Jay 37,373 Posted November 24, 2022 Author Share Posted November 24, 2022 22 minutes ago, Brando said: I was told this was changed, am I mistaken? Here is exactly what Mike said about this: For AFM recordings made before July 3, 2005, NO reuse needs to be paid to the musicians at all, provided a) that it’s for a physical format release with a 5000 unit maximum, and b) that the musicians list is published, preferably in the packaging. For recordings made after that date, whatever the musicians were paid to record the score for the film has to be paid to them again, 100%. That’s why it’s called “reuse”. They were paid to play music for sync purposes, but an album is a new use. So, hypothetically, if 120 people were paid $360,000 to record the music for the film (musicians, orchestrators, copyists, at an average of $3K a person), then a label would have to pay that exact same amount to AFM in order to put out an expanded album. That makes it impossible to consider even before you get to licensing, publishing, production and manufacturing. The 2005 date was established in 2015 and applied to recordings going back 10 years prior, but unfortunately it was not a “sliding” date as it really should have been. Mike I have never seen anything anywhere that indicated that the AFM has changed this policy. Brando and Yavar Moradi 1 1 Link to comment Share on other sites More sharing options...
bollemanneke 3,352 Posted November 24, 2022 Share Posted November 24, 2022 So what's the upside of that rule? Nobody's paying them now, surely they know that? Brando and Once 2 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,373 Posted November 24, 2022 Author Popular Post Share Posted November 24, 2022 It makes no sense Once, Brando, enderdrag64 and 1 other 4 Link to comment Share on other sites More sharing options...
Popular Post Disco Stu 15,495 Posted November 24, 2022 Popular Post Share Posted November 24, 2022 AFM turning the most leftie JWFans into disillusioned anti-labor reactionaries Manakin Skywalker, Taikomochi, TolkienSS and 9 others 2 10 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,373 Posted November 24, 2022 Author Popular Post Share Posted November 24, 2022 Expecting full repayment for the first 10 years is fine. The rule should have been a sliding 10 years, not locked to July 3rd 2005 forever SpotTheDog, DemonStar, Yavar Moradi and 4 others 7 Link to comment Share on other sites More sharing options...
Popular Post Chewy 2,396 Posted November 24, 2022 Popular Post Share Posted November 24, 2022 It would be cool to know if Disney had to pay fees for the Rogue One expansion that came out earlier this year... SpotTheDog, Brando and enderdrag64 3 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,373 Posted November 24, 2022 Author Popular Post Share Posted November 24, 2022 It would also be interesting to learn how the pre-2005 expansions available digitally worked, like all the Varese Deluxe Editions on streaming Chewy, Brando and enderdrag64 3 Link to comment Share on other sites More sharing options...
Chewy 2,396 Posted November 24, 2022 Share Posted November 24, 2022 Yeah I'm starting to think the fees only apply to John Williams scores bollemanneke and ThePenitentMan1 1 1 Link to comment Share on other sites More sharing options...
BrotherSound 2,246 Posted November 24, 2022 Share Posted November 24, 2022 2 hours ago, Brando said: I was told this was changed, am I mistaken? I don’t believe there’s been any blanket change, but clearly, exceptions are negotiated, or the expansions of the Giacchino Star Trek and Rogue One scores wouldn’t have been possible. I mean there’s just no way a digital-only release of Rogue One is pulling in the kind of money to make it worth paying hundreds of thousands of dollars in reuse fees. Not Mr. Big and Yavar Moradi 1 1 Link to comment Share on other sites More sharing options...
Faleel 5,359 Posted November 24, 2022 Share Posted November 24, 2022 Didn't Varese cut choir on their DE of the first Trek score to avoid fees? bollemanneke and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
BrotherSound 2,246 Posted November 24, 2022 Share Posted November 24, 2022 15 minutes ago, Clockwork Angel said: Didn't Varese cut choir on their DE of the first Trek score to avoid fees? Well, I can’t recall in choir in the scores of Memoirs of a Geisha, The Adventures of Tintin, War Horse, Lincoln, or The BFG… 🤔 Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted November 24, 2022 Share Posted November 24, 2022 10 minutes ago, BrotherSound said: Well, I can’t recall in choir in the scores of Memoirs of a Geisha, The Adventures of Tintin, War Horse, Lincoln, or The BFG… 🤔 Lincoln has two standout choir cues BrotherSound 1 Link to comment Share on other sites More sharing options...
