Richard Penna

Given it starts in 3 months or so, it potentially means we're only a couple of months away from hearing the season 2 sampler album. Given how fast the box sold and the general feedback Bear's received, hopefully there won't be any change to releasing episode albums.

He did the same sort of thing with The Core. I don't know it that well but there were comments that at least one cue was omitted, and the rest is almost certainly arranged to some extent into suites. Perhaps Young has changed his view a bit recently, given we got Hard Rain presented properly a few years ago, and now this.

The show I can take or leave. I don't expect greatness, nor a complete car crash. I expect the score to be another masterwork.

It's better without sound The trailer music does not do it any favours.... I mean, they've got 9 hours of Bear's music to form into a wonderful piece and they use..... that. -- Trailer itself looks fine I guess. Nothing to indicate it will be particularly terrible nor remarkable, although certainly upped the visuals/scope for battles - I was a bit underwhelmed when the fighting in season 1 was basically just burning down a small medieval village.

Sorry, typo. TLC.

TLC Certainly against the general view, I absolutely think Jurassic Park comes before Schindler in terms of the variety of the score and the range of ideas displayed. Yes, the latter is about the holocaust, but the former has a musical representation of the awe and wonder of seeing dinosaurs for the first time. As I've said before, the subject matter has near zero impact on my view of a score's qualities, and I strongly feel a work shouldn't get an easier ride critically, so to speak, just because the story has more importance.

I'm not very far from this viewpoint. AUE was fun and manages to retain a flow of sorts. DoS and Bo5A just gave me either headaches or nausea - they crossed the line from being an interesting story to just being 'stuff'. RoP - I liked some episodes and found others tedious and boring. I will optimistically watch season 2 but the only substantial reason for watching by now is to hear Bear's magnificent scores in context, and not because I'm overly partial to the show itself.

For those including me, who hadn't noticed, now streaming in full. I might pick this up eventually as I don't have the OST - it's not a score that needed expansion but if you're in the mood for an hour of quiet, Herrmann-esque psychological music it's probably fine; I've got it on now.

So around 2016 or so! Woah. Really makes me think how many of our most wanted scores are sitting right now completed on servers right now, but have been stuck in legal crap for years.

I'm not one for watching live so I'll get round to these in the next couple of days. I'm optimistic.

I commend the discouragement of pitting scores againt one another (and I agree - I'm hating more and more the playground-esque 'my composer is better than yours!' mentality), but your reasoning here is problematic. Everyone here should be welcome to present their views on which of the two they prefer or think is better, and for some people their musical tastes will result in preferring Batman, while for others it will be TLC. Preferring Batman is not abnormal taste - it's just not the same as yours. In fact, you just said both are great scores, so why ruin that moment of positivity by telling half the board their taste is wrong? In a more extreme case, imagine pitting one of Williams' more minor works against Zimmer's most popular works. Plenty of people's tastes would direct them to prefer the Zimmer score, and that's taste and general musical preferences.

Nah, I think programming an album with all the proper elements would've been fine. Now we know all about his history it's fashionable to accuse him of across the board incompetence, but I don't think that's completely fair. I got the impression that his weird ideas on how to do E.T. were just down to him working in the wrong part of Universal to have access to tapes, but that he still wanted a release to his name.

I thought Incanus was an early praiser of McCreary's RoP work, but tastes do change, especially once the first listen has soaked in. Certainly I think that overall the OST is the best listening experience, but the episode scores have so many other little bits to offer, and I still intend at some point to make an expanded OST which takes some of the better episode moments into that format. I don't love the entire score - it's got some less exciting bits - but having 99% of it to choose the bits I want to listen, long term, is the reason to have this box. I will stand firm on Bear's themes though - every single one he did for RoP is an absolute earworm, completely making up for the lack of a main title theme appearing in the score itself.

Ordinarily I'd say BTTF AINEC, but here's the thing - outside of the clocktower sequence at the end, it's a very inconspicuous score. On the whole the songs have vastly more effect in the film than the score does. A handful of moments are stunningly effective, and most of them are in the latter part of the film, and given The Kiss merges with Earth Angel I think one could easily be forgiven for not remembering any of the score. It's a really good score but it's also massively elevated by the justified love for the film.

Depends how far along the restoration process he got, if he has indeed transferred the tapes. The issue after that is cleaning up, editing, mastering, etc and is Mike/LLL going to invest time and money in that process if they don't have solid backing to release the end product? Sounds unlikely. Having the material safely stored in high definition digital format is surely the only long-term important aspect?