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WAR HORSE - 2019 Recording Session Leak

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18 hours ago, Not Mr. Big said:

Is the alternate end credits cue the same as the film/FYC version?

 

The Homecoming on the OST album seems to be Williams preferred and intended end credits suite.

 

In the final film (and therefore FYC disc [End Credits] as well), the opening segment was replaced by a slightly different take of the same material (the flute sounds different), and then it proceeds to be a music editor's mashup of edited pieces of End Credits, Dartmoor, and Plowing.

 

In the recording session leak, 7M74 End Credits seems to be some work-in-progress version of some kind; It's literally just OST track 1 [1:17-2:28] followed by OST track 16 [0:32-end].  My speculation would be Spielberg heard Williams' intended end credits, didn't like how it opened, had the music editor try replacing the opening with tacked material from Dartmoor, didn't like that either, then finally heard a different take of the opening (or had him record it anew), and was finally happy.  And then whoever created the cue archive that leaked accidentally grabbed that work in progress version instead of the final version.

 

In the public version of this leak, someone just grabbed The Homecoming track of the OST and titled it "7M74 End Credits (Alternate)" to pad out the upload.

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6 hours ago, Arpy said:

Do you think this will spur Williams on to release an official expanded set, like AI? Fees, I know l, but surely there's a workaround...

 

The label would need to negotiate with the union for an exception, possibly on the proviso of a reduced release quantity (say a limited edition of 2000 units or something). If they could prove the profit margin was break-even, it's possible the union would be agreeable. After all, some profit is better than no profit if these scores continue gathering dust on a shelf.

 

We know Intrada tried to negotiate an exception to the fees on Avatar so they could release an expansion, but the union wouldn't come to the party. You really have to question the logic, considering the session leak which no musicians profitted from. Why not get that music out there legitimately and make some money for your members? The alternate is no profit at all. Seems needlessly stubborn to me.

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8 minutes ago, crumbs said:

Why not get that music out there legitimately and make some money for your members? The alternate is no profit at all. Seems needlessly stubborn to me.

Rights and licensing are not for the minds of people with common sense.

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6 hours ago, crumbs said:

We know Intrada tried to negotiate an exception to the fees on Avatar so they could release an expansion, but the union wouldn't come to the party. You really have to question the logic, considering the session leak which no musicians profitted from. Why not get that music out there legitimately and make some money for your members? The alternate is no profit at all. Seems needlessly stubborn to me.

 

It's an issue that has baffled me for years, the idea of charging labels such high fees that no one can actually afford to release anything and the union members make no money.

 

And yes, especially when you consider the session leaks which give no money to the players or the composer.

 

I've no doubt that the union would make a passionate argument for why they operate like this, but as of yet I don't know what that argument is.

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17 minutes ago, Richard Penna said:

 

It's an issue that has baffled me for years, the idea of charging labels such high fees that no one can actually afford to release anything and the union members make no money.


I think it’s just unfortunate fallout from rule changes that do benefit musicians in most cases. Let’s not forget soundtrack expansions account a pretty minuscule portion of the industry, and I doubt they were even considered when the rules were changed. The re-use fees apply when a theatrical release is released on digital or disc, for example, and of course the studios are going to pay in those cases.

 

My hope is that perhaps in the future the rules could be modified to provide an exception for these sort of specialized uses that wouldn’t otherwise be possible.

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Just listened to the leak. It's great to finally have one of my favorite 2000s Williams scores (and probably my favorite from his post-2005 era) now complete and chronological, even though the OST had almost all of the major highlights. 

 

From the unreleased stuff, I really liked the beginning of 1M2B Houses to Market, 1M7 Learning the Call, 2M22 The Landlord Speech, the first two minutes of 2M27 Dad's Medals, the superbly beautiful 4M40 Letter from the Front, as well as the complete Pulling the Cannon.

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52 minutes ago, Edmilson said:

Just listened to the leak. It's great to finally have one of my favorite 2000s Williams scores (and probably my favorite from his post-2005 era) now complete and chronological, even though the OST had almost all of the major highlights. 

 

From the unreleased stuff, I really liked the beginning of 1M2B Houses to Market, 1M7 Learning the Call, 2M22 The Landlord Speech, the first two minutes of 2M27 Dad's Medals, the superbly beautiful 4M40 Letter from the Front, as well as the complete Pulling the Cannon.

 

Houses to Market? Well, they did have a landlord.

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19 hours ago, Holko said:

Rights and licensing are not for the minds of people with common sense.

 That's why session leaks are god sends. These legal rights issues are so complicated and  greedy that I think they deserve that people download it illegally.  It's also Williams fault for not pushing for a deluxe set at the time of initial release like many other composers do. I don't have iota of remorse or guilt that I did something wrong when I grab something like this.

 

If it's released eventually then buy it, but it might never be so at least we have it.

 

If only BFG and Tintin would leak too . (Or they did and I don't know anyone who has them)

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I will always prefer to have every bit of music from a score as possible (alternates, source, you name it...) But after extensive listens I have to say that the OST presentation is still my preferred listening experience on this one.  With 2 exceptions, I add in the complete 'Plowing', and 'The Dash Across No Man's Land' having it's own track.

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