Popular Post ciarlese 251 Posted November 24, 2022 Popular Post Share Posted November 24, 2022 1 hour ago, Jay said: Here is exactly what Mike said about this: They were paid to play music Like they are playing the music again... There is no planet in the universe where this law makes sense. Not even for record companies as surely nobody is paying those fees. The only result is there is a lot of great music made unavailable for the public. Well done greedy people... bollemanneke, Brando and enderdrag64 3 Link to comment Share on other sites More sharing options...
bollemanneke 3,352 Posted November 24, 2022 Share Posted November 24, 2022 It's not even greedy since nobody is ever paying the money to begin with. It's absurd. Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted November 24, 2022 Share Posted November 24, 2022 Quote For AFM recordings made before July 3, 2005, NO reuse needs to be paid to the musicians at all, provided a) that it’s for a physical format release with a 5000 unit maximum, and b) that the musicians list is published, preferably in the packaging. For recordings made after that date, whatever the musicians were paid to record the score for the film has to be paid to them again, 100% The worst part is that these 'rules' don't even make sense beyond surface level. I kind of get that by limiting to limited physical units, they're limiting the profit a label can make, and therefore avoiding them profiting excessively without paying them. But, a musicians' list in the packaging? Sorry to be blunt, but why should a player give a shit if their name is in a booklet that 2000 people in the world will buy? Hoping one of those purchasers will be desperately looking for a kick-ass brass player to hire and will find their guy via a soundtrack booklet? That's just silly, and worst of all, it tells me that whoever negoiated this has got their priorities totally messed up. The repayment of the fee also makes no sense in the context of the first use being a film that will potentially bring in hundreds millions of dollars, and a reuse being an album requiring no extra work on their part, and will bring in a tiny fraction of that, at massive risk to the label. I wonder if any AGM member/person has actually run the numbers on lower fees (I didn't say 'no' fees... just 'affordable' ones) to see how much they'd make in contrast against currently nonexistent releases. Link to comment Share on other sites More sharing options...
DeltaPupJux 47 Posted November 24, 2022 Share Posted November 24, 2022 What about an expanded BFG... to include cues only in the FYC? If that happened, I wouldn't be surprised to see tons of the FYC discs to hit eBay. (and with the wording RARE, and HTF!!.. lol). Link to comment Share on other sites More sharing options...
Manakin Skywalker 4,897 Posted November 24, 2022 Share Posted November 24, 2022 1 hour ago, Clockwork Angel said: Didn't Varese cut choir on their DE of the first Trek score to avoid fees? Much more obscure score, but John Debney's Zathura (released late 2005) had most of the choir cut on the OST as well, also Varese. Link to comment Share on other sites More sharing options...
DeltaPupJux 47 Posted November 24, 2022 Share Posted November 24, 2022 This won't apply to JW, but for other composers that use virtual instruments..it shouldn't be any issue (unless we're paying a computer's sequencer (or random rack gear) to 'replay' the music. Link to comment Share on other sites More sharing options...
Popular Post Faleel 5,359 Posted November 24, 2022 Popular Post Share Posted November 24, 2022 8 minutes ago, DeltaPupJux said: This won't apply to JW, but for other composers that use virtual instruments..it shouldn't be any issue (unless we're paying a computer's sequencer (or random rack gear) to 'replay' the music. What about the original players who recorded the samples DeltaPupJux, Brando and Manakin Skywalker 3 Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted November 24, 2022 Share Posted November 24, 2022 When Varese did Djawadi's Prison Break they removed the vocal from the beginning of the main titles on both releases. Can't be for any reason other than not wanting to pay royalties to the soloist, and it really sucked. enderdrag64 1 Link to comment Share on other sites More sharing options...
ciarlese 251 Posted November 25, 2022 Share Posted November 25, 2022 So after Amistad announcement today, is the list complete for the year? Is it reasonable to expect anything more before the end of the year? If I am not wrong this is the third expansion since the opening of this topic (with Spacecamp and Presumed Innocent the first two), so not sure what to believe 🤔 Link to comment Share on other sites More sharing options...
bollemanneke 3,352 Posted November 25, 2022 Share Posted November 25, 2022 I don't think we should expect any more this year. I really hope Hook is their January release. Link to comment Share on other sites More sharing options...
