Popular Post Disco Stu 15,495 Posted October 3, 2019 Author Popular Post Share Posted October 3, 2019 It’s my favorite film of Spielberg’s dark sci-fi trilogy, second favorite score. WOTW is a pretty distant last actually on both counts. The score is so evocative and moody, also reflecting Anderton’s deep depression. I just eat it up, a great listen. The heartbreaking material associated with Sean and Anderton’s complete despair and anger over his loss. Gosh it’s good. Yavar Moradi, Amer, Mattris and 2 others 5 Link to comment Share on other sites More sharing options...
Deacon Blues 65 Posted October 3, 2019 Share Posted October 3, 2019 Hell yeah! Disco Stu 1 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted October 4, 2019 Share Posted October 4, 2019 Welp, Air Force One just got pushed to the back burner for me. I’m sure I’ll get to it eventually. Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted October 4, 2019 Share Posted October 4, 2019 murrr-durr Disco Stu 1 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted October 4, 2019 Share Posted October 4, 2019 Well any JW expansion is good news, even if it's not one of my favorite scores This will give a chance to change my mind Mattris 1 Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted October 4, 2019 Share Posted October 4, 2019 1 minute ago, King Mark said: Well any JW expansion is good news, even if it's not one of my favorite scores This will give a chance to change my mind The OST was a pretty generous serving of the score. If you weren't into that, I doubt more of the same will change your mind. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 4, 2019 Author Share Posted October 4, 2019 5 minutes ago, Thekthithm said: The OST was a pretty generous serving of the score. If you weren't into that, I doubt more of the same will change your mind. It’s true, the OST has the major highlights. There’s some great music not on there, though, that really adds to the overall tapestry. And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues! Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted October 4, 2019 Share Posted October 4, 2019 7 minutes ago, Disco Stu said: It’s true, the OST has the major highlights. There’s some great music not on there, though, that really adds to the overall tapestry. And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues! I suppose KM prefers listening to the in-between tracks to the highlights. Chewy 1 Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted October 4, 2019 Share Posted October 4, 2019 Very nice! Had a suspicion this would get fast-tracked with the rest of the 20CF catalog, once we knew the labels were prioritising them in light of Disney's acquisition. Is there anything else Williams pre-2005 from the 20CF catalogue we should be concerned about? And interested to see what the tracklist looks like on this one. The OST assembly always confused me on this score; not chronological, titles that don't match the film counterparts, weird sequencing choices. The sessions are 1:41 so the complete film score isn't going to fit on one disc. The OST was a generous length at 74 minutes so it won't fit alongside the film score (and there's little point if it has the same mix as the film score). Hopefully Mike found some cool alternates that didn't leak in the sessions. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 4, 2019 Author Share Posted October 4, 2019 3 minutes ago, crumbs said: Does the entire film score fit on disc 1? Not even close! The main presentation should be a good hour and forty. Link to comment Share on other sites More sharing options...
Faleel 5,359 Posted October 4, 2019 Share Posted October 4, 2019 7 minutes ago, crumbs said: Very nice! Had a suspicion this would get fast-tracked with the rest of the 20CF catalog, once we knew the labels were prioritising them in light of Disney's acquisition. Is there anything else Williams pre-2005 from the 20CF catalogue we should be concerned about? And interested to see what the tracklist looks like on this one. The OST assembly always confused me on this score; not chronological, titles that don't match the film counterparts, weird sequencing choices. The sessions are 1:41 so the complete film score isn't going to fit on one disc. The OST was a generous length at 74 minutes so it won't fit alongside the film score (and there's little point if it has the same mix as the film score). Hopefully Mike found some cool alternates that didn't leak in the sessions. There were some differences between the sessions and OST/film where the placement of the synth and wailing vocals was concerned IIIRC. Link to comment Share on other sites More sharing options...
