Madmartigan JC

Aaaand you've officially lost all credibility with this post here.
 
Are you a mushroom farmer? Because that's a shiitake!

Serious question, do you happen to be related to other forum member Mattris? I’m starting to think you two are either one and the same or this is a father/son tag team. 

For someone with industry experience you don't seem to understand the realities of modern filmmaking. Pick-ups have been commonplace on big studio films for decades now. 
 
This could be as simple as Mangold deciding the final scenes needed a few extra shots, necessitating inserts or extensions for cues Williams already recorded. The fact they're bringing him (and the entire orchestra) back to re-record the music is a good thing, considering the alternative is editing his music to fit a revised edit of the finale. 
 
You know, like The Last Crusade... 

it's definitely a burden on a small business like Disney.

I really don't want to believe that you're trolling, but you're making it so incredibly difficult...

This is not a Rise of Skywalker situation. All that’s being newly done is the ENDING, based on what Williams said.
 
I know what my hope is… this film was shot before Ke Huy Quan returned to acting after decades away from it. Maybe this reunion at D23 led to some last minute conversations to take advantage of the extra buffer time before this film’s release, and give a very powerful onscreen relationship (easily the best part of the generally-problematic ToD) some lovely closure of some kind…
 
Just a hope, but I can dream. Obviously it’s far too late for him to be integrated into the movie. “Another ending” seems like it might just fit.
 


I’m surprised more people’s minds aren’t going to this hopeful possibility, but then I guess the men’s rights “they shall not replace us” trolls really do have their panties in a bunch about Phoebe Waller Bridge being in this, and they’re the loudest voices on the internet. 🙄 
 
Yavar

It’s nice to see a lengthy action sequence with JW’s music basically intact (other than the odd nip or tuck to slightly adjust some timing), in sharp contrast to oh, say…The Rise of Skywalker.

Original article (in Italian):
https://www.corriere.it/spettacoli/22_dicembre_10/02-spettacoli-texxcorriere-web-sezioni-a4a6c670-789d-11ed-826e-c8ce3b8cd17b.shtml
 
Translated version:
https://www-corriere-it.translate.goog/spettacoli/22_dicembre_10/02-spettacoli-texxcorriere-web-sezioni-a4a6c670-789d-11ed-826e-c8ce3b8cd17b.shtml?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en

Here's how busy Williams was from late '96 to early '98
 
November 26-27 '96: "Victory Celebration" recorded for Return of the Jedi: Special Edition (film opened March 14 '97) December 1,2,4,6 '96 - Rosewood score recorded (film opened February 21 '97) (unknown date) - Seven for Luck composed for soprano Kathleen Battle intending to debut some time in 1997 in Washington (ultimately debuted July 25 1998 with Cynthia Haymon instead) March 18-21 : First half of The Lost World recording sessions March 24: 69th Academy Awards ceremony ("Best Original Dramatic Score" nomination for Sleepers, lost to Yared's English Patient) March 27,28,29, April 2 - Conducting Boston Symphony Orchestra at Symphony Hall (includes The Five Sacred Trees) April 18-22: Second half of The Lost World recording sessions (film opened May 23) (unknown date) - DreamWorks SKG logo music composed and recorded (debuted with The Peacemaker, September 23rd) May 23,24 - Conducting Boston Pops at Symphony Hall (includes "A Twentieth-Anniversary Celebration of Star Wars") May 29,30,31 - Conducting Boston Pops at Symphony Hall June 3,4,5,6 - Conducting Boston Pops at Symphony Hall ("The Lost World" concert debut) July 5,6 - Conducting Boston Symphony Orchestra at Tanglewood July 12 - Conducting Boston Pops Esplanade Orchestra at Tanglewood (includes Star Wars celebration) July - Seven Years In Tibet score recorded (film played September 13 at TIFF, then opened October 10) August 5 - co-conductor for Tanglewood On Parade night at Tanglewood August 29-30: Hollywood Bowl "Star Wars 20th Anniversary" concert (unknown date)  Elegy for Cello and Piano composed, and performed at the memorial service by John Williams on piano and John Waltz on cello October 6-26: Amistad score recorded (film opened December 25) December 27-28: Conducting Boston Pops Esplanade Orchestra at Symphony Hall February 21-23 '98: Saving Private Ryan score recorded at Symphony Hall (film opened July 24 '98) May 22-23 '98 -  Conducting Boston Symphony Orchestra at Symphony Hall ("Dry Your Tears, Afrika" concert debut)  
Amistad was recorded almost a year after Rosewood, and only 4 months before Saving Private Ryan
 
