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A brief post to contrast with my ridiculously long, honest & well-meaning but mainly misguided & hastily-formed opinion post from 2005: JW has yet to peak. Will it be for Episode VIII? Episode IX? Indy V? Ready Player One??? (Last one doubtful).... The man continues to refine his craft with every film score and concert work. Stylistically, it may be different from the classic era that so many of us love and appreciate, but it is and continues to be further refined nonetheless. It is such a gift and privilege to us and to the world at large that he continues to share his amazing gift almost 60 years after the debut of his first feature film score. Quoted from the "other" thread..............well said and something for us all to bear in mind.

Through "John Carter", I believe the only time concert arrangements were recorded was when they were intended to be used in the end credits. Afte John Carter he took a year sabbatical from feature film scoring to spend time with his family, and when he return, he seemed to have brought a new process with it: Writing suites first, then taking elements of those suites to be used as themes in the score. Now, that might have actually been what happened for John Carter as well, and they thought recording those suites would be a good idea to form an end credits from, I don't know. But before John Carter it didn't seem to really be done, and post-sabbatical he seems to do it for all his scores... well, for most of them anyway (with no recording sessions leak for a lot of his recent scores, we don't know all the details). Star Trek Into Darkness - he definitely wrote "Ode To Harrison" and "Ode to Vengeance" first as suites, and used material in the first for Khan, and material in the second for Marcus in the film cues Dawn of the Planet of the Apes - Not sure, but might have been back to his old style. There's a 9 minute track called "Planet of the End Credits", but I have no idea if that was an early suite, or an arrangement by someone on his team of the themes he used in the score Jupiter Ascending - An odd duck in not only his filmography but film scoring practices in general, as most of the score was written and recorded before filming began, and they later edited picture to it Tomorrowland - No idea if he wrote suites for this or not. I'd kill for a complete release or session leak, as its my favorite Giacchino score! Jurassic World - It seems he wrote an 14 minute suite first, with all the new themes in it, and those were then used in the film cues Inside Out - No idea without a session leak or complete release Zootopia - No idea without a session leak or complete release Star Trek Beyond - It seems clear now he wrote new theme suites for new themes, and then used those in the film cues Doctor Strange - No idea without a session leak or complete release Rogue One - Seems like he did theme suites first, but he could have done those after to beef up the OST, who knows

Isn't that sort of great in this day and age? It happened to me with TFA and I think the experience was all the better for it.

DISC TWO 1. Franklin, My Dear (2:50) Strange way to start a CD! I wonder if they just put the disc break at the literal half-way point timewise, with no thought towards logical musical act breaks? I dunno. Heck, ending CD1 after this track would have made a lot more sense..... 2. Transporting Good Time (3:43) Nothing unique or special in this track, but it is a nice one, with nice solemn renditions of the main theme, more horn solos, etc. 3. Krall Work And No Play (:37) Another fairly straightforward little suspense cue 4. A Lesson in Vulcan Mineralogy (5:17) Man do I love the Franklin theme in this track!! 5. The Cost Of Abronath (2:35) Woah! Some really cool choir in this track!! Awesome! 6. MotorCycles Of Relief (3:18) Still not my favorite action track of the score 7. Mocking Jaylah (3:27) A better action track! 8. Jaylah House Rock (3:18) Pretty good action then suspense cue 9. Bright Lights Big Velocity (Part 1) (:57) Main Ostinato gets a little workout 10. Bright Lights Big Velocity (Part 2) (2:59) Kind of the same territory as Jaylah House Rock. Not essential 11. Spock Speaks Hive (3:10) Action intensifies, some good pounding drums here 12. Crash Decisions (3:16) Still one of the best cues of the year! 13. Krall-y Krall-y Oxen Free (4:23) Never been an important track in the score 14. Shutdown Happens (4:35) Ditto 15. The Root Of Krall Evil (1:31) Now that's more like it - fun little action ditty 16. Cater-Krall In Zero G (2:17) Not much to say about this one 17. The Dreaded Rear Admiral (2:02) Wow, REALLY nice variation of the Yorktown theme to open the track!! Woah, then a GREAT version of Courage's original ST theme. This track is a true highlight of the whole score! Too bad it has such a silly name 18. Par-tay For The Course (2:46) Still such a wonderful wrap up track! 19. Space, The Final Frontier / Main On Ends (2:42) No @Gistech, this doesn't crossfrade from the previous cue. This entire track is what you'd expect based on the previous 2 films (there could be subtle differences I didn't pick up on of course). It has a clean ending, doesn't crossfade to anything 20. Jaylah’s Theme (2:36) Well, this is a nice enough theme, doesn't seem to be used much in the film though.... must pay closer attention 21. Yorktown Theme (4:32) Great track A real highlight that should have been on the OST 22. Star Trek Main Theme* (3:44) No surprises here either I don't think, maybe more choir than usual? 23. Krall Things Being Equal (4:25) Definitely a concert arrangement of Krall's theme. Pretty good! I would have swapped this track and the previous in order though... weird placement for it here.

