pete

There is a coda of sorts that is added after Superman winks at the audience and flies off ... which brings the concert to a satisfying close, in my opinion. The quite extensive flying sequence still lingers in your mind at this point - a restatement of everything that went before, including that soaring live theme is not needed. (of course I would have liked to here it again ;-D)
 
There's also an added cadence after the Air Force One scene before the intermission, plus an intro or entr'acte if you will after the intermission.
 
The end credits play out visualky during the extensive applause and ovations for maestro Anthony Gabriele and for sections of the orchestra highlighted by him... ...I left early to meet him and indeed he told me that this was also done to ease the shear amount of music to be played for the orchestra members.
 
The first half contains like ~70 minutes of music - in one case ~15 minutes non-stop (!) from the calling of the crystal until Superman takes flight for the first time in the fortress, as he pointed out to me.
 
The second half still consists of ~50 minutes of music.
 
It all went by way so quickly (and it's a loong movie) as I was in the moment and a dream-like state ... had to snap out of it a few times to concentrate on orchestra members or even close my eyes and just listen...

Because it comes at you unexpectedly like a someone attacking you from behind with a club.

The 60-Minutes segment was just posted:
 
 

I really don't think so. I think he was just pointing that these are never seen during the film but they contribute so much, and when most people see a movie, it is easy to forget or rather not consider the people that perform the music. He's too classy to take an opportunity like that to take a dig at anything really. And is this a first = the musicians who performed on the soundtrack performing live at the premier? It might not have been everybody who performed on the score,  but if not it was probably most of them.
 
Back to the performances. A new little ending to the Raiders's March and The Adventures of Mutt had more changes, mostly in the second half of the piece, right? Do my ears on Covid Day 2 deceive me? Either way, the performance brightened my otherwise non-fun day!

I was (unsuccessfully) trying to find details on the upcoming Tokyo concert and noticed this album was released a couple of days ago.
 
I haven't listened enough yet to comment on the performances, but the Tokyo Symphony Orchestra is top-tier, and Taizo Takemoto is a well-known conductor.
 
English tracklist:
Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Hedwig's Flight Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Howarts Forever Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Voldemort Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Nimbus 2000 Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Fluffy's Harp Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Quidditch Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Family Portrait Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Diagon Alley Harry Potter and the Sorcerer's Stone Children's Suite For Orchestra: Harry's Wondrous World Saving Private Ryan Hymn to the Fallen Schindler's List Theme (Cello Version) Schindler's List Jewish Town Star Wars: The Last Jedi The Rebellion Is Reborn Star Wars: The Phantom Menace The Flag Parade Star Wars: The Phantom Menace The Adventures of Jar Jar Star Wars: The Phantom Menace Duel of the Fates  
 

We've had four so far: Spacecamp, Presumed Innocent, Amistad, and Sabrina. 
 
Intrada have two in the works. One of the Intrada guys said recently Mike was working on a couple of Williams releases

We've had four so far: Spacecamp, Presumed Innocent, Amistad, and Sabrina. 
 
Intrada have two in the works. One of the Intrada guys said recently Mike was working on a couple of Williams releases

We've had four so far: Spacecamp, Presumed Innocent, Amistad, and Sabrina. 
 
Intrada have two in the works. One of the Intrada guys said recently Mike was working on a couple of Williams releases

A 7% chance... I didn't think my chances had been that low! 
1 in 14, so enough people applied for 14 concerts. Come on Johnny, 14 concerts in two days, you can do it!

Quick, someone tell him Daisy's in town!

No luck for me. Oh well, it would have been an expensive weekend coming soon after a month of travelling. It would have been worth it though! I'll just have to be content with a LTP performance of The Fellowship of the Ring the week before in Seoul. That'll be my summer film music concert fix. 
 
 

No luck for me. Oh well, it would have been an expensive weekend coming soon after a month of travelling. It would have been worth it though! I'll just have to be content with a LTP performance of The Fellowship of the Ring the week before in Seoul. That'll be my summer film music concert fix. 
 
 

No luck for me. Oh well, it would have been an expensive weekend coming soon after a month of travelling. It would have been worth it though! I'll just have to be content with a LTP performance of The Fellowship of the Ring the week before in Seoul. That'll be my summer film music concert fix. 
 
