Holko

From the print edition of the 2024/2025 Berlin Philharmoniker season book
 

 
Found on: https://www.facebook.com/groups/904229429654872/posts/7527258017351947/
 
I'll add links to the official website here when it gets added there.

Not putting samples is, in my opinion, a big mistake. It happened many times I bought a soundtrack only after I listened to the samples.
So many bad movies have great scores. I would not own half of my Goldsmith collection if I didn't hear samples.

I hope it's not a new rule at Intrada. If it is, they will surely lose many potential customers

Watched this last night. It was really great, beautifully directed and quite gripping. Blanchett was magnificent. Might be her best performance actually.
 

 
Karol

No, he means these vinyls. And the answer is no, please don't buy shit from these shits. And don't watch their shit shows. They need to be shown they can't keep getting away with lowest possible effort trash.

Spielberg: Johnny I need you for my UFO movie
 
JW: Steven I'm retired, come on man
 
Spielberg: fine guess I'll call Giacchino...
 
JW: I'll be right there.

It's basically a lose lose situation for us. If we support this garbage, it just encourages them to keep churning out garbage. If we boycott it, they assume nobody buys this stuff and don't invest more money in better releases.

Locking in on these shit programs on the stupid antiquated format too, lovely

Locking in on these shit programs on the stupid antiquated format too, lovely

Locking in on these shit programs on the stupid antiquated format too, lovely

Locking in on these shit programs on the stupid antiquated format too, lovely

Locking in on these shit programs on the stupid antiquated format too, lovely

Yes! Frieren is awesome. The score is both beautiful and exciting and even if the album is a bit too long, every track is worth listening. I love how well it balances the action cues (Zoltraak or Frieren the Slayer) with the cute comedy stuff and the more emotional cues, like Beyond the Journey's End which is one of the most beautiful tracks I've heard all year!

Just because some of you guys over there decided to be absolute idiots, nothing to do with us!

So here we are at the end. It's not like this score has no reprises and returning themes, but not all of them return, and we get many new ones and completely different soundscapes to spice things up.

Western - Introduced back in the trailer after part 2, a fun, rollicking Western theme. The score rarely has an opportunity to use its full form, mostly resorts to its first phrase.
Clara A - A more forlorn melody representing the time gap/impossiblity of Doc and Clara's relationship.
Clara B - A delicate childlike love theme.
Time's Running Out - a 3-note shape that dips down and returns to the starting note.
The Train - a 4-phrase figure that gets more elaborate with every phrase.
 
Amazingly, as far as I could tell, this score has no unused cues and little to no messing with cues - no microediting, a single instance of tracking, a single instance of partially dialing out the end of a cue. Goes to show that this was a very well-formed and communicated vision, and the alternates show that they weren't afraid to re- and re- and rerecord things for timing differences, edited down parts and slightly different moods, instead of messing with the picture until 2 seconds before the premiere and adjusting the score in the editing room.
 
 



Back to Back / Courthouse - following 2's lead, the Time Twinkles drop us right into an extended Clocktower reprise. The final cut is shorter and tracks one of 2's Western Unions here instead. From the quality of the performance I could guess say they abandoned this longer approach relatively quickly.
Main Title - After a reprise of I'm Back, we get to the logo, a marchy Main Theme fanfare. The main titles introduce us immediately to the gentle Clara themes, A for the more distant shots of the heroes arriving at Doc's house, the more intimate B on harp and flute for the shot through the home and them sleeping peacefully (enough).
 
 



Into the Mine - A unique bit for strings, flute and harp scores our friends' eager exploration, then more dramatic music scores the dig and the Delorean's reveal. The mysterioso strings return for its investigation.
Tombstone - Fittingly, Mourning returns, Biff echoing in slightly when they read it was Buford who killed Doc.
It's Me - A building, determined phrase ending up on another Biff theme suggestion.
Warmed Up - Everything's Going to be Fine returns again to score the overly optimistic preparations, then an excited Clocktower-like Main Theme scores the acceleration to 88 mph.
Indians - A westerny chase based on parts of the main theme's ending. The final echoing percussion parts are dialed out after the first few strikes. I used the album and bootleg take (Alternate no.2) because something went seriously wrong with the film version here: the actual film loops the percussion over the whole take, but in the Varese main program it stops very jarringly after a short time.
Safe and Sound - Another fitting reprise of Is That You, this time with a harmonica flavouring.
 
