Brando

JW screen names. They.just keep getting more inscrutable and unprounouncible!😰

Drax? Is that you?
 
Cassettes are worse than CD's! You know what CD's and cassettes are made from? Petroleum and unrefined crude. I mean, sure, I can see why Jurassic Shark would be in favour of them, he's from Norway and has a vested interest in polluting the planet. But the rest of us should happily be streaming on our iPhones and Android!
 
As for me, I digitized my entire CD collection in lossless. And rather than throw them away, or sell them or even donate them to a library when they'd all eventually end up in a landfill, I did the responsible thing and burned them, sending them to music heaven in the upper atmosphere where they belong.

Neither for me, I'm still with that

Well it's a damn good thing he digitally preserved everything a few years ago. Hopefully the missing tapes were found as well.

"The analogue material does not last forever and the longer you let this analogue material sit in the vault, the more likely it is to not play" - Shawn Murphy

I didn't know that it was planned to be on the '93 and '97 edition, so sad they lost it.
How can they loose the recording of such a score. I mean I understand that one might lose his keys but a JW's Star Wars recording that's something that nobody should be able to lose.

The music has always been more important to me than the format it's sold to me on

An expanded box set of all nine scores, or even a trilogy at a time, are things I would buy immediately whatever the cost. I don't care if I have to sell my body.

Sony Music having the exclusive rights to release music from the first 6 films from 1999 through 2016 surely is the primary reason we didn't get Star Wars expansions in that window other than the 2000 TPM UE; The bigwigs running that company just don't get it
 
Disney Records owning the rights from 2017-> present seems more hopeful, especially on the Star Wars front, since Kathleen Kennedy has been supporting of expanded Williams albums in the past.  And Disney Records has already shown a willingness to spend money on hiring Shawn Murphy to oversee rebuilds of the original 6 OST albums and promote them with a lot of marketing.  Granted that isn't what we want either but its a step in the right direction.
 
I really think proper expansions overseen by Mike will happen eventually.  I just don't have a clue when

Just finished, was a phenomenal listen. Mike is incredibly knowledgeable with film history and trivia, it's amazing how effortlessly he draws upon connections to all these various texts. Nice to spend a couple of hours geeking out, even beyond music.
 
Agree with his preference for Indy 5 to embrace Indy's age and focus on the detective aspect instead of forcing Indy into unrealistic action situations. Some of the best stuff in the original trilogy is Indy traveling the world, exploring exotic places and solving clues -- just focus on that! Not everything needs to be a bare-knuckle fistfight.
 
Interesting tidbit about JW recently pulling out a leather bound score for Mike so he could source some original cue titles (that must have missing from the tape reels and whatever paperwork the studio had). Wonder what this score is? Hopefully we find out in a later podcast.
 
Kudos to the interviewers also, clearly knowledgeable and prepared with their questions.
 
Sidenote -- I haven't heard those TLC cues towards the end of the interview in such good quality (around 1:56 for the alternate 9M2). Clearly from a boot but certainly better sounding than anything I've previously heard.

Here's the part from the doc by the way:
 
 

I don't think it has anything to do with the quicksand scene being unrealistic, just a really poorly directed sequence (IMO).
 
Koepp's dialogue is beyond atrocious and the acting not much better. It's just... hamfisted, like mostly everything in KOCS from Peru onwards. The direction is stilted, the comedy forced and unfunny, the badly lit soundstage obvious.
 
For the record, I have no issue with the nuked fridge sequence either. It's completely absurd but so are tons of things in the other 3.

I’ll pass on the 4K Indy box for now.
 
Maybe I’ll pick up the inevitable 5-movie box that’ll come out a year after Indy 5.

The Ants scene works for me, even if it feels like a rehash of the scarab beetles from the Mummy films.
 
At least Spielberg included a couple of gnarly deaths, though 80s Spielberg would have shown the aftermath of the ants devouring the soldiers (ie, some bloodied skeletons laying around the area).

He didn’t lose it. Mola Ram ripped it out and threw it into a fiery pit.
 
Show some compassion.

Oh, and the three previous films are completely serious and contain no stupid scenes... 
 
You lost your child heart...

Guess which is which in the comparisons below. Trust me, it won't be hard
 
Hideous bloom/green filter removed, doesn't look like a video game now:

 

 
Green tint gone:

 

 
Green tint gone, warmer earthy skin tones:

 

 
CGI foliage has been drastically toned back in this shot:

 

 
Green tint gone again. Side note: the lighting of this shot is student-film amateurish, seriously Kaminski? You don't need smoke machines for every shot.

