HunterTech

If DC thinks they can get away with distinguishing iterations by simply adding "the" at the beginning, why can't we?

Once again, you wrote this a few posts ago:
 
 
How the hell is this not considered an attack if you're fully transparent about believing people having worse taste in music because they liked anyone other than JW more?
 
Even more baffling when you also put this in the exact same post as the first:
 
 
Why would they think that? Rogue One is the only time where he full on tried to replicate the sound of Williams, and that mainly had to with time constraints + studio demands! Every other score of his displays a different set of sensibilities that rarely evoke JW in any form. For someone who claims to be a film music fan, that seems like a rather odd hill to die on with how wide and varied the landscape can sometimes be.
 
Now please, just answer why you feel Gia is trying to claim in anyway he's the rightful successor to the JW throne, or else the ice cold reception ain't gonna defrost anytime soon.

Ulyssessian's comments seem to me to express disappointment in the score, and lamenting that Gia can do better - in other words, still generally positive about Gia's talents.
 
You're right that no one should be attacking anyone else's opinions, but even on a JW forum, having a 'JW is the best, period' approach and then immediately entirely trashing another composer (with claims you cannot back up), and claiming that those with good taste would not enjoy other composers, is not the best starting point. There's simply no need for that level of negativity around those who enjoy non-JW music too.
 
I'm a bit less enthusiastic about JW as some - I'm a more casual fan, and to some extent I'm here for discussion of scores in general. I just stay out of threads concerning scores I'm not really interested in.

You literally opened a post with this:
 
 
I can see why there's a bit of pushback if your attitude essentially communicates that only you can use this line of thinking and no one else.
 
I absolutely would love to know where Giacchino has heavily alluded towards being the next JW. Is it simply because of all the franchises he "inherited" from him?

Your comment is phoned in and uninspiring. I would also like to know how you've managed to reach so far up your own arse in order to pull the bullshit idea that he thinks he's the next Williams - a claim he would readily dismiss right off the bat (no Batman pun intended).
 
I also find it amusing when people say (about any composer or musician) that they haven't written anything memorable when these composers and musicians are hired for this trait and are admired by millions of people for it. 
 
So, you might not hate Giacchino, but you certainly hate the idea of his success...

I think it is possible to enjoy all sorts of music for all sorts of reasons. There's no one who writes symphonic music like John Williams these days, no one disputes that. It's not even about talent, people are not being trained in the same wa or use same tools. It's just what it is.
 
But it's also difficult to compare the popularity of Williams to someone like Zimmer as this is not necessarily the same type of crowd. I have no problem liking both, they have nothing in common so I get at least some variety.
 
Giacchino is a good dramatist and, by all accounts, very good person to work with. And he clearly has interest in other filmmaking aspects so that makes him an ideal collaborator. It is not a surpise he's in demand. 
 
Can't we just be friends?
 
Karol

I think that, if in order to like the music of a composer he needs to be on JW-level, then you're just going to hear John Williams for the rest of your life.
 
Nothing against it, of course, but there's a world out there of great composers both alive and dead that, although not on JW's level, still provide wonderful music.

Previous analysis for HTTYD1:
 
Powell manages the great feat of following a great score up with a great sequel; his sound evolved, the score evolved, he wrote all new themes but also reprises every single old one at least once.
 
New themes: [number of appearances]

Lost and Found: 17

The main theme of this score delivering the emotional content in versatile ways – both sadness and happiness, big or small.

Map of the World: 13

A romantic theme for the characters’ perception of the world growing, eventually used as a theme for Eret.

Good Alpha: 9

A grand and regal theme depicting leadership.

Power (Drago A): 9

A sinister melody appearing both as quiet scheming and loud villainy.

Control (Drago B): 8

Violent stabs of 3-note figures mostly scoring Drago instructing his Alpha.

Courtship (Stoick and Valka): 7

A new love theme born from the courting song.

Valka: 5

A theme specific for Valka and her sanctuary.

Hiccup the Chief: 5

A theme for Hiccup maturing.

Unstable Ground: 4

A setting for strings, mostly sowing around the same note with little pitch variance but very dynamically breathing volume.

Loss: 2

Appearing during and after Stoick’s funeral.


