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To celebrate the fantastic Intrada release of the film score recording from The Eiger Sanction, I decided to create an isolated video presentation of that beautiful soundtrack! As you might know, the objective here is to present the movie as John Williams scored it. We know a lot of music that can be found on the Intrada release was unused in the final picture, one of the reasons being that some scenes were completely deleted. Those deleted scenes are not available, which means those particular fully unused cues will not be presented here (referring to Felicity, Art Masterpieces, Hemlock And Jemima). Some other scenes have also been heavily shortened compared to the cut John Williams scored. In some of those special cases, I decided to edit the music (properly, I promise ) instead of having pointless minutes of black screen (thinking of Love Scene and Car Chase here). Anyway, I hope these videos will be a great way to show that this score is another masterpiece from John Williams and also that this release by Intrada is definitely the best expansion of the year (at least for now!) Main Title / The Microfilm Killing The movie starts with a great Main Title cue introducing the gorgeous main theme of The Eiger Sanction. The Microfilm Killing fits properly even though some minor changes had to be made. To The Dragon The beginning of the cue was totally unused in the movie, it is restored properly here! Up The Drainpipe The first and last 10 seconds of that cue were also totally unused in the movie. It was a lot of fun to find out all the sync points of the fight sequence, what a brillant cue! Love Scene / The Unlocked Safe This is an example of two heavily shortened scenes. Instead of adding very long black screens, I edited the music the best way I could so it fits the final cut and the result is working pretty fine! Pay attention to the little scene where Hemlock discusses with Jemima as it contains part of an unreleased source music cue Friends And Enemies Two little cues, both used in the movie and merged in a single track for the Intrada presentation are shown here. I absolutely love how JW scored that transition sequence when Hemlock travels to Arizona, in the second half of the second cue. Never Quaver This is a restoration of a source cue that is included on the Intrada release, and it fits great! Running With George Here we have three training sections, two of them were heavily shortened compared to the cut JW scored. For one third one, instead of having a blackscreen for the whole cut section, I decided to use footage from the other two training montages. Part of another unreleased source cue can be heard between the first and second training section here! Leave Me Alone Another restoration of a source music cue that was used only partially in the movie. Note that you'll be able to hear two other unreleased source pieces before and after Leave Me Alone. The Top Of The World Small modifications were done here to make the first cue fit better. What an awesome sequence here! George Reveals Herself This one fits perfectly! The Car Chase / Hemlock's Bonus Those two cues ended up being completely unused and once again I've discovered that the final scenes were much shorter than the music. For The Car Chase, I decided to shorten a bit the music to avoid having black screens, the result is pretty great! For Hemlock's Bonus, I couldn't find any way to shorten the music properly so I let black screens where I think the missing shorts are. The Eiger / Hotel Bellevue The beginning of The Eiger wasn't used, this restoration shows that the funny little flute bit is supposed to score Faggot (the little...friendly dog) running to Hemlock's car. Hotel Bellevue is a lovely source music cue, featuring the main theme, that was totally unused in the final cut. I attempted to put it here and it works really great! Anna On The Stairs The track on the Intrada release contains two cues both totally unused that are restored here! Leading The Climb / The First Sunset The first cue plays ends much more quickly in the final movie which made me think at first that the scene got shortened. After putting the full cue on the final cut, I thought it still worked great so here it is. The First Sunset is absolutely gorgeous, definitely my favorite cue of the whole movie. For this one I adapted some sync points so it fits better than the movie version. Sunrise A little cue that most likely scored a slightly longer scene. I cheated a bit here by making the sun shot (a bit) longer Falling First part of the track Falling And Swinging that was fully used in the movie. Here too I adapted some sync points to make it fit better. Swinging / The Icy Ascent Second part of the Falling and Swinging track that originally scored a longer scene where Hemlock swung a few more times I believe! The Icy Ascent, an absolutely gorgeous cue that was fully used, fits perfectly with those beautiful mountain shots. The main theme renditions here are breathtaking... Down The Ice Face / Freytag Onto Ice The next two cues score the crew coming down the mountain. Down The Ice Face was most likely longer in the initial cut while Freytag Onto Ice fits well, even though I adapted many sync points so it fits better than the movie version. Hanging By A Thread This is the final big cue of the movie, which had its middle section completely dropped from the final cut. More than two minutes of music are properly restored here, and the result is amazing. End Title A jazzy rendition of the main theme, ending brillantly the movie. SFX/Dialogue versions For scenes that had some of their music dropped from the movie, I created mixes that keep the sound effects and dialogue from those scenes to present them as they would have looked like with the music. The Car Chase Anna On The Stairs Hanging By A Thread

