What I am talking about is not including the end title music on the cds. What's up with that. I hate it. I absolutely loathe it.

Anyone got any thoughts about this one.

I imagine this happens because more and more end credit suites nowadays are just different cues from the score edited together electronically, so what's in the suite is actually on the rest of the score.

I'd prefer the traditional approach myself.

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Originally posted by TimT:
James Newton Howards latest Snow Falling on Cedars includes the end credits, and so Does Goldsmith's The Mummy, and so Did Williams the Phantom Menace, look harder :-)

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TimT,
you are right, Snow Falling on Cedars does include the the end title. You got me there. The Mummy, as James mentions does not have the end title as appears in the film. As fare as Phantom is concerned, I never menitoned that film. What I DID say was that the end title music was not included in Hook, and that was the only cd from Williams that I know of that didn't have the end title cue from the movie. Well, on that thought, The Lost World's end title theme is different in the movie than on cd. Why is that?

So, let's make a deal. I'll look harder and you'll read closer.

Scotty

[This message has been edited by Scott (edited 14 August 2000).]

I personally like when the end credits are a reprise of the main theme, it's cool to get two different versions of nice themes.

Other times, a different version of the end credits may show up on the album for the same reason as music cues often differ from those that appear in the film... something needed to be re-edited.

As far as mixing a suite of music for the end credits, I don't like the process myself, but it must be understood as a business decision (it costs less to simply retrack a few cues into the film than it does to pay musicians for another session).

The process has given us some odd variations... the end credits for The Edge, for example. Sometimes (as in the case of Starship Troopers), the end credits suite may have music that is not on the album, giving some temporary relief to the situation.

Incidentally, Hook was not the first time that Williams did not include the end credits on an album he produced of a film score. The original album for E.T. did not have the end credits either.

The case of The Phantom Menace is annoying; it really sounds like the opening of the end title was newly recorded, and the rest of it was assembled editorially from "Duel of the Fates" and "Anakin's Theme" (with the breathing in the film). This practice is a waste of album space.

Honestly, folks, if they're going to leave something off the album, I would prefer it to be the end credits. Why? Simple. You can record it off its video incarnation when it comes out. It's the end credits, so there won't be any dialogue or effects.

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Originally posted by Swashbuckler:
Sometimes the end credits are not included on the album because they were not recorded in time to be put on the record. Howard's score for Wyatt Earp was an example this happening, as was George Fenton's Final Analysis

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Ahhh,

finally I know what happened to that end title of Wyatt Earp. Been wondering about that one.

Swashbuckler, you answered a lot of questions I had. Forgot about the ET thingie. Hehehe.

Thanks,

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What I am talking about is not including the end title music on the cds. What's up with that. I hate it. I absolutely loathe it.

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The end credits of The Piano are a different mix than heard on the album too. In the film, the strings are accompanied by the piano, which it wasn't in the film. When the music segues into the "Heart Asks Pleasure First" theme, the situation is reversed.

Greg, for the most part, you're right. There have been some exceptions over the years, but they're few and far between.