Evanus

I'm trying to imagine a universe where Tony Gilroy got so excited hearing this title theme on piano that he called Kathleen Kennedy right away and said "We have a theme!".

Oh wait, that's our universe.

Honestly good. Blomkamp's ego was even bigger, the dude was literally gonna decanonize two movies.

Ah yes, Prometheus killed the franchise, let's just ignore Alien 3, Resurrection or AVP 1 and 2. Typical youtube rubbish. 

It does have a lot, but it also suffers from bad temp-track-itis. Still the magnificent Dark Phoenix theme makes it the best score of the franchise.
 
Yavar

That's one I definitely need to revisit, which I am kind of waiting for a Varese DE before doing so.  

But I don't recall it having the rich thematic complexity, and blending of sweeping emotional drama & action music, that Solo and the HTTYDs do.

Trespasser is a gem of a mess.
Eh it should be easy. The leaked tracklist already seems to be largely chronological.

If you mean the GEMA list, no, it's not chronological.

The cues used in the final film are in GEMA now:
 
The Hunters Have Become the Hunted Dinow This A Dinosaur in the Ranching Business Disband Together It's Like Herding Parasaurolophus Free-Range Kidnapping All the Jurassic World's A Rage Six Days, Seven Denouements Don't Be Delacourt with Me Upsy-Maisie Clonely You The Campfire In Her Soul Getting There is Half the Tunnel Hay of the Locusts A Sattler State of Affairs Alan for Granted Sattler, I Barely Know Her The Wages of Biosyn (Version 1) Jurassi-logos Your Doomsday Clock is Showing The Wages of Biosyn (Version 2) A Biosyn We Will Go A Very Jurassic Region This Dodgson Burns Bright The Maltese Dragons You're So Cute When You Smuggle In Contempt of Delacourt Dance of the Atrociraptors Kayla Joins the Frayla Da Plane and Da Cycle Battle Royale With Reprise (Version 1) Suite, Suite Dino Revenge (Version 1) The Geneticist's Gambit You're Making Me Feel Wu-zy Slow Walking in the Red Light District Cicadian Rhythms Stop Yanking My Plane World's Worst Mosquito Repellent Test Like Ptarachupting Pterodactyls Turn on Your Gaslight Wham, Bam, Thank You, Ramsay Therizinosaurus Will Be Blood Land of the Frost Shut Your Pyroraptor Hole Giganotosaurus Economy A Good Day to Dilophosaurus A Dimetrodon a Dozen (Version 1) She Shoots, She Scorches A Dimetrodon a Dozen (Version 2) Giganotosaurus On Your Life 2021 A Jurassic Odyssey Ladder and Subtract What's Your Major Malcolm Function (Version 1) Six Degrees of Evacuation Ramsay's the Second No More Gotta Shut Down the Blah Blah Blah… Girls Can Alpha Too Saliva and Kicking Wu-ing For Redemption What's Your Major Malcolm Function (Version 2) Battle Royale With Reprise (Version 2) A-O-Kayla Larry, Curly, & MOE Suite, Suite Dino Revenge (Version 2)

At least we agree on Prometheus! 
 
But there’s a fan cut of the movie, Prometheus Giftbearer, that actually turns it into a good sci-fi movie.

I’m still befuddled by how many people think this is a great score. I feel like I’m in that Twlight Zone episode where she wakes up and they are all pigs.

I've been listening a lot over the last few days, and I'm definitely not going to pretend that it's an uninterrupted 2.5 hour masterpiece. For every handful of tracks that I love, there will be one that just sort of drifts by, but that was the case with Shore's music too - no score is perfect.
 
I enjoy this more than the Hobbit scores, but mainly because I like McCreary's themes more than Shore's Hobbit themes, and I generally feel his work on Hobbit was generally less inspired.
 
What does become apparent on repeated listens though is how interwoven the themes are, a bit like Powell's Hidden World - there seem to be very few moments that are not quoting a theme. It feels that the Numenor and Galadriel themes take the most prominence which is good as I love both.
 
Also interesting will be how this sustains through an entire season of music and we hear music that wasn't selected for this album.
 
Anyone else spotted the (I'm sure unintentional) Spider-Man reference in The Veil of Smoke ?  

Shore's piece is just 1:30 long?..
 
I need more!

Sigh. Can't wait for the obligatory 'this sounds just like Shore's Moria music! Epic!' comments to pop up elsewhere.
 
Now imagine what Shore Golden Age Khazad Dum material would have actually sounded like...

"Music in Star Wars is just absolutely essentially identified with John Williams -- I mean, bow down-but we're going in a whole other direction "
 
What I just don't understand is how they can say that JW defined Star Wars with his music, and then say that they won't do it that way when scoring a Star Wars series.

