Trope

Have you seen John Wick 4?
 
We don't disagree that Voller surviving was unrealistic and cartoonish. It could have been done differently. I just really didn't care. Let's put it this way...if the rest of the movie was fantastic, that bit wouldn't have been enough to ruin it for me. But as the movie was awful, that bit alone was the least of my problems with it.
 

Jawn Wheel-ee-awms

May I also humbly recommend trying the original, first version of Banning Back Home to be what's in your new main playlist instead of the revised film version?  I personally find it to be a superior composition and performance, and it's really what John Williams always intended, until the revision was done at the VERY last minute purely because Spielberg carved a minute out of the sequence.
 
We actually discussed having that original version be the one in the main program, but the CD length limitations were so tight, they couldn't be swapped!

Nothing would surprise me. I've been very disappointed in Varèse's expansions of late - In my mind, they lie right at the bottom of all the labels doing proper expanded releases (I have erased Disney from my consciousness).
 
You'd think speciality labels selling limited, exclusive products would have some kind of quality control, but clearly these guys don't seem to care. I may be overreacting, but this is a supposedly "professional" company that makes money from these niche products! The fact that some guy on an online forum is the first to notice this mistake is just plain embarrassing for them.
 
(I'm definitely not still salty about them bungling Powell's Bourne Identity expansion.)

…otherwise, he’d have done it himself years ago to save time!
 
INTERIOR, STUDY, DAY
TITLE CARD: 1982
Williams (leafing through large book of sheet music): Hmm, let’s see… love themes (checks index)… love themes… here we go. Love themes, neo-romantic… love themes, expressive… love themes, tragic… ah, here it is: love themes, incestuous. Just cut and paste one of them for Luke & Leia… perfect. All done. Anyone for tea?

I think, it wouldn't work that way.
In the meantime I believe, that Williams doesn't work for the money, but for the fun of it. You could offer him billions of dollars, but he might respond "Sorry, but I rather go golfing today." and he will do so. He doesn't have to proof anything to anyone anymore.
As we all know, he loves working, but in the meantime he just works with people he knows and loves.
And I would say, he has earned that freedom to do whatever he likes.
He is not a music factory. He is a human being. 
Let us just be grateful for what we got and eventually still get.

To prevent any bots from joining, simply add a straightforward question:

What do you typically do first when you start listening to a new expanded set?
1. Listen to the music first.
2. Read the booklet first.
3. Create a custom cover, create a custom playlist, and potentially express dissatisfaction about the 4 seconds of missing music.

Basic colour correction goes a long way...

 
But in technical terms, what the art director has done is select a very narrow batch of pixels on the edges of the painting and "stretched" them sideways to bridge the gap. Presumably this was because whatever element they had didn't fit the width of the cover art.
 
This creates a rather obvious smear of pixels on the edges, because you're taking 20-30 pixels of information and smearing it across 5-10x the width, creating artifacts around the edges. This is probably the laziest of all techniques to fill gaps, and you can get away with it if you're delicate or using simple/blurry backgrounds, but not something textured like a watermark painting. An example of what's been done in the official artwork:

 
Instead, I used AI to generate new material around the edges, then enhanced it with a new watermark texture over the entire image to cover up the seams. Of course, I colour graded the image before anything else.

 
Choosing appropriate fonts is also an art unto itself... it's nice to choose something that compliments the film's logo.
 
I can't say Myriad Pro is the first font that springs to mind for this film's logo... sadly that font seems to be used for almost every Intrada cover, regardless of the film's art direction.

Threw this together in less than an hour, thought you folks might enjoy it.
 
Click for a high-res 2K version.
 

Hello!
 
I recently rewatched Shrek (2001), primarily for the purpose of listening to John Powell and Harry Gregson-Williams' great score in context. And wow, was I impressed! It's such a wonderful score and perfectly elevates every scene it is in. 
 
Being very familiar with the score album, I noticed several bits of music on that album went unused in the final picture. One that interested me most was the ending to the track "Donkey Meets Shrek" (1:53 to the end). I always felt when listening that the section from 2:17 onwards was strange and out of place with the rest of the score. Well, upon my rewatch I discovered that this bit of music was actually meant to underscore Donkey's brief song that occurs about 9 minutes into the film! When I synced up the audio from the film and the music track, they line up perfectly! Pretty neat.
Donkey's Song "I'm All Alone".aif

Hello!
 
I recently rewatched Shrek (2001), primarily for the purpose of listening to John Powell and Harry Gregson-Williams' great score in context. And wow, was I impressed! It's such a wonderful score and perfectly elevates every scene it is in. 
 
Being very familiar with the score album, I noticed several bits of music on that album went unused in the final picture. One that interested me most was the ending to the track "Donkey Meets Shrek" (1:53 to the end). I always felt when listening that the section from 2:17 onwards was strange and out of place with the rest of the score. Well, upon my rewatch I discovered that this bit of music was actually meant to underscore Donkey's brief song that occurs about 9 minutes into the film! When I synced up the audio from the film and the music track, they line up perfectly! Pretty neat.
Donkey's Song "I'm All Alone".aif

Those are lower resolution than what I posted.
 

We need a Thor Appreciation thread where we can continue the debate until the end of time.

My blu-ray actually has the music for that part. I think later editions restored it.

Hello!
 
I recently rewatched Shrek (2001), primarily for the purpose of listening to John Powell and Harry Gregson-Williams' great score in context. And wow, was I impressed! It's such a wonderful score and perfectly elevates every scene it is in. 
 
Being very familiar with the score album, I noticed several bits of music on that album went unused in the final picture. One that interested me most was the ending to the track "Donkey Meets Shrek" (1:53 to the end). I always felt when listening that the section from 2:17 onwards was strange and out of place with the rest of the score. Well, upon my rewatch I discovered that this bit of music was actually meant to underscore Donkey's brief song that occurs about 9 minutes into the film! When I synced up the audio from the film and the music track, they line up perfectly! Pretty neat.
Donkey's Song "I'm All Alone".aif

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.