 
Returning themes:
Night Fury (Friendship Arpeggio): 12

Appearing as an ostinato or standalone statements, best known as Forbidden Friendship’s main or Test Drive’s underlying melody.

Friendship: 10

Mostly standing for Hiccup and Toothless’ relationship, it can also be taken as the intro to…

Flying: 11

The soaring melody for the pair’s joyous maneuvers and freedom.

Winds of Change (Hiccup): 6

A gentle theme for Hiccup and the Dragon Riders, or changing minds in general.

Viking Fun (Berk): 9

A fun theme for the island and its inhabitants.

Viking Heroism + Sheep: 12

A heroic viking theme, the ending of which is converted twice into a lowkey choral setting for the island’s sheep.

Dragons: 10

Originally a serpentine melody that eventually softened up as the vikings got to know and befriend dragons, now it appears in various settings.

Love theme: 6

Still employed romantically for Hiccup and Astrid’s continuing relationship, but also appearing in a new setting on solo choir for Ruffnut’s many sudden crushes.


 
briefly reprised themes:

Fighting Dragons: 2

A small utility motif used in the final battle.

Friendly Dragons: 2

A motif that’s not 100% friendly and gentle but illustrates the species getting to know and trust each other.

Viking Warrior: 2

Another viking theme, less overtly heroic than the other.

Viking Warrior 2 (Stoick): 3

And yet another one, related to Winds of Change, often playing together with it.

Falling: 2

A setting and some melodies for the entire orchestra to use as they fit, for things briefly going wrong but about to go right.
Fate: 1

A descending melody for Hiccup’s personality.

Jig: 1

A fun dance tune originally used in the tail testing montage, See You Tomorrow.

 
(1m1-INS) - Dragon Racing (Alternate Film Version)

Quiet strings introduce a brass Friendship, then percussion introduces Viking Fun and Flying on winds, mirroring the first score’s film version opening closely.

(1m1) - Dragon Racing (Original Opening Version)

The same melodic content with faster tempo and Friendship on grand brass fanfares. All instrument groups quietly play around with Viking Fun until a lot of buildup explodes it in a grand string + later bagpipes version. We take a slight detour into an exploratory interlude: a unique pipe bridge then a reprise follow, then a pompous marching Winds of Change, a Night Fury on harp, Fate on strings and brass, the Jig on solo violin with a flute joining, then we rejoin the grand dragon race with its speedier tempo. Viking Heroism scores the Riders’ maneuvers, a quick quiet cut to solo choir scores their target sheep, Viking Fun and Heroism come back, the Love theme supports Astrid’s victory, and another Viking Fun puts a bow on this overture throwing us right back into the HTTYD sonic and thematic universe.

(1m2s) - Where No One Goes

We first see Hiccup and Toothless excitedly flying to Jónsi’s song supported by Powell’s orchestra, plucked instruments and madly sowing strings laying down a Night Fury base with Flying coming in soaring for the instrumental breaks.

(1m3-4) - Together, We Map the World

We jump right into the new material with Map of the World growing from solo instruments to full string section, then playing more on flute. A playful oboe Dragons accompany Toothless’ antics, then Map of the World returns over a base reminiscent of Forbidden Friendship’s glassy textures. Viking Fun on uncharacteristic quiet instruments and a fanfare end the track as Astrid arrives.

(1m5) - Hiccup’s Gonna Be Chief (1m5)

Their titular discussion introduces Hiccup the Chief, which fades away into a comfortable Night Fury in a setting similar to Where’s Hiccup passed around on woodwinds, the Love theme following it up on harp, winds and hardanger. As they notice smoke on the horizon, strings colden the atmosphere and Map of the World comes back on a solo horn. Grand choral orchestra plays as they rush to investigate, a Night Fury and some Map of the Worlds providing the climax for the village covered in a giant ice shard, turning into an action Night Fury and some of the unique action bits from Counter Attack as they are attacked and downed.

(1m6) - Eret Educates Hiccup

Unstable Ground is introduced as Eret the dragon-trapper tells Hiccup about Drago, but they soon decide to escape to a heroic Map of the World with a harp Night Fury coda.

(2m7) - Drago’s Coming

As Stoick hears the news, he orders Berk to close up and get ready, to a militarised Viking Fun, with a string Viking Warrior 2 interlude.

