In fact, quite a few fragments of the film have already been restored on the forum (@crumbs , @Skelly). But I was interested in trying to do it myself, and already with the whole score.
The main "feature" of this score is that quite a lot of the music in the film has been heavily edited. Basically, it concerns action scenes (Quidditch, The Whomping Willow, Werewolf Scene). So there is not much point in "restoring" the score, a lot of black screens had to be inserted, but nevertheless, it's interesting to see what the composer originally intended, as well as to suppose what the rough cuts of the scenes looked like (JW wrote most of the music at a very early stage of post-production, but some cues were subsequently rewritten). Also at the end of the post, I experimented with my mockups of earlier versions of cues.
For convenience, I have combined some short cues into one video, even if they sound with a long pause. Also in the description for the video, I decided to briefly mention the various thematic elements that sound there. Here I will write a quick overview of such stuff.
Themes, motives, etc:
Hedwig's theme - the only theme from previous films. Only the "A-version" is used (often only the first phrase), and takes on a nostalgic and melancholic character.
Window to the Past - a simple lyric melody. It seems that initially it was supposed to scores only the dialogues between Harry and Lupin about Harry's memories and parents, but later the role of this theme increased, and began to be used when conjuring Patronus (as theme symbolizes happy memories), as well as Sirius Black, as the most dear person for Harry.
Double Trouble - a song performed by the school choir on the first day at Hogwarts, written with words from Shakespeare's Macbeth. A kind of alternative to the Hogwarts hymn from the Philosopher's Stone, at the beginning it's used to create a mystical atmosphere in the film, then it depicts school affairs (Hagrid's lesson, the Fat Lady's escape). Similar to the hymn, it sounds only in the first half of the film. I have identified 2 versions of this theme: regular and 6/8 (time signature). It doesn't mean anything, I just separated them for convenience.
Buckbeak's theme - only used once as a leitmotif, but it occupies a prominent place in the score.
Sirius Black motive - consists of 3 intervals (like the Stone motive from Philosopher's Stone, consisting of 3 notes). Associated with the image of the "evil" Sirius, who is wanted, and (Harry thinks) betrayed his parents.
Mystery/Marauder's Map motive - has a difficult fate. The motive consists of several repeated notes, and ends with a chromatic figure (similar to Black's motive), always performed on the harpsichord. Williams may have somehow connected this motive with the Sirius motive, but in fact, he used it in the scenes with the Marauder's Map. However, after the entire score was recorded, it was decided to re-associate this motive with Peter Pettigrew. So, in the film, the motive is added to more places, mixed with/tracked over the original material.
Time-Turner motive - a four-note motive that always sounds as a repetitive ostinato. Used when the "second" Harry and Hermione are trying to change the course of events. The notes change frequently in the motive, but it still remains recognizable.
Mystic strings - yeah, a silly name, but I mean solo strings, playing chromatic figures with tremolo (sometimes sul pont.). They have no definite meaning, in addition to mystic, they depict Dementors, but they are also an important element of the score.
The Dementors motive - a rhythmic figure performed by low strings and woodwinds. Used primarily when Dementors "sucking the soul" of an opponent.
The Prophecies aleatoric - aleatoric figurations at various instruments, used in two scenes with Trelawney.
Note: I inserted music in its pure form, without an "speech track", since I am not good at extracting audio from 5.1/7.1, and, in principle, I also like this method more.
I also shared a folder with all the videos that are embedded here. If this method is more convenient for you, then here is the link.
01 - The Prologue
1M1 Opening III
Traditionally, the film begins with Hedwig's theme that is played here almost in classic form. As expected, fits.
02 - Aunt Marge's Waltz and The Parents Portrait
1M3A That's A Lie! (0:06-0:14)
1MB New Intro (0:20-0:47)
1M4 Aunt Marge's Waltz (0:47-2:31)
1M5 Parents Portrait (2:35-end)
But already in the second cue oddities begin. In the film, the cue begins only when the aunt's finger swells, and it sounds in a shortened form. It's also known that a new intro was composed for the waltz, and, interestingly, if put the cue in this form, it turns out that the intro ends just at the moment with the Marge's finger. Most likely, the sequence with transformation of aunt Marge was not edited in some way, but before that moment something could have been cut. Anyway, I didn't bother to insert black screens, although this is hardly correct. And I had to ignore the mini-cue "Aunt Marge Point the Finger", since there is nowhere to insert it (maybe it was composed after the decision was made that this cue would be shortened? hmm). The Parent's Portrait fits, here for the first time a Window to the Past theme is presented, but so far in incomplete form.
03 - The Empty Playground · The Knight Bus · Concerto for Hub Caps
1MC The Empty Playground (-0:34)
1MD The Knight Bus (0:34-1:48)
1M8 The Knight Bus Ride "Concerto for Hub Caps" (1:54-2:52)
1M9 Newspaper Headliner (2:57-3:55)
1M9AN Squeeze Bus Waltz (3:55-4:20)
1M9B Second Collision (4:21-4:31)
1M9A Squeeze Play (4:44-5:10)
The Empty Playground almost fits, except for the last two bursts. Next cue "The Knight Bus" (sequel to the Marge's Waltz, heh) also fits, but the ending with the celesta was dialed out in the movie.
Concerto: I expected that I would have to insert a lot of black screens here, but in fact only one fragment was cut out here. There are some extra shots in the "deleted scenes" on DVD, but I decided not to insert them, since not all of them are completed in VFX. Interestingly, when Stan talks to Harry about Sirius Black, the mystic strings sound instead of his motive. There are a few small edits, but amuse the moment with the narrowing of the bus. Perhaps initially this process should have been slower, so the music turned out to be longer. I inserted both versions of this fragment (first the second (sounds in the movie), then the first).
04 - The Monster Book · Discussing Black
2M1 The Book Attacks (-0:38)
2M2A Discussing Black (0:45-end)
The Monster Book: Just one slight edit.
Discussing Black: Fits, but in the movie, this cue was shortened and mixed with the SHAWM (that's the source cue, so I didn't include it). The Sirius Black motive is introduced here, along with a strong hint of Mystery/Marauder's Map motive. If everything is clear with Black, JW clearly somehow connected the second motive with Black's motive, but all subsequent renditions are already directly connected with the Map, so everything is complicated here.
05 - The Train to Hogwarts · Apparition on the Train
2M3v1 The Train to Hogwarts (-0:22)
2M3v2 The Train to Hogwarts (0:26-0:44)
2M4 The Dementor Appears (0:59-end)
The Train to Hogwarts: I again inserted two versions known to us (the first sounds in the film). In both versions, Double Trouble already sounds, in an incomplete form. It is interesting to note that the first version differs in orchestration compared to the notes, while the second is the same.
