MikeH

I can't believe we're still doing "reshoots mean a movie is in trouble" in 2022

It's the best Bond score not by John Barry or George Martin

It's the best one.
 
Karol

NOBODY DOES IT BETTER THAN LA-LA LAND RECORDS...
 
RELEASE #2
 
TOMORROW NEVER DIES: EXPANDED/REMASTERED 25TH ANNIVERSARY LIMITED EDITION
LLLCD 1607
Music by David Arnold
Limited Edition of 5000 Units
RETAIL PRICE: $29.98
 
ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST
 
La-La Land Records, Metro-Goldwyn-Mayer and Geffen Records proudly present the remastered and expanded 2-CD re-issue of the original motion picture score to the 1997 feature film TOMORROW NEVER DIES, starring Pierce Brosnan as James Bond 007, Michelle Yeoh and Jonathan Pryce, and directed by Roger Spottiswoode. Renowned composer David Arnold (STARGATE, DIE ANOTHER DAY, THE WORLD IS NOT ENOUGH) unleashes a triumphant score -- his acclaimed debut in the James Bond canon. It’s a breathtaking and sophisticated epic work that propels Bond through an exciting globe-spanning adventure teaming with action, dramatic intrigue and romance. Arnold brings a contemporary edge to Bond, expertly melding orchestra with electronics in robust fashion, but he simultaneously preserves and honors the series’ classic musical legacy, often bringing it thrillingly front and center. 

Remastered and expanded with a treasure trove of previously unreleased music, this deluxe 2-CD set showcases Arnold’s legendary score as well as the movie’s opening and closing songs, “Tomorrow Never Dies” performed by Sheryl Crow and “Surrender” performed by k.d. lang, along with additional bonus music featuring alternate score cues and the previously unreleased source cues “It Had To Be You” performed by Simon Greenaway and “Adrift” and “Shaken But Not Stirred” performed by Simon Greenway and Sacha Collisson. Also here, a never-before-released alternate opening for “Surrender”! Produced by David Arnold and Neil S. Bulk, and mastered by Doug Schwartz, from original stereo digital tapes provided by MGM, this special release is limited to 5000 units and features exclusive, in-depth liner notes by writer Tim Greiving, which include new comments from the composer. The sharp art design is by Dan Goldwasser. 

TRACK LISTING:
 
DISC 1

SCORE PRESENTATION
1. White Knight† 8:28 
2. Backseat Pilot*† 1:41 
3. Tomorrow Never Dies (Performed By Sheryl Crow) 4:50
4. The Sinking Of The Devonshire (Extended Version)** 7:22 
5. MI6*† / Launch The Fleet*† 1:34
6. Company Car (Extended Version)**† 3:35 
7. You Have A Phone Call, Mr. Bond* 1:02 
8. Station Break 3:29
9. Carver And Paris* 1:06 
10. Paris And Bond (Film Version)** 1:56 
11. The Last Goodbye 1:34 
12. Hamburg Break In 2:52
13. Hamburg Break Out 1:24 
14. Printing Press Fight* 1:22 
15. Escape To Hotel*† 2:28 
16. Doctor Kaufman 2:27
17. *-3-Send 1:15 
18. Backseat Driver (Film Version)**† 4:35 
19. Okinawa* / HALO Jump* 2:25
20. Underwater Discovery 3:37 
21. Vietnam 1:36
22. Banner Escape* 1:10 
23. Bike Chase† 6:43
24. Bike Shop Fight (Film Version)** 2:32
TOTAL DISC 1 TIME: 1:11:41
 
DISC 2
SCORE PRESENTATION CONTINUED
1. Ha Long Bay 2:32 
2. Boarding The Stealth† 4:57 
3. Grenade* 1:39 
4. A Tricky Spot For 007** 3:49
5. Stealth Shoot Out*† 3:33 
6. Carver Gets It*† 2:53 
7. All In A Day’s Work† 5:08 
8. Surrender (Performed By k.d. lang) 3:56
TOTAL SCORE TIME: 1:40:20
 
ADDITIONAL MUSIC
9. White Knight (Original Version)**† 8:37 
10. Backseat Pilot (Original Version)*† 2:20
11. The Sinking Of The Devonshire (Original Version)** 5:37 
12. Company Car† 3:06
13. Shaken But Not Stirred (Simon Greenaway / Sacha Collisson)* 3:27
14. It Had To Be You (Performed By Simon Greenaway)* 2:03 
15. Adrift (Simon Greenaway / Sacha Collisson)* 3:58
16. Paris And Bond 1:56 
17. The Last Goodbye (Alternate Version)* 1:30 
18. Printing Press Fight (Film Opening)* 1:10
19. Backseat Driver† 4:35 
20. Banner Escape (Film Mix)* 1:10 
21. Bike Shop Fight 2:42
22. Surrender (Alternate Version) (Performed By k.d. lang)** 3:53
TOTAL ADDITIONAL MUSIC TIME: 46:26
 
TOTAL DISC 2 TIME: 1:15:12
 
* Previously unreleased
** Contains previously unreleased material
† Contains “James Bond Theme” written by Monty Norman
 
TOTAL ALBUM TIME: 2:26:53
 
https://www.facebook.com/lalalandrecords/posts/pfbid037YLgniHaqPgAqsQ2LZV8gjj8ouWA2joLgkUrrcyB5hdv2LumKMtNJxRu5dAJviXzl

The first draft mess wasn't even a true edit of IX, as they ended up refliming so much and creating a different story.  Indy's editing may not have been completely locked when Williams did the majority of scoring, but the final edit will at least be the same story.  I think the score will fit like a glove.
 
