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So I finally got the read Matessino's liner notes today. They're great! The JP notes open with a bit of history of dinosaurs in cinema, discuss the entire production of the film and its postproduction schedule before moving onto the talk of the score. In that section he discusses the 3 themes of the score and which tracks they can be found in (He interestingly notes that the carnivore theme isn't introduced until the T-Rex Chase, which threw me because I had always thought it was introduced earlier than that for some reason). He also says its "a chromatically skewed segment of the dinosaur theme" which I hadn't known before. He also mentions that there's a motif for the electric fences in both "The T-Rex Chase" and "High Wire Stunts"; I wonder if that's a mistake because to me, the suspense motif is what's heard in "To The Maintenance Shed" at 3:51, then reprised in "High Wire Stunts" from 0:00. Hmmm. EDIT: Oh, dang, I'm slow, there the theme is right there in The Falling Car 1:10, 1:40, 2:05, 2:18, etc, duh! The notes also talk about how no music was ever planned for the T-Rex attack, which I had kinda forgotten about (Imagine if Williams HAD written 5-10 minutes of suspense/action cue for that sequence and we never knew about it until now? How wild would that have been!). Anyway the JP notes were really interesting, Matessino draws some neat parallels and makes some interesting observations throughout, I really enjoyed reading them. I forgot to mention he also talks about the ushering in of digital cinema - not just in special effects but also DTS sound, and I liked that Williams visited the sound team to see what sounds the dinosaurs would make so his music wouldn't compete with it. For The Lost World, everything Spielberg and Williams got up to between the two films is discussed, the fact that Spielberg never planned on using much material form the sequel book, some interesting stuff about the parental themes introduced in the films that weren't in the books (also mentioned in the JP notes), and other stuff before moving onto the score talk. In there, he does mention the influences of the scores to King Kong, Hitari (also mentioned earlier as a film influence to Spielberg), and White Witch Doctor's score. I like the way he describes the Lost World Theme as "creating a sense of adventure in the face of constant peril". Also what's really cool is, he describes how in the first film, the carnivote theme was a 4 note descending theme, but in TLW, the theme for the dinosaurs is a 4 note ASCENDING theme. He writes that it "immediately tells the listener that the dinosaurs have "ascended" to dominance and have defined their own environment." He also points out that there's a minor theme for the baby stegosaurus that returns in In Trailer, which is something I hadn't noticed! The notes say that the score's dominance of percussion was Spielberg's idea, and also notes that the main TLW theme was only intended to accompany the arrival at and departure from Isla Sorna, but Steven liked it and tracked it into several other spots. Overall, the notes were a very entertaining and insightful read. I hope Matessino continues to write the notes for all future Williams/Spielberg expansions!

JWFAN member toothless still hasn't chimed in to give his opinion on the matter. I wonder how he feels about all that...

Just posted my album review at Music Behind the Screen. Enjoy! Check it out here: http://musicbehindthescreen.blogspot.com/2016/12/quick-review-fantastic-beasts-and-where.html

Is the teeth thing really worth destroying the set over?

This is cool.

Every fucking film!

All shipments are delayed while the whole staff of LLL is frantically drawing in teeth on the front cover using sharpies!

Without a doubt Williams must be using a Steinway baby. And that's also how he addresses it.

It was meant for the end credits roll. The moody 30 second ending with the synth choir performing the TLW carnivore motif in the Tranquilizer Dart was originally where the score ended (emotionally a very strange choice, way too pensive) and the concert version of the themes was meant to start at the credits. And I have always thought it strange that JW prefers to perform the "hymn" theme so fast in the concert suite he conceived. It feels like the orchestra is playing as fast as they can so they can go off to lunch or something.

Final Fantasy: The Spirits Within - Elliot Goldenthal

I think that using the TLW theme where he put it in place of what Williams wrote for The Trek and High bar and Ceiling Tiles works. But I don't think it works where he put it in place of what Williams wrote for The Round Up and Ludlow's End. It changes the tone of the scenes, and I think the tone Williams originally had makes more sense.

I do hope they record the Main Titles again for each sequel film instead of reusing the first film's recording like the prequels.

I listen on my hi-fi. None of this music-on-the-go crap.

The Eye of LeBlanc sees all! Naked and helpless are we in front of it's piercing stare, which looks at us cold and calculated, and unsympathetic!

I just love how people make opinions on the sound of a release they havent heard before based on the wave form.

Accidental Tourist JFK

I wish Skyy38 was here to clear things up for me.

i'm sorry

Well yeah it was called Star Trek

What a weird thing to decide to fake on Wikipedia. The only thing I've ever "faked" on Wikipedia was adding myself to the Notable Residents section of my home town's page with a ridiculous reason for my notability ("world-renowned yodeler", etc.).

This is the kind of stuff I have to wake up to instead of glorious Jurassic Park and Lost World discussion?

I've grown to appreciate the score for AOTC a lot more now that we have almost (minus the unused music) all the score thanks to the various games...especially The Old Republic.