There's lots of other little bits too. There's a short moment where Maisie sees Blue in the distance before she rides her bike into town. A short scene follows with her at a convenient store where the worker asks why she isn't in school. Then after the Apatosaur scene that follows, you see her leaving. Little bits.
 
Yes there is a scene with an Oviraptor (a heavily feathered dinosaur that you also see in the Prologue sequence) fighting the Lystrosaurus Kayla sold. It's really short, but unexpectedly graphic as the Lystrosaurus bites off the Oviraptor's head. It's body moves around a bit on its own before it falls over. There isn't any visible blood though. from what I recall.
 
During the Malta chase on the rooftop with Claire, there is a brief bit where she is running between clothes on clotheslines. The clothing is real close to her as she runs, and is followed by a shot behind her showing the Atrociraptor running through it as well. It's a couple of cool shots, not sure why they were even cut because they were so brief. Most people don't even realize this was added when watching the Extended Cut.
 
Once Owen gets back on the plane, he shares a brief scene with Claire who is tending to his wounds from what just happened.
 
There is a nice scene with Grant, Sattler, and Maisie added right when their transport gets "stuck" at the old amber mines. Maisie doesn't want to go into the mines and would rather stay in the tube, but Grant convinces her to come out and says something like Ellie is a good person to have in a tight spot, and etc. I'll take any extra Grant/Ellie I can get.
 
One of the longer added scenes is actually one with Dodgson and Ramsay. It's placed in a weird spot (right before the Dimetrodon attack in the tunnels), but it's a good scene with Ramsay confronting Dodgson about everything wrong that is going on. In a way it makes Dodgson even more oblivious when he realizes Ramsay had "betrayed" him near the end, but it's a well-acted scene.
 
Apart from the prologue, no there doesn't seem to be any extra Giga scenes. However, during the tracking shot to the T-Rex's head after it has fallen down in its big battle with the Giga in the finale, there is a flash of lightning and for a moment it has the feathers it had from the prologue. It's meant to harken back to its death from that sequence. But then of course, she gets back up in the finale and "seeks justice".
 
Those are all the other scenes I can think of that you didn't mention yet. It should be noted that bits of the theatrical version's Mosasaur attack in the opening sequence are trimmed down in the Extended Cut, but not by much. The new arrangement is like this: Prologue from 65 Million Years Ago, The Drive-In scene, the opening logo (which uses the Theatrical version's music instead of what we heard on YouTube), then the "Now This" reel which leads into a bit of the Mosasaur attack before cutting off. Then the rest of the film plays out.
 
Overall, I feel like the Extended Cut is better than the theatrical. Kind of allows a bit more breathing room in certain areas (this film has a strange pace where it either feels too dragging or too rushed) while adding a little more interesting moments to keep things lively. Most of it is, as expected, more character-based.
 
I think them cutting the prologue and the drive-in sequence from the theatrical was a huge mistake. It's a far more engaging opening to the film, and a lot more thrilling once we get to the drive-in (did you know it was one of the few sequences shot before COVID happened?). I mean the T-Rex is barely in the film without these two sequences, and given all the hype for it to be treated more as a "character"... it's weird they cut all this. Especially when they continued to use the drive-in sequence moments in all of its trailers. No wonder people felt cheated. I think if all the extended cut had was this original opening, that alone would have been enough for me to prefer it. Everything else is a bonus.
 
Also: The Blu-Ray/4K includes the short film "Battle at Big Rock" as a bonus feature. For those who haven't seen it but wanted more "dinos in the real world" mayhem, check it out. What I find kind of cheap in Dominion is that they actually used most of the fun bits from this short film's end credits in the "Now This" reel (where you also see alternate views of this film's attack). Cheap, cheap. I honestly wished, and had expected, more of these short films.
 
 
EDIT:
I will say however... while this cut is extended, this is by no means the full cut of the film. From what I am privy to, there was definitely still a longer version with even more additional scenes and different layout of scenes. This film is still recut from how it originally was at one point. But that's kind of par for the course of any film these days.

Thing is: only two of those could be considered genuine errors within the work. The rest effectively are just what Powell decided made an effective presentation in his eyes (though why an OST edit was kept is beyond me).
 
Given Identity and Supremacy have different directors, is it really that hard to believe the Bourne on Land alt was rejected for the former project? I did actually compare it to the demo from the latter, and it didn't fully line up in spite of being the same general material. Different version of the same cue maybe, but I kind of doubt it. Plus, since Zimmer did throw in a one off theme in Batman Begins that gets elaborated on in TDK, why couldn't this be a potentially similar thing that was intended?
 
