Datameister

To be fair, as much as I prefer Marion, she does have a couple of screamy moments. "Indy, the torch is going outttttttt!!!" is not the high point of that film. And again, to be completely fair, Willie doesn't get on my nerves very much when she's not screaming or whining. But the scenes where she is screaming or whining are long enough, frequent enough, and salient enough to do some damage. Back to some TOD positivity: How great is that last shot, dollying away from Short Round into the kiss? There are so many shamelessly iconic shots in this film.

Off the top of my head, I'm going with, "That's what scares me."

While the thread is bumped, I'll correct the "me" of four years ago: JW didn't revise the opening of the end credits for ESB. He revised it as part of the expanded Throne Room concert arrangement in 1977, and then ESB (and all subsequent films) used that version too. It's a minor quibble, but if you prefer this revision, it's worth noting that it was already a few years old by ESB. Same situation for the end of the ROTJ credits. Take that, younger Datameister.

The Emperor's Theme is always a spooky good time, but the big statement in the horns when the electrocution starts in ROTJ … perfection. Luke and Leia's theme is unusual in that it was written for the OT but didn't get its best rendition until TLJ.

That one gets on my nerves for some reason. I've never been able to put my finger on it. There's a lot of good stuff in it but I can never listen to more than a few tracks at a time.

It wouldn't be the first time that's happened to me, but no, I tracked perfectly fine. It was a gloomy, joyless look at an Indiana Jones who's lost it all. It's the first film in the series with a genuinely sad ending. Indy will get to spend his twilight years processing his overwhelming grief, struggling to rebuild a collapsed marriage, and being forgotten/left behind by a world that has no interest in him as a professor or an adventurer. Could that have logically been the way things ended up for the character? Sure! But why on Earth would you want to make a movie about it? TOD can be irritating and even offensive at times, but it's still a fun and memorable adventure that's elevated by Spielberg's inimitable cinematic stylings and Williams's dazzlingly chaotic ballet.

I may gripe and bitch and moan about this film's many flaws, but I can hardly disagree with any of that, @Andy.

Batman is the greatest score that franchise has seen to this day. The Last Crusade is significantly weaker than both of its predecessors. But I generally prefer JW over Elfman. Hard comparison to make. My gut says TLC. If I had to jettison one of those scores from my life forever, I wouldn't pick TLC.

I watched it once. I'll say this: I emerged with a whole new appreciation for KOTCS.

It's god awful! Can you imagine the character we met in Raiders making those sorts of clown faces? It's as if Spielberg kept pushing Ford to ham it up harder and harder, and when he finally broke down and did an intentionally terrible take, Spielberg was like, "THERE it is!" I forgot about Nocturnal Activities, though. One of the few times the film is every bit as funny as it's trying to be. There's also a long list of truly great individual shots in the film, regardless of the quality of the scenes they're in. And for all my gripes about this film, I think I'd rather be trapped in a room with it running on a continuous loop for 24 hours straight than watch Dial of Destiny just once.

The mine car chase, easily. And any scene stolen by Amrish Puri. I also really like the spike room, other than the atrocious "We are going to die! ☹️"

It really is interesting how these conversations can veer into such extremes on both sides. If I were to sum up my take: Potential advantages of an OST: More concise, cheaper, more accessible, less risk of listeners getting bored due to long runtime or the inclusion of less interesting material. Requires no editing by those who prefer a curated musical summary. Potential advantages of an expanded presentation: More music to enjoy. Archival value. Provides more of a look into the craft of film scoring, and filmmaking writ large. Maximum flexibility for the tiny subculture that likes to edit and rearrange things. Different scores lean differently into the advantages of the two formats. Digital distribution eases some of the difficulties associated with physical albums, but it can introduce new ones too. Scarcity does make things feel more special. Delaying a complete release can actually make it more enjoyable when it finally comes. The cost is yearning and frustration in the meantime—and the potential for loss or degradation of the source material. If the delays go on and on, some fans will die and miss out altogether. Only releasing a package deal with both presentations is probably a bad idea financially in most cases. We don't have access to detailed business records, so it's impossible to make fully informed judgments on what's economically viable. Every score is different. Every listener is different. Blanket statements and one-size-fits-all approaches won't cut it. Mostly. Whatever other thoughts I'm forgetting.

I would agree that many complete scores are too full of functional but uninteresting music. Maybe the difference is that you have more interest in a wider variety of scores than I do? The scores with a lot of boring stuff tend to bore me in OST form, too.

Such a 180. I feel no need to swing to that extreme. Minority Report is a better listen on the OST. So are some other scores. Still others aren't. I can't help seeing "THROW OUT ALL ADDITIONAL MUSIC" as a bit of an overcorrection. It's all subjective, of course.

Fixed