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Williams two Jurassic Park scores don't actually have a lot of themes, and many cues are completely non-thematic In order of first appearance, The Danger Theme represents the danger from carnivorous dinosaurs in Jurassic Park, typically from raptors but it is also used in the t-rex chase. In The Lost World, it only returns in cameo appearances when characters are talking about raptors [1MA Opening Titles] 1-01 Opening Titles 0:18-end [3M2A The Entrance Of The Park] 1-05 Journey To The Island 8:22-8:28 [4M1 Hatching Baby Raptor] 1-06 Hatching Baby Raptor 0:24-1:00, 1:17-end (I believe this is debated whether its an uplifting version of the danger theme or not) [5M2 Jurassic Park Gate] 1-09 Jurassic Park Gate 0:00-0:13 [9M2 The T-Rex Chase] 1-16B The T-Rex Chase 3:13-3:27, 3:32-3:36, 3:48-3:51, 4:07-4:16, 4:27-4:32 [11M3/12M1 High Wire Stunts] 2-03 High Wire Stunts 0:52-0:55, 2:33-2:40, 3:52-3:56 [12M2 Hungry Raptor] 2-04 Hungry Raptor 0:02-0:33, 0:37-0:42, 0:53-end [12M3/13M1 Into The Kitchen] 2-05 The Raptor Attack 0:11-0:15, 0:37-0:44, 2:04-2:08, 2:20-2:28, 2:32-2:36 [13M2 March Past The Kitchen Utensils] 2-06A T-Rex Rescue and Finale 0:07-0:19, 0:36-0:41, 1:07-1:11, 1:25-1:30, 2:09-2:11, 3:06-3:10 [13M3/14M1 T-Rex To The Rescue] 2-06B T-Rex Rescue and Finale 4:37-4:58, 6:19-6:22, 6:28-6:34, 6:44-7:03 [14M2 End Credits] 2-07 Welcome to Jurassic Park 7:15-end [2M2 Revealing The Plans] 3-03 Revealing The Plans 1:10-1:19 [8M3 Reading The Map] 3-14 Reading The Map 1:41-2:01 The Adventure Theme more or less acts as the main theme of both films. In Jurassic Park is is most often used as a general "pump up the excitement" type theme, while in The Lost World it is usually used for scenes that harken back to the original park and island [2M3/3M1 To The Island] 1-05 Journey To The Island 1:21-3:15, 3:30-3:35, 4:03-4:12 [5M1 The History Lesson] 1-08 The History Lesson 0:23-1:03 [5M2 Jurassic Park Gate] 1-09 Jurassic Park Gate 0:41-0:59 [11M2 Preparing To Meet The Monster] 2-02 To The Maintenance Shed 0:50-1:10, 1:29-1:44 [13M2 March Past The Kitchen Utensils] 2-06 T-Rex Rescue and Finale 2:27-2:36, 3:20-3:49 [14M2 End Credits] 2-07 Welcome to Jurassic Park 4:30-6:33 [2M2 Revealing The Plans] 3-03 Revealing The Plans 1:44-end [5M3/6M1 Spilling Petrol] 3-09A Spilling Petrol 3:09-3:38 [8M4/9M1 The Trek] 3-15 The Trek 1:22-1:31 [10M3/11M1 After The Fall] 4-03 Finding Camp Jurassic 1:11-1:20, 1:27-1:48, 2:31-2:42 [12M5 Monster On The Loose] 4-09 Monster on the Loose 0:40-0:50 [13M1 A Neighborhood Visitor] 4-10 Visitor In San Diego 2:28-2:36 4-13 Jurassic Park Theme (End Credits) 3:01-5:03 The Noble Theme is only used in Jurassic Park for the big dinosaur reveal early in the film (and reprised moments later as they enter the main building), the scene of Grant falling asleep with the kids in the middle of the film, and then the finale and end credits. In The Lost World, it is only used in the finale cue (though the 1993 