Pieter Boelen

Jaws.  He could have gone with just one note, but he went the extra mile with two. 

And Rogue One is the best since TFA! For now........

The Force Awakens is the best Star Wars score since Revenge of the Sith!

And you're absolutely sure of that? 

James Newton Howard or John Powell, eh? Sounds like Disney has the right idea on which composers to approach!
Either would have been a fine choice indeed. Hopefully JNH will get his chance some time as well.
He sure deserves it!

While I still definitely want to hear James Horner's score for Romeo and Juliet (it was indeed recorded, right?), I absolutely LOVE Korzeniowski's take on it. It was one of my favorite scores the year it came out, and it is a really gorgeous listen to anyone who has never heard it. Definitely an underrated score.
 
I think Brian Tyler replacing Jerry Goldsmith on Timeline should be listed in this thread, too. Despite Goldsmith's score also getting a release, only Tyler's is in the (shitty) film. While I like Tyler's score a lot and respect his take on it, I honestly don't see why they dropped Goldsmith's score when it was equally dramatic and fitting. Originally they made it seem as if the film had been re-edited so the score had to be dropped, but this proved to be largely false. While the film was re-edited a lot (a few scenes from trailers do not make it in the film at all), people who have synced Goldsmith's score to the film notice that it largely matches perfectly. And given that it was clear Goldsmith was on his last years, and even with the same director of The Omen for which Goldsmith won his one-and-only Oscar (a crime), I think it was a huge mistake and even a little insulting to say the least. To me this IS Goldsmith's final fully-realized score, since didn't they need Debney to finish up Looney Tunes Back In Action? The lengthy final action track would have certainly elevated the film to a degree it never deserved, and it is one of his career highlights. I am just happy it got a release.

By the way, the first composer they offered a job in that movie was James Newton Howard. I asked him about it in Prague before it was announced that music would be written by John Powell. Below is an excerpt from the interview he gave me two months ago (it's online, but in Polish)

Since you are friends with Lawrence Kasdan, the screenwriter and the producer of the movie about Han Solo, and you have worked with him many times, I can’t help but ask if there is a chance that we’ll hear your music in this movie.

JNH: I received such a proposal and accepted it, but it soon became clear that I wouldn’t be able to compose this music. All because the recording session will take place exactly at the time of the "Nutcracker" session, and this is also a very large production ... It can’t be reconciled. So I had to refuse, what broke my heart, because there is no better film for the composer than "Star Wars". But you can’t have everything. Maybe next time.

http://muzyka.onet.pl/wywiady/james-newton-howard-geniusz-z-przypadku-wywiad/j8xfbz

Received mine this morning, and agreed, it's terrific. Loving every bit!
 
I'll mention it here, since it's as good a place as any -- I've always loved "Deacon's Speech" and especially the part from 1:54 to 2:09, where the buildup of the previous two minutes gives way to a monumental climax. (It's the same on the OST as on the new release.) Part of what makes it magical for me is how this part is used in the movie -- the little girl is talking about how the Mariner is going to rescue her because he's unstoppable, and the scene is intercut with shots of him unstoppably coming to rescue her. The musical climax is doing the same thing her words are: mythologizing him. It's an amazing moment.

Have to admit, that one did manage to get pretty ingrained in my memory.

This should have been the cover!
 

I ended up ordering from Creature Features for a signed copy. Wanted to go in person but won't be able to make it, sadly. This movie and score honestly means a lot to me. I always saw it as unfiltered imagination that was allowed to play before us onscreen, without giving a damn what anyone else thought or wanted. And I mean that in the best way; making a film that THEY WANTED to make. I always thought the lukewarm reception to it was unfortunate, but it seems like a lot more people are finally starting to like it more. I read somewhere than an art book was being released soon and I DEFINITELY want it.
 
Looking at the track list, it seems I must have been wrong about "Flying Lizard" having a film alternate. Perhaps it just had a different mix in the film? Seems likely. Otherwise it appears it has everything the lossy footwarmer had (but of course numerous cues mixed together, which I think is actually welcome for this score), apart from an album version of a track and an end credits suite. Hard to tell from the clip if it is simply an edit of tracks or if it is original material. The gramophone source music was also on the footwarmer, but this appears to be a little longer, and perhaps it will be in standard sound quality and without the "aged effect" the film/footwarmer had.
 
I honestly always loved the album presentation (it was a good representation of the score), but I am still glad to finally get this. Always wanted the footwarmer in lossless quality, so this official release can put it to rest. I hope more people will discover this score.

I enjoyed the premiere episode.  The humor didn't get in the way too much (sort of on par with Galaxy Quest in which none of that humor made me laugh yet there was still good sci-fi adventure with some comedic elements) and only once or twice did I laugh but I thought the story was a reasonable set up with potentially likeable characters.   I remember the very first episode of Futurama, a show I adore, and thought it wasn't funny at all.  But I came to realize the show would balance a trifecta of humor, characters, and story.  Some episodes focused on different aspects of this trifecta and I think the same could be the case with Orville.  I didn't like how mean spirited Seth was towards his ex but by the end they resolved that complaint of mine satisfactorily.   I thought the music and special effects were very good for TV.  This is enjoyable enough to watch a few more episodes but I don't know if I need two star trek type shows at once. 

Paternoster Gang for me. The further adventures of Strax, Jenny and Madam Vastra? Yes please.  

I only stopped doing that quite recently as well.
Never really heard the point.

ID Regurgitate is the boring one.

I can see any number of issues that people may have with ID4, but "boring" is certainly not one of them.

We must respect your opinion! It is the politically correct thing to do

We were all waiting on this.  Thanks for obliging.
Well all Koepp confirmed is that Ford will play Indiana Jones in the film.  I think it's pretty much a lock that there's going to be a "handoff to the next generation" aspect to the movie, just like in TFA.

It's alright.

That's not weird, that just proves you're all talking out of your asses when you say Disney is opposed to originality. Are they going to give us Star Wars to its greatest potential? Of course not. Even if we could all agree on what that would even be, no studio would give us that.
But! Many of the people making these films are fans of the originals who want to see good movies themselves and who want to be proud of their work.

Perhaps they'll go with Cuaron?  That might complicate the situation with Williams though, given the allegedly "exhausting" experience working on PoA (to be fair, it's probably safe to say that he won't be handed the wrong workprint to score this time)

I think it's unfair to take the motivations of CEOs/executives and project them on the incredibly passionate artisans who actually make the movies.  And I'm including a hell of a lot more people than just Williams.
Every person who worked on TFA is, I'm sure, incredibly proud of their creative efforts from actors to CG artists.
(Not saying movies should be free from criticisms, I've just never found "it was only made for the money" particularly effective as one)