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MINORITY REPORT- 2CD Expanded Edition from La-La Land Records now available

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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.

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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.

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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 

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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......

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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!

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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).

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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. 

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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. 

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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.

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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. 

 

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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.

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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/

 

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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.

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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? 

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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.

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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. 

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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.

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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. 

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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.

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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!

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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

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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. 

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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.

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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.

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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.

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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"! 

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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'.

 

image.png

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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. 

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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?

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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/

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