Corellian2019 386 Posted October 4, 2019 Share Posted October 4, 2019 1 hour ago, Disco Stu said: It’s true, the OST has the major highlights. There’s some great music not on there, though, that really adds to the overall tapestry. And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues! I think the score will be a minor revelation in complete form just going by the number of sections that were edited out of many good cues to fit the album suites. Plus the longest (previously) unreleased cue, 2m1 Presenting The Precogs, is nothing to sneeze at either; 4 minutes of sustained mystery and tension Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted October 4, 2019 Share Posted October 4, 2019 18 minutes ago, Fal J. M. Skywalker said: There were some differences between the sessions and OST/film where the placement of the synth and wailing vocals was concerned IIIRC. I think this set will be a lot closer to the OST mixing than the session leaks. The sessions seem to be an unmastered dump of the raw files, without correct mixing. It'll be great to have a properly mastered version of this score. I recall constantly adjusting the volume with the sessions, due to the long stretches of subtle tension music (only to be deafened by some of the big swells, like that obvious one early in the score). Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 4, 2019 Author Share Posted October 4, 2019 8 minutes ago, Corellian2019 said: Plus the longest (previously) unreleased cue, 2m1 Presenting The Precogs, is nothing to sneeze at either; 4 minutes of sustained mystery and tension I was remarking earlier today on how that cue is very Herrmannesque. Love that mysterious dark atmosphere. Corellian2019 1 Link to comment Share on other sites More sharing options...
Faleel 5,359 Posted October 4, 2019 Share Posted October 4, 2019 1 hour ago, crumbs said: I think this set will be a lot closer to the OST mixing than the session leaks. The sessions seem to be an unmastered dump of the raw files, without correct mixing. It'll be great to have a properly mastered version of this score. I recall constantly adjusting the volume with the sessions, due to the long stretches of subtle tension music (only to be deafened by some of the big swells, like that obvious one early in the score). I mean, that the sessions had synth drum missing, and the actual placement of those wailing vocals (as in instead of say 2:00, it's at 3:30) Link to comment Share on other sites More sharing options...
Popular Post Incanus 5,716 Posted October 4, 2019 Popular Post Share Posted October 4, 2019 3 hours ago, Disco Stu said: I was remarking earlier today on how that cue is very Herrmannesque. Love that mysterious dark atmosphere. The whole score is quite Herrmannesque in its suspense scoring I feel. A lot of those climbing and falling ostinati figures and dark and cool textures. While certainly not exclusive to Herrmann they seem to convey his style a lot and Spielberg even cites Hitchcock's and Herrmann's collaboration as a sort of inspiration in the OST liner notes. What really ties the whole score together is Sean's theme which Williams himself mentions as somewhat atypical for film noir where everything is usually so detached emotionally. Here it forms the emotional and thematic core of the whole thing with a few central motifs supporting the action and some great setpiece material of which I think Spyders is my favourite. Williams remarked in the making of documentary how he wanted to convey the effect of something creepy crawling on you and you just wanted to get it off of you which I think he achieved admirably. It is interesting to see if they include the short alternate percussion passage for that sequence on this new release. That was one of the pieces missing from the sessions. On the whole the action music is a fine melding of Williams' own sensibilities and more modern action/thriller aesthetics. And as @Marian Schedenig said on the previous page, I hope that the sound is improved from the OST. But if it is Mike Matessino at the helm I think we can expect great things. Also this was very unexpected but so welcome news. I hope this bodes well for the likes of Amistad for future expansion. Mattris, Disco Stu, Chewy and 5 others 8 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 4, 2019 Share Posted October 4, 2019 The OST already was quite draggy (and 73 minutes long!) but the sound sure could use an update. Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. Naïve Old Fart and _deleted_ 2 Link to comment Share on other sites More sharing options...
Demondm810 399 Posted October 4, 2019 Share Posted October 4, 2019 10 hours ago, Jay said: After listening to this release a ton over the summer, I became a massive fan of Williams' brooding sound and wish he had opportunities to explore it more across his career. And this score so perfectly balances it with outbursts of action music, and heartbreaking emotional music Yeah, Confronting Lamar is one of my very favorite Williams cues Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 5 minutes ago, Demondm810 said: Yeah, Confronting Lamar is one of my very favorite Williams cues Although I wish that the swirling string build-up in the middle of the cue would have a proper dramatic release at the end instead of cutting short. But that of course is inherent in the dramaturgy of the scene so alas there is no chance for that. Demondm810 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 9 hours ago, woj said: I bought a used scratched promo of the OST but I never got past track 1. Because it started skipping? bollemanneke 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,553 Posted October 4, 2019 Share Posted October 4, 2019 38 minutes ago, Incanus said: Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. Yes, Inky, I want that, too. I'm also looking forward the "Metro/alley" cue, that links EVERYBODY RUNS with ANDERTON'S GREAT ESCAPE. Amer and Incanus 2 Link to comment Share on other sites More sharing options...