 

 
Huge improvement here, as if an erroneous green tinted lens was removed from the camera:

 

 

 

 

 

 

 

 
It's amazing how that teal/green tint and mild bleach bypass/bloom pervades the entire film, not just the Peru sections. It's drastically less stylised now; it looks more earthy now with warmer skin tones that match the palette of Slocombe's work:
 

 

 
Skin tones are a huge improvement in the 4K, Blanchett looks far less sickly now and has a warm glow:

 

 
Wall lighting no longer blown out, bloom heavily reduced, teal/orange tint removed:

 

 
There's actually blue sky in this shot now! And the lighting just looks like morning sun instead of a giant lighting rig creating a silhouette. Also note how that weird artificial bloom has been toned back, top-right around the windshields:

 

 
I like how the new grade draws less attention to the lighting. It's as if Kaminski was drawing attention to all his lights in the older grade, and it did the film no favours (especially paired with that garish green tint). Slocombe shot the original trilogy in a stylised but grounded, naturalistic way; Temple of Doom is a perfect example of that fine balance. Kaminski just seems incapable of matching that style; he can't help but push his fantastical, dream-like photography.

I have Jaws, Close Encounters of the Third Kind, E.T., Jurassic Park, The Lost World, Schindler’s List, Saving Private Ryan, War of the Worlds, Star Wars (all nine episodes), and The Patriot in 4K, and watching them in 4K has been the equivalent of seeing them for the first time. I cannot wait to get the Indiana Jones 4K set.

Trailers released which showcase the new 4K masters (bizarrely only uploaded in 1080p, but it gives you an indication of the new colour timing).
 
Raiders has been fixed (no heavy orange tint as on the previous Bluray), Doom and Crusade look better than ever, and Crystal Skull has had a total overhaul. It actually looks like a proper Indiana Jones film now; that ugly, artificial, stylized green tint is completely gone and it now matches the brown/earthy tones of the first 3 films. Kudos to Kaminski for fixing this, assuming he was involved in the new grade.
 
There's definitely a visual consistency across the 4 films now that wasn't there in the previous Blurays.
 
 
 
 
 
 
 

I don't think the portrayal of any of the the Indians in TOD, from the villagers to the villains, would fly today either.
 
In fact the whole idea of an American white male archaeologist flying around the world stealing artifacts from the poorest countries would probably result in the cancellation of everyone involved.

Thank you.
 
I think the campfire talk and her becoming slightly more active in the fight by the end (rooting for Indy, punching a guy in the minecart) shows that she has more internal strength and a grounded worldview than you'd or maybe even she'd think, she's just comfortable with being the dumb blonde dancer when that's expected of her, and breaks down when out of her element. I love the flirting scene, that also shows she likes playing roles for the heck of it.

Just something I realized right now. The most recent JW Star Wars expansion was the TPM Ultimate Edition in November 2000. There are young adult members of JWFan that were born after that point.

Spiderman 2 had cues scored by Chris Young (the pivotal subway), Debney and Debbie Lurie.  The complexity with tripple A scores is multiple composers might score a scene so each will claim to have composed for that film and possibly not know what was used.  In some cases the music editor uses any of them which pisses them all off.  The same happened with Spiderman 3 except Elfman made it clear he wanted no part of the project so his music was used without his creative involvement.   In some cases it was edited in.  In other cases, it was recorded using what Elfman composed from Spiderman 2 and dropped in.  I would say 80% of Spiderman 2 was composed by Elfman.  10% by Young, 5% by Debney, 3% by Lurie, 2% by others.  80% of Spiderman 3 was composed by Young, 10 % by Elfman (via preexisting matarial), 5% by Debney, 3% by Lurie, 2% by others.  The problem is Chris probably composed all the cues.  Debney and Lurie composed many more than were used as demos.  Chris also composed alternate takes that weren't used for example.  Think of the Debney and Lurie takes as alternate takes, sometimes they were used.  Lots of times all these are great music, the director just doesn't know what will test well with an audience.  The big deal with Spiderman 2 subway action setpiece (a big budget sequence where maybe 50% or 25% of time and budget is set aside for), Elfman tempo slowed down when subway slowed mimicking what happened on screen.  In contrast Chris Young amped up the tempo raising the tension and the stakes of the subway running off its track and that is what was used.  Both could work, both are good music but Chris's music is what's in the film credited to Elfman.  They read the scene differently.