Apparition on the Train: Lots of microedits. Perhaps the cue should have started earlier, then the first black screen could have been avoided, but I left it as it's in the movie. A piece (since 2:10) in the movie is out of sync, possibly on purpose. The ending (when Lupin comes to the rescue) was dialed out from the film and replaced with a choral chord - the cue was written early on, when Williams scored Patronus in a more dramatic way.
The mystic strings has a horror function here. As the Dementor drains Harry, the Dementors motive sounds.
06 - Double Trouble · The Dumbledore's Warning · Double Trouble March · Rainy Nights, Dementors and Birds
2M5 Something Wicked Intro (-0:16)
2M5A Double Trouble (0:14-0:59)
2M6 Dumbledore's Warning (1:07-1:52)
2M8 Double Trouble March (1:56-2:23)
2M9 Rainy Nights, Dementors and Birds (2:29-end)
All these cues featuring Double Trouble, sounding in different forms.
Double Trouble with intro and in shortened form, fits.
The Warning almost fits (I had to slow down a bit for a long shot of Dumbledore), but the ending replaced with material from the next cue.
March: It's repeated twice on the recording, but in the film it sounds only once.
Rainy Nights: In the film, the first half is shortened. The second half fits with the inserted deleted shots with Hagrid (Ignore fps issues on this fragment ).
07 - The Grim · The Hippogriff Lesson · Befriending the Hippogriff · Buckbeak's Flight
2M10 You Have The Grim (-0:32)
3M1+2 Double Trouble On The Hill (0:32-1:58)
3MC Befriending The Hippogriff (2:05-3:11)
3M4AX Drum Overlay (3:18-3:30)
3MCA [3M4AN] Riding The Hippogriff (3:28-end)
The Grim: fits, but I used an alternate mix with a solo viola. Featuring the Prophecies aleatoric (harp and piano).
Double Trouble on the Hill: Double Trouble 6/8 sounds throughout the cue. The first half was dialed out in the film, one black screen I had to be inserted. In the movie, the cue ends a little earlier when the book attacks Neville. I don't know how Williams intended it, but I let the cue finish as Hermione puts down the book.
Befriending the Hippogriff: the second half is cut out in the film (with a short "enlightenment"), but despite this, everything fits. However, the ending (marked "optional" in the score) is not used in the film and was intended for the original start of the next cue, so I didn't use it either (see Bonus section).
Buckbeak's Flight: the opening with the "runway" is greatly shortened, then I had to insert a couple more black screens. Further, when Buckbeak flies over the lake, in the film, the music is out of sync so that the climax coincides with the shot where Harry spreads his arms. Williams appears to have planned a climax for the wide shot with Hogwarts. Later in the film, it seems that the edit has changed, or some shots have been cut out, and therefore the ending is shortened and out of sync. Here I didn't edit the shots for sync, and just inserted a boring black screen, but the cue ends where it should have been.
08 - Bonding with Hippogriff · The Newspaper
3M5-5A[New?] Bonding With The Hippogriff (-0:43)
3M5B Kids Inspect Newspaper (0:46-end)
Bonding with Hippogriff: first half dialed out in the movie. The second half is essentially a 3M13 Sir Cadogan cue with added percussion and a slow tempo. In the film, he doesn't sound all. At the same time, it seems that these 2 halves were recorded separately. In the film, instead of the first half, several bars of percussion sound only. The second half had to be taken from the film.
The Newspaper: The Sirius Black motive comes back. Possibly out of sync in the movie, and ends later, so I slowed down the newspaper shot.
09 - The Boggarts
3M6N Snape Dresses Up (-0:49)
3M6A The Spider (0:52-1:22)
3M6B The Snake (1:23-1:39)
3M7X New Beginning (1:38-1:58)
3M7A Clown Out of the Cupboard (1:57-end)
Snape Dresses Up: the first half of the new version and the second of the original version sound in the film. I inserted the new version here.
The Spider: fits. There are 2 versions of ending on LLL - I inserted an extended one here (both endings are not used in the film)
The Snake fits.
Clown Out the Cupboard: I've inserted "New Beginning" here (which sounds in the movie), microedits. The ending (balloon) was dialed out, replaced by sounding of source cue.
The Boggarts - Alternates
3M6 Snape Dresses Up (-0:42)
3M7A Clown Out of the Cupboard (0:43-end)
It would be unfair to ignore the alternatives. Here is the original version of Snape Dresses Up and the Clown Out with original beginning. As for me, this version (Clown Out) is deeper and more interesting, as it essentially reproduces Harry's flashback from the train, quoting theme of cue 2M4 The Dementor Appears.
10 - On the Bridge · Remembering Mother
3M9 Revealing The Bridge (-0:36)
3M10Alt Remembering Mother (0:40-end)
Everything fits here. Here the Window to the Past sounds in its full form, although a lot of time has passed since its first rendition.
11 - The Portrait Gallery · The Big Doors · The Great Hall Ceiling
3M11 The Portrait Scene (-2:13)
3M11A The Big Doors (2:13-2:50)
3M12R The Great Hall Ceiling (2:47-end)
The Portrait Gallery begins with the sarcastic-ironic sound of Double Trouble B (the only time it's used apart from A). The theme is played by 3 recorders at once for a more nasty and fake sound. But after Dumbledore's appearance, the theme sounds more "panicky". And in the next scene, when Harry overhears Dumbledore and Snape's conversation, Double Trouble 6/8 sounds like a mystical lullaby. At the end of the cue, the Hedwig's theme sounds melancholy.
The beginning of the Gallery in the film is greatly shortened. But if the cue starts with a shot where an empty portrait is shown in first time, then it fits. The ending was also cut out and it seems to be irrelevant for the final editing - I still did not understand what should have been instead of the shots with the large doors closing, so I inserted a black screen.
The Big Doors (revised ending for The Portrait Gallery) fits.
The ending of The Great Hall Ceiling (Hedwig's theme) is dialed out in the film, perhaps there should have been a transition to a deleted scene with Cadogan.
12 - Sir Cadogan
3M13 Sir Cadogan
The scene was completely cut from the film, but the music seems to fit (in this version of the cue).
Page 394 used in place of the original harpsichord intro (can be heard on the OST), fits.
Quidditch 2004: So we got to "blackscreeny" madness. A unique theme develops throughout the cue. When Harry sees the silhouette of a black dog, the Sirius Black motive sounds twice. At 2:48 and 2:54, something similar to this motive sounds also, maybe here Harry saw the silhouette for the second time... The original ending was probably never recorded.
It looks like the editing of the scene has changed dramatically since Williams wrote the score. However, I managed to find some sync points. In the movie, the cue is heavily edited and, unfortunately, the original sync is almost broken. So I had to ignore the sync points used in the movie. I had to delete a short shot with Cedric and Harry. Also I very much doubt about the ending (fragment 2:58-3:23 in the film is synchronized in a completely different way).