And I already said Got Any ID felt more like a demo to me, just based on how different the mix is in the film outside of the speed change. And the resource I listed does say it's an alt, so I figured this was how the cue originally sounded before the editors changed it.

Indeed, that's a disappointingly generic response but perhaps for this release Varese were essentially just putting out the album and PR materials that Powell & co sent them.
 
In my view, the inclusion of the misnamed alternate really isn't a problem. Glass half full, you've got an official release for one cue from Supremacy, and half empty, you can just ignore it. 
 
For me, missing music will always be the less forgivable aspect for expansions so it was surprising to read about the handful of missing bits. As you say, the labels know they're catering towards customers who notice this stuff.
 
The fade-out in the last cue (before the Moby song) is just plain annoying, and is a curious detail which suggests they either didn't have the original sessions with a clean end, or thought that a fade-out was the best approach.

Hello everyone. It's been a while since this thread was active but I thought I should share with you the results of my attempts to have the aforementioned issues with this released looked into (and ultimately fixed) by the label.
 
Way back on June 11, I emailed Varèse's help address, mentioning the issues I had come across and asking if there was someone from the label who might look into these issues and sort them out for future pressings/digital release. Customer support was very accomodating, telling me they wanted to look into any evidence I could provide, which I did. I took time to carefully include excerpts of audio with evident mastering faults (all clearly labelled and described), and I also mentioned that track 6 "Bourne on Land (Alternate Version)" was potentially a demo from Supremacy ("Morning Run") that could have mistakenly ended up being included on this release, due to the 1m03 cue number. I was told that my evidence would be sent to the relevant team and that I would hear back from them.
 
I didn't hear back for weeks, so I sent a follow-up email just to make sure my case hadn't been lost or forgotten. I was told that the team hadn't replied, but I would definitely hear back as soon as they had something to say. From June 24 to August 3, there was no correspondence. I let the case sit and, since I wasn't listening very much to the expanded Tumescent Identity soundtrack (having lost my enthusiasm for it on account of the present flaws), I didn't feel the need to keep up a constant stream of emails.
 
On August 3, nearly 2 months after my initial email, I send a further email expressing my disappointment in Varèse's apparent failure to even acknowledge my case, let alone take any action on it. I was contacted by the same customer service employee, letting me know that they genuinely had passed on my evidence to the team, but hadn't heard back from anyone and the issue had gotten lost over time. They promised to follow it up again, and on August 9, I finally received a response from the label, which read as follows:
 
"The album was personally assembled by John Powell and his team. John specifically requested it be called "The Tumescent Edition" instead of the traditional Deluxe Edition because it is not a simple extension of the score that appears in the film. It's possible perhaps that the elements you point out were created during the period when he was working on the score which led to their inclusion. Hopefully the all-encompassing response is satisfactory as only John would be able to answer your more specific questions. Thanks for the purchase and hope you enjoy the album more with this context."
 
I must confess that I am fairly disappointed in the outcome of this nearly 2-month long process. I feel this response doesn't adequately address the evidence I provided, but there's not much else I can say or do. Ignoring the inclusion of what appeared to be the Supremacy demo, the statement makes it look like John Powell and his team are personally responsible for the faults on this expansion (which they may well be). But I would have thought that a label which offers premium CD club expansions to a niche and dedicated group of listeners/collectors would be sure to check for errors prior to approving a release, or at least look into the evidence I provided and respond to some/any of the faults demonstrated (in my mind, the sample rate issue of the final track is undeniably an error that can easily be conceded and fixed for future pressings, and I doubt I would need to engage with Powell one-on-one for someone to notice. it). Based on the label's response, it would seem that no adjustments will be made for the future September digital release, which is a shame. 
 
This was my first time engaging with any specialty label beyond simply purchasing their products, and maybe I was too naïve in thinking that my little collection of audio evidence would have any impact whatsoever - After all, there are so many threads on JWFan alone that detail flaws (both small and great) of a number of expanded releases, and I'm sure others have contacted labels to no avail as well. Overall, it's sad that these little faults sour the taste of what looked at first sight to be a really exciting expansion of a great, influential score, and a personal favourite of mine.

They'd be idiots not to let Powell do more Star Wars scores. Unfortunately I don't have much hope..

They'd be idiots not to let Powell do more Star Wars scores. Unfortunately I don't have much hope..

They'd be idiots not to let Powell do more Star Wars scores. Unfortunately I don't have much hope..

They'd be idiots not to let Powell do more Star Wars scores. Unfortunately I don't have much hope..

They'd be idiots not to let Powell do more Star Wars scores. Unfortunately I don't have much hope..