Datameister

Moviegoers leaving during credits: Permissible. (I stay.)
 
Theater staff encouraging moviegoers to leave during credits: Unacceptable.
 
LTP concertgoers leaving while the orchestra is playing: Criminal.

Guess they’d better make another one! They’ll get it right eventually!

I discovered this during my morning NYT read. Great article, @Falstaft! Tough to describe this stuff in a way that's both detailed and accessible. Love the way you've threaded the needle. I hope it opens some people's eyes and ears!
 
 

I can totally get onboard with a darker or sadder story. It just feels so weird and unsatisfying to take a pulpy adventure series and revive it 15 years after its last revival, only to end it that way.

I can totally get onboard with a darker or sadder story. It just feels so weird and unsatisfying to take a pulpy adventure series and revive it 15 years after its last revival, only to end it that way.

Press the like/unlike button 21 times. 
 
For someone who has only heard the score in the film … how much of the album is material lifted from previous scores? There's so much in the film, but I'm hoping the OST at least manages to focus on new material?

Yeah ultimately same....but Marion and Indy divorcing from the death of their son is one thing.....but for it to be magically fixed (off screen too!) just seems like sloppy writing.
 
Like it was never going to be explained beyond the fact that Indy and Marion are meant to be together. So if they just fix it off screen (which they did)....what's the point of going dark and sad?
 
If she was in the movie before the very end, it could have resolved that. We could have seen her side of it.
 
Idk seems sloppy

It was just an awkward final shot all around. I hated the goofy iris out. Big tonal disconnect from what was otherwise a pretty bittersweet and subdued ending.

Mostly, yes. Germany, 1944 has the most reused material; I don't think there's much if any after that. In fact now that I think about it I believe that might be the only track with reused material (not counting the Raiders March obviously).

I can totally get onboard with a darker or sadder story. It just feels so weird and unsatisfying to take a pulpy adventure series and revive it 15 years after its last revival, only to end it that way.

I can totally get onboard with a darker or sadder story. It just feels so weird and unsatisfying to take a pulpy adventure series and revive it 15 years after its last revival, only to end it that way.

It was just an awkward final shot all around. I hated the goofy iris out. Big tonal disconnect from what was otherwise a pretty bittersweet and subdued ending.

I used to do minidisc (remember them?!) rearrangements of favourite scores and for JP my only real change was to ditch the pointless "End Credits" and move Welcome to Jurassic Park to is rightful place as the actual end credits (it took me some time to figure that soundtrack albums weren't just the score tracks in film order!). I too miss the tonal cool down of the piano version of the main theme before it builds back up again to the orchestra.
 
I can't remember if I omitted Theme from Jurassic Park or not, but it seems like an intrusion after the ominous opening titles which so perfectly setup the intensity of Incident at Isla Nublar. I enjoy the mixture of the titular track with the later T-Rex chase, they use similar material and are tonally similar so work well as an extended "dinosaur attack" suite.
 
I overwrote the JP OST when I got the expanded edition rather than keeping it as a separate album in iTunes, so bought the new JP release* for the album edits in order to recreate the OST (with above edits) as an iTunes playlist. I just need to work out which tracks on the OST and expanded release are definitely identical and delete the duplicates (which I'm sure someone put somewhere!).
 
*I'm not one to buy every release of every score ever, but hey, JP was the first score I ever bought so I'll probably keep buying new editions as long as they keep releasing them!

I agree wholeheartedly that the brass's timing is all over the place. Especially the trumpets. The difference is that I enjoy it. I've heard plenty of performances that were hurt by sloppiness, but this one sounds like Maurice Murphy was just having too much fun. Pitch sounds mostly fine to me as well. Overall, it just feels like an extremely energetic performance that's slightly coming apart at the seams—in a fun way. Can't blame anyone who disagrees though.

I agree wholeheartedly that the brass's timing is all over the place. Especially the trumpets. The difference is that I enjoy it. I've heard plenty of performances that were hurt by sloppiness, but this one sounds like Maurice Murphy was just having too much fun. Pitch sounds mostly fine to me as well. Overall, it just feels like an extremely energetic performance that's slightly coming apart at the seams—in a fun way. Can't blame anyone who disagrees though.

