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Posts posted by jamesluckard

  1. 25 minutes ago, Omen II said:


    Thank you, James.  Do the liner notes give any background information about the album track Finale, End Title from Earthquake [track 12]?  The music is not heard in the film (for which the end titles are essentially the film version of The City Sleeps) so I have always wondered if it was a track that John Williams wrote specially for the album, or perhaps an earlier version of the end title music.


    Just a sentence or two, saying it's music written for the film but not ultimately used in it.

  2. Mine arrived today.


    Interestingly, there was an extra loose rear insert for Earthquake in the box. Looks like the original rear insert, sealed in the box with the set, mistakenly has the same catalog number as Inferno, 1517. The new one fixes it, and has 1518. However it was loose inside the box, so it's all bent up. I'll stick with the original, though I guess for contractual reasons they had to do up a revised one.

    Anyway, cannot WAIT to dive into this set over the weekend!!!!!!

    The packaging is stunningly gorgeous in every way!


    If anyone has any questions about it, since I have it in hand, feel free to ask.

  3. 13 minutes ago, crumbs said:


    The scene in the pouring rain where the huge mob of people start attack Ray and the kids while they're in the car. I think this lines up with the session leak and cue list too, so that's pretty definitive.


    Spielberg wisely chose to remove the music because it doesn't fit well at all, IMO.

    Thanks! I'll have to check out that scene.

    I found a rip of the DVD rear channel audio ages ago, but never the sessions or the cue list. Is the cue list up here?

  4. 4 minutes ago, Josh500 said:

    The cue that starts at 0:05... That's what I'm looking forward to the most, I think. 



    Wow, that clip is bizarre, it seems to be from a PAL source, it's sped up.


    I saw the film 6 or 8 times in theaters and have watched it a bunch of times since, so the difference hit me in about a second. :)


    Great cue though. The whole score is one of Williams's most vibrant of the 2000s, so varied and so aware of the needs of the film.

  5. 17 minutes ago, crumbs said:


    There was some conjecture about this. WOTW did have a substantial deleted scene involving Ray and the 2 kids hiding near a car while a Tripod rummaged through homes nearby. It was cut because the VFX weren't finished in time (but some shots were used in trailers).




    I'm pretty sure the Attack on the Car cue was intended for the music-less scene in the film though (and it works far better without music).


    Yep, that was the one I was thinking about. Which music-less scene do you think that cue was intended for? Since the film probably wasn't recut all that much, it should match up, right?

  6. 49 minutes ago, Jay said:


    IIRC the Indiana Jones documentary on the 2004 DVD box set has deleted scenes peppered throughout.

    Plus there is extended cuts of 1941 and The Lost World, as well as deleted scenes on JAWS.



    I don't think so.  There is music for scenes that don't use the music in the final cut, but the scene is still there


    Ah, true, deleted scenes from his earliest films have popped up, but nothing from his films from Hook forward, as far as I know, except for 2 brief deleted scenes from The Lost World, I think, which got reinstated for network broadcast and are included on the DVD.


    Hmm, I could have sworn at least one track on the WotW album was from a deleted scene, but it's been ages since I looked.

  7. This release looks spectacular. I've been waiting for it for nearly 20 years :)


    I spent hours and hours and hours assembling a quasi-chronological version back in the day. And I spent even longer tracking down the exact film versions of all the source music (classical and pop music).


    I could be wrong, but it looks like everything is there. Is anything missing?

    4 minutes ago, Jay said:

    I can't think of any time any specialty label release omitted a cue just because the scene it was written for didn't make the final cut


    Spielberg seems to be unusually reticent with deleted material though.


    Aside from CE3K and Hook, are there any other films where he has allowed deleted material out?


    Empire of the Sun had massive amounts of deleted material, as did Schindler's List, none of which has been seen. And almost all his recent films have had deleted material that he has spoken about not wanting to make public.


    Obviously most of that material was cut before Williams scored the films. Minority Report was fairly unusual, in that the scene was cut at the absolute last minute.


    Actually, come to think of it though, I think the War of the Worlds commercial album had a cue that was from a deleted scene, similarly cut at the last minute.

