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  1. If they managed to get TND released, I think that's a good sign for future Bond releases. HOWEVER we shouldn't take anything as a confirmation - until LLL puts out a flyer advertising a Licence to Kill or Moonraker CD!
  2. a good question. Since no actual sessions have leaked, we don’t have an actual track listing per se (with timings etc). However, we do have cue lists, which others have assembled from score manuscripts from the prequels, original trilogy and sequels & live to projection scores (original trilogy). Phantom Menace’s official cue list, with cue lengths and other info, did leak with the score sheets - so that’s as complete of a cue list as you’ll ever get. everything that was recorded is listed. Jay’s link provided above is the best, most consolidated resource which contains all the information you need. However, unfortunately you won’t have any luck finding any actual sessions online - they haven’t surfaced.
  3. “New ending” could mean a number of things: * A newly filmed, additional scene for the end. * A re-edited version of the original scene, modified for pacing, or with additional pickup shots. When Williams says “new ending” I don’t think he’s referring to an entire third act. He probably means “final scene”, which isn’t really too objectionable. Let’s be honest, every film goes through reshoots, and there haven’t been any legitimate reports of the film being a disaster or mess (aside from the usual click-bait suspects, who are wrong 99% of the time). So what could an “new ending” be? It’s probably just a scene which neatly and meaningfully ties up the whole series. It would be very difficult to craft a scene that pulls this off perfectly, so it’s understandable that they might have reshot it. So, TLDR - nothing to be worried about :-)
  4. Edward Scissorhands Skyfall Harry Potter and the Deathly Hallows - Part 1 Highlander E.T. Star Trek TMP Lion King/Prince of Egypt David Arnold?
  5. Quite a few of the score cues have unique mixes/assemblies of cues, with edit points that differ from the film versions and Legacy Collection CD. If the legacy collection refers to a track as a "film version", then it probably differs from the original CD soundtrack significantly. So if you're a completist who cares about having clean openings/endings, and every available take and edit of a score, I'd say it's worth keeping the whole album. Otherwise, here's what I'd keep: Arabian Nights (version from first pressing) - with the original lyrics Happy End in Agrabah (version from first pressing) - has a different opening. Happy End in Agrabah (version from second pressing) - ALSO has a different opening. Why Me (unreleased master) - Legacy CD has different vocal takes. Arabian Nights Reprise (unreleased master) - not included on Legacy CD.
  6. I take no joy in diminishing the work of other composers, but this trailer music is definitely not Williams'. The arrangement isn't characteristic of Williams' usual style of writing, and the recording is clearly a MIDI mockup - not a live orchestral performance. Further, if Williams had written the music we definitely would have heard about it - it would be a selling point of the trailer. This is exactly what happened with TFA.
  7. Too true. It's funny how people have become so possessed with fear over their favourite franchises being 'taken over', especially by "woke" characters. We haven't even seen a frame of footage yet, but people are already proclaiming that Phoebe Waller Bridge will be the end of the series... SMH. Excited to see the film. Usually it's done out of love and appreciation for the original films/media. I have no doubt that James Mangold loves Indiana Jones, the same way that Rian Johnson and JJ Abrams love the original Star Wars films. If the film doesn't turn out so well, that's usually down to poor creative decisions or lack of planning. Given that so much of the marketing for Episode VII revolved around going back to the old fashioned way of making a Star Wars film, I don't think these studios go into making a legacy sequel with the intention of dramatically revising or reframing a classic film.
  8. Since 2012 Disney have owned Star Wars, which has probably complicated the process of releasing an expansion. I believe they have had the rights to the scores since 2017/18. Before this, Sony Music already had a fairly decent expansion of the original trilogy (from 1997, re-released in 2004 and again in 2016). Releasing a Star Wars expansion will be costly and time consuming given the volume of intellectual property relating to the film (all of the art, photography, etc). I expect that Star Wars would be a much more expensive series to produce expanded releases for than a "lower profile" JW film. Plus, a lot of people would probably need to approve the release - Williams, Disney/Lucasfilm, etc. When they finally do it, it will be a massive undertaking. Agreed, there shouldn't be any issues, especially since they transferred everything again in 2018 in high res. The files are all ready to work with. LLL has already specifically said Hook is not coming for Black Friday this year. ... which is why I'm not a betting person. Didn't realise this, but at least this means we can still speculate about what the Williams release will be! Maybe JFK or Catch Me If You Can?
