Pieter Boelen

Indeed they are, so saying that EVERYTHING City of Prague Phil is garbage is just... well... foolish.
 
-Erik-

Just finished the last episode of the season of Percy Jackson and I really enjoyed it! As a huge fan of the books, they made a satisfying adaptation, changing some bits here and there, but retaining the same spirit and magic.
 
Here's a little breakdown of which cue corresponds to which episode. The album is a bit of a mess, honestly, and almost all of the tracks are made out of many different pieces from across the episode, which are longer and contain some thematic material that is sadly missing from the release. Also, I noticed that the end titles track is a bit different in each episode, having some musical hints of the characters that appear in the "next episode" teaser:
 
I think there are at least 6 or 7 themes with a clear meaning, but I think there are some hints of possible future themes during some scenes, knowing how the story will go. Apart from a theme for each of the three main characters, there is a theme for Camp Half-Blood, a theme for Hades, another for Ares, and I think Hephaestus has a theme that plays several times during the episode he appears.
 
I hope they announce the renewal for Season 2 as I would like them to do all five books, which in my opinion get progressively better!

Absolutely not.  None of the pieces I've mentioned are close to being my favorite track.  One must consider the importance of the piece over their personal preference.
 
The raiders march might be my favorite theme but I doubt it's worthy of the golden record. and the one on my list is far from my favorite track.  That would prob be ToD end credits....but again, worthy of the golden record to space? I'm not sure.

good pick.
 
also, my goodness, i literally had no idea so many pieces that could legitimately qualify for this would be space themed.
 
pretty cool.

Suite from SpaceCamp would be my first thought.

Suite from SpaceCamp would be my first thought.

@TheAvengerButton, I think it's more appropriate if I do this here.

(64 minutes in all)
 
So, my goals here were to create a mostly chrono album that features all the important pieces with no repetition. Sometimes to keep pieces in I used them in places where the game uses a different one or nothing at all. Some of the game files are just edits of other cues, some are just the same piece looped with a different start and end point, so some "archaeology" had to be done to pick the "real" full original pieces to use. In many of them I removed the baked-in loops, but some I loved too much and left looped. I managed to use every unique piece apart from a handful of stingers I couldn't find good places for.
 
Ceylon, 1935 - Ceylon Amb2b + Ceylon Amb1c + Heroic Resolve2b
Starting with Amb2's opening and In the Jungle reprises was obvious, and Amb1c's opening overlaps well with its ending. Resolve2b is a nice heroic but somewhat lowkey "introduction" to Indy, accompanying maybe something like using his whip for the first time to swing over a chasm.
 
The Temple of Kourou Watu - Indy Ambient1 + Indy Ambient2 + Scary Event1 + Ceylon Temple2
Now that the Raiders March has been introduced at the end of the first track, it can weave through the exploration cues in this one. Scary Event stands in for some booby trap, after which the mood gets darker and more tense in Ceylon Temple.
 
Von Beck and the Crocodile - VonBeck Motif1 + Ceylon Crocodile
The nazi villain catches up with Indy and unleashes the giant crocodile guarding the treasure, the mood gets even more tense.
 
Jungle Escape - Indy Action1b (loops removed)
The game has no action scene here, but after so much exploration I thought the Ceylon section had to be capped off with an invented fight and escape. I love the Raiders B statement 2/3rds of the way through.
 
To Prague - Indy MapIndex1b + PragueTheme1e
I completely disregarded the in-game prerendered map sequences' music choices and just went with which one felt right where. This preppy happy one fits perfectly after the successful escape in the last track.
 
Exploring the Castle - Indy Motif1 + Prague Castle + Prague Dungeon1 + Indy Motif2
The opening calm Raiders statement represents Indy entering the castle, then comes a long search for clues and secret passages, and the triumphant Raiders at the end represents a puzzle being solved.
 
Nazi Agents - Indy Action2b (loops removed)
Indy is not alone in the castle, others are looking for the macguffin pieces too. This piece features both the nazi theme and the Raiders March (including in a completely unique lovely rendition near the end, so it fit really well for a mid-section successful fight.
 
Vega's Laboratory - Prague Dungeon2 + Prague Glider
Some more booby trap-dodging with a triumphant finale.
 
The Golem - Prague Lab (loops removed)
Self-explanatory, didn't add anything to its winding down ending since Indy's captured by the nazis at the end of the scene.
 