  8. Obviously this thread is 71 pages, so I'm not sure if this has been discussed before, but while listening to it just now, I noticed something fun:

    On Disc 1, track 12, "The Journey to Hogwarts", there's a brief quote of a theme from Home Alone 2.

    Starting at 1:04 there's a very Christmas-y section of the cue, and it concludes at 1:24 with the last 7 notes of the melody from "Merry Christmas, Merry Christmas" from Home Alone 2. Took me a couple of listens to remember why it was so familiar. Fun little Easter Egg there. :)

  9. 5 hours ago, Josh500 said:

    The film version is more sparsely orchestrated, I believe, it's really the same melody and structure, just the orchestration is different. The film version is a bit more unobtrusive, yet raw and clinically detached, I feel like, whereas the OST version is more fleshed out, and hence warmer and more emotional.


    Is the album version of "Schindler's Workforce" more richly orchestrated because it was only ever intended as an album version, where it wouldn't have to compete with dialogue and sound effects? Or were the takes that are combined into the album version truly early attempts at the actual film cues?

  10. 19 minutes ago, Brundlefly said:

    It is really incredible how little original score can be heard during the first two hours of the movie.

    I agree, it's amazing that almost all the score is in the film's final hour. It's really quite brilliant, because it lulls you into a sense that the film is a document, instead of a fiction, and once you're safely hooked by the film, the music subtly emerges, until it absolutely dominates the final portion.


    This choice Williams makes is extremely similar to what he did in, of all things, Black Sunday, which is one of my favorite films and one of my favorite Williams scores.


    Back in about 2002 they did a retrospective of Williams films at the AFI in DC leading up to a Williams concert, and they screened both Schindler's List and Black Sunday. I believe I remember reading the films they played were selected or at least approved by him.



  11. 3 minutes ago, Jay said:

    I've gone ahead and created a new spreadsheet from scratch for this score.  So far, it only includes information about the SCORE cues, nothing about any source music.




    Thank you SO much!!!  there's such a massive amount of source music, from various sources, that it's really helpful to have a clean spreadsheet like this of JUST the Williams-composed material.


    I'm sure someone will create something adding in the Williams-conducted pop songs and the many existing recordings that were tracked in as well, but this is HUGELY helpful!

  12. Does anyone know the story behind the bonus tracks "Reflections" and "Theme for Recorder" from Disc 2? Neither appears in the film, presumably they're album suites that were dropped at the time?


    Oddly, track 4 on Disc 2, Remembrances, is listed as "alternate," but track 5, "The Perlman Family," is not, although it's definitely an alternate too, the film version is on the album. Perhaps it couldn't be listed as an alternate because the film version doesn't appear under that name, as it's the second half of "Stolen Memories."

  13. 8 hours ago, rpvee said:

    Yerushalayim Shel (or “Chel”, though Schindler’s List is really the only place I’ve seen it spelled like that)


    Thanks so much for all the amazing info! So great to know the name of the group who recorded that version, the liner notes of the Pour Sacha CD say it's performed by Naomi Shemer, but I suspected that was a misprint.


    By the way, the song is also spelled as "Chel" on the Pour Sacha CD:




    I suspect that's where they got that spelling for Schindler's List, since they used the recording from that CD in the film. Then, when they recorded the SL album version, they just used the same spelling.

    9 hours ago, rpvee said:

    This may have been mentioned earlier, but the song is about Jerusalem, and has nothing to do with the Holocaust, so another song was used for screenings of Schindler’s List in Israel. 


    I actually like that about the song, as it's used in the film, because it's a hopeful moment as they all leave the camp and crest the hill toward freedom, and then transition into the survivors in the present, on another hill, in Jerusalem. Obviously the specific Six Day War connotations the song has in Israel made it distracting to audiences there, but without that, just as an ode to the eternal power of Jerusalem, I actually find it really appropriate for that sequence. :)

  14. On 11/27/2018 at 10:01 PM, Not Mr. Big said:

    Is the sound quality remastered?  Could do without some of the chair creaking.