 

No luck for me. Oh well, it would have been an expensive weekend coming soon after a month of travelling. It would have been worth it though! I'll just have to be content with a LTP performance of The Fellowship of the Ring the week before in Seoul. That'll be my summer film music concert fix. 
 
 

You guys are missing the BIG PICTURE here. I'm 100% sure this is the release Mike Matessino was referring to with these comments:
https://filmscoremonthly.com/board/posts.cfm?threadID=119230&forumID=1&archive=0&pageID=1&r=741#bottom
"More immediately there is a release that will be announced very soon that has been in the cooker for a long time, and I hope it will be well received for both what it is as well as for where it might potentially lead."
 
So yeah the way I read this is that bigtime Hollywood director/producer Frank Marshall (son of film/TV composer Jack Marshall, who worked with Mike Matessino to produce two previous albums of his father's music, and presumably helped get a note from JOHN WILLIAMS HIMSELF on the Thunder Road album) is using his Hollywood clout to help Mike Mattesino (and therefore La-La Land Records and other labels) access more things at Universal than were available previously... namely Universal TELEVISION (aka Revue), where his father worked and produced some music to mine for album.
 
Ever since the the Universal Classics series of mostly-premieres began half a decade ago, MV at LLL has been expressing hope of eventually getting into their TV holdings -- but this is the first time it's happened! (Yes, we had scattered examples before like Stu Phillips's Knight Rider work on FSM, but those were special cases.)
So Mike's "where it might potentially lead" could mean a set of Oliver Nelson's The Six Million Dollar Man scores, a title MV has expressed clear interest in. It could mean finally an official release of original music for Columbo, by Nelson/Goldenberg/Melle/DeBenedictis/etc.!
 
But it's not just about exciting 1970s TV music possibilities like those two titles. Not even remotely. Because we've heard composers like GOLDSMITH, WILLIAMS, SCHIFRIN, GRUSIN, and Quincy JONES reminisce about their camaraderie and time together working at Revue in the early-mid 1960s. These composers were in their PRIME back then, and there is now strong potential for PREMIERE releases of music in good sound, by ALL of them, from this important time period in their careers when they all had offices near each other at Revue and they were listening to what each other were doing. Oh and also...it wasn't just the new guys. Lots of amazing Golden Age veterans were also getting TV work at Revue during that same time period!
 
Now for The Munsters and The Deputy, Jack Marshall was THE composer as far as I can tell. No guest composers listed on IMDb anyways (thought that's not always accurate as we all know). But let's look at the other two series, because La-La Land and Mike Mattesino were able to access original Jack Marshall scores for WAGON TRAIN and THE VIRGINIAN for this release! That means they've got archive access to tapes for those series -- *they have both located and transferred tapes* for those two beloved western TV series, which ran for a whopping EIGHT and NINE seasons, respectively.
 
What premiere possibilities exist for those two series alone?
Well on The Virginian there were single scores by Franz Waxman, Hans J. Salter, Oliver Nelson, Patrick Williams, and Frank DeVol! Multiple scores by Bernard Herrmann, Fred Steiner, Dave Grusin, Russell Garcia, Morton Stevens, Harry Sukman, David Buttolph, Richard Shores, Lyn Murray, David Shire (some of his earliest Hollywood composing credits), and Leonard Rosenman! To say nothing of an amazing Ennio Morricone theme written for the final season when the show became "The Men from Shiloh"! What a lineup of talent!
 
But even that pales in comparison IMO to the potential of a Wagon Train set, folks... at least a HALF DOZEN original scores by none other than JOHN WILLIAMS! FIVE original scores by Jerome Moross (plus all the versions of his theme, of course). TWO original scores by JERRY GOLDSMITH! TWO original scores by Leigh HARLINE! FOUR by Ernest Gold! And, super exciting for me, a whopping SEVEN original scores by one of my favorite Golden Age composers, the underrated ROY WEBB -- these were actually his FINAL COMPOSITIONS for Hollywood!
 
