NL197

It's a pretty intense film for a Disney 80s movie. I recommend it. John Cusack and Ray Wise co-starring, can't go wrong.

#SnyderCut #demblackbars #YeFisherNeedsToShutUp

I found it better as Al Bathra. Easily my favorite Horner action cue. The Titanic trailer used a combination of that and Monfriez's Suicide. That had to be intentional since the film paralleled that music.

It’s interesting, because it actually started the year before that in Courage Under Fire with three notes and expanded it into its own theme. (The cue “Night Mutiny” is a good standalone version of the idea but it’s in others as well) It served as a sort of darker tension kind of device. Titanic narrowed it to two notes.

Leaving of Liverpool was a good reference. Not only for a good melody, but for Titanic itself given its history. Oh, bumping Braveheart posts are TIGHT! I don't even think it matters what anyone's favorite Horner from 1995 was, because it was such a great year for his music all around ya can't go wrong. (I actually do enjoy JADE a lot. It's not my favorite of that year, but I enjoy the whole thing. Much of it is found in Braveheart anyway!)

JADE.

Barely, but I know what you mean. 2:56, or 3:12, or 4:00 (repeating example of what you mean) of this Isle of Hope song. It reminds you of this at 3:45: But it's such a minor little thing though.

48 Hrs was released by Intrada (with different takes compared to the film in at least one cue) and later ended up on iTunes for about a minute, while ANOTHER 48 Hrs didn’t get the isolated score and is only out as that 1990 OST. I’m sure release status plays a part.

Horner did unused trailer music for Casper, did partially used music for Titanic, both on their expanded LLL releases. He also wrote unused trailer music for Cocoon, but I don’t know if it was recorded.

Since I made my own custom version of the album, even adding in a bit of material left off the LLL (very minor), I did these a few days ago using the original font from the film's end titles.

and some scores are numbered M1, M82, M116, etc. If there's any rhyme or reason to changing them up so it's either 9M1, or R9P1, or M90-whatever, I don't know what it is. Then there's a rare one like Titanic, which just uses scene numbers: Sc034-R Southampton (Revised) Sc273-R A Promise Kept (2nd Part Revised)

And then there's things like 4M4R, R for "Revised", or 6M1A, like "Alternate", meaning the cue was changed in some fashion or totally re-written to accommodate a change in the scene's musical needs, or 2M7s, the S usually for a song / source cue.

Yeah the Intrada version had such a wildly (improvised) sax line that was really out there. The boot version was the film version.

Doubt the sequel would, but I hope I'm wrong. There was never anything beyond the OST. The first one ended up on iTunes for about a minute (the Intrada release, just rebranded)

VIC FONTAINE!