 
 


Hill Valley - gentle phrases of the main theme score Marty's interaction with William, then the Western theme's first phrase (with 1985-A) foreshadows its later use in the train setpiece. A buildup leads to a grand 3-note fanfare counterpointed by the Western motif's first phrase again. Piano and harmonica lead Marty along to the clocktower and point at it with an almost mocking 3-note fanfare.
The Hanging - One might expect another reprise of Skateboard Chase for the corresponding scene, but this time Marty isn't as in control of the situation so another westerny chase ensues, this time suggesting parts of Biff.
We're Out of Gas - After a shocked deflated unique phrase, the biggest in-film Western theme rendition scores the futile attempt at a horse-drawn time machine. The 3-note fanfare builds up to another failed attempt, at creating fuel.
There Is No Bridge - Preparations finally enters this score too, this time with an overlay of the Western theme's first phrase.
Doc to the Rescue - As far as I can tell, mostly uniquely new chase material.
At First Sight - Rising harp picks, strings and a harp run transition to a homely main theme, then Clara's themes meekly try to start on woodwinds, then Clara A finally plays on strings and B on flute, its ending section starting up on strings but not quite getting to the climax. Playful woodwinds are interrupted by 1985-A as Doc realises he's just altered the future again by saving Clara.
Clock Dedication /Battle Cry of Freedom - Yeah why not.
Yellow - The stinger from 2 returns, but this time ending up on the Biff motif.
The Kiss - Clara B on its usual harp and flute, with the strings in the second half this time succeeding in reaching the climax, the first half playing again on harp to play it off.
 
 
 


You Talkin' To Me? - Mostly westerny textures, but also featuring the weighty piano Biff motif reduction.
The Future Isn't Written - Main theme fanfares on strings turn into 3-note fanfares, Clara's theme starts seeping in. Mourning takes over as Doc explains he wants to stay with Clara, then a main theme fanfare as Marty helps him change his mind. Clara A plays for Doc's melancholy.
Goodbye Clara - After a reprise of their first meeting, woodwinds take Clara A, then the extended 3-note fanfare on flute ruins the mood, 1985-A playing as she kicks Doc out with one more sliver of Clara A as he places the flower.
What's Up Doc - A new motif, Time's Running Out, starts the cue.
Marty Gallops - After a bigger Time's Running Out, we get our first glimpse at The Train too, as pieces start falling into place. As Doc is conviced, the 3-note fanfare then Preparations play.
Wake Up Juice - A reprise of The Hanging's action bit and Clara A gives way to Running Out of Time in various playful settings.
Callin' You Out - Ominous material building up to Marty's attempted forfeit.
Count Off - The dramatic motif returns, periodically punctuated by Biff's motif as Buford counts off. A verson of 1985-A plays as Marty gets his gun.
The Showdown - Running Out of Time frantically follows Clara as she runs back to Emmett. The Westerny textures from You Talkin' To Me? return, along with the weighty piano Biff.
The Kick - 3-note fanfares and main theme fragments cry out triumphantly.
 
 
 


A Science Experiment - The heroes gear up with Time's Running Out. The 3-note fanfare plays on harp as Clara discovers the time machine model, then the main theme and trainlike percussion/rhythms follow Doc and Marty catching the train. When we cut back from Clara's riding, the Train motif takes over with the 3-note fanfare, the Biff ostinato joining on strings to up the tension near the end.
It's Clara - The extended 3-note fanfare and the main theme sees the train arriving at the Delorean and Preparations returns once again for Doc explaining the details. Time's Running Out follows Clara on her way to the train, which is just starting up, slowly lumbering from piano strikes to a quickening figure, and from here, the cue is full of various train-evoking rhythmic figures, 3-note fanfares and main themes as well as unique melodies. When the yellow log blows, we switch up a gear, and the western theme is played over a Biff ostinato base and more trainlike percussion.
Point of No Return - The cue mostly continues the previous one's ideas. As Emmett notices Clara and tells her to come with him, Clara A plays, and as she and him start climbing toward each other, The Train plays and climbs optimistically higher, made more ominous by 3-note fanfares. After the red log blows, the western-Biff-percussion combo returns, but this time every statement capped off with a less than hopeful main theme fanfare. As Marty prepares the hoverboard and Doc catches it, the main theme plays, as we cut to see the end of the line, Time's Running Out ups the tension. The successful main theme soars away with Doc and Clara, the western+Biff+percussion combo returns once more in its most hurried statement, and the 3-note fanfare screams out as Marty successfully travels back to the future.
 