I agree wholeheartedly that the brass's timing is all over the place. Especially the trumpets. The difference is that I enjoy it. I've heard plenty of performances that were hurt by sloppiness, but this one sounds like Maurice Murphy was just having too much fun. Pitch sounds mostly fine to me as well. Overall, it just feels like an extremely energetic performance that's slightly coming apart at the seams—in a fun way. Can't blame anyone who disagrees though.

I agree wholeheartedly that the brass's timing is all over the place. Especially the trumpets. The difference is that I enjoy it. I've heard plenty of performances that were hurt by sloppiness, but this one sounds like Maurice Murphy was just having too much fun. Pitch sounds mostly fine to me as well. Overall, it just feels like an extremely energetic performance that's slightly coming apart at the seams—in a fun way. Can't blame anyone who disagrees though.

The theme barely has any big, schmaltzy renditions in the film, as I recall. Its presence is usually pretty subdued. I interpret the bigger, more romantic settings as reflecting JW's own musical tastes more than anything. He did the same for Marion and Willie, not to mention Leia. There's a "the theme is about how the dude sees her" argument to be made, but ultimately, I think it's just JW writing in an idiom he enjoys and that pays homage to the film's inspirations.

Yep. Mangold's a capable director, but Spielberg's mastery of the frame is on a whole different level.

Well said, @Romão.  I especially agree with your central thesis that they came up with some story ideas that fit surprisingly well into the franchise … but the execution falls kinda flat.
 
There wasn't anything in the film that made me roll my eyes like nuking the fridge or "I thought we were friends" or Mutt's Tarzan moment. But I actually left KOTCS with a smile on my face. This time I left the theater feeling like the whole thing had been kind of a dour, anticlimactic non-event, set to previous Indy scores. It certainly didn't feel like the finale of the franchise.

The theme barely has any big, schmaltzy renditions in the film, as I recall. Its presence is usually pretty subdued. I interpret the bigger, more romantic settings as reflecting JW's own musical tastes more than anything. He did the same for Marion and Willie, not to mention Leia. There's a "the theme is about how the dude sees her" argument to be made, but ultimately, I think it's just JW writing in an idiom he enjoys and that pays homage to the film's inspirations.

The theme barely has any big, schmaltzy renditions in the film, as I recall. Its presence is usually pretty subdued. I interpret the bigger, more romantic settings as reflecting JW's own musical tastes more than anything. He did the same for Marion and Willie, not to mention Leia. There's a "the theme is about how the dude sees her" argument to be made, but ultimately, I think it's just JW writing in an idiom he enjoys and that pays homage to the film's inspirations.

Yep. Mangold's a capable director, but Spielberg's mastery of the frame is on a whole different level.

Saw the film yesterday.
 
I'm one of those weirdos who avoided anything score-related prior to seeing the film. I knew Helena had a theme but I hadn't listened to it. I steered clear of all discussions about the film and score. So I was going in with very few preconceived notions.
 
Maybe it would have been better if I hadn't done that. Because it didn't take long for me to realize this was another COS, and it hurt my enjoyment of the film. One direct quote after another, strung together (very competently) by Williams and/or Ross.
 
If I hadn't heard any of the previous scores, I probably would be hailing this one as a triumph. It's all great stuff! But as things are, I was distracted and disappointed by each lifted passage. I hoped that they'd stop after the prologue, but they merely became a little less frequent.
 
I know how this is gonna go. As the years pass, I'll get used to these new configurations of the old writing, and I'll come to enjoy this score well enough as its own thing. That's what happened with COS. But in the meantime … damn, what a letdown.
 
(Disclaimer: I fully realize that JW is in his 90s. I don't know how he continues to do as much as he does. Not holding anything against him, or anyone else.)

I assumed Bill would be involved, even before I saw the film. He was involved with all three SW sequel scores, Galaxy's Edge, and Obi-Wan. But no, I don't remember hearing anything about whether he was involved in DoD beforehand.
 
I also see nothing wrong with JW trusting a talented and experienced collaborator to help him execute his musical vision. I was just disappointed that reused material supplanted so much of the new material I was hoping for.