Goldfingers

I disagree. War of the Worlds has nothing to do with Hook. Of course, there is the theme of the father, the children, and the dysfunctional family (like in many Spielberg films), but the core of its message is not the same. Hook is more than a film about fatherhood. The real message of Hook is about how people deal with trauma and the constraints it creates. Peter chooses amnesia, using work as a refuge, putting his family and marital balance at risk. Tootles preserves the memory of his trauma, which makes him fearful and obsessed with what he has lost, waiting for recognition of his trauma rather than judgment. Hook uses his trauma as a symbol, manipulating the pirate crowds in a quest for an eternal war driven by revenge, glory and fortune. Pirate Town is the village of wounded people, who maintain that state, wounds as trophies. Mutilations are becoming normal and fun. In the final cut, Spielberg edited the film to center the narrative on the relationship between Peter and Jack, as this was more comfortable given the limited time available to complete the film and the constraints imposed by the runtime. However, in its complete version, the film explored what makes it possible to heal from and manage trauma. This is represented through Tinker Bell, Maggie, Moira, and Wendy and even the mermaids, all figures of the role of women in life and the balance they bring to a wounded man, offering healing through listening, compassion, and affection. "I can see why you have trouble finding a happy thought. So many sad memories, Peter." Maggie about Hook, "He's just a mean old man without a mommy." and Hook exclaims, “I WANT MY MOMMY!!!” just before the crocodile collapses on him. The deleted scenes involving Maggie and captives Lost Boys were meant to develop this, in contrast with Jack, who is manipulated by Hook as he exploits Jack’s emotional wounds. And there is also a tribute to Spielberg's mother, Leah Adler, and wife, Kate Capshaw, in one of the deleted scene proving that the theme of the mother and the woman was more important. This is all confirmed by the song demos, “Mother,” which later became the family theme. The first scene in which this music was heard was meant to include Moira’s reaction to the kidnapping of her children. She literally collapses, smashing the Jolly Roger in bottle. Originally composed for the 1985 film Peter Pan, it was intended to serve as the melody Peter Pan was meant to play on the flute for Wendy. A piece of music he begins but then stops, having forgotten the rest. I created a petition for a ultimate cut of Hook, to invite Spielberg to revisit the film and create a cut that he could appreciate. https://www.change.org/hookdirectorscut And there are so much more in that film, on a symbolic level, cinematically, historically, narratively, and on a personal level for Spielberg. To me, the true spiritual sequel to Hook is The Fabelmans. War of the Worlds is more about how Ray has to learn how to be a responsible father in order to ensure his children’s survival while facing a traumatic experience together. It resonates more with how to survive to a terrorism or war action to me than with a process of exploring memories to confront your past and roots. And of finding oneself again. I see more connections between Hook and Schindler’s List and The Fabelmans than with War of the Worlds.

It was today! https://www.instagram.com/p/DSf4wwKCA4Z/

Listening to the Prologue again now that I know Low Below, I can’t help but hear in the intro (the very first seconds) a kind of variation of Low Below’s intro, but more minimalist and faster. Am I the only one who gets that feeling?

Oh ok I missed it in the original post. But originally, the next scene was the lesson. Peter's training comes right after the lesson scene.

Here's how the scene was supposed to originally appear in the film. I'm not convinced by Roberts' acting in that scene; the way she delivers her line seems a bit too hesitant. However, the scene appears in some trailers, and the fact that there is music for the scene suggests that it was very likely included in the extended version shown at the AMC Glen Lakes Theatre in Dallas on November 9, 1991.

Of course, Leslie Bricusse wrote the songs, but it's the only time I see the Hook soundtrack identified as 'Various' artists. This term is often used for soundtracks that compile different songs from multiples bands, never for scores from one composer. That's exactly what I thought. It would have been a good opportunity to correct the "Prologue" in a properly remastered CD edition of the original soundtrack, which would have been followed by the Mondo vinyl. After digging a bit, it is definitely an official release, released in March 2020. Not a bootleg. This edition is available online on the Barnes and Noble website, and I found a shop on eBay that sells it (in quantity). I'm surprised it flew under my radar at the time. I'm usually on the lookout for this kind of thing.

This does not concern the La-La Land Records edition, but it is one of the latest active topics about Hook. If it needs to be moved, let me know. I just came across something I didn't know. It seems that the original 1991 soundtrack was officially reissued on CD by Sony in 2019/2020, before the Mondo Records vinyl. Curiously, John Williams is not listed as the artist of the album, but "Various" is. How is that possible?

