Trope

And it would have been so easy to do it right. Guess I need to apply for a job with them.
 

I'd say an expansion of this quality being released thirty plus years after the release of the film is no laughing matter, nor is it something to turn one's nose up at. 
When these sets are as miraculous as they are to come to fruition, against the odds of studio money and interest, it baffles me that there exists a subset, albeit tiny I'm aware, of people who will insist on backhandedly snubbing these things as inferior. 
 
I'm not in the habit of messing around on here, but for fuck's sake, after all these years I'm so tired of seeing Thor's childish arguments and stance against these releases. 
 
Listening experience is something as subjective as the type of derriere someone prefers, but with these expansions comes the cleanest, clearest sonic improvements that do directly affect listening experience. Why would I want to listen to the 1991 compilation when it sounds like a turd in comparison to later releases? 
 
I'm going to say something controversial here, but to hell with Williams' intended listening experience. Nine times out of ten, I find his editorial decisions to go against what my preferred listening experience is. How many decades are we supposed to wait to hear cues that Williams thought ought to be cut? Or cues that had portions microedited out? 
 
I'm thirty now, and scores like those for the Star Wars prequels remain for the most part incomplete and unavailable to listen to in their full form outside of the films - how many more decades am I going to wait to get a release?
 
When it happens in 2030, I'm going to find Thor on here, opining that he doesn't need them and the OSTs were more than enough...
 
Yeah, well waiting, hoping, asking, buying release after release with the promise of future expansions is more than enough for a lifetime.

Pieces of four different takes made up the final performance edit used in the actual teaser trailer, and that performance edit was re-created digitally by Armin Steiner in 1991 for the OST album's digital master.  "Prologue" on the new set is Mike re-creating the same performance edit from the 1st gen material.
 
"Prologue (Extended Version)" is a new performance edit Mike made using just 2 of those 4 takes, with the goal of showcasing two ideas performed on some takes that didn't make it into the final performance edit: the extra viola rendition of Peter Pan's theme, and the extra boom-tzz near the end.  The entire track is 100% a different performance from "Prologue". 
 
I think the name was chosen because technically adding in the viola passage makes it longer, and also the 2012 release already had a track called "Prologue (Alternate)".  We didn't want people to expect this track to be the same as that (that track was just the final take all on its own with no cuts to other takes).
 
It isn't known why that viola rendition of Peter Pan's theme was only performed on the final take.  There's no reason to believe there were multiple edits of the footage or anything.

But if they tried that this would pop up:
 

It is unknown who sang those.  None of the paperwork from 1991 had this information.  Mike made every possible attempt to find out, but no leads resulted in any answers. 
 
We're actually hoping this release might cause those two singers to come out of the woodwork and identify themselves!

This is such a wonderful time to be a James Horner fan. So many holy grails being released! Keep'em coming!

Fixed.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Imagine how much money the labels and musicians could have been earned with an Avatar expansion - the biggest movie of all time at the box office, with a score by one of the most beloved composers of all time. Or Spider-Man 3, a score for a popular movie which have never been officially released and despite Sony's utter stupidity, it's very popular among fans because of bootlegs. Or Pirates of the Caribbean trilogy. Or even post-2005 John Williams scores, and I'm not even talking about the Lucasfilm ones, because I'm sure the labels would be delighted to expand Munich, Memoirs of a Geisha, Tintin, War Horse, etc.
 
All the morons at AFM need to do is to sit down at the table and negotiate a feasible deal that's good for everyone. But no, not even that they'll do. They say they're "pRoTeCtInG tHe WoRkErS" but they're actually harming everyone, including those they're supposed to protect.
 
Cunts.

Since the rule we’re discussing has, in practice, stopped any expansions of post-2005 scores being released and, therefore, the musicians who played on them have received precisely nothing extra in royalties, I’d say that was a classic case of an organisation shooting itself (or, more precisely, its members) in the foot.
 
For context, my brother is a professional musician, as are a number of friends, so I am very aware of the ways the industry screws them over. Streaming services’ business models are morally reprehensible, IMO. But this AFM ruling, with a fixed date, is insane, either from the fans’ or musicians’ points of view.
 
Mark

Anybody else notice the Pan theme and the State Farm jingle are kind of similar?
 
 

At the appreciation thread they're drinking the blood of Kali. Known to cause delusions and irrational behaviour. 
 

These idiots are not benefitting anyone with their outdated rule, not the labels and certainly not the musicians. Sure, it's fair for them to demand better deals, but instead of negotiating with the labels and industry, they're sticking to something signed in 2005 like a religious text. It would be much more beneficial to all if they were willing to negotiate.
 
So no, I have no respect for the AFM, and by that I mean the idiots in charge of it. But since Hollywood is run by absolute jackasses, I don't see that changing soon. Fuck them.

Here is exactly what Mike said about this:
 
For AFM recordings made before July 3, 2005, NO reuse needs to be paid to the musicians at all, provided a) that it’s for a physical format release with a 5000 unit maximum, and b) that the musicians list is published, preferably in the packaging. For recordings made after that date, whatever the musicians were paid to record the score for the film has to be paid to them again, 100%. That’s why it’s called “reuse”. They were paid to play music for sync purposes, but an album is a new use.
 
So, hypothetically, if 120 people were paid $360,000 to record the music for the film (musicians, orchestrators, copyists, at an average of $3K a person), then a label would have to pay that exact same amount to AFM in order to put out an expanded album. That makes it impossible to consider even before you get to licensing, publishing, production and manufacturing.
 
The 2005 date was established in 2015 and applied to recordings going back 10 years prior, but unfortunately it was not a “sliding” date as it really should have been.
 
Mike
 
I have never seen anything anywhere that indicated that the AFM has changed this policy.

Spotify total users: ca. 600 mln
Williams Dec 2023 listeners: 23,5 mln
This is boosted by his arrangements of preexisting Christmas carrols, but exposure is exposure 

"Oh man this piece pisses me off.  Why did he micro-edit that part."
 
--JWFANers

“I love his music! He’s right up there with Hans Zimmer!”
 
- far too many of them, unfortunately 

"I love this song!"
 
- most of them, probably 

First: Schindler’s List
Last: Harry Potter
 
At least according to some fine folks over at the Hans Zimmer forum. Apparently JW’s biggest problem is his music descends into aimless orchestral noise far too often…

Since Marion was essentially fan-serviced in (aka an off screen phone call fixed Indy's entire arc)....maybe a better story/movie could have been Indy and Helena slowly respecting each other and working with each other.
 
The movie does that horribly imo.  No need for Teddy, just make this a really good Indy and Helena story.  And at the end he can leave Syracuse on his own accord and he realizes he does have someone in his life who is basically family...and an adventuring sidekick. Best of both worlds.
 
I still think most people who were emotional with the ending of this film with Marion and Indy were not feeling the emotions of them getting back together, but the fact this would be the last time we'd see these characters on screen.

First: Schindler’s List
Last: Harry Potter
 
At least according to some fine folks over at the Hans Zimmer forum. Apparently JW’s biggest problem is his music descends into aimless orchestral noise far too often…

Well, to punch a hole in your theory, I didn't know who Phoebe Waller-Bridge was before this movie and have nothing personally against her, yet still somehow managed to dislike it.

The filmmakers addressed this by putting that little scar on his forehead. lol
 

Surprised people enjoyed the prologue. Might rewatch that again to remind myself of everything  wrong with it to do a thorough breakdown. 
 
 
What do you mean, anyone could walk this off