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Which Spielberg/Williams film score do you most hope Mike Matessino will produce next? 2020 edition


Which Spielberg/Williams film score do you most hope Mike Matessino will produce next?  

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  1. 1. Which Spielberg/Williams film score do you most hope Mike Matessino will produce next for a specialty label?

    • 1974's The Sugarland Express
    • 1989's Always
    • 1991's Hook
    • 1997's Amistad
    • 2002's Catch Me If You Can
    • 2004's The Terminal
    • 2005's Munich
    • 2011's The Adventures of Tintin: The Secret of the Unicorn
    • 2011's War Horse
    • 2012's Lincoln
      0
    • 2016's The BFG
      0
    • 2017's The Post
      0
  2. 2. Which Spielberg/Williams film score do you most hope Mike Matessino will produce for Disney Records?

    • 1981's Raiders of the Lost Ark
    • 1984's Indiana Jones and the Temple of Doom
    • 1989's Indiana Jones and the Last Crusade
    • 2008's Indiana Jones and the Kingdom of the Crystal Skull


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Since 2011, Mike Matessino has produced new comprehensive editions of twelve Spielberg/Willliams scores:

 

2011 - 1979's 1941 (La-La Land)

2014 - 1987's Empire of the Sun (La-La Land)

2015 - 2001's A.I. Artificial Intelligence (La-La Land)

2015 - 1975's Jaws (Intrada)

2016 - 1993's Jurassic Park (La-La Land)

2016 - 1997's The Lost World (La-La Land)

2017 - 1982's E.T. The Extra-Terrestrial (La-La Land)

2017 - 1977's Close Encounters of the Third Kind (La-La Land)

2018 - 1998's Saving Private Ryan (La-La Land)

2018 - 1993's Schindler's List (La-La Land)

2019 - 2002's Minority Report (La-La Land)

2020 - 2005's War of the Worlds (Intrada)

 

Out of the 16 remaining Spielberg/Williams FILM scores, which ones do you most want to happen next?

 

Here are all the choices:

 

1974's The Sugarland Express

1981's Raiders of the Lost Ark

1984's Indiana Jones and the Temple of Doom

1989's Indiana Jones and the Last Crusade

1989's Always

1991's Hook

1997's Amistad

2002's Catch Me If You Can

2004's The Terminal

2005's Munich

2008's Indiana Jones and the Kingdom of the Crystal Skull

2011's The Adventures of Tintin: The Secret of the Unicorn

2011's War Horse

2012's Lincoln

2016's The BFG

2017's The Post

 

I've broken the poll into scores that could be released by a specialty label, and scores that can only be released by Disney Records

 

Vote now, vote wisely, and tell us what you picked and why you picked it!

 

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I think Temple of Doom is the score for me that most benefits from being heard in complete and chronological format. There's no other presentation I ever need to hear again

In 2016's poll, ET won - that was released in 2017.

 

In 2017's poll, Schindler's List won - that was released in 2018.

 

In 2018's poll, Hook won - there has yet to be a Mike Matessino edition of that. 

War of the Worlds and Amistad tied for second place - War of the Worlds was released in 2020, there has yet to be any expansion of Amistad.

 

In 2019's poll, Hook won again, Amistad took second place again, and then Sugarland Express and Minority Report tied for third place.  There is no release at all for Sugarland, Minority Report was released in 2019

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Tintin has plenty of interesting material that didn't make the OST or FYC, and even the one significant cue on the FYC and not the OST is partially tracked over. Hope that post-2005 AFM rule gets revised to something more reasonable. If it was a 10-year sliding timeframe, we could get Tintin and War Horse expansions next year. Bring on "Tub...Tub" clean!

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It's sad to think there's only 6 more Williams/Spielberg scores that the specialty labels can do.

 

Here's hoping the union fee situation changes so they can do the newer 6 non-Indys, and that Disney Records hires Mike to do the 4 Indys!

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I voted for Hook and Raiders, with Amistad and Last Crusade both close 2nd place votes.

 

16 minutes ago, Jay said:

It's sad to think there's only 6 more Williams/Spielberg scores that the specialty labels can do.

 

Yes it is, but from the glass half full perspective, it means that 2/3 have already been worked on!  :rock2:

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Catch Me if You Can or The Terminal.

 

I'd love a complete War Horse, but there isn't enough missing from the OST that would make me put that above the other scores (even though it's a top 5 JW score for me)

 

As far as the Indy scores, and let's be honest, there's no way these don't all come out together, but for the sake of the poll... I'll go with Temple of Doom.

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1 hour ago, Jay said:

2020 - 2005's War of the Worlds (La-La Land)

Intrada!