Looks like its another score he would have written while living in Massachusetts for a month for Tanglewood season
 
 
Looking at this again, it seems crazy that Spielberg was even able to fit in Amistad in between The Lost World and Saving Private Ryan!

I've been assisting Mike on various titles since 2016, so far all of them John Williams titles.  Amistad will be the 20th title released that I contributed something to.  You'll see my name in the booklets under Project Consultant, Project Assistance, Production Assistance, or Special Thanks, depending on the title and what my contribution was.
 
How I've helped has been different for every project.  It ranges from just proofreading the PDF of the booklet at the very end of things, to being involved before the audio work begins to help make sure everything is accounted for.  In other words: in a perfect world, the material that the studio sends over contains everything recorded, and Mike has time to listen to every take of every cue and assemble a new album containing the the main version of every cue, and every interesting alternate he heard as well.  But we have learned that sometimes what gets provided is not entirely comprehensive, and more up-front work has to be done to track down all the material needed to hopefully make a release definitive.  Also, some projects have very tight schedules, so Mike does not have the opportunity to spend time listening to every single take of every single cue, and instead has sometimes sought my assistance to figure out what music should be attempted to be located and included.
 
In between those extremes, there could be other things, such as proofreading the official excel file that has to be filed for every title; listening to a first pass mastering of some tracks (or a final mastered album) and providing feedback; having some back and forth discussion about how to present a wealth of material in the best way (WOTW had a lot of this); discussion of track titles; researching dates or articles/interviews about scores; loads of other things.
 
For the Jurassic Park reissue, Mike brought me on board the project to see if we could make it as definitive as possible.  This led to him making new builds of 2 cues that had been a little different on all prior albums compared to the film (Journey To The Island and Dennis Steals The Embryos), and also a dive into unused takes for a variety of cues to see if anything interesting was recorded that could be included.  For that I relied on the knowledge of some JWFanners who had found differences in the sheet music compared to the final versions of some cues, and made sure they got thanked in the booklet.  In the end, none of the differences seen in the sheet music were recorded, so they all must have been worked out and changed during rehearsals - but it was great to know that definitively.  I then provided feedback on the new mastering, and made some proofreading passes of the new booklet.
 
For Amistad, I was not brought on board until after Mike had already assembled and mastered the album, but I provided feedback on volume levels - I can't remember if this was before or after he had sent it to JW for approval.  For one track that needed a new title, Mike used one of my suggestions for it.  I gave feedback on the excel file.  Much later, I contributed something else I won't reveal just yet, and proofread at least two passes of the booklet.  I also chose the samples that will be posted on Tuesday, and assisted with the official press release wording.

ANOTHER WILLIAMS/SPIELBERG MASTERPIECE...
 
RELEASE #4
 
AMISTAD: 25th ANNIVERSARY EXPANDED LIMITED EDITION (2-CD SET)
LLLCD 1612
Music by John Williams
Limited Edition of 5000 Units
RETAIL PRICE: $29.98
 
ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST
 
In celebration of John Williams‘ 90th birthday and the 25th Anniversary of the acclaimed feature film AMISTAD, La-La Land Records, Paramount Pictures, DreamWorks Pictures and Geffen Records present AMISTAD, a special 2-CD remastered and expanded release of Academy Award-Winning composer John Williams’ (E.T., SCHINDLER’S LIST, SAVING PRIVATE RYAN) original motion picture score to the renowned 1997 big-screen historical drama directed by Steven Spielberg and starring Morgan Freeman, Anthony Hopkins and Djimon Hounsou. Maestro Williams’ masterwork encompasses the depths and heights of human experience, unleashing unforgettable moments of anguish and uplift as it supports the film’s true chronicling of the 1839 African slave ship revolt abord the La Amistad and its subsequent landmark U.S. court case. 

