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Harry Potter 7CD Collection - SAMPLES and clips discussion

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11 minutes ago, crumbs said:

What the actual fuck are you talking about?? This is an insanely contrived misinterpretation of my post and I DO NOT appreciate having my words twisted in such a way, nor my motivations painted in such a deceptive, false manner.

 

You did write: in ways that Williams' ears won't immediately perk up and go, 'hold on a minute...'.

 

 

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And for the avoidance of doubt I've made it explicitly clear the only interpretation my post intended; Mike adding another string to his bow in building upon his mutually beneficial, collaborative approach with Williams.

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What @TownerFan said should have been the end of this filthy JWFan chapter of irrelevance.

 

And now we're misinterpreting @crumbs' words and throw mud at his statement - and one sentence later we slightly paraphrase what he said? And that's the highly topical subject?

 

And then, there's this discussion about a missing 'A'...

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16 minutes ago, bollemanneke said:

Yeah, so that's what I meant. 'Window' and 'A Window' is not the same.

 

(And are debates always so heated here?)

 

Apologies, I didn't notice the difference in that track title (the lack of 'A') but the rest of the track titles are identical. Wonder if it's an oversight or if the track itself is different. Odd that it isn't designated as an [Alternate], if the latter.
 

Considering AWTTP on the OST is not a "true" concert arrangement recording but rather comprised of excerpts from multiple cues elsewhere in the score (ala Ivanka's Theme in KOTCS), it does seem rather redundant if the complete film score already contains everything from the OST track. I don't think the extended flute intro is featured anywhere else in the score though, hence its inclusion.

 

Don't get me wrong though. I'll be doing cartwheels if this is the alternate Remembering Mother -- but I think such an alternate would have been labelled as such.

 

16 minutes ago, bollemanneke said:

(And are debates always so heated here?)

 

Not with me, I'd like to consider myself a reasonably rational, calm poster. However, I DO NOT like having my words twisted with absurd insinuations I did not imply -- and I responded accordingly.

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Quick question, which has probably been answered on one of the pages in one of the related threads: Prisoner of Azkaban credits: The Firebolt and End Credits Suite 7:22

 

Is that like the credits on the OST - a nasty and jarring hodgepodge of various tracks, or is it one piece of music incorporating the score's themes ala The Empire Strikes Back's credits?

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1 hour ago, crumbs said:

 

Apologies, I didn't notice the difference in that track title (the lack of 'A') but the rest of the track titles are identical. Wonder if it's an oversight or if the track itself is different. Odd that it isn't designated as an [Alternate], if the latter.
 

Considering AWTTP on the OST is not a "true" concert arrangement recording but rather comprised of excerpts from multiple cues elsewhere in the score (ala Ivanka's Theme in KOTCS), it does seem rather redundant if the complete film score already contains everything from the OST track. I don't think the extended flute intro is featured anywhere else in the score though, hence its inclusion.

 

Don't get me wrong though. I'll be doing cartwheels if this is the alternate Remembering Mother -- but I think such an alternate would have been labelled as such.

 

 

Not with me, I'd like to consider myself a reasonably rational, calm poster. However, I DO NOT like having my words twisted with absurd insinuations I did not imply -- and I responded accordingly.

Right. I just think Matessino would be too clever and careful to make such a track name mistake. I imagine there are contractual/other nonsensical reasons for retaining track names. And if Entry into the Great Hall was retained, even though it's a batantly wrong title, omitting a single A seems just an error too weird to make.

 

You're right that the flute solo in the beginning of AWTTP is unique to that track, and possibly the ending as well, but if MM decided to ditch Mischief Managed (thank God), I cn't see him repeating AWTTP.

 

Also, the fact that there is no (alternate) in the title is indeed interesting, but don't forget that we also have track names like The Wizard Consort. I'm therefore guessing that this new WTTP track might be a collection of the flute solo, one/two alternates and maybe the flute ending, to ensure a good listening experience.

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59 minutes ago, crumbs said:

The edited theme suite Mischief Managed! is not included on the LLL set because it contains tracked music from cues already featured in the score proper.

About this, doesn't the intro from Buckbeak's Flight contain an additional cymbal on Mischief Managed! that is not on the OST track? We need that cymbal on the LLL set!

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27 minutes ago, bollemanneke said:

Also, the fact that there is no (alternate) in the title is indeed interesting, but don't forget that we also have track names like The Wizard Consort. I'm therefore guessing that this new WTTP track might be a collection of the flute solo, one/two alternates and maybe the flute ending, to ensure a good listening experience.

 

I'm hoping The Wizards' Consort is the three pub source pieces (two at the Leaky Couldron, one at the Three Broomsticks).

 

I'll be thrilled if the WTTP track contains the OST track flute solo followed by something totally different, because I think everything else in that track is covered elsewhere in the LLL set. The only real point of confusion is the fact the 'A' is missing from the track title. I wonder if Jay would be kind enough to at least confirm or deny if this particular track is just the OST track or something different.

 

24 minutes ago, Chewy said:

About this, doesn't the intro from Buckbeak's Flight contain an additional cymbal on Mischief Managed! that is not on the OST track? We need that cymbal on the LLL set!

