Edmilson

By my count there is about 85 1/2 minutes of music in the final cut of Disclosure Day.
 

# Location Cue Name Length 1 0:03:21-0:08:19 Negotiation 4:58 2 0:11:38-0:13:01 Arrival at the Convent 1:23 3 0:15:25-0:16:35 The Truth 1:10 4 0:20:13-0:20:39 The Cardinal 0:26 5 0:21:48-0:22:28 The Sweet Escape (SOURCE) 0:40 6 0:30:56-0:31:20 Dialect Sample 0:24 7 0:32:26-0:33:02 The Deer 0:36 8 0:35:09-0:36:41 Hospital Escape 1:32 9 0:36:48-0:38:43 Not People 1:55 10 0:48:36-0:49:15 Hail 0:39 11 0:49:19-0:52:34 Signs 3:15 12 0:52:56-0:59:26 Dive 6:30 13 1:03:22-1:05:41 Chase 2:19 14 1:05:41-1:06:47 Canyon 1:06 15 1:10:58-1:12:50 Caught 1:52 16 1:14:53-1:18:44 Caught {continued} 3:21 17 1:19:14-1:20:37 Kentucky Filly 1:23 18 1:20:37-1:23:54 Believe 3:17 19 1:31:05-1:34:26 Evolutionary Advantage 3:21 20 1:34:32-1:35:10 Two Faces 0:38 21 1:37:44-1:38:07 The Fox 0:23 22 1:38:07-1:41:42 Home 3:35 23 1:41:46-1:43:30 Memory 1:44 24 1:44:08-1:44:53 Memory {continued} 0:45 25 1:44:53-1:45:45 {TRACKED MUSIC} Empathy 0:52 26 1:45:45-1:47:18 Give Yourself Over To It 1:33 27 1:47:18-1:47:54 Some Day My Prince Will Come (SOURCE) 0:36 28 1:47:54-1:53:58 Celestial 6:04 29 1:53:58-1:57:30 Unseen 3:32 30 1:58:17-2:06:38 KCXE 8:21 31 2:09:27-2:15:27 Disclosure 6:00 32 2:15:27-2:19:22 In Vivo 3:55 33 2:19:22-2:20:09 End Credits Opening 0:47 34 2:20:09-2:24:08 Listen 3:59 35 2:24:08-2:26:08 {TRACKED MUSIC} Celestial 2:00 36 2:26:08-2:26:24 The Cardinal (Alternate) 0:16     TOTAL TIME 1:25:37  
"The Sweet Escape" is a 2006 Gwen Stefani song played as source music on a car radio; For 6 seconds Emily Blunt sings along as well.
 
"Some Day My Prince Will Come" is a song from the 1937 Disney Animated Classic Snow White And The Seven Dwarfs.  The original recording is not present in the film, instead, there is about 15 seconds hummed by Emily Blunt and about 20 seconds sung by Delaney Cuthbert,  The hummed Blunt portion is backed by strings presumably recorded by Williams at the scoring sessions; For the purposes of counting cues and numbering below, I will ignore those 15 seconds worth of strings.
 
"Celestial" in the end credits is a repeat of music already heard in the film earlier.

This means that by my count there is 1:22:21 of original John Williams score in the final cut.
 
 
 
So, here's a list of all the cues in the score, indicating where you can find them on the album and how much unreleased music there is:
 

# Name Film
Length   Album
Equivalent Album
Length Unreleased
(Approx) 1 Negotiation 4:58 7 Negotiation 3:25 1:33 2 Arrival at the Convent 1:23       1:23 3 The Truth 1:10       1:10 4 The Cardinal 0:26       0:26 5 Dialect Sample 0:24       0:24 6 The Deer 0:36       0:36 7 Hospital Escape 1:32       1:32 8 Not People 1:55       1:55 9 Hail 0:39       0:39 10 Signs 3:15 12 Signs 2:37 0:38 11 Dive 6:30 3 Dive 4:37 1:53 12 Chase 2:19 4 Chase 2:14   13 Canyon 1:06       1:06 14 Caught 5:43 14 Caught 5:56 0:36 15 Kentucky Filly 1:23       1:23 16 Believe 3:17 5 Believe 3:35   17 Evolutionary Advantage 3:21       3:21 18 Two Faces 0:38       0:38 19 The Fox 0:23 16 Reprise [0:00-0:23] 0:23   20 Home 3:35 13 Home 3:37   21 Memory 2:29 2 Memory 4:07   22 Empathy 0:52 8 Empathy 2:24   23 Give Yourself Over To It 1:33       1:33 24 Celestial 6:04 9 Celestial 6:50   25 Unseen 3:32 10 Unseen 3:09 0:23 26 KCXE 8:21 11 KCXE 5:56 2:25 27 Disclosure 6:00 15 Disclosure 4:22 1:38 28 In Vivo 3:55 6 In Vivo [0:00-2:27] 2:27 1:28 29 End Credits Opening 0:47 16 Reprise [0:23-2:23] 2:00   30 Listen 3:59 1 Listen 4:08   31 The Cardinal (Alternate) 0:16       0:16 32 End Credits Opening (Alternate)   6 In Vivo [2:27-end] 0:22   33 Empathy (Alternate)   16 Reprise [2:23-end] 2:31     TOTAL FILM TIME 1:22:21   TOTAL UNRELEASED   26:56  
 
