Lucasfilm giving "serious consideration" to new Indiana Jones trilogy CDs

[Unlucky Bastard 7,782]

These scores will never sell. They need Hans Zimmer to re-orchestrate them.

[artyjeffrey 20]

I'm sure they'll re-release the scores as they are now...with "re-mastered" sound and screensavers

K.M.

...and stickers.

They can leave liner notes out as long as the box set comes with a full size replica of Indy's fedora or the Ark or something.

fsb

Can you imagine that? A cd boxset packaged inside of a miniature golden ark of the covenant?! Hilarious. When you'd first open it, there would be a covering layer of fine sand, so you could sift through it with your trembling hand while a friend next to you could cackle hideously.

[Unlucky Bastard 7,782]

[Rienzi0711 0]

Can you imagine that? A cd boxset packaged inside of a miniature golden ark of the covenant?! Hilarious. When you'd first open it, there would be a covering layer of fine sand, so you could sift through it with your trembling hand while a friend next to you could cackle hideously.

Bwahahahaha. That'd be the greatest boxset packaging... ever. Most expensive, too, probably.

fsb

[Ollie 1,059]

The sad thing is I can actually picture Lucasfilm doing something like that to jack the price up.

[Sandor 797]

and the Ballroom Cue which is a must have

Couldn't agree more. One of the greatest "unknown" John Williams pieces...!

[Genius_Gone_Insane 5]

wow seems like good news!

[Rienzi0711 0]

The sad thing is I can actually picture Lucasfilm doing something like that to jack the price up.

And they could have the Ark in a wooden crate like in the movie, just to crank the price up a few more dollars.

[King Mark 3,631]

I'd actually like a replica of the temple idol from the opening of Raiders

[artyjeffrey 20]

I'd actually like a replica of the temple idol from the opening of Raiders

I actually have an idol that my wife picked up years ago (she can't even remember where from) that turns out, oddly, to be miniature white replica of the idol from Raiders. Weird. Some kind of fertility godess, I am assuming.

[Luke Skywalker 1,796]

. Weird. Some kind of fertility godess, I am assuming.

Goddess?

It has a big p*n*s...

[gkgyver 1,645]

You mean penis?

[Hitch 57]

"What is that? It looks just like an enormous..."

[Lurker 5]

. Weird. Some kind of fertility godess, I am assuming.

Goddess?

It has a big p*n*s...

It is a goddess. She's giving birth.

Neil

[Morlock 11]

It reminds me of a clown riding a tiny bicycle.

[BurgaFlippinMan 7]

T....t....Tower Records! *burst into tears*

I have Dance of the Witches, is the rest of the score in the same vein?

Tower is out of business?

[Luke Skywalker 1,796]

. Weird. Some kind of fertility godess, I am assuming.

Goddess?

It has a big p*n*s...

It is a goddess. She's giving birth.

Neil

I thought about it, but untill today, i had not seen a fertility figurine portraying that...

[MSM 126]

Pretty much. Witches is the first stirrings of what would become the "Hook/Home Alone/Potter" sound. I still haven't really gotten into it though.

So I feel it too - this sound started in 1987 (also with Empire of the Sun e.g. Jim's New Life)

[Morlock 11]

I hear things differantly....ET started JW's 80's sound. And it kind of ended with Jurrassic Park. HP is more like 00's JW throw back to late 80's JW.

[MSM 126]

I hear things differantly....ET started JW's 80's sound. And it kind of ended with Jurrassic Park. HP is more like 00's JW throw back to late 80's JW.

Interesting...I can hear things in E.T. which could be heard in JP, but overall I think it sounds more pre-Indiana Jones (so, more like SW than like JP). HP as a throwback to late 80's and early 90's I surely second.

[King Mark 3,631]

I think JW has a specific sound that ended with Spacecamp in 1986.(E.T.,ToD,Amazing Stories,Spacecamp...)

Home Alone,Last Crusade,Hook is another chapter .HP is a throwback to this.

JP is the precursor of Modern Williams with less thematic action music

K.M.

[MSM 126]

I think JW has a specific sound that ended with Spacecamp in 1986.(E.T.,ToD,Amazing Stories,Spacecamp...)

Home Alone,Last Crusade,Hook,JP is a little different.HP is a throwback to this

K.M.

Ok, then I think we see things quite the same. I always distinguish the following stylistic periods:

pre-1969

1969 (Lost in Space)-1981 (E.T.)

1981 (Raiders)-1986 (Spacecamp)

1987 (Empire of the Sun)-1995 (re-arrangements for Williams on Williams album)

1996 (Sabrina)-now

I think things have in some way to do with orchestrators. It's remarkable that JW's switch to 'smooth' style (late 80's, early 90's) takes place around the same time he switched from main orchestrator Herbert Sepncer to John Neufeld/Alexander Courage (and later also Conrad Pope).

[Ollie 1,059]

T....t....Tower Records! *burst into tears*

I have Dance of the Witches, is the rest of the score in the same vein?

Tower is out of business?

Yes they went out of business in either 2005 or 2006.

[Morlock 11]

I think only in the US. I know that Tower is still alive and thriving over here.

