Colonial Marine

In listening to The Great Migration on the original album, right as the horn solo comes in at 1:55 there sounds like there's possibly an edit there (really only audible on headphones). Perhaps the horn solo only is from a different take and edited into what what Horner thought was otherwise the best take of the cue? The rest of the cue sounds essentially the same as far as the mix and performance is concerned between the two albums.

Ordered!

Unless I'm crazy, the FYC page seems to be live again. Now with the track titles. https://disneystudiosawards.com/star-wars-score.html

Same. The product pages went live one at a time starting at 11:58.

I was 166744. Not sure if there was anyone lower.

Ordered! 166744! Got HP along with Schindler, Dracula, and The World Is Not Enough.

As I posted on the FSM forum, I understand the sentiment. Many of the edits are painfully obvious in the film even when they have the benefit of being covered in the mix. To recreate those edits would require even further editing to create something approaching a seamless listening experience. I don't think I'll bother making edits of other cues. However, 2 1/2 Miles Down is a special case. The full, 10-minute cue is a solid listening experience, but doesn't seem to be a case of "what was intended". Playing the cue under the film makes it clear that it was either recorded to play under a different edit of the sequence--the hits in the music don't sync with the cuts or reveals and it's much longer than the sequence, continuing all the way until Rose calls Brock on the Keldysh--or it was always intended to be cut and edited into the film per Cameron's needs. The cue is ethereal enough anyway that the slow fades and ghostly mixing of elements are far less noticeable than cues later in the film. I just like what Cameron did there, especially Sissel's vocals and the sustained strings from "Post".

This what the timeline for my re-created "2 1/2 Miles Down" looks like. It really gives you a sense of the work that went into cutting the music for the movie. The 4 minute cue represents three moments: when the MIRs reach the wreck, when the ROVs enter the ship and pass over the boot and doll's head, and when "Snoop Dog" flips the wardrobe door over to reveal the safe.

It's possible to appreciate both the way the music played in the film and the way it was intended to be heard. While much of the music in the film is a hodge-podge, there are moments that offer something interesting musically--like inside the wreck--even though they're not what Horner intended. A playlist can contain both.

In an attempt to spur discussion regarding the differences between the new album and the score as heard in the film, I watched the movie and made a spreadsheet (Jay, using yours as inspiration): https://docs.google.com/spreadsheets/d/1I8v85oiT3yg8IL_hkMB1fm57kLX1aftI53jEO2pjfQc/edit?usp=sharing I included timecode from the US Blu-ray to aide others in finding where cues begin and end in the film, although there's some leeway in those times and the length of cues (it can be difficult to hear within the mix). Cue titles follow the album where applicable and I created new titles where needed. I noted tracked cues where they were immediately obvious as I was working. The notes are by no means comprehensive, but I think they're a decent starting place.