Amer 2,117 Posted October 4, 2019 Share Posted October 4, 2019 I havent seen the movies in ages but are their any significant music cues that we all wanted ? Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,553 Posted October 4, 2019 Share Posted October 4, 2019 The OST is a pretty good summation of the score, but, er...any C+C JW is worth it. Right @Thor? Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted October 4, 2019 Share Posted October 4, 2019 Don't temp Thor! bollemanneke and Naïve Old Fart 1 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted October 4, 2019 Share Posted October 4, 2019 We'll try to tempt the Thor now. Keep watching the thread. bollemanneke and redishere 2 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted October 4, 2019 Share Posted October 4, 2019 Don't invoke his name _deleted_ 1 Link to comment Share on other sites More sharing options...
Luke Skywalker 1,796 Posted October 4, 2019 Share Posted October 4, 2019 2 hours ago, Incanus said: Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. They included Dr know in AI, which is in the same vein, so let's hope for the better.... Link to comment Share on other sites More sharing options...
Jim Ware 526 Posted October 4, 2019 Share Posted October 4, 2019 I'm looking forward to this. The original album contained some of Williams' most inexplicable microedits (Pre-crime To The Rescue) - it will be great to hear this in complete form, and I'm sure there are a few surprises to come too! Disco Stu 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 Inexplicable in which way? Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 9 minutes ago, Jurassic Shark said: Inexplicable in which way? In that he edited out cool sections of the music of course! It is like the Desert Chase on the original Raiders album with 45 seconds of microedited material or the finale of Anakin's Dark Deeds from RotS. Composers tend to have quite a different opinion of what is and what is not listenable in their music. Arpy 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 I wouldn't say an edit of 45 secs is micro though! Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 1 minute ago, Jurassic Shark said: I wouldn't say an edit of 45 secs is micro though! Well you get the point. And in the case of Pre-Crime to the Rescue Williams cut off some cool music (some 2 minutes' worth) to make the track flow in the way he liked I guess. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted October 4, 2019 Share Posted October 4, 2019 2 minutes ago, Jurassic Shark said: I wouldn't say an edit of 45 secs is micro though! It's not the size, it's how you use it. I keep telling myself... Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 Well, you gotta respect that! JW's priorities are 100% on the music and how it works on its own. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted October 4, 2019 Share Posted October 4, 2019 That's where it's inexplicable, because I would argue the music would work better with those microedited cuts restored, in the film and on its own! Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 I guess there were just too many notes. Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 29 minutes ago, Jurassic Shark said: I guess there were just too many notes. My dear fellow, there are in fact. . . . . .only so many notes the ear can hear in a cue. And there are simply too many notes. Just cut a few and it'll be perfect. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted October 4, 2019 Share Posted October 4, 2019 Just like coming from the man himself! Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted October 4, 2019 Share Posted October 4, 2019 Is it a release done by Mike Matessino? Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 4, 2019 Author Share Posted October 4, 2019 6 hours ago, Incanus said: What really ties the whole score together is Sean's theme which Williams himself mentions as somewhat atypical for film noir where everything is usually so detached emotionally It’s true, my favorite cues are the aching ones involving that theme. For me the single highlight of the whole score is Sean’s Theme on synthesized voices in the center of the Crow hotel room cue, largely a reprise from the Swimming Pool Scene with slightly different orchestration. That scores his heartbreak, and then Williams scores Anderton’s seemingly unstoppable rage in a truly frightening manner. The very subtle bed of synth beneath the chaos of the orchestra is also a highlight at that part at around 4:10 Mattris 1 Link to comment Share on other sites More sharing options...
Bilbo 3,709 Posted October 4, 2019 Share Posted October 4, 2019 Wonderful news! Disco Stu 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted October 4, 2019 Share Posted October 4, 2019 10 hours ago, Disco Stu said: It’s true, the OST has the major highlights. There’s some great music not on there, though, that really adds to the overall tapestry. And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues! I know the OST album and the movie pretty well, but off the top of my head I can't think of any memorable cue NOT on the OST album... Still, over the years this has become one of my favourite scores, I'll definitely get this on day one! The first few minute or so. I find this endlessly fascinating.... The bassoon mixed with strings, the steadily building excitement and tension, the escalation... Wow. Link to comment Share on other sites More sharing options...