A breathtaking fusion of orchestral Americana with African percussion rhythms and vocal chanting, this important John Williams score finally gets a definitive release with this deluxe 2-CD presentation, meticulously produced, edited and mastered by Mike Matessino, in consultation with the composer and director. 

Remastered in high resolution from studio master elements, Disc One and Disc Two of this program features the film Score Presentation, which expands the original 1997 soundtrack album by almost double its length, including cues not used in the film. The score presentation is followed on Disc Two by 50 minutes of bonus tracks including source music, concert arrangements, and alternates - some of which offer completely different approaches than the film versions. The exclusive, in-depth liner notes are by writer Jeff Bond, with the packaging’s elegant design by Jim Titus. This is a limited edition release of 5000 units. 

TRACK LISTING:
SCORE PRESENTATION 1:45:04
1 Introduction And Retribution 4:40
2 July 4, 1839 4:04
3 Steering East 1:27
4 The Capture 5:00
5 Introducing John Quincy Adams 5:15
6 Meeting Of The Minds 3:58
7 Counsel Meets Client 1:36
8 The Ship Remembers 5:32
9 Visiting Adams 1:32
10 What Is Their Story? 3:44
11 Learning To Count 1:57
12 Tale Of The Lion’s Tooth 5:48
13 The Capture Of Cinqué 4:03
14 The Crossing 4:41
15 Tales Of Horror 7:40
16 Discovering The Bible 5:05
17 Prisoners’ Song 1:33
18 The Letter To Massachusetts 2:09
19 Cinqué’s Legal Mind 2:26
20 African Violet 5:33

Disc One Time: 78:10
 
DISC 2 
SCORE PRESENTATION CONT’D
1 Adams’ Address To The Court 7:21
2 Adams’ Summation (Film Version) 3:01
3 The Verdict 5:10
4 Liberation Of Lomboko: Dry Your Tears, Afrika 2:17
5 Going Home 2:05
6 Dry Your Tears, Afrika (Reprise) 3:37
7 The Long Road To Justice 3:19

ADDITIONAL MUSIC 49:53
8 Cinqué’s Theme 4:13
9 Introduction (Alternate) 1:12
10 The Capture (Alternate) 5:02
11 Harbor Tavern 3:05
12 Cinqué’s Theme (Solo Flute) 2:07
13 Meeting Of The Minds (Instrumental Version) 3:45
14 The Ship Remembers (Alternate) 5:26
15 What Is Their Story? (Alternate) 3:33
16 The Crossing (Alternate) 4:23
17 Tales Of Horror (Alternate Excerpt) 3:19
18 Discovering The Bible (Alternate) 5:11
19 Cinqué’s Memories Of Home 2:39
20 Going Home (Alternate) 2:06
21 Dry Your Tears, Afrika (Alternate) 3:35
 
Disc Two Time: 76:50
 
Total 2-Disc Time: 2:35:00
 
This is a CD format release.
 
https://www.facebook.com/lalalandrecords/posts/pfbid02C5KU3xb3nP4WCT7WxYTaESVxuT8ft2jsQpkeBUvMYQbwm9BhcWkYhFUiDFJKFUn4l

This has taken me a whole year to prepare and produce, decades if you count the research and accumulation of material. But I thought it was the appropriate time to create now, as a tribute to my favourite film composer in his 90th birthday year.
 
A complete walkthrough of all of his television music (with the available material and data that we currently have), presented as a podcast series over multiple parts. I hope you tune in and follow it. I will start working on Part 2 soon.
 
http://celluloidtunes.no/celluloid-tunes-73-the-complete-john-williams-television-music-walkthrough-part-1-24th-international-edition/
 
 

Harry Potter may not have "ridden" Fawkes, but the bird certainly DID take him for a fly (and Ron and Ginny and Lockhart).
"Fawkes leads the way to the Chamber tunnel; he carries Harry, Ron, Ginny and Lockhart back up the pipe." (From Potter Wiki)

So, I guess the old man IS right in a way, and it's some of you younger nitpickers who are getting more forgetful. 

