bollemanneke

I have been unblocked from their FB page! Could this mean 2024 is gonna be my year?

I haven't listened to that yet, will do so when I have watched the film... some day.

Well, Rufio clearly hates and remembers his mother very well, calling Peter a mother lover.

Huh! That's a lovely scene!

3-11. I briefly considered keeping it, but it’s unbearable. So they don’t wash either over there? What must Neverland smell like and do they have any pandemics as a result? And they don’t write to their parents! Lost boys? More like loathsome, loutish boys (thank you ChatGPT, for the words). 3-12. I’m keeping this one, though. Best of both worlds: happy-go-lucky orchestra without percussion or stupid kids. 3-13. Great track and album placement. Poor trumpets. 3-14. No words can do justice to this one. 3-15. What a song! I wish Amber Scott had sung this one too. 3-16. Had a good laugh, but I’m really surprised that the title is never set to the first notes of the theme: ‘stick with me, stick with me, stick, with, me…’ That’s how I always imagined it the moment I learned about the title/song. 3-17. Nice track. It sounds more echoey in the film though. 3-18. Keeping this one. It might omit You Are The Pan and Follow that Shadow, but it’s great to keep options open and allow a long Hook track to come up during a shuffle session. 3-19. Tink’s theme as opener, so fantastic. And the song! My goodness! I really, really don’t understand why no effort was made to include more of her theme in it, though, or why JW never made a concert piece for Tink for that matter. Bad form, JW! You stoopid, stoopid man! 2-15. This really worked after Believe. Form Ranks STILL starts too late. Why? 3-20. I might have missed something, but why is the first cue repeated here? Is there a difference? As for that extension, wow! This really should have been in the main program. It just works. A grand conclusion to a grand adventure. I mean, I get the idea of not wanting to deviate from the film, but by that logic, the original trailer music should have opened disc 1. 3-21. This somehow sounds grander than the other version, but I still think the ending is way too muted. It’s almost as if someone didn’t… believe. 3-22. My preferred version in a way, as was to be expected. 3-23. The beginning of this track is so awesome! I do think it should have been put in the main program of the disc. 3-24. Predictable, but nice. A bit weird to end the journey on that note, though. Phew! Now I need a Hook break, but I do want to see that ‘believe your eyes’ deleted scene. Make it happen, somebody.

But it just makes no sense. Presuming he was happy as Peter Pan, why would he forget all of it? It's like making a movie about Harry Potter in which he represses his childhood with the Dursleys so he can have a good time with them at Christmas as an adult. It would never happen. Even though I don't like everything about my childhood, I still know it all.

2-11. This is my version. I kind of understand why one would want to open the program with the other take, but it’s just not for me. The speed is still ‘wrong’, but at least it’s the music I’m used to. Feels more natural. 3-01. Not worth keeping since the other one is so much more beautiful. Also, can somebody please explain to me how Peter is supposed to be able to watch a play about himself in this universe? Did he tell the whole story to a therapist who made him suppress everything while she published a book about their sessions? 2-12. Impossible to choose between this one or the other, both are so nice. 3-02. Nice bells, unremarkable singing. 3-03. The piano accompaniment is gorgeous! I don’t need Julie Andrews’ version and still don’t really understand why she wouldn’t approve of that recording being released. I also can’t imagine Maggie Smith singing this high. And speaking of which, why does Page never sing that final D as high as it ought to be? This is weird, she goes to a lower octave for one note. Weird. 3-04. Sure, I guess. 3-05. Wow, what a spooky alternate! 3-06. This is basically the way most of my celesta LTP experiences sounded. Next. 3-07. I wonder what made JW score the scene like that. Talk about an anti-climactic ending. Next. 3-08. My God! And it starts in major too! Genius! What is that ‘whoo’ sound supposed to be, though? The song kind of becomes less interesting as it unfolds and the beginning is the best, but the score cue will never be the same now. 3-09. Not for my playlist. 2-13. Sure. 3-10. Nice enough, but for all the talk about listening experience, I don’t understand why one would have Presenting the Hook just before Lost Boys Chase. It does not work. Not saying I have a better idea at this point, but this seems weird. 2-14. I really, really do not like the choir. Next.

That's one way of looking at it, but I don't think it applies here, except in Tink Grows Up's case.

