Holko

Whether it's new Star Wars, new John Williams, new Twin Peaks, Nolan and Zimmer, Giacchino, superhero movies, Game of Thrones....
 
Don't you feel like people are generally far more negative than they used to be about pretty much everything?  You don't see or hear much effusive praise, that's for sure, unless it's effusive praise for "how things used to be."  Don't you think this is an odd phenomenon?
 
Do you reckon it is actually a question of decreasing quality or overexposure?  I could buy that for certain things.  But is it also a cultural change, a shift towards being more cynical and unimpressed in general?  Is it an internet thing, whereby the ability to soapbox facelessly brings out the armchair critic and contrarian in all of us?  
 
Is it possible to enjoy things in 2017, and if so, is it possible to express that enjoyment without being branded a fanboy?  After all, while many will decry "haters," negative sentiments can nevertheless be painted as insightful criticism.  What can positive sentiments be defended as but naivete?  It is now much easier, and possibly more stylish, to tear down a defense than it is to brush off offense. 
 
I thought this was a more interesting way to broach this subject than some of the "pleas for positivity" we've seen of late.  

I think that's a strong possibility, yet he's also so unpredictable, who knows. The thing with his character is, for the past however many episodes no, 100% of his scenes have been with Sansa, so its hard to predict if he actually has any plans or schemes that aren't about her
 
 
 
 
 
It was clear to me they chose to show these two major battles the way they did for three reasons
 
1) Avoid repetition since we've seen these kinds of battles already
2) Avoid spending a bunch of screen time on mostly unnamed people fighting, since there wasn't any real major characters at the first battle and only Jaime as the second battle
3) Save the budget for some bigger battle, featuring more important characters, coming later this year

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

The theatre-going crowd, and especially the theater critics do not necessarily overlap with the people who like Harry Potter. Those people could have judged it on its own, being ignorant of how it fits into the HP universe. The majority of fans could only read the book, and they are the ones who would be concerned with the botched characterizations, uninspired and unfitting storyline, massacred lore and overall insultingly lazy stuff like 
.

I don't think I listened to it but I did see the tracklist and some descriptions. There was a 10-minute action cue and a swing jazz piece for Canto Bight. Hopefully I'm prophetic. 

You beat me to it!  I love the pondering, somewhat staggered meter, as if the music is dwelling on what we're about to discover (just like Indy and Short Round in that scene). 
 
The "Broken Bridge" one is fantastic too, especially with the twiddly woodwind after the last note! But the one that's the most fun to play full blast through speakers is the end credits version, no doubt.

This bloke does a breathtakingly thorough breakdown of everything wrong with Cursed Child and suggests some good potential alternate rewrites the direction could have gone.
 
 
 

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

Absolutely. I've done liners for albums where I've had to pin down developmental arcs well before the score has even finished being composed. It's often a case of asking the composer, "Well, what do you think might happen?" You have to choose your words incredibly carefully, because you could easily tie yourself to something that makes no sense later. The first Hobbit was particularly tricky. Neither the film nor the score was done when I did the notes. And it was only part one of three, so the initial themes could have gone in almost any direction in future installments. Since I wanted to be able to revisit everything more comprehensively down the line, I tried to avoid naming anything or giving anything more than general structural parameters. But even that was difficult since I had maybe four different sketched out or mocked up versions of the end of the score, and no one knew yet what the final draft would sound like. I wouldn't trade the experience for the world -- and I worked with amazing, supportive people -- but it was a difficult gig!
 
By the way, I'm told that much of the issue with the lead time these days is that CD manufacturing plants are closing down left and right. If you want to press something in semi-large numbers, you basically need to reserve a time months and months in advance ... and that time may or may not be near the actual release window. It's usually not. And woe be he who gets behind schedule and can't deliver materials to the manufacturers on time. You either pay through the nose to adjust the date (which in the case of the niche film score market likely means bye-bye profits) or you get the next available spot, which could -- and likely would -- delay the project by months. 
 
As they say: Creativity is easy. Logistics are hard!
 
 

They could at least release the first two digitally!

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

Why didn't Kershner direct RotJ? 

"The toys are gonna make us millions!"

My hope is that Williams expands on the musical ideas of the Force Awakens and adds more material into the thematic lexicon that feels like a natural continuation of the musical story. While I love the Prequel scores, they are all thematically somewhat fragmented (AOTC being surprisingly the most single-minded of the three) and without much continuation between them aside from the OT themes making cameos in all of them.
 
Rey's theme worked much better in TFA as it was basically the binding thematic idea of the entire story.

The Terminal

Complete score breakdown by Jason LeBlanc
 
 
For of all, HUGE ENORMOUS thanks to @filmmusic who did all the hard work comparing the sheet music to the album for this project!
 
