Edmilson

QUARTET RECORDS ANNOUNCES

UNCOMMON VALOR-EXPANDED
Music Composed and Conducted by JAMES HORNER

Quartet Records, in collaboration with Paramount Pictures, presents a remastered, slightly expanded reissue of James Horner’s classic war score for UNCOMMON VALOR (1983), directed by Ted Kotcheff and starring Gene Hackman, Robert Stack and young up-and-comers Patrick Swayze and Fred Ward.

The film is a dramatic action picture centered on retired U.S. Marine Colonel Jason Rhodes, who recruits a motley crew of soldiers and leads them on a clandestine operation in Laos. Their mission is the rescue of unacknowledged U.S. prisoners of war (POWs) left behind after the withdrawal from Vietnam, including Rhodes’ son, officially declared missing in action (MIA). The possible existence of such POWs was a topic of considerable interest during the late 1970s and early 1980s. The messy conclusion of the Vietnam War, coupled with the scandals of the Nixon era, had left many Americans alienated from their government and deeply skeptical of official claims that there was no evidence of living POWs in the former war zone.

James Horner was only 30 years old when he was hired to compose UNCOMMON VALOR, but he was already a seasoned composer with such successful films in his career as STAR TREK II, KRULL, BRAINSTORM and SOMETHING WICKED THIS WAY COMES, and he was about to enter the A-list of composers in Hollywood with his upcoming hit scores for ALIENS, AN AMERICAN TAIL and COCOON. Horner provides an inventive and effective score, robustly orchestral while endowed with exciting electronic rhythms and Vietnamese textures.

Intrada Records issued the premiere release of UNCOMMON VALOR in 2014 and it quickly sold out. This new, remastered edition adds about 10 minutes of alternate takes. Produced by Dan Goldwasser and mastered by Chris Malone, it features in-depth liner notes by film music writer John Takis.


Tracklist:

1. Vietnamese Solo / Main Title (7:31)
2. Airport (2:21)
3. Tag (2:49)
4. A Lot of us Have Been Killed (1:26)
5. Steal the Sucker (1:44)
6. First trek / Yellow Rain (2:45)
7. Pan Over Hill / Wilkes in Tunnel (7:35)
8. Attack Airbase (3:14)
9. Escape Airbase (3:22)
10. Copters Over Hill (2:51)
11. Final Escape (2:21)
12. End Credits (3:42)
13. Brothers in the Night* (4:48)

Bonus Tracks

14. Main Title (Alternate Mix) (7:15)
15. Main Title Extension (Expanded) (3:08)
16. Parade Ground (3:58)
17. Main Title Extension Vietnamese Overlay (Alternate) (3:15)


Total Disc Time: 64:14

*Performed by Ray Kennedy • Written by Ray Kennedy, Kevin Dukes and David Ritz

https://quartetrecords.com/product/uncommon-valor/
 

That petition failed because it was targeting Disney. Can you imagine how many fan petitions involving Disney properties people create every single day? The ONLY way it would gather any kind of attention from a Disney employee is if, like, dozens of millions of people signed it. And even then it's not guaranteed that they would listen.
 
The way I see it, Disney and Lucasfilm won't listen to a few film score diehards on the internet. But they MAY listen to Matessino, because they already know him, they know he works in the industry and have contacts, he even (hopefully) has the blessing of John Williams himself.
 
It's up to Matessino to pitch his vision to Disney and try to make it happen. I'm pretty confident he can get at least one meeting with higher ups at Lucasfilm and Disney Records. If he convinces them of how valuable those albums can be (and not only in financial terms), then we may have a chance.
 
Anyone else knows what he thinks about Disney letting him work on SW and Indy scores? Because if he's waiting for Disney to call him, I'm sorry to break the bad news but that won't happen. It's HIM that has the power and leverage to convince them. And it's us, who consume his work, who can convince him to make a pitch at Disney.

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs.
 
The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co.
 
If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant.
 
Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion?
 
