Jay 37,043 Posted October 30, 2019 Share Posted October 30, 2019 13 hours ago, Brundlefly said: You have to admit that the film version of Lupin's Transformation is much less original and less in line with the rest of the score. I disagree with both statements! I think it isn't any more or less original than the pizzacato string passage (which is very similar to stuff he's done in Indiana Jones scores), and it is very much in line with the rest of the score, like the Whomping Willow cue for example. 13 hours ago, Brundlefly said: In addition to that, we've got a pretty obvious tempo change and the weird overlay in the first half of the track. That is enough inconvenience for me to yield the floor to the original version. I don't think the overlay is "weird", I think it's smart to play the Past theme while Sirius and Harry are talking. Maybe the overlay wasn't expertly integrated into the track as normal, but I suppose one could redo it themselves with the individual pieces. Holko 1 Link to comment Share on other sites More sharing options...
oierem 148 Posted October 30, 2019 Share Posted October 30, 2019 On 10/29/2019 at 10:01 PM, Brundlefly said: I like the idea to put the original cues in the main program instead of the film versions which often represent a compromise between the director, the cutter and the composer. According to that, the Binary Sunset film version should not be in the main program of the SW set. mstrox 1 Link to comment Share on other sites More sharing options...
Jay 37,043 Posted October 30, 2019 Share Posted October 30, 2019 I think the producer of the album should decide which version of a cue to put in the main and which in the bonus tracks. There's a lot of factors to consider with such situations, and sometimes those factors can differ from score to score even when by the same composer, and sometimes even with different cues within the same score. My goal as a producer would be to make these decisions with careful consideration, stand by them, but also try whenever there's room to make sure the bonus track version can easily be swapped with the main program version by the end user. Like for example if in the main program you combine cue A with cue B and cue B also had an Insert that replaced a part of it, don't just have the bonus track be the original version of cue B on its own, have it be cue A combined with cue B so the end listener can pick the version they prefer for their playlist. If you release cue B on its own, they have to bust out a WAV editor to do that oierem 1 Link to comment Share on other sites More sharing options...
Faleel 5,278 Posted October 31, 2019 Share Posted October 31, 2019 But also avoid having a 7+ minute cue combo, where only 30 seconds of cue D is alternate Link to comment Share on other sites More sharing options...
Popular Post Gruesome Son of a Bitch 6,488 Posted October 31, 2019 Popular Post Share Posted October 31, 2019 Harry Potter discussion even in the Minority Report thread? mstrox, redishere, Chewy and 3 others 2 4 Link to comment Share on other sites More sharing options...
Luke Skywalker 1,790 Posted October 31, 2019 Share Posted October 31, 2019 12 hours ago, Jay said: I think the producer of the album should decide which version of a cue to put in the main and which in the bonus tracks. There's a lot of factors to consider with such situations, and sometimes those factors can differ from score to score even when by the same composer, and sometimes even with different cues within the same score. My goal as a producer would be to make these decisions with careful consideration, stand by them, but also try whenever there's room to make sure the bonus track version can easily be swapped with the main program version by the end user. Like for example if in the main program you combine cue A with cue B and cue B also had an Insert that replaced a part of it, don't just have the bonus track be the original version of cue B on its own, have it be cue A combined with cue B so the end listener can pick the version they prefer for their playlist. If you release cue B on its own, they have to bust out a WAV editor to do that I suppose you would have left "anderton don't run" isolated or added it to the alternate "on the run". Which would have been nice. I'm not 100% happy with the edit I was forced to mix with the available tracks...... Link to comment Share on other sites More sharing options...
MrJosh 892 Posted October 31, 2019 Share Posted October 31, 2019 I love the oboe solos in 'Images Of Sean.' It's a beautiful voice to carry Sean's theme. I love the forceful low brass in the the first part of Anderton Escapes (Don't Run, John), and the segue from Don't Run, John into Anderton Escapes is awesome. I love the energy of the action cues in this score. I really enjoy the way this score flows chronologically and the different moods it strikes. It's awesome to have this score expanded and remastered! Jay and The Five Tones 2 Link to comment Share on other sites More sharing options...