After Minority Report, here is the isolated score for War of the Worlds, presenting the picture as JW scored it, by restoring unused and replaced music. Like my previous videos, I decided to use the tracks from the Intrada release without editing anything, except for cues that segue into each other and special cases like the removed silences in The Aliens. This took time to do, but I'm happy to finally be able to show it to all of you. Hope you enjoy it all! Special thanks to @Holko and @crumbs for the feedback and the awesome little sync ideas they gave me! Prologue And Opening Montage This cue fits well. There's some good stuff to catch like the underscore of the pigeons flying (around 2:00), something I personally hadn't noticed when watching the movie. Film version Alternate version The alternate version, included on Disc 2 on the Intrada set is more orchestral and works really well too. It is a bit shorter than the version chosen for the movie so I had to slightly adapt the picture to it. Is It Over? The first minute of this cue was not used in the final movie. The music is supposed to start when Rachel says "Is It Over?" after the last lightning strike. The piano that plays here makes the whole scene very dark and scary, I wish it wasn't dropped! The Intersection Scene / What Happened? / Driving Away From Trouble Three cues that segue into each other to build a 11-minute moment of pure tension. I spent quite a lot of time to figure out how I could restore the sync points for The Intersection Scene since that particular cue was heavily edited for the final film version. The first 40 seconds were not used, the music appears in the movie on the wide tripod shot, after people starting running away from it. For the whole cue I decided not to stick to how the movie used it. Instead, I really tried to find some sync points, to the point now that we have the brass syncing with the heat rays coming from the tripods (around 2:25). No idea if this a pure coincidence, but it looks and sounds awesome! What Happened? fits pretty well. Driving Away From Trouble was artificially stretched in the movie, the final scene is most likely shorter than what JW scored. Since it's one single long shot, I decided to speed up just a bit the picture instead of cutting it randomly so it can still sync properly. Surveing Wreckage The movie only uses the first 30 seconds of that cue before tracking Epilogue for the rest of the scene. Here we can see Williams' original intentions. Watch The Lightning Fits perfectly. Bodies In The Water Fits perfectly too! Ray And Rachel Almost fits perfectly except that the scene in the final movie lasts longer than the cue, causing the music to be artificially stretched in the final edit. I had to adapt the picture to make it fit properly. Attacking The Car Totally unused cue! I had some trouble finding the sync points at first, but I think I figured it out after adding some black screens. A revelation to finally see how the cue I've been listening for years fits with the picture! In The Cafe The whole cue was artificially stretched in the movie, so I decided to not try adapting my sync points to the final music edit of the movie, and it works pretty well. The Ferry Scene This one is a great cue, and was also quite heavily edited in the movie: segments that use tracked music: one from 0:42 to 0:45, another from 1:55 to 2:10 and a huge one from 4:16 to 4:40. In the final edit, this particular segment uses snippets from The Basket and an additional low male creepy choir (we still don't know the source of this right?). The ending of the cue was tricky to restore as well, with some sections of the music stretched, I had to rearrange the picture to get something fitting the original cue. Woods Walk This cue was supposed to play as a transition between the Ferry scene and the Camelot scene that was deleted. They kept it as a transition to the battle scene for the final movie edit. Refugee Status This one was supposed to play right after the Camelot scene, as the battle sequence starts...and this is working perfectly well! I believe this is the intended scene for that cue and I honestly prefer it over Woods Walk. Robbie Joins The Fight Pretty much fits, small adjustments done to the picture to restore some sync points. The Basement The whole beginning of the cue isn't used in the movie. Instead of letting 30 seconds of black image, I decided to use the footage that plays right before, when Ray and Rachel arrive in the basement. Robbie Joins The Fight should play during this moment but it kind of fits the scene anyway. Harlan Ogilvy The cue is shorter in the movie, with some crossfade applied to remove a section in the middle. I made it start earlier so the ending section syncs and I think that's how it is supposed to play. Probing The Basement Here again, I decided not to follow how the music plays in the movie for some parts, especially in the beginning. Overall it fits pretty much, even though the scene got most likely edited after JW scored it. The Aliens Fits except for some little parts where I had to stretch some footage. I also had to re-create the silences that Mike removed when he made the track for the Intrada presentation. Ogilvy's End That cue was artificially stretched for the movie so I had to edit the picture to make it work. Red Planet / The Basket I had to adapt the picture at several points to make Red Planet work. In the movie, this cue was quite heavily microedited and sometimes replaced by tracked music. The Basket fits a bit better, even though the final movie edits also edited some parts of the original cue. The Entrance To Boston Some slight edits to the picture were done to make those two versions fit. What a brillant cue, and it's so good to finally be able to hear that insert at 1:17 in clean form. Film version Alternate version Defeat And Reunion Since the Reunion cue has 5 different versions recorded, I wanted to present them all, in order of composition. Note that the movie uses parts of both 4th and 5th version. 