14 - Woods Walk and Bird's Flight · Map to Snow Scene · Up the Stairs
4M3-4NN Woods Walk and Birds Flight (-2:26)
4M5 Map To Snow Scene (2:33-3:02)
4M5N Up The Stairs (3:03-end)
During the dialogue between Harry and Lupin, the the Window to the Past sounds again, this time in addition to the recorder, it is played by the clarinet. When the owl flies, the Hedwig's theme sounds in its traditional form, and then smoothly flows back to WttP. Further, playful music with harpsichord and flute sounds.
Apparently, after the shot with the Marauder's Map, a some cut shot should have followed. Thus, Map to Snow Scene cue became irrelevant. Up the Stairs is essentially a revised version. In both versions, the shot with the Marauder's Map is accompanied by a Mystery/Marauders Map motive. Also in Up the Stairs there are Invisibility Cloak chords that came here from previous films along with the Hedwig's theme.
All cues fit. But in the film, the Hedwig's theme sounds slower and at the same time the first couple of measures with the harpsichord are dialed out. Interestingly, these bars are missing in the sheet score, but I used the LLL-version anyway. Also in the movie Up the Stairs is tracked in second time before the Snowball Fight.
15 - Snowball's Fight
4MC Snow Fight
Microediting. It is not entirely clear why there is a pause in the middle of the cue. It looks weird in the movie, I made the second part of the cue start when Draco pushes Goyle. The ending is dialed out from the movie.
16 - The Three Broomsticks · Brief Snow Scene · Summoning the Patronus
4M10N(?) [The Three Broomsticks] (-1:11)
4M10 Brief Snow Scene (1:11-3:16)
4M11 Explore Your Past (3:20-3:54)
4M12 Opening The Trunk (3:54-4:31)
4M13 Harry and Voices (4:36-5:03)
4M14N The Dementor [Dueling The Dementor] (5:10-end)
First cue (or the first half of cue) The Three Broomsticks dialed out from the movie. There are the Invisibility Cloak chords playing here again, the cue only seems to start when Harry enters the room.
Brief Snow Scene: In the film, the beginning of the cue is mixed with the Christmas song "A Winter's Spell" (The Elves Song, composed by JW), the source cue. Some Hogsmeade footage appears to have been cut out here. The ending, which is a smooth transition to the next scene, is cut out from the film - I think there should have been wide shot(s) for the office before Lupin speaks, so I put b/w filter.
Summoning the Patronus: In Opening The Trunk cue the Dementors motive is heard as Harry begins to faint. In Dueling The Dementor, after a successful attempt, the Window to the Past sounds pathetic. Thus, the theme symbolizes all the joyful memories (about the parents) that are necessary for a successful summoning the Patronus. After that, the oboe plays the theme again.
Fortunately, all 4 cues fits, with the exception of the contrabassoon solo from the second cue, which was dialed out in the film.
17 - The Buckbeak's Fate · The Marauders Map · Reveal Your Secret
5M1 Buckbeak's Sentence (-0:48)
5M2 Reading The Map (0:53-2:48)
5M2A Reveal Your Secret (2:54-end)
The Buckbeak's Fate: judging by the blooper with Harry on the bench, there should have been more shots of Hogwarts or something like that. The music in the film is shortened.
The Marauders Map: Oh, everything was suddenly complicated here. The Mystery/Marauders Map motive here runs through the whole cue (along with a lot of mystic strings) and gets its culmination here. I decided to start the cue earlier than in the film: at the beginning of the shot with the marauders map. In the film, the music begins when Harry discovers Pettigrew on the map (as this motive is "reassigned" to this character). Most likely, the footage was cut as Harry moves from the living room to the corridor. The final editing of the next scene is very chaotic and to "restore" the music I had to rearrange many frames in places. It even ended up with a funny black screen in the middle of the frame: it was divided into 2 parts, which were used in different places.
Reveal Your Secret: cut entirely from the movie, but fits. According to Williams' idea, it turns out that this is the last time that motive featuring.
18 - The Mention of Pettigrew · The Crystal Ball · The Executioner · The Walk to Buckbeak
5M3 The Mention Of Pettigrew (-0:38)
5M5 The Crystal Ball (0:44-3:29)
5M6 The Executioner (3:28-4:09)
5M7 The Walk To Buckbeak (4:14-end)
The piece with the celesta from The Mention of Pettigrew in the film is shortened.
In The Crystal Ball, the middle section is completely cut out in the film (interestingly, the big pause at this mark is indicated in the score). Featuring the Prophecies aleatoric again, now to the harp and piano joins synth. Interestingly, at 1:50 in the score, one can notice that the timpani are playing Time-Turner motive (maybe Williams thought that at this time Harry and Hermione were starting to move in time? hmm). In the shots with the Sirius on the Ball there are a couple of microedits.
The Executioner fits, and The Walk to Buckbeak in the film starts a little later, but I decided to move it 2 sec earlier for better sync.
19 - The Sentence · Chasing the Scabbers · The Whomping Willow
5M8 Buckbeak Is Sentenced (-2:43)
5M9 Scabbers Runs (2:42-3:46)
5M10 The Whomping Willow (3:55-end)
The Sentence: In terms of syncing, this is probably the strangest cue in the movie. If you follow the sync points from the movie, you get a strange black screen before the trio leave the hut. And the sync points themselves look weird. I made 2 separate videos with different syncs. Here I followed the "safe" method, and left almost everything, as in the film, didn't edit the shots (only the moment with the actual "execution" had to be shifted, since the music in the film was shortened).
Chasing the Scabbers: The first half, surprisingly, fits. But the second is shortened.
The Whomping Willow: Madness of black screens again. As with the Quidditch scene, the editing has changed a lot here, but the sync points can still be found. Interestingly, a short segment on 4:33-4:37 with pure percussion is used in the film for the shot of Hermione circling the willow (the last shots before this black screen), but it looks like it was intended for something cut out. It can also be noted that the repeating theme of this cue is based on the first notes of the Hedwig's theme, but I hope there are no hidden meanings here.
Here I decided to start the cue earlier to avoid the black screen. It turns out that the cue starts even before the second stone hit at Harry. But stealth music starts right away when Hagrid hides things. I also tried to synchronize the harp passage with the shot where Hermione is looking towards the forest (I had to expand it). The shots of how the main characters climb the hill, on the contrary, had to be cut a little. The truth seems to be somewhere in between.