  9. 45th! A few people have suggested it, but I don't think it's happening any time soon: Disney are the only record label that would release it. It would be a very high profile release, for what is probably the most famous and iconic film score ever - and we've heard nothing from them about it. They brought their major music releases (the expanded 'Aladdin' etc.) to D23 - which would have been a perfect platform to release a Star Wars score expansion. I think we may have to wait a little while before we get a Star Wars expansion. The unfortunate reality is that, the longer they wait, the more likely it is that Disney will just save any release for the (50th anniversary). Based on what Disney has released so far (the 2018 remasters of Ep. 1-6), I would expect that if they decided to expand Star Wars they'd also do Empire and Jedi at the same time - but that's just pure guesswork. Maybe even the prequels, but probably not the Sequels (too soon, plus it's cost prohibitive due to re-use fees). There will be a MASSIVE marketing push behind it, since there is definitely a market for it, and a lot of money to be made. It's a just a matter of time until they release it, but it's a painful waiting game. All that being said... I would purchase any Star Wars expansion in a heartbeat. I just think it's unlikely for now, since we've had zero hints about it. Mike M. has effectively said that there hasn't been any expression of interest to expand Star Wars just yet, but let's just HOPE that Disney asks him to oversee it - OR better yet, Williams personally requests MM's involvement. Hook is more likely - Mike M. has already reassembled the OST for a vinyl release. If I was a betting person, I'd put my money on Hook being a 3-CD release for Black Friday. JFK is also a possibility - someone from LLL or another label teased it around 5 years ago, but it's been *crickets* from them ever since. Perhaps Catch Me if You Can ? Just guessing.
  10. There are rumours that Spielberg will be involved in MoS2 (probably won’t happen). But just imagine if he directed it and got John Williams to score it…..!!!
  11. Williams' Superman score is one of my favourites, but I agree with the sentiment of the article - however poorly articulated it may be. The JW Superman march does not fit the tone of Cavill's Superman that has been established over the last 9 years. Whereas other characters (Batman, Spider-Man, more) have received many new themes with each incarnation, Superman always seems to come back to Williams' march: a great piece of music in its own right, and perfect for Donner's/Reeve's Superman, but not appropriate for the Snyder/Cavill iteration. It only serves a nostalgic purpose when it's used in new films, and diminishes these films' ability to stand on their own, without a musical crutch/'hail Mary'. I also agree that the best option is to continue developing Zimmer's score and thematic material. I understand that people dislike Zimmer's orchestral quasi-heavy-metal/percussive sound, but I think he and his team, especially Steve Mazzaro, have proven that they can produce a contemporary superhero score that is both traditionally orchestral and modern, in 'Wonder Woman 1984'. The way he developed his WW material from Batman v. Superman was very impressive and refreshing, and I'd love to hear him do the same for MoS2, especially if this new film will be as joyful and hopeful as Cavill has expressed. I'm not in love with the Snyder/Cavill Superman, but I certainly wouldn't dismiss it simply because it's a departure from comic-book portrayals of the character. Superman is a modern myth, and deserves a diverse range of interpretations. I am interested to see how the WB/DCU team continue to develop this new version of the character. I also don't want to join the Zimmer-hate pile on. From a compositional perspective, his style is certainly more 'minimalist' than Williams' and doesn't rely as heavily on melodic themes. But I don't agree with those who dismiss his work, simply because it doesn't use a Wagnerian motivic form - there's more than one way to compose for a film. I think Zimmer's work on MoS was interesting, particularly the sonic world he created to reflect the alien/sci-fi (synths and electronics), country/Americana (pedal steel guitars) and super-heroic elements (triumphant brass) of the Superman myth. Zimmer is a highly competent and talented composer when he is given the right project, and I hope MoS2 provides an opportunity for him to return to Superman and create an incredibly joyous new score for such an iconic character. Let's allow Williams' score to live on, without having to play it every time Superman appears on screen!
  12. It would be nice if JW gets another Oscar, but honestly I just want the score to be good and work well in the film. If he's written a score that works perfectly in the film, supports the visual narrative effectively, then I'll be happy - even if, for some technical reason, he can't be nominated for the award.