(2m8) - Eret Has Visitors

Hiccup and Astrid come back to the trapper village to more Map of the World, Hiccup the Chief comedically accompanying his surrender.

(2m9) - Me Likey

More Hiccup the Chief starts the cue until the Dragon-riders arrive to save them with Viking Warrior on various brass. until Ruffnut’s new Love Theme version interrupts it, a quick Winds of Change putting a stop to it.

(2m10) - War is What He Wants

As Stoick tells Hiccup about Drago in a flashback, we get our first Power on quiet clarinet, turning into a loud Control as he burns the meeting hall to the ground. A subdued Viking Heroism is followed by Hiccup the Chief, showing he still thinks he can change the villain’s mind.

(2m11) - Hiccup and Toothless Attacked

Unstable Ground accompanies Hiccup riding Toothless into the wild to think about things, but suddenly he’s attacked to partial Lost and Found segments, already indicating the identity of the masked rider. Toothless is abandoned alone sinking into the water to a quiet choir+accordion Lost and Found, until he’s also grabbed and taken to uncharacteristic Good Alpha variations, again not giving away the intent but secretly indicating it.

(2m12) - Dragon’s Lair

Hiccup charms the dragons and their leader with his tricks to Friendly Dragons, the opening of Viking Heroism, ending up on a still not fully major key Good Alpha.

(2m13) - Should I Know You?

Valka is introduced on choir as she reveals herself, then as we cut to Stoick and Gobber, we change to Viking Fun, the B and C phrases of Flying, a variation of Dragons as they find Hiccup’s helmet, then more Viking Fun.

(2m14) - Valka’s Dragon Sanctuary

Glorious complete renditions of Valka.

(2m15-16) - Hiccup & Valka Bond

Map of the World comes back as Hiccup’s worldview expands even more. Glassy textures lead to a second statement. Power on flute and choir briefly darkens the cue, then an appropriately darker Friendship leads to Friendly Dragons and a brief Viking Heroism as Hiccup explains how he met Toothless.

(3m17-18) - Valka’s Flash - Good Alpha

Dragons comes back in its original darker form but quickly turns to a light lullaby Lost and Found, which grows to a full blasting orchestra and choir for the tragic moment of Stoick and Hiccup losing Valka, closing with a solo piano. Good Alpha comes in to lift the spirits, finally in its grand form when we see, well, this nest’s Good Alpha. After brief flutes almost prefacing material from the third score, we get more Good Alpha on choir and strings.

(3m19) - I Grew Facial Hair For You

The Dragon Riders hang out, scored by a dejected Dragons, but once they decide to move and catch Eret to lead them to Drago, the Love Theme plays very motivatedly.

(3m20) - Flying With Mother

A gorgeous flying waltz of Lost and Found with pipes and choir, with a Map of the World interlude on harp and strings, and another on oboe and strings.

(3m21) - Can We Start Over?

Valka starts the cue, then a calm solo piano Friendship and Flying reminiscent of Where’s Hiccup leads to a similar Lost and Found plus a Valka on slow strings.

(3m22) - Meet Drago

A militaristic Power introduces the villain’s headquarters. Dragons briefly plays as the riders are captured, Power plays quietly again, but a Control statement kicks it back into full gear and it plays in full force on choir and strings as he asserts his dominance over their dragons. Control continues to play low in percussion and staggered strings, with some Winds of Change in a not quite heroic setting trying to overtake it. Viking Heroism attempts the same, but Control comes back heralding a big Power again as Drago decides to move against the Berkians.

(3m25-26) - Stoick Finds Beauty

Gentle Dragons variations score Toothless’ antics with little dragons, then Viking Warrior comes back for Stoick finding Hiccup. As he notices Valka, though, the tone shifts suddenly into quiet gentle amazement, a slow Valka variant giving way to Lost and Found on hardanger as they kiss.

(3m27) - Get’ Em You Son of Eret

The trapper decides to switch sides and rescue the Riders, Map of the World transforming to a swashbucklingly heroic fanfare for him. Viking Heroism gets a respectful string reading, then another twinkly Map of the World shows up in the ensuing buildup.

(3m28s) - Courting Song

Stoick and Valka sing „their” song, introducing Courtship.

(4m29) - Courting Song Instrumental

Light variations on Courtship.