 

Even though I'd love to get a proper version of Hook, I had to pick Tintin because it's the one that, I think, has the most exciting unreleased material, and possibly a bigger amount than every other score.

Hoping for a change on that union fees system, there are so many recent scores that need to be expanded!

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1 hour ago, Jay said:

It's sad to think there's only 6 more Williams/Spielberg scores that the specialty labels can do.

 

Was just thinking that :(

 

As you say, hopefully by the time these 6 are covered (assuming Mike can change JW's mind about Sugarland; maybe he'll allow it if it's the last remaining release) the fees will have moved to a 10 year sliding date and scores from 2005-12 will be viable.

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So, so biased but Hook because it deserves expansion more than any other score I can imagine, by Williams or anyone else. And if they make The Ultimate War one 19-minute track, it would easily shoot to my favorite release of all time. I would go back into my burning house to retrieve it.

 

I chose Temple of Doom because it is my favorite film and score in the franchise. I want a complete presentation solely because the Return to the Village rendition of the Raiders March is best heard where it belongs. It is my favorite placement of the theme over all four films. That it is the only really full rendition in that film makes it that much more moving. The faces of the villagers popping up like that, eyes wide with joy and gratitude. He's never earned the theme more.

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I think the TOD OST is smartly constructed but much like the LOTR OSTs, I would never say it is a superior or even equal listening experience. For what it is, it's great. But that whole finale sequence from at least Mine Cart on needs released properly and in full because beat by beat, it is relentless and that is something the OST does not replicate.

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57 minutes ago, Bellosh said:

@Jay probably a stupid question, but do those Spielberg post-2005 scores have a chance with the whole '2005 and beyond rule'.  Or can Spielberg/JW scores make the cut because they can be funded and have a better chance to sell?

 

I believe it depends on the amount of unreleased music they include. They basically have to pay 100% of the musician rate on any previously unreleased material (ie, whatever the musician was paid to record that music in the first place).

 

An expansion like Munich might be possible because there isn't much unreleased music to pay fees on (and the previously released OST material wouldn't attract the same fees) but scores like Star Wars 7-9 or Tintin, with hours of unreleased music, would be financially exorbitant. Only Disney Records could afford to expand the SW sequels completely, likewise Sony with Tintin.

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Tintin probably has the most potential for interesting unreleased/alternate material. I always felt this is a score I'll probably enjoy a lot more in complete form than the OST we have

 

Last Crusade is missing the most music from the current Indy expanded editions

 

Next would be BFG, maybe there's enough unreleased stuff to make the score  more interesting. I like it more now than I used to. It's like a "lite" HP score

 

Semi interested : Always, Amistad . Don't remember how much unreleased music there is.

 

Waste of expansion :The Post , Munich, Lincoln. OST and FYC's make this useless

 

Some of the other choices are covered by bootlegs and session leaks so not a priority.


 

 

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1 hour ago, Bellosh said:

@Jay probably a stupid question, but do those Spielberg post-2005 scores have a chance with the whole '2005 and beyond rule'.  Or can Spielberg/JW scores make the cut because they can be funded and have a better chance to sell?

 

I don't think so. 

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25 minutes ago, King Mark said:

Semi interested : Always, Amistad . Don't remember how much unreleased music there is.

 

Always has at least 10-15 minutes unreleased that we know about, but we also don't know what extra alternates might exist. There's one alternate whose existence is only known due to it leaking on the BOTOJ bootleg. Meanwhile I've discovered several film cues in that score differ from their album counterparts.

 

Amistad has 40+ minutes of unreleased music just in the film, plus who knows how many alternates. That score will make a beautiful 2CD set for the labels one day, hopefully even a nice 25th (!) Anniversary set in 2022.

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I voted for Hook and Temple of Doom. 

 

Hook is full of so many wonderful melodies and the action music is among my most favorite. I'm glad for the LLL release that happened previously, but I'd love it be revisited. 

 

Temple of Doom because it's the Indy score I studied and got the most acquainted with over the years and I'd love to re-approach it with new eyes on an MM-mastered and produced quality set. 

 

 

Tintin and The BFG are high on my list. And really, any of the Indy scores would be exciting to me (yeah even KOTCS)

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I am really looking forward to an expansion of "Catch Me if You Can", less because I need more music, but for the sound, which deserves an upgrade.

 

The Indiana Jones choice was easy. For the first 3 films I have all the music I desire (even though I wished the 2008 box would contain the film version of the Desert Chase from the 1995 DCC edition of Raiders). And for Temple of Doom there was anyway just one track that I missed on the OST album, which was "The Scroll/To Pankot Palace".