Harry Potter may not have "ridden" Fawkes, but the bird certainly DID take him for a fly (and Ron and Ginny and Lockhart).
"Fawkes leads the way to the Chamber tunnel; he carries Harry, Ron, Ginny and Lockhart back up the pipe." (From Potter Wiki)

So, I guess the old man IS right in a way, and it's some of you younger nitpickers who are getting more forgetful. 

Here’s a clip of that moment:
 
https://imgur.com/t/johnwilliams/2uxTZ30
 

You’d be surprised. No doubt, the man is a genius, but these scores are just jobs. He isn’t a trivia detailed nerd about things like that. He’s certainly mixed up bits of trivia during concert speeches before, frequently about what happens in which Star Wars film. Plus, I don’t think he would fake a moment like that.

He definitely doesn’t consult anyone beforehand. One of my favorite concert memories seeing him was at Carnegie Hall earlier this year when he was introducing Across the Stars. He couldn’t remember which Star Wars it was from, even going so far as to say he hadn’t looked it up prior, so I held up two fingers right in front of him, and he looked at me with a laugh and announced it’s from Episode II. Then he looked at me and asked if it was the movie “associated with Natalie Portman, I think - is that right?”, which I confirmed. Just casually confirming Star Wars trivia with John Williams from the podium at a legendary venue. Even better, it’s in the radio broadcast! Life highlight right there.

Harry Potter riding Fawkes
 

this score is one of the few scores that i have to listen to from beginning to end.  i never ever listen to this score in single cues.
 
it's always ''ok lets have a close encounters listening experience'' when i throw on this score.
 
 

Couldn't resist playing that exquisite piano solo from the last cue on the horn
 
 

I would trade Geisha for a JW GOF.  Not huge on that score.  

I'm thrilled that these are getting re-released! I listen to both CE3K and ET quite a bit. Fantastic releases of fantastic scores. I admit I usually listen to my own chronological version of the CE3K release, but the presentations on that album are strong. And I literally can't think of a thing I'd change with ET. I'm glad more people will be able to enjoy these!

It's a re-issue of the 2017 2-CD setwith a slightly modified booklet and new catalog number.
 
Limited to 5,000 copies.
 
Available to purchase Tuesday, August 9th, 2022, at 12:00PM PST.
 
https://www.facebook.com/lalalandrecords/posts/pfbid02PNKyv1VFyTHt6TqhZWKBk4zKeMjntUnA7igVZz3tcCLJ4GcyM9pzHVdFhya25UEl
 
 
The track list and samples are available in the page for the 2017 edition:
 
https://lalalandrecords.com/close-encounters-of-the-third-kind-40th-anniversary-limited-edition-2-cd-set/

"Watching The Skies" is used in the film, was not included on the OST or 1998 release, and then finally debuted on the LLL set:
 

 
"Stars And Trucks" is partially heard in the film, was partially included in the original OST album track "Nocturnal Pursuit", actually was on the 1998 Arista CD (woops) and is on the LLL set on disc 2.  Spielberg cut some of the footage it was meant to score from the final film, but the deleted footage was later released on home video
 

 
"The Dark Side of The Moon" is not used in the film, but how it might have been intended to be used is heard from 2:59-end of this video
 

 
"The Approach" is the original cue Williams recorded for the "Barnstorming" scene that later got completely replaced by the "Barnstorming" cue instead.  It's pretty damn cool.
 
 
 
As for the source music, he wrote "Eleventh Commandment" for when "The Ten Commandments" is seen on a TV (rather than using actual audio from that movie), "TV Western" for a deleted scene where a western was shown on a TV, and "Lava Flow" for the scene where a Looney Tunes cartoon is seen on a TV (rather than using the actual audio from the cartoon)
 

 
All videos made by @Holko and found in this brilliant thread.

I love the work you've done, ragoz350! Painstaiking fan work like yours never ceases to amaze me. It gives us such insight into the evolution of these works as we will never be able to grasp from any official source.
 
One more fact that I'm often surprised by is the existance of these leaked JW manuscripts. I have looked for those online without any luck. I am aware that it's copyrighted material, and therefore its improper to ask for them in these forums... However, any clue as to how one may make oneself acquainted with such treasures will be greatly appreciated.