20 - Confrontation in the Shrieking Shack
6M1 Entering The Shrieking Shack (-0:28)
6M2 The Confrontation Scene (0:27-end)
Already at the beginning of the scene, the Sirius Black motive sounds alarming (the Mystery/Marauder's Map motive sounds here in the film). Finally, when Sirius appears in the frame, S. Black motive sounds powerful ("With great force" mark in the score). But as soon as Harry puts his wand to his face, the motive takes on a mysterious sound. Suddenly Lupin enters, and then the music begins to clearly follow what is happening (passage of the harp and harpsichord when Sirius and Lupin embrace; the repetitive notes of the muted horn when Hermione reveals their intent). The rise in tension is stopped when Lupin gives the wand to Sirius. With fanfare, Sirius mentions Pettigrew, but Snape suddenly enters. As Remus and Black try to calm Snape down, the Sirius Black motive is repeated periodically. When Snape threatens Sirius, synth chords sound like Invisibility Cloak chords, but in this case they seem to be related to the mention of Dementors. Harry stuns Snape, and then SB motive repeats. When Sirius points to Scabbers, the music changes, tense tremolo strings appear, gradually increasing in dynamics. When Sirius finally takes Scabbers, the music depicts the rat's desperate attempts to escape, and when Scabbers transforms into Pettigrew, the music "freezes". Only low strings and slow SFX sound. Later, the brass instruments quietly join in, and when Pettigrew begs Harry for mercy, the tension reappears in the music, which is interrupted by the Harry's demand to keep him alive. At the end of the cue, motive of muted horns sounds like a mirror reflection of the SB motive, or like the end of Marauders Map motive. In the film, the entire last part (after the rat's transformation) is replaced by 5M2 Reading the Map tracking.
The Confrontation Scene are heavily edited in the film. Some segments are dialed out or tracked, some are looped. However, there was almost no need to insert black screens (except for Lupin entrance). In other cases, the frames had to be cut on the contrary (I cut out some shots with the reactions of the trio, there is also something wrong with Snape's lines). The rat runaway sequence has been edited: the dissonant music in the film starts when Sirius dropping the Scabbers and the previous piece is looped. The last part in the film is completely tracked over (The Marauders Map), but fits.
21 - Sirius and Harry
6M4N Sirius And Harry
Almost matches (only the end is slightly shortened). Solo horn and strings quietly plays Window to the Past, that is now also associated with Sirius. At the end, the Hedwig's theme sounds melancholy, highlighting an important moment for Harry.
22 - The Werewolf Scene · The Dementor Converge
6M5 The Werewolf Scene (-4:23)
6M5AN First Frozen Lake (4:21-end)
The Werewolf Scene: The music is very chaotic, aggressive mickeymousing (I especially love the beats of chimes, metal pane and anvil, synchronized with Lupin's ripping clothes). If talk about themes, then may note the mystic strings that sound when the werewolf hears someone's howl (second Hermione).
The first two-thirds are a very sad mess. Almost all sync points are perfectly detectable, but quite a lot of video material was cut out. Then it gets better, however, I had to slightly shorten/lengthen some shots for full sync.
The Dementor Converge: At the beginning of the cue, there is tracked material from 2M4 The Dementor Appears (the scene in a Hogwarts-Express) with slight changes in orchestration, and new strikes when Harry discovers the dementors circle. Accordingly, the Dementors motive also sounds here. The action-part [5:13-5:44] in the movie sounds slower, but I used the LLL/OST version and shortened the footage. I also had to slow down pretty much the footage between Sirius "freezing" and Patronus appearing. Next is the material originally intended for 7M4 Watching The Past cue (when the second Harry summons the Patronus, see Watching the Past and Bonus section), but the choral chords are changed and the tempo is faster.
23 - Time Past · Saving Buckbeak
6M7 Reviewing The Recent Past (-2:44)
7M1 Viewing The Recent Past (2:43-5:27)
7M1A Saving Buckbeak (5:26-9:28)
7M1B Bats Extension (9:28-end)
Here Time-Turner motive is introduced, which used as an ostinato. As they look down the hill at Buckbeak near the hut, the quote from Buckbeak's theme sounds quietly. In the next cue (7M1), a new ostinato motive appears, based on Time-Turner motive. It's interesting that the loud passage of the woodwind when Hermione throws a stone isn't marked in the score, but in the film that passage is tracked even during the second throw. In Saving Buckbeak (third cue) the TT motive disappears, a minimalistic texture sounds (originally, these marimba chords were supposed to be combined with a separate pitched synth, imitating the "ticking" of a clock, but this idea was abandoned (here's my reconstruction of it). At the very end, the film has a different ending (7M1B New Bats) but I decided to choose the one that sounds in OST (Bats Extension), since the transition to the newest ending is not implemented gracefully. For all known endings of this cue, see Bonus section.
Now about sync: the first cue fits, except for a strange moment before Harry and Hermione start running outside (I had to stop the video, since here is a continuous shot). The second cue almost fits (but it seems that some of the conversation between Fudge, Dumbledore and Hagrid has been shortened). I left the ending of the cue as it syncs in the movie, but the first ~20 seconds of the next cue (Saving Buckbeak) are dialed out in the movie. So I decided to repeat the video, and placed the cue in such a way as to match the syncing of the movie. In the film also the moment of the "execution" was shortened, here I had to split the frame in a funny way (perhaps 2 frames were merged together, on the left we see the closing of the door, and on the right, the preparation of the ax). The ticking sound in the movie also sounds in Saving Buckbeak, but since we have a "clean" version from OST, I used it.
24 - Lupin's Transformation · Watching the Past · Rescue of Sirius · Sirius Says Goodbye · Turning Time Back · The Whomping Willow Revisited
7M2 My Dad Conjured The Patronus (-1:36)
7M2 New Ending (1:35-2:02)
7M3 Buckbeak Saves The Day (2:09-2:42)
7M4 Watching The Past (2:42-3:53)
??? [The Patronus Light] (3:55-4:47)
7M5 The Rescue Of Sirius (4:48-6:05)
7M6 Sirius' Final Scene (6:12-7:39)
7M6A Turning Time Back (7:39-8:23)
7M7R Whomping Willow Revisited (8:26-end)
Immediately 9 cues, which fit in 10 minutes.
Lupin's Transformation begins with a quote from 6M4 Sirius and Harry. But since a WttP theme was added in the new version of Sirius and Harry, an insert with it is also played here in the film (see the next video with alternatives). When Harry and Hermione begin to descend, I had to insert a couple of black screens. Here I also used the new ending used in the movie (also see the next video for the original version).
Short cue Buckbeak Saves The Day (with a new quiet opening, not considered a separate cue). This is the only time in the score when such figurations of strings, duplicated by woodwind, appear. The cue smoothly turns into Watching the Past which begins with the return of the Time-Turner motive (there is also a ticking sound in the film). Then the material from the old version of First Frozen Lake (The Dementor Converge) starts to repeat (see this video for more details), but as a result of changes, in the final version the only thing left is the repeating Dementors motive. Then a new insert(?) sounds, which is a mix of several layers: a shortened OST track "The Patronus Light" + an additional choral layer + a separate layer with horns playing the Window to the Past. See the next video for the original segment. The Rescue of Sirius: in the film it starts a second later, so it's a little cut. There is also a slight desync in the film (so that the culminating reading of the Buckbeak's theme begins with the "explosion" of the cell, and not from the next shot in the film). Sirius Says Goodbye also starts a few seconds later in the film, therefore it's shortened. Interestingly, the harpsichord was removed in the film. Here the Window to the Past sounds for the last time and climaxes. In the film, this cue crossfading into the next, but here I decided to put a black screen to separate them. Turning Time Back, in turn, represents the last appearance of the Time-Turner motive, the instruments gradually fade at the end until there is only one synth left. The Whomping Willow Revisited fits, another rendition of the Hedwig's theme (a reference to the end of The Great Hall Ceiling, when the theme was also played in the shot with the Willow).
