DISCLOSURE DAY - Complete Cue List (Work in Progress) - spoilers allowed

[Jay 46,840]

By my count there is about 85 1/2 minutes of music in the final cut of Disclosure Day.

 

About 1:24:21 of that is John Williams' score, while about 1:16 is source music.

 

#	Location	Cue Name	Length
1	0:03:21-0:08:19	Negotiation	4:58
2	0:11:38-0:13:01	Hugo?	1:23
3	0:15:25-0:16:35	The Truth We Know	1:10
4	0:20:13-0:20:39	The Cardinal	0:26
5	0:21:48-0:22:28	The Sweet Escape (SOURCE)	0:40
6	0:30:56-0:31:20	Find Her Before Hugo Does	0:24
7	0:32:26-0:33:02	The Deer	0:36
8	0:35:09-0:36:41	We're Leaving	1:32
9	0:36:48-0:38:43	Not People	1:55
10	0:48:36-0:49:15	Alien Device	0:39
11	0:49:19-0:52:34	Signs	3:15
12	0:52:56-0:59:26	Dive	6:30
13	1:03:22-1:05:41	Chase	2:19
14	1:05:41-1:06:47	Canyon	1:06
15	1:10:58-1:12:50	Caught	1:52
16	1:14:53-1:18:44	Caught {continued}	3:21
17	1:19:14-1:20:37	Kentucky Filly	1:23
18	1:20:37-1:23:54	Believe	3:17
19	1:31:05-1:34:26	Evolutionary Advantage	3:21
20	1:34:32-1:35:10	I Need Faces	0:38
21	1:37:44-1:38:07	The Fox	0:23
22	1:38:07-1:41:42	Home	3:35
23	1:41:46-1:43:30	Memory	1:44
24	1:44:08-1:44:53	Memory {continued}	0:45
25	1:44:53-1:45:45	{TRACKED MUSIC} Empathy	0:52
26	1:45:45-1:47:18	Give Yourself Over To It	1:33
27	1:47:18-1:47:54	Some Day My Prince Will Come (SOURCE)	0:36
28	1:47:54-1:53:58	Celestial	6:04
29	1:53:58-1:57:30	Unseen	3:32
30	1:58:17-2:06:38	KCXE	8:21
31	2:09:27-2:15:27	Disclosure	6:00
32	2:15:27-2:19:22	In Vivo	3:55
33	2:19:22-2:20:09	End Credits Opening	0:47
34	2:20:09-2:24:08	Listen	3:59
35	2:24:08-2:26:08	{TRACKED MUSIC} Celestial	2:00
36	2:26:08-2:26:24	The Cardinal (Alternate)	0:16
		TOTAL TIME	1:25:37

 

"The Sweet Escape" is a 2006 Gwen Stefani song played as source music on a car radio; For 6 seconds Emily Blunt sings along as well.

 

"Some Day My Prince Will Come" is a song from the 1937 Disney Animated Classic Snow White And The Seven Dwarfs.  The original recording is not present in the film, instead, there is about 15 seconds hummed by Emily Blunt and about 20 seconds sung by Delaney Cuthbert,  The hummed Blunt portion is backed by strings presumably recorded by Williams at the scoring sessions; For the purposes of counting cues and numbering below, I will ignore those 15 seconds worth of strings.

 

"Celestial" in the end credits is a repeat of music already heard in the film earlier.

This means that by my count there is 1:22:21 of original John Williams score in the final cut.

 

 

 

So, here's a list of all the cues in the score, indicating where you can find them on the album and how much unreleased music there is:

 