Then there are a bunch of scores by other quality names like Morton Stevens, Lyn Murray, David Buttolph, Cyril Mockridge, Richard Shores, Conrad Salinger, Alexander Courage, Laurindo Almeida, Jeff Alexander, Hans J. Salter, Nathan Van Cleave, etc. And then single scores by perhaps bigger names like David RAKSIN, Frank SKINNER, Daniele AMFITHEATROF, Frank DeVOL, Gerald FRIED, John GREEN, Herman STEIN, William LAVA, and Lalo SCHIFRIN.
It is MIND-BLOWING to think of a potential 4CD set of premieres for this series... or hell why not go for a couple 4CD sets (and spread out the Williams and Goldsmith between them to help the sales)?
 
And then there are all the Revue series that Jack Marshall didn't work on as he did with those two. We could get a CD of 87th PRECINCT music by Morton Stevens + the single score for the series written by Jerry Goldsmith. We could get a CD of DESTRY, a short-lived single season western TV series with THREE original Goldsmith scores, plus a score each from Morton Stevens and Cyril Mockridge.
 
Then there are the anthology shows, with each episode treated almost like a mini-feature...
CHRYSLER THEATER had original scores by WILLIAMS, HERRMANN, SCHIFRIN, and GOLDSMITH, among others.
The various incarnations of KRAFT THEATER had original scores by WILLIAMS, WAXMAN, GOLDSMITH, SCHIFRIN, MURRAY, and HERRMANN, among others.
and oh yeah maybe even the original tapes could be found for...
THRILLER! SIXTEEN original scores by Goldsmith (which are much longer than the Tadlow suites would indicate), plus even more by Morton Stevens and Pete Rugolo (and one by William Lava).
 
There are many other fantastic 60s and 70s shows to consider as well, which I'm sure others here can supply. But the mind boggles at the possibilities...
 
Yavar

@pete, good luck mate 👍🏻
 
Just scouring all posts on Facebook in Japanese… looks like a lot of people missed out.
 
Or people who won aren’t talking about it since it’s “un-Japanese” to brag… or so I’m told 😂

This may have been mentioned before, but I had no idea the Dial of Destiny was based on an actual artifact: 
 
 
This is very interesting stuff

I loved the scene the main theme appeared in. Something got in my eye and water started leaking from it. It got better. And I enjoyed the movie far far more than I expected to. I wasn't excited really at all by a movie based on Spielberg's childhood. 
 
I'm happy with the score on CD. Sure I wish there were more, but I think that about every score release of Williams' music. 

It just struck me I don't recall coming across the adjective "elating" before. The related "ed" form: "Elated" yes, and I'm sure I'll be elated by the score. I like it when writers use less common but not totally obscure words!

This is all set to what is said to be John Williams’ final score before retirement, which frankly stands as one of the most elating scores of his late career. https://discussingfilm.net/2023/05/20/indiana-jones-and-the-dial-of-destiny-review-harrison-fords-swan-song/

Here's the plot summary mentioned earlier. Not sure if it has been lnked to. I just skimmed it to see what happened at the end and more about the time fissure thing mentioned earlier. And well I'm perhaps more excited now to hear the score.

And likewise, I never got the "you like the earlier films more because they're part of your childhood" Yes, they are part of my childhood, but I can look back at them now, especially in terms of story structure and plot and confidentally say that I also liked the earlier films better because they were better written, amongst other things.
 
Anyway, I was just curious what you were all talking about in the non-spoiler thread. I was wondering what there was to talk about! Back to spoliers for me! I'm a music fan first, film fan third or fourth. Just give me anything that'll make me wonder or saliva over what Williams could have come up with:  Indy drinks some coffee - wow, I can't wait to hear what Williams wrote for that!

I suspect that, in true Indy fashion, the Nazis will use the dial and fall prey to their own desires, and Indy and Helena will be faced with their own earnest desires to change or visit the past, and a choice of whether to do it (which they won’t take, can’t play god etc etc).  In the meantime, through whatever fissures the audience sees, there will probably be flashes of times past.

Indy must go back in time to stop the Nazis from using their new super weapon, a sports almanac, and changing the course of the war