Lupin's Transformation and Watching the Past - Alternates
7M2 Insert (0:25-0:49)
7M2 My Dad Conjured The Patronus (original ending, 1:03-1:32)
7M4 Watching The Past (original ending, 1:43-end)
7M2 Insert: The original cue is slightly elongated due to the insert.
7M2 Original ending: In fact, there are 7M2A String Overlay in the score to be mixing with this ending, but we don't have a recording of it. These are essentially clusters and slow harmonic effects for strings.
7M4 Original ending: Since this material was later used in First Frozen Lake, it seems that this recording was made in the early stages (even before the new version of First Frozen Lake was composed). However, this ending fits perfectly with the final cut (except for the last chord, which is on LLL). There is also an alternate version in OST ("The Dementor Converge"), where a layer with horns playing WttP theme is added (in the same way as for the new insert) - it's not known if this was intended specifically for the OST, or for use in the film.
25 - Lupin's Departure · The Firebolt · End Credits
7M9 Lupin's Departure (-0:54)
7M11NN A New Broomstick (1:01-2:08)
7M12 End Credits (2:07-end)
Lupin's Departure: shortened in the film. The last chord isn't used in the film (and it's absent in the score), the ending is mixed with a part of Sir Cadogan (judging by the numbers of cues, this was originally conceived).
The Firebolt: fits. The sound of the Hedwig's theme at the opening of the package, the triumphant return of the Flying theme, and the solemn sound of the Hedwig's theme at the beginning of the credits. The beginning of the credits music is also included in this cue. I had to insert black screen before the credits, since the music was shortened here.
End Credits: Lots of renditions of Double Trouble (including 6/8 version), then an emotional, but small segment with renditions of the Window to the Past. And then transition to the classic Hedwig's theme suite, starting with the Flying theme. It's interesting that another ~4.5 minutes of titles remain without music - probably, it was planned to insert something else here.
Bonus - Experiments with mockups...
Sounds awful, but why not. Quite a few alternative versions of parts have accumulated in the score, which have not reached us in the form of orchestral recordings (most likely, almost none of this was recorded). I decided to try and sync the most of them.
Old transition between Befriending the Hippogriff and Buckbeak's Flight
3MC Befriending The Hippogriff (-0:30)
3MCA Riding The Hippogriff (0:30-end)
This is where the "optional" cue ending comes in handy. There are not enough frames for it, but we got a smooth transition to the next cue.
Remembering Mother - Original version
3M10 Remembering Mother
An old alternative to WttP theme.
Old ending of The Great Hall Ceiling
3ME The Great Hall Ceiling [old version, not 3M12]
There are few differences from the final version, the most interesting thing here is the ending. I used to think that Dumbledore's dialogue with Snape was supposed to be longer, but it looks like the "lullaby" continues in the shots with the Whomping Willow - see how the falling leaf synchronizes with the "falling" trills of the strings. And only then the Hedwig's theme sounds. Interesting...
Enter Winter (Woods Walk and Bird's Flight) - Earliest version
4M3+4 Enter Winter
This version of the cue obviously starts later, leaving Lupin's dialogue with Harry without music. Also, apparently, the shot with the flying owl should have been shorter, otherwise the footage will not sync. (The later version of the cue has a Hedwig's theme at this moment).
Woods Walk - 2nd version
4M3+4N Woods Walk And Birds Flight
Already strange things are happening here. In this version, the dialogue between Lupin and Harry is already scored, but the music is longer than this scene. In the script, all the lines seem to match, so it's not clear what could have been cut here. I tried to speed up the tempo of my mockup, but in this case it sounds very strange. So I left my slow tempo and insert a black screen.
Dueling the Dementor - 1st version
4M14 Dueling The Dementor
Apparently, there should have been more Patronus shots here. A scene with this kind of music feels very different. Then the old alternative version of WttP is played.
Dueling the Dementor - 2nd version
4M14 Insert For Patronus Light
The music sounds lighter, a female choir is added, but there is still no WttP theme. Perhaps it was on this stage that Cuaron and Williams tried to find the "true" sound of the Patronus... By the way, this version is already shorter than the previous one.
Sirius and Harry - Original version
6M4 Sirius And Harry
At first everything matches. But after the Pettigrew shot, the sync breaks. As in the case of the 4M3+4 cue, in the script, it seems that all the lines almost fits with the film, but nevertheless, the music is longer than the scene.
The Dementor Converge - Original version
6M5 Pt. II
Perhaps the most interesting mockup. Here it is interesting to see how much the dramaturgy (uh) of this scene has changed.
In the beginning, I decided to insert The Dementor Circle (from LLL): we don't know what exactly this recording was intended for, but judging by the use of the material in 7M4 Watching the Past, I can assume that this is a choral overlay that should have been played at the beginning of that scene. In this case, in the film, this overlay was replaced by the sound of one static female voice. It's noteworthy that the moment with Harry's attempts to summon the Patronus is cut. It's funny that this version fits the final cut, even better than the final version of the cue (I didn't have to expand the frames before the Patronus appeared). At the same time, I had to shortened the shots with the Patronus itself. Also interesting is the moment with the successful Patronus at the end - musically it feels like a kind of vision through a dream (in the score the maximum dynamics is mezzopiano), but we only have a recording The Patronus Power (we also don't know what it was recorded for, but it expands on material from this version of the cue), where the sound is louder and clearer. The ending is shorter, I had to delete one shot with Harry.
Endings of Saving Buckbeak
Just different versions of cue 7M2 endings.
Old opening of Buckbeak Saves the Day
7M3 Buckbeak Saves The Day
Small mockup, but still. This version of the cue begins as soon as a werewolf appears in the shot. The music sounds epic right away. In the final version, low strings tremolo sounds here.
Ext. Whomping Willow - Original version
7M7 Ext. Whomping Willow
Old cue alternative without Hedwig's theme. Perhaps the Willow shot was longer, and the cue should have started playing at the start of this shot.
Lupin's Departure - Original version
7M9 Lupin's Departure
It's funny how JW decided to scored the closure of the Marauder's map. In addition, in the final version of the cue, the cellos and solo oboe parts were reversed, and a major chord was added at the end.
The Firebolt - Original version
7M11 A New Broomstick (-0:51)
7M12 End Titles (0:50-end)
And now the end of the movie. Two major differences: the moment where Harry trolls the students was cut out, as well as the instant transition to credits.
