Mr. Who

Kennedy holds the trump card in her negotiations with all these composers...
 
"Please get Michael on the phone..."

I would have liked a Kraemer fallout score but as he isn't doing it I just hope Tyler or Balfe don't end up scoring it. I would prefer someone like John Powell does it.

With Ethan Hunt's theme written by JW. 
 

Just wild speculation here, but what if the charity title is Zimmer's Backdraft and it has something to do with fire departments and or wildfire relief?
 
I'd happily take Schindler's List too.

Film tracks is such a bad site. The reviewer clearly doesn't know anything about how a film and a film score is made.

He's pathetic.

In the Titanic commentary, Cameron says that he loved the piano cue Horner wrote but that the demo performance worked so well in the film that he didn't want to have a re-recorded version of it. For that particular scene, the demo performance works so well and I don't think a re-recording would have worked as well.
 
As for why LLL included all those OST versions on disc 1 and labeled film versions as "alternate", I get why they did it, but I would have preferred that they put the film version of southampton and the alt mix of Rose etc on disc 1 instead of the OST versions.

Well I hope all 4 CDs are actually in your case when they finally arrive!

I've actually done that: 
 
This is the CHRONOLOGICAL order of the score, I've done for my iPod, where I've split the crossfaded cues: 
 
Part 1
1. Titanic Overture (trailer) - it works like an overture so that's how I set it.
2. Logo / Main Title
3. 2 1/2 Miles Down
4. To The Keldysh 
5. Rose Revealed - clean, no crossfading.
6. Distant Memories
7. My Drawing - clean, no crossfading.
8. Relics and Treasures
9. Southampton (disc 3) - film version
10. Leaving Port (alt) (disc 3) - intended film version
11. Take Her To Sea, Mr Murdoch (alt) (disc 3) - the big brass fanfare ending is a perfect close to this section of the score
12. First Sighting - clean, no crossfading.
13. Rose's Suicide Attempt
14. Jack Saves Rose
15. The Promenade - clean, no crossfading.
16. Rose (disc 3) - intended film version
17. Butterfly Comb - clean, no crossfading.
18. Piano Theme - The Portrait (disc 3) - eventual film version
19. Lovemaking
20. Hard To Starboard
21. Rose Frees Jack
 
Part 2
1. Behind The Gates (opening to 'A Building Panic' - start to 1:08 )
2. A Building Panic (1:08 to 6:34)  - I achieved a clean opening by using the 'Album suite' track
3. Abandoning Ship (ending to 'A Building Panic - 6:34 to end)
4. Unable To Stay, Unwilling to Leave
5. No Escape (Trapped on 'D' Deck - start to 6:24) - I achieved a clean ending by using the 'A Building Panic' album suite
6. Trapped on 'D' Deck (6:24 to end)
7. Murdoch's Suicide
8. The Sinking
9. Death of Titanic (you could use the alternate on disc 3 for a more film accurate version since the film version lacks all the electronics)
10. A Promise Kept (combining both disc 2 and disc 3 versions)
11. A Life So Changed
12. A Woman's Heart is a Deep Ocean of Secrets
13. An Ocean of Memories
14. My Heart Will Go On / End Titles (crossfaded 'Post' into the end of the song. My copy of the song came from my own stereo downmix of the 5.1 SACD)
 
Everything else I assembled into separate albums such as: 
-Alternate versions 
-Film mixes and edits
-Original soundtrack cues
-Back To Titanic suites
 
 

Yet another film that I meant to go and see but didn't out of sheer laziness, just like Mother!, Dunkirk and Blade Runner 2049. Hope I can get my act together for Phantom Thread, Three Billboards somewhere, and the watery thing.
 
Here's another top ten list, from Mark Kermode (films released in the UK this year).
Raw Moonlight The Levelling The Red Turtle The Florida Project My Life as a Courgette Toni Erdmann Blade Runner 2049 Get Out In Between

Started a complete edit of the score, first cue I've done: 
 
Of course there is SFX, but I did my best to isolate what I could.

I started on a trailer edit last night (incorporating the CUF cues) and it's easily as complicated as this one. I finally call it a night at about 1.30am with one bit left to do. Certainly there is at least one really horrible edit that's covered by dialogue, and when isolated, took some work to make it listenable. Some others I'd struggle to approve of if they weren't covered by other elements.
 
In one case, the editor appears to have switched to one track for a few seconds, then to another almost identically-sounding one, for no reason I can see. It seems Cameron must've been really intricate in the mixing he wanted, but clearly didn't mind a few rather dodgy edits.
 
Thing is, it's all well and good saying that a cue is 'as intended' and therefore that's how we should hear it, but think about why Cameron (and others in his position) edited/tracked the music in the first place? He decided that something worked better in the film than what Horner originally wrote. I've seen references in the JP threads about some of SS's replacements working better than JW's oriignal cues, so I think there's nothing wrong with wanting to hear the film mix/edit on some occasions, even if it has some less than brilliant edits.
 
Ripples is I think the most prominent example recently. I think the film edit is way better than JW's cue and it's impossible to recreate it using the box because of the layers. I think in cases like that, we could potentially have been given a stripped down mix of the cue as a bonus.

Damn! I would really have liked to hear the full Dunkirk score. The OST is almost entirely made of alts and suites or shortened cues.

People who for years wanted the complete score, wanted the complete score as they had heard in the film because they hadn't heard Horner's rejected cues. I really like how the music was used in the film and I don't care if that was how Horner intended it, I really like it. I do also like the rejected music on the LLL, although honestly, some of it does not seem to fit the movie Titanic. But again, we can like both!

I would love it if we got a 4cd set of The thin Red line, but it's not going to happen.

"Scheduling conflict"... Sure!

After the disappointing JL score, these kinds of interviews where he lessens the work of so many composers and says it's about their ego leaves a bad taste in my mouth

I don't get what Justice League has to do with TFA, they have nothing in common. TFA is one of the best Star Wars scores and Justice league is just uninspired and boring. Man of Steel blows justice league out of the water.

After having listened to a bit more than half of the OST, I think it's pretty uninteresting music. It's not offensive but it isn't very interesting. Just a typical superhero score without any very memorable themes sadly.

Pearls of Mul is the first cue heard in the film then?
 
BB what does the theme from Pearls Power signify? It is quite prominent on the album.
 
Karol

Howard probably phoned Hans.

So was this where all this was plotted? Have they just informed Zimmer here and he is telling them of his plan to overthrow Williams on Star Wars?
 

As long as it isn't Gia, who cares?

Yes there was an impact.  I recoiled in disgust when the Rogue One title card came up.