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I'm listening to that right now.

Did you drop it after Stepmom?

My daughter has gotten really into Superman: The Animated Series lately (Batman TAS just didn't grab her interest) and it's been great to revisit for me, what a great theme!

Without having seen the new film, nothing in it suggests that a theme like Elfman's or Walker's would feel out of place. In fact, the Animated Series used both, and they both worked very well. And even though Batman is probably the most versatile of all superheroes, with a myriad of different aproaches to the material, I still feel the themes by Elfman, Walker and Goldenthal captured the broad strokes of what the character has always been (with the exception of the really campy aproach), and really elevate and add to the believability of a really far fetched concept. This theme is just non descript. It has no character. It's not a theme that captures a certain version of Batman. It's a theme that really does not capture anything at all. No identity. Just a very general mood

Disliking the song is such a common opinion among nerds that it's pretty much a cliché. I probably wouldn't like the song if not for its association with the movie, and with the movie being a huge pop culture milestone of my childhood. But it does have those associations, so I like it!

Nah I know people who can't stand Celine Dion either. I'm personnaly only like this one (mainly for Horner's music), Ashes (from Deadpool 2) and I'm Alive (best use of Celine Dion in a movie for Sur la piste du Marsupilami)

I absolutely agree with what you said. Musical themes aren't supposed to represent a character of its entirety but nevertheless composers will explore commonalities in different iterations of the same character and reflect it in their work. The only doubt I had was when Danny Elfman completely ditched Batman's musical element in BvS and re-arranged his 1989 Batman theme to (successfully, at least to my opinion) represent a 2017 Batman who was grumpy and cynical when introduced. That is the only time I wondered whether it is feasible to use a prominent old theme to represent a new version of the same character through different arrangement and orchestrations. It's Giacchino composing for Matt Reeves so my first reaction is to comparing the new theme with his Apes work. The only problem I have is the transition to the "Batman rhythm" is way too abrupt. Unrelated to MG's work here, I think Walker truly excelled at making themes for two famous superheroes that are needed in animation without losing the gusto of their symphonic and heroic vibe. Hence I was beyond happy when hearing Wallfisch captured the same vibe in his Shazam theme.

Am I the only one who stopped listening to Titanic about twenty years ago?

I feel the same way about Walker’s Batman theme as I do about her Superman theme: a great companion to its film inspiration but definitely not better than the film theme. Which is not meant to diminish her work in any way!

Yup! And they strike an even better balance of that comedy in S2. I've been watching Search Party after seeing @Jay's posts about here. Three seasons in, it's such blast! Such a weird little show that mixes up drama and laugh-out-loud comedy in delicious ways. The cast is fantastic!

Then I don't see anything wrong with the micro edits, as this version flows very well.

The DE was just edited so that it could fit on one disc though, wasn't it, only inherently forcing Davis' curation. If Townson had bothered to go for a proper 2-CD presentation at that time, there'd have been no need for this edition, right? Among a lot of little things missing, it was the microedit retained from the OST in Ontological Shock which constantly prevented me from buying the DE.

Pretty boring on its own, but might work well in the picture. We'll see.

Couldn't agree more, @Dr. Know!!! As you well know, "Contemporary Tease" is my favorite of the bunch, based on its appearance in that Athens Olympics promo video posted by NBC back in the day.

For my own part, I don't have a massive investment in comic book characters or the various incarnations. Having said that, I guess Walker's theme embodies the character most closely for me, mysterious, dark, but also fairly grand. Elfman's does that too but Walker's feels just a bit more thoughtful rather than action packed. But they are both great themes, as is Goldenthal's. Similarly, for me, Elfman's take on Spider-Man is perhaps the most complex, weaving (haha) various facets of the character and his alter-ego in the opening titles and then taking those ideas and using them intelligently throughout the scores. Having said that, I find Horner's the most memorable being one of those melodies that randomly pops into my head unbidden frequently yet Giacchino's theme, especially when it's not over-orchestrated and presented with a lighter touch, best characterises PP/Spider-Man as a geeky, relatively ordinary kid whose heroism is a little more grounded (metaphorically) than the grand heroics of Superman etc. I've thought about this way too much...

Yea

I prefer My Heart is a Thumb.

Am I the only one who avoids My Heart Will Go On every time I listen to Titanic?

Is it the same edit as on the OST?

That's indeed better. Now I just have to play it again with those two added

Including the distractingly micro-edited Trinity Infinity. The complete release may have more "skippable" tracks (for example, I wouldn't consider the restaurant source music strictly necessary, although I don't mind having and listening to it), but I don't find it any more "raw" than the Varese DE.

I don't know, I never listen to it.

I inserted the song into the track listing in my digital copy. It's part of it! I also switched out the "intended" Portrait cue to the bonus tracks and put the piano version in the main presentation.

Titanic (LLL) by James Horner Terrific presentation of a perfect score, what a tremendous listening experience it is. I only regret the absence of My Heart will go on

Community: Season 2 Simply perfect. The two finals episode are such terrific pastiches, giving Göransson the opportunity to make two beautiful score ala Morricone/Williams that deserve a proper expansion.