 
 


It's Destroyed - A somber setting of the 3-note fanfare and main theme very much like Is That You scores the machine's wreck, a dramatic 3-note fanfare seeing Marty home.
Back to the Girlfriend - The Time Twinkles and Clara fragments score Marty's approach, and main theme scores their happy reunion. The 3-note fanfare reminds them of their Hilldale adventures in the future.
It Erased - The Time Twinkles mark the future changing, then a string setting (not unlike Doc and Clara's first meeting) and sad main theme fanfare on harp mourn Doc.
Doc Returns - He sure does once again, with the Time Twinkles of course. The main theme for strings welcomes him joyously, Clara B's second half and a main theme fanfare score Doc handing over the picture, and Clara B supports his explanation of the disappearing writing: Your future is whatever you make it - so make it a good one. As the Time Train gears up, Doc Returns is fittingly reprised, and the end logo calls back to the opening logo's marchy main theme.
End Credits - A reprise of The West (from bttf2), then a bridging main theme and a full rendition of Clara A and B, then a portion of It's Clara (as the train starts up), then a fitting transition into another reprise of the classic end credits ending.
 
 
 


Back to Back, Courthouse (alternate) - Apparently they once tried to edit this opening down to its bare minimum!
I'm Back (alternate) - So, what was our running joke? That's right, Silvestri tried to have the 3-note fanfare for this logo, too.
Into the Mine (alternate) - I can only assume this extended opening is not an earlier abandoned stinger or some wild recording stuck to this cue.
Warmed Up (alternate) - Originally it was all in one piece, the middle part was scored too and the ending was longer.
The Hanging (alternate) - Aside from the longer action part, the interesting bit here is the actual hanging itself.
Goodbye Clara (alternate) - A very different mood with the 3-note fanfare instead of a Clara A reprise.
To The Future - This seems very very much like an alternate for this bit here.
The Kick (alternate) - Fascinatingly, this is for the exact same cut and focuses on the exact same sync points, but without any of the themes, really.
Doc Returns (alternate) - I joined the two alternates to get the more different half of each. The first half features more Clara A and B, the second half has a much longer ending and the good old running joke finale - Once again, Silvestri tries to have the 3-note fanfare (and the main theme) for the end card.

Has anyone else noticed the track times don't add up? The concerto + suite combined is 51:22, yet the CD runtime is listed as 51:11.
 
Also, there's a typo on the back cover. Millennium Media is spelled wrong in the copyright text.

 
But it's correct in the film credits:

You argued that I believed that. But besides that, my problems still remain. Yes, I literally know why things are happening, but again, there's no real depth, discussion, and further reasoning for it. Yes, trade routes are taxed, but why is that enough for them to invade Naboo in particular? It's not the Republic capital, so why not do this on Coruscant? Is Naboo rich in resources? Idk, but I guess the weird laser/plasma room in the Maul fight is supposed to imply this. If it is rich in resources, why is the blockade a problem? Most of the actual political intrigue is sidelined because Lucas seems to want to have it both ways.
 
Is the Republic corrupt? We're told that but never really shown it. Chancellor Volorum seemed fairly reasonable, merely wanting to assess the threat before acting on it. If anything Amidala was the unreasonable and corrupt one, bidding for removal immediately in favor of her senator rather than bring the Jedi in as witnesses (who the Chancellor sent btw), allow the committee to see what was happening, show the recordings from her ship of her advisor begging for her to bow down to the Federation, or argue her point better. All we ever get of the Republic's supposed corruption is someone will argue for an extreme move (Amidala in TPM and Jar Jar in AOTC), and everyone agrees with it besides the separatists who are also never specified for their reasons for leaving. No real discussion is ever really had on what is really going on. 
 
In terms of the Trade Federation, yes, invading a planet is not good, but that is not enough of a credible threat for the audience to care, because for all we know, they're holding the planet but doing nothing bad to the people, considering the message begging for Amidala to come back was implied to be set up by the Trade Federation, we don't even know if her people are being subjugated or tortured or killed. In contrast, the threat for every other Star Wars film, even the sequels, is very clear. This subjectively prevents many audiences from being engaged or caring because they don't know what they're supposed to be afraid of. Add to that the unclear reasons as to why they'd go as far to blockade and invade a planet over taxes, and you get a very muddled threat overall.
 
 
On a subjective level, the acting doesn't help, because Shmi seems bored, and obviously many child actors are fairly poor, unless you're an incredibly talented director which even Lucas himself has admitted to not being. Even the writing feels fairly generic, almost like a Disney original movie rather than a supposed space opera. It's all very surface level, like much of TPM. 
 
The Sith have the same problem. Yes, they're working with the invaders, but what are they? I know what they are because of The Old Republic games, but that's my problem. The movie gives nothing besides they're evil Jedi. Are they all ex-Jedi? Does the dark side automatically make them evil? Do they have their own philosophy? What do they want revenge for? These are not nitpicks, these are the main villains' main motivations. We need to know these things. Again, there's implications that the dark side automatically causes evil and the name itself is obvious, but if the prequels are supposed to be building on Star Wars, you would think this issue would be far more explored. 
 