QuartalHarmony 543 Posted November 25, 2022 Share Posted November 25, 2022 1 hour ago, ciarlese said: If I am not wrong this is the third expansion since the opening of this topic The JP 2-disc release could be regarded as one of them... Link to comment Share on other sites More sharing options...
GerateWohl 4,373 Posted November 25, 2022 Share Posted November 25, 2022 1 hour ago, ciarlese said: So after Amistad announcement today, is the list complete for the year? Is it reasonable to expect anything more before the end of the year? If I am not wrong this is the third expansion since the opening of this topic (with Spacecamp and Presumed Innocent the first two), so not sure what to believe 🤔 I think so. In the last podcast with Mike Matessino he said, that there is one more relase coming this year, which now obviously is Amistad. Some others are more or less ready but still waiting for approval and will come next year. Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted November 25, 2022 Share Posted November 25, 2022 He mentioned earlier in the year that 3 releases were mastered, but 2 of those 3 were pushed to next year. Hopefully one of them is the January release! Link to comment Share on other sites More sharing options...
Popular Post TownerFan 4,983 Posted November 25, 2022 Popular Post Share Posted November 25, 2022 18 hours ago, ciarlese said: Like they are playing the music again... There is no planet in the universe where this law makes sense. Not even for record companies as surely nobody is paying those fees. The only result is there is a lot of great music made unavailable for the public. Well done greedy people... It's not greed. It's a mechanism that gives musicians the opportunity to give value to their work and get some safeguard for their pensions, especially because a lot of this music is constantly reused and repurposed in many forms. I know this seems unfair to soundtrack collectors, but it's a way that unions agreed upon to protect musicians, without whom those film scores we all so love wouldn't exist at all. These session musicians are normal people who work to pay mortgage, tuition for their kids and save some earnings for when they're retired, like all of us. Because film music, before being art that has to be made accessible to everyone, is work. Surely very beautiful and even a privileged one, but still work. HunterTech, Yavar Moradi, timelord327 and 3 others 6 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,373 Posted November 25, 2022 Author Popular Post Share Posted November 25, 2022 Right, and the fee structure for the first 10 years after it's recorded make sense. The only complaint is that the cutoff is locked to July 3 2005 instead of being a rolling 10 years Yavar Moradi, Brando and enderdrag64 3 Link to comment Share on other sites More sharing options...
Popular Post Richard Penna 3,695 Posted November 25, 2022 Popular Post Share Posted November 25, 2022 A fee of some sort makes sense, yes, but why insist on a full repayment for a reuse where the returns (and therefore poential exploitation) are a fraction of the original usage? It's all well to say that it's protecting musicians' incomes, but under the current system where soundtrack producers are priced out of the market for more recent scores... what income? ThePenitentMan1, Brando, Chewy and 2 others 5 Link to comment Share on other sites More sharing options...
Popular Post ciarlese 251 Posted November 25, 2022 Popular Post Share Posted November 25, 2022 32 minutes ago, TownerFan said: It's not greed. It's a mechanism that gives musicians the opportunity to give value to their work and get some safeguard for their pensions, especially because a lot of this music is constantly reused and repurposed in many forms. I know this seems unfair to soundtrack collectors, but it's a way that unions agreed upon to protect musicians, without whom those film scores we all so love wouldn't exist at all. These session musicians are normal people who work to pay mortgage, tuition for their kids and save some earnings for when they're retired, like all of us. Because film music, before being art that has to be made accessible to everyone, is work. Surely very beautiful and even a privileged one, but still work. There are quite a few things I don't agree with here, and not because I am a soundtrack collector. I agree being a musician is work, and possibly one of the most noble one. But they get paid to play music. I work too, and I get paid once for the work I do. The guys who built the lift in the building I live in, or the office I work in, don't get paid again every time someone "reuses" those lifts. It's also difficult to understand what they need to be "protected" from, and if this "protection" is working at all as the only consequence seems to be that those recording are left untouched somewhere while they could be restored, preserved and beautifully presented like MM is doing when he has the opportunity. That seems more "protection" to me. And I don't agree on the "without these those film scores wouldn't exist", as the history clearly shows the opposite, and the musicians have always been highly valued before these fees were introduced. Chewy, Brando and enderdrag64 3 Link to comment Share on other sites More sharing options...