So to sum up, by my count, between the film and album there is about 91:36 of music in total; 64:40 included on the OST album plus 26:56 only in the film. 
 
That last number will surely only go up as more differences between film and albums versions are found, but these differences all amount to different takes that typically change the instrumentation or timing; There's no thematic differences between film and album versions at all.  
 
With the recent Variety article indicating that there were 2 hours and 20 minutes of music recorded, and we can only hear 91 1/2 minutes of it, that leaves 48 1/2 minutes of music recorded that we cannot currently hear anywhere.
 
Phew, that's it for now!
 

More to come...

yep and if some idiots on this forum didn't make a stupid petition complaining about it and sent it to Sony we'd have AotC and RotS UE too

Another interesting data, coming from Deadline:
 
Rentrak (previously Comscore) show that summer currently stands at $1.55 billion, the best post Covid and the best since 2019, +11.6% from the same first Friday in May through June 14 last year. Year to date we’re at $4.1 billion the best since 2019 which had already crossed $5 billion by this point in time.
 
https://deadline.com/2026/06/box-office-disclosure-day-1236954426/
 
From Jan 1st to June 14 of 2019, domestic box office was above $5 billion, thanks to HTTYD: The Hidden World, Captain Marvel, Aladdin remake, John Wick 3, but mostly Avengers Endgame.
 
Seven years and one Covid later, from Jan 1st to June 14 of 2026, domestic box office was at $4.1 billion, thanks to: Super Mario Galaxy, Project Hail Mary, Michael, Devil Wears Prada 2, Obsession...
 
The biggest movie of this year, Mario Galaxy, made domestic numbers on par with not Endgame but rather the second biggest movie of 2019 up to that point: Captain Marvel.
 
PHM and Michael are below what Aladdin 2019 made (though Michael can surpass it).
 
And, of course, the year didn't have an Endgame level hit (yet), but still is the closest any other year got to 2019 since the pandemic.

Gandalf, the wizard from The Lord of the Rings, often appears in the most surprising places, where no one expects him: on the doorstep of Bilbo the hobbit's house, in the heart of Fangorn Forest – and, now, in a papal encyclical. The pope quoted JRR Tolkien's famous character in paragraph 213 of Magnifica humanitas ("Magnificent Humanity"), an encyclical on "safeguarding the human person in the time of artificial intelligence" published on May 25. Pope Leo XIV draws on several of Gandalf's sayings to support a simple argument: the idea that everyone can act for good, even the most humble among us.
 
"It is not our part to master all the tides of the world," reads the Gandalf quote, "but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clean earth to till." According to the pope, that is "our responsibility," as described by "the 20th-century Catholic author JRR Tolkien" (1892-1973), through his character.
 
https://www.lemonde.fr/en/pixels/article/2026/06/06/pope-leo-xiv-quotes-gandalf-highlighting-tolkien-s-close-ties-with-catholicism_6754210_13.html
 
We all knew Tolkien was Catholic, but I didn't know the actual head of the Catholic Church was a Tolkien fan! Maybe the fact that the Pope just quoted his book will make poor Tolkien to stop spinning in his grave, which he has done constantly (and furiously) over the past few years...

And what the John Williams score could've been 

Not that I’ve ever read. But he does seem pretty mum on it since his initial release despite it being one of the highest grossing movies that year. Spielberg seems hyper aware of how his films are received/embraced by the audience. I’m sure he’s aware that Crystal Skull’s reputation is not…the best. So it must hurt him that his last foray directing Indy wasn’t Last Crusade as he originally intended.