The Five Tones 302 Posted October 31, 2019 Share Posted October 31, 2019 I've been reflecting again on how Herrmannesque this score really is - which has been discussed by everyone and should be no surprise to anyone - but it's had me going back to scores like Vertigo, North by Northwest, Psycho, Fahrenheit 451 and Marnie (love the recent Stylotone deluxe restoration of that one), to hear the source of the stylistic Easter eggs in MR (and AOTC and COS by proximity). Link to comment Share on other sites More sharing options...
MrJosh 892 Posted October 31, 2019 Share Posted October 31, 2019 2 minutes ago, The Five Tones said: I've been reflecting again on how Herrmannesque this score really is - which has been discussed by everyone and should be no surprise to anyone - but it's had me going back to scores like Fahrenheit 451 and Vertigo and Marnie (love the recent Stylotone deluxe restoration of that one), to hear the source of the stylistic Easter eggs in MR (and AOTC and COS by proximity). This reminds me that I need to get to know Herrmann more. My collection has a large hole where many of his scores should be. Link to comment Share on other sites More sharing options...
Amer 2,071 Posted November 1, 2019 Share Posted November 1, 2019 5 hours ago, MrJosh said: This reminds me that I need to get to know Herrmann more. My collection has a large hole where many of his scores should be. After Williams Im obsessed about Herrmann. Tell me which scores you already have and I'll recommend you some nice ones to get. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 1, 2019 Share Posted November 1, 2019 On 10/29/2019 at 5:37 PM, Jay said: I1-06 Presenting The Precogs 2M1 Presenting the Precogs 1-07 Agatha and The Containment Center 0:00-1:22 = 2M2 Agatha Springs Forward 1:22-end = 2M4A Containment Center In this cue, the only possible edit point happens at 01:15, though it sounds organic all the way through. Link to comment Share on other sites More sharing options...
MrJosh 892 Posted November 1, 2019 Share Posted November 1, 2019 16 hours ago, Amer said: After Williams Im obsessed about Herrmann. Tell me which scores you already have and I'll recommend you some nice ones to get. The Egyptian Fahrenheit 451 / Twilight Zone: Walking Distance (re-recording) Mysterious Island (re-recording) North by Northwest Psycho Vertigo Missing a lot as you can see. Amer 1 Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 1, 2019 Share Posted November 1, 2019 12 hours ago, publicist said: In this cue, the only possible edit point happens at 01:15, though it sounds organic all the way through. Are you sure you quoted the right portion of my post? In Agatha and the Containment Center, 2M2 Agatha Springs Forward absolutely runs all the way to 1:22, then 2M4A The Containment Center starts clean with that bell sound. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 1, 2019 Share Posted November 1, 2019 Nah, i'm talking about Presenting the Precogs, which is actually quite a cool cue that doesn't sound edited and i obviously didn't get that it was the next cue that's an edit. It was early, i get it now. Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 1, 2019 Share Posted November 1, 2019 Yea Presenting The Precogs is an awesome cue Link to comment Share on other sites More sharing options...
Amer 2,071 Posted November 2, 2019 Share Posted November 2, 2019 9 hours ago, MrJosh said: The Egyptian Fahrenheit 451 / Twilight Zone: Walking Distance (re-recording) Mysterious Island (re-recording) North by Northwest Psycho Vertigo Missing a lot as you can see. You have some of the essentials. Now you should try to get the following rerecordings: 1)The Ghost and Mrs. Muir, 2) The 7th Voyage of Sinbad, 3) The Trouble with Harry, 4) The Bride Wore Black, 5) The Kentuckian. Also the following compilation albums are a must have: 1) CITIZEN KANE: Classic Film Scores of Bernard Herrmann (Cond. By Charles Gerhardt) 2) Bernard Herrmann Film Scores: Cond. By Esa Pekka Salonen 3) All the Decca London Phase Four recordings conducted by Herrmann. Get these and your journey to Bernard Herrmann essentials would be near complete. Also checkout my 2 hour Online Tribute to Herrmanns music on Erik Woods Cinematic Sounds archive. http://www.cinematicsound.net/a-tribute-to-bernard-herrmann-part-i/ The Five Tones and MrJosh 2 Link to comment Share on other sites More sharing options...