What would John Williams have done with a film like Pirates of the Caribbean? Just look at the naval and duel scenes in Tintin to get an idea. He would have composed with the same inspirations and influences he used in Hook, following the tradition of classic pirate and swashbuckler films like Captain Blood, The Sea Hawk, Robin Hood, etc Spielberg had mentioned an interest in adapting Crichton's last book, "Pirate Latitudes." I would have loved to hear more pirate-inspired music from John Williams... There is no news on this project... Alan Silvestri didn't compose anything for Pirates of the Caribbean; he was replaced before he could work on it seriously. A track is circulating, supposedly composed by Silvestri for PotC, but it seems to be fake.

There's something I've been thinking about for a long time but I've never really tried. But I have the feeling that it would be possible to mix the Lost Boys shouting 'Rufio' on the track 'Enter Rufio'. Sometimes, when I watch the scene, I feel like their shouts could follow or be incorporated into the rhythm of the track. Am I the only one who has this sensation?

What would be interesting to know is whether John Williams composed the music in anticipation of what was happening in the script or if it was just random compositions that they tested on set. In my opinion, it must have been anticipated, but given the duration of the medley and the number of scenes in which the concertina appears in the script, it seems too short to me.

It's hard to determine the significance of the different pieces in the Smee's Concertina Medley. 'Low Below' is recognizable, but as for the rest, I don't know. And it's challenging to ascertain where each of these parts should have been used in the story. Initially, Smee was intended to always have a concertina attached to his waist. There are several scenes where the concertina was supposed to appear, such as Hook's preparation scene before his first appearance, his speech, the negotiation with Tinkerbell, Hook's dinner, the lesson scene, the baseball scene (the script mentions that Mr. Smee was supposed to play 'Take me out to the ball game'), the final battle, and Smee's escape, during which one of the mermaids plays the concertina. The concertina serves as a means to add excitement to Captain Hook's life. Smee plays it at his request to create an epic atmosphere or to intensify the drama of the scene that Captain Hook is experiencing, often punctuated by a humorous moment when Hook interrupts the action to address Smee: 'Smee! Appropriate musical under scoring!' or 'Smee! Where is the musical accompaniment for this most dramatic moment of mine?' In the movie, the concertina disappears from Smee's character. I am certain that the concertina held by Tickles, played by David Crosby, is the same concertina that Smee was supposed to carry. There isn't a single scene where Tickles is seen without his concertina, but it is never heard being played. I believe they abandoned the idea because it potentially disrupted the scene by diverting attention from the action and limiting the possibilities for orchestrating the scene afterward.

The main idea of the interview was mainly to promote the new CD to a public who are fan of the movie but not specially into soundtrack spheres. I hope they will produce a bit more for those who may not have had the chance to order it now. It was the first time we attempted it live. There will be a new interview in mid-January, and perhaps another one in February. I'm not revealing the guests yet.

I'm not saying that Spielberg's intention should be obvious. Spielberg clearly wanted to create something stylized, and he has expressed regret that the result didn't match his vision. However, the film is imbued with aspects reminiscent of a theater production in many ways. Some might could say that it's an over-analysis, but when you consider all the elements that indicate this, the intention becomes clear. The intention to integrate songs is part of this.

The intention was for the sets to be big and obvious. The film's opening scene announces this from the beginning, placing the focus on the theatrical aspect, just as Spielberg presents his version of the Peter Pan play. The set-up resembles a cinema (Spot in the middle of the audience as a projector) except that the screen is a theater stage. Hook is the sequel to Peter Pan, which was originally a play. The first scene in Neverland is literally a curtain opening when Peter rips open the parachute. Spielberg didn't randomly choose a Broadway and London theater concept designer. Critics and the audience criticized him for the cardboard-cutout sets in Neverland, but that was clearly the intention. The issue was that Spielberg had a very limited amount of time to prepare for the film. When he agreed to direct Hook, the release date was already set, and the sets were under construction before the script was finalized. The film was rushed and had ambitious goals that couldn't realistically be achieved within the given timeframe. Additionally, Spielberg didn't have the level of control that he would have preferred (about the casting I mean). Ultimately, he had to compromise and focus on delivering what was expected of him for the film to meet its scheduled release date. One of the most enduring pieces of misinformation concerning Hook. It's incredible that some people actually believed this, even though Spielberg denied it during the film's promotion.