Even if his original idea for Indy V “wasn't about anything”(according to James Mangold), I would have still enjoyed Spielberg taking another crack at Indy before he eventually bowed out. Some of the concept for it leaked online. Perhaps it could have been fun fluff ala TinTin - Spielberg’s unofficial Indy V. 
 
 
 
 

Dial of Destiny I will watch before Crystal Skull any day. Somber and overly serious? Some pretty bad de-aging at times? Yep and yep. But Harrison brought his all in that one. And I liked the artifact and concept of that one quite a bit. I just wish it was Spielberg who directed that story (and had directed in, like, 2010) It would have been a great “apology” movie. 

It also has superb cinematography, by Bill Fraker, and incredible miniatures, by Greg Jein.
 
 
The giants in BFG look like Hagrid's half-brother; rendered poorly, and unconvincing.

For the sheer disappointment alone, I’m voting for Crystal Skull. I was soooo pumped for a new Indy adventure. And…that’s what they gave us? Never mind the “aliens work well in the time it’s set” argument. It was executed so poorly. You can take a corny idea and make things dire and terrifying for our heroes (Dinos in Jurassic Park ). The “interdimensional beings” at the end should have at least felt like the Barry Kid-napping scene from CO3K, or the creatures from War of the Worlds. Elevate the pulp, ya know? But instead you can feel how reluctant Spielberg and Ford were with the whole concept. 


 
But BFG is pretty dang bad too. 

Irving M. Fried
 
https://en.wikipedia.org/wiki/Irving_M._Fried#External_links

For a second I thought you meant The Birdcage.

I think Gunn says "that it's one his favorite projects" about everything.

80 for Brady, "The Boys", "Fargo", Pearl, John Wick: Chapter 4. Small to mid budget films or premium streaming TV series, nothing $100M or more. Those still get recorded in London or Vienna.
 
 
I think the Simon Leadley Scoring Stage in Australia has really good acoustics on par with London IMO. All the big movies that scored at Leadley sound so spacious and warm, especially Christopher Gordon's scores like Daybreakers and Mao's Last Dancer. Powell also scored the first Happy Feet there (not sure about HF2) and it also sounded good.

I think that is a bot. Note the "Casino" link in the quote.

Yeah, I'm listening to track 14 right now, and it does sound like one long, continuous piece, or at least a bunch of cues from the same sequence instead of from different portions of the movie. 
 
When the movie is out for home entertainment, someone should try to place this bit from Caught into the 2 minute non-scored sequence between the "Inn-Di-Ana Hotel" and "Captured" scenes to see if it fits. 
 
Do we know if the movie had reshoots? Maybe Williams scored a different sequence that then got changed in the final cut in a way that this 48 second cue wouldn't fit.

I mean, TECHNICALLY the UE of The Phantom Menace was an album release (which, by the way, should be on Spotify and other streamers ), while the isolated editions of TLJ and DOD were movie releases that then people used to create bootleg albums 
 
 
This is what drives me crazy. Absolutely no progress has been made since 2006, unless you count the Giacchino Trek scores, where he personally worked for the expansions to happen. But otherwise... Nothing.
 
And what I don't understand is why. Why did no one sit down at the negotiating table for over 2 decades? Or, if the labels or producers tried to, why wasn't AFM even willing to talk to them?
 
It's infuriating. 

Optimistic to assume the AFM will change their 2005 cutoff.  We're 21 years since Munich and Memoirs of a Geisha were recorded but no closer to expansions now than in 2006.
 
In hindsight it's crazy to think AI/POA/WOTW only took 14 or 15 years to be expanded.
 
Though I don't think anything bests Return of the Jedi's first expansion, only took 10 years (albeit incomplete).

"You know, that French who writes all those pretty little waltzes? What's his name, Alex Default or something? The little c*nt robbed me my Oscar because of that movie where the lady fucks a fish".

You were born in January? I guess that explains why... There's very few big movies (none that I can remember) aside from the Star Wars SE (which was technically a re-release ) released in January, it's a month mostly known for schlocky horror.