Captured / Mei Ying's Help - Splash Screen + IstanbulTheme + MeiYing Motif1 + Indy MapIndex3
This represents the map scene and cutscene for Indy being brought to Istanbul, then rescued by Mei Ying, the chinese villain's sexy undercover assistant. For the longest time I had no idea how to use the Splash Screen's slow nazi ostinato but it fits perfectly for a villanous map transition.
 
Istanbul Fight - Istanbul Action (loops not removed)
One of my favourite pieces in the score, for Indy mowing his way through swordsman goons.
 
The Sunken Temple of Belisarius - Istanbul Ambient + Istanbul Sunken
Some more tense exploration as Indy makes his way through the old Greek temple.
 
The Kraken - Istanbul Kraken
Not one of my favourite pieces or ingame setpieces but it's already fine as is.
 
To Hong Kong / The Opera - Indy MapIndex4 + HongKong Opera
I love the Mei Ying in the latter.
 
Hong Kong Chase - Chinese Ambient2 + KongTien Motif1 (slightly shortened final note) + KongTien Motif2 + KongTien Motif3 + Chinese Action2 (2)
So what's going on here? I discovered while listening that the separate short KongTiens make a really good partial KongTien theme when assembled closely together, 1 is its A phrase, 2 is its B phrase, 3 is a variation, so that's what I did as a transition from the uneasy mood to the rickshaw chase with Wu Han.
 
To Peng Lai Lagoon - Indy MapIndex2 + NaziTheme2
I used one for the more serious map pieces here, and a short nazi theme for the establishing piece... for the totally likely location of a nazi submarine base off the coast of mainland China.
 
Discovered - Nazi Action1c (loops removed)
The entrance is not exactly smooth, there's a fight almost immediately.
 
Infiltration - Indy Motif4 + Nazi Infiltration2 + Nazi Infiltration1
Indy is of course victorious and ever resourceful, so takes an officer's outfit to try not to seem suspicious. It seems to work out at first, but by the latter half of the track it gets harder and harder with some light comedic touches.
 
Full Alert - Nazi Action2b (loops not removed)
Indy is of course discovered and has to escape the base on full alert. This, the fullest rendition of the nazi theme, could be my favourite cue in the score, I remember pulling the alarm again and again to keep the fight and the music going!
 
Gondola Shootout -Indy Chase (loops removed)
Of course I also had to represent the memorable sequence when Indy's a sitting duck on a gondola on its way to the fortress with nothing but a machinegun and infinite fighter planes come to shoot him down.
 
The Back Dragon Fortress - Dragon motif1 + Chinese Ambient1 + KongTien Theme3b
The opening could be the most badass cue in the game and I love the tense oriental instrumentation in the middle.
 
The Feng Twins - Chinese Action1c
Since the piece incorporates Mei Ying's theme, it's very fitting for her rescue.
 
To the Emperor's Tomb - Heroic Resolve1 + MeiYing Motif2
A very calm Raiders standing in for a map scene as the heroes are seemingly at the final step of the journey, and a bit of Mei Ying's theme for their budding relationship.
 
Ancient Ruins - EvilTomb Ambient1c
Some exploration in the tomb.
 
Booby Traps - Supernatural1 + Eerie Event1 + EvilTomb Ambient2 + Supernatural2 + EerieEvent2
To be perfectly honest, I had all these cool stingers leftover and no perfect place to put them, so I just threw them in here to represent traps and puzzles in the tomb. The darker more tense choral Ambient fits well with this idea.
 
Terracotta Soldiers - Terracotta Action
Shit gets real, the spirits of the dead are possessing the famous terracotta soldiers and fight Indy. The chinese motif gets really grand renditions.
 
Von Beck's Return - VonBeck Motif2 + EvilTomb Action1b (cut off when it transitions to Istanbul Action) + Dragon Motif2
I had to represent the setpiece where the nazi villain chases Indy through corridors in  a digger machine (when I was a kid it took frustrating days to get past this part - replaying it recently I did it on the first try), so I kind of cobbled this together from leftovers.
 
The Heart of the Dragon / Marshall Kai's End - FinalBattle Action1b (loops removed) + FinalBattle Action2d (loops removed) + Heroic Resolve3
Themes come together, pieces are reprised, the final showdown is here. After all that excitement, the title screen Raiders rendition finally appearing is a fitting payoff.
 
A Date with Mei Ying and Credits - MeiYingTheme3 + End Credits
A Marion-esque final full rendition of the love theme leads into the fantastically energetic March rendition for the credits.

Is this the title of Indy VI?