 
Google Doc link
 
 
 
COMPLETE CUE LIST:
 
01 Krakozhia National Anthem [speculated title]
02 1M2 War In Krakozhia
03A 2M1 Viktor's Theme
03B 2M1 Rev
04 2M3 Refusing To Escape
05 2M5 Finding Coins
06 2M7 Learning To Read
07 3M1 A Stallion
08 3M2 Visitor To Dixon's Office
09 3M4 Looking For Work
10 4M3 Napoleon and a Lunch Offer
11 4M4 Medicine for Goat
12 5M1&2 A Legend Is Born
13 5M3 Viktor Buys Clothes
14A 5M4 Amelia
14B 5MA Theme Ending
15 5M6 Engagement and Wedding
16 6M1 The Fountain Scene
17A 6M2 The Old Boyfriend
17B 6M2 Alt Revised Version
18 6M4 Gupta and the Plane
19 7M1 Viktor's Leaving
20 7M4 Destiny... Cannaloni
21 End Credits
22 End Credits Tango Ending
23 End Credits Part II
 
 
 
COMPLETE CUE LIST, with notes about film and album appearances:
 
01 Krakozhia National Anthem [speculated title]
FILM: The first 20 seconds of the cue are used twice OST: Appears in its entirety in track 9, from 0:00-0:44. 02 1M2 War In Krakozhia
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 03A 2M1 Viktor's Theme
FILM: Does not appear (2M1 Rev is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 2M1 Rev was written before they got to record this. 03B 2M1 Rev
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 04 2M3 Refusing To Escape
FILM: Used as intended OST: Appears in its entirety in track 8 05 2M5 Finding Coins
FILM: Used as intended OST: Appears in its entirety in track 12, from 1:24-end NOTE: There could be an earlier take with different instrumentation recorded, as the flute melody at 1:52 was originally written for oboe 06 2M7 Learning To Read
FILM: Used as intended OST: Appears in track 12, from 0:00-1:24, but bars 1-2 are missing here and remain unreleased.  These bars are used in the film. 07 3M1 A Stallion
FILM: Used as intended OST: Appears in its entirety in track 6, from 0:00-3:50 / 4:27-end.   NOTE: JW inserted a portion of 5M6 into the middle of the cue for the album presentation, from 3:50-4:27. 08 3M2 Visitor To Dixon's Office
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 09 3M4 Looking For Work
FILM: Used as intended OST: Appears in its entirety in track 10 10 4M3 Napoleon and a Lunch Offer
FILM: Used as intended OST: Appears in track 11, from 1:04-2:06, but only bars 1-16.  Bars 17-end are unreleased 11 4M4 Medicine for Goat
FILM: Used, but edited down / partially replaced with tracked music OST: Does not appear; This cue is completely unreleased 12 5M1&2 A Legend Is Born
FILM: Used as intended OST: Appears in its entirety in track 03 from 0:00-2:00 13 5M3 Viktor Buys Clothes
FILM: Bars 1-25 are used with internal looping, then it segues to music tracked in from 3M2 (bar 9-end) OST: Appears in its entirety in track 03 from 2:00-end 14A 5M4 Amelia
FILM: Bars 1-165 are used before seguing to 5MA OST: Bars 1-165 appear in track 2 from 0:00-6:55 before seguing to 5MA NOTE: It is possible bars 165-end were never recorded if 5MA was written before 5M4 was recorded in full NOTE: ALSO appears AGAIN on the OST in track 14 from 0:00-1:44 (bars 1-36 only this time, see End Credits Tango Ending notes below) 14B 5MA Theme Ending
FILM: Used as intended, and then additionally most of 5M1&2 appears again afterwards OST: Appears in its entirety in track 2 from 6:55-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 165 of the original cue 15 5M6 Engagement and Wedding
FILM: Used as intended OST: Appears in track 6 from 3:50-4:27, but only bars 15-end. Bars 1-14 are unreleased 16 6M1 The Fountain Scene
FILM: Used in film, but partially replaced with tracked music (including a version of 6M2 Alt, see below) OST: Appears in its entirety in track 5 NOTE: ALSO appears AGAIN on the OST in track 11 from 2:06-end (bars 71-end only this time) 17A 6M2 The Old Boyfriend
FILM: Does not appear (6M2 Alt is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 6M2 Alt was written before they got to record this. 17B 6M2 Alt Revised Version
NOTE: It appears they recorded this cue at least 3 times, with instrumentation changes done at the podium Piano Version: Solo piano all the way through Accordion Version: Accordion and Harp all the way through Clarinet Version: Clarinet and Harp all the way through FILM: The Piano Version is used as intended.  Additionally, a portion of the Clarinet version is heard tracked into a part of 6M1 OST: The Accordion Version in its entirety in track 09 from 0:44-end 18 6M4 Gupta and the Plane
FILM: Used as intended OST: Appears in track 11, from 0:00-1:04, but only bars 1-19.  Bars 20-end are unreleased 19 7M1 Viktor's Leaving
FILM: Partially replaced with music tracked in from End Credits Part II (Jazz Autographs) [an alternate mix without the plucked strings] OST: Appears in its entirety in track 4 20 7M4 Destiny... Cannaloni
FILM: Used as intended OST: Appears in its entirety in track 13 from 0:00-1:33 21 End Credits
FILM: Used as intended? OST: Appears in its entirety in track 1 NOTE: ALSO appears AGAIN on the OST in track 13 from 1:33-end, with bars 82-87 removed 22 End Credits Tango Ending
FILM: Used as intended? OST: Appears in its entirety in track 14, from 1:14-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 36 of the original cue.  This means the repeat of 5M4 that opens track 14 of the OST is completely intentional and not an "album experience" repeat. 23 End Credits Part II
FILM: Partially tracked into 7M1 OST: Appears in its entirety in track 7  
 