Popular Post Incanus 5,713 Posted November 2, 2019 Popular Post Share Posted November 2, 2019 Well having now digested this new 2-CD set for a week or two I can share some thoughts: It has to be said in all honesty that while the music itself is not for a large part a revelation to me as I have lived with the sessions leak for years, this new release makes such previous sources obsolete in every possible way, especially in the sound quality department which I found to be stellar. And although the original album contained a lion's share of the major setpieces from the film, I always thought it was in need of restructuring as this score works better in chronological structure where the musical narrative gets to breathe and slowly develop and envelop the listener. Especially Sean's theme receives more variations in the full score and further reveals it to be the main theme of the score, the emotional one especially. While the score is very much a John Williams score and you can hear his fingerprints on it from start to finish, I have always admired the way he manages to create such individual musical world for his scores even in his preferred orchestral idiom. Minority Report is no different in this, made even more interesting by the composer's willingness to embrace the more modern thriller tropes and scoring trends and blend it all with his own style. Williams' music continues stylistically from A.I.-Artificial Intelligence from 2001 where minimalism and electronics were employed in the same subtle way as they are used here. On the other side are the little obsessive and mysterious ostinati-figures and dark deep orchestral motifs that support individual scenes that harken back to Williams' mentor and colleague Bernard Herrmann. The new set's sound quality was a minor revelation as the lovingly remixed score reveals small details just missing from the OST and has clarity and separation of different elements that is much better than on the previous release which I found to be slightly lacking in punch on the original album. One thing I found surprising on this release was how they treated the action sequences, which were not combined into lengthier tracks here but left separate: Pre-Crime to the Rescue Part 1/Part 2, Anderton Escapes (actually cues Don't Run John and Anderton's Escape)/The Conveyor Belt, Deploying the Spyders/Freezing Water and Confronting Lamar/Thought Transference and Finale are all now in two parts. I know that in the film most of them are separated by a small bit of silence each and are written as separate cues but it is very clear from the OST that they were despite of this meant to flow into one another which is very typical eye and ear for such details from Williams. I guess this is a more archival way of presenting this music, as it was written and recorded and with clean endings and openings, but years of listening to this stuff in combined form has just conditioned me to hear it in a certain structure and flow. In the case of the spyder sequence and Anderton's Great Escape I figured that since there is an alternate for certain part of the lengthy sequence, they chose to present them separately both in the main score programme and in the alternates section so it would be easier to identify this particular segment and not doing another complete edit of the piece with just one passage added in the middle of it. On the other hand I don’t mind the combining of some of the few shorter cues into a slightly non-chronological combinations in the opening half of the score, as they work just fine in the narrative flow. To my film music collector ears Mike Matessino has done a perfect job, balancing what we fans want and still satisfying the composer's and perhaps also personal producer preferences. There are a lot of highlights on this set for me like: the full Pre-Crime to the Rescue and the preceding Creating the Red Balls where the Pre-Crime motif is introduced. The aforementioned previously unreleased dark Anderton Escapes opening (aka Don’t Run John) and Williams’ preferred mix of the whole chase sequence (although I sort of prefer the album mix opening with the short segment of percussion to give it a bit more oomph). Anderston Escapes alternate percussion is a tad too prominent for my tastes. I love the wonderfully moody and gothic Presenting Pre-Cogs where Williams’ music is slowly asking questions and building a sense of mystery, suspense and even subtle dread. Agatha and the Containment Center has that cool dark synthesized choir and pulsing marimba effects in the latter half that are wonderfully eerie and give that brief scene such delicious feel of ghostly unease. How Much Time Have We Got? nicely extends the motif from On the Run. The Revelation is a great coda to the Leo Crow scene that expertly turns slowly from heartbreak to shock and horror. Anderton in Halo has another lovely dream-like variation on Sean’s theme. I know it is a bit of a nerdy fan thing but the Pre-Crime Commercial jingle is also cool to have. The Freezing Water film version opening has those cool entirely different urgent drum beats although I still prefer the original version found in the main programme. Sean by Agatha alternate which I guess is the original take on the scene with that slightly differently orchestrated woodwind section in the middle for a wee bit different emotinal effect which I think they were right to revise. So all in all I couldn't be happier with this set. Another definitive presentation of another wonderful John Williams score. Jay, The Five Tones, Amer and 5 others 4 4 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 2, 2019 Share Posted November 2, 2019 So while there's a lot to be cut on this release - there's only so much murky underscore you can take - i feel the result of my efforts is much better than the OST, even though i leaned on some of Williams' edits (Spyders or Anderton's Great Escape being obvious examples, the 'Crime' combi is also a wicked idea). On the other hand the OST runs with some cues that just meander along while ignoring more interesting cues, which is especially eyebrow-raising because they DID edit the hell out of it. Anyway, the sound is better though you can still hear a certain muddiness in the low basses, but that's how it's gonna be, so i'm content. Great noir score. Link to comment Share on other sites More sharing options...