 
That's the problem, it's still in the movie. "You're with him! You brought him here to kill me!" It's just that now all of the setup for that is gone, so now it comes out of nowhere besides "Obi-Wan's been here hasn't he?" That's my entire issue with Anakin's fall. All of the setup of Palpatine, Anakin's motivation to preserve Padme, and his want of power goes out the window in favor of "Dark side makes you insane and evil because Yoda said it forever dominates your destiny." It's so simplistic.
 
That's what bothers me about the prequels overall. Lucas said that the Clone Wars were barely a part of Anakin's fall. That's so much less interesting to me. The terrifying part of the Vader reveal is that this man who we were told was a good friend, was turned into this machine like monster, and as far as we knew at the time, was warped by war, being slowly chipped away at who he was until he became more machine than man, twisted and evil. Maybe he initially drew on the dark side to win the war, and it corrupted his mind over time, or he needed the dark side to survive his injuries of war, or even both. That's what would have really made Anakin a sympathetic and depth-filled character in my eyes. 

I knew this would come. The old cop-out. "It's too smart for you. You just want action. You hate exposition." This could not be further from the truth. My favorite Star Wars story by far, is Knights of the Old Republic 2. And I hate the action gameplay of the game. But I love the story, the exposition, the characters, the acting, the music, the atmosphere, and above all, the philosophy and the gorgeous dialogue. And that game is at least 15 times the length of The Phantom Menace. If anyone's got time for exposition when it comes to Star Wars, it's me.
 
My problems with the TPM, is it doesn't delve into any of what you speak of. It doesn't set up the state of the galaxy. It's called the Republic but it seems to function more like the UN. I don't know what the Trade Federation want besides something about taxation that is never specified in favor of action. I don't know what threat the Trade Federation pose because we never see or hear of them doing anything truly horrific. Yes they unlawfully invade, and they say Naboo's people are dying, but we don't know why or how, besides some vague notion of a blockade maybe causing starvation, or maybe the droids are murdering citizens. 
 
It doesn't set up the Sith/Jedi conflict. Palpatine and Maul talk about wanting revenge but we are never told what the revenge is for. We don't even know if the revenge is history related or personal for Palpatine and Maul. We don't even know what the Sith are besides an assumption that they're the Jedi but bad! Oh and they were extinct for whatever reason. It doesn't lead directly into the clone wars, end of the Republic (whatever the Republic actually is) and the Jedi. It takes 10 years of set up and events off-screen that set up all of that. It's as much a philosophical thesis as Batman v. Superman is. Ideas are hinted at but never explored. 

So let's revisit this a little...
 
HP4, hell yes, it'll be amazing
Hobbits, hell yes, they'll be amazing
Blade Runner hell yes
Pirates trilogy, yes they need proper complete releases
Spider-Man 2 and 3 need them too, all the music from all the composers
Rosenmann's LotR, hell yeah I'd still buy that
 
But what else can i think of?
Once Upon a Time in the West from a non-shit source
Hunchback of Notre-Dame: The Not Fucking Shit Edition
Little Shop of Horrors, there are big film/album song differences, the "iso score" that's out there is kind of a mess of sources with varying quality
The Prince of Egypt completely complete!
Rocky Horror Picture Show completely complete!
The Dark Crystal complete from a real source!
Neverending Story with all of both composers' music including album pieces and the song too
Brainstorm complete film and album recordings
Sleepy Hollow done by someone with brains and ears
One dream is a deluxe set of Pink Floyd's The Wall with the remastered movie on blu, the album, and the film version of the album
The Ghost and the Darkness with a more senseful program with more attention to the sound maybe? The treble boosting Doug did really raised the hiss on some cues. Not a huge priority though
The Mummy from a better source? Again not a huge prio, with a combo program it's good enough
And a bunch of hungarian movies you guys won't care about
 
But like I said in the original post, I'm also happy with exploring all the other good stuff coming our way - last year was a little duller from my POV but I still got surprise releases I never heard before but love now!

They are but the main program, maybe with some help, definitely presents a fuller more satisfying journey. The OST also shortens multiple cues.
...yeah, with the stupid OST inclusion and multiple alternates only having a short different section (30 seconds in a 5 minute track or 10 seconds in a 7 minute one), if you remove all the repetition of the same takes then there's around 90-100 minutes of unique music on the set. I grew to love the score but that was a hard sell for 60€.

Try the Prometheus rerecording so the sometimes weak performance and awful recording doesn't block you from enjoying the music!

You mean images?

You RAT

So, first listen, main program only, no liner notes read.
 
 
's alright.

What?
 
 
What?!
 
 
 
WHAT?????!!!!!!

You mean images?