[tpigeon 3]

Is anyone else wondering whether we're all just projecting our own structured view of Williams' work into all these "periods" in his career. I'm sure we can all pick and choose particular "styles" he employed in these periods, but to do this invites a reductive understanding of any artist's style. Of course, there are general tendencies in any artist's work over time, but we must be careful not to place too much emphasis on what we believe to be very clean-cuts periods in an artist's career. When we do that, we'll start hearing what we want to hear, and create "evidence" to support our own asumptions via selective labeling.

Ted

[booboobasher 0]

Im sorry to say but im a realist too, and we are all a victim of the Lucasfilm merchandising. Oh we will get a release or the original soundtracks with all the extras im sure just in order to help sell the new film. Im dam sure its going to happen. Ohooo, God my wallet has just given me a nasty twitch.

I have to admit I am ashamed to say the I have some of the soundtracks on bootlegs etc but I would gladly buy a fully remastered and expanded boxset, I remember how I felt when I saw the STAR WARS THE ORIGINAL SOUNDTRACK ANTHOLOGY in the early ninety’s.... Oh the rush!

[gkgyver 1,645]

Is anyone else wondering whether we're all just projecting our own structured view of Williams' work into all these "periods" in his career. I'm sure we can all pick and choose particular "styles" he employed in these periods, but to do this invites a reductive understanding of any artist's style. Of course, there are general tendencies in any artist's work over time, but we must be careful not to place too much emphasis on what we believe to be very clean-cuts periods in an artist's career. When we do that, we'll start hearing what we want to hear, and create "evidence" to support our own asumptions via selective labeling.

There's no need for "selective labeling" or forcing ourselves to hear what we want to hear; it's simply evident.

Are people calling the Bond films of Connery and Moore polar opposites in tone because they project their own structured view onto them?

[Guest macrea]

The only two truly prominent stylistic shifts I detect are 1969 (Goodbye, Mr. Chips and The Reivers) and 1987 (Witches and Empire of the Sun). Apart from those turning points there just seems to be a gradual artistic evolution with occasional overlaps and throwbacks, and even the two linchpins indicated above have both precursors and holdovers. But with just about any given score one would be able to place it as either pre-1969, 1969-87, or 1987-present. And still there are exceptions: Family Plot, for instance, features sections with a sound very similar to Witches, Home Alone, Hook, etc. It's all basically gradual but can generally be divided (for convenience more than anything else) into those three periods.

[GoldsmithFanatic2000+ 0]

I'm sure they'll re-release the scores as they are now...with "re-mastered" sound and screensavers

K.M.

That wouldn't surprise me. I already own multiple different versions of the first three scores on CD etc, so if that is the case I won't be buying these new ones. I think the current Star Wars 30th Anniversary Boxed Collector's Edition being released is utterly pointless, like the re-releases by Sony before that. It amazes me that whenever I come down to listening to Return of the Jedi, it's still my 1993 Fox Anthology Edition I choose. That's because the sound quality is vastly superior. I've always considered the 1997 RCA Special Edition to be that of a joke. The sound quality for most of its duration is horrible.

I think JW has a specific sound that ended with Spacecamp in 1986.

I love Williams' score to SpaceCamp. I've always considered it to be one of his most underrated. I also have a certain admiration towards the film itself. It's harmless, mindless entertainment. I loved it so much as a kid in fact I ended up talking my parents into actually letting me go to SpaceCamp in Arizona, which was a blast. One of my greatest memories in life as a kid.

[#SnowyVernalSpringsEternal 10,265]

SpaceCamp is The Patriot of the 1980's!

[Morlock 11]

Oh, no it's not. Their faults are very different. I'd rather JW do something different that I don't really like (except for the suite, which I do enjoy) than something that's main fault is the sameness of it (despite the theme, which I like, and the consolation that it was right for the film in general).

[tpigeon 3]

Is anyone else wondering whether we're all just projecting our own structured view of Williams' work into all these "periods" in his career. I'm sure we can all pick and choose particular "styles" he employed in these periods, but to do this invites a reductive understanding of any artist's style. Of course, there are general tendencies in any artist's work over time, but we must be careful not to place too much emphasis on what we believe to be very clean-cuts periods in an artist's career. When we do that, we'll start hearing what we want to hear, and create "evidence" to support our own asumptions via selective labeling.

There's no need for "selective labeling" or forcing ourselves to hear what we want to hear; it's simply evident.

Are people calling the Bond films of Connery and Moore polar opposites in tone because they project their own structured view onto them?

Evident to you, perhaps. But it doesn't help your argument when you consider the great amount of discrepancy over what Williams' different stylistic periods are. I'm critiquing the idea of making such clean-cut distinction to begin with. It's very reductive. Your remark about Bond reinscribes this manner of thinking, and actually supports my initial point.

Very few like to recognize it, but how we communicate and think about something greatly determines what it is we're communicating and thinking about.

