wife's!

Those photos are awesome! What a fun halloween that must have been.

It does kinda work!