 

The cymbal in the Buckbeak's Flight intro is on the OST version of Mischief Managed!, so you can get it from there. :)

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3 hours ago, crumbs said:

 

What the actual fuck are you talking about?? This is an insanely contrived misinterpretation of my post and I DO NOT appreciate having my words twisted in such a way, nor my motivations painted in such a deceptive, false manner.

 

I made no insinuation even remotely resembling your comment and have nothing but admiration for Mike and his process (which continues to bear fruit and evolve with each new JW collaboration).

 

You really should stop and think for half a second before posting comments like this.

 

 

I stopped reading at f***.

 

The fact that you get so het up and theatrically upset must mean I hit the mark. Even if you don't want to admit it to yourself.

 

Never mind. I'm done talking to you.

3 hours ago, Jurassic Shark said:

 

You did write: in ways that Williams' ears won't immediately perk up and go, 'hold on a minute...'.

 

👍👍👍

 

Exactly! If that's not deceptive (or at least trying to be), what is? 😂

3 hours ago, scallenger said:

If we all don't calm down, I feel like LLL will use a time turner and take us all the way back to the Phantom Menace: Ultimate Edition days! HEED THY WARNING!

 

Ah, to be young again...

 

I was 20 when that came out. I think I'd actually welcome that. 😂 The world seemed different back then. Better.

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Sorry, I don't mean to be a pain in the arse in dragging this back up, but why @publicist would ask such a ridiculous thing in this thread, on this forum is absurd! What does anyone expect as a member of the John Williams Fan Forum to talk about, especially when a beloved title from the composer is released? I mean, Pub, you've been here longer than I have, surely this phenomenon of obsessing/discussing these scores is commonplace, a regular occurrence?

 

Granted you can't read through all the threads on this forum, but did you miss the blaring titles that obviously lead to this type of discussion?

 

Sometimes I would say, yeah this obsessive worrying over small differences in cue lengths and titles is a tad bit sad, but then I remember that I'm engaging in the discourse in this forum for a reason: because these small things matter. No one's asking you to care about it, no one's forcing you to participate, but to come in here with those offhand remarks and expect to get a reasoned response is a bit much, don't you think?

 

 

 

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9 minutes ago, Josh500 said:

The fact that you get so het up and theatrically upset must mean I hit the mark. Even if you don't want to admit it to yourself.

 

Never mind. I'm done talking to you.

 

giphy.gif

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2 minutes ago, Jay said:

WOOPS!  You can blame my proof-reading for this; I honestly didn't catch that "A Window To The Past" had gotten changed to "Window To The Past" on the new set.  It's identical to the OST track.

 

Thanks for confirming Jay, figured it was just a typo on the tracklist or something. 

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Just now, Arpy said:

So, is it a typo, or was it intentional? Either way I don't care, just curious.

 

What part of this wasn't clear?

 

13 minutes ago, Jay said:

WOOPS!  You can blame my proof-reading for this; I honestly didn't catch that "A Window To The Past" had gotten changed to "Window To The Past" on the new set.  It's identical to the OST track.

 

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23 minutes ago, Romão said:

I don't listen to scores to relive a movie watching experience. In fact, my appreciation for a score, with very few exceptions, is quite detached to my reaction to the movie. Therefore, I don't cling to the chronological sequence too much. Now, I do agree with these sort of these big thematic orchestral scores, a chronological presentation can often work because you can follow the development and resolution of musical themes. But I do think they can probably work better if they are presented broadly in chronological order, with a few exceptions when justified. I still think Incident at Isla Nublar works better with the Falling Car than each track on its own. I wish it was kept that way in the JP collection. Same thing goes for Hatching Baby Raptor and Life Finds a Way. The coherence and musical flow of the score wouldn't have been compromised in any way (it would, in fact, be improved, IMHO). With a few odd exceptions, I think JW is a terrific album producer. TPM is a terrific OST, because of what it's actually there, instead of what is not. Sleepers, Nixon, Memoirs of a Geisha, and many others, all album assemblies that are worth keeping even if more complete presentations turn up

 

Great post!

 

I think the OST album of TPM still could have been better (so many highlights were missing!), but overall I agree with you.

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1 hour ago, Jay said:

WOOPS!  You can blame my proof-reading for this; I honestly didn't catch that "A Window To The Past" had gotten changed to "Window To The Past" on the new set.  It's identical to the OST track.

 

No big deal.

 

This reminds me of the Raiders March confusion! 

 

This famous track has been spelled, at different times, by different album producers, and probably even by JW himself: 

 

Raiders March 

Raiders' March

Raider's March

The Raiders March 

 

Nobody seems to know the correct way to spell this...

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57 minutes ago, bollemanneke said:

Where else would they be...?

 

Who knows. We'll find out for sure when we get it.

44 minutes ago, crumbs said:

 

It's still possible some alternates are mixed into the film score presentation, if they were complimentary enough to the final versions. Quite a few tracks are longer than their corresponding duration in the film (which either means unused music or, hopefully, alternates). The Portrait Gallery is an obvious example, with both the original version and revised insert (The Big Doors) included back to back.

 

Also still possible Williams didn't even record the WTTP alternates in the first place.

 

Yes. This precisely. They could be snuck in somewhere.

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