2-08. Love the clock thing and the When You’re Alone variation. Spielberg was right to omit the music when Hook is eaten, though, as great as it is. 2-09. The tracking in the film is really awful here. The choral writing is so good too. To think I disliked it years ago. And the flute, oboe and violin solos! Tink once more, brilliant. This final part is basically Williams being Patrick Doyle for four minutes and it’s so great. And the ending! I always imagine myself reaching for the starts and embracing the whole world. The woodwind flourishes are… SOOOOO delicious. They’re trying to capture an almost indescribable sense of happiness to me. 2-10. I love the coda in part one, prefer it to the concert ending. I think The Lost Boys starts a bit too late, though. And we waste too much time on the theme. Exit Music might be great, but I really, really miss Tinker Bell here and Exit Music ends too quietly, too muted.

2-01. Still loving the themes. Jack, you asshole, smashing that watch. Bad form! 2-02. The When You’re Alone statements are glorious! And I’m marvelling at their possible meanings again, like Peter feeling alone. And it’s great to finally hear the next cue where it belongs, as is the violin at 4:39. 2-03. This leads me to a recurring problem with this set that I will keep pointing out: the splitting of tracks. It’s one musical and film sequence, leave it as one track. I do love how the Believe theme is so prevalent here, as if Tink is helping him remember. I totally forgot that passage and, again, the clarity in this set is absolutely stunning. As one member pointed out years ago, though, it’s utterly ridiculous and absurd that we’re supposed to believe Peter totally forgot all this. You might grow up, but you don’t suppress your childhood like that, you just don’t, unless it was severe trauma. Also, the woodwind playing in the flying sequence is extraordinary, but I vastly prefer the Boston Pops Brass section. 2-04. Again, this should really, really not be its own track. I know, I know, it’s a famous track name and all that, but it doesn’t work. In my view, there are two possibilities to make it work: you either keep the original combo of this track with the Face of Pan, because that’s at least a very satisfying listen, or you paste this track at the end of the flying sequence, but not this way. You’re bracing yourself for the final triumph, but instead you get a sloppy ending, a pause, and then your moment of glory. 2-05. I finally hear the Tink variations, love the solo violin again, and, yet again, the ending doesn’t work at all. I feel like I’m listening to recording sessions. Again, I understand the reasoning of wanting to preserve the track title/OST starting point, but it doesn’t flow. 2-06. Hyperactive but overall great track, but Form Ranks starts too late. I know, I know, it’s the OST way, but this really should not have been retained as it is incorrect. It’s not musical. 2-07. And again, the new track is not necessary. I realise a 20-minue track might not be ideal for some, but for me, the way the music was written goes first, and as I recall, there were no intended breaks here.

WAIT LONDON WHAT LONDON WHERE TICKETS LONDON WHEN... AAAAHHH!! Yeah wait a minute... Movies In Concert - film music live in concert (soundtrack, score, event, ticket, filmmusik, konzert, karte)

You should never buy things you don't like.

Without wanting to turn this into an OST vs expansion debate at all, what I don't understand about your logic is that you seem to think an album should be short by definition. While I agree that some albums drag, Hook is the last score I think this could be the case with. Given its limitations, I actually think it's quite a decent OST, one of his best I think.

Right.

Yeah you wonder why so many people fail to understand what TEMPORARILY means.

Bring on Angels & Demons, Spanglish, Pirates 3, Lion King 2019, Inception, simpsons Movie and Da Vinci Code assembled by Mike! Instabuys.

Just learned in a James Hart interview that he wrote Tink thinking of Meg Ryan. That would have been really interesting to watch!