(4m30) - Battle of the Bewilderbeast

In the biggest action cue of the score, we get a reprise of Over / Less Okay as a basis, filled with all kinds of new additions and little changes. We set off with a dramatic Good Alpha as the iceberg gets shot, marking the arrival of Drago’s army. The family and dragons decide quickly to pick up the fight, a motivated Dragons leading to a reprise of battle fanfares from Over/Less Okay, Control briefly interrupting as the dragons are trapped. Viking Heroism on brass heralds the Riders’ arrival, properly scored by Winds of Change and Viking Warrior 2. Ruffnut’s Love Theme plays again, then Fighting Dragons also returns to further call back to the first movie’s battle, until Night Fury + Friendship interrupts it when the family joins in too. After a dark Night Fury and more Fighting Dragons, Flying comes in and is interrupted by a fanfare and a grand Good Alpha. Now that all players are set up, Falling and Flying finally join again to give the good guys the upper hand. Drago isn’t all done yet, however, Power screams out on brass and a slower statement scores his Bad Alpha coming out of the water. When Stoick runs in to save Valka, Courtship plays as a fanfare, and another heroic setting of Dragons and Viking Heroism plays, Good Alpha also scoring the good alpha going to battle. Control is getting ready in the percussion as Viking Heroism plays again, but then it gets more and more intense, even victorious as the bad alpha triumphs.
(4m31) - Hiccup Confronts Drago

Courtship transforms into an action motif as Stoick goes to help Valka, Valka also joins in. A very lowkey Control scores Drago talking to Hiccup, then Power plays until Viking Heroism tries to take over. A variant of Control on bagpipes and percussion screams with a menacing low brass Dragons underneath as he hypnotises Toothless into attacking Hiccup, Night Fury taking over as he gets ready to shoot, a held string note being all that remains after Stoick sacrifices himself instead.

(4m32) - Stoick Saves Hiccup

A harmonium (?) + hardanger Lost and Found mourns for Stoick together with Map of the World on strings, with a Good Alpha variant playing as Drago’s army gathers and leaves for Berk.

(4m33) - Off to Valhalla

As Stoick’s funeral ship leaves, Courtship plays on choir and harp, strings joining in, paving the way for Loss on pipes and choir. Courtship returns on brass, harp and strings. A woodwind solo then strings play Loss again, then as Hiccup gains motivation, Flying plays on a solo horn, then the entire brass section, building momentum towards…

(4m35) - Riding to Drago’s

Winds of Change plus Viking Warrior 2 (again showing the unity and closeness of Hiccup and Stoick) in an energetic fun setting, scoring their ride on the little dragons, Falling ending the cue.

(4m36-37) - Alpha Comes to Berk

Unstable Ground plus Power scores the Berkians’ dragons suddenly all leaving at the Bad Alpha’s call, confusing their human friends. Friendship scores the Riders’ appearance, Viking Fun’s ending leading to Flying as they arrive home. Another variant of Viking Fun follows, then the Sheep setting of Viking Heroism’s ending as they distract the Alpha.

(5m38) - Toothless Comes Back

Unstable Ground plays again as Hiccup approaches Toothless, being ridden by Drago and mind-controlled by the Alpha, and tries to call him back by forgiving him. Lost and Found eventually starts breaking through on choir, until Hiccup succeeds and it cries out in joy. Brass fanfares mark the turn of the tide, and Night Fury comes in in a new setting for their maneuvers, Lost and Found playing over it in key moments. Friendship + Night Fury closes with their success.

(5m39a) - Challenging the Alpha

After the Alpha freezes Toothless but he breaks out and jumps to Hiccup’s defense, Lost and Found plays again in many new rhythmic variants. For the final barrage, Dragons and Viking Heroism take over.

(5m39b) - The Chief Has Come Home

Toothless is the new alpha, and Good Alpha finally comes back again in a grand regal setting. Winds of Change scores the Berkians being reunited with their dragons first in big, then quiet settings, Courtship scores Valka being accepted in too, then the Love Theme leads to Hiccup the Chief as the elder accepts him as his father’s successor. Friendship cries out to mark the occasion.

(5m40) - Where No One Goes Reprise

Instrumental selections of the song start the final montage of Berk rebuilding, consisting of various Night Fury variants, a Friendship overlay early on, and the Flying instrumental break. A brass fanfare buildup gives way to the song proper in its Deluxe mix with prominent orchestra to round the score off.