Miscellaneous
There is the original 4M2 Quidditch 2004 ending in the score, but since the scene is difficult to recreate, I didn't sync my mockup with the image.
5M1 Buckbeak's Sentence cue features a harpsichord part that only plays short melismas on one note. The next cue (5M2 Reading the Map) begins with the playing of the Marauder's Map motive on the harpsichord (in the score it's indicated by an octave higher than on the recording, on the same note on which the melismas were played in the previous cue). This creates a smooth transition between cues. Maybe I'll do a mockup someday.
The version of 5M6 The Executioner in the score is slightly different, @BrotherSound made a mockup. Interestingly, at 0:24 there is a strange hint of Time-Turner motive, although at this time the "second" Harry and Hermione should really catch up with the main trio.
In 6M5 The Werewolf Scene there is a moment (a werewolf fight with a dog), when only brass instruments remain. There are some percussion parts indicated in the score at this place, but they were not recorded. Maybe I'll do a mockup someday.
In total, in the score, there are 3 types of "ticking" of the Time-Turner. The earliest can be found in 7M1A Saving Buckbeak and 7M6A Turning Time Back cues - there it's a separate pitched synthesizer, sometimes duplicating other instruments (however, in Turning Time Back it rather imitates the sound of "ticking"). Here's my mockup of this synth in 7M1A. The second type is in 7M1 Viewing the Recent Past cue, close to the final version, but at one moment it changes the pitch (although certain notes are not indicated). The third type is indicated in 6M7 Reviewing the Recent Past, and apparently this is the final version (standard, non-pitched ticking) that we know.
In scores, recorders and harpsichord are often notated an octave higher than they sound on the recording. Williams may have originally wanted to use recorders in the same way as in the Philosopher's Stone, where they sounded in high register (House Selection; Love, Harry).
In some places of the score, the recorder playing the WttP theme is optionally duplicated by the lute. As a result, only the guitar duplicates the theme in 7M6 Sirius' Final Scene.
1 Jedi Temple Challenge Main Theme 1:07
2 Meet the Padawans 1:17
3 The Strength Trial 1:04
4 Welcome to the Athylia 1:06
5 Story in the Stars 0:29
6 AD-3's Tale 1:09
7 The Knowledge Trial 1:14
8 Mysteries of the Jedi Temple 1:05
9 The Bravery Trial 3:05
10 The Dark Side Appears 0:35
11 Coronation of the Jedi Knights 1:05
12 Jedi Temple Challenge Closing Theme 0:33
1M9 “Imperial March” is neither the version heard in the recruiting video (that’s “Imperial Theme - Edwardian Style”), nor the standard concert arrangement. It’s the later part of 2M4 “The Probe Scanner” from the Empire Strikes Back, but starting with the tracked Imperial March as heard in the film. Very odd!
The first 2/3 seems to sync up flawlessly to the film! It appears there weren't many edits to the scene itself until toward the end when the music completely desyncs. I cut that part out considering it was just a huge mess.
I'm so grateful that not only is he still scoring feature films this late in life and career, but that these late scores are all so good!
It would be one thing if these new scores coming after 2005 (when he was freaking 73 already) were just OK-ish scores that are exciting for a little bit, then quickly forgotten... but for him to still be putting out so many bangers is astonishing and most welcome! Some of these newer scores I love so much more than some of his scores from his peak years.
I will never blame him at all if he stops scoring features and just focuses on concert work, but I will be thrilled to no end if we find out he's scoring another feature!
1 The Attack On The Jakku Village, Part 1 (5:27)
0:00-0:24 1M1A v3 - Starry Night
0:24-0:55 1M2A Fix
0:55-1:09 1M1A v3 [continued]
1:09-1:40 1M2B
1:40-1:50 1M2R (New Ending) - Hand Opening
1:50-2:17 1M3C I've Seen Too Much
2:17-2:34 5M40 The Beam Is Released
2:34-2:50 1M3D The Attack on the Village
2:50-3:16 7M61 Guns A'blaze
3:16-4:00 1M3D [continued]
4:00-5:03 1M3BR The Attack on the Village
5:03-end 1M4R The Arrival of Kylo Ren
2 The Attack On The Jakku Village, Part 2 (1:54)
0:00-0:09 7M66 The Control Room And Ren In Forest
0:09-0:16 7M67 Rey vs. Ren
0:16-1:19 1M4R The Arrival of Kylo Ren
1:19-1:34 1M4B Landing
1:34-end 1M4D Fix on Fix
3 The Scavenger (1:52)
1M5 Alt2 A Insert - The Scavenger
4 Lunchtime (1:13)
0:00-0:18 1M6 Alt R - One Quarter Portion
0:18-end 1M7 Flute Version - Lunchtime With Rey
5 I Can Fly Anything (4:09)
0:00-0:45 2M14R Alt Intro v2 - Finn Helps Poe
0:45-1:20 2M14R I Can Fly Anything
1:20-1:36 2M15R The First Escape
1:36-2:02 2M15R Insert
2:02-3:40 2M15R The First Escape [continued]
3:40-3:50 7M65 Father and Son
3:50-end 2M15R The First Escape [continued]
6 Finn’s Trek (1:35)
0:00-0:52 2M17AR Finn’s Trek
0:52-1:11 1M4R The Arrival of Kylo Ren
1:11-end 2M17AR [continued]
7 Follow Me and The Falcon (7:10)
0:00-1:13 2M18B Who’s Luke Skywalker?
1:13-2:54 2M18CR Follow Me
2:54-3:02 2M18C Insert II
3:02-3:09 2M18CR [continued]
3:09-6:41 3M20 (Fixed) R - The Falcon Still Flies!
6:41-6:49 5M44 Kylo Arrives At Battle
6:49-end 3M20 (Fixed) R [continued]
8 The Rathtars (1:19)
3M28 The Rathtar Attack
9 Snoke (2:08)
0:00-0:12 4M30A Starkiller
0:12-1:53 8M78 Snoke
0:25-0:32 6M54R Rey vs. Ren
1:29-1:53 6M53A We See Rey
1:53-end 2M17AR Finn’s Trek
10 You Got A Name? (1:32)
0:00-0:40 4M33R Insert - Gotta Name
0:40-end 4M33R You Got A Name?
