Yavar Moradi

That theme for Ethan Hawke I notice all throughout the show. I wonder if they left off some statements for the album. Yavar

Well, it wasn't exactly encouraging that nobody here (besides Jay) seemed to care. But I'm happy to be wrong! Thanks to all of you (and others), this reached its funding goal at some point last night! That's less than four days since it launched... now, for a stretch goal! The Goldsmith Odyssey put out a fun little PSA yesterday evening, and near the end of it we have a cue Leigh mocked up from Jerry's General Electric Theater score "Sarah's Laughter" (from 1959). This is essentially a lost episode (at least I haven't been able to find it anywhere after years of searching; even in a library archive I can't access). I don't think anyone has heard this music in over 60 years. But what I was able to find (and access!) was the original written music by Jerry, held in the CBS collection at the UCLA library. So Leigh did a mock-up from the written music, and we have included the full cue in this as a preview at the end: https://goldsmithodyssey.buzzsprout.com/159614/10523814-golden-opportunities-create-a-goldsmith-filled-future-on-kickstarter Funny you should bring that up, because Williams actually did write a number of scores for this series as well... but Williams is still with us (thank goodness) and I'm not sure he would approve, considering he nixed releases of his original recordings of The Rare Breed and Story of a Woman, which are later feature film scores he himself conducted. Thor had a thread at FSM about Williams's GE Theater scores: https://www.filmscoremonthly.com/board/posts.cfm?threadID=93880&forumID=1&archive=0 I know Williams did at least one Playhouse 90 as well (Goldsmith did a bunch in 1959 and 1960; I think Williams did one in 1958.) Yavar

The lack of interest/responses here (where I thought there were a lot of Goldsmith fans) is rather surprising to me (thanks though, Jay, for always “liking” these posts). But nevertheless this Kickstarter is now over 91% funded in about half a week’s time! Yavar

Thanks for sharing this @Stu! Thanks to the new LLL edition with improved sound, I really really like The Stripper now, and I've been a fan of Oliver Nelson ever since I heard his fantastic Columbo score, "The Greenhouse Jungle" (might be my favorite score for the series, sorry Goldenberg/Melle/DeBenedictis/Williams... you know a I love ya!) I had no idea this existed, and it's excellent! Yavar

It's all a matter of degrees though. If I took what you wrote down to the letter, a film's re-editing might lead to a dozen cues having slightly different inserts recorded or something, so that they fit the new on-screen edit. It could be just a matter of a few bars here, a few bars there. Say the score in the film is already 77 minutes. Is a record label obligated to make the CD release a two CD set, which presents the composer's original compositions as well as the film versions with inserts? Are a few cues having a slightly different ending (or beginning) worth adding a whole other disc? It can get really crazy, really fast. And honestly a lot of people don't care. I like having all the alternates, you like having all the alternates. Not everyone does. There are a lot of people who want a straightforward "complete" program, without multiple versions of cues. I mean, if this were applied to say the Middle Earth scores for example, I suspect the ultimate Deluxe Edition of each of them would be 6-10 discs! Well, message board posters do constitute the most vocal part of their customer base, so it makes sense that they'd listen some...right? But I never said it was just FSM board folks. I mentioned the labels also got a lot of written feedback via email and such (probably phone calls, too). That's probably true, but it doesn't mean the labels don't still have to take CDs into account. I mean, if not for the CD edition of How to Train Your Dragon 2, Varese wouldn't even be involved (because they didn't release the original album)! I think Varese still did 2000 (3000 including international?) copies of The Iron Giant DE, so they clearly do have to take that format into account still. A lot of film music fans are holding on tight to the CD format still, even as other genres abandon it faster. Thanks for the heads up about these two. I do very much wish Varese had included these unused cues rather than some of the alternates they did include (anyone who wants versions from the original album still can keep or acquire the original album). Yavar

Sounds like it wasn't *all* boring/bad for you -- I'm glad! Huh? That was *meant* to be awkward. I mean, Steven is essentially backstabbing his other personality, and is hesitant...plus he's just such an awkward person anyway. I get these issues more. I was really creeped out, disturbed (and weirdly amused) by the early undead stuff... the tension of one or the other character being found (while another semi-conscious character was ________) was very effective. But I do agree the tension was lost. Those weren't my favorite parts of the episode. Now Steven apologizing to "Mr. Great" while he dug around...that was hilarious. Yavar