1-16. The Childhood and Low Below variations are so wonderful. 1-17. Wonder why this had to be its own track, but I’m still amazed at all the ways you can interpret those Childhood statements: loss of childhood, inner child trying to break free etc. The Jolly Roger theme is still gorgeous too, as is the woodwind writing in general. And Tink, of course. I wonder why nobody ever set that tune to lyrics. It seems to be crying out for its own text. But I will say that, as great the ending is, it’s really unfortunate that the cue still ends in that long horn note that’s so clearly meant to overlap with the mermaid beginning. It goes nowhere now. 1-18. That Believe quote is so great and another instance of a moment when the film just should have been paused so that JW could write more of it. 1-19. I hate you, Rufio, die already. Boil him, mash him, put him into stew. Its own track again, which kind of works, but it really shouldn’t be separated from the chase music, the two are clearly meant to go together. 1-20. Perfect music for the insufferable brats it underscores. And another fantastic Childhood statement and implications of it at the end. 1-21. Another great cue, but I feel more than ever that the concert arrangement is just vastly superior. I know there was no time and all here, but it feels like music someone demanded to be pasted over a scene that was ultimately too short and not even that good. Or rather, the movie does not deserve this music in the slightest. And I didn’t really hear that this is Pan’s theme, as the liner notes say. 1-22. Whoever moved this to the bonus section in 2012 had no taste. I love the cellos and clarinets here. 1-23. Again, could have been one track with 22, and again, the concert piece is so much better. 1-24. Yeah, next. Urgh. I’m going to keep the overlays from the 2012 set and get rid of this one. Does JW do the whistling here, too? 1-25. I don’t think the music for Maggie disrupting the lesson is appropriate. And she does it so well. 1-26. Is this the worst and most disgustingly awful and unforgivable scene JW ever scored? Though the sound is still above and beyond the previous releases, I still think the cue sounds a bit weird, as if recorded in another, smaller room. And again, I feel like a song is just waiting to burst out of this music. 1-27. The harp writing in the beginning is out of this world. I was really surprised at the cut at 2:14, though, and remember it being very clunky in the film. Is this how it was recorded or meant to play? I don’t really like it, my ideal version would be the insert followed by everything as recorded. Love how Pan’s theme makes its entrance here, though. 1-28. Amber Scott. Just… breathtaking. I LOVE how imperfectly perfect she sings here. Did JW do the recording with her, as with Margot Kidder? I wonder why or if she never did more with her singing. This is so wonderfully innocent and mournful. 1-29. And I HATE that stupid kid. More in two days. GOOD NIGHT JWFAN!!!!!!!

Okay, the journey has begun. Full confession: I never read the novel or saw the 2003 movie. Something to correct someday. 1-01. I don’t like the correct speed. The wrong one really sounded beautiful. I also don’t like the viola extension, but the double bass writing is astonishing. As for Filmtracks claiming it’s the best 90 seconds JW ever wrote: no way. 1-02. Such a lovely piano cue. I thought the kids’ song was going to be unbearable, but I really didn’t dislike it at all today, though as I recall, the OST hardly had any pause between tracks 2 and 3, which I really liked. 1-03. So is this the version based on the film stem rip on the previous LLL? 1-04. I feel like meditating or embracing the whole world. The ending is so gorgeous, but the final horn should have been dialled out… 1-05. …unless it had segued right into The Bedroom. No wonder John Takis was so impressed with this cue as a child. The track ends with a rather long silence. 1-06. I love the ‘classical-esque’ ending to this track. 1-07. When You’re Alone. What a theme. 1-08. The violins are so fantastic in this cue. 1-09. As is the clarity in this release overall, you really hear every single thing the orchestra does. I still wish that G minor ending could have gone on longer, though: it would have been wonderful to hear JW elaborate on the violin possibilities. 1-10. Although it’s a very lovely track, I wouldn’t have minded it in the bonus section as it’s in a way redundant. 1-11. No comments. 1-12. I never understood the idea behind the writing at the very beginning before Tink appears. It’s… weird and not in tune with what the scene required, I think. But then her theme comes. And how glorious it is. I’ll be whistling it all day. Can’t Spielberg do a Tinker Bell film/trilogy? 1-13. At first I wondered why this wasn’t part of track 12, but now it clicked. It’s perfect this way. 1-14. I want to see that Slicing the Hand scene. Funny that the booklet doesn’t mention it in the otherwise magnificent score analysis. And I LOVE 2:54!!! 1-15. And I also love 0:30. That’s it for now, more later.

If Letterboxd finally imported those TMDB keywords, this list could be made in no time.

It has been unpacked! Undamaged! I'm going to clap my hands for an hour tomorrow!

That's... strange. It would never have crossed my mind to do that.

Oh, I'm sure there are people working who are just as competent and committed as Mike. It's just that whenever I get my hands on any OST and compare it to the standards set by people like Mike and Neil Bulk, I get frustrated.

Did you have to bring that up? I was doing so well repressing memories of that scene.

I mean, if those mixes were used in 2012, why couldn't things like the Never-Feast inserted be included back then? Or did Murphy never have that recording?