Brando

"Ah I see, so you are the person responsible for that GMAIL issue."
 

"Hahaha, Johnny's fans have got a permanent G-what-so-ever issue!"
 
 

"Please, go and fix that G-what-so-ever issue on my fan site! Here, take 50 Dollars..."

I believe the LLL editions are all definitive, though I don’t own the first one.

I can't comment on the packaging, as I never got it physically. But I got a digital version. Despite the film being such a huge nostalgic favourite of mine, and the score excellent, I found the presentation (predictably) too long, repetitive and aimless on occasion. However, I've whittled it down to a great 36-minute playlist that also includes the three best songs at the end. Now it works like gangbusters. Obviously, if you're a fan of the film/score, and since the OST was a "songtrack" without any score cues at all, the LLL is the way to go in any case. Same goes for the sequels.
 

@Andy First you can pull of Hooper very well, second, the pictures of you and the family, including the dog ("I've got a lot of fond memories of that dog!"), are amazing!!

My mantra while writing it out was "make Daddy Jay proud"

I went ahead and included it and Karate Kid II in my own order. Will probably get the other two later but these were the two films in the series I have fond memories of from growing up. I remember people being really positive in the FSM thread when this came out. Pretty sure it's a decent improvement over the Varese.
 
Yavar

It's to motivate @Andreas and @ZackR to fix it!

So true, it’s annoying to look at every time I go to the homepage😂😂

The Issues with Gmail banner looking at me everytime I come here like 
 

Yep. Complete programs for the prequels would be pretty easy. Complete programs for the sequels … oof. Nightmare. (But one I still fervently hope happens during my lifetime!)

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

I know it is probably not likely but I have a feeling that the John Williams release from Intrada will be The Phantom Menace for its 25th anniversary in May. They just did Solo so who knows. But it is probably a fools hope. 

Daniel 
 
Is Danny not "serious" enough for the classical music world?

me starting a Star Wars thread while looking at the 20 others that could easily be bumped instead
 

Fixed fixed.

Per Cinema Herald:
 
Legendary composer John Williams has been tapped to score Oliver Stone's upcoming film, "Donald Trump," set for release in 2027. The film will explore the life and presidency of Donald Trump. Stone, known for his provocative and politically charged filmmaking style, is expected to bring his unique perspective to this highly anticipated project.
 
Williams expressed his excitement for the collaboration, stating, "Working with Oliver Stone is always a creatively fulfilling experience, and I am thrilled to be a part of this project."
 
Williams revealed that he has already written the main theme. “Oliver wanted me to write an ambiguous theme that could be played in either a major or minor key, depending on the context. So I wrote a motif that goes up a major second, down a perfect fifth, and then up a perfect fourth. Hopefully, I’ve written something that might contribute in some way to the audience’s listening experience, if only on a subconscious level.”
 
This collaboration is set to deliver a captivating musical narrative, leaving fans eagerly awaiting the film's release.

It's called representation Yavar.
 
Cal Kestis was a godsend for us Gingers.
 
 
😉

No, that's the transition between two cues, we have them in the leak. The film combines them well but OST combined them kind of weirdly and that was also for some rrason replicated in the main program.

I don't even remember having any conversations about the name, but the film version is actually different from what's on the LLL set.
 
The LLL set debuts Williams intentions for this pick-up take, which was to start isolated but then be mixed over the original cue's pizzacato section.
 
In the final film dub, they muted the pizzacato strings, letting the pick-up take play clean during that part.
 
So I guess technically calling it an alternate makes sense.

We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc
 
Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong.  Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well.  The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with.  However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3.  It's kind of nicer to have disc 3 be more of its own thing. 
 
Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard.  The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible.  Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way!
 
 
Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone.  And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences.
 
For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music.  I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version.  Just my preference.
 
For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change.  We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one!  But since the revision is what's in the film it worked out nicely in that regard anyway.
 
For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed.  This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger.  And again because the revision is what's in the film it worked out nicely anyway.
 
For The Lost Boy Chase, I really like the percussion insert section.  But John Williams wanted the album version in the main program.  I don't really think it matters much either way.  If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround.  At least each instance is on a different disc!
 
For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks.  Just my preference.
 
One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)).  At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score.  And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied.  So, I'm still undecided which I like better! 
 
I think that's about it.  I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything.  And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below".  Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score).   Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.

I didn't want to answer for him but I remember seeing or hearing him say that he, Mike, and John were very happy with the final presentation after everyone came together to discuss how it should be presented and they all got to share their thoughts on it.

There is no natural ending of the Pick Em Up song recording.  It was done as a repeat with a board fade in 1991.
 
It's definitely the exact same take of "More Never Band" (LLL title "The Never Band") in both tracks - it's not even a performance edit between multiple takes, its just one take.

I believe the film version/insert wasn't fully used as was written. This is my edit which contains a leak or a mockup, I don't remember where it came from, and I did have to edit it to match the film. For some reason it won't copy at a specific timestamp, but if you start at 0:27 you can hear what I'm referring to.