I believe that John Williams recorded a concert arrangement of the various Nazi themes from the Dial of Destiny score, titled "Nazis", but then didn't include it on the OST album.
 
 
 
For a bit of background, there's a German publishing rights organization known as GEMA (Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte), who makes their list of entries public, via an online search:
 
https://online.gema.de/werke/search.faces?lang=en
 
There is lots and lots of music listed in there, from all genres, from all types of media.  Many films have their Cue Sheets uploaded into it, to officially secure the publishing rights for every film score composition that is in the film - often OST albums will also be uploaded separately, covering all music released in both places.
 
The nice thing when that happens is that it gives us all the original cue names (or at least, the names that they put on the cue sheet, which doesn't always match when was put on top of sheet music), though it hardly ever gives us the reel/part numbers.  Also the search results can be sorted by chronological appearance by copying the "Publisher Work Code" attached to each cue name and then sorting by that field.  Note that this only sorts the cues by their first appearance in the film - even if that appearance was tracked music.  @CGCJ already sorted them by that field when he posted the Dial of Destiny cue names found in GEMA here.
 
This chronological sort gives us a few pieces of information right off the bat - namely that Helena's first scene is entirely scored by tracked music ("Helena's Tutorial" from later in the film), same with Voller's first New York scene (more on that later), a bit of "Centipedes" is tracked in near "Eels", etc.

But one thing I also noticed is that it provides an additional note for all cues that appear in the end credits assembly. For example, if you click open  a cue that is not in the end credits looks like this:
 

 
While a cue that is in the end credits looks like this:
 

 
 
So overall, there are 6 cues listed as being in the end credits assembly:
Nazis To The Airport Raider's March - JR Edit Helena's Theme Rev 2 Helena's Theme Rev End Credits Part 3  
Now, the final 4 cues on that list are obvious.  In the film, the main credits are scored by "Raiders March -JR Edit" (which incidentally Williams conducted in New York before the film even came out), then the scrolling credits are scored by the piano intro of "Helena's Theme" (Rev 2), then the rest of "Helena's Theme" (Rev), then "End Credits Part 3" (the suite we hear in OST track 1 from 1:08-end).... right?
 
Well, it turns out yes, but actually no.
 
Many fans have noticed that the film features an "extension" in the "End Credits Part 3" part that isn't in the OST track.  Specifically, what you hear in OST track 1 from 2:30-2:37 is replaced in the final film by about 49 seconds of... something else:
 
 
Well what is this mystery music?  The logical guess was that it was music he simply snipped out of the OST version for an improved listening experience.  However, after a while it occurred to me that no, this is actually an alternate opening of the "Through The Airport" sequence!  This piece starts with about 8 seconds of racing strings that leads into Helena's theme, which gives way to a sort of wondrous moment, before snares lead us to Voller's theme.  The opening of the "Through The Airport" film version, by comparison, has 8 seconds of different racing strings that give way to a different performance of Helena's theme, which leads to timpani instead of snares, and then non-thematic passage instead of Voller's theme.  But the vibe is very similar between both pieces, so it seems pretty clear to me that's what this music is.
 
We know that the film version opening of the scene is actually the specific cue "To The Airport (Patch 2)" - we know this because a piece of it was tracked into the "Teddy Is Kidnapped" sequence, so it appears there chronologically in the GEMA list.  So when I finally remembered the whole GEMA end credits thing and I saw "To The Airport" listed the way it is, I realized that some piece of this version is still in the scene, and then another piece is inserted into the end credits to extend the run time, explaining why it isn't in the OST version.
 
 
OK, so that explains "To The Airport", but what is "Nazis"?
 
Well, due to its GEMA sorting order, we know it appears in the film after the tracked usage of "Voller's Interview" that scores the New York scene where the waiter brings him food.  Careful listening led to me realize that almost all of that scene is "Voller's Interview", so therefore only the very end could be "Nazis":
 
 
OK, well that bit doesn't appear in the end credits, right?  Well after listening to the end credits for a while, I had the realization that the opening 34 seconds or so of what we thought was "End Credits Part 3" is a different recording than the rest.  And then it dawned on me that THAT must be the START of "Nazis", and the bit tracked into the waiter scene is the end!
 
And luckily both parts of this lost concert arrangement are on the OST album too.  The start in OST track 1"Prologue" from 1:07-1:41
 
 
And the end in OST track 3 "Voller Returns" from 2:40-end.
 
