Damien F

A great batch although I am a bit disappointed that there is no John Barry Bond.

My guess is that it'll contain an obscure score by a lesser known composer from the 60s or 70s that very few people know about but will be a big deal for those who do.

I'll be happy if there's a JW score and a John Barry Bond that hasn't previously had a complete release. Having a John Barry score would also mean that we can expect further Bond releases from that era in future.

JW to personally hand deliver all LLL orders confirmed!!

There are very few people who will know about or understand the deficiencies of this set. Most people will just see a post about it on social media and think Disney has done a great job.

The way I see it is that we know Ross wrote Pulse of the City because he is credited as its writer in the end credits. From that article we know that he also wrote The Airport cue that was replaced by JW's version because the protracted production afforded JW a generous time frame. For some reason, Pulse of the City wasn't replaced by a JW cue. Perhaps JW didn't have the time to write a new cue or maybe everyone involved was perfectly happy with Ross's music. Based on the Pulse of the City credit for Ross in the end credits, I think it is reasonable to assume that had any more Ross composed cues remained in the final cut, they would also have been credited to Ross. I think it is also reasonable to assume that the OST was produced to only include cues composed by JW because Pulse of the City was excluded. I am open to the idea that Ross arranged the material from the other movies but they are still JW compositions.

Ha, that's a good point. I suppose after viewing TROS, we should be grateful that JW didn't just say "I'm too old for this shit" and walk out.

I am delighted the Dial of Destiny score exists. Is it one of the best scores of JW's career? No. Is it one of the best scores of 2023? Absolutely! I don't put a huge amount of importance on the sentiment of his final score. It would have been The Fabelmans if SS started working on it a little later. JW's career is filled with smaller dramas and epic blockbusters, so I actually consider it appropriate that his potential final two scores are from each genre.

It is ok to critique or dislike Dial of Destiny but to call it his biggest mistake and a blemish is ridiculous exaggeration.

I totally agree. I'm a huge fan of the Infinity Saga and would happily defend the MCU during that era from its detractors. But most of the post-Endgame movies have felt like an unnecessary and often sub-standard coda, like a great TV show that has continued a few too many seasons past its prime. I've enjoyed some of the MCU shows a little more, especially for some of their characters, but shows like Secret Invasion was crap and tarnished the brand even more. If rumours are true and they are trying to bring back the OG avengers who have already left the story, that just stinks of desperation. The MCU needs to take a break, maybe even something as dramatic as cutting their losses and realize they are not on the right path and cancel the remaining Kang movies. Then take some time to regroup and return with X-Men and Fantastic Four. That's what most people are waiting for anyway.

It appears Reverso is a pile of crap.

I love how much Presumed Innocent is a product of its time, particularly the synth. Definitely nostalgic for people growing up in that era.

Every time I see that this thread has a new update, I'm terrified that it'll be news that the isolated score has been removed from the release.

Cool, I didn't know that.

I'd love Moonraker too. It is one of the Bond scores for which I most want an expended release. But my understanding is that the master tapes were lost in France sometime after the score was recorded there.

I got a shipping notice too

Yes, I totally get that point of view. I was just suggesting that if Spielberg had finished Sugarland with any significant negative experience of the score for any reason, JW's career would have been very different.

If Spielberg had been disappointed or unimpressed with his score for Sugerland, he probably would have hired a different composer for Jaws. Therefore no 50 year Williams / Spielberg collaboration and also no Williams involvement with Star Wars. His career would have been totally different. In retrospect, Spielberg's satisfaction with the Sugerland score was a crucial moment in JW's life.

Isn't that Fitzwilly?

Has there ever been anything more specific about why JW doesn't want a release of The Sugarland Express. Aside from the music itself, the score obviously has a lot of historical significance as the first score for Spielberg. Is it simply the case that JW dislikes the music he wrote for the score.

I passed that billboard on the bus last week and was very confused until I looked it up and realised it is a new score. Not really a fan of that concept. It was Hitchcock's decision to have no score. It feels a bit conceited to basically overrule that artistic choice.

I wonder what a potential tracklist would be. 1. Main Title: New York, 1932 (4:06) 2. Dead Composers Anecdote (3:54) 3. John Meets Steven (2:34) 4. George's Theme (11:38) 5. Dead Composers Anecdote (Reprise) (3:54) 6. Arrival in Boston (4:35) 7. The Microediting Montage (15:48) 8. Dead Composers Anecdote (Reprise) (3:54) 9. Scherzo for Turtleneck and Orchestra (2:49) 10. The Lasik Scene (5:23) 11. Journey To Tanglewood (3:45) 12. Dead Composers Anecdote (Reprise) (3:54) 13. Welcome To Vienna (1:42) 14. Turning 90 and The Adventure Continues (7:03) 15. Dead Composers Anecdote (For Violin And Orchestra) (feat. Anne-Sophie Mutter) (4:21)

I love the richer and more resonant sound that a full adult choir brings to a piece that is usually heard with a children's choir. Likewise with Dry Your Tears, Afrika.

Is this available for pre-order on an English language site yet?

I've been listening to the OST quite regularly since its release. I love the score. I can't bloody wait for the isolated score. Christmas will come a few weeks early this December