concert arrangement was recorded for the end credits too) [3M2 The Dinosaurs] 1-05 Journey To The Island 5:07-7:33 [3M2A The Entrance Of The Park] 1-05 Journey To The Island 8:01-8:22 [9M3/10MA A Tree For My Bed] 1-17 A Tree For My Bed 0:30-1:09, 1:20-1:42 [14M2 End Credits] 2-07 Welcome to Jurassic Park 0:00-4:27, 6:39-7:15 2-08 Theme From Jurassic Park 0:47-3:13 is the same recording as 1-05 5:07-7:33 [14M2 The Saving Dart] 4-12 Tranquilizer Dart 1:53-2:29 4-13 Jurassic Park Theme (End Credits) 0:00-3:01 The Tension theme appears only in Jurassic Park as sort of a general tension-building motif and is the only theme from the original not to be reprised in The Lost World [9M1 The Falling Car] 1-16A The Falling Car 1:09-2:49 [11M2 Preparing To Meet The Monster] 2-02 To The Maintenance Shed 3:50-end [11M3/12M1 High Wire Stunts] 2-03 High Wire Stunts 0:00-0:52, 1:27-1:55. 3:19-3:23 [12M2 Hungry Raptor] 2-04 Hungry Raptor 0:33-0:37, 0:42-0:53 The Lost World's Danger Theme functions the same as the first film's danger theme did, representing danger from carnivorous dinosaurs (or, in "Corporate Helicopters", man) [1M1 The Island’s Voice] 3-02 The Island's Voice 0:16-0:33, 3:09-3:17 [2M2 Revealing The Plans] 3-03 Revealing The Plans 1:23-1:31 (modified) [4M2 Corporate Choppers] 3-06B Corporate Helicopters 1:52-2:15, 3:01-end [5M2 Big Feet] 3-08 Big Feet 0:23-0:27, 0:36-0:42 [6M2/7M1 Up In A Basket] 3-10 Up In A Basket 1:46-1:59 [11M2 The Raptors Appear] 4-04 The Raptors Appear 0:05-0:17, 0:30-0:39, 2:40-2:46 [11M3/12M1 High Bar and Ceiling Tiles] 4-05 High Bar and Ceiling Tiles 2:17-2:20, 2:37-2:50, 3:01-3:14, 3:22-3:27, 3:34-3:41 [12M3 Ludlow’s Speech] 4-07 Ludlow's Speech 0:00-0:11, 0:20-0:28. 0:36-0:40, 0:51-1:34, 2:39-2:49 [12M4 Wompi’s Wrench] 4-08 The Wrecked Ship 0:20-0:42, 0:48-0:56 [12M5 Monster On The Loose] 4-09 Monster on the Loose 1:40-1:49 [13M1 A Neighborhood Visitor ]4-10 Visitor In San Diego 0:48-0:54, 1:08-1:10, 1:20-1:23, 1:32-2:05, 2:10-2:26 [13M2 Streets Of San Diego] ]4-10 Visitor In San Diego 4:16-4:26, 6:27-6:42, 7:07-7:15, 7:26-end [14M2 The Saving Dart] 4-12 Tranquilizer Dart 2:29-end The Lost World Theme is only actually used when the heroes arrive at and depart the island, and then quietly in the finale before getting a full concert arrangement for the end credits [3M1 To The Island] 3-04 To The Island 0:49-3:10 [12M2 Heading North] 4-06 Heading North 1:26-end [14M2 The Saving Dart] 4-12 Tranquilizer Dart 0:53-1:53 [The Lost World (End Credits)] 3-01 The Lost World 0:14-end (this is actually the end credits cue) 4-14 The Lost World 0:14-end is the same recording The Baby Dinosaur Theme is used for the baby Stegosaurus and the baby T-Rex [3M3 Finding The Baby] 3-05 The Stegosaurus 2:40-4:00 [5M3/6M1 Spilling Petrol] 3-09 Spilling Petrol 2:20-2:43 [5M3/6m1 Part II Horning In] 3-09 Horning In 4:19-4:28, 4:50-end [6M2/7M1 Part II Up In A Basket] 3-11 In The Trailer 0:43-1:52 [13M1 A Neighborhood Visitor] 4-10 Visitor in San Diego 2:50-2:58

