Ollie

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

Akira Ifukube scored 11 Godzilla films, a 12th film featured a score entirely comprised of his music from previous films. 6 other films used his music at various points. Plus he scored 11 films that featured possible tie ins to the Godzilla universe.

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

Since this is Ricard’s website, I take this post a bit more seriously than I would if any of the other members, outside of Jason, posted it. 
 
He’s 86, he’s earned the right to walk away. He’s not superhuman. He could live well into his 100’s for all we know but age takes its toll. 
 
 

http://filmmusicreporter.com/2018/12/24/la-la-land-records-to-release-soundtrack-album-for-foxs-the-orville/

Guys, he's 86 years old. He has to stop composing one day, it's just fair and logical.

I wouldn't be surprised. But then, I doubt you can retire from composing. Old habits die hard.
 
To be honest, I thought that was to happen after the prequels and then we had a flood of wonderful works. 
 
But yeah, if he's calling it quits then it's a well deserved rest. You couldn't possibly ask for more. 
 
Oh and Ennio did it first!
 
Karol

Wow, The Predator got snubbed!

I didn’t think Solo was Oscar worthy to begin with.
 
Nice to see Silvestri getting some love.
 
Blavk Panther is deserving. They could have easily went the generic DCU route with it to make it a modern urban sound that relied on too many cliches. 

The greatest superhero score and perhaps Williams greatest score too.
 
this will be the 6th version I’ve bought, once it’s released. 

I didn’t think Solo was Oscar worthy to begin with.
 
Nice to see Silvestri getting some love.
 
Blavk Panther is deserving. They could have easily went the generic DCU route with it to make it a modern urban sound that relied on too many cliches. 

That is an excellent selection. I absolutely adore this new Die Hard set. The moment these ominous sleigh bells start in glorious stereo you instantly know why it was necessary for LLL to release this for the third time.
 
Karol

It's a good score. Far better than most things this year.
 
Karol

No, I know the OST incredibly well, and the mix on the new release sounds pretty much the same. I guess it's just the way a new presentation can cause you to reevaluate a score.

No, I think it sounds pretty much exactly the same. It seems like both TWINE and DAD had the OST albums showcase electronics quite a lot, And while it's great for presenting what is stylistically unique about these scores I think it misrepresented them in some sense. TWINE expansion certainly now flows much better but it's not as drastic of an upgrade as DAD last year. The 2002 album was one of the most dreadful listens I've ever experienced. The electronics in that score are much more aggressive and that disc emphasised them greatly and it really put me off. It didn't help the dreadful Madonna song was on that album as well as well as that useless Paul Oakenfold remix track. Low and behold, the LLL album comes out in 2017 and it feels nothing like that. Sure, the electronic tracks are there but the remaining material is mostly quite traditional. In its full form the music feels meaty and full-bodied. The thematic material might not be as well pronounced but, still, the difference is immense.
 
Karol

They’re here!  Holy crap these are some quality releases!  I’ve got a lot of listening and reading to do.  So far the biggest perk is the intoxicating smell of the liner notes 😂 

It might have to do with the movies and how they were made back then, but in the timeframe late 70's till exactly end of1982 Williams and Goldsmith produced great albums. It was never the same after that.

The whole thing is still surreal to me, that I would even be asked to work on something so large and important!  The whole thing came together extremely quickly (especially for 7 discs / 8 hours of music!) and it all happened in March, so it's a bit of a blur, really.  I mostly remember the thrill when Mike finally got access to every take recorded for COS, and he could look for some of the stuff we thought might exist on early takes based on the sheet music.  When he found the earlier "Prologue: Book II" cue, and the original endings to "Petrified Colin" and "Follow the Spiders", I was ecstatic! 
 
But the most thrilling parts were probably hearing music I never even knew existed before - "Hedwig's Theme for Harp", "Hogwarts Forever (Vocal Version)", and the 3 COS television commercials.  And the fact that they are all SO cool on top of simply being "new" was icing on the cake.  And of course finally hearing clean Azkaban music after all these years was ecstatic.  If I recall correctly, I couldn't stop myself from listening to "Rescue of Sirius" first, before listening to the entire album in order.
 
Anyway, after all the assembly and mastering was done, and Williams approved them all, by next duties were to proof read Mike's liner notes as he wrote those.
 
Later, once the art design was coming together, I proof-read all of that.  I also did some double checking of the pictures they were purchasing from WB to include in the books to make sure every one was accounted for.
 
 
 
For "Car Drives Off" and the original "Firebolt", we knew they existed from the sheet music, just no idea if they were recorded.  For Azkaban, Mike received a huge archive of cues from Warner Brothers and a different archive from the music editor, and the earlier "Firebolt" was right there, no issues.  For "Car Drives Off", once Mike got every take of every cue, he found it and we were thrilled we could include it.  For "Aunt Marge's Waltz" alternate opening, I never even knew it existed, and when he told me he had an alternate opening I had no idea what to expect.  When I got to that track on my first listen, I was pleasantly surprised by how it sounded; I prefer it over the original opening!
 
 
 
Mike and I have been friends since my first trip out to LA in 2013, and he solicited my help on a title in 2016 (it hasn't come out yet).  After that I helped in very small ways on CE3K and ET in 2017, and during a phone call in the spring of 2018 he asked me if I'd be willing to help him on a new project, and that turned out to be Harry Potter, and of course I said yes.
 
Our interactions are a blend of phone calls and emails.  Emails typically for quick questions or exchanging of files or organized information, and phone calls for discussing various options or just kind of catching up on the status of various projects.  It should be clear that 100% of the editing, mixing, assembly, and mastering work is entirely done by Mike, and if he asks for my opinion on how anything might be sequenced I will provide it, and he will either take it or not.  If he is determined that something should be presented in a certain way I wouldn't try to talk him out of it, but I certainly did feel that every opinion I gave was considered genuinely, whether he ultimately went my way or not.  I had no access and did not directly hear any unmastered studio elements; Once he was happy with an assembled and mastered album, he would dropbox it to me for me to listen and give feedback.  The feedback I supplied would be detailed and comprehensive, and cover everything from the order of tracks, the editing of cues withing the tracks, the mastering, and anything else I thought of.  Very little changed between the first version of each album I heard and the final one that got released.
 
 
 
I would assume so.
 
 
 
Nothing the sound guys did is included on the set in any way.  That is how the cue was recorded.
 
 
 
I have no idea when it was "recorded", and I'm pretty sure its just music from a trailer house seguing into the Reunion of Friends recording from HPCOS.  It was included in the archives WB sent over, so Mike put it at the end of the album to both be comprehensive and to give the album, and the entire set, a "big finish".
 
 
 
First of all I deserve no credit for any cue combos, those were all 100% decided by Mike.  The music at the end of "Befriending the Hippogriff" is an unused cue called "Bonding with the Hippogriff" that was intended to be used after "Buckbeak's Flight", but dropped from the final film.
 
 
 
Yes
 
 
Yes the beginning of that track is Up The Stairs, and it segues from there into Brief Snow Scene.  Those are the only 2 cues in the track.
 
 
 
You're just hearing how Williams originally scored the scene, in the final cut of the film a portion was replaced by music tracked in from "Lupin's Departure".
 
 
 
Yes
 
 
 
 

Sometimes the short missing cues are the best, The Rescue of Sirius. 

Sometimes the short missing cues are the best, The Rescue of Sirius. 

Proof that a 100 of us got them. 😉