Smaug The Iron

Just got back from the cinema.
 
Without getting into spoilers, I thought the film was excellent – genuinely big-screen Spielberg. There’s a lot going on, and I already know I need a second viewing to fully process it all. Someone wrote somewhere that the film lacks humor. I honestly have no idea what they were talking about. And when it comes to action, Spielberg still knows exactly how to stage a chase.
 
As for the score, there is quite a lot of music in the film. Early on it tends to appear in shorter passages, while the second half features more extended musical sequences. That said, this is not a score-driven film in the way Star Wars, Harry Potter or even some of Spielberg's earlier collaborations with Williams are. Williams is a little more in the background here than some people may expect – but I absolutely do not mean that as criticism.
 
There are two or three action moments in classic Williams fashion, but don't go in expecting anything on the scale of "Anderton's Great Escape". That's simply not what this score is about. Still, in a few places Williams reminds us that he hasn't forgotten how to get the pulse racing.
 
What struck me most was the thematic material. There is a beautiful horn theme – though not in an obvious, immediately attention-grabbing way – that becomes more prominent later in the film, and I'm very curious to hear how it develops on the album. There is also a lighter scherzo-like idea that caught my attention immediately. I found myself wondering whether it receives a more substantial development on the soundtrack release.
 
The score also features some delicate choral writing that occasionally brought A.I. to mind. Not huge, operatic choral statements, but something much more intimate and ethereal. Pure Williams.
 
Another thing I noticed was a theme that, at least to my ears, had a certain "Cinque's Theme" quality to it, accompanied by a female vocalise. I'd be very curious to revisit those passages on album, because they made quite an impression in the context of the film.
 
There is also one particularly emotional cue before the finale, strongly centered around the piano, that absolutely floored me. One of those moments where the emotional impact of the music becomes almost overwhelming.
 
"listen..." appears during the end credits, but what really stayed with me was what follows afterwards, when that beautiful A.I.-like theme returns in all its glory, enriched by a delicate chorus. It was one of the musical highlights of the entire experience.
 
As for the finale itself, I wouldn't compare it to Close Encounters or E.T. in terms of musical spectacle. However, there were moments when I became so immersed in what was happening on screen that I almost stopped consciously listening to the score, while at the same time feeling that the music was doing exactly what it needed to do. Had it done more, some people might well have accused Williams of pushing the music too hard in moments that didn't require it.
 
Right now, the only thing I'm thinking about is going back to the cinema on Wednesday or Thursday – partly to hear the score again before Friday's soundtrack release, but also because I simply want to experience the film one more time on the big screen.
 
And I absolutely cannot wait for the album. I'm convinced it will reveal even more than the film does and that there is still a great deal left to discover.
 
 

Physical soundtrack announced, and it's definitely coming out on Waxwork!!!
 
https://waxworkrecords.com/products/disclosure-day
 
Out on both vinyl and CD, July 2026!
 

 

Didn't the Skyfall FYC have the James Bond theme dialed out to comply with Academy rules?
 
Anyway, Spectre might not be my favourite score in the franchise, let alone in Thomas Newman's oeuvre, but this is exciting for (1) the amount of unreleased music, (2) that it implies Casino Royale, Quantum of Solace and Skyfall are on the table and (3) it's quite rare to see Thomas Newman expansions (I want more!).

Music Composed and Conducted by Thomas Newman
“Writing’s On The Wall” performed by Sam Smith
Limited edition of 5,000 units
RETAIL PRICE: $32.98
Exclusive release
 
Sold exclusively at 007Store.com and lalalandrecords.com for the first 90 days of release
 
La-La Land Records, Metro-Goldwyn-Mayer and Universal Music Enterprises proudly present the 10th anniversary remastered and expanded 2-CD re-issue of renowned composer Thomas Newman’s original motion picture score to the James Bond film, Spectre. Produced by Michael G. Wilson and Barbara Broccoli, the 2015 film stars Daniel Craig in his fourth turn as James Bond 007 and is directed by Sam Mendes, returning for his second film in the series. 
 
Noting his brilliant work on SKYFALL, it’s no surprise Thomas Newman (THE SHAWSHANK REDEMPTION, SKYFALL) was recruited for another epic Bond mission, and he delivers above and beyond – scoring Spectre with a rich orchestral depth that mines fresh, emotional dimensions of drama, suspense, action and mystery, all the while honoring the classic Bond music traditions. Expanded with never before released music, this is a revelatory presentation of Newman’s expertly crafted score. Included as well, is Sam Smith's powerful Oscar-winning song, "Writing's On The Wall."
 
Produced by Neil S. Bulk and mastered by Doug Schwartz from Simon Rhodes's original 24-bit digital stereo mixes, this is a special 2-CD release, limited to only 5,000 units. The two hour "Score Presentation" presents the music in chronological film sequence while the "Additional Music" section showcases unique Original Soundtrack Album edits as well as an alternate cue and a source cue. 
 
Featuring sharp art direction by Dan Goldwasser the release also includes exclusive, in-depth liner notes by journalist and author Jon Burlingame.
 