It is curious that Williams didn't call TreeSong a concerto, since it really is one in all but name. I wonder if Williams was aiming to emphasize the violin's coloristic, evocative nature in this piece. TreeSong, while by no means easy, has less in the way of pure technical fireworks just for the sake of virtuosity than his other concerti. In this way, TreeSong shares yet another thing in common with Dutilleux's L'arbe des Songs, which also was not meant to demand showy technical complexity in the way concerti usually do. (The other connections, which I'm sure have been observed here already, are the sylvan subject matter and the harmonic & orchestrational style; in fact, I would be surprised if JW hadn't studied Dutilleux's concerto closely when writing TreeSong)

Pity, I was hoping for James Bond to join the MCU. Karol

Luckily soon they won't be able to buy each other anymore

The music has always been more important to me than the format it's sold to me on

Well it's a damn good thing he digitally preserved everything a few years ago. Hopefully the missing tapes were found as well.

OK here are the spots in The Lost World score where there are re-used passages in place of whatever JW originally intended [5M3/6M1 Part II Horning In] 3-09 Spilling Petrol and Horning In 3:52-4:15 ≈ [8M2 Truck Stop] 3-13 Rescuing Sarah 3:18-3:55 ≈ [10M1 Rialto Ripples] 4-01 Ripples 3:34-4:08 This was clearly written for 8M2 Truck Stop (bars 110-129) and later repurposed into both 5M3/6M1 Part II Horning In and 10M1 Rialto Ripples In the 5M3/6M1 Part II sheet music, you will see that: page 1 (bars 1-4) is fine page 2 (should be bars 5-8) only has bars 5-7, with the 4th bar slot on the page scribbled out page 3 (should be bars 9-12) has the first bar scribbled out and then you can see the obvious photocopying in from page 28 (bars 110-112) of 8M2, with their bar numbers changed to now be 8-10 (also the percussion part is different and not photocopied) page 4 (should be bars 13-16) is really page 29 (bars 113-116) of 8M2 renumbered to be bars 11-14 - you can even still see 8M2 on the top of the page crossed out page 5 (should be bars 17-20) is really page 30 (bars 117-120 of 8M2 renumbered to be bars 15-18 page 6 (should be bars 21-24) is really the first 2 bars from page 31 (bars 121-122 of 8M2 renumbered to be bars 19-20, followed by 2 scribbled out bars page 7 (should be bars 25-28) is now bars 21-24 (originally page 6), and that's how the rest of the cue goes (each page number increased by 1 from where they were before the change) In the 10M1 sheet music, you will see that: pages 1-26 (bars 1-104) are fine page 27 (should be bars 105-108) only has bars 105-107, with the 4th bar slot on the page scribbled out page 28 (should be bars 109-112) has the first bar scribbled out and then you can see the obvious photocopying in from page 28 (bars 110-112) of 8M2, with their bar numbers changed to now be 108-110 (also the percussion part is different and not photocopied) page 29 (should be bars 113-116) is a photocopy of page 29 (bars 113-116) of 8M2 renumbered to be bars 111-114 page 30 (should be bars 117-120) is a photocopy of page 30 (bars 117-120) of 8M2 renumbered to be bars 115-118 page 31 (should be bars 121-124) is a photocopy of page 31 (bars 121-124) of 8M2 renumbered to be bars 119-122 page 32 (should be bars 125-128) is a photocopy of page 32 (bars 125-128) of 8M2 renumbered to be bars 123-126 page 33 (should be bars 129-132) has a photocopy of bar 129 from 8M2 renumbered to be bar 127, then a single bar from 10M1 (presumably the actual bar 128), then 2 scribbled out bars page 34 (should be bars 133-136) is now bars 129-132 (originally page 33), and that's how the rest of the cue goes (each page number increased by 1 from where they were before the change) [11M2 The Raptors Appear] 4-04 The Raptors Appear 3:26-end ≈ [11M3/12M1 High Bar and Ceiling Tiles] 4-05 High Bar and Ceiling Tiles 2:22-2:32 This was clearly written for 11M2 The Raptors Appear (bars 85-104) and later repurposed into 11M3/12M1 High Bar and Ceiling Tiles In the 11M3/12M1 sheet music, you will see that: pages 1-18 (bars 1-72) are fine page 19 (should be bars 73-76) is slightly altered to allow a 77th bar to fit in after bar 76, so the page now has bars 73-77 page 20 (should be bars 77-80, but now bars 78-81) is actually an amalgam of partially re-written / partially photocopied elements from bars 85-86 and also 97-100 from 11M2 page 21 (should be bars 81-84, but now bars 82-85) is just a photocopy of page 26 (bars 101-104) from 11M2, except for the percussion section which is slightly different, and the bars are renumbered page 22 (should be bars 85-88), but now bars 86-88) only has material on 3 bars with the 4th bar scribbled out, to resume normal bar numbering starting with page 23 [12M5 Monster On The Loose] 4-09 Monster on the Loose 0:50-1:13 ≈ [13M1 A Neighborhood Visitor] 4-10 Visitor in San Diego 2:10-2:42 This one is a little different, because there is no photocopying, and no weird bar/page renumbering. It is therefore possible that Williams always intended to make these 2 passages (bars 15-22 of 12M5 and bars 45-56 of 13M1) similar on purpose It is also possible that this was another hasty change, but they chose to re-write the identical instrument lines instead of photocopying anything It's probably worth noting that the original source of these passages (Truck Stop, Raptors Appear, Neighborhood Visitor) were all on the OST album, while the none of the cues that ended up re-using bits (Horning In, Rialto Ripples, High Bar and Ceiling Tiles, Monster on the Loose) were on the OST album (except for the first 95 seconds of Rialto Ripples)