 
ALBUM BREAKDOWN
 
OST 01 The Tale Of Viktor Navorski
[all] = End Credits OST 02 Dinner With Amelia
[0:00-6:55] = 5M4 Amelia, bars 1-165 [6:55-end] = 5MA Theme Ending OST 03 A Legend Is Born
[0:00-2:00] = 5M1&2 A Legend Is Born, bars 3-end [2:00-end] = 5M3 Viktor Buys Clothes OST 04 Viktor And His Friends
[all] = 7M1 Viktor's Leaving OST 05 The Fountain Scene
[all] = 6M1 The Fountain Scene OST 06 The Wedding Of Officer Torres
[0:00-3:50] = Beginning of 3M1 A Stallion, bars 1-125 [3:50-4:27] = 5M6 Engagement and Wedding, but only bars 15-end [4:27-end] = Ending of 3M1 A Stallion, bars 126-end OST 07 Jazz Autographs
[all] = End Credits Part II OST 08 Refusing To Escape
[all] = 2M3 Refusing to Escape OST 09 Krakozhia National Anthem and Homesickness
[0:00-0:44] = the Krakozhia National Anthem [0:44-end] = 6M2 Alt Revised Version (Accordion Version) OST 10 Looking For Work
[all] = 3M4 Looking For Work OST 11 Gupta's Deliverance
[0:00-1:04] = 6M4 Gupta and the Plane, but only bars 1-19 (bars 20-end are unreleased) [1:04-2:06] = 4M3 Napoleon and a Lunch Offer, but only bars 1-16 (bars 17-end are unreleased) [2:06-end] = A REPEAT OF THE ENDING OF TRACK 5 [6M1 The Fountain Scene bars 71-end] OST 12 Finding Coins and Learning To Read
[0:00-1:24] = 2M7 Learning To Read, bars 3-end (bars 1-2 are unreleased) [1:24-end] = 2M5 Finding Coins OST 13 Destiny, Canneloni, and The Tale Of Viktor Navorski (Reprise)
[0:00-1:33] = 7M4 Destiny... Cannaloni [1:33-end] = A REPEAT OF TRACK 1 [End Credits, but with bars 82-87 removed] OST 14 A Happy Navorski Ending
[0:00-1:44] = A REPEAT OF THE BEGINNING OF TRACK 2 [5M4 Amelia, bars 1-36 only] [1:44-end] = End Credits Tango Ending  
 
 
CHRONOLOGICAL ORDER OF THE ALBUM
 
01 09A [0:00-0:44] Krakozhia National Anthem
02 08 Refusing To Escape
03 12B [1:24-end] Finding Coins
04 12A [0:00-1:24] Learning To Read
05 06A [0:00-3:50] / 06C [4:27-end] "A Stallion"
06 10 Looking For Work
07 11B [1:04-2:06] "Napoleon and a Lunch Offer"
08 03 A Legend Is Born
09 02 Dinner With Amelia
10 06B [3:50-4:27] The Wedding Of Officer Torres
11 05 The Fountain Scene        
12 09B [0:44-end] Homesickness
13 11A [0:00-1:04] Gupta's Deliverance
14 04 Viktor And His Friends
15 13A [0:00-1:33] Destiny, Canneloni
16 01 The Tale Of Viktor Navorski ("End Credits")
17 14 A Happy Navorski Ending ("End Credits Tango Ending")
18 07 Jazz Autographs ("End Credits Part II")
 
Notes: 
Track 11C [2:06-end] is a repeat of Track 5's ending and is not needed
Track 13B [1:33-end] is a repeat of Track 1, with a portion removed
Track 14A [0:00-1:44] is a repeat of track 2's opening, but can be kept as it is an intended repeat to segue into the Tango Ending.
 
