Charlie Brigden

Worked fine for me.

I never knew it for definite until now. It's not real until I hear it, and I've heard it, and I'm happy.

Holy crumbs it is! Hallelujah!

I want to hear that as well. Pardon me for asking, but my work is blocking the image. Is it included on your set?

I'm still umming and ahhing over whether to do that. I love the Rhino set, and I don't know if I can afford to pay for a box which contains only two soundtracks I really want.

The latest Empire has a pretty great interview with Moore promoting that.

I don't want to scare anyone unnecessarily... but I've been using the Lego track (BOB_OUTROEND) as a temp for "Return to the Village" in editing with the RPO track (sounds pretty damn good, by the way), and are we assuming due to the ending of that track that it's pretty much the same as what we're getting? Because unless my ears are playing tricks on me, that's either an alternate take to the film version, or it's edited slightly. On the Lego track the music goes from the Raiders B-theme to the next section (pardon my layman-ness, but I can't describe it other than "da-dah-de-de-de-de-de-de-duh-duh-duh-der") at about 0:20 and sounds like it's brought in very artificially almost mid-note, while on the DVD rip, it kicks in slightly later at the end of the note. Either that, or the note on the final part of the B-theme on the film is extended. Either way, they sound different. Or I'm a moron. Can someone with better ears confirm this?

THE DARK KNIGHTt was only forced in the way that it was influenced by some of the very best Batman/Joker stories, which are very dark. I don't really understand the cliched or unoriginal point, either. In terms of dark black/blue, I think someone saw a badly colour-timed copy. Regarding serious performances with people trying to get an Oscar, well that's just rubbish. They're just great performances backed up with some great writing putting their all into a project they - and a lot of other people - have great faith in, and in turn brought a lot of needed seriousness, emotion and weight to a genre which rarely sees those qualities. As for WALL-E, I haven't seen it. But comparing it to TDK seems redundant at best.

Jeff at Intrada, apparently.

That thread is like the Godfather trilogy. "Wow, this is really good. Hey, this is almost better. Wait... what happened?"

I think this might also have fitted well in the new 'Where does that cue go?' thread, but it's no bother. But yes, this cue is on the SE, d1 t4 Aboard The Executor. As Luke said, the first part of the cue is unused, replaced with part of The Imperial March, but the rest of the cue from the moment the scene goes to Ozzel and Piett talking about Hoth is intact. There's then no music until Luke visits Han and Chewie to say goodbye. The part that actually lies between Rieekan's "Prepare For Ground Assault" line and Leia's instruction, where Veers advises Vader they have been detected and Ozzel is choked, is on the Battle of Hoth (d1 t5) cue as normal. In terms of the edit, it is probably about a minute. I'm at work so I can give any proper time, but this has inspired me to do my own edit at home. I'd also love to do an edit of "The Imperial Probe" that ends with the final portion of the what I believe is "Luke's Nocturnal Visitor" (I want that ship, not excuses) as in the film when Han returns to Echo Base. May be tracked, but I love how that fits together.

AN AMERICAN WEREWOLF IN LONDON was only available as a rerecording (Meco's IMPRESSIONS). It's short, but man, is that one I'd love to get my hands on.

Considering the heritage of those movies, that's quite an amazing feat, although I guess the ages of at least KANE and WEBSTER (and certainly even the existence of a decent print of the latter for so long) comes into play.

Never mind the political content, just reading the one-sentence review teasers made me want to vomit in terror.

About 500 now.

Huh?

If I'm up at 3am it's usually because someone wants changing or feeding!

There's been talk of people perhaps losing interest in collecting soundtracks because there have been so many great releases, but there's also people stating that they still have their holy grails. One big one is about to come in the Indy boxset (even with the missing cues), but now that's on the way, what is your Holy Grail? What's the one soundtrack you're desperate to see finally expanded or completed, or even released? (Oh, and the first 26 seconds of the TOD End Credits doesn't count!)

That's what was brilliant about the best Simpsons episodes, and it's something so, so rare that most sitcoms, yet alone animated ones, cannot come close to it. It's brilliantly funny, often genius, but there are those special episodes that actually elicit real emotions naturally, which come from the dynamics of a family. That's what put The Simpsons above not only its animated cohorts, but most sitcoms period.

You never, ever disappoint me.

Jason, your work is great. Are you going to add the leaked/prototype Concord Raiders onto the spreadsheet?

Family Guy is terrible. A pox on television. The Simpsons is too now, but FG has never even approached the genius that show had from seasons 3-9. Also, Futurama is back, sort of.

I still think the ESB end credits is like the most perfect end credit suite around. The transition from "The Imperial March" to the love theme is absolute genius. And the final part is mind-blowing.

It's going to kill me waiting an extra week for this. Is 8m3 Fix including the tracked Raiders March?

Very cool, sir.