    "Disc One of this special 2-CD presentation showcases the original soundtrack assembly, sourced from the original 1993 release’s 24-karat gold Ultimate Masterdisc digital master, while Disc Two contains previously unreleased tracks, sourced from engineer Shawn Murphy’s stereo digital masters, including two major cues that are now presented in the versions heard in the picture: “Schindler’s Workforce” and “I Could Have Done More,” both of which underwent revisions after the 1993 album had been prepared."


    BTW, a user at FSM put together a listing of the cues in the order Williams intended, and I updated it to be in film order. I definitely intend to make a film order mix, here it is just so people have it and don't have to search the various threads here:

    05 · Schindler's Workforce (9:08) [The Money Exchange / Recruiting]
    09A Stolen Memories [0:00-3:04] · (3:04) [The Luggage Scene]
    OYF'N Pripetshok - from the Billy Bathgate soundtrack album
    06B Nacht Aktion [1:05-end] · (1:51)
    09B [3:04-end] · (1:16) [The Perlman Family]
    03 · Immolation (With Our Lives, We Give Life) (4:43) [The Burial Scene]
    10 · Making The List (5:10) [Typing The List]
    11A Give Me Your Names [0:00-2:14] · (2:14) [Say Your Name]
    08 · Auschwitz-Birkenau (3:40) [The Shower Scene]
    11B [2:14-end] · (2:40) [Returning Women]
    07 · I Could Have Done More (5:52) [I Could Have Saved More]
    Yeroushalaim Chel Zahav - from the Pour Sacha soundtrack album
    01 · Theme From Schindler's List (4:15) [Placing The Stones]
    14 · Theme From Schindler's List (Reprise) (2:59) [End Credits Piano Overlay / End Credits Extension]
    04 · Remembrances (4:20)

    Bonus tracks:
    02 · Jewish Town (Krakow Ghetto - Winter '41) (4:40) [The Journey To Crakow (Introduction And Theme)]
    06A [0:00-1:05] OYF'N Pripetshok - album version
    12 · Yeroushalaim Chel Zahav - album version
    13 · Remembrances (With Itzhak Perlman) (5:16) [End Credits]

    Track 2 is a concert arrangement, track 13 was originally recorded as the end credits, before tracks 14 and 4 were swapped in right before the film came out.

  15. 40 minutes ago, TownerFan said:

    Actually, the choice of that song caused a stir in Israel, as it's a piece very much linked to the memory of the Six Day War and has nothing to do with the memory of the Holocaust. it was so out of character that subsequent prints of the film had it replaced with a different song, "A Walk to Cesarea" (aka "Eli, Eli"), which is the most-performed song in Israel for Holocaust memorials.

    Yep, I read about the reaction in Israel a while back, but I still love that piece of music over that scene, and for American audiences it worked perfectly. :)

  16. 3 minutes ago, crumbs said:


    Maybe Mike added some breathing space between these two cues so we can separate them?


    Hmm, checking the track times, doesn't look like it. Can we use the sessions to source clean openings/endings of those two cues?


    It's pretty easy to split those two cues up using the album version, there's a lengthy sustained note connecting them, I just faded out at the end of one cue and faded in on the opening of the other, in order to put the Auschwitz-Birkenau cue between them.

  17. 1 minute ago, fommes said:

    Everyone everywhere seems to prefer the Pour Sacha and Billy Bathgate versions; I must be the only one preferring the album versions :)


    I don't think either of the album versions would work well in the film, as for preferring them as listening experiences on their own, I'm not sure, I'm only interested in the film versions because they're inextricably linked in my mind with those scenes in the film.

  18. 28 minutes ago, Muldoon said:

    So if I add the following tracks to the end of my rip of Disc 2, will I really be missing anything else?


    Disc 2 Continued:


    7. OYF’N Pripetshok (On the Hearth - Film Version)

    8. Yeroushalaim Chel Zahav (Jerusalem Of Gold - Film Version)

    9. Por una Cabeza (By a Head)

    10. Celos (Jealousy)

    11. Hebrew Prayer

    Well, there are also a number of other dance songs/tangos that Williams recorded for the film.


    You also might want to add this existing Perlman classical recording that's used as score when Schindler interviews secretaries and hires all the applicants:



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