1st version (The Separation Of The Family) This is the version that is presented on the OST program. Fits pretty well! 2nd version (Boston Street Finale - Alternate No. 1) I love this one, it feels definitely more emotional and direct than all the others, which definitely changes the atmosphere of the scene. 3rd version (Boston Street Finale - Alternate No. 2) Going back closer to the first version but this time with violins, and this one fits too. 4th version (Boston Street Finale) Very similar to the 3rd version, except that it unfortunately lasts a bit longer than the final scene. 5th version (Defeat And Reunion) This one is pretty much the same as the first version but composed in another key. Fits properly too. Closing Montage There are two versions of that cue. In the movie, the Prologue And Opening Montage is tracked here to make it fit the longer scene before using the second version. So I had to shorten the picture to make those original cues, without tracking, fit. First version Second version

As @Holko and @Jay suggested, I've spent some time doing these isolated score videos for Minority Report, one of my favorite Spielberg movies and also one of my favorite John Williams scores! So the objective of this as you may already know, is to present the movie as JW scored it, by restoring unused and replaced music. We are fortunate enough that we got an amazing release from La-La-Land Records last year featuring the complete score plus a bunch of alternates. I strictly used the presentation that Mike Matessino established to make the videos, meaning there is absolutely no edits in the music except of course when two separated cues on the set are meant to overlap in the movie. I really wanted to avoid using black screens when the movie goes out of sync either if some sections are looped or stretched, because it can sometimes be distracting, so I decided, when possible, to alter the picture by slowing elegantly some shots. I will post the videos in several parts, hope you enjoy it The Crime / Creating The Red Balls The movie version starts very differently with deep drums beats (that opening is presented in the Additional Music section of the LLL release), here we see how JW intended the movie to start. The cue fits pretty much, I made small adjustments to the picture for better sync with the music. Pre-Crime To The Rescue For a eight-minute cue, the cue fits pretty well even though I also made some slight adjustments to the picture. Note that the section from 6:38 to 7:00 was not used in the movie, instead, other bits of the same cue were tracked here. Images Of Sean Only the ending of that piece was actually used in the movie (starting from 2:53). Two openings were recorded for the cue, both included in the LLL track Images Of Sean. Since I did not want to edit that track, I duplicated some footage to present the two different openings in the same video: the revised opening 1M9R Image of Sean (Revised) from 0:10 to 1:17 and the original opening as recorded in 1M9 Image Of Sean from 1:17 to 2:20. Presenting The Pre-Cogs / Agatha The middle of the first cue was not used at all in the movie. That section from 1:24 to 2:55 was tracked from Leo Crow ... The Confrontation and “Sean” By Agatha". We can now see how JW intended it for that scene. It really took time to edit the movie to the cue but I'm very happy with how it turned out. The Containment Center / First Vision Of Anne Lively Nothing much to say except that I love The Containment Center, one of my favorite cues of the score! Suspicion The whole beginning was not used in the movie (from 0:10 to 0:55). Here's the whole scene, as JW scored it. The Collage That cue seems to belong to a deleted scene that is unfortunately not available. Even though it refers to 2M6B Schubert Collage, I don't see how it could be used as an overlay to the Schubert piece that plays before. Here is what can be found in the script (great find @crumbs): The Elevator / On The Run The Elevator starts 5 seconds earlier in the movie but with sections in the beginning looped. I did not edit the picture here, I just made the cue start a bit later and it looks correct. Note that the ending of the cue sounds different in the movie, only the synth can be heard. On The Run fits perfectly! Anderton Escapes / The Conveyor Belt The first part from Anderton Escapes fits properly but then there are 3 sections in the second half that are simply cut in the movie. This is the first case I had to use black screens to make the cue sync with the picture. I tried to see if the deleted footage could be seen in the Blu-Ray bonuses, sadly the "previz" for that scene is identical to what ended up in the final movie. The Conveyer Belt overall fits pretty well even though there is a cut section (from 6:46 to 7:02) which I also had to fill with black screens. Nothing could be found about that deleted footage either. The section from 7:52 to 8:00 was unused in the movie. Instead the percussion from an earlier section of The Conveyor Belt and the drum overlay from Freezing Water were tracked. We can see how JW intended it here. The Greenhouse Effect Fits, even though I made minor adjustments to the picture. The Operating Room / Dr. Eddie And Miss Van Eyck Like the previous cue, this one fits pretty well, with some little changes to the picture. The Swimming Pool