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Great videos! Thanks for posting! Definitely warranted a new thread in my opinion. What struck me most, was the first video: here's Spielberg who I assume can move a mile a minute when making a movie, and who's mind is racing with ideas, and bursting with creativity to get his vision out....But simply explains his ideas, and then patiently....patiently waits while JW ponders the request and looks over the score. I could probably count on one hand the times I've seen a big wig celebrity type sit and wait for something like that. You can really see the decades of friendship and comradery. Please, anyone who finds these gems on youtube or wherever, please don't hesitate to post them, make a new thread, whatever. This stuff is gold as far as I can tell.

Maybe we'll wake up tomorrow and the complete SW prequels will be on itunes

I'll be sticking to my trusty 1993 CD for this one, apart from the new tracks. I always loved how it sounded.

You need "a typing master's understanding".

A Hobbit Fuckin' Understanding you say. A new motif? Brilliant BB! Good ears!

Well, all this hype made revisit the score (with which, like most of you, I am greatly familiar) ad what struck is how varied and ecltectic this score really is. You get everything from angelic choir (Hatching Baby Raptor), pulsatic syncopathic synth suspense (Dennis Steals the Embyo . and what a wonderful piece of mickey mousing this is within the movie), manic dangerous suspensed(High Wire Stunts), an modernistic and highly impressionist horror cue (Raptor Attack), a very nostalgic and touching lullaby (Remembering Petticoat Lane), a jungly, tribalesque cue (Jurassic Park Gate), an enobling cue for the dinosaus (My Friend, the Brachiosaurus), absolutely exhilarating action cue (T-rex Rescue and Finale), and I could go on and on, but there aren't many scores with so many different colors and moods.

I promise you, he was just thinking. There's nothing "passive-aggressive" in his interaction with Spielberg. This is what directors and composers do during the scoring sessions—or what they should do. The composer's job is to make the director happy, and they're always ready to make adjustments on the fly in order to cater to the needs of the film. (Goldsmith was legendary for this.) That's especially true when a) the relationship between the two goes back decades; b) said relationship is predicated on common understanding and and easy rapport; and c) the director considers music as important an element in the film as any other component (as Spielberg always has). Spielberg doesn't necessarily understand the intricate language and technicalities of music, but he knows the palette available to him, and how much he can reasonably draw from it. In this case, we see him making a request that's not a simple matter of adding a few measures in one section of the orchestra. It requires modulation at the very least, and a possible transposition for another section at the most. There are logistics involved in such a change—the time needed to reorchestrate, get the changes to the musicians, make sure everyone's on the same page with it, etc.—and you can see Williams taking those logistics into account here. Spielberg's aware of them too, which is why he suggests moving the recording for that cue back a day to compensate. But Williams isn't seething with resentment at the idiotic director interfering with his masterpiece. He's just working through the puzzle, looking for the right fix. They've done this a hundred times together before. If only we could hope they'd both be around to do it a hundred more. . . . - Uni

I can't bring myself to complain about what they haven't released, or might not release, or the quality of what they have released, on a day like today. If someone had told you people on Monday you'd be swimming in eleven minutes of unreleased JP music on Wednesday, you'd have pissed yourself with glee. I'm thrilled with this—and somehow the fact that they didn't trumpet its imminence for a month ahead of time makes it even better. Think about it: we always hear about upcoming releases these days. We're constantly ticking off the days until we're able to pre-order a new release. How great is it to wake up and find one of our grails, something we've been waiting years to get our hands on, right there in arm's reach? That alone has enhanced this experience. It leaves me that much more grateful to the folks who put this together. I think the remastering is instantly apparent, and the sound quality is fantastic. I love the new music . . . and somehow, today, it almost seems like the "old" music has a new feel to it. Maybe that's just because I'm so happy to be getting this. Whatever. I'll enjoy this as it was meant to be enjoyed, as the Maestro clearly intended his audience to enjoy it. Thank you, John. - Uni

Cool! I really like that unreleased cue where everybody gets into the jeep to tour Jurassic Park. (And yes, Jason, you can yell at me for not knowing the proper cue title.)