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Long time lurker and of course huge fan of JW. I absolutely love the new collection, as it's something I've been longing for since 1997. TLW score has been severely underrated and of course given a shortened 14 track OST originally... but now we can all rejoice. TLW extras have given renewed life to the score and I hope this gives it exposure to those who haven't gotten into it before. So far the "Corporate Helicopters" is my favorite addition. Amazing work by JW. I don't want this to seem like a flat out plug, but I interviewed Mike Matessino this past weekend about this collection and figured I'd give you all a heads up. Take a look if you want to: http://www.jurassicparkpodcast.com/home/2016/12/12/interview-w-mike-matessino-produced-edited-mastered-the-la-la-land-records-jurassic-park-collection-episode-77 I'll try not to lurk anymore and actually be an active participant. I've always liked coming around here.

https://www.varesesarabande.com/collections/cd-club/products/star-trek-beyond-the-deluxe-edition http://store.intrada.com/s.nl/it.A/id.10716/.f http://www.musicbox-records.com/en/cd-soundtracks/4302-star-trek-beyond-the-deluxe-edition.html http://www.moviemusic.com/soundtrack/M10739/star-trek-beyond-deluxe/ http://www4.screenarchives.com/title_detail.cfm/ID/32356/

Whoa, I'd been saving this past fortnight for the new Jurassic Park albums, but screw it I'm gonna use the cash to get this instead.

William Ross has actually written every John Williams score except COS.

In Civil War, they lacked the key to their success in Winter Soldier: namely, focus. In Winter Soldier, they had 3 central heroes to focus on (Cap, Black Widow, Falcon). This movie shouldered a lot - including introductions for Spider-man and Black Panther. And it included every Earth superhero at this point besides the Hulk. For what it's worth, while it was a little overloaded, I liked it better than either of the Avengers movies. The airport scene with the heroes trading quips and matching their powers against each other was fun, and the "quieter" ending than expected was a nice twist on our expectations.

Music Composed, Produced, Orchestrated, Conducted, Packaged, Shipped, Listened to, Criticised and Shunned By Howard Shore.

I've said it with more words and probably more eloquence elsewhere, but - this guy really fucking irks me. Bits of greatness here and there. Lots of mediocrity. And most egregiously, a brand which has insidiously gained acceptance by resembling enough peoples' childhoods (on an extremely weak surface level), a fact which will lead to a continued and spreading mediocrity when it comes to old school orchestral scoring. Were you mad when Zimmer replaced Silvestri? You should be mad about Giacchino replacing Desplat. Zimmer, as it turns out, is a great of film music. Will Giacchino manage to turn things around, ever?

My set has been processed through the sort facility in my country! I have a feeling this will arrive tomorrow, and it ain't a bad feeling either! Harry Potter next or riots will happen!

Welcome! And thank you for sharing the interview! After listening to the interview I have to say it again: Mr. Matessino you are my hero! The explanation on the administrative "entanglements" this type of release has makes you appreciate the work gone into making this set all the more as they have to go into these convoluted negotiations on the rights and who owns what. Boggles the mind how complex it can get. And it is shocking how quickly the multi-track masters deteriorate. Even the ones from 1993 for JP were in bad condition. I am glad Matessino was there to save them. Without the Live Projection concerts this would not have happened as they were not used for this set but serendipity and damn good luck saved them in digital form. And the story of how meticulous the assembly of the whole 2 score set has been makes you really appreciate Matessino's work and LaLa-Land's dedication to the music of John Williams. Aha! Matessino reveals that the original cue title of The Saboteur was The Menace Dennis! Oh Johnny you are so funny. Oooohhh at the end Mike also strongly hints that there will be some great John Williams stuff coming, perhaps next year or so, advising us to start saving money. He mentions specifically his good relationship with the Amblin Entertainment. More Spielberg/Williams collaborations?!!!

William Ross actually wrote the whole score.

About the upcoming Pops recording, here are a few thoughts: - All the Pops recordings (and most, if not all, BSO) from the last few years come from live concerts, broadcast or not (the Williams' Oboe and Harp Concerti were both recorded live, the former wasn't broadcast, though the later one was). From what I've been told this won't be any different; - From a bit of info I collected, it is expected to be included the Towering Inferno main titles. I'm not really sure, but I think Lockhart conducted Jedi Steps and Finale, not the concert version of Jedi Steps, but would love to be proved wrong; - Night Journeys have been performed a few times live, by Williams himself conducting. John Mauceri recorded back in the early 90's with the Hollywood Bowl Orchestra. The Men of Yorktown march on this expanded form has surely never been recorded. Not sure if it has been performed before or if Williams prepared a new arrangement.

The teeth will have faded from The Lost World logo as well. It'll be just like the thawing scene from A.I. But instead of David approaching the Blue Fairy, I'll be cautiously approaching my two thousand year old frozen CD player, only to have it explode into a thousand pieces upon pressing play. All that shall remain are four compact discs and the toothless inserts, unusable for all eternity.

Off topic: I'm still waiting for Disney to announce a special limited edition Rogue One album with 15 levels of emboss!

I want my Band of Brothers Complete Recordings! So much great music in that show!

I've never heard any of that. Sounds like college kid music major crap. Alex Ross is a worthy guy, but he can't see the future. Though this is a disdain thread, I do feel it's worth pointing out that only a few months ago the guy delivered a really first-class tune, even if it was virtually unused in a sort of otherwise flat score.

Wow! I may finally create a Twitter account just to beg them for a complete Brazil!

These aren't young composers. They're in their 40s and 50s.