TownerFan 4,983 Posted October 4, 2019 Share Posted October 4, 2019 1 hour ago, Bespin said: Is it a release done by Mike Matessino? Yes. Bespin 1 Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted October 4, 2019 Share Posted October 4, 2019 Wow, that was unexpected! I can't get enough of the cold and modern sound that Minority Report has. After Amistad and War of the Worlds my most wanted Spielberg-Williams-expansion. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Score 770 Posted October 4, 2019 Share Posted October 4, 2019 Cool news! It was surely one of my most wanted JW scores, among those which had not received an expansion yet. Link to comment Share on other sites More sharing options...
Incanus 5,716 Posted October 4, 2019 Share Posted October 4, 2019 2 hours ago, Disco Stu said: It’s true, my favorite cues are the aching ones involving that theme. For me the single highlight of the whole score is Sean’s Theme on synthesized voices in the center of the Crow hotel room cue, largely a reprise from the Swimming Pool Scene with slightly different orchestration. That scores his heartbreak, and then Williams scores Anderton’s seemingly unstoppable rage in a truly frightening manner. The very subtle bed of synth beneath the chaos of the orchestra is also a highlight at that part at around 4:10 One of my favourite cues from the score that one! I love the whole development from the building mystery to Sean's theme which explodes in those vicious sounds Williams wrings from the orchestra. Disco Stu 1 Link to comment Share on other sites More sharing options...
Jay 37,373 Posted October 4, 2019 Share Posted October 4, 2019 I think it's pretty well known that Paul Haslinger composed two source cues used in the film. In the FSM thread, someone asked about them, and Mike Matessino replied: Sorry to disappoint but everything on the release is composed by John Williams. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 4, 2019 Author Share Posted October 4, 2019 I'm guessing one of those non-Williams source cues was in that VR experience place that Anderton goes to with Agatha to retrieve his minority report. File under "would've been nice but no great loss." Bilbo 1 Link to comment Share on other sites More sharing options...
Jay 37,373 Posted October 4, 2019 Share Posted October 4, 2019 One is called "The Ad-Mall" as is used, well, under the ads in the mall The other one is called "The Neuroplex" (later released on his website as "Cyber Parlor 1") and is used where you say There's actually a lot of non-Williams music in the film, IMDB lists it all nicely Quote Symphony No. 8 in B Minor (Unfinished Symphony), D. 759 - 1st mvmt: Allegro moderato Written by Franz Schubert Conducted by Carlos Kleiber Performed by Wiener Philharmoniker Courtesy of Deutsche Grammophon GmbH. Hamburg Under license from Universal Music Enterprises Symphony No.6 in B Minor (Pathétique) Op. 74 (1893) Written by Pyotr Ilyich Tchaikovsky Conducted by Claudio Abbado Performed by Wiener Philharmoniker (as Orchestra Wiener Philharmoniker) Courtesy of Deutsche Grammophon GmbH. Hamburg Under license from Universal Music Enterprises Pine and Oats (2002) Written by Guy Moon and Bob Kurtz Produced by Guy Moon The Ad-Mall (2002) Written, Produced and Performed by Paul Haslinger Menuet, Allegro ma non troppo (1790) from "String Quartet in C Major, Op. 64, No. 1" Written by Franz Joseph Haydn Performed by The Angeles String Quartet Bad Boys (1987) Written by Ian Lewis Performed by Inner Circle Courtesy of Atlantic Recording Group / Big Beat Records/ Warner Music Sweden By Arrangement with Warner Special Products Solitude (1934) Written by Edgar De Lange (as Eddie DeLange), Duke Ellington, and Irving Mills Performed by Billie Holiday Courtesy of MCA Records Under license from Universal Music Enterprises The Neuroflex (2002) Written, Produced and Performed by Paul Haslinger Moon River (1961) Music by Henry Mancini Lyrics by Johnny Mercer Performed by Henry Mancini & His Orchestra Courtesy of the RCA Records Label, a unit of BMG Music Under license from BMG Special Products Jesus bleibet meine Freude (Jesu, Joy of Man's Desiring) (1723) from Cantata "Herz und Mund und Tat und Leben" BWV 147 Written by Johann Sebastian Bach Sma Grodorna (Little Frogs) Traditional Performed by Caroline Lagerfelt (uncredited) Link to comment Share on other sites More sharing options...
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