jamesluckard

The majority of us are in the same boat here, it seems, based on the survey. Yep, they'll be going for way more than that, I suspect. Those FYCs of the Star Wars scores went for a couple of hundred dollars. I suspect once these start appearing in the wild in a week or so, when they're delivered to the people who bought them at DME, and a few people start selling them, they'll go for similar amounts.

Partly, it's experience working in the film industry and seeing how the requests of important directors and actors are taken VERY seriously. More importantly, it's my experience getting about half a dozen faulty Blu-Rays with video or audio problems corrected by contacting their directors and asking them to contact the studios, after every time fruitlessly contacting the studio home video divisions on my own. Studios don't listen to individual consumers, or even small groups of them. There isn't even a mechanism to receive their questions/complaints/comments usually. They're just forwarded to dead-end phone numbers, or email accounts that aren't checked. Studios listen to everything big name directors and actors say, to protect the relationship for possible future films. One of the first Blu-Rays I got corrected was FRANTIC. I contacted multiple people at Warner Home Video over the course of months and politely notified them the audio was faulty. Nobody took me seriously, even though I was obsequiously polite and respectful throughout. I spent months getting the runaround. Finally, I just looked up Roman Polanski's office number in Paris online, called, got his secretary, and explained the Blu-Ray fault to her. She was horrified by the mistake and asked me to immediately write an email that she would show to Mr. Polanski. The Blu-Ray was corrected within a month, and he sent me a signed copy of the Frantic script to thank me for letting him know about the audio fault. All of that is to say that directors are the best route. They're not swamped with fans like stars, and they truly care about these things, in my experience. I've contacted a number of them like this. (Obviously, Mr. Williams would be even better in this case, but he doesn't have an online presence.) So, yep, I firmly believe that if Mr Mangold can be informed of what happened, and if he is bothered by it (which I think he will be), then one call from him to Disney will get more CDs pressed within a week.

I don't think either of those would have much impact, sadly. I don't think they'll care what a few consumers think. As I posted earlier, I think the best thing is to get someone on our side who's so powerful Disney has to listen to them. I recommend tweeting to James Mangold. He's lined up to do a Star Wars film. If he asked, Disney would reissue the CD in two seconds. If anyone knows anyone in Mr. Williams's orbit, VERY POLITELY informing them of what happened would be useful too.

I recommend that anyone who has Twitter tweet the news about the CD selling out so fast to James Mangold: His Twitter account is: mang0ld I don't have Twitter, but I asked a friend to do so, and he included the Disney Music Emporium tweet announcing, retroactively, that the CD was limited. Obviously, all tweets should be friendly and respectful and ask for Mangold's kind help. I think Mangold might be the only one who can possibly fix this, since John Williams isn't accessible online, and I don't think Disney Music Emporium cares.

Big box with LOADS of bubble wrap.

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

Listening to Inferno first, one of my top 5 favorite scores ever, possibly my favorite score ever. Sounds stunning. And someone has kindly already uploaded the track titles on iTunes, it recognized my CD.

I'll do my best, but I can't guarantee amazing results. Also, there are obviously three individual CD sets, so I can't take photos of every side and angle of every one. That said: Sorry the pics are kind of terrible, I'm not too great at it, and I'm more focused on the music, but the set looks amazing, beautiful design work.

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.

Just finished listening to my copy, which arrived today. It's a revelation, the sound is spectacular. I've been waiting almost twenty years for this and it does not disappoint one bit.

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?

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.

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?

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.

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? 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.

I'm glad to see we're getting the full cue "Anderton in Halo," which includes the score for the deleted scene with Anderton imagining his son at 9 years old. Spielberg has gotten very mysterious about deleted scenes, he never shares them anymore on his DVDs/Blu-Rays, so I wouldn't have been surprised to see this music held back, grateful to see it's included.

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.

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?

On that note, I've always wondered if the album suite "Jewish Town (Krakow Ghetto - Winter '41)" was perhaps intended to actually be used in the film in that early portion, perhaps in scenes that were cut, but then it was realized that there should be almost no music that early in the film.

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.

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!

Thanks so much!!!

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."

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. 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.

"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.