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 Posted:   Nov 27, 2017 - 7:48 AM   
 By:   Jörn   (Member)



I`am wonder: what is the correct sequence to listen to John Williams score (without the songs) chronologically, as the music appears in the movie?

Maybe someone can help me?!

Thank you
;-)

 
 
 Posted:   Nov 27, 2017 - 9:06 AM   
 By:   Thor   (Member)

Ha! "Correct". There's nothing 'correct' about what you request (that is purely subjective; I happen to think the original soundtrack is the 'correct order'). But yeah -- 'film order' is probably what you're after. Sorry, I just had to say that.

 
 Posted:   Nov 27, 2017 - 9:14 AM   
 By:   Jörn   (Member)

Ha! "Correct". There's nothing 'correct' about what you request (that is purely subjective; I happen to think the original soundtrack is the 'correct order'). But yeah -- 'film order' is probably what you're after. Sorry, I just had to say that.

That`s why I wrote " ....as it appears in the movie",
du Tor ;-)

 
 
 Posted:   Nov 27, 2017 - 9:20 AM   
 By:   Thor   (Member)

Yeah, I know what you meant. It was just the word 'correct' that triggered me (as if other ways to approach soundtracks are 'incorrect'). smile

As for your request, I know that Jay usually knows about these things. Hopefully, he'll chime in.

 
 Posted:   Nov 27, 2017 - 10:21 AM   
 By:   other tallguy   (Member)

At a stab:
Saying Goodbye
Pete in Heaven
The Old Timer's Shack
Follow Me
The Return
Seeing Dorinda
Intimate Conversation
Promise to Hap
The Rescue Operation
Among the Clouds
Dorinda Solo Flight
Pete and Dorinda

The only ones I'm a little shaky on are The Return, Seeing Dorinda, and Intimate Conversation. If these are all the scenes I think they are then I'm pretty sure I'm solid.

Among the Clouds actually has an ending that is not (I believe) in the film. In the film it goes from 4:27 to Dorinda Solo Flight which ends the film.

(Geez, Thor. Saying "film order is correct" with you is like saying Candyman three times! smile )

 
 
 Posted:   Nov 27, 2017 - 10:54 AM   
 By:   hyperdanny   (Member)

Funny that a thread so preoccupied with "correctness"...is titled in a grossly incorrect way....

 
 Posted:   Nov 27, 2017 - 11:38 AM   
 By:   dogplant   (Member)

At a stab:

...The Rescue Operation
Among the Clouds
Dorinda Solo Flight...

Among the Clouds actually has an ending that is not (I believe) in the film. In the film it goes from 4:27 to Dorinda Solo Flight which ends the film.


Good stab, OTG. I always loved the ending of 'Among the Clouds' and I remember reading, in Cinefex I think, that they changed the ending of the film during postproduction, simplifying the way Pete gave his final blessing. My own theory, not based on any other evidence, is perhaps we have the original scored ending in ‘Clouds’ and then the revised film ending in ’Solo’?

I am quite fond of this movie and its score, although after all these years I've never thought to rearrange the album. For me, it was an easy case of hitting the skip-track button to begin playing Track 7. I know John produced this album, working with Ken Wannberg and Shawn Murphy, but I always wondered who MCA imagined their audience might be by filling the first 25-minutes (almost filling Side One on vinyl) with country music and rock ballads? It felt like someone was trying to market the film to a more mainstream audience, perhaps because "Empire of the Sun" had been criticized for its bold use of music. Again, that's my own theory not based on anything.

Here's a review of the film that I wrote way back when: http://bit.ly/flashfilmsAlways

 
 Posted:   Nov 27, 2017 - 12:40 PM   
 By:   Jörn   (Member)

Thanks for your help, Talguy ;-)

So "Pete and Dorinda" is the End Title (or a part of it)?

 
 Posted:   Nov 27, 2017 - 12:58 PM   
 By:   other tallguy   (Member)

At a stab:

...The Rescue Operation
Among the Clouds
Dorinda Solo Flight...

Among the Clouds actually has an ending that is not (I believe) in the film. In the film it goes from 4:27 to Dorinda Solo Flight which ends the film.