Holko 9,531 Posted November 25, 2022 Share Posted November 25, 2022 7 minutes ago, ciarlese said: The guys who built the lift in the building I live in, or the office I work in, don't get paid again every time someone "reuses" those lifts. Well, even though I hate this situation, here I don't think this is right, a recording being copypasted somewhere means they lost the potential work of recording it again. Link to comment Share on other sites More sharing options...
GerateWohl 4,373 Posted November 25, 2022 Share Posted November 25, 2022 8 minutes ago, ciarlese said: There are quite a few things I don't agree with here, and not because I am a soundtrack collector. I agree being a musician is work, and possibly one of the most noble one. But they get paid to play music. I work too, and I get paid once for the work I do. The guys who built the lift in the building I live in, or the office I work in, don't get paid again every time someone "reuses" those lifts. It's also difficult to understand what they need to be "protected" from, and if this "protection" is working at all as the only consequence seems to be that those recording are left untouched somewhere while they could be restored, preserved and beautifully presented like MM is doing when he has the opportunity. That seems more "protection" to me. And I don't agree on the "without these those film scores wouldn't exist", as the history clearly shows the opposite, and the musicians have always been highly valued before these fees were introduced. The elevator comparison doesn't work. You are paid for almost every working hour. The musician gets only paid for the performance and not for all the hours of rehearsing and preparation which is depending on experience 70 to 80% of the time. If you would get paid only 20 percent of your worktime, you would be happy for some more financial appreciation of what you did, I guess. It is in the end what Jay said in his last post. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Andy 4,141 Posted November 25, 2022 Share Posted November 25, 2022 22 hours ago, Chewy said: Yeah I'm starting to think the fees only apply to John Williams scores King Mark?? Chewy and Brando 2 Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted November 25, 2022 Share Posted November 25, 2022 3 hours ago, TownerFan said: especially because a lot of this music is constantly reused and repurposed in many forms. You can still have a price structure which reflects the intended use of the music. When I licence stock tracks for some personal projects I pay a much lower rate than a film studio licensing a track because they are expecting a substantial return from the artist's work whereas I'm not. The publishers charge according to how much you plan to personally profit from its usage. YouTube monetisers pay more, for example. Hence why should a label wanting to release the music pay the same amount as the studio did to record it? ThePenitentMan1 and enderdrag64 2 Link to comment Share on other sites More sharing options...
Marian Schedenig 8,210 Posted November 25, 2022 Share Posted November 25, 2022 3 hours ago, Richard Penna said: A fee of some sort makes sense, yes, but why insist on a full repayment for a reuse where the returns (and therefore poential exploitation) are a fraction of the original usage? How do you define the returns for a specific use case - especially the original one? How much money does the music used in the film itself make? Is it more or less than the income generated by an album release? But of course, these niche soundtrack releases are a special case and not representative of what these rules were made for in general. What it certainly does is prevent studios from contracting an orchestra to record music for a single film, and agreeing on an adequate payment based on that and the amount of money that will generate for the studio, and then going on to use the same recordings for ten more films, 20 TV series, 30 video games, and a dozen amusement parks, without paying anything beyond the initial contract. Joe Brausam 1 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted November 25, 2022 Share Posted November 25, 2022 6 hours ago, Holko said: Well, even though I hate this situation, here I don't think this is right, a recording being copypasted somewhere means they lost the potential work of recording it again. This doesn't make sense to me. Unless there was something lacking in the initial recording, "the potential work of recording" a piece again is basically negligible. There's no reason for such a re-recording to be made or for that "potential work" to exist. enderdrag64 and ciarlese 2 Link to comment Share on other sites More sharing options...
stravinsky 206 Posted November 25, 2022 Share Posted November 25, 2022 I don't think sight reading all day and being stuck in a windowless studio for your entire playing career is privileged or beautiful. Having to play every single note with perfect attack, phrasing, rhythm, articulation, dynamic and tone must be highly stressful. Plus there's never an audience. It's just slog. All the time. Forever. Pretty thankless task to me. Yet they are the greatest musicians in the business because time is money and if you play one bum note your out. I've sang on plenty of scores in London incl Star Wars prequels, Lord of the Rings you name it. The pressure is HIGH... Thing is I never really got into Amistad. I have the old album but never listen to it. Something a bit too "Worthy" for me. But I could be completely wrong. Thing is there are so many other 2 and 3 CD sets of Williams scores that I'm still trying to get through... QuartalHarmony 1 Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted November 25, 2022 Share Posted November 25, 2022 I am really curious to hear what an expanded presentation does for this score. Curious and excited. Link to comment Share on other sites More sharing options...