I do, here it is:
(Plus, bonus tracks)
 
1 Opening Titles 0:33
2 The Island Incident 2:23
3 The Encased Mosquito 1:15
4 The Entrance of Mr. Hammond 1:08
5 To the Island (Part I), 6 To the Island (Part II), 7 The Dinosaurs, 8 The Entrance to the Park 8:53
9 Hatching Baby Raptor 2:04
10 You Bred Raptors 0:39
11 The History Lesson 1:32
12 Jurassic Park Gate 2:04
13 Goat Bait 2:24
14 The Menace Dennis 0:47
15 An Ailing Monster 2:35
16 The Coming Storm 1:25
17 Dennis Steals the Embryos 5:03
18 The Trouble with Dennis 1:18
19 The Falling Car 3:07
20 The T-Rex Chase 1:54
21 A Tree For My Bed 2:12
22 Remembering Petticoat Lane 2:48
23 My Friend, the Brachiosaurus 1:49
24 Eggs in the Forest 1:24
25 System Light On 0:49
26 Preparing to Meet the Monster 4:12
27 High Wire Stunts 4:09
28 Hungry Raptor 2:09
29 Into the Kitchen 2:49
30 March Past the Kitchen Utensils, 31 T-Rex to the Rescue 7:40
32 End Credits Part I, 33 End Credits Part II 7:58
 
Bonus tracks:
1 Theme from Jurassic Park 3:27
2 Opening Titles (Original take) 0:33
3 The Island Incident (Original take) 2:23
4 The Encased Mosquito (Original take) 1:15
5 The Entrance of Mr. Hammond (Original take) 1:08
6 The Entrance of Mr. Hammond (Shorter ending) 1:00
7 To the Island (Part I) (Original take), 8 To the Island (Part II) (Original take), 9 The Dinosaurs (Original take), 10 The Entrance to the Park (Original take) 8:53
11 To the Island (Part I) (Film version), 12 To the Island (Part II) (Film version), 13 The Dinosaurs (Film version), 14 The Entrance to the Park (Film version) 8:55
15 Cartoon Demonstration 2:34
16 Hatching Baby Raptor (With minor edit) 2:04
17 The History Lesson (Original take) 1:33
18 Jurassic Park Gate (Original take) 2:04
19 Goat Bait (Original take) 2:24
20 An Ailing Monster (Original take) 2:35
21 An Ailing Monster (Shorter ending) 2:35
22 The Coming Storm (With minor edit) 1:25
23 Dennis Steals the Embryos (Original take) 5:03
24 Dennis Steals the Embryos (Film version) 5:04
 
Bonus tracks (continued):
1 The Falling Car (Original take) 3:07
2 The T-Rex Chase (With minor edit) 1:54
3 A Tree For My Bed (Original take) 2:12
4 Remembering Petticoat Lane (Original take) 2:48
5 My Friend, the Brachiosaurus (With minor edit) 1:49
6 Eggs in the Forest (With minor edit) 1:24
7 System Light On (Shorter ending) 0:46
8 Preparing to Meet the Monster (Original take) 4:12
9 High Wire Stunts (Original take) 4:09
10 Hungry Raptor (Original take) 2:09
11 Into the Kitchen (Original take) 2:49
12 March Past the Kitchen Utensils (Original take), 13 T-Rex to the Rescue (Original take) 7:40
14 End Credits Part I (Original take), 15 End Credits Part II (Take 1) 7:54
16 End Credits Part II (Take 2) 3:26
17 End Credits Part I (Film version), 18 End Credits Part II (Film version) 7:58
It took me as long as when the other expanded edition of TLW: JP came out. 

You were born in January? I guess that explains why... There's very few big movies (none that I can remember) aside from the Star Wars SE (which was technically a re-release ) released in January, it's a month mostly known for schlocky horror.

Yeah, it's a thing that can be bothersome to some people but not to others. For me, it very rarely annoys me (I grew up as a James Horner fanatic, so this is probably the reason )...
 
Some rare instances are what would become one of Toy Story's themes and The Matrix action music in Horner's Balto (Don Davis worked in all of these three movies), which diminishes a bit of my enthusiasm for this otherwise great score. Or Horner's Braveheart theme showing up in Bicentennial Man (which I love, but it's harmed by the big emotional payoff being Braveheart music) and in Bobby Jones: Stroke of Genius.
 
But usually, it doesn't bother me. In fact, I think it's fun (like in that Captain America meme) to "get the reference"! I don't remember being annoyed by any time this happened in a John Williams score.
 
Even when the temp track is embarrassingly obvious (like Zimmer's Time from Inception "inspiring" John Ottman's Xavier Theme from Days of Future Past), I don't usually blame the composer but rather the director, who forced their composer to strictly adhere to the temp.

Really? I thought it was a great PlayStation game, had a lot of fun playing it.
 

 
But anyway, I used to like superhero movies, but nowadays most of them don't appeal to me anymore.