Early this year I just picked up Doug's LotR book and a free online virtual piano (with no real musical education basis) and started trying to play motifs, looking up symbols like keys and semitones and stuff when it didn't sound right. I was quite proud of some of them but the virtual piano's limitations were hard to work around - semitones were only accessible when holding shift+the key, so more complex chords were just impossible unless I recorded them in multiple passes one note at a time, etc.. Even so, I picked up basic stuff in no time.

Doesn't this motif even open the first track of JP3? This is such a signature sound for JP (also featured strongly in the moments leading up to the "theme" part in Journey to the Island) that for me it's as evocative of dinosaurs as the low e-f ostinato is of sharks...

UPDATE: It is tons of fun! The score is so much more fleshed out now; it feels like a *score* instead of a jumbled grab-bag suite (still fun, admittedly) on the Varese box. There is a lot more development of the silly meandery main theme...but much more importantly, that fun RUSSIAN theme is all through this! On the Varese it was really only in two cues: "The Buy" near the end, and near the beginning my favorite cue in the score, "Anybody Got a Key?" But now it runs through the entire score almost as an equal counterpart to the main theme for the hapless Americans. It is introduced in the new second cue, which is actually some solo piano source music played on screen called "Russian Warm-Up". Other favorite versions of it are the ominous choral version near the end of "A Welcome Guest" and, though frustratingly brief, when it actually joins the main theme in a brief bit of counterpoint in "Woops". Another important addition is "Triple Cross", an almost four-minute musical sequence (perhaps the best and most deft in terms of actually supporting the film), which mixes a semi-source church organ with bits of fun thematic score punctuations as shenanigans occur during a wedding ceremony. Anyway, I realize I might be in the minority of people who love this weird and zany score, and I understand why, to an extent: the opening and closing (and once in the body of the score) theme music with the choir going "SPIIIIESSSS" and that dated 70s synth is indeed really dated, silly and cheesy. But it also fits the bumbling main characters in a way. If those three cues were cut out of the score I think this score would have a lot more fans. Thankfully they feel much more outnumbered by other cues this time in complete form, whereas before those three parts made up what seemed like practically half of the Varese 19 minute suite. Oh, and The Stripper is improved... I was happy to revisit this score as I haven't listened to it in years and it's better than I remembered. Seeing the film recently on YouTube also increased my appreciation for what Jerry was doing with this fine dramatic score. Finally, "Pacer's Farewell", Goldsmith's contribution to the 1960 Elvis Presley dramatic western Flaming Star, also contained a big surprise! I had had a copy of the cue running 2:14 ripped from the Twilight Time Blu-ray isolated score track for years. It turns out that film version had a revised shorter ending! Jerry's original version of the cue played out for an additional 20 seconds or so, which are premiering here. Big surprise as I said, and a pleasant one. It's a superb cue -- the first half is all Jerry, with hints of other dramatic scores like Studs Lonigan (the finale) and The Blue Max. In the second half he starts out by adapting a family theme from earlier in the score by Cyril Mockridge (this I had not realized until I read the liner notes), before ultimately adapting the film's title song melody in such a dark and dramatically powerful way that back when we covered the cue on The Goldsmith Odyssey (episode 16) none of us even recognized it despite us discussing the song itself and one earlier cue in the score that adapted its melody. Goldsmith just makes the melody so much his own in this finale cue that it's hard to tell it's the same melody, and it's a brilliant and powerful finish to the score (I only wish he could have been hired for the whole thing, though it's not as if the other composers did a bad job). Anyhow, we recorded a Soundtrack Spotlight episode on this Volume 3 from LLL so stay tuned for that as Jens is deep into editing it. Yavar

It's that kind of repeated note pattern followed by a sweep up and back to the beginning that starts showing up all over JW's action scores. In TLW, I think it's in three distinct tracks: Monster on the Loose, Visitor in San Diego, and Ludlow's Demise. (Not sure what the break down is in terms of cues though.) In its first iterations it's wedded to that stomping B-D-F#-D ostinato which I suppose is also very lightly motivic. A few examples: Wow, didn't know that! Stuff like this -- Similar idea, but extremely low: Similar idea, but extremely high:

Let's refer to it as his violin concerto no. 1.5.