  13. Williams' albums that he produces are always curated presentations of his music. He puts it together as an album, giving a lot of thought to listener experience. Sometimes, this can provide a more balanced listening experience that isn't front-loaded or backloaded with the most interesting/notable cues. Example, Schindler's List. The album compilation is excellent, and provides a much better listening experience than a direct, chronological listening of the score. On the soundtrack, the major themes are evenly distributed throughout the album, so that you don't get 3-4 statements of the Schindler's List theme in the last 20 mins. Williams' intention is probably to create a more interesting presentation from a musical perspective. The other things this allows is for shorter cues to be included on the album. Williams probably wouldn't want to include a short cue (i.e. 30-45 seconds) in isolation, because - when separated from the visual component - it probably isn't as musically compelling. I appreciate the way that Williams combines short cues to create larger tracks. Of course, if I could get a complete recording sessions dump of every Williams score - with every alternate, revision, insert included - I would. It's great to have every bar of music recorded. But Williams is never going to give us this. As amazing as Williams' music is, he probably has some cues that he likes and some that he doesn't care for - and chooses to showcase his favoured cues on the album. On the bright side, given that Williams is the most famous and culturally significant composer of the 20th century, it really is only a matter of time until we get a complete release of every score. We'll have to be patient, but it will happen eventually. When Williams passes away (hopefully in 20-30 years so he can score the inevitable next Star Wars trilogy haha) there will be a renewed interest in his music, prompting even more expansions - and a less arduous process, in terms of permissions from him/his team. As for why some labels like Disney don't put out complete albums of Star Wars, Indy.... they probably think the market is too niche (it isn't), and they're not sure if they'll turn a profit. A lot of work has to go into making these expansions, and they might think that it's not worth it. TLDR - Williams wants his albums to be a compelling musical experience, so he curates his scores accordingly. Williams is famous and popular enough to warrant an expanded release of all of his scores, it's just a matter of time.
  14. I love the way JW combined several cues into "Finn's Confession" on the 'Force Awakens' soundtrack album. The transitions between each cue are seamless and create a really nice listening experience. On the topic of TFA, I also like the way that "The Return Home" aka Burning Homestead from the original Star Wars was tracked into "The Ways of the Force" in the film. It would have been nice if it was recorded properly (not tracked in post) so we could have a clean recording without any dodgy crossfading. I'm struggling to think of many cases of editing I hate. I understand that – most of the time – when a music edit occurs, it's out of necessity. But here are some instances that I don't like so much... The film version of "The Speeder Chase" from The Rise of Skywalker. A messy combination of several other cues, lacking any cohesion that an actual musical composition would provide. Of course, it's very listenable - it's JW's music - but it's incredibly weak in comparison to Williams' original cue. The "film versions" of the Main Title from Star Wars (1977) and Superman. Both of them have strange pitch issues which are incredibly distracting and take away from the music. The transition between "Main Title" and the next cue in the soundtrack album of 'Revenge of the Sith' (I'm not talking the infamous war drums from the film edit). Williams was intending to do something different with the end of the MT cue, but because the two cues haven't been overlayed properly, the effect is jarring. When Mike M. is allowed to restore the SW scores in 2077, I'm sure it'll be an easy fix. The transition between "Ewok Celebration" and the End Credits in 'Return of the Jedi'. Both the film and soundtrack album. Both mixes sound a little off, especially the way the choir continues over the first bar of the end credits in the soundtrack. Same as above, an easy fix for Mike M.
  15. None of this is legal advice: There's a very good chance that your son has heard the theme from Schindler's List, even if he's never seen the film. It's a very popular piece, and most people have experienced it through osmosis, just like the theme from Star Wars, Jaws, Indiana Jones etc. Either way, this isn't a particularly relevant factor in accessing whether his piece infringes Williams copyright. There's a very complicated framework surrounding music copyright, without a clearly defined threshold regarding what is and isn't stealing. A few borrowed notes can be considered "plagiarism" if they were essential to/recognisably part of the original piece. That being said, there are only so many possible combinations of notes, and there are always some points of overlap between musical pieces. Keep in mind also that there are several Williams pieces which evoke/sound like other classical pieces. This isn't to say he is stealing - but a composers' work naturally reflects their influences. The ultimate question is: how similar is your son's piece to Williams' theme? If it's only a few notes at the start, he's probably okay. If its a few bars, then a case may be made for plagiarism. Perhaps you can upload the song, and we can give you an opinion... If the Williams theme you're referring to is the main violin melody, then the opening interval of Williams' theme (a descending perfect 5th) is one of the most common in melodic writing. With the exception of the minor sixth, all of the other notes in the first bar or so of Williams' theme are part of the underlying harmony/chord. In simpler, non-musical terms, all but one of the notes in the first part of the melody are the most "obvious" to use. This isn't a criticism of Williams - these intuitive decisions are part of what makes a melody strong. It sounds good. For this reason, it is equally possible that your son's piece has intuitively used these same building blocks of melody to the same effect, without having any intention of copying Williams. Upload the part that sounds like Williams' theme & a few extra bars to contextualise it, and you'll get a consensus from JWFan whether it is original enough or too close to Williams' piece.
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