Popular Post Brundlefly 2,385 Posted December 2, 2022 Popular Post Share Posted December 2, 2022 By the way, we're at 56 scores released in their complete form versus 18 scores that are left for special labels to expand. 1977, bollemanneke, Brando and 2 others 4 1 Link to comment Share on other sites More sharing options...
Luke Skywalker 1,796 Posted December 2, 2022 Share Posted December 2, 2022 Thats cool. In less that 18 years the williams catalogue could be completely expanded! Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted December 2, 2022 Share Posted December 2, 2022 With 5 expansions a year it'd be less... Link to comment Share on other sites More sharing options...
Luke Skywalker 1,796 Posted December 2, 2022 Share Posted December 2, 2022 Yeah… but lately… 2 or 3 would be reissues Link to comment Share on other sites More sharing options...
1977 1,743 Posted December 2, 2022 Share Posted December 2, 2022 So..... What do we think (i.e. guess) will be next? Hook? bollemanneke and Brando 2 Link to comment Share on other sites More sharing options...
filmmusic 1,842 Posted December 2, 2022 Share Posted December 2, 2022 How many out of 5 have been released already? I've lost count.. 3 or 4? Link to comment Share on other sites More sharing options...
GerateWohl 4,373 Posted December 2, 2022 Share Posted December 2, 2022 1 hour ago, filmmusic said: How many out of 5 have been released already? I've lost count.. 3 or 4? Presumed Innocent Spacecamp Amistad BrotherSound and filmmusic 1 1 Link to comment Share on other sites More sharing options...
Popular Post Bounty95 558 Posted December 2, 2022 Popular Post Share Posted December 2, 2022 In an ideal world the other two would be Hook and The Patriot. BrotherSound, Edmilson and 1977 1 2 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted December 2, 2022 Share Posted December 2, 2022 Hook and Catch Me If You Can (could have been meant to come out in 2022 for its 20th Anniversary). Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted December 2, 2022 Share Posted December 2, 2022 Can it be Hook and Nixon please? Thank you. Link to comment Share on other sites More sharing options...
Popular Post ThePenitentMan1 744 Posted December 3, 2022 Popular Post Share Posted December 3, 2022 16 hours ago, Brundlefly said: With 5 expansions a year it'd be less... 4 years for the rest of the remaining scores, except for Star Wars/Indy/Hook, which will take up the remaining 14 years. [Tiny Edit to clarify that this post is meant to be a joke...] Manakin Skywalker, enderdrag64, bollemanneke and 1 other 2 1 1 Link to comment Share on other sites More sharing options...