#	Name	Film Length		Album Equivalent	Album Length	Unreleased (Approx)
1	Negotiation	4:58	7	Negotiation	3:25	1:33
2	Hugo?	1:23				1:23
3	The Truth We Know	1:10				1:10
4	The Cardinal	0:26				0:26
5	Find Her Before Hugo Does	0:24				0:24
6	The Deer	0:36				0:36
7	We're Leaving	1:32				1:32
8	Not People	1:55				1:55
9	Alien Device	0:39				0:39
10	Signs	3:15	12	Signs	2:37	0:38
11	Dive	6:30	3	Dive	4:37	1:53
12	Chase	2:19	4	Chase	2:14
13	Canyon	1:06				1:06
14	Caught	5:43	14	Caught	5:56	0:36
15	Kentucky Filly	1:23				1:23
16	Believe	3:17	5	Believe	3:35
17	Evolutionary Advantage	3:21				3:21
18	I Need Faces	0:38				0:38
19	The Fox	0:23	16	Reprise [0:00-0:23]	0:23
20	Home	3:35	13	Home	3:37
21	Memory	2:29	2	Memory	4:07
22	Empathy	0:52	8	Empathy	2:24
23	Give Yourself Over To It	1:33				1:33
24	Celestial	6:04	9	Celestial	6:50
25	Unseen	3:32	10	Unseen	3:09	0:23
26	KCXE	8:21	11	KCXE	5:56	2:25
27	Disclosure	6:00	15	Disclosure	4:22	1:38
28	In Vivo	3:55	6	In Vivo [0:00-2:27]	2:27	1:28
29	End Credits Opening	0:47	16	Reprise [0:23-2:23]	2:00
30	Listen	3:59	1	Listen	4:08
31	The Cardinal (Alternate)	0:16				0:16
32	End Credits Opening (Alternate)		6	In Vivo [2:27-end]	0:22
33	Empathy (Alternate)		16	Reprise [2:23-end]	2:31
	TOTAL FILM TIME	1:22:21		TOTAL UNRELEASED		26:56

 

 

So to sum up, by my count, between the film and album there is about 91:36 of music in total; 64:40 included on the OST album plus 26:56 only in the film. 

 

That last number will surely only go up as more differences between film and albums versions are found, but these differences all amount to different takes that typically change the instrumentation or timing; There's no thematic differences between film and album versions at all.  

 

With the recent Variety article indicating that there were 2 hours and 20 minutes of music recorded, and we can only hear 91 1/2 minutes of it, that leaves 48 1/2 minutes of music recorded that we cannot currently hear anywhere.

 

Phew, that's it for now!

 

More to come...

[crocodile 9,818]

Thank you, that's amazing! 

 

Karol

[Damien F 2,146]

Thanks Jay. All those short cues (< 1 minute). It would be interesting to know eventually if that is only what JW wrote and recorded, or if SS decided to only use short parts of longer cues.

[JohnnyD 1,915]

This is great and all, and I know this is a work in progress, but why include the Gwen Stefani song and "Someday My Prince Will Come" (the exception should be those 15 seconds of strings, as that is actually the end of that cue in the score)? Shouldn't the focus be on the Maestro's score?

[Jay 46,840]

Did you read the post all the way through?  The first bit explains what all the music you hear in the film is, regardless of who wrote it.  It's always good to know these things IMO.

 

Then after that first bit, the entire rest of the post is about John Williams' original score and doesn't mention source music again.

[JohnnyD 1,915]

I actually did not read it all the way through, so I missed that. Sorry. A little tired this morning.

 

Although, I am still just curious why the song is included. I'm just observing that the first chart should maybe just be all of the Maestro's score as heard in the film. That's all.

[Jay 46,840]

....

[JohnnyD 1,915]

I'm curious to know what your process is for keeping track of the exact length of all the cues in the film. Do you use a timer or stop watch while watching the film? You seem to do a good job relaying this information.

[Jay 46,840]

[benoitjean 163]

Good Job @Jay

 

it's beautiful  

 

JB

[Jay 46,840]

You know, I wonder if it was Holly Sedillos who hummed "Some Day My Prince Will Come" and not Emily Blunt?

 

Then it would be a cue recorded by John WIlliams (including the strings) even though he didn't compose it.

[JohnnyD 1,915]

So you time it by ear as you are watching the film? If so, I commend you.

 

9 minutes ago, Jay said:

You know, I wonder if it was Holly Sedillos who hummed "Some Day My Prince Will Come" and not Emily Blunt?

 

Then it would be a cue recorded by John WIlliams (including the strings) even though he didn't compose it.

 

That is actually an interesting observation. Though, it might have been Emily Blunt. Maybe?

 

Of course, those strings are the last part of a whole cue, what you called "Give Yourself Over to It." So, it was recorded by the Maestro.

[Jurassic Shark 16,584]

11 minutes ago, JohnnyD said:

So you time it by ear as you are watching the film? If so, I commend you.

 

The most likely explanation is that he records the film audio with his phone while watching the film in the theatre.

[Jay 46,840]

15 minutes ago, JohnnyD said:

That is actually an interesting observation. Though, it might have been Emily Blunt. Maybe?

 

Of course, those strings are the last part of a whole cue, what you called "Give Yourself Over to It." So, it was recorded by the Maestro.

