ChrisAfonso

The "It Can't Be"/Anakin's Dark Deeds one has always puzzled me, such an awesome moment (though already simplified on the way from orchestrated score to recording - there's an additional trumpet flourish he apparently cut on the stage?). Trying to rationalize it, I'd guess it's JW's inner Thor? The track indeed flows better in reduced form, at the cost of an incredible moment, taken in isolation - it does seem like two consecutive climaxes in the complete cue.

Maybe he's working on a grand final concert suite and wants to hold it back for that... just an optimistic dream

As the leaks completely passed me by and I didn't dive into this score much before now, all of that, and the older discussion in this thread, is very fascinating to read and discover

Did I hear a hint of Williams' Resistance theme during the departure of the x-wings?

For many years, The Ghost and the Darkness - had the OST in my hands in the mid-90s, held off on buying it because my cd budget for that shopping trip was already exhausted, then never found it again until the recent expansion.

Donated, but forgot to put my user name I hope it's apparent from my paypal name

Dammit, glancing at the page and reading "JW score" and "Omni" in the same heading got me excited for a second

Regarding Voyeur, Schyman has a suite (with sheet music!) on youtube: The description sheds some light on the circumstances of its creation, so I guess the questions are "do interactive movies count as a games?" (whole other can of worms) and whether the ensemble size matters...

That would be Garry Schyman's Voyeur for the CD-i from 1993, which according to the composer was recorded with a small orchestra.

This might be comparison bias with the episode as aired, but I thought the concept stated at its beginning - that the drug would totally flash the user - was played much too subtle, so this was actually much more in keeping with the supposed premise.

I like it - it brilliantly plays with the concept of genre perception distortion and IMHO takes the weakness of the scene (as elaborated above: too little genuine tension for a supposedly dramatic chase) and full-on acknowledges it by turning it into "it's like a game". The mix between the chiptune/rock/orchestra hybrid elements sounds very well done, too.

I've only really dug into The Towering Inferno yet, but that alone already made the set worthwhile for me - the main title is an all-time classic (which I previously only knew from that old RealAudio sample page...), comparing the vastly different score/OST mixes is really ear-opening, and although my attention tends to wander off a bit during some of the more low-key cues of the score, there are a lot of outstanding highlights. Earthquake seems a good candidate for listening when in a mood for fun, quirky music. Poseidon seems to be the most challenging score of these to really get into.

Yared's can be pretty swashbuckling, too:

That was an interesting conversation to watch, thanks for doing it! Sadly there were a few audio dropouts in the recording...

What Jay is probably thinking of is the moment in Ark Trek, where the second half of the medallion theme does appear as the b section of the Ark theme, creating a single moment of unity of the two themes. Following your interpretation, this could be seen as the point in the story where the raw power of the Ark and the corrupt ambition to use it finally come together?