I have posted this clip several times, and while a joke about Harry Potter, it really does seem to capture the haphazardness of IX.
 

First time I heard Rosenman’s Star Trek IV theme I thought it sounded like Santa Claus’s balls.  And he’s pretty old, so..

Sometimes people do not remember the Titans.  

Dude.

Definitely.  E.T. has to be the greatest film score ever written, no question. It’s absolutely lightning in a bottle. Anytime I watch and listen I just throw my hands up and say, “nope, can’t get any better than this.” 

There was a thread on this video earlier in the summer but incase anyone missed it:
 
 

Same recording and takes on all 3 prequels I believe, with slight mixing tweaks.
 
Shame we don't have a clean version of the recording done for TLJ (they just reused the TFA recording, despite recording it anew).
 
I'd love to hear the opening note in TLJ's wetter mix. I find the brass significantly more appealing on that score, better integrated with the rest of the orchestra (and not as "abrasive" as the brass in TFA).

There was a thread on this video earlier in the summer but incase anyone missed it:
 
 

There was a thread on this video earlier in the summer but incase anyone missed it:
 
 

There was a thread on this video earlier in the summer but incase anyone missed it:
 
 

Just listened again. Holy fucking shit we're so incredibly lucky that this amazing masterpiece, with all this unused music, was preserved so well!!!

Definitely.  E.T. has to be the greatest film score ever written, no question. It’s absolutely lightning in a bottle. Anytime I watch and listen I just throw my hands up and say, “nope, can’t get any better than this.” 

Definitely.  E.T. has to be the greatest film score ever written, no question. It’s absolutely lightning in a bottle. Anytime I watch and listen I just throw my hands up and say, “nope, can’t get any better than this.” 

E.T. is the only movie where I actually thought once looking at it "This movie is like a ballet" like every action in every scene moving to and driven by the music.

I can't even count the number of times I've listened to this cue, and every single time that passage makes my body tense up because of how emotionally manipulative (in a good way) it is. Every time. 

I thought the very same about the last 15 minutes of CEOTK.  The music does 90% of the story telling with characters just looking in awe and it is a far more complex set of emotions that film's ending conveys.  Mystery + hope + fear + reunions + longing + joy + wonder + etc.  I've also heard this very same passage of E.T. pointed out by musicians about what they dislike most about Spielberg + JW.  I personally love it very much partially because I was a lonely young kid in the audience when I first saw and heard this film, Elliots age, and the film and score were incredibly moving and any time I hear it, I revisit my childhood.  It hits all the nostalgia checkboxes like Spielberg and JW do so well.  
 
I remember before E.T. was released, they really teased this up as a sequel to CEOTK of sorts.  CEOTK had a page in magazines just showing a road with a light at the end which was incredibly mysterious.  E.T. teased...first he scared us with Jaws, then entertained us...
 
 

It's the greatest synthesis of images, story, and music yet created.  (ET's finale, not Last Starfighter)

It's one of the most heart-tugging moments in the history of cinema. The music accompanies E.T. telling Elliot "come" and him answering "stay", which is the moment in which the tears have to flow and the story reaches its emotional peak. E.T. is such a masterpiece in how it builds tension and then releases it in the most profound and musically satisfactory way. It's a prime example of Williams looking at the film and writing music that express his sincere emotional reaction, like us audience.