 

There's actually no way to tell if the strings are the ending of "Give Yourself Over to It" and the humming is overlaid on top, or if the strings are recorded separately as its own bespoke cue because it is considered an adaptation of "Some Day My Prince Will Come".  They always try to break up adapted music from original music as separate cues for legal reasons even if they are going to be overlapped in the final film.

[JohnnyD 1,915]

Interesting. If that's the case, then it is a seamless overlap.

[Jay 46,840]

My favorite unreleased cues:

 

The Cardinal and The Deer - wonderful vocal statements of the Listen theme

 

Hospital Escape - there's a really nice 6-note "twinkly" melody at the start that comes back in a cool way at the end of the cue.  In between we get the introduction of the 8-note ostinato that appears throughout the score, and a really nice string and woodwind passage.

 

Canyon - It's just a continuation of "Chase" but it gives the sequence the climax it deserves.  The OST track should have just been one minute longer and included this!

 

Kentucky Filly - it may be very similar to the bit in Dive it expands on, but its still a fun cue that spruces up the middle part of the score.

[Damien F 2,146]

I posted a topic a few months ago about OSTs that were missing one crucial holy grail track like The Rescue Of Sirius from POA or The Flight of the Phoenix from First Contact. I don't think Disclosure Day is in that category - the unreleased cues would have been nice to have but their omission isn't as egregious as if something like 'believe' or 'celestial' had been left off.

[Jay 46,840]

11 minutes ago, JohnnyD said:

Don't you mean "Dive"?

 

Yeah

 

8 minutes ago, Damien F said:

I posted a topic a few months ago about OSTs that were missing one crucial holy grail track like The Rescue Of Sirius from POA or The Flight of the Phoenix from First Contact. I don't think Disclosure Day is in that category - the unreleased cues would have been nice to have but their omission isn't as egregious as if something like 'believe' or 'celestial' had been left off.

 

Agreed.

[KittBash 363]

Dude! @Jay You are a machine this is amazing. Thank you for the work as always! 

[JohnnyD 1,915]

I concur. @Jay You really did a magnificent job cataloguing the cues both in the film and on the album. 
 

Comparing the length of the following to the album, now I wish the entirety of negotiations…, signs…, dive…, unseen…, kcxe…, disclosure… and in vivo… were readily available.

 

Then again, I wish the entire score was readily available.

[Jay 46,840]

Yeah for the most part he did a good job shortening those cues for the album, no interesting different passages edited out, just kind of more of the same stuff as what we got.  Some of the totally unreleased cues would be more worthwhile to have.

 

Either way, it's a shame FYCs don't have to match the final film edits any more.

[JohnnyD 1,915]

Damn it, the FYC was our last hope for more music!

 

Oh, well. I’ll have the film on 4K Blu-ray a week before home video release (thank God for GRUV and the advanced pre-order for the Steelbook).

[Damien F 2,146]

Can the FYC still contain contain cues not on the soundtrack album? Is the risk that the studio will simply use the OST as the FYC? Maybe we won't know if the FYC will contain additional cues until Oscar season?

[Jay 46,840]

Williams FYCs were dumps of the film edits for 9 glorious years (Tintin through Rise of Skywalker), but then Fabelmans and Dial of Destiny just matched the OST albums.

[Edmilson 12,628]

Are the circa. one minute and a half of unreleased music from Disclosure and In Vivo any interesting? Would their additions make the OST listening experience more satisfying (especially if In Vivo was, in fact, placed at the end of the album, as it should have)?

 

I haven't seen the movie yet... My town only has a small cinema that is playing Masters of the Universe and Scary Movie 6 right now. It may or may not come out here next weekend.

[Jay 46,840]

Nah, not really.  Just more of the same stuff we have in the shortened versions on the OST.

[JohnnyD 1,915]

@Jay I’m curious to know what cue you refer to as “Hail.” I’ve seen Disclosure Day five times in IMAX and Dolby Atmos. When Margaret has Jackson destroy her phone with the car and the hail comes down after she gets back in the car, that scene has no score.

[Jay 46,840]

I actually came up with better names for a handful of cues and updated the main post (and theme list post).

 

It's the music that plays when Scanlon's team hands him the device and it cuts to Jane walking alone in the house feeling his presence.

[JohnnyD 1,915]

I was going to say. You were referring to the cue right before signs... That cue actually segues right into it. "Alien Device" makes a lot more sense. Thanks @Jay.

[Jay 46,840]

Yes, the prolonged sequence of Scanlon diving in to Jane takes 3 cues to cover - "Alien Device" -> "Signs" -> "Dive", with the cutaway to Daniel in the field happening in the first part of Signs.

