NL197

That's pretty common knowledge. The original trailer, known as the 'ShoWest' presentation, was a 5 minute reel with Book of Days playing in the same spots as the Horner-composed Titanic theme would in the theatrical trailer, which was a cut-down version of that ShoWest presentation. The trailer is here: Keep in mind this is a PAL sourced video, so the key is pitched up by 4 percent. Because of this pitch-shift, it sounds even closer to Titanic. The opening uses Pax Deorum before launching into some Alan Silvestri music if I recall, then you hear B

I don't believe it's meant to crossfade, because if it did, it wouldn't sound so awkward like the track does. The timing is off for a crossfaded pair of cues. Just doesn't sound right to my ears.

James Horner - APOLLO 13 (1995) (actual cue titles) source: Cue sheet The better-known titles are in (brackets). 1M1 The Fire (Main Title) 1M4 Lunar Ambitions (Lunar Dreams) 2M2 Docking Simulation - this cue was unused and therefore not on the cue sheet so I've left the session leak title intact. 3M1 Marilyn's Nightmare 3M2 A Son's Worries 4M0 Simulator Crash 4M1 Night Visitors 5M1 Go For Launch (All Systems Go - The Launch) 6M1 Docking the LEM 7M0 Canister Explosion 7M1 The Accident (Master Alarm) 7M3 Reactant Valves 7M4 Into the LEM 8M1 Out Of Co

Here's a copy of what I'd written regarding chronological order of the album on the corresponding FSM board page: A Son's Worries And Simulator Crash (4:37) - This is THREE cues combined into one. It is not possible to make this 100 percent chronological unless you were to split the three cues up. If one were to do that, this would be the order: 01. Main Title (Film Version) (1:53) 02. Lunar Dreams (2:40) 03. The Docking Simulation (0:51-2:11) - this is unused. 17. Marilyn’s Nightmare (0:58) 03. A Son's Worries (star

I bet the Tanners wished Kimmy Gibbler stayed behind her fence.

Much like the bunch of bad spelling? One is subjective, the other is not. Guess which is which ?

First Contact has the best transition to the film's main theme, and is an efficient, straight but energetic performance. Final Frontier is like Goldsmith saying he's taking the theme back from The Next Generation and really pulled out all the stops to make it as big and exciting a performance as he could. Insurrection is the most unique, with such a heavy use of reverb added and the softer approach to the melody. Motion Picture is, only in comparison to the rest of the films' use of the theme, the most barebones straight performance. Nemesis is slow, and tired. Tweak the tempo a

We never saw Wilson because he didn't want Tom Hanks to find him. Painful memories and all. Because then the show would've had to move to National Geographic or Discovery Channel and air alongside cattle mutilation conspiracy shows and Caught in The Act.

I love the performances of the main theme in Final Frontier best, but I'm not fond of the Klingon music that is used in the end credits. Therefore I chose First Contact. For arrangements / performances of the theme itself: Final Frontier First Contact Motion Picture Insurrection Nemesis

No one is saying it is. If I'm in the left hand seat and the call comes up, I Photoshop the cover.

The only cue I can make the case for not working as a listening experience is "Marilyn's Nightmare" because it's so disruptive to the flow of the overall listen. Beyond that, I like all of the electronic cues, specifically 'Square Peg' and 'Cosmic Connection'.

For the same reason we never see Maris.

They remaster it again in 16K so we can see every single strand of Hasselhoff's chest hair with new music of the time added again. When Anderson runs in slo-mo the silicone of her implants will be rendered so clear we can see how they bounce a little less softly than her natural co-stars. But the shitty yet catchy theme song will remain because it's always here. Or there. Or...Bah.

In all seriousness, they did indeed remaster the whole show using the original elements, and even replaced all the old-style songs with contemporary stuff (not the theme song) I had no idea until a couple days ago

Baywatch was also remastered. Where's the thread for that?

Well one of you guys is probably right, but who...

Well it's obviously:

That could mean they do it themselves, I don't know.

http://www.filmscoremonthly.com/board/posts.cfm?threadID=133975&forumID=1&archive=0&pageID=1&r=348#bottom

Balto used original versions rather than film versions (Balto Brings The Medicine being the best example), and Mighty Joe Young used original versions of the main title and Burning Ferris Wheel cues rather than the much bigger and frenetic film version.

*free black Sharpie with every purchase

And it should be noted, that we go into as much detail as we can about classical influences, quotes and the like. We're not deaf like some out there think of Horner fans as. If we weren't, we wouldn't have put Appalachian Spring's cover in there or talked about Britten in Troy.

That's what all of our "reviews" are. They're not really buy it / don't buy it here's why. They're just as informative as we can make them about prior releases, mixing, how they pertain to the film, etc. More studies than critiques because the thinking is, no one wants to read critical reviews for a singular subject. Chances are if one's on a John Williams site, they like the guy's music even superficially, right? One doesn't expect to come here and read critical reviews ala Filmtracks or MMUK. They come for knowledge, details, stuff to supplement these albums and get to the how's and why's of

The race to escape Cloud City was totally ruined by the pacing-destroying inclusion of the Vader returning to his shuttle / Return of the Jedi leftovers.

Kjell wrote the narrative aspects of the article, while I wrote out those moments involving the presentation / quality improvements and observations, along with the various release info.