I think probably the folks at the labels have a better idea about their customer's preferences. They get a ton of mail/feedback all the time, and they can also watch the sales numbers of things. How many alternates have to be included? How different does an alternate have to be, to be considered worthy of inclusion? (Sometimes Neil Bulk includes an alternate for completeness-sake -- which is great -- and then people on the boards have trouble even telling any differences!) These are all considerations the people at the labels mull over, and I don't think there are any easy answers. You seem to have trouble understanding that everyone else doesn't think like you and me, in terms of wanting alternates. I've seen many comments over the years from people who say they play the alternates once if at all, and don't ever care about them unless they are *significantly* different (i.e. the early Star Trek: The Motion Picture alternates). It makes perfect sense why there would be price resistance for a 2 CD set at $5-10 more, list price, plus usually another $2+ more for shipping, for the second disc. Internationally it matters even more. There are just people who would take a chance on an Iron Giant Deluxe Edition for under $20, who wouldn't do that for over $20. It's news to me that Varese left off any cues for deleted scenes; I must have missed something Chris said. I'm surprised they wouldn't have prioritized those cues over the alternates they did fit on the single disc DE. Yavar

Well, since it wasn't a boring episode to me I guess I'm curious why it was "just a boring episode" to you. I liked the character beats, the humor, the archaeology adventure stuff, the horror (some stuff was suuuper creepy to me), etc. Yavar

I assume you just missed the suit/superpowers/superhero angle. Like people who dislike Iron Man 3 because Tony Stark spends so much of the film out of the suit, bereft of powers. Personally I tend to love that stuff. I'm sure the next episode (or at least the final episode) will be more up your alley. Yavar

This Kickstarter went live yesterday, and in just over 24 hours it is already almost 59% funded! The bottom tier to get a lossless digital single of the complete 8 minute score is only £3 (less than $4 USD), and every note of this music is PURE GOLD, so even casual Goldsmith fans have little reason not to go for this: https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith There's a sample of the music in Leigh's video, but here's a suite The Goldsmith Odyssey made of all eight minutes of music, ripped from the episode audio (so it has dialogue and sound effects, sorry -- that's the point of Leigh producing a brand new recording!) Oh...and if there are any "CD only" folks here, I did talk Leigh into committing to a CD edition stretch goal, should at least four General Electric Theater scores be funded (either through stretch goals or sequel campaigns) in this ongoing project to record early Goldsmith TV scores. (Obviously a CD edition doesn't make sense if the CD is only 8 minutes long, but once you approach half an hour of music it makes perfect sense.) Yavar

I really enjoyed all episodes so far, and if anything after the first two I wish they'd slow things down a bit! My wife read that Oscar Isaac agreed to take on the role based on being specifically impressed with the content of Episode 5...so I'm really excited for it. Yavar

Why would spoilers matter any less? It's a great movie and doesn't deserve to be spoiled any more than a movie for adults. Yavar

No, Bruce complains about complete scores being released even if they fit on a single disc. I'm talking about people who like having the complete score for something on one disc, but don't want to pay $5-10 extra for a second disc if it only has alternates and source music. Yavar

I've seen it happen repeatedly... on the FSM board, anyway (lol). I certainly don't care enough to spend my time searching through old threads to find examples for you though. Yavar

How many times do fans complain about having to pay for a second disc of just "extras" when the complete score proper fits on a single disc? (A: ALL THE TIME -- and that's on Goldsmith releases! Michael Kamen just doesn't have the same kind of following, and I'm sure that was part of Varese's calculation.) Yavar

Unfortunately this is only the original Sony album, not the Intrada expanded program which put everything in chronological order from new sources, added two previously unreleased source cues and the previously unreleased score cue "Old Swayback": https://store.intrada.com/s.nl/it.A/id.9839/.f Yavar

I have! It's really good! I wish they'd pushed it to 2CDs for $5 more, just to include those early versions/alternates of cues, but I understand why they didn't. Yavar

Did Don Davis orchestrate Jumanji? I forget... I know he contributed to other Horner scores that year, like Balto. Yavar

You're going to have to define "sound designey" for me, in this context. It has a unique sound world for sure (which I appreciate -- too many Marvel scores are interchangeable) but I hear themes and motifs which get developed, not what I'd call a "sound design" score. Yavar

No, but none of her previous stuff I've heard sounded much like LOKI or Marvel either (and I think that scoring was excellent and unique), so let's be optimistic. Yavar

At least the single volume album is a generous 91+ minutes! Yavar

Great news! This was the last remaining score from Horner's epic 1995 to still be awaiting a complete release! Yavar

Well that's Nicholas Dodd, if you mean the primary version of the main theme that was originally shared in advance of the show. He was David Arnold's orchestrator for many years on stuff like Stargate and Independence Day, to say nothing of stuff like Joel Goldsmith's Kull the Conqueror. Over-the-top is kinda his specialty. Yavar

Actually reading that, I'm not sure it qualifies as "news"...a season 4 could still happen. Yavar

Huh, that's kinda weird IMO. Yavar