Brundlefly 2,382 Posted November 2, 2019 Share Posted November 2, 2019 I don't have the CD yet, but I'm really looking forward to The Containment Center. In the movie it is scary as hell and still so elegant. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted November 2, 2019 Share Posted November 2, 2019 40 minutes ago, Brundlefly said: I don't have the CD yet, but I'm really looking forward to The Containment Center. In the movie it is scary as hell and still so elegant. What does the package tracker say? Has it made to Germany yet? Link to comment Share on other sites More sharing options...
Luke Skywalker 1,790 Posted November 2, 2019 Share Posted November 2, 2019 I thought that is was chronological...or I misunderstood incanus review? Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 2, 2019 Share Posted November 2, 2019 Sounds like you misunderstood. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,449 Posted November 2, 2019 Share Posted November 2, 2019 There must be some misunderstanding. Link to comment Share on other sites More sharing options...
Luke Skywalker 1,790 Posted November 2, 2019 Share Posted November 2, 2019 I'm glad I misunderstood, then hehe Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted November 2, 2019 Share Posted November 2, 2019 Anyone else understand? Link to comment Share on other sites More sharing options...
Brundlefly 2,382 Posted November 2, 2019 Share Posted November 2, 2019 6 hours ago, Josh500 said: What does the package tracker say? Has it made to Germany yet? Ordered from a second retailer - the CDs have not arrived there yet. The advantage of ordering there is that swapping a damaged copy out is way easier, because Soundtrackcorner is set in Germany. Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted November 2, 2019 Share Posted November 2, 2019 5 hours ago, Luke Skywalker said: I thought that is was chronological...or I misunderstood incanus review? Well there is basically one cue out of chronological order (Suspicion aka Witwer Snooping 2m3 and Agatha and The Containment Center combines 2m2 and 2m4) but otherwise the cues are in chrono order but combined in a couple of instances. Jay did a good job with a run-down on the previous page. I also dig the art and liner notes. I like how Jeff Bond's notes break down the thematic ideas and give you a number of cues where they are featured prominently throughout the score. Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 2, 2019 Share Posted November 2, 2019 Suspicion (2M3 Witwer Snooping) appears in the same spot on this album as it does in the film itself - after the sequence of Anderton at the Containment Center (2M4A The Containment Center and 2M5 Annie Lively), before the next red ball murder he investigates where he realizes he's the suspect (the Schubert source music that is presumably 2M6). Watching the film, this is such a logical place for this scene to be - it makes a lot of sense to go right from Agatha's "Can You See?" moment (2M2 Agatha Springs Forward) directly into the Containment Center sequence, and it makes sense for Witwer finding the drugs in Anderton's place just before he returns to work as the next red ball moment is happening, so when he goes to the elevator Witwer is in there, seemingly coming to arrest him right after finding the drugs. Presumably the cut of the film Williams wrote the score to, the Witwer Snooping scene was placed in between the Agatha Springs Forward moment and the Containment Center scene, but boy, if it was, Spielberg was right to move it. The cue itself has no thematic material, and nothing about it makes it play better if played before or after any particular cue, so I think Mike made the absolutely correct choice in putting it after 2M5 and before 2M6A, and the fact that's where it is in the film anyway is nice as well. Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted November 2, 2019 Share Posted November 2, 2019 1 hour ago, Jay said: Suspicion (2M3 Witwer Snooping) appears in the same spot on this album as it does in the film itself - after the sequence of Anderton at the Containment Center (2M4A The Containment Center and 2M5 Annie Lively), before the next red ball murder he investigates where he realizes he's the suspect (the Schubert source music that is presumably 2M6). Watching the film, this is such a logical place for this scene to be - it makes a lot of sense to go right from Agatha's "Can You See?" moment (2M2 Agatha Springs Forward) directly into the Containment Center sequence, and it makes sense for Witwer finding the drugs in Anderton's place just before he returns to work as the next red ball moment is happening, so when he goes to the elevator Witwer is in there, seemingly coming