To my way of thinking, it doesn't really represent anything in particular, @Jay. Just a melody he liked using for moments of worry and tension. Incidentally, in my brain, I tend to use the following unofficial theme names: main theme = Jurassic Park theme adventure theme = island fanfare danger theme = carnivores' theme electric fence theme = ??? I guess if I had to give it a name, I might call it the worry motif or something The Lost World theme = The Lost World theme TLW danger theme = island's voice (theme) baby dinosaur theme = ...yeah, probably the same name

Drax? Is that you? Cassettes are worse than CD's! You know what CD's and cassettes are made from? Petroleum and unrefined crude. I mean, sure, I can see why Jurassic Shark would be in favour of them, he's from Norway and has a vested interest in polluting the planet. But the rest of us should happily be streaming on our iPhones and Android! As for me, I digitized my entire CD collection in lossless. And rather than throw them away, or sell them or even donate them to a library when they'd all eventually end up in a landfill, I did the responsible thing and burned them, sending them to music heaven in the upper atmosphere where they belong.

Neither for me, I'm still with that

Most physical collectors in my experience keep their media for years, if not their entire lives. The masses on the other hand, such as those currently streaming, have to buy the fancy new iPhone every 6-12 months. I wonder how much those are taking up landfills. 🤔

Yes. Favorites usually come from a time of particularly intense passion for scores.

I hope it's physical as well, but honestly I kind of doubt it. And at this point I don't really care that much anyway, we've been waiting so long for some of this music I don't really care what form it's in. As long as we have the music in lossless quality, everything else it just a cherry on top.

Sony Music having the exclusive rights to release music from the first 6 films from 1999 through 2016 surely is the primary reason we didn't get Star Wars expansions in that window other than the 2000 TPM UE; The bigwigs running that company just don't get it Disney Records owning the rights from 2017-> present seems more hopeful, especially on the Star Wars front, since Kathleen Kennedy has been supporting of expanded Williams albums in the past. And Disney Records has already shown a willingness to spend money on hiring Shawn Murphy to oversee rebuilds of the original 6 OST albums and promote them with a lot of marketing. Granted that isn't what we want either but its a step in the right direction. I really think proper expansions overseen by Mike will happen eventually. I just don't have a clue when

Just something I realized right now. The most recent JW Star Wars expansion was the TPM Ultimate Edition in November 2000. There are young adult members of JWFan that were born after that point.

Here's more detailed info about how the score was divvied up, which Mike Mattesino (who put the full isolated score track together for Twilight Time almost seven(!!) years ago now) posted at FSM in 2014: https://www.filmscoremonthly.com/board/posts.cfm?threadID=106527&forumID=1&archive=0 I for one would happily buy an album of the full score by the other composers, because they did fine work too even if Goldsmith's dramatic finale is the standout cue. Obviously he was incorrect about Goldsmith's cue being only 1 minute long, but I think it was because a little over a minute into the cue, Jerry referenced the score's "family theme" established by Cyril Mockridge and after that the final minute or so of the cue is a really dark (almost unrecognizable...so much so that we didn't even realize it at the time we recorded our Episode 16 podcast) adaptation of the film's title song "Flaming Star": Jerry really makes the melody his own of course, but it would explain why he only got credited for just over a minute on the cue sheet. Here's what the notes have to say:

