Archive Collection
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On 22/01/2024 at 3:12 PM, Jay said:Updated the Google Doc as well
https://docs.google.com/spreadsheets/d/1gLWlWGQDU2sjQtm83qAu9pgDTlEMSH7smeWw5zZwqHs/
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!
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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.
- GerateWohl, JTN, Bellosh and 1 other
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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…?
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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.
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The sessions have been circulating online for a while! Great score
- Yavar Moradi and JTN
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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.
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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...
- Tydirium, Yavar Moradi and Cameron1138
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9 hours ago, Edmilson said:
ONLY 15 years for an Indiana Jones expansion?
To be fair... Raiders had its first expansion 14 years after its release!
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This is exciting news, and may pave the way for a large-scale reissue of the Star Wars/Indy scores one day...
- TolkienSS, bruce marshall and Brando
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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:
- thx99 and HanFiredFirst
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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…
- Edmilson, Jay, Jurassic Shark and 3 others
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1 hour ago, Demodex said:
This is the thread where I learned you are all weirdos. The new discs sounded fine.
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.
- ThePenitentMan1 and Jay
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11 hours ago, Jurassic Shark said:
Rogue Nation
I believe the full score has been circulating for quite some time on the internet
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3 hours ago, John F said:
Wonder if the digital release and La La’s release are identical…
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.
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6 minutes ago, Gabriel Bezerra said:
Why is it in alfabetical order? Oh my, this one is going to be a pain to sort chronologicaly
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.
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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!
5 hours ago, iamleyeti said:I must admit, it's quite nice that he is citing his collaborators:
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.
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One of the final episodes starts with a “homage” to Main Title from Close Encounters… that is to say, it is virtually identical.
- Hego-Damask-II and Trope
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19 hours ago, May the Force be with You said:
David Arnold’s (SHAUN OF THE DEAD, THE WORLD’S END, TOMORROW NEVER DIES)
Arnold didn’t score Shaun of the Dead…? -
23 minutes ago, toothless said:
Water Ballet has me wondering what kind of bugs are crawling and racing while Jones tries to escape them hahaha. Haven't seen the movie so I could be hilariously wrong of course.
It's a lot of fun... And it's not the only scene like it in the film...
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5 hours ago, Edmilson said:Geez... First Bond, now Indy also gets the Nolan-ized "dark and disturbing" aesthetic.
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.
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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.
Just now, Bellosh said:No. But... (very minor plot spoiler)
SpoilerMarion's theme is played when Indy talks about him (and Marion) on the boat with Helena...
- Pieter Boelen and Bellosh
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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:
Indiana Jones and the Dial of Destiny - Isolated Score Track
in JOHN WILLIAMS
Posted
Another cue title/number revealed!
10M8 "Helena's Theme Rev"
Source: JKMS Instagram post.