CGI Herb Spencer.

Did you know that, in the case of John Williams and for movies only, it takes an average of 25 years for an Expanded album to be released after the first release of the OST? The average deviation is 8 years. I've calculated it! The shortest where: Phantom Menace (1 year!), Return of the Jedi (10 years) & Home Alone 2 (10 years). The longest where: Fitzwilly (46 years), Not With My Wife, You Don't (45 years), Tom Sawyer (42 years) & How to Steal a Million (42 years). Some people will think that I made this because I was bored. TRUE! IT'S BECAUSE I STILL WAIT FOR MY JP SET!!!!

It will remain one of life's great mysteries. Can't be too upset -- with luck, he'll be writing 3 scores back-to-back-to-back over the next 12 months. We're very lucky to be getting that.

Please refrain from resurrecting old threads like this if you do not have anything relevant to add to the discussion or if the discussion clearly has run its course and you just wanted to do it for the sake of a completely useless joke. Cordially -Mikko-

That feeling when your physics teacher is playing Christmas radio during class and Somewhere in My Memory comes on. Surprisingly, it happened today! (yes, I know I've already used this GIF today)

A fan has graciously made high res digital covers that look just like the real ones Source & more alternate covers: https://hqcovers.net/2013/11/07/jurassic-park-by-john-williams-2/ https://hqcovers.net/2013/11/11/the-lost-world-jurassic-park-by-john-williams/

I live in constant fear that "Not With My Wife You Don't, Volume 3" will come out, and I'll miss it!

Alpha, Charlie, Tango, do you copy? We are delivering the package to Mikko Ojala's house. Over.

He played the iconic character: Drunken Rohan Man #3.

It may be frowned upon by some, but I love it when composers include suites (either end credits or these separate theme summaries) because I always listen to them first when I'm approaching an OST for the first time. I find it's a good way to get acquainted with the composer's approach and they help guide me through the actual score cues. So of course when I bought the Jurassic World soundtrack, I skipped straight to track 20 and I remember thinking, "If this is all he's brought to the table in terms of new melodies, I am very disappointed." I later warmed up to the suspense material he used to start the suite off, but it didn't make an impression on me at first. ::shrug:: Just a dumb decision, IMO, to leave your big sweeping new theme off the track called "Jurassic World Suite."

I always thought Sky Battle front DH1 sounded like Williams. Not as good as Williams but in the right track.

As we appear to be the two on the forum who love this score the most, we need to keep making a concerted effort to mention how great it is and how it's MG's best as often as is reasonable. Our powers combined, we can turn conventional wisdom to our will!! What was interesting about that one is that it didn't include the "As the Jurassic World Turns" melody, which I would consider his big, new theme for the franchise.

I wish he'd live-stream the recording sessions on Facebook like a normal person.

Perhaps somewhat strangely, this isn't how it works. I've often pondered about this in my own work, as well as in the work of my colleagues, and the time invested and the quality of the piece in question simply do not correlate. Some of the greatest works of all time were written very quickly, while lesser works by the same composers were the fruits of years of laborious effort. True, there are certain pieces that simply require more time to manifest themselves in terms of ink and pages, due to the amount and complexity of information. But by and large, the only correlation between time spent writing and the quality of writing, is on a more global scale of the individual writer's experience in terms of craftsmanship. Obviously, having lots of time to invest in a work is always a luxury, as it does allow you to take a step back from time to time and look at things from a bird's eye perspective, and theoretically, it offers the chance to spend more hours exploring your material. What tends to happen when we write under pressure (assuming we're experienced enough to be able to do so), is that craft takes over; choices we'd otherwise mull over and endlessly scrutinize, are made almost instinctively. What we tend to reveal, is the basics of our aesthetic practice, our private clichés, if you like. But surprisingly often, sheer panic opens the gate to a kind of "core energy" that may lead us to make daring and inspired choices, despite the circumstances (other composers will know what I'm talking about). My point is that the quality of your writing is primarily contingent on your talent and technique, no matter what schedule you're on.