[Darth Mulder 181]

So there is not "listen" in the movie? Only in the end credits?

[Jay 46,840]

Yeah.  It's a concert arrangement.

[Jay 46,840]

Why the angry emoji?  You shouldn't expect concert arrangements to be used as underscore.

[Tydirium 1,644]

The film version of celestial… includes an extra appearance of the Memory theme played by solo horn. It takes place at the end of the abduction vision, before the version heard on the album.

[ragoz350 527]

45 minutes ago, Tydirium said:

The film version of celestial… includes an extra appearance of the Memory theme played by solo horn. It takes place at the end of the abduction vision, before the version heard on the album.

 

Yes, the splice at 4:26 in the OST track is too obvious. Glad the fuller version was kept in the film!

[JohnnyD 1,915]

@Jay I have to ask. What you label as tracked music for Empathy right before what you call "Give Yourself Over to It". Is that accurate? I'm not sure if that is tracked music because the cue starts with high string notes before going into the piano statement with more strings. I think Empathy is a concert arrangement. It sounds like it is. What you label as tracked music and then "Give Yourself Over to It" is, I think, one entire cue. I compared the two after seeing the film again. The beginning of the cue does not sound like tracked music from Empathy, but it does have a repeat performance of the piano melody.

[Jay 46,840]

I'm trying to understand what you are saying.  You are saying that the 52 seconds of "Empathy" in the final cut is not the same performance as the album track?  Is it the same as the alternate performance from the second half of "Reprise"?

 

It's still tracking because it replaces the ending of "Memory".  Unless the ending of "Memory" is some kind of album extension, or for a deleted scene, but it doesn't seem like there could have been anything deleted from that part of the film.  I'll have to check again

[JohnnyD 1,915]

Yeah; in other words, it does not appear to be tracked music. The entirety of Empathy appears to be a concert arrangement, and the 52 seconds of music you labeled as tracked music appears to be part of the cue you called "Give Yourself Over to It."

[Jay 46,840]

Sure it is.  Just because it's not the same takes as the takes he put on the album doesn't mean it wasn't tracked in their instead of the music that Williams wrote for the scene (the end of "Memory"

[JohnnyD 1,915]

Sorry, I added more as you responded.

 

Memory is used in the film, except 1:47 of the album track appears to be an unused extension. 2:32 is the next cue, what I referred to as beginning with high strings (my description was somewhat off, so apologies for any confusion) and 3:10 to the end is replaced in the film by what may actually not be tracked music from Empathy, but actually an insert; there are a few subtle differences between the first 52 seconds of Empathy and what is in the film.

 

Of course, I understand this is still a work in progress. I just wanted to add a possible correction to something listed that may have been incorrect.

[Jay 46,840]

I guess we won't really know any truly correct answers until the cue names show up on GEMA or the sheet music leaks

[Amer 2,791]

With 2hours and 20 minutes of music recorded for this film may indicate there was likely a major change where an appoach may have shifted and prompted Williams to re-write the score as we know now. Its an interesting idea where we can see that experimentation was done until the Eureka !  moment was discovered, I think similar thing happened before. I believe Williams also recorded 3 or more hours of LINCOLN. So its a process. Many years from now when those sessions eventualy get released we would know for sure.  

[JohnnyD 1,915]

Most likely, the 2 hours and 20 minutes of total music recorded encompasses not only the score for the film, but also alternate cues, perhaps even some unused cues, as well as a couple of concert arrangements (which are on the album).

[Jay 46,840]

That's exactly what he said

[JohnnyD 1,915]

Alright, then. I misunderstood @Amer when he said "re-write the score as we know now."

[Jay 46,840]

if you have a cue, then you rewrite the cue to make a new version, the original cue is what we call an "alternate" on a soundtrack album

[JohnnyD 1,915]

...I know that. I thought he meant the ENTIRE score.

 

I need my morning coffee.

[Jay 46,840]

Well I doubt every single last cue has an alternate version but yes I suspect an eventual complete release will be quite illuminating!

[JohnnyD 1,915]

Man, to be a fly on the wall for the entire recording sessions... who knows how many years it will be before we will be able to hear ALL 2 hours and 20 minutes of music for Disclosure Day. 

The album and film are excellent to have, and I am very thankful.

[Tom 6,988]

29 minutes ago, Jay said:

 I suspect an eventual complete release will be quite illuminating the disclosure!