 
 
The interesting thing is that the way "End Credit Part 3" starts after that opening taken from "Nazis" doesn't sound like a good opening on its own, so its likely that what happened is he wrote it knowing that the opening bars of "Nazis" would be re-used, instead of having to nail a performance of them all over again when everybody already liked what was already recorded.  And that also probably explains why this concert arrangement isn't on the OST album, it probably has a lot in common with the first half of "End Credits Part 3" that also covers all the Nazi themes.
 
Phew!
 
 
TL;DR: I think Williams wrote a concert arrangement called "Nazis", but we only have heard about a minute of it, the beginning part being in OST track 1 "Prologue", and the ending being in OST track 3 "Voller Returns"

A post-TRoS world, eh?
Now that DOES sound apocalyptic!! 

Yep, Treasure Planet, my bad.
 

Treasure Planet, you mean?
Or Peter Pan, perhaps?

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

LOL 
 
Tom Holland’s Box Office Bonus for Marvel Was Sent to British Actor Tom Hollander by Mistake: ‘An Astonishing Amount of Money… a Seven-Figure Sum’

I think part of the reason I didn't like the later films much is exactly what you detailed - everything is cold, clinical and modelled over architecture we recognise. Potter was never that for me from the books - it was surprising, unpredictable, with rooms that seemed to go on forever and a sense that if you stepped on the wrong thing, the floor would collapse like Indy, or inanimate objects that started talking to you. Almost a sense that no one, not teachers, not Dumbledore really knew where everything was, and they'd have to cancel potions until tomorrow because the room's disappeared...
 
The first film was actually a bit disappointing in that respect as well. They shot the interiors at a couple of Cathedrals in part iirc, and it looks it. It needs to look like a huge posh boarding school but where everything's gone a bit strange and the set designer has taken inspiration from the Tardis, i.e. bigger on the inside  
 
I Guillermo Del Toro version would be interesting, after Pan's Labyrinth, one of the most imaginative films I've ever seen.

I feel the same way about virtually all of the Wizarding World as portrayed in the films post PoA. Instead of absurdist, magical, interesting architecture we just get... retro real-world buildings. The Ministry of Magic is deliberately modelled after the London and Moscow undergrounds and it shows - on one hand I see how suggesting a time and place can be effective visual storytelling, but it also contradicts the social structure of the magical society as it's portrayed in the books. The buildings are supposed to be weird - most witches and wizards look down on Muggles (whether that's affectionately or sinisterly) so it doesn't make much sense that their aesthetic is virtually the same. It's the same with the clothing/robes - they're supposed to be flamboyant but in the films they're either nonexistent or just lightly tailored suits/variations on Muggle fashion.
 
Don't get me started on the portrayal of actual magic/spells. As @Holko pointed out everything's strangely mechanical and logical when it should be bizarre and absurd. We never see any interesting spells or charms, especially from GoF onwards - it's all just generic jets of light, shields and explosions. Yates is squarely responsible IMO, for going with the "realistic, grounded and gritty" aesthetic that dominates the franchise. I hope the show goes to someone with vision and flair, someone weird - imagine Terry Gilliam (who Rowling originally wanted to direct) producing this show, it would be amazing!

It’s all great artwork , but still terribly arranged for a soundtrack cover.  I prefer the way Jim Titus masterfully took the vertical Struzan poster art and tastefully brought it to square proportions.  
 

 
 

They will defeat Lorne Balfe and reinstate Joe Kraemer.

I really like the title theme of Percy Jackson and the Olympians.
 
The series is great, too. We can only hope, that the upcoming Harry Potter series will be at least half as good.

The Kathleen Kennedy bashing is so tired. Films produced by Kennedy have grossed $13.3 billion dollars worldwide. Financially she's the third most successful producer in history, behind only Kevin Feige (Marvel) and David Heyman (Harry Potter, Barbie).
 
If not for Kennedy, we likely never get a trilogy of new John Williams Star Wars scores, nor a theme for Solo, Obi-Wan, or a fifth Indiana Jones. She's also, along with husband Frank, one of Mike's biggest advocates when it comes to score expansions.
 
It's easy (and lazy) to make throwaway barbs about someone's apparent lack of talent, but the data doesn't back it up. If anything, it was Kennedy's lack of micro-managing filmmakers on the Star Wars sequels that led to the issues fans level squarely on her shoulders.

Question: In 20 years from now, what will still be heard in the classical concert halls in the world?
A suite of Ludwig Göransson's Oppenheimer score or
Helena's Theme of John Williams?  

The entire film is very good!

Well a global pandemic did sweep the globe mere weeks after TROS was released.
 
Coincidence? I'll let you decide...