Gruesome Son of a Bitch

Last Crusade's end credits are tough for me to get through. The Raiders March is so "blah" there.

Can't get enough of Schindler's List lately.

It's an awesome rendition, but I agree.

The shark always looked fine to me in the original.

The part where Indiana Jones jumps onto the car with the troops and then the Raiders March just cuts out and there's this goofy Home Alone-esque Mickey Mouse moment? Not only uninspired but downright offensive.

"Destiny's Path" from Memoirs of a Geisha = zzzzzzz...

I disagree about Holiday Flight from Home Alone 2. I love that cue, especially how it's the slightly alternate concert version. The JP theme at the end of The Lost World kinda stinks. I definitely do not prefer the faster tempo. It really takes away from the theme and it makes it very cheesy.

I can just imagine the horror of a Jaws Special Edition. The colors will be all wrong and everything will be too dark, the shark will be digitally enhanced and the CGI will be completely obvious and draw attention to itself, various changes to make the movie more in line with modern Spielberg (Quint will be removed from the scene where he's yelling on the deck of the Orca as Brody says goodbye), Williams' score will be edited out in critical moments.

It would have been totally out of place in the movie and with the rest of the score. Not even in a way that makes sense, like "Banning Back Home".

Do not want.

Typically stupid JW CD editing.

I just had this weird image of Williams going around his house and setting up traps to keep fanboys out while listening to his Home Alone soundtrack.

Pretty wonderful playlist tonight. The original CE3K album, Jaws, Superman, ROTLA, E.T. and Home Alone 2. What the hell was Williams thinking with that alternate Holiday Flight?

I just want to say that while I don't participate in editing the PT music, I love reading through this thread. I usually learn something new and there's something just sort of comforting about just how obsessive you guys are with this stuff, and I mean no disrespect. I'm just very entertained with the thread is all I'm really saying.

I used to always skip the Abduction of Barry...perhaps I considered it "filler" music. Regardless, I've loved it for some time now. I guess CE3K really grew on me. I still don't like sitting through the first three minutes of Eye to Eye. I've always loved the Indianapolis Story. The E.T. closet music is not a highlight of the score, but it's like 30 seconds long! I still want it officially released with the rest of the score. By the way, I was listening to my expanded ROTLA DCC/Concord hybrid playlist and remembered how awesome it is that we have Bad Dates. I especially love the ending when you see the dig site. For some reason I always thought that ending was a weird edit/insert from watching the movie. Even the "boring" parts of JW's 70s and 80s scores are better than a lot of his more exciting cues from modern scores. It needs to be said. I'll repeat myself. Nothing in Jaws, E.T., ROTLA, SW, CE3K or even Hook feels like "filler" music. Yet I listen to modern scores like Nixon, Stepmom, TLW, Geisha, etc. and skip a significant portion of the CDs. KOTCS is a pretty bad offender. I can't make it through the cave and temple scenes.

I'd rather go deaf listening to JW's worst score than listen to that Steve Jablaoksnsksky shit.

Party's over, Oskar. They're shutting us down...

There's something brilliant about the Well of Souls music. It's some of JW's best suspense writing. Jaws and E.T. are perfection. There's a not a second of filler music. The closest thing I can think of at the moment relating to the topic is the first 3 minutes of "Eye to Eye" from Jurassic Park. The rest of the album is entertaining, thematic, generally a very good JW score with fairly decent track selection. Then you've got these three minutes of boredom, meandering sounds that I have no idea what it was composed for and clearly does not work outside of the movie. Naturally, it's on the CD while good stuff like the jeep chase and Grant meeting Tim are MIA.

It is trendy, isn't it. It seems films nowadays don't even need any of this pointless music, but perhaps when a composer and orchestra are attached to a film, for monetary reasons they contractually require a certain amount of film music to be composed/recorded.

Stepmom, The Lost World, Nixon, A.I. and most of his other modern scores feature this kind of music at some point or another. I skip that whole first half of "Stored Memories and Monica's Theme" (which was also a huge waste of disc space), "The Compys Dine", "Ludlow's Demise", much of KOTCS, most of Stepmom. I compare a lot of the darker, ambient/atonal material to Jaws or CE3K, which are like the damned gold standard. Williams just isn't as talented with that kind of music anymore, or he just hasn't been very inspired since the early 90's.

Fire in the Sky too.

ROTS has a ton of great moments. It's a very nice selection of music and I'd love to have it all officially released. Yet, in the context of the movie I hate how Williams threw in these random references to the other SW scores, like the Rebel fanfare when Artoo uses his Ewok zapper on the bug droid, Anakin's theme in that one instance, the Coruscant departure in the blockade runner scene, the duel from ESB when the Emperor is fighting Yoda! I was never even a proponent of musically introducing the Imperial March in the prequels for instance since it's chronologically missing from the original SW, but at that point it was like what the hell. I try to believe it was never composed for that part of the movie, but it seems it was. I wanted to hear the Emperor and Yoda's theme in some wonderful new action cue that we would be salivating over rear channel rips for years. Even Duel of the Fates in that scene felt phoned in and I love that piece regardless.

I think that ROTS is kind of a mess thematically. The love theme in AOTC gives that score more consistency. By the way I find it amusing that the AOTC soundtrack includes no references to the title clones outside of the actual title. Williams mostly avoid that whole angle of the film when he could have composed a new republic march or something. Definitely a failure.

I enjoy the score to Wes Craven's New Nightmare, but I can't say the same for anything else that J. Peter Robinson has composed.

I like Dinosaur, but I wouldn't rate it THAT highly. The Dark Knight was an especially awful listening experience for me personally, though maybe I should attribute that more to Zimmer. Or my own musical tastes.