So, I would be curious on an expansion of Kingdom of the Crystal Skull. 

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I remain puzzled that scores recorded less than twenty years ago need improvement.

Are modern day mixers and engineers that incompetent?

59 minutes ago, GerateWohl said:

 

 

The Indiana Jones choice was easy. For the first 3 films I have all the music I desire (even though I wished the 2008 box would contain the film version of the Desert Chase from the 1995 DCC edition of Raiders). And for Temple of Doom there was anyway just one track that I missed on the OST album, which was "The Scroll/To Pankot Palace".

So, I would be curious on an expansion of Kingdom of the Crystal Skull. 

Finally! A reasonable fan😁

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10 hours ago, bruce marshall said:

Thor: "  "

😉

Isn't this the same as asking " Which score do you want expanded"?

 

Yes, we've reached a point now in our discourse where the word 'expansion' isn't even needed in the headline. People talk about these titles as if they didn't even have an original soundtrack release. I don't like it, but I've gotten used to it. Sure, everyone knows that's what we're talking about here, but the absence of the word itself in these discussions is striking.

 

Still, the completely unreleased SUGARLAND EXPRESS was on the list, so there's that.

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10 minutes ago, bruce marshall said:

I think alot of this talk reflects  the lack of exciting new scores in general (you and I may disagree on that assessment)

 

Yes, we do. But then I probably listen to more new soundtracks than you every year (several hundred), so my pool of choices might be bigger and broader. Despite a difficult year, there have been plenty of great scores in 2020. But you often have to look outside Hollywood blockbusters.

 

Quote

If JW was still scoring two, three, four films a year, all this expansion talk would begin to fade.

 

I doubt that, but there would be more variety, for sure.

 

Personally, I would love a "sister" thread that only talked about JW's completely unreleased scores, and all the nuts and bolts that prevent a soundtrack release in each case -- something I don't have a lot of knowledge about, but I know a lot of you do. I'm assuming these have been omitted from Jay's list (except SUGARLAND) for a reason, because Mattessino has said they are impossible or something.

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13 hours ago, Jay said:

1974's The Sugarland Express

1981's Raiders of the Lost Ark

1984's Indiana Jones and the Temple of Doom

1989's Indiana Jones and the Last Crusade

1989's Always

1991's Hook

1997's Amistad

2002's Catch Me If You Can

2004's The Terminal

2005's Munich

2008's Indiana Jones and the Kingdom of the Crystal Skull

2011's The Adventures of Tintin: The Secret of the Unicorn

2011's War Horse

2012's Lincoln

2016's The BFG

2017's The Post

Basically, we don't actually have that much choices. There is five titles left to expand for special labels.

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4 hours ago, bruce marshall said:

I remain puzzled that scores recorded less than twenty years ago need improvement.

Are modern day mixers and engineers that incompetent?

 

Sometimes, yes. Although I personally wouldn't call the people incompetent, more that they elected to use a process that they thought made sense at the time that in retrospect we realize did a disservice to the music. 

 

 

 

 

2 hours ago, Thor said:

 I'm assuming these have been omitted from Jay's list (except SUGARLAND) for a reason, because Mattessino has said they are impossible or something.

 

What are you talking about? You're in a thread clearly marked as being about Spielberg / Williams film collaborations. None of those are omitted whatsoever. 

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40 minutes ago, Jay said:

Sometimes, yes. Although I personally wouldn't call the people incompetent, more that they elected to use a process that they thought made sense at the time that in retrospect we realize did a disservice to the music. 

 

Time constraints are probably also a factor.

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52 minutes ago, Jay said:

What are you talking about? You're in a thread clearly marked as being about Spielberg / Williams film collaborations. None of those are omitted whatsoever. 

 

Ha, ha. You're right. Somehow, I missed the Spielberg/Williams part when I posted.

 

Let me add A TIMELESS CALL to the list, then. Probably not something Mattessino would be interested in, and it would probably need to be coupled with something else, but still.

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A Timeless Call is excluded as this is a poll/thread about feature length film scores, though admittedly I neglected to put the "feature-length" in front of "film score" in the main post :P

 

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Yes, A TIMELESS CALL is a film and its score a film score, so feature film would exclude it. That and THE SUGARLAND EXPRESS are the only things I crave from the Spielberg/Williams collaboration -- whether by Mattessino or someone else.

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I do think it'd be wonderful if A Timeless Call could be released somehow, even digitally.

 

Like it's a bummer that Galaxy's Edge gets an immediate digital release because it's Star Wars, yet A Timeless Call or Dear Basketball or any of his fanfares and short concert works only get a release if someone makes a concerted effort to get it re-recorded

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