Brando

I was only 10 and I just remember loving the movie.  I still have a lot of affection for the movie, one of those movies where people list out very sensible flaws and my response is "Sure, but that doesn't matter to me."  Anyway, my point is I was too young to have expectations for the score, it was just generally part of my discovering a love for movie music, which very much happened in the late 90s for me.

Thor stepping into an expansion thread...
 

 
(all in good fun, fellas )

That would be very little consolation if I just quit my job(/passionate hobby) because an asshole who happens to be (one of) the biggest composer in the world exploded onto me for no reason.
 
 
I dunno, you're the one to always force yourself into threads about expansion announcements and questions and polls and go "OST OST OST" (unless when some joker tags you just because). The forum does not exist for the sole purpose of pleasing you and exactly only you, nobody's forcing you to even go in and read them.

His bio says 5'8 when he's really 5'8½
 
I wonder if it has anything to do with this "Star Wars Audio Comics" listing, which appears to be a fan-made IMDB entry listing most Star Wars composers (I imagine they took music from all of the films/games) and he probably doesn't want that on his repertoire since it's an unofficial/fake listing. Just a guess though.

Are you on mind-altering substances again, @Bespin?

The Legacy of John Williams is proud to announce an exclusive online video event coming MAY 4, 2021 dedicated to one of the most iconic and beloved collaborations in the history of music.
 
'The Special Relationship: John Williams and the London Symphony Orchestra' will explore the 40+ years collaboration between the legendary film music Maestro and one of the world’s leading symphonic institutions in a conversation featuring several former and current members of the LSO who performed under John Williams’ baton in many of his iconic scores recorded in London: CLIVE GILLINSON (former Cellist and subsequently LSO Managing Director), DAVID CRIPPS (former LSO Principal Horn), MAXINE KWOK (current LSO First Violinist), DAVID JACKSON (current LSO Percussionist). Joining this esteemed group of musicians is Planning Director SUE MALLET, a member of the LSO family since 1976, who worked closely with John Williams in his projects with the LSO since the early days.
 
The panelists will talk about their fond memories recording and performing with John Williams on such legendary films as the original Star Wars trilogy, Superman, Raiders of the Lost Ark, the Star Wars prequel trilogy,Harry Potter and the Chamber of Secrets, but also on several other recording projects and live performances. The event is moderated and produced by The Legacy of John Williams’ editor/producer Maurizio Caschetto and film music journalist/concert producer Tim Burden.
 
'The Special Relationship' will premiere on MAY 4 (a.k.a. Star Wars Day) at 8PM BST / 3PM EST / 12PM PST at thelegacyofjohnwilliams.com and official YouTube channel.
 
https://thelegacyofjohnwilliams.com/2021/04/23/lso-jw-video-event-announcement/
 
To get you in the right mood for this special event, Tim Burden produced a TERRIFIC musical tribute montage dedicated to this special relationship in music, featuring excerpts from the beloved film scores and compositions by John Williams recorded with the LSO from 1977 until today. Sit back, relax and listen to this magical musical journey with John Williams and the London Symphony!
 
 

I’m at the point now that I wouldn’t mind seeing what Zimmer would do in the Star Wars world, given the right project.  With Giacchino and Powell and especially Ludwig’s work, the edges are already blurred for what it means to be a Star Wars score, even if you don’t consider the animated/video game work.  Someare great, some less so.  (Id more prefer that Powell become the new house composer if Williams isn’t interestsd, but whatever).

I'm sure they said the same thing about Hitler seizing power before things got more serious.

He also mentioned ringing up Williams asking for permission to include the Imperial March gag on the Deluxe Edition (knowing JW wanted it removed from the OST). Turns out once JW understood the context of the cue (after watching the film) he enjoyed it and had no issue with it being on the DE.
 
Interesting that JW was sent an assembly of the OST for approval... reckon that happened with Rogue One?
 
Powell also had a cute joke about Time Tunnel being the score that started his interest in JW's music. Seems it was fresh in his mind; wonder if he picked up the LLL?

in the Latin alphabet, Zoom meetings begins with an I

Listened to that interview. Gosh I love Powell. Nothing really revelatory in the interview.
 
However he did share how the film was just a breathe away from getting scored by Hans Zimmer due to Howard’s previous relationship with him. But Hans vouched for Powell and told Ron Howard he was in good hands. So glad Powell got the chance. And he didn’t disappoint!
 
Sometimes good things can still happen to good people 😊. 
 
EDIT: Hadn’t finished the whole interview. Turns out John Powell intended to include the major key Imperial March recruitment music at the end of the OST. Williams heard it and said “what the hell is that?” And JP took it off😆
 
 
JP also said he’d be down to score a SW Disney Plus show. He considered Gorransson’s score for Mando as “elegant” and was a big fan of his approach.
 
Also JP said the reason why the SOLO score wasn’t submitted for Oscar campaign was an “interesting story” that he can’t possibly relate 😬

In Facebook? No.