Yes, m'lady.

A.I. Artificial Intelligence LLL Expansion Disc 1 - John Williams Perfect soundtrack for a cold late Fall Sunday afternoon.

Tyrannosaur teeth.

It's a bit sad that the LSO can't be part of the new films, but it's not the end of the world. TFA had to be recorded in London with the LSO, but then schedules were reshuffled for a variety of reasons and hence it was decided to record in LA. I'm sure JW is the first to be kind of sad that the LSO isn't part of the SW tradition anymore, but sometimes you have to move on and adapt to the new situation.

Fuck yeah!

A foreboding that Eddie is gonna be eaten! On The Grass now! It's official, The Lost World is undoubtedly Williams' coolest score!

Seven Years In Tibet

Actually I only bought one version of Fantastic Beasts. I got the rest as gifts ? Tis still better than Gia's stuff too.

When he talks about what I listen, my husband generally use this one and only sentence: GEEZ... WHAT THE HELL ARE YOU LISTENING???

Heh...we got a loads of those too. damn english borrowing from latin

https://www.valerian.bnpparibas/ With this lottery (and a game) you can win a chance to attend the recording sessions and some post production sessions. It says the recording session will be in late february

Bojack Horseman. All of it. The entire fucking show. There are very, very few tv shows, films, or even books that hit me that hard. Sometimes, you finish a movie and say "wow, I feel like shit now." And then there's the Requiem for a Dream/House of Sand and Fog level of "I'm just going to stare blankly at the screen for the next few hours." Bojack Horseman joins that pantheon, and, remarkably, does it while still being alarmingly successful as a comedy as well. Quite a few jokes easily rank among the best-executed I've seen in any medium. It's a show that takes the Scrubs technique of emotional manipulation and then attaches it to a rocket ship...one of those SpaceX rocket ships that can go up and then come back down, but also crash fairly often. Without spoiling exact details, there's a new endpoint on the scale of "how heartbreaking is it, on a scale from vaguely sad to RFAD?" and that is the penultimate episode of any Bojack season. S1E11 - Downer Ending. (That's not a spoiler, it's the episode title). S2E11 - Well, Bojack's hit a new low. S3E11 - That's Too Much, Man! (Again, episode title, but seriously - that's too much, man.)

Do you want to hear a bass guitarist joke?: A bass player walked past a liquor store.

His name rhymes with Latino!

Thanks, Jay! Also, regarding this release, I had to laugh about the toothless T-Rex. Pretty funny, but I'm sure it's an error that LLL will correct. I'm just happy to have these complete albums. The first copies of these scores that I owned were on cassette when I was about 5 or 6 years old.

I saw the film, need to see it again on Blu Ray but I don't remember any "I strike now" xD Strange if it's the same guy, must be a troll. The total length is not even 387 seconds long soooo

And it's also super weird that 3 of the 5 "songs" titles are already in the OST! I say fake!

That idea of only letting the composer watch the film once with temp track sounds cool. Might strike a good balance between composer freedom and directors' ideas. The major problem with not having a temp track is that it doesn't necessarily mean the director gives the composer much freedom and trusts their vision. For example, it seems like for Fantastic Beasts Yates brought JNH on super-early so he could temp with new JNH music. Of course, I suppose it's possible that even before that JNH was shown a temp track of older music, but I get the sense that the process worked a little differently on this film since JNH revised many cues 30-40 times. Perhaps Yates gave JNH freedom with his initial ideas, but then forced him to keep changing over time. Whereas perhaps it would have been better if Yates had hammered home what he wanted and JNH could have done things faster. I'm just speculating about most of the circumstances here but even as a hypothetical scenario this is interesting to consider.

In this case, and I'm right, Jurassic Park was a good OST when rearranged into a more chronological order (retaining album versions such as "Incident At Isla Nublar", because that's just a killer track), but it was missing some good stuff, including my favorite cue "The History Lesson". So the 20th Anniversary version "fixed" that issue and presented us with a more satisfying version, although they removed the chair creak from "Journey To The Island". All that was missing really was unnecessary dissonance and material that sounds like it's from the JFK score. The Lost World, on the other hand, was missing an absolute shit ton of kickass Williams action/adventure, suspense and monster music. It was a good OST with a lot of highlights and a good taste of the score, but it's amazing how different it is in complete/chronological form. It's an entirely different beast. It flows better, as a listening experience, in my opinion, which is correct. It should be the preferred way of listening to it.

No. TFA might sound proficient, technically, but one can "feel" that it's not the LSO.

I'm very confused.

Hello, one more video in these jurassic days ;-) this time, with the interview before.

Bullshit. This book will be a huge best seller because a lot of the book fans don't even watch the show. Compared to the books Season 5 and 6 sucked.

I never cared about the details of how the crew came to be slaughtered, it doesn't matter in this sort of movie. I also really enjoy the t-rex finale and always look forward to it.

LEGO is what I make my living with