TRACK LISTING:
 
DISC 1

SCORE PRESENTATION 2:04:01
1. Gun Barrel (From "Spectre") 0:53
2. Los muertos vivos están (film version) 5:07
3. Building Down 0:57
4. Sciarra Chase 0:50
5. Helicopter Fight 2:12
6. Writing's on the Wall (Performed by Sam Smith) 4:39
7. Courtyard / M's Message 2:48
8. Vauxhall Bridge (extended version) 2:32
9. The Eternal City (extended version) 6:59
10. Donna Lucia (extended version) 2:09
11. A Place Without Mercy 1:03
12. Palazzo Meeting 1:44
13. Enter Hinx 0:33
14. Cuckoo 0:38
15. Backfire (film version) 6:52
16. Nine Eyes Meeting 2:04
17. The Pale King (extended version) 3:32
18. Kite in a Hurricane 2:07
19. Photo of Madeleine 0:55
20. Crows Klinik 1:46
21. I Kill People / SPECTRE Ring 2:15
22. Snow Plane (extended version) 5:34
23. Hinx Lives 0:54
24. L'Americain (extended version) 2:52
25. Secret Room (extended version) 5:54
26. Madeleine (extended version) 3:55
27. Hinx (film version) 1:22
TOTAL DISC 1 TIME: 1:13:37
 
DISC 2

SCORE PRESENTATION CONTINUED
1. Writing's on the Wall (film version, instrumental) 0:54
2. Silver Wraith 2:14
3. Compound Bedrooms 1:44
4. A Reunion (extended version) 7:14
5. Torture Room 7:05
6. Tempus Fugit (film version) 1:18
7. Safe House (extended version) 4:23
8. Blindfold 1:29
9. Careless (extended version) 6:26
10. Detonation (extended version) 4:16
11. Westminster Bridge 4:12
12. Out of Bullets (extended version) 1:56
13. The James Bond Theme (From "Spectre") 1:14
14. Spectre (End Title) 5:38
 
ADDITIONAL MUSIC 24:12
15. Writing's On The Wall (instrumental) 2:10
16. Los muertos vivos están 2:47
17. Marimba Float Drums 0:51
18. Day of the Dead 1:24
19. Photo of Madeleine (alternate) 0:57
20. Backfire 4:52
21. Secret Room 5:22
22. Madeleine 2:56
23. Hinx 1:20
24. Tempus Fugit 1:20
 
TOTAL DISC 2 TIME: 1:14:43
TOTAL ALBUM TIME: 2:28:20
 
---
 
Well this is a surprise - I'm not going to turn my nose up at any Bond, and it's great to know even recent movies are on the table (no AFM silliness!), but it's easily the lesser of Newman's 2 Bond scores and not what I'd prioritise.
 

Three generations. One stage.
Best Original Score at the 2027 Oscar 🔥
 
• Ludwig Göransson - The Odyssey
• Hans Zimmer - Dune: Part Three
• John Williams - Disclosure Day
 

 
https://www.twitter.com/TheCineprism/status/2037430017660276896

Fixed
ScreenRecording_06-02-2026 19-51-01_1.mp4
 

Look what I found, Back Lot Music future link (hidden for now) to pre-save the album: https://backlotmusic.ffm.to/disclosureday
 

 
The official cover:
 

Seriously. I feel the labels reissue the same scores again and again. 
 
Thanks god its not straight reissues but i really think label owners have two or three holy grails that they just cant help revisit and tweak and revisit again

No thank you
 
 
 

Checking in from intermission to say that unfortunately, the dialogue and sound effects are mixed WAY too loud and the orchestra is getting drowned out, very unfortunate!
 
It could be that I'm just sitting too close to the speaker and it's not as bad in other places, I dunno.
 
But there's also no live choir, so all the choir in the score is coming from the speakers as well .... along with some of the more esoteric instruments like the harpsichord and whatever is in See You Tomorrow. A bit of a bummer.
 
Intermission is right after Not So Fireproof btw, right after Hiccup says "everything we know about you is wrong". That then leads to a very short reprise of the Viking Fun theme as the Intermission title cars comes up. It isn't that dissimilar to Viking Fun renditions in This Is Berk, but not exactly the same either.

Wow! They made an adjustment during the second half it seems, as the sounds effects were nicely dialed way down and the music could shine so much better.
 
When the main film ends and the credits begin, the Jonsi song is removed and instead the orchestra segues into a suite of Powell score! Off the cuff I didn't exactly recognize it. This segues back into the marching band ending of Coming Back Around that normally plays after the Jonsi song. But then strangely, as that ends in time with the main credits, instead of seguing into the end credits suite for the scrolling credits, they stop playing and the rolling credits aren't shown, and that's it!
 
Oh, and the entr'acte is a shortened reprise of Test Drive  (basically a chunk of the middle removed), which is really cool because you get to hear it without the sound effects and dialogue. Why Test Drive hasn't become a staple at film music concerts I have no idea. The crowd loved it!

Previously unheard alternate arrangement of Helena’s Theme
https://www.instagram.com/reel/DYxQe1fJljC/?igsh=d3lmaG40YjZ2bXY2

SaveFast.app_AQM2YdO5b2trZ4LdgrPOqefoE8UHRDtTcdTudASfBdW-6V4rvyOVhlxowVTJd8FbvPY6pqT2DcxfYLy0qzYDxtGaMyyZOBFRDxM85NY.mp4  
 

Sold out!

Absolutely lovely!
 
Courting Valka is my #1 highlight here.

So SpongeBob is a 2015 film but was recorded in LA? 
https://en.wikipedia.org/wiki/Hollywood_Studio_Symphony

So SpongeBob is a 2015 film but was recorded in LA? 
https://en.wikipedia.org/wiki/Hollywood_Studio_Symphony

So SpongeBob is a 2015 film but was recorded in LA? 
https://en.wikipedia.org/wiki/Hollywood_Studio_Symphony

I'd have voted for Sugarland, but SM2 is good enough for me 
 
As for my LLL sale purchase:
 

Yes
I do! It is a lovely score. 
 
I think it works better in expanded form.

Yes
I do! It is a lovely score. 
 
I think it works better in expanded form.

Yes
I do! It is a lovely score. 
 
I think it works better in expanded form.