to arrest him right after finding the drugs. Presumably the cut of the film Williams wrote the score to, the Witwer Snooping scene was placed in between the Agatha Springs Forward moment and the Containment Center scene, but boy, if it was, Spielberg was right to move it. The cue itself has no thematic material, and nothing about it makes it play better if played before or after any particular cue, so I think Mike made the absolutely correct choice in putting it after 2M5 and before 2M6A, and the fact that's where it is in the film anyway is nice as well. Ah thanks for that clarification. I haven't seen the film in a while. And completely agreed on this decision. So it is chronological after all. I also like the way Mike handles most of these cue combinations where he leaves just a tiny bit of silence when possible between two joined cues so those who want each of them separate can do so if they wish. Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 2, 2019 Share Posted November 2, 2019 9 minutes ago, Incanus said: I also like the way Mike handles most of these cue combinations where he leaves just a tiny bit of silence when possible between two joined cues so those who want each of the separate can do so if they wish. Yes! I wish all producers followed suit. Link to comment Share on other sites More sharing options...
Brundlefly 2,382 Posted November 2, 2019 Share Posted November 2, 2019 9 minutes ago, Incanus said: I also like the way Mike handles most of these cue combinations where he leaves just a tiny bit of silence when possible between two joined cues so those who want each of the separate can do so if they wish. Yes, and they gaps still sound like they're musically intended pauses! Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 2, 2019 Share Posted November 2, 2019 Yea, he's definitely assembling an album when he makes his main programs, not just dragging and dropping in each cue in order and calling it a day Link to comment Share on other sites More sharing options...
Brundlefly 2,382 Posted November 2, 2019 Share Posted November 2, 2019 And he knows, when this gap is not needed. The Prisoner of Azkaban would have sounded quite fragmented in some places, if he didn't relinquish these pauses now and then. Link to comment Share on other sites More sharing options...
fommes 153 Posted November 2, 2019 Share Posted November 2, 2019 Is Schubert Collage before or after Elevator Confrontation in the film? I put the Collage before the Confrontation in my previous edit but can't remember why. Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 2, 2019 Share Posted November 2, 2019 It isn't used in the film. Its most likely a unused overlay for the Schubert piece (which is likely 2M6). Elevator Confrontation actually starts in the film as the worker in the temple tells Anderton he'll give him a head start because he's been good to him, and covers from there through the elevator scene with Witwer, and that scene goes right into the On The Run scene. Link to comment Share on other sites More sharing options...
ChrisAfonso 186 Posted November 3, 2019 Share Posted November 3, 2019 After the first full listen (to this set in particular, but also the score in general after many years (on cd or in the film)), the thing that caught my attention the most was the different (shortened) beginning of "A New Beginning" (no pun intended). As the preceding cue ends on an A-major chord, the first few bars of this cue seem to imply an A-minor tonality, with the sparse accompaniment and all, before the arrangement becomes fuller and reveals that the beginning was actually meant as F-Major (maj7). Compared to the album version, which via the longer intro makes the tonality clearer from the start, this initial ambiguity adds nicely to the melancholy character of the cue. Link to comment Share on other sites More sharing options...
oierem 148 Posted November 3, 2019 Share Posted November 3, 2019 I though "Suspicion" wasn't used in the film? In any case, it is presented chronologically if we look at the finished film. The only non-chronological cue would be "Collage", which would have to come before "Elevator Confrontation", even though it wasn't used in the film. Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted November 4, 2019 Share Posted November 4, 2019 Wonderful music, wonderful set. Doesn't work well in the movie. Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted November 4, 2019 Share Posted November 4, 2019 1 hour ago, Blumenkohl said: Wonderful music, wonderful set. Doesn't work well in the movie. Other than the chase sequence (I'm assuming), are there any particular moments that don't work for you? Link to comment Share on other sites More sharing options...