Because it's a way for the labels to get a licence to release enough copies of those scores for most of us (i.e. in many cases pretty much all the physical copies that could possibly be sold anyway), without the studios giving up completely on their option of making their own use of the material (either by selling it, or by using in other media they make, later on. Otherwise they would have to weigh their pros and cons (of licencing something they own but barely understand) even more, and we're already complaining that they spend too much time doing that and delaying the releases.

So they just like to be assholes, do they? Or is there a better explanation for their total lack of cooperation? Also, which complete idiot came up with the limited release thing? Can anyone give me ONE reason why something like HP should be limited?

Somehow these studios who make all their decisions based on money suddenly hate making money when it comes to this stuff.

Yeah it would just be because Spielberg (or any other director, maybe even a high-ranking producer on certain films) had a certain musical approach in mind, and JW didn't deliver exactly what they wanted for that moment.
 
Usually the majority of the cue still works and they just patch up the small section that doesn't land as intended. The ending of 6m2 Discussing the Book vs the revised insert is a perfect example of Spielberg and Williams having totally divergent musical interpretations for how to close that scene. I would say Williams was totally off the mark with that first approach, but for all we know he was told to score that moment dramatically/seriously by Spielberg during the spotting sessions (and they only realised it was the wrong approach after hearing it).

IIRC we don't know what they all are because the sheet music only leaked for one of them and none of them were used in the film.  You can hear/see Faleel's mockup of the one we have sheets for here

Not like we needed any more evidence about the ownership of these scores, but even the unreleased and unused inserts have reverted to Disney Music now:

 
I never realised Room In Flames had 3 inserts

Yeah, same, so short after they kinda hyped up 11 deleted scenes which ended up being a fat pile of nothing, some trimmings but nothing even relatively major.

If he felt remorse about deleting all those songs, why weren't they included on the 4K remaster? He very deliberately chose to only include those (frankly uninteresting) small excerpts of scenes that seem more like outtakes than actual scenes.
 
I just can't imagine any scenario where Hook gets a new 4K release barely 2 years after the last one, as much as I'd love to be wrong. Just as I'd love deleted scenes on the Indy 4K set but, yet again, those have been frustratingly omitted (and don't get me started on the WOTW Camelot sequence, or all the deleted scenes in JP/TLW).
 
I'm definitely expecting a new remastered soundtrack (finally produced by Mike Matessino) long before another home video release with additional deleted scenes.

I made this search and post. These registrations cover the protection of the rights of the creation whatever its form,  lyrics and music. It can be for anything: new CD, new blu-ray, sheet music in songbook, lyrics in biographic book, scenes in documentaries or whatever. The fact is that a recent attention is given to those songs. 
It doesn't mean that something is going to happen right now but that an exploitation would be possible in the near or distant future. I doubt that these registrations need to be renewed like there is an expiration date.
 
I wouldn't be surprised if Spielberg finally decides to show those Hook musical attempts. In 2015, he said in an interview that he regretted leaving out the songs at the last moment. I think he's been thinking about it seriously since then.
The deleted scenes on the latest 2018 blu-ray makes hope for more bonus material in furture. The 30th anniversary of Hook and the release of West Side Story is the best time to share it all. Who knows? He may have taken advantage of his time in lockdown to reassemble Hook. It's free to dream.

I'm just thinking out loud that since the registration appears to be at the end of 2020, it seems unlikely it was going to be a HOOK expansion set anytime soon. We all had hoped for it be part of LLL's Black Friday batch which unfortunately didn't happen. So if that BF batch is ready to come out now I.e.starting next month, I doubt it's going to be featuring HOOK. In the order of titles being prepared for that batch, it's highly unlikely to happen so soon. And some of us had our hopes too high.. 
 
But its the 30th Anniversary this year and we have still 9 months to go.
 
 

There was no doubt in my mind after KOCS that Spielberg was no longer the right fit for Indiana Jones. Everything post-Munich has been so bloodless/safe/kid-friendly.
 
It's funny how TLC drastically toned down the violence compared to TOD, but it's practically the Texas Chainsaw Massacre compared to the toothless, Looney Tunes antics in KOCS. There's only one shot in the entire film of someone being shot: when Indy's gun accidentally shoots some soldier in the foot.
 
 
Why would you have that super-awesome tree-cutting vehicle with rotating saws and a gigantic human-sized mulcher, then proceed to not do anything with it, at all? 
 

 
There should've been multiple grisly deaths with that thing! It's like the sole purpose of this design was to be the center of an awesome action sequence with heaps of violent gags like the rock crusher in TOD.
 
Spielberg in the 80s wouldn't have missed that opportunity.

Ooh yeah. That’s a great baddie death. We need a big dude getting crushed/chopped up by something in this new one. In general there was an overall lack of danger/serious threat/dire urgency in Indy 4.  
 
I know the response of shocked parents at the time Temple of Doom came out made Spielberg swing the tone back in the other direction for Last Crusade. But it seemed like he was still soooo concerned about it that he pushed Indy 4 even lighter than one. 

I hope the main villain has a seriously nasty, violent death in this film. Spalko's "death" in KOCS was pathetically bloodless.