Agreed it’s an awesome bonus; kudos to LLL for going to the trouble to include it! You can hear the shorter film ending of the cue (from the Twilight Time Blu-ray isolated score track) here early on in our Episode 16 podcast from a couple years ago: https://goldsmithodyssey.buzzsprout.com/159614/927433-episode-16-have-gun-will-travel-flaming-star-1960 It’s lossy podcast audio and if you want it in full lossless that Blu-ray is the only way to get it. I understand why LLL just put the longer original version on their Vol. 3 set though, especially if Jerry wasn’t involved in the redone coda as the notes seem to indicate. As for why so many composers were involved in writing a patchwork score for this, I have no idea and there appears to be little documentation as to why. This was in the brief period just after Alfred Newman’s departure at the end of the 50s, and I imagine music assignments at the studio may have been a bit chaotic at the time. This kind of multi-composer project was more common at other studios such as Universal in the 30s-50s, with composers like Henry Mancini, Herman Stein, Irving Gertz, Hans Salter, and countless others providing original scores to westerns, sci-fi flicks, etc. all often without any screen credit because none of them composed over 50% of the score on their own. Fox usually didn’t do this because they had Alfred Newman (a composer himself and great champion of other composers) as executive in charge of music. (MGM had another composer, Johnny Green, in charge.) But when he left I guess there was nothing stopping a score from being farmed out to several composers to have a quicker post production turnaround or whatever. 🤷‍♂️ Yavar

Lossless is pretty much the only thing I care about now. My last soundtrack purchase, Varese's Dreamcatcher, I bought on CD solely because it was essentially the same price as a download and it would arrive real quick. I very nearly purchased it in flac from Qobuz. I appreciate dedicated fans of JW wanting that nice feeling of an attractive box set for SW/Indy, but it feels to me like anything physical would be a nice-to-have, and that a comprehensive, great-sounding set should be the priority. It does seem to me that more scores are now being released, now that all most of them have to do is cobble together some artwork from the nearest poster art. I got a number of score releases recently that were over 2 1/2 hours long (video game, and a documentary series). They just released the music without any thought or worry of how they might fit on discs.

Find the intruder with Bespin The day you'll make a 2005 selection you'll only have JW

Hard not to focus on John Williams efforts's for that incredible year! Oh my... 1977! What a year!!! Islands in the stream, Black Sunday, Star Wars & CE3K...

H even was good in King Kong. RIP.

To me it represents also the breathing purr of the raptors.

4-10 Visitor in san Diego: 2:50-2:58.

Ah, was it the Globes? Yeah, you're probably right. I knew it got something. A lot of people I know raved about the film and score at the time. SUCCESSION is the only one I've liked to far (reviewed here), but it only takes one title to prove that he's got it. Hence I'm far more open to new Brittell now than I was before. Still waiting for Hurwitz to have the same effect.

Here's a suggestion, in no way meant to be condescending: why not spend a bit of time to learn to read music notation? You're a musical person and will learn it in no time. The best way to learn it is through learning to play an instrument. May I suggest the piano, since that's a one-man orchestra in itself.

@Jay's encyclopedic knowledge never fails to impress! I think there may be a few other minor bits and pieces that are loosely thematic across JP1 and 2. There's the Hatching Baby Raptor material which is recalled in Life Finds A Way pretty directly. And the Ludlow material and its derivatives in JP2 that pops up in a couple cues. Also a little brass outburst in Rescuing Sarah that recurs in Rialto Ripples, but this is really stretching the definition of "theme" Then again, who could forget the assortment of monstrous growls and grunts like this that are so important to the distinctive texture of Jurassic Park. Assembling a catalogue of JP1 & 2's themes and textures is probably next on my to do list...

John Singleton directed 2 Fast 2 Furious? I had no idea, weird choice.

Thankyou once more for your inexhaustible knowledge!

Sorry I didn't see your question yesterday. I think it's exactly the same things, at least the titles and the length are the sam. I don't know if there is some micro edits but I seriously doubt that. Another great score from Hurwitz that should have deserve more recognition. The Landing is such an incredible title (plus this one is extended to 6:43 instead of 5:31) so is the Armstrong theme and the Mutli Axi Trainer cue

You have to understand that for huge corporate companies this might not be a priority in terms of what product they decide to spend their money on and from which they expect a net income. Physical release demand is agonizing, yet it's still not dead, so it works much better for niche products, in which consumers are much more ready to pony up a hefty amount of money for limited edition stuff. The Harry Potter boxset is certainly a good example that you can have a prestige product done by the right people and yet have it sold also to a broader audience than the usual soundtrack market niche. I think the major hurdle for having fully restored and complete releases of both SW and Indy scores is that the current owners seems more oriented in putting all their efforts and resources over the new stuff the company is producing (new films, tv shows, animated series, theme park rides, etc.) rather than taking care of the legacy of those IPs, which is absolutely crucial in historic and cultural terms, but it's usually less profitable in the short term.