Good stab, OTG. I always loved the ending of 'Among the Clouds' and I remember reading, in Cinefex I think, that they changed the ending of the film during postproduction, simplifying the way Pete gave his final blessing. My own theory, not based on any other evidence, is perhaps we have the original scored ending in ‘Clouds’ and then the revised film ending in ’Solo’?

I am quite fond of this movie and its score, although after all these years I've never thought to rearrange the album. For me, it was an easy case of hitting the skip-track button to begin playing Track 7. I know John produced this album, working with Ken Wannberg and Shawn Murphy, but I always wondered who MCA imagined their audience might be by filling the first 25-minutes (almost filling Side One on vinyl) with country music and rock ballads? It felt like someone was trying to market the film to a more mainstream audience, perhaps because "Empire of the Sun" had been criticized for its bold use of music. Again, that's my own theory not based on anything.

Here's a review of the film that I wrote way back when: http://bit.ly/flashfilmsAlways


That was my guess for the "alternate" ending of Among the Clouds.

They did this kind of album a lot back then. Gremlins, Innerspace, Born on the Fourth of July all had openings with songs and a back end with score.

Nice review. I don't think I ever realized until I was ordering that tracklist this morning how late in the movie the score shows up. I don't know if it was a reaction to Empire of the Sun or just Spielberg doing something different.

I don't think I've seen Always all the way through in more than 20 years. It's a lot sadder to me now then when I was 20. But I still love the score.

 
 
 Posted:   Nov 27, 2017 - 6:19 PM   
 By:   Thor   (Member)

As fate would have it, I just NOW finished rewatching it (probably for the 4th or 5th time), in sparkling BluRay. I've never understood the issue people have this. It's a gorgeous film in so many respects, and few other filmmakers in history does melodrama as well as Spielberg.

Williams' score has also grown on me considerably over the years.

 
 
 Posted:   Nov 27, 2017 - 6:35 PM   
 By:   Kev McGann   (Member)

This is and has always been a deep, personal favourite score of mine.
It came at the time I was starting to romance my missus (27 years ago!!!) and the music is the underscore to that time and memory.
I also think it's some of the most dreamiest and gorgeous music John Williams has ever written.
I can't help with the score film order (sorry) cos I ain't seen the film in years, although I thought Old Timer's Shack (which I think is only partially used in the film) happened later in the film?
I hope La La Land are preparing an expanded edition, under Mike Matessino's guidance, featuring cleaned up sound and lots of extra and alternate tracks.

 
 
 Posted:   Nov 28, 2017 - 1:32 AM   
 By:   Thor   (Member)

This is and has always been a deep, personal favourite score of mine.
It came at the time I was starting to romance my missus (27 years ago!!!) and the music is the underscore to that time and memory.
I also think it's some of the most dreamiest and gorgeous music John Williams has ever written.
I can't help with the score film order (sorry) cos I ain't seen the film in years, although I thought Old Timer's Shack (which I think is only partially used in the film) happened later in the film?
I hope La La Land are preparing an expanded edition, under Mike Matessino's guidance, featuring cleaned up sound and lots of extra and alternate tracks.


Except for that last sentence, I very much agree with your sentiments, Kev.

It's weird how we change over the years. I used to think ALWAYS -- the film -- was a maudlin mess, and that the score was mostly directionless droning (except "Follow Me" and "Dorinda's Solo Flight", which both featured on the FILMWORKS compilation, and thus "fooled" me into thinking the rest of the score was like that).

But as I've grown older, I've started to appreciate Spielberg's brilliant channeling of Capra, Hawks and others (like he does wonderfully here, as well as in the likewise underrated THE TERMINAL and even BRIDGE OF SPIES), especially in setpieces and photography.

I've also veered away from the big and bombastic (partly due to my severe tinnitus), and started appreciating the explorative, ambient, delicate. Like the "Heaven" cues in ALWAYS.

Rewatching the film yesterday (first time on BluRay) was yet another revelation in this respect. Some of the hokey comic moments don't work that well, but the emotional moments were brilliantly executed.

 
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