Ted

[Ollie 1,059]

The only two truly prominent stylistic shifts I detect are 1969 (Goodbye, Mr. Chips and The Reivers) and 1987 (Witches and Empire of the Sun). Apart from those turning points there just seems to be a gradual artistic evolution with occasional overlaps and throwbacks, and even the two linchpins indicated above have both precursors and holdovers. But with just about any given score one would be able to place it as either pre-1969, 1969-87, or 1987-present. And still there are exceptions: Family Plot, for instance, features sections with a sound very similar to Witches, Home Alone, Hook, etc. It's all basically gradual but can generally be divided (for convenience more than anything else) into those three periods.

You'll find that with most composers, you can hear ideas that end up being developed further in later scores.

[indy4 155]

But when Hans Zimmer does it, everbody goes crazy....

[Koray Savas 2,251]

Exactly! Hans always wants to further develop themes in his scores. In fact, my brother recently made a 15-minute collage of his development specifically with the "Batman Begins" theme. I think that originally started with Where Sleeping Dogs Lie and Black Rain, and has moved through the ages up to The Dark Knight.

People here are biased against Hans Zimmer. I highly doubt most of you have heard a majority of his works. How can you criticize something you don't fully grasp? You hear his actions scores and go blah! But you never listen to his other styles.

[indy4 155]

e.g. Lion King, The Holiday. . . .all very beautiful.

As well as some parts of his action scores (e.g. the love theme from Pirates 3).

[Richard Penna 3,695]

People here are biased against Hans Zimmer. I highly doubt most of you have heard a majority of his works. How can you criticize something you don't fully grasp? You hear his actions scores and go blah! But you never listen to his other styles.

Absolutemente.

Don't open the can again though, it's been discussed into the afterlife.

[Romão 2,274]

Absolutamente

[QMM 4]

Almost all of Zimmer's action stuff I'm not a fan of

His quieter stuff I'm a fan of

[MSM 126]

Exactly! Hans always wants to further develop themes in his scores. In fact, my brother recently made a 15-minute collage of his development specifically with the "Batman Begins" theme. I think that originally started with Where Sleeping Dogs Lie and Black Rain, and has moved through the ages up to The Dark Knight.

People here are biased against Hans Zimmer. I highly doubt most of you have heard a majority of his works. How can you criticize something you don't fully grasp? You hear his actions scores and go blah! But you never listen to his other styles.

I heard Nine Months last week, I think it''s one of the most feel good scores I ever heard.

[fommes 153]

People here are biased against Hans Zimmer. I highly doubt most of you have heard a majority of his works. How can you criticize something you don't fully grasp? You hear his actions scores and go blah! But you never listen to his other styles.

Don't underestimate what this board has heard. You criticise the Zimmer criticism, but you're not aware that your above argument is much more cliché. Lately it has been striking me that typically, Zimmer defenders always make the same points, and don't realise that they're actually beside the point. In content: since they're already long incorporated into the main critiques. (In fact, in this case, Zimmer started out with these so-called other styles. It's what people know Zimmer of in the first place.) In form: this argument is little more than a (illogical) discursive technique that tries to stifle anti-Zimmer arguments through its off-hand form of 'film-musical correctedness', if you will. I urge you to look up some Zimmer criticism of the more 'professional' (eg FSM) film music criticism. Then we'll talk.

[Morlock 11]

That is mostly gibberish. Very little Zimmer-bashing criticism is based on a complete view of Zimmer's works, here or on FSM (the magazine or the forum). The reason these arguments are made again and again is because most people criticizing Zimmer ignore an entire facet of his work. If you don't like anything of his, fine. But if you're saying that he sucks because of his synth use and action material, than you are rejecting him for only on facet of his work. There is very little intelligent Zimemr bashing going around. I am a Zimmer fan, and I rarely hear about the real problems with his scores.

[Romão 2,274]

I've heard Zimmer himself saying he is not proud of most of the stuff he has composed.

[fommes 153]

I respectfully disagree, Morlock, but I don't want to derail this thread any further really, lest Marc gets upset

[Morlock 11]

Meh, I think this conversation has run it's course anyway.

[indy4 155]

If you don't like anything of his, fine. But if you're saying that he sucks because of his synth use and action material, than you are rejecting him for only on facet of his work. There is very little intelligent Zimemr bashing going around. I am a Zimmer fan, and I rarely hear about the real problems with his scores.

Nicley said!

I've heard Zimmer himself saying he is not proud of most of the stuff he has composed.

He's just being modest.

[gkgyver 1,645]

No, he's realistic.

That's why he considers Williams lightyears out of his league. He may not know much about music, but he knows enough to realise at least that.

But it also shows that he has at least the mentality of a self- incenting artist. An artist is never fully satisfied with his most recent work. Your next work will always be your masterpiece until you die or quit.

[King Mark 3,631]

If a "new theme" for Hans Zimmer is the same slightly modified power anthem,then it's worse than the Horner danger motif.

[Elmo Lewis 6]

I've heard Zimmer himself saying he is not proud of most of the stuff he has composed.

I think very few real artists are proud of the stuff they do - I'm not saying Zimmer is a real artist (more like an adept craftsman) but I do think his opinion has very little value on the matter.

[Koray Savas 2,251]

Every composer is humble about their work. John Williams doesn't go around bragging that he has the most Oscar nominations of any other nominee.