I remember seeing an interview with JW where he was asked what he considers to be his best score and he said something along the lines of he always hopes his next one will be

My set arrived! a few surface scratches on the front but nothing too noticeable.

I will never understand why Giacchino writes and records these great concert arrangements then doesn't put them on the OST!

JW scoring all the MCU would have been great too

Ego te absolvo a peccatis tuis. I in pace mi fili. Say three Hail Towners and two Lord Williams' Prayers and contemplate on your sins.

Ah, yeah, that too. The dialogue seems to have changed quite a bit compared to what was in the trailers. But the climax too. More on that soon.

I'm going to be really stupid and stay up late to rewatch A New Hope

Saw the film this afternoon: it's good. I wasn't too fond of TFA -it even made me sick of Star Wars-, but Rogue One is a much more satisfying film and brings back some of the love. It feels like it's actually trying to tell a coherent story which ties in perfectly with Episode IV.

It's the end of the "Strange Days Ahead" track on the OST (from about 3:30-end).

Not who I had in mind. But no need to name names!

If there's one new Morricone expanded score release every week it will take 12 years for his complete filmography to be released.

This year...

I opened that spoiler tag and I regret it. Took a similar risk with TFA and got Han's death spoiled. Just a warning to everyone who's avoiding spoilers - this is a MAJOR one.

Holy shit, when did that happen? I bought the CD on Amazon in March of this year (after owning it digital-only prior to then).

Wow, some excellent shot composition and cinematography on display there. The dull color palette Nolan likes to use is perfectly suited for this kind of movie, methinks.

I am afraid both of those terms, facebook and live-stream, would go over his head.

Source: http://deadline.com/2016/12/oscars-original-score-category-eligibility-list-1201870246/ Absolutely ridiculous that Arrival wasn't considered eligible!

There's no liner notes or anything on the TLW OST. Just a tracklist on the back and that stupid diorama.

No, many do involve one or two or even more other writers. But the term ghostwriter itself has a nasty, dirty implication - and rightly so - but that's not what the Zimmer method is about. There's nothing underhanded going on. Everyone who writes gets credited, he's certainly made a point of that over the years. It's a band, not outsourcing. Now, there are in fact one or two fairly prestigious composers who might be sadly susceptible to accusations of genuine ghostwriting.

I think it's her "fighting" motif. It appears just after she scares three alien thugs away from Scotty, fights Krall's right hand at the top of the building, leads Bones and Spock during the attack on the village, while Kirk distracts everybody riding his bike. And probably in some other places in the movie that I don't remember.

SAE really doesn't do shipping notifications anymore, but: Status: SHIPPED (December 9, 2016) Might get here before the end of the year after all.

You should also bear in mind that I have major issues with Giacchino as a composer. I'm not denigrating my own view, which I stand by 100%, but from experience, I'm expecting a lot of fans to like this.

Possible. I don't have a full cue list. Based on available information: 1. Logo And Prosper (1:47) 1m0 2. Trick Or Treaty (:45) 1m1 3. We Come In Pieces (1:17) 1m2 4. Thank Your Lucky Star Date (2:14) 1m3 5. Night On The Yorktown (5:36) 1m4 6. To Thine Own Death Be True (3:32) 1m5-6 7. We Make A Good Team (:22) 1m7 8. The Dance Of The Nebula (2:22) 2m7 9. A Swarm Reception (2:30) 2m8a 10. Krall Hell Breaks Loose (3:04) 2m8b 11. The Evacuation Variations (2:47) 2m8c 12. Hitting The Saucer A Little Hard (6:10) 2m8d 13. Scotland’s Worst Cliffhanger (:23) 2m9 14. A Hive And Kicking (3:30) 3m10 6. MotorCycles Of Relief (3:18) 5m28 7. Mocking Jaylah (3:27) 5m29 8. Jaylah House Rock (3:18) 6m30 9. Bright Lights Big Velocity (Part 1) (:57) 6m31a 10. Bright Lights Big Velocity (Part 2) (2:59) 6m31b 11. Spock Speaks Hive (3:10) 6m32 19. Space, The Final Frontier / Main On Ends (2:42) 7m39/7m40a