Archive Collection

Another cue title/number revealed! 10M8 "Helena's Theme Rev" Source: JKMS Instagram post.

Amazing work, as always. One thing to add - I believe we have the cue title for "Helena’s Theme (For Violin And Orchestra)". It's "Helena's Theme (For Anne Sophie Mutter)", as seen at the start of this music video!

1. Raiders 2. Crusade 3. Temple 4. Kingdom 5. Dial Enjoy all five of them, love the original trilogy. Kingdom gets the edge over Dial because it has the "Spielberg" touch, even if he's on autopilot throughout.

Since it was a promotional score - like an FYC album uploaded to Disney’s award sites, would there be any reason why someone couldn’t reshare it on here…?

William Ross or John Powell would do a fine job. Depends if they want it to feel like classic SW or something more contemporary and stand alone.

The sessions have been circulating online for a while! Great score

There's around 40 secs of additional music in the End Credits - 02:30:14 to 02:30:55. Anyone know where this is from? It's been tracked in.

Listening to the "Airplane Mutiny" cue, I noticed that it has the bassline from William Ross's "Pulse of the City", but also some hints of Williams's Voller Theme. So who wrote it? Let the speculation begin...

What an insult

Reznor/Ross's The Killer has been uploaded - film versions, not the album mixes. Track 12 is missing.

To be fair... Raiders had its first expansion 14 years after its release!

This is exciting news, and may pave the way for a large-scale reissue of the Star Wars/Indy scores one day...

It's crazy that Disney didn't release a high res version of the album for purchase!! However, if you want to have the score in 24-bit/96khz lossless format, you can download it from Disney’s FYC site: https://debut.disney.com/fyc/twds/movie/indiana-jones-and-the-dial-of-destiny-1687388228406?tab=music

The strangest part of the new score is how Lorne has claimed that recording in several locations helped to convey the character/emotion of each of the cities depicted in the film… which is a farce, considering that every location is underscored with the same plodding, homogenised sound. Contrast that against Kraemer’s approach. Each location had a very clear orchestrational and compositional character - and Kraemer never needed a free holiday to any of these locations to craft a superb score…

They don't sound bad, but their sounding pitch/speed is different from the one that it was recorded at... which is a technical error, and something which should have been fixed before the release.

I believe the full score has been circulating for quite some time on the internet

Probably not… last two Mission scores had bonus tracks! Not crazy about Balfe’s scores, but I appreciate how much music we’re getting. I always prefer to have (almost) too much rather than not enough.

Oh god... I didn't even notice that. Honestly, I don't think that's the final order of the tracks (notice how there's a track called "Your Mission..." and another called "Should You Choose to Accept". Maybe this is just a mistake by Sony Music? =I have no doubt we'll be able to sort out the chronological order! If this is the final tracklist... okay...? Cool. I really don't see the point in an alphabetical tracklist. Still not as bad as Giacchino's pun tracklists.

TRACKLISTING from the description of the video above. 1. A Colourful Past 2. A Ghost in the Machine 3. A Most Probable Next 4. Chaos on the Line 5. Chasing Grace 6. Collision Alarm 7. Consequences 8. Countdown 9. Curtain Call 10. Dead Reckoning Opening Titles 11. Get Out Now 12. He Calls Himself Gabriel 13. Hit It 14. I Missed the Train 15. I Was Hoping It'd Be You 16. Key Details 17. Leap of Faith 18. Mask of Lies 19. Murder and The Orient Express 20. Ponte Dei Conzafelzi 21. Roman Getaway 22. Run As Far As You Can 23. Rush Hour in Rome 24. Should You Choose to Accept 25. The Entity 26. The Moment of Truth 27. The Phantom 28. The Plot Thickens 29. The Sevastopol 30. The Sum of Our Choices 31. This Is Not a Drill 32. This Was the Plan 33. To Be a Ghost 34. What Is Your Objective 35. You Are Done 36. You Are Dunn 37. You Stop the Train 38. You're Driving 39. Your Mission... I'm very confident that LB's score will be effective in the film, but unfortunately, the Opening Title track sounds anonymous and unremarkable from a production standpoint. This score was recorded with live players in a world-class recording space, yet the result sounds 'fake' because of how overproduced and excessively layered it is... somewhere in the mix, there is probably a great score hidden away, but as it stands it just sounds like a wash of noise. Balfe's treatment of the M.I. theme in Fallout was very awkward and didn't work for me, and from some of the excerpts of the score I've heard in promotional materials (e.g. the premiere, where they are presumably playing the actual score), it sounds like, once again, Balfe is very happy to use the theme a LOT, but doesn't know how to actually apply it in the score. Compare Balfe's treatment of the theme, to Joe Kraemer's excellent application of Schifrin's original M.I. material: e.g. the fantastic Morrocan variation of 'The Plot', his interweaving of the main theme into the action cues. Even Giacchino (who I'm not a great fan of...) used the theme well in his two scores - the main theme playoff after the Vatican sequence in MI-3 comes to mind, or his integration of the 5/4 pulse into many of the action cues. Both composers knew where and how to apply the theme for maximum impact, whereas Balfe's score has it plastered everywhere, yet doesn't do much with it (his reharmonisation of the main theme gets old very quickly). His two-note villain motif (derived from 'The Plot') isn't too offensive - it's small enough to sneak under your radar when you're listening. However his treatment of the M.I. theme sounds like it's trying too hard to be epic... the irony is that Fallout didn't need its music to compensate or do any heavy lifting, and early reviews would indicate the same is true with Dead Reckoning. I suspect that Rogue Nation's score will age the best of the series, because it leans into the traditions of the original television scores, whereas Fallout and Dead Reckoning have gone for a contemporary sound which will be antiquated in a few decades' time (much like MI-2's score sounds today). It's a tragedy that Kraemer never was asked to return for the sequels... but I can understand why the 'classic' sound may not have suited Fallout. Still, a more sophisticated composer like John Powell or even Hans himself (he did a fine job with 007's No Time to Die) could have produced a better score. Thanks for coming to my TED talk! Yes, he also gave plenty of credit to his collaborators in his commentary for Fallout. For all my criticisms of his music for Mission Impossible, I can't fault his character, he seems like a very nice guy.

One of the final episodes starts with a “homage” to Main Title from Close Encounters… that is to say, it is virtually identical.

Arnold didn’t score Shaun of the Dead…?

It's a lot of fun... And it's not the only scene like it in the film...

I have to disagree! The film certainly maintains the tone of the previous films: there are “dark” moments throughout - much like any other Indy film. But it's nowhere near the aesthetic of any Nolan films, or Logan (also directed by Mangold). My impression is that they committed to honouring the tone and aesthetic of the original three films.

I caught a few bars of The Nightclub Brawl in the opening scene as well. Around this section I heard a tiny bit of music editing, it sounded like a few bars were either cut, or edited in from another cue. No. But... (very minor plot spoiler)

I don't want to pollute this thread with my thoughts on the score, so I've started my own make-shift cue list in this thread here: