HunterTech

Yeah, it was a whole thing back in 2019. Nothing seemed to have come of it after the initial articles, but given the Kickstarter mishap I keep hearing about, I actually wouldn't doubt it being legit.

I like Gia's two JW scores. "As the Jurassic World Turns", although not on par with anything Williams did, is still one of the best cues Giacchino wrote in his career.

And now we have a partial list of the real titles, thanks to the FYC:
1m01 Opening Games
1m05 1984 Opening
3m19 Max Goes To Office
3m26 More Time / Walk In The Park
4m38 What Is The Stone?
4m39b Flying
5m41 Breaking and Entering Pt 1 & 2
5m44 Open Road Pt 2
5m46 History Of The Stone
5m47 Max Collecting More Wishes Pt 1 & 2
6m48 I Can't Give You Up
6m49 Max Visits President Pt 4
6m50 White House Standoff
7m54 Max Transmits
7m55 Cheetah Fight Pt 1 & 3
7m56 Inner Chamber
8m57 Beautiful Lie / Max Sees The Light
8m58b Max Reunites With Alister
8m59 End Credit 1

4 of the tracks have "The Girl" attached to them, since they would've used the WW motif introduced in BvS (which the main cue with it has the same title):
The Girl - Opening Games
The Girl - Open Road Pt 2
Max Visits President Pt 4 - The Girl
Cheetah Fight Pt 1 & 3 - The Girl

This is how it usually happens.  Scores for major projects touch a lot of hands.  In some cases the teams include interns and temporary staff who are very qualified but not part of a regular team.  The pros keep their mouths shut but in some cases they need help too. The extended teams need access to the very material because if there is one orchestrator credited, there is probably a team working with that orchestrator.  The same is true of the sound mixer or music editor especially on the biggest budget projects where the amount of the material can be unpredictable.  Buried within the teams, we are all fans.  No one does this because it's just a job.  there are a million easier "jobs" to do that pay more.  You do this because you are obsessive and passionate about it.  You are a fan.  The same goes with the sound editor, mixer, recording engineer, etc.  All of them are on NDA (Non Disclosure Agreements).  The workload is intense and it's hard to describe how much it is but it necessitates last minute hires who might not have the discipline to handle the material because they consider themselves already short term.  For example, you could get access to the server containing every cue because the team includes multiple people, not all of whom are full time employees...the costs of that sort of staff are cost prohibitive.  For example, if you are an orchestrator for a major film or do score prep (a completely different role in major projects), sometimes you might find yourself asked to come in at the last second for a studio session tomorrow at 9am.  You are called at noon the day before but the material hasn't been signed off till midnight (the night before the 9am recording session).  At this point, a desperate plea can go out to others who are qualified but not as invested in the project or its content.  From the hiring person's point of view, there is no way to make the absolutely last second 7am deadline to drive the final scores to the studio for the 8am set up before the 9am downbeat on time!  The bottom line, deadlines become desperate, some others get enlisted who might have access to content they have no business having access to.  In some projects, they are very well managed and this doesn't happen for many years but after years, you still get this scenario popping up somewhere, somehow.  I've been on projects where I had access to material that people begged for swearing if they got it, they would never pass it on.  It only takes one to say ok, just swear not to pass it on any further...which they tell the next guy...and it has leaked.  Watermarking can slow this down but there is usually the guy/gal who needs to do the watermark and at a point, they too are behind and need a hired hand to help so the same process occurs, just a little slower.

Yeah, thanks to the very nature of private trading itself, there's little one can glean from the tidbits that have gotten out. From what I've gotten myself involved with, a lot of what leaks is either as a result of the scores losing value or some people doing it to spite those they've done deals with.
 
As for how people get the scores themselves, I've seen a fair bit of those who pretend to be these important people from the sound departments of big studios, and getting lucky from there. Can't say that's how they all do it, given it's been such a long running thing that any method is likely viable at this point.

Imagine if LLL didn't pursue new expansions for Superman for the 40th Anniversary? They wouldn't have discovered the first-gen multitracks were found and gathering dust in some storage room.
 
Or if they hadn't spent years asking around for the lost Alien 3 masters, maybe they wouldn't have been called when the digital masters turned up? And just in time, considering the Disney acquisition! I doubt that release happens if those masters turned up today...
 
We owe the labels such a debt of gratitude for the work they do.

If Bespin allocated half of what he spends on soundtracks, he could easily fund it HIMSELF!😁
 
 
 

Tenet is back up, and it's now only 18 select cues that are listed. Definitely different streamed copies as well, since the AAC compression is heavier. As such, you might want to check the direct links for the previous set here to see if they still work.

Also, among the removed cues are the ones that credited Pemberton, so we might not know what the truth is (I maintain that it's an error).

EDIT: there is actually a track on the updated listing that isn't on the previous set (https://d36mjmam1za8wk.cloudfront.net/academy2020/tenet/ampas/score/v2/MGR_MX_R7v15E_7m42_Times_Up-6dB_.m3u8)

I think it has less to do with how inspired he is and more with what the directors ask of him. Snyder and Nolan both like their movies to be dark and ominous and so they ask Zimmer to reflect upon that sound, but for this movie I guess Patty Jenkins wanted a more colorful and fun approach and that's what Zimmer delivered.
 
Also I watched the movie, and it's quite bad but the score really shines in it in some moments, especially with the new Diana's theme and Diana and Steve's Theme (the one in Wish We Had More Time)
What I don't really get it's the use of Murphy's Adagio in D Minor from Sunshine and Zimmer's own Beautiful Lie which don't really fit and took me out of the movie a bit

That reeks of serious reviewer bombing, given that as much as I know WW84 hasn't been received particularly greatly, I think I heard much harder pushback against some of the other films in the DCEU discussions.
 
