NL197

http://jameshorner-filmmusic.com/james-horners-return-to-pandora/

PANDORA - THE WORLD OF AVATAR (soundtrack)

Available now on iTunes: 
https://itunes.apple.com/us/album/pandora-the-world-of-avatar/1446591785
https://itunes.apple.com/ca/album/pandora-the-world-of-avatar/1446591785
 
All cues composed by James Horner and Simon Franglen unless noted.
 
1. Flight of Passage Ride Through (4:23)
 
2. Na'vi River Journey Ride Through (vocals by Sandra Benton) (5:47)

3. Pandora Walk Through (5:40)

4. The Shaman Call (from "Windtraders Shop") by Simon Franglen (3:59)

5. Magic of the Land (from "Windtraders Shop") by James Horner (3:50)

6. Spirits of Mo'ara (from "Windtraders Shop") by James Horner (5:58)

7. Raggatar (from "Satu'li Canteen") (5:49)

8. Shaman of the Souls (from "Satu'li Canteen") (7:45)

9. Surf's Up (from "Satu'li Canteen") (2:13)

10. Bossa (from "Pongu Pongu") (2:36)

11. Surf's Up (from "Pongu Pongu") (4:13)

12. Wave (from "Pongu Pongu") by Simon Franglen (5:33)
Released: Jan 4, 2019
℗ 2019 Walt Disney Records
Also Available on Apple Music

They sold 3 thousand units of it in less than a year at $50 a pop, and what the hell does Harry Potter have to do with Titanic?
 
Let’s compare 50 shades trilogy to Star Wars trilogy. Superman to The Departed. 
 
Because that makes sense. 

They sold 3 thousand units of it in less than a year at $50 a pop, and what the hell does Harry Potter have to do with Titanic?
 
Let’s compare 50 shades trilogy to Star Wars trilogy. Superman to The Departed. 
 
Because that makes sense. 

http://jameshorner-filmmusic.com/balto-expanded-edition-our-exclusive-review/

Everyone wants Willow. It’s one of those things that I just shrug and think ¯\_(ツ)_/¯. 

There is a very wrong way of interpretation.
 
But I have nothing substantial to add to a 'discussion' with a tendentially contemptuous publicist. I know he does not have the collector's sense that many others have and therefore I consider him one of the most reliable persons concerning actual musical merits, but it doesn't really justify his occasional scornfulness. I don't know, where the problem is, when I buy a new release with improved sound quality for 30 bucks and sell the old one for 20 bucks. Although there are limits - Polergeist II? Again?! My ass!

Honestly I hope Roger doesn't give any more detail. Really forces one to Think McFly, Think!

That trailer is cut slightly different than the version released on the original non-anamorphic DVD, the follow-up releases or the Blu-ray. 
Slightly different shots, and the music is cut a little differently as well. I'd say this is a better version than that trailer on those home releases. 

Epic
Bio pic (not biopic...the spacing is everything, right? Right? )
 
 

Not long after getting the LLL Braveheart album, I ended up watching the film twice in one week, and it wasn't even spaced out much it was like viewing one was on a Sunday while the second was a Tuesday. I was just so happy to revisit the film, which as I said before has such a stunning Blu-ray release, and getting an even better sense of the music through the LLL release really added to the enjoyment and appreciation of the film. 

Hard-hitting, tragic, but such a inspirational and hopeful story told by what was clearly a group of people who had a hell of a time. 

Horner once said Braveheart was the score he was most proud of. 
It's not hard to see why. 

Its actualy not at all like the old epics. Some have criticised Braveheart for the simplicity of its script (as far as characterization goes) but I think major kudos are in order for Randall Wallace for the way in which he kind of tempered with the tropes of the 60s epics: again, with the very contemporary dialogue (juxtaposed with the awful faux-biblical stuff that passed for dialogue in the old epics), including injections of irreverent comedy, as well as crudity and profanity.
 
I think its the best film in the genre.

Batman Returns...I admire your sense of endurance. I can't even listen to that score apart from the film. 

I'll refer you to a review I co-wrote about that:

http://jameshorner-filmmusic.com/braveheart-expanded-release-review/

Where I stated: 

 
 

It is incomplete, but not because of source music. 
 