ciarlese 251 Posted December 3, 2022 Share Posted December 3, 2022 18 hours ago, Brundlefly said: By the way, we're at 56 scores released in their complete form versus 18 scores that are left for special labels to expand. Can you please clarify where you took these figures from? I have looked at the master sheet and what I find don't match 🧐 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,373 Posted December 3, 2022 Author Popular Post Share Posted December 3, 2022 John Williams has 111 feature-length film scores under his belt through Indy 5 Daddy-O I Passed For White Because They're Young The Secret Ways Bachelor Flat Diamond Head Gidget Goes To Rome The Killers None But The Brave John Goldfarb, Please Come Home The Rare Breed How to Steal a Million The Plainsman Not With My Wife, You Don’t! Penelope A Guide for the Married Man Valley of the Dolls Fitzwilly Heidi Daddy’s Gone A-Hunting Goodbye, Mr. Chips The Reivers Storia di una Donna (Story of a Woman) Jane Eyre Fiddler on the Roof The Cowboys Images The Poseidon Adventure Pete ‘N’ Tillie The Long Goodbye Tom Sawyer The Man Who Loved Cat Dancing The Paper Chase Cinderella Liberty Conrack The Sugarland Express Earthquake The Towering Inferno The Eiger Sanction Jaws Family Plot The Missouri Breaks Midway Black Sunday Star Wars Close Encounters of the Third Kind The Fury Jaws 2 Superman – The Movie Dracula 1941 The Empire Strikes Back Raiders of the Lost Ark Heartbeeps E.T. The Extra-Terrestrial Monsignor Return of the Jedi Indiana Jones and the Temple of Doom The River SpaceCamp The Witches of Eastwick Empire of the Sun The Accidental Tourist Indiana Jones and the Last Crusade Born on the Fourth of July Always Stanley & Iris Presumed Innocent Home Alone Hook JFK Far and Away Home Alone 2: Lost in New York Jurassic Park Schindler’s List Sabrina Nixon Sleepers Rosewood The Lost World: Jurassic Park Seven Years in Tibet Amistad Saving Private Ryan Stepmom Star Wars: Episode I – The Phantom Menace Angela’s Ashes The Patriot A.I. Artificial Intelligence Harry Potter and the Sorcerer’s Stone Star Wars: Episode II – Attack of the Clones Minority Report Harry Potter and the Chamber of Secrets Catch Me If You Can Harry Potter and the Prisoner of Azkaban The Terminal Star Wars: Episode III – Revenge of the Sith War of the Worlds Memoirs of a Geisha Munich Indiana Jones and the Kingdom of the Crystal Skull The Adventures of Tintin: The Secret of the Unicorn War Horse Lincoln The Book Thief Star Wars: The Force Awakens The BFG Star Wars: The Last Jedi The Post Star Wars: The Rise of Skywalker The Fabelmans Indiana Jones and the Dial of Destiny Mike has produced expansions/premieres for 48 of them Bachelor Flat None But The Brave How to Steal a Million Goodbye, Mr. Chips Fiddler on the Roof The Cowboys Images The Poseidon Adventure Pete ‘N’ Tillie Earthquake The Towering Inferno The Eiger Sanction Jaws Family Plot Midway Black Sunday Star Wars Close Encounters of the Third Kind The Fury Jaws 2 Superman – The Movie Dracula 1941 The Empire Strikes Back E.T. The Extra-Terrestrial Monsignor Return of the Jedi The River SpaceCamp Empire of the Sun Always Stanley & Iris Presumed Innocent Home Alone Far and Away Home Alone 2: Lost in New York Jurassic Park Schindler’s List Rosewood The Lost World: Jurassic Park Amistad Saving Private Ryan A.I. Artificial Intelligence Harry Potter and the Sorcerer’s Stone Minority Report Harry Potter and the Chamber of Secrets Harry Potter and the Prisoner of Azkaban War of the Worlds While other producers have tackled 20 more John Goldfarb, Please Come Home Not With My Wife, You Don’t! Penelope A Guide for the Married Man Fitzwilly Heidi The Reivers The Long Goodbye Tom Sawyer The Man Who Loved Cat Dancing The Paper Chase Cinderella Liberty Conrack The Missouri Breaks Raiders of the Lost Ark Heartbeeps Indiana Jones and the Temple of Doom Indiana Jones and the Last Crusade Hook Star Wars: Episode I – The Phantom Menace Leaving 43 that no one has expanded/premiered yet Daddy-O I Passed For White Because They're Young The Secret Ways Diamond Head Gidget Goes To Rome The Killers The Rare Breed The Plainsman Valley of the Dolls Daddy’s Gone A-Hunting Storia di una Donna (Story of a Woman) Jane Eyre The Sugarland Express The Witches of Eastwick The Accidental Tourist Born on the Fourth of July JFK Sabrina Nixon Sleepers Seven Years in Tibet Stepmom Angela’s Ashes The Patriot Star Wars: Episode II – Attack of the Clones Catch Me If You Can The Terminal Star Wars: Episode III – Revenge of the Sith Memoirs of a Geisha Munich Indiana Jones and the Kingdom of the Crystal Skull The Adventures of Tintin: The Secret of the Unicorn War Horse Lincoln The Book Thief Star Wars: The Force Awakens The BFG Star Wars: The Last Jedi The Post Star Wars: The Rise of Skywalker The Fabelmans Indiana Jones and the Dial of Destiny Nemesis, Yavar Moradi, ThePenitentMan1 and 13 others 9 2 5 Link to comment Share on other sites More sharing options...
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