Then again, given how much the film supposedly veers heavily into campier territory, that probably would be enough to turn off the current generation of peeps.

Young Sherlock Holmes has those vibes for me in a few places, presumably thanks to the winter setting of the film itself. Also, recently listening to the Empire Strikes Back OST for the first time, Yoda's theme oddly gave me those winter feelings, likely because I'd have been feeling festive during it.

Forbidden? More like discouraged if its incredibly obnoxious and lacking much constructive criticism if you ask me.

I read somewhere that they specifically went out of their way to shake up the Pixar formula for this particular film, which included the music.
 
As much as I probably like Ross & Reznor more than most here, I'd rather this be a one time thing. Animated movies is one of the last few places where you're most likely to see an orchestra get properly utilized, so I wouldn't want to lose that.

I read somewhere that they specifically went out of their way to shake up the Pixar formula for this particular film, which included the music.
 
As much as I probably like Ross & Reznor more than most here, I'd rather this be a one time thing. Animated movies is one of the last few places where you're most likely to see an orchestra get properly utilized, so I wouldn't want to lose that.

I only use lossless files (ALAC in my case) for archival purposes. All my non-CD listening is done in AAC or MP3 format.
 
In cases where I need to edit lossy files, I save them into AIFF format to avoid re-encoding and further quality loss.

The Force Awakens is easily my favorite one. It ignited a love in Star Wars that I simply didn't feel when I saw the originals or prequels for some reason. I didn't grow up on them and only saw them in college and just felt a bit of a disconnect. Again, I don't fully know why, but Force Awakens grabbed me. It's a bit inexplainable on my end.
 
I liked Rogue One as well. It's no masterpiece, but it's good. I enjoyed it.
 
I actually like Solo a lot more than Rogue One. I think the score is really excellent, I think it's visually beautiful (but let's not get into the "it's too dark" debate. I disagree. The end.) and once you get past the lack of resemblance to Harrison Ford it's a pretty great action film! It's also no masterpiece, but it might be my number two behind TFA with Rogue one followed closely behind.
 
 
 
 
 
And somewhere down the line is Last Jedi and Rise of Skywalker.

He has some connection to RCP if he can so easily talk to the crew like he does sometimes (here's me asking a question about Ring 2 for instance). Not to mention actually confirming stuff before any proper leaks (i.e. now deleted comments that alluded to Balfe making a proper full score for Ad Astra prior to his complete getting out). So at the very least, he has more credibility than some news websites out there.

And once more: I saw no real headlines about Djawadi being on Eternals (not even here, having checked to make sure), so how would you expect one to know? It's not often the average reader constantly checks an agency website.

When MV mentioned Fox titles, I'm hoping we might get an extended Kamen X-Men release as part of the Black Friday titles.
 
An underrated score. 

Have we completely forgotten digital booklets are a thing? I don't know if many Disney releases have them, but I assume Powell would want one if he cares about it enough.

That's not so much the issue, it's more like you refuse to try anything on a pizza that has the same color or shape of a sardine, regardless of the flavor
 
 
I apologize for that, I should not have made any personal judgments.
 
The thing that gets me, though, it's your almost absolute dismissal of expanded editions on principle, disregarding a whole plethora of nuance. You are potentially depriving yourself of musical enjoyment and discovery.
 
Mind you, I agree with you that often shorter albums do serve some scores better. That some composers know, better than most, how to properly assemble an album to showcase his musical intentions. That there's an unhealthy obsession with unearthing and having available everything single second of music recorded for a given score. We are in absolute agreement there. However, there are frequent nuanced situations:
 
- The OST album and the expansion offer totally different, but valid,  listening experiences, without one replacing the other. Example: E.T., Jaws
 
- The OST album was severely lacking in the way it presented the score (due to various factors, like short length, odd sequencing, lacking in sound quality, over-reliance on the inclusion of pop songs for commercial purposes, etc.), and only through the expanded edition did the score really come to fruition. Examples: The Shadow, A.I.
 
- The OST already presented a good distillation of the score and great listening experience, but the expanded edition made the whole architecture of the score come to life, to the point tracks already included on the OST are given a new whole dimension due to the context that surrounds them. Examples: Dracula, The Lost World.
 
- The OST was a great album, but the score is simply too sprawling and plentiful in riches to the be contained to a single cd. Examples: The Empire Strikes Back, The Phantom Menace, Hook.
 
- The OST was a perfect summation of the score and the extra music on the expanded edition, while interesting on its own, did not improve the listening experience. Examples: Ran, Batman, Jurassic Park.
 
- The OST was a great album, but the choice of tracks included was influenced by other factors besides purely musical flow, so a better album assembly might have been possible had all the elements been available for inclusion. Examples: Sphere.
 
- The OST was a great album assembly and the expanded score actually made the score seem worse. Examples: Masada, The Black Cauldron, The Fury.
 
- The OST was a good presentation of the score and listening experience, but the expanded edition, while not being a perfect listening experience on its own, presents enough valid extra material for one's own improved playlist. Examples: Bram Stoker's Dracula, The Thin Red Line.
 
- The expanded edition presents alternates that are great to listen on their own, even when completely removed from an album program. Examples: The Matrix Reloaded, Blade Runner.
 
This is just meant to illustrate the plethora of nuances that might exist when discussing the merits and shortcomings of expanded editions. There can be no general stance or answer that applies to all situations.
 
 
 
 

He's still right.
 
I don't care much for a composer-selected album, i care for a great 45-60 minute album. One thing I learned in recent years is that even the dreaded Varése 30-minuter often had the right amount of music, just not that well selected. Meaning *my* selection, of course...

I seriously worry you're gonna actually scare him off the website 

I seriously worry you're gonna actually scare him off the website