It'd be absolutely ludicrous if I could own the definitive complete perfect edition of bloody Monsignor in a nice physical edition (which I do already), but not goddamn STAR WARS and INDIANA JONES to put next to my HP set. They even released the stupid demasters physically.

Fitzwilly is coming on Bluray from Kino. https://www.blu-ray.com/news/?id=28606

Makes me wish that Deutsche Grammophon would send a team out to Tanglewood to record the world premiere of the violin concerto no. 2! Has Williams stated that this is soloist bingo? Because it sure seems like he's going for it 😆

1. GIU, LA TESTA - Morricone 2. GBU - Morricone 3. OHMSS - Barry 4.YOU ONLY LIVE TWICE - Barry 5. WIND AND THE.LION - Goldsmith 6. FAHRENHEIT 451- Herrmann 7. SUPERMAN- Williams 8. FOR A FEW DOLLARS MORE- Morricone 9.THE BIG GUNDOWN- Morricone 10. OUR MAN FLINT- Goldsmith 11. HTTYD

Digital vinyl.

It's difficult to hate a person you've never heard of.

Sounds like all John Williams Imitation scores from the 80s played at once. I love it.

I’m now caught up on the show and think it’s really good! I don’t know if I saw this expressed here or elsewhere and I don’t care to look really, but it’s a bit of a missed character opportunity to attribute the sniper guy’s heel turn to the chip in his head. Would have been a much more interesting/nuanced approach to have it be an actual choice, but whatever - I’m willing to go on whatever ride they’re taking us on.

I didn't know that it was planned to be on the '93 and '97 edition, so sad they lost it. How can they loose the recording of such a score. I mean I understand that one might lose his keys but a JW's Star Wars recording that's something that nobody should be able to lose.

That's no moon, it's a score distortion.

The Hunchback of Notre Dame An interestingly confused film. Lots of potential right off the get go - a good story, great visuals, good enough characters for a Disney kids' movie, a darker tone, a fantastic setting (recent events have only strengthened Notre-Dame's immense iconographic and historical stature as the immovable indestructible all-seeing, all-hearing and all-knowing beauty looking over Paris for nearly a millenium - especially when paired with fire), a much less shaky thematic base than Pocahontas for example. The movie does start off promising too, and fulfills a lot of those promises all the way throughout - except for lapses of cold feet and forced childishness. On paper (heh, get it, because it's based on a quote from the book) the concept of Quasimodo "knowing" the non-judgmental gargoyles, grotesques and statues and talking to them doesn't sound bad, but it sure does when you realise it's just 3 of the obligatory Disney Reneissance Terrible Superfluous Anachronistic Cutesy Sidekicks. All the time dedicated to them could have been cut and only improved the movie (Guy Like You while Paris is burning and innocents are murdered especially) - that time could be spent on developing relationships better and rushing through less conversations to skip time. Seriously, that first dialogue with Frollo! Though maybe Quasi slipping in the alphabet practice and him noticing he wants to go to the festival would be a good setup of that element if we didn't have the gargoyles talking to him about it for 5 minutes beforehand. Similarly, Q&E getting to know each other felt extremely rushed, as if lines were cut when they were afraid the kiddies would get bored of people just talking. I'd have liked an implication of a week or month passing and them having regular conversations and meetings instead of just an hour before she has to escape, because, you know, gypsies can't sit on their ass, nice way to combat racism, reason with more generalisations. But generally it does well enough at telling its good enough story enjoyably enough. The songs are mostly fantastic! The underscore does its job well enough mostly, with well-chosen instrumentations but some Mickey Mousing and some underdeveloped half-formed or not greatly used theme statements at times. I do have a healthy interest in the upcoming Legacy Edition, might be the first of those I'll buy, but I might have to tailor it a bit (like dropping some cues, or cutting out the Wicked Witch theme from the climactic "battle" if that was recorded as part of that cue and not tracked in). Overall I did like it but didn't feel it always lived up to its own promises and potential, sometimes quite actively disliking the different direction it went in instead. Not a full recommend to anyone as a great movie but definitely worth seeing for the great parts and/or as a study piece to learn not to undermine those great parts with less than great elements.

Well I do hope the next one won't wait another 2 decades... It's crazy to think that one of the most beloved score ever take that much time to get a proper expansions. It's not like if they will lose money by releasing it.