Fits perfectly! Deploying The Spyders / Freezing Water This one was really fun to do. I had to adjust the picture to make some crucial sync points work but overall the cue fits pretty well! The beginning of Freezing Water (at 2:42 in this video) uses an alternate drum cue in the movie (presented in the Additional Music section of the LLL release). Here we can see how great the original drum section (that was also present on the OST) plays with the picture. Saving The Eye Another really fun one! There is a section (from 2:11 to 2:21) that doesn't play at all in the movie, instead, other bits of the same cue were tracked/looped here. After making subtle adjustments to the picture, we see how the cue JW composed should have worked in the movie in its entirety, and it's amazing! How Much Time Have We Got? A short cue that got artificially looped in the movie to make it start a bit earlier. Here I tried to adapt the picture to make the music sync even better than in the final cut, I like the result! Another Vision This one was really tricky. Only the ending was used in the movie (starting from 2:07 in the video) with the vocal section stretched and mixed differently. While restoring the whole cue to the picture, I decided not to follow the way the last part of the music was used, I instead altered the picture as I believe Williams scored it. The result is, in my opinion, wonderful and makes this piece one of the most interesting of the entire score. The Man In The Window Fits perfectly well. Leo Crow ... The Confrontation The whole 5-minute cue syncs perfectly with the picture, there was no need to edit anything. The ending, however, was most likely lasting longer on the cut JW scored: there should have been indeed an additional 15 seconds segment supposed to play before the part when Anderton is about to kill Leo Crow (which used repeated music from this cue). I unfortunately had to insert a black screen for that segment. The Revelation Small adjustments for better sync, but overall fits well. "Sean" By Agatha / Run! This one sounds really good! Even though “Sean” By Agatha was microedited in the movie, especially towards the end, those two pieces fit well with the picture. Anderton In Halo This one was complicated because the second part of the cue belongs to a deleted scene that was not made public. However, since the original script for that scene was released, I decided to imagine how the music should have played here. This really is a gorgeous cue and I would really love to see how the real scene looks like. I Never Said She Drowned This cue has a looped beginning in the movie, making it start a bit earlier. Apart from that, it fits pretty well! Confronting Lamar / Thought Transference and Finale Confronting Lamar was overall, a very very tricky cue, with many editorial changes that seem to have altered JW original intentions. The beginning was not used and we have instead tracked bits of The Greenhouse Effect playing in the movie.There is also a whole 40-second segment that most likely was added after JW scored the scene (supposed to play at 2:23). Bits of The Crime were tracked here. I removed this segment and edited the picture to get closer to what I think JW scored and I can say I'm really proud of the result. On the opposite, Thought Transference and Finale fits a lot better, I only made the usual small changes to the picture for a better sync. A New Beginning / Minority Report In the movie, three pieces play for that finale scene: A New Beginning, Sean's Theme and Minority Report (End Credits). Since Sean's Theme was initially composed as an alternate for A New Beginning, here we see how JW scored the ending of the movie: A New Beginning followed by the End Credits cue. Alternates and Source Music Pre-Crime Commercial I did this one just for fun. The source music has a looped ending in the movie so I tried to adapt the picture to make it fit. The Crime (Alternate) Here we can hear the alternate opening of the cue, with three percussion hits that were actually used for the film version opening. The rest of the cue is an alternate performance of The Crime. Anderton Escapes (Alternate) This is the same cue as Anderton Escapes but this time with the percussion overlay that appears only partially in the movie. Deploying The Spyders / Freezing Water (Alternate) The difference with the main program version is the whole different beginning of Freezing Water, starting at 2:42. That alternate percussion segment was used, in a shortened form, in the movie. Note that the percussion overlay still plays in the main program during the harp section at 3:08. Here we can hear that section without any percussion. The Man In The Window (Alternate) A shorter, alternate version that still fits perfectly well. "Sean" by Agatha (Alternate) Here is the original recording of that cue, without the replaced segment from 2:08 to 3:36. I really love those variations of Sean's Theme and it's great to discover what was JW's first intentions. Sean's Theme Here is the alternate for A New Beginning, as it should have played in the movie. Definitely a different approach, but it's really working.

Hello there, long time lurker (like many), I've been looking around and couldn't find anything here but was wondering if anyone was aware that the German Blu-Ray release of The Rare Breed has an isolated score? At least according to this site - http://www.dvdcompare.net/comparisons/film.php?fid=51592 and wanted to know if anyone can confirm it does have the isolated score before I go and buy a copy.

Looks like Twilight Time is going to be releasing Cinderella Liberty on bluray this coming July. Always good to have a new John Williams isolated score. Perhaps a signal of an updated soundtrack release?