 
 
NO EDITING REQUIRED, MOSTLY CHRONOLOGICAL ALBUM SEQUENCE
01 - 08 - 12 - 10 - 03 - 02 - 06 - 05 - 09 - 11 - 04 - 07 - 13 - 14
 
 
 
 
 
UNRELEASED MUSIC LIST
 
01 1M2 War In Krakozhia - completely unreleased cue!
02 2M1 Viktor's Theme (if it was recorded) - completely unreleased alternate!
03 2M1 Rev - completely unreleased cue!
04 2M5 Finding Coins bars 1-2 [bars 3-end are on the OST]
05 3M2 Visitor To Dixon's Office - completely unreleased cue!
06 4M3 Napoleon and a Lunch Offer bars 17-end [bars 1-16 are on the OST]
07 4M4 Medicine for Goat - completely unreleased cue!
08 5M1&2 A Legend Is Born bars 1-3 [bars 4-end are on the OST]
09 5M4 Amelia original ending (bars 166-end) [bars 1-165 are on the OST] (if it was recorded)
10 5M6 Engagement and Wedding bars 1-14 [bars 15-end are on the OST]
11 6M2 The Old Boyfriend (if it was recorded) - completely unreleased alternate!
13 6M2 Alt Revised Version (Piano Version) - completely unreleased alternate!
14 6M2 Alt Revised Version (Clarinet Version) - completely unreleased alternate!
15 6M4 Gupta and the Plane bars 20-end [bars 1-19 are on the OST]

You couldn't have a Star Wars release without the iconic main and end titles!

Hehe...didn't mean to be cryptic; I don't have thoughts that are much more specific than those I posted, but here's an attempt at clarification...
 
George R. R. Martin is too ambitious a writer for me to believe that the resolution to his magnum opus will be about who finally sits on the throne. Rather, it will be about a fundamental change in the nature of governance in Westeros, probably to something more stable and robust than the current set-up. This is the sort of area in which his main interests lie, and will be the principal overarching theme of the story. So why would he (the man who famously declared that "we don't need any more Dark Lords") tack on a separate story about ice demons coming to annihilate all civilisation, an overwhelming threat which seems to render everything else in the story a waste of time? Because, I would suggest, this will be the catalyst which forces the change in the nature of governance (whatever the internal motivations of the White Walkers might be); which breaks the wheel, as someone put it.
 
As a corollary of this, I don't think it's a foregone conclusion that there will be a  (temporary) resolution of the "war for the throne" story at the end of these seven episodes. It's possible, certainly, but not inevitable.

All four are uninspired, lazy efforts. The DGAF factor is palpable from Spielberg.

What an unbearable piece of shit that film is. Worse, there are people on this forum who enjoy it and they're just allowed to post. Why don't you just DIE!

Giacchino will have  to be called in in November to redo the score after Rian burns the master tapes!

Doesn't change the fact that A) it's what we heard in the film, and B) it can't be recreated using what we have.
 
I would think that sufficient reason to at least try to include it. To me, the film edit is wonderfully subtle and haunting, with its gradual build. The original version doesn't have the same effect. I may be a minority, but I prefer the film version.
 
Thing is, you buy a soundtrack to relive what you heard in the film. If an entire release were comprised of 'early' versions that didn't sound anything like what ended up in the final film, then you wouldn't really be buying the 'soundtrack'. Hence, if a film version is drastically different, then the composer's original intention should be the bonus - I want to hear what I loved from the film. Whether it was an edit is irrelevant to the purchaser.

Battle of the Heroes should have been called Child Murdering Psychopath vs Honourable Jedi Knight.

Giacchino should start taking out ads in the backs of Hollywood trade magazines.
 
HAVING LATE PRODUCTION STRUGGLES?
CALL THE EXPERTS!
 
We have decades of experience giving antsy producers exactly the safe sound they've been asking for.
 
Call 1-800-MEH-MUSIC

Was playing the music from the  Star Wars saga on the dvd that came on the SITH ost album, and boy did those mixes of EMPIRE sounded so good and fresh. That gives me hope that when a formal revision of the classic scores begins these will sound astounding. But thats another story..
 
While we address the various anniversaries related to this year: I cant help wonder if there could be a more jaw dropping moment if they LLL released a 8cd INDIANA JONES BOX SET. 
 
And remember time and again we have been cautioned to "save"
 
So would you be content with an Indy Box set or just the ususal suspects that we have spec'd in the above discussion?