In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

Only when it's winter 

Another beloved 80s blockbuster with a classic John Williams score is celebrating 4 decades of existence this year: Indiana Jones and the Temple of Doom, which was released in the US on May 23, 1984.
 
If adventure has a name, it must be Indiana Jones
 

 
 
I love the classic Indy movies!
 
How will you celebrate ToD's 40th birthday? Re-watching it? Listening to the epic John Williams score? Doing all of those things? 

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs.
 
The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co.
 
If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant.
 
Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion?
 
In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

Spielberg even named her character after his willie 

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs.
 
The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co.
 
If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant.
 
Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion?
 
In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

Only when it's winter 

Short Round. 

That's what Spielberg said.

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs.
 
The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co.
 
If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant.
 
Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion?
 
In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

"Difícil de Matar", or, in a literal translation, "Difficult to Kill" lol
 
Of course our translators wouldn't miss the opportunity to make a similar title to the Bruce Willis movie, maybe in order to try to trick some people into thinking it was Die Hard in the pre-internet days 

Every cameo from the trailer:
 
https://comicbookmovie.com/deadpool/deadpool-wolverine/deadpool-wolverine-every-major-marvel-cameo-in-the-new-trailer---possible-spoilers-a210574
 
And 7 Easter Eggs and revelations:
 
https://comicbookmovie.com/deadpool/deadpool-wolverine/deadpool-wolverine-7-biggest-easter-eggs-reveals-and-spoilers-in-the-new-trailer-a210575
 
Spoilers in both links, so be careful.
 
Anyway...
 

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs.
 
The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co.
 
If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant.
 
Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion?
 
In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

Agreed. But some seem to bristle at any depiction of a culture that doesn't present it 100% accurately or in the best possible light. And poking any fun at them is, certainly, a big no-no today.
 
Personally, I don't look to movies for an accurate depiction of anything—or to teach me about anything. License is taken all the time to augment their effect—be it dramatic, comedic, or whatever.
 
For the record, as a kid I didn't come away from TOD thinking that Indians ate "eyeball soup," "Snake Surprise," or "chilled monkey brains" as part of their diet... It was an obviously broad attempt at humour.
 
But whether or not you find it "funny" is of course a matter of personal opinion.

It's basically a lose lose situation for us. If we support this garbage, it just encourages them to keep churning out garbage. If we boycott it, they assume nobody buys this stuff and don't invest more money in better releases.

They're better programs than the OSTs, at least... I mean there's more music.

The wide shot I mentioned is posted above by Edmilson. You can see Lady Deathstrike & Azazel.
 
@Edmilson that's Cassandra Nova played by Emma Corrin. Xavier's twin sister.
It's been revealed.

I just spent yesterday the whole day listening to this. It's wonderful! I loved how many of the tracks are small scale, just gorgeous folksy writing for flutes, harp, fiddle, voices, sometimes a string section... And Beyond the Journe's End is a wonderful cue for full choir.
 
In fact, disc 1 is so good that 2 underwhelms a bit in comparison, especially when there's a long stretch of comedic tracks in the middle... Still, there are some excellent material on 2 as well.
 
So far my favorite score of the year.

This movie was awesome. That is all.

I just spent yesterday the whole day listening to this. It's wonderful! I loved how many of the tracks are small scale, just gorgeous folksy writing for flutes, harp, fiddle, voices, sometimes a string section... And Beyond the Journe's End is a wonderful cue for full choir.
 
In fact, disc 1 is so good that 2 underwhelms a bit in comparison, especially when there's a long stretch of comedic tracks in the middle... Still, there are some excellent material on 2 as well.
 
So far my favorite score of the year.

The new website looks amazing! http://jameshorner-filmmusic.com

Some of the main criticisms at the time related to the film's darker tone, its violence and its happy-go-lucky comic book pace and structure (Looney Tunes maestro Chuck Jones had been involved on storyboard level). However, over time these aspects have turned into strenghts. It's a great film; I still remember seeing it for the first time, on VHS, in the late 80s while visiting some friends of my parents in Denmark. Good times.

There's a difference between being sensitive and over-sensitive. It's a wonderful film.