My problem with Gia is this. He starts an idea but never finishes it. There's never an end in sight, he just clips his themes at the start and doesn't follow through. I will again mention the Star Trek theme which is not a theme by any standards. It's a motif, and a flat one at that. When you think of what Goldsmith wrote as full fledged themes for many a Trek movie and tv series, especially, to me, First Contact, which just soared in its simplicity and beauty, then you get this thud of a few notes from Gia that sound like the ship tried to fly but just anchored itself in constipation, it made me not want to watch what I actually thought were decent movies. The same can be said with his Jurassic World score. His attempt at a theme to coincide with the incredible and again, simple Williams theme that is iconic now, was to turn the notes sort of backwards? And it again, just lay there lackluster, which is why they probably went back to Williams theme to give that sense of awe and nostalgia. I also don't think his chase cues are all that intricate or musical but it is better than many others out there that just repeat a note ad nauseam. I don't know, I feel bad saying this stuff, and I know in time I will get fucked sideways with a chainsaw when I get critiqued, but I was really actually looking forward to Desplat doing this if Williams could not. Or someone else who could write great themes. Star Wars needs themes, it's a space opera. I do think he will do better on this than his Trek attempts. I will go into Rogue One optimistic.... I think....

I like (even love) many things Gia has written but he's gone sour to me in the last couple of years. He's regularly farts his way through dream assignments while better composers like John Powell and James Newton Howard are stuck scoring C-grade animated films and F-grade live-action films. I do think that we'll all warm back up to him once he's out of the spotlight. His music can be very appealing. He's just been stretched too far and too quickly (like Silly Putty)

So all the constant Giacchino hating from here on out will be done here and not in the various Giacchino score threads? Awesome! Great idea.

Just bought tickets to the Finnish premiere of the Philosopher's Stone Live to Projection Concert for me and my two friends for next March and those were even quite reasonably priced, only 35 €. Also happy to see my hometown symphony orchestra doing this which shows that they are willing to try out these kind of events. It can only bode well for the future. Something very special to look forward to for next year!

That's ridiculous. They did it to release during the 50th anniversary year

Got mine now too!

Mine just arrived in the mail!!!

*Insert Film Composer Here.* Is that the memo that Marvel Studios send out to their directors?

I really really liked the last act of this movie. It was so much better than the overblown finales of basically every other MCU movie. Focused on characters and it worked so much better.

You might not like Desplat Thot but there is no denying he has a very clear voice and style. Karol

Mine arrive this morning (BTW, I love what was on the postage label - it explains why LLL packages never get stopped )

Sex change? Not that it is any of my business. Karol

If I remember correctly Ross was assisting with conducting on TFA.

While the score is not quite monothematic the main theme is definitely the most prominent individual thematic element in the score. Then there is the love theme for Morgan and Shaw which develops quite slowly through the score and is featured only a few times and then there is the treasure theme as well. A few action motifs recur throughout the various setpieces and a small motif for what seems to be relationship between Morgan and his father (the funeral material which I think appears on the preceding tracks). Notably Dawg is represented not by a readily identifiable motif or theme but textures and orchestrational touches whether incidental evil marches or foreboding brass motifs or throaty male chorus.

Yes that is one of the zestiest pieces on the album! I have admit that my appreciation of the score has improved in this little under half a year since I first heard it. There are genuinely lovely emotional moments in there, especially toward the end of the album. It might be sentimental writing but there is that charming storybook atmosphere to the finale of the score, a musical "And they lived happily ever after" that I find irresistable. Williams does it perhaps better than any other film composer, that warm fuzzy feeling of a happy ending and closure.

I prefer the new mix. The Prometheus records version was a bit muffled in comparison. Also I have to admit I like that they split the long battle track at the end as it makes it easier to navigate to your favourite sections if you are not in the mood to listen to the whole score. The liner notes on the new set are also quite interesting although the track-by-track analysis is again curiously bare, laying out more the action of the film for each track rather than getting into the musical or thematic details, which would have been nice to read about.

But why waste your time hating when you can just pass these things by and find something you can actually love and enjoy in the world of film music. Old or new there is plenty to discover.

The Yorktown thing. I think it's as fully Trek as he's managed to get.

Goldsmith scoring big budget now would be music paired down to its barest essentials. Yet be still captivating somehow.

JNH had a few years of coasting. Doing 4 Hunger Games movies with absolutely no effect at all! And got paid loads! He must have been laughing his head off!

Among all of the expected "Giacchino should score VIII/he should re-score TFA/did you know Williams' orchestrators write his music?/What is an orchestralator?" comments I've read across the internet today, this was my favorite (from someone who apparently did not get the memo):

This one was a pleasant diversion, really. Though listening to TLW recently had a sobering effect on my appreciation for a lot of recent orchestral scores.

There's good reason to decry the term fanboy, but you embody it, leeallen01.

I would rather have given a Desplat Star Wars score a chance than a Giacchino one. I know better..

I just watched THE BFG again and I noticed something really cool when BFG makes Queen's Nightmare: I love how Williams put almost all the themes of the movie in this scene. Starting with the nightmare's theme and then some others: when BFG adds giants to the dream, we hear Giants' theme. When he adds the army, we hear the army motif. And the same happens with Sophie and her theme. And the result sounds really good!

I like most Kamen scores that I have heard, but HIGHLANDER, LICENCE TO KILL, and BRAZIL, really do it for me.

The Iron Giant is probably my favorite Kamen score. The last few cues are heartbreaking and then grin inducingly triumphant.

Digital can look as good or better than film. Are people still having this discussion? Deakins proved this with Skyfall.

I think the second Raimi one is one of the best "popcorn movies" ever made. But I don't really care if Steef likes it or not.