crumbs 14,275 Posted November 4, 2019 Share Posted November 4, 2019 Personally I feel the score works magnificently in the film, but I've always been bored by the album. A few months back I listened to the sessions and got bored halfway through with the lengthy stretches of quiet suspense music. I'm hoping to re-evaluate my opinion of the complete score with this set, especially with improved sonics. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted November 4, 2019 Share Posted November 4, 2019 17 hours ago, ChrisAfonso said: After the first full listen (to this set in particular, but also the score in general after many years (on cd or in the film)), the thing that caught my attention the most was the different (shortened) beginning of "A New Beginning" (no pun intended). Now we know the reason why it's titled "A New Beginning"! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 4, 2019 Share Posted November 4, 2019 7 hours ago, crumbs said: Personally I feel the score works magnificently in the film, but I've always been bored by the album. A few months back I listened to the sessions and got bored halfway through with the lengthy stretches of quiet suspense music. I'm hoping to re-evaluate my opinion of the complete score with this set, especially with improved sonics. With scores like this, you really can hone your own editing skills. A look at the waves in Audition(see below) makes it easy to see where not much happens or where there's fat to trim, especially the many spots where the music just provides i. e. a succession of suspense chords that do not advance the narrative. Once you cut those out, the whole thing moves much more swiftly and is, frankly, a much better listening experience than the 'whole score'. crumbs 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,619 Posted November 4, 2019 Share Posted November 4, 2019 My playlist has always been 42 minutes, with Pre-Crime To The Rescue having the only suspense music. All the other stuff (Spyders, the chase sequences, the Sean material), is awesome. Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted November 4, 2019 Share Posted November 4, 2019 16 hours ago, Nick Parker said: Other than the chase sequence (I'm assuming), are there any particular moments that don't work for you? It’s been a while since I’ve watched the film, the chase sequence does stand out. In general it’s too ornamented a score and in various scenes brings attention to itself. Williams gets better at austere suspense music later on with Munich. Nick Parker 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 4, 2019 Share Posted November 4, 2019 Or with streamlined action music in TFA. Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted November 4, 2019 Share Posted November 4, 2019 2 hours ago, publicist said: Or with streamlined action music in TFA. Yes. Link to comment Share on other sites More sharing options...
phbart 607 Posted November 5, 2019 Share Posted November 5, 2019 I always loved "Visions of Anne Lively" from the OST ("Another Vision" in the LLL release). I noticed that a portion of "Visions of Anne Lively" is different from "Another Vision", at around 1:17 of both. Assuming the latter is the correct film version, was the "different" portion of Anne Lively made specifically for the OST or simply tracked from elsewhere? Link to comment Share on other sites More sharing options...
Jay 37,043 Posted November 5, 2019 Share Posted November 5, 2019 Visions of Anne Lively is an album track containing part of 5M8 Agatha Sees All, then part of 2M5 Annie Lively, then back to the ending of 5M8 Agatha Sees All. This is only one of two times I can think of where JW actually segued from one cue to another cue, then BACK to the first cue again. I wonder how you even come up with an idea like that On the new release, 2M5 is presented complete in its own track as First Vision Of Anne Lively, while 5M8 is presented complete in its own track as Another Vision. You might be interested in this post: http://www.jwfan.com/forums/index.php?/topic/30531-minority-report-2cd-expanded-edition-from-la-la-land-records-now-available/&do=findComment&comment=1658934 Or this Google Doc https://docs.google.com/spreadsheets/d/1W2d-EKyPkj_zcXX_xAgFI7JEW_seQSFkAAsgfGSJiVU/ phbart 1 Link to comment Share on other sites More sharing options...
Sharkissimo 1,973 Posted November 5, 2019 Share Posted November 5, 2019 The score is the least of Minority Report's problems. They're a ten a penny. Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted November 5, 2019 Share Posted November 5, 2019 Who's Anne Lively? Link to comment Share on other sites More sharing options...
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