So much of this comes down to the mix and how involved JW is in the final mix.  For composers, attending a mix is quite painful as for each cue you listen to very bad mixes slowly getting tweaked.   Generally, the mixer doesn't want any feedback until they're ready to show it to you because it's very much unfinished.  For instance, they'll solo the trumpet mic which is guaranteed to sound awful as they tweak frequencies in that mic, then add the trumpet to a tree and tweak some more then move on to horns and to the same, then combine trumpet and horns with decca tree, etc., none of which is close to what it should sound like.  This process is done for each instrumental group and when they are done, they'll ask for composer's comments.  JW being a veteran already knows all this so I very seriously doubt he attends the mix and probably gets a finished mix to give feedback.  In some cases, like Warhorse and Tintin, where both happened very close to each other, it's possible there was more delegation.  Additionally, there are multiple mixers, and they don't have the exact same "sound".  There is a clear and major sound difference between Eric Tomlinson (vintage LSO scores) and Shawn Murphy (prequel LSO scores).  Additionally, technology and aesthetics change over time.  1980's used lots of reverb.  Similarly, prequels had lots of reverb (to me, they used even more reverb).  2020's drier, more authentic acoustic recording is the style.  Additionally, mixing consoles evolve/devolve.  Let me explain.  I'm a purist and absolutely adore the vintage 1970's vacuum tube mixing console sound of the NEVE preamps - these were used in Abbey Road.  The problem is they're no longer made.  Now, it's usually a chip that emulates the NEVE sound - EVEN ON THE NEVE gear!  That means if you buy a contemporary NEVE preamp, it will be an emulation and to purists, have a different color than the vintage vacuum tube gear that went out of fashion.  I can hear the difference in sound even though it's the same product because the tech is no longer the same.  This is true for each and every component.  A pro recording engineer I worked with used this analogy which I like.  He brings his own vintage gear to record orchestras because the microphone membrane is more sensitive to vibrations than the exact same mic if it's new.  The analogy he used was of a baseball glove that is very stiff when new but over time, the leather softens and relaxes and moves much more easily.  This is the same with the microphone vibrating membrane that captures sound.  So, a 1960's era Neumann mic could be superior to a 2022 modern era version of the very same mic.  All these factors play a role in making it sound, well different.  I think a really great test is to hear the vintage recording in a remaster and how great it sounds (compare Jaws original OST to the intrada 2CD, same with E.T. and Close Encounters.  Note that Jaws, E.T., Close Encounters were recorded at Fox Newmann scoring stage with most of the same players.  Horner's Avatar was recorded at the same stage in 2009.  Of course, mostly different players and sound engineer plus mixer.   I know some of Kingdom of the Crystal Skull was also recorded at UCLA Royce Hall - a concert hall that I happen to like the acoustics of.  There are so many variables at play.  

There has been a shift in the way trumpets sound in Williams scores. The difference is both subtle and impossible to ignore, and unfortunately, it's a change for the worse. I would like your help in figuring out what has changed.
 
(This is where I give the disclaimers that this is all entirely subjective, that I have the utmost respect for professional trumpeters on both sides of the pond, and that there are non-Williams scores with similar trumpet issues.)
 
The change became really noticeable with KOTCS, and it's stuck around in his (LA) recordings ever since. It's most noticable in loud passages for multiple trumpets, perhaps playing triads or octaves. There is a quality to the sound that is somehow both grating and underwhelming—aggravating yet anemic.
 
Here are some examples of JW scores in which the trumpets do NOT have this problem:
 
E.T. Temple of Doom Hook Jurassic Park The Lost World
I have no complaints whatsoever about the trumpets in these scores, all of which were recorded at the Sony Scoring Stage with LA studio musicians. The sound is bright, clear, and modern, but not unduly fatiguing.
 
As the new millennium hit, Williams recorded six scores in London: three SW prequels and three Potters. These too feature glorious trumpets, recorded mostly at Abbey Road and mostly with LSO players.
 
Williams's next film was KOTCS. Suddenly, the trumpets took on a different sound: dull but strident, claustrophobic but distant, weak but distracting. It's hard to put into words. To be clear, these performances and recordings are still by professionals, but something definitely shifted.
 
Unfortunately, this wasn't a one-off. Tintin, the SW sequels, the Adventures of Han … they all have the same problem. But we've also been treated to a few more London recordings—Galaxy's Edge, for instance, and Powell's adaptations for Solo. And what do you know? These sound great.
I've become increasingly preoccupied with trying to figure out what's different on a technical level. Here are some possible factors that have occurred to me:
 
Choice of recording venue Choice of mics Placement of mics Mixing choices Tape vs. digital Use of artificial reverb Preference for Bb trumpets in London and C trumpets in LA Choice of specific trumpet manufacturers/models Shifts in performer technique/style Shifts in compositional style  
But I don't see how any of these alone could account for the change.
 
What do you think? It's understandably hard to find truly detailed information on a lot of these recordings, so despite all my listening and searching and pondering, I haven't been able to come up with an answer.

Saw it 3D yesterday and in IMAX today. 
 

 
The 3D conversion is magnificent.  All the stuff shot at water level is unbelievable.  Quint’s death is terrifying… you feel the struggle more.  Quint looking down at Brody and Hooper on the deck from atop the mast is breathtaking.  The approach on Alex Kinter and Chrissie also stand out.  Just don’t expect Ben Gardner’s head to land in your lap.  This is a conversion on par with Jurassic Park, and I really hope it gets a 3D Blu Ray release, but it may be too late for that. It’s unfortunate that they released this conversion at the same time as the IMAX, because most people will choose IMAX rather than see both, and they will have skewed data on interest in 3D since it’s Jaws Vs Jaws. 
 
The IMAX presentation has the advantage of technical superiority and screen size of course, so it’s equally wonderful. 
 
See both if you can. 
 
The sound mix seems to be the best of old and new. I usually choose Mono at home, so maybe it’s the same mix as on the Blu Ray (new gunshots, old whale calls).
 
I will say that E.T. dazzled just a bit more due to the better audio and an aspect ratio which utilizes the IMAX screen better.