11 I’m No Hero (1:06)
4M36R I Ran Into You
12 The Starkiller (1:53)
8M81 Sunbeam Strings
13 Kylo Ren Arrives At The Battle (2:16)
0:00-0:15 5M43 R (Fix) Find Rey
0:15-0:55 5M43A (Fix) Maz’s Treasure Chest
0:55-1:28 5M44 Alt Intro v1 - Kylo Arrives At Battle
1:28-end 5M44 Kylo Arrives At Battle
14 The Resistance (1:35)
0:00-0:32 5M47 v2 - Good Guys Shooting
0:32-0:50 8M77 The Resistance Theme
0:50-end 5M47 v2 [continued]
15 The Abduction (1:35)
0:00-0:27 5M48 We’ve Got What We Need
0:27-end 5M49A (Fix 11/5/15) The Abduction of Rey
16 Finn and Poe, United (2:01)
6M51R Finn and Poe, United
17 The Bombing Run (2:08)
0:00-0:09 6M56C (Fixed) To Lightspeed
0:09-end 6M58 The Bombing Run
18 On The Inside (2:54)
0:00-0:11 7M66 The Control Room And Ren In The Forest
0:11-0:24 7M62B Shootout
0:24-0:49 7M62 I Can Get Us In
0:49-1:30 7M62A On The Inside
1:30-1:38 7M62A Insert
1:38-end 7M62A On The Inside [continued]
19 Torn Apart (4:24)
0:00-0:50 7M65B Father and Son
0:50-1:08 7M65 Father and Son
1:08-2:05 7M65B [continued]
2:05-2:10 7M65C Leia Fix
2:10-2:33 7M65R Insert
2:33-2:58 7M65 [continued]
2:51-3:00 1M4R The Arrival of Kylo Ren
3:00-3:10 7M65 [continued]
3:10-3:24 7M66 The Control Room And Ren In The Forest
3:24-3:40 1M4R [continued]
3:40-3:43 7M67R It Is You
3:43-3:48 1M4R [continued]
3:48-end 7M66 [continued]
20 The Ways Of The Force (3:59)
0:00-1:03 8M80 Scherzo for X-Wings
1:03-1:20 7M67C Blowing Up The Oscillator
1:20-end 7M67A Rey vs. Ren
21 The Journey Home (2:19)
0:00-1:12 7M68A Light In The Snow and Flying Home
1:12-end 7M68 Flying Home
22 Farewell and The Trip (3:49)
0:00-0:29 8M72 Finding the Map
0:29-0:37 2M11R Alt - BB and Rey
0:37-1:08 8M72 [continued]
1:08-end 8M73 The Complete Map
23 The Jedi Steps and Finale (9:58)
0:00-2:11 8M74 Climbing The Mountain
2:11-6:57 8M75 Finale (11/11/15)
6:57-8:05 8M77 The Resistance Theme
8:05-end 8M75 [continued]
The OST breakdown was previously posted here.
This time a year ago I had next to no expectations for Disney+'s headlining show or its score. I had certainly decided to keep an eye out for Ludwig Goransson after thoroughly enjoying his work on Black Panther and the Creed films. Nonetheless, I had no discernible hopes going in. Given just how well I took to the score (and the show) upon release, I can now be sure that no matter what I could have anticipated, my hopes would have easily been fulfilled and surpassed.
Goransson kicks off Chapter 1 most appropriately, the first cue beginning within the opening minute of the show. And what better way to set the stage than with what has essentially become the main theme, one that captures the fresh and unique musical aura that seeps through every aspect of the show to create a new and exciting environment based in a familiar universe. This is, as we have so dubbed it, the Recorder Riff. Over the course of eight episodes it gets put through the ringer, featuring permutations that range anywhere from heroic and triumphant to reflective and soulful. The distinct sound of the bass recorder is such a masterstroke to carry the series with, as there are few instruments that quite compare to its natural, almost earthy sound. Furthermore, its many solo performances play into the lone warrior mythology that the show is very much grounded in.
The opening track, Hey Mando!, gives us two statements, the first being the full theme presented in standard form, the second increasing in distortion and slowly being overtaken by electronics. As the action ramps up and the Mandalorian finds himself in a bar fight, the electronics take over with sharp and sudden ferocity while percussion pounds away underneath. As the set-piece fizzles out, we move on to what I had called initially called the Western motif, mostly because I felt it had a simplistic yet useful purpose comparable to a small figure in one of Morricone's classic spaghetti western scores. As we trace it throughout the rest of the series, its mostly serves as a title theme, with a new variation in almost every chapter (i.e. Ch. 2 major key, Ch. 6 hip-hop, Ch. 7 brass, etc.). I get the feeling that come season two some sense of nostalgia for the wonderful weeks of November and December of 2019 will set in when that now iconic (for me, at least) da-dun syncs up with the words on screen. This motif also contains something of an interlude, often taken up by piano or guitar (see the credits piece), although Goransson often opts to drop it altogether.
According to the SABAM repertoire, two unreleased cues follow. Open the Hatch begins with some synth action before orchestra (primarily brass and strings) takes over as Mando and his bounty escape the ice creature in the Razor Crest. Secondly, Have to Use the Vacutube, which mostly features the travelling/Mando & child motif in menacing mode, similar to the statement in Chapter 3's A New Day, when Mando flies to Navarro. These are the only two unreleased cues from Chapter 1, each being relatively short (less than 2 minutes total between the two).
Face to Face underscores the Mandalorian's walk to the client's hideout, and displays many Western sounds blended in a modern context, such as a near-constant twang (or is it boing?) sound throughout much of the cue. Eventually we hear what we had originally called the travelling motif, but it has since become a theme for Mando & child. Its use here lines up with this theory, considering that Mando and the client are discussing the asset as it plays, foreshadowing the relationship born out of this particular mission. Another theme we hear is a small brooding figure for Werner Herzog's client. As far as I can recall, it only appears next in Chapter 3, and possibly in an unreleased Chapter 7 cue. The atmosphere created in this five minute cue further sets the stage for what is to come, slowly building towards the musical climax(es) later in the episode. It's essentially "preparation" music; we're not quite there, but we're getting ready.
Back for Beskar provides an opportunity to revisit the Western motif, intermixed with industrial sounding electronics, creating a clanging and whirring soundscape similar to machinery in a foundry, which makes sense here. This is also the first time that a pair of utility motifs appear, partially connected to the Mandalorian culture but more broadly used as a dramatic anchor later on. The first is normally presented on high strings and plays counterpoint to the second part on guitar. Goransson often splits up these two ideas, and uses the first part in several other cues completely separate. On the other hand, we do not often hear the latter portion on its own.
HammerTime is one of this episode's highlights, and is the first of three fantastic flashback cues in the show, all of which share similar DNA but develop further and further with each iteration. The drums open the track and give way to the Forge motif, a theme that can be traced easily in connection with the underground Mandalorians. In this instance, it comes across as chant-like, growing in size with each repetition, as if to create an image of Mandalorians emerging from the shadows one by one. The Recorder Riff is taken up by high syncopated strings with an integral horn counterpoint, and the Forge motif replays at its most powerful. A fluttering synth figure underscores a space cutaway and synthetic effects play out to the end.