It's missing the film version of "Betrayal and Desolation", where the finale of the cue with the choir leads into a synth string passage, but on album has a more complete resolution to it as the choir continues on. 
Very small piece of the score missing, but nonetheless, the score is incomplete without it. 

Gibson's magnum opus, imo.

That's one of the best things about this film: it somehow combines great harrowing tragedy with some of the funniest humor ever in a film - and somehow it all meshes together.
 
The humor is also essential because it (among other things) helps to offset a lot of the cheesy overtures that plagued this genre in the 60s. For instance, the dialogue in the romantic scenes, or that of the villain. I love that Longshanks says the cheesy "bring me Wallace" and follows it up with "alive if possible, dead - just as good..."
 
That's, I think, one of the essential tenets of the epic as a genre: not the scope of the cast or the locations, but that of the genre itself. In watching Braveheart, one is treated to a drama, a comedy, a romance, a revenge-action film, an epic war film, and finaly a tragedy.
 
 
The Battle of Stirling is, by the way, the best large-scale swordplay battle ever put to film.
 
And to think that this was the director's second feature film, after a small domestic drama. Its bonkers.
 
I should be very much interested to see just how royally Outlaw King will fail under the shadow of this film.

Braveheart's score was treated with immense respect in the film, and you'll barely notice any significant editing. 

Such a great film, and (to me) one that despite the intensity doesn't seem so self-important and full of itself as say, Gladiator. It has a healthy sense of humor about it. 
 
It's still the best looking Blu-ray I've ever seen, and I can only imagine just how much more improved the UHD version would be with those lush greens popping in HDR, but that's not in the cards for a while. Improving on what is to me a perfect image, I don't know how it's possible but supposedly it is!

Braveheart's score was treated with immense respect in the film, and you'll barely notice any significant editing. 

Such a great film, and (to me) one that despite the intensity doesn't seem so self-important and full of itself as say, Gladiator. It has a healthy sense of humor about it. 
 
It's still the best looking Blu-ray I've ever seen, and I can only imagine just how much more improved the UHD version would be with those lush greens popping in HDR, but that's not in the cards for a while. Improving on what is to me a perfect image, I don't know how it's possible but supposedly it is!

I have absolutely no problem staring at Kate's breasts.

The intended film version of 'Leaving Port' is THE highlight of the LLL album for me. It's my favorite cue. The intended film version of 'Southampton' was my holy grail cue from the score, and then Leaving Port came along and usurped it. 
 
Those celebratory moments are my favorite aspect of both the film and score. 'Southampton', 'Leaving Port' and 'Take Her To Sea, Mr. Murdoch' are my favorite cues along with the trailer. The chorus was always my favorite. 

Thor, I have to ask you something: 

If I were to take the original album program, and replace the OST cues with their corresponding film version cues, so the program itself remains the same, would you listen to it? 
I feel this score is a special case of being able to 'have your cake and eat it too' with enough of these cues being different that you could preserve the album presentation but hear some of the unreleased music. 

If you're at all interested, I'll send that your way and I'd love your feedback on it. 

Fair enough, but I would easily say that in several places, those intended film cues are very different to what you're used to. It's really a different listen as a result. 
 
If you're not averse to YouTube videos, listen for yourself (synced along with the film)
 
 

First of all, the 'synth choir' isn't in a lot of tracks. I sometimes feel people dismiss TITANIC as a "New Age album" or something, when -- in reality -- most of the score is straightforward orchestral action music or romantic music. It's the old LADYHAWKE syndrome (the pop beats are used in marginal transportation and action sequences in the film, but the majority is old school orchestral fantasy scoring or medieval music -- yet it's the former people evaluate it by, and only that).
 
Second, I like the approach in doing it with samples rather than real choir. Makes it more unique, and adds more of a character, sonically (less traditional). A sort of lofty, ethereal quality "not of this world". Wouldn't want it any other way.

People here think it's cool to bash on women's movies. Only SW and superhero movies need apply on MANLYfan.com.

I completely agree with the Asgardian.