With a change of scenery comes a change in mood, as a noisy Blurg Attack begins with synths and frenetic percussion. What follows is a skeletal outline of the main theme, at first filtered with electronics and later pared down to just strings and timpani hits. A small chiming idea accompanies the walk to Kuill's hut. Around 1:05 we got our first Creed-esque hints of the fanfare, foreshadowing the full statement in the next cue. You Are a Mandalorian is without a doubt the highlight of Chapter 1, with a series of frankly relaxing percussion lines and soulful synth-woodwind whirls (I'm not really sure what else to call them, but it's a sound that wouldn't have felt out of place in, say, Black Panther) leading to the climactic full statement of the fanfare. Around 3:25 the woodwinds take the Recorder Riff's outline and turn it into the beginnings of a Great Escape-esque march before the cue winds down.
What follows in Bounty Droid is an opportunity for Goransson to flex his electronic/pop backgrounds more heavily, even shooting for a pounding drum machine (an effective sound which will come back later on). There's a lot more tension in this one than I had initially realized, what with a few small Dies Irae quotes, wild brass outbursts (2:09) and a brief victorious fanfare backed by a rising/falling string idea (2:37) to round it out. The tonal shift into The Asset is quite significant, but hardly jarring. Somber horns and woodwinds quietly play into the Child's guitar theme, which does a remarkable job of capturing that sense of awe and mystery manifest in this moment, with the occasional question mark. The recorder riff bookends this episode, and the credits begin.
The Mandalorian suite is self-explanatory in that it covers all the major themes of the show (including the Razor Crest, which isn't actually in the first episode proper). The track makes for a spectacular culmination of coherent and undeniably perfect musical ideas blended together with Goransson's signature stamp. Case in point, it's a real ear worm and cannot be overplayed (I'll let you all know if I get to that point, but I seriously doubt it).
Thanks all for helping the discussion to reach this point and for putting up with my unrelenting enthusiasm for the show and its music. As I type these last few words I realize that brief may not have been the most appropriate title, but I'll try and keep the length of these down to a few short paragraphs, which should be easier after the first few episodes because they'll take care of most of what I have to say regarding the main themes. Hopefully I'll have recapped each chapter of the first season by the time the second begins in October. Cheers, and bring home that Emmy, Ludwig!
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Music by John Williams
source: written full scores and sketches
1M1 Elvis and the Prairie Dog
1M3 Tie Shoes
1M3 Rev. - Tie Shoes
1M4 Irena Spalkov
1M4 Rev. - Irena Spalkov
1M4 New Rev. - Irena Spalkov
1M5 Revisiting the Ark
1M5R Mark Graham Revisits The Ark
1M5B Gun Powder
2M6 Unpacking
2M7 Indie Fight Back
2M8 Indie's Great Escape
2M8B A Ride Down Ben Burtt Boulevard
2M8C Indie Versus the Russian
2M9 Giving the Russians the Slip
2M11 Prairie Dog and Nuclear Cloud
3M12 [sic] That’s Her
2M12 That's Her
2M12B Indy’s Posh House
2M13 Remembering Henry Sr.
2M13 Rev. - Remembering Henry Sr. & Leaving Campus
2M15 [Version 1] - It's Just a Story Kid
2M15 Version 2 - It’s Just a Story Kid
2M17 A Knife at a Gunfight
2M19 A Whirl Through Academe
3M20 The Trip to Akator
3M20 Rev. - The Trip To Peru
3M21 Homage A Maxie [source]
3M23 Reading the Wall
3M24 I Think I Heard Something
3M25 Graveside Fight
3M26 Magic Doors and Scorpions
3M26B Not a Dead End
3M27 [untitled]
3M27F Telling The Story
3M27B What Is This Thing?
3M27B Rev. - What Is This Thing?
M28 Version 1 - Russians Reappear
M28 Version 2 - Russians Reappear
3M28 Rev. - Hello Jonesy
4M30 Not Made By Human Hands
4M32 Staring Down the Skull
4M32 Version 2
4M32 Version 3
4M33 Ideograms
4M34 Sleeping River Map
4M35 Quick Step In Quicksand
4M36 Grab that Snake
4M37 We're Not Dead Yet
5M38 Andy's Full Nelson
5M38 [Insert] - Legs
5M39 Irina’s Great Blade
5M39 Insert #1
5M39 Insert #2
5M40 Mike Kahn Cooks
5M40R [untitled]
5M41 Ants
5M42 Marion's Best Idea
5M42 Alt. Ending
5M43 OX Marks the Spot
5M43A It Must Be Returned
6M44 Shawn Murphy and the Mad Mayans
6M45 The City of Gold
6M45 Alt. Beginning
6M46 Stepping Stones
6M47 This Way, Ramiro!
6M47R This Way, Ramiro!
6M48 Sanctum Santorum
6M49 Marty Cohen's Hidden Treasure
6M50 Irena's Long Goodbye
6M50 Insert
6M50 New [untitled]
7M53 Kathy Kennedy's Great Flying Machine
7M53 Extension
7M54 Stick Around Kid
7M54R Stick Around Kid
7M55 George Might Be Next
7M56 Crystal Skull End Credits
7M56 New Ending - Raider's March
Henry Jones, Jr. [early version of “The Adventures of Mutt”]
Swashbuckler [“The Adventures of Mutt”]
The Thirteen Visitors [“Call of the Crystal”]
I'm as floored as the rest of you! I knew from social media that Alex Ross had chatted w/ JW back in February, but had no idea about the content of their interview, or that the maestro himself apparently leafed through my catalogue.
I can't imagine the "online fan sites" Ross says Williams is "delighted" by could be anything other than JWfan. It means a lot, even in just this small way, to know that JW is aware of all the passion and interest his music has inspired in this little community.
I have a new side channel for anyone interested, in which I will be uploading my edits of unused music restored to the films:
https://www.youtube.com/channel/UCkKHiCC2NdURVf8ECqfiEhA
EDIT: Let's see how long I can keep it up before YouTube removes it.
So, I made a playlist where I collected all my POA mockups. Most of them I spammed published in mockup-thread. Looks like I didn’t do just String Overlay...
In some mockups, I cut out parts that don't differ from the final version (I wrote about this in square brackets).
Earlier version (1M5 Alt2 R) of The Scavenger cue from The Force Awakens. Dune slide is different and it's overall slightly longer than the released version.
Earlier version (1M5 Alt2 R) of The Scavenger cue from The Force Awakens. Dune slide is different and it's overall slightly longer than the released version.
I've never seen such a quick turnaround and then yet another turnaround on Kevin Kiner before.
The dude seems like a nice guy and DGR seems like a nice guy and I like their music. If they wanted to publish the not-live-orchestra version over the live-orchestra version I can respect that.
While I completely disagree that it sounds better, I respect the opinion of those who work on the music as ultimately they decide what gets released and who are we to argue with them. I'm just glad we got as much as we did as I wouldn't have been surprised if all we got was just a few tracks from the composers themselves with no official release like with the earlier series.
Honestly, I'm quite embarrassed to be a fan of the music after seeing the reaction on social media of people immediately accepting one fan's ridiculous theory/conclusion that I have no idea how anyone could ever come to over something so simple as 1 track on an album not being the version that got used.