Yeah, of all the scores he wrote this one has several strong tunes. The Wayne theme is quite lovely actually and I love how it starts to be intertwined with the simplistic Batman's obsession motif in the last couple of tracks de facto becoming the heroic Batman theme. It starts off bit lost and morbid but finds it "purpose" in the finale. The Riddler theme might be repetitive but it's actually particularly fitting for the character. The Ave Maria reference is not the subtlest but neither is Paul Dano's character. And the Catwoman's theme is really pretty too.
 
As for the simple Batman motif. Yeah I can understand why people might dislike that. For me, Batman is like the shark in Jaws for majority of the film - diven by very basic instincts. I can see why you'd like more variation on that but, by not having that, it sort of serves the character better in this particularstory. I only "got that" from watching the film. Say what you like about Giacchino as a musician but he's really a very strong storyteller.
 
I won't be selling this score to you as a masterpiece of composition. It is not what it is and certainly not what it aims to be. But it is damn good as a film accompaniment and quite a pleasant moody evening background listen.
 
Karol

Here are the differences between editions that I've managed to document thus far. I'm sure there are more differences in the mix than I've listed here, but this should be fairly comprehensive as far as microedits and crossfades go. Track numbers and time stamps are from the deluxe edition.
 
1-01 Dragon Racing (Film Opening)
The complete cue is still exclusive to the FYC
 
1-02 Dragon Racing (Original Opening)
This was previously exclusive to the OST
 
1-03 Where No One Goes
Obviously unique to the deluxe edition
 
1-04 Together We Map the World
0:55-1:02 was unique to the OST
2:16-END was unique to the FYC
 
1-05 Hiccup's Gonna Be the Chief
The FYC has a microedit from about 2:52-3:06
 
1-07 Drago's Coming
The OST omitted the first 21 seconds or so
 
1-08 Eret Has Visitors
The deluxe has a short silence in the middle, the FYC was previously the only version with a clean ending
 
1-09 Me Likey
This cue was previously exclusive to the FYC
 
1-11 Hiccup and Toothless Attacked
The OST supposedly has a different mix of the choral bits; the FYC and deluxe edition match the film. Back in 2014 people were saying the film version sounded off because the choral overlays weren't synchronized with each other. I haven't looked further into this.
 
1-12 Dragon's Lair
Exclusive to the deluxe edition
 
1-14 Valka's Dragon Sanctuary
The FYC and deluxe have a clean ending
 
1-15 Hiccup and Valka Bond
The FYC and deluxe have a clean opening
 
1-18 Flying with Mother
The FYC trims about 2 seconds from the beginning. Some fans have claimed the film uses a different mix from the OST, but I haven't looked into it
 
1-21 Stoick Finds Beauty
The deluxe has 2 silences in the middle. The OST removes the first silence with an ugly crossfade. The film/FYC dial out the first 17 seconds or so of the cue.
 
1-22 Get 'Em You Son of Eret
This cue was previously exclusive to the FYC, but it omitted the first 16 seconds or so
 
1-23 Courting Song
This cue was previously exclusive to the OST, the deluxe is slightly longer and has a clean opening and additional dialogue
 
1-24 Courting Song (Instrumental)
The deluxe and the FYC have a clean ending
 
1-25 Battle of the Bewilderbeast
4:15-4:19 was unique to the OST
6:17-END was unique to the OST
 
2-03 Off the Valhalla
The harp is more prominent in the mix on the FYC
 
2-04 Riding to Drago's
This cue was previously exclusive to the FYC
 
2-05 Alpha Comes to Berk
The FYC has a microedit at the beginning, missing roughly 0:06-0:10
The FYC has a very prominent bass or electric guitar in the mix from about 1:35-1:48 -- it's really cool and you should check it out if you haven't. I don't remember but I believe this instrument may have also appeared exclusively or at least more prominently in the FYC versions of "Toothless Comes Back" and "Challenging the Alpha"
The FYC omits 4 brass notes from about 2:04-2:07
 
2-06 Toothless Comes Back
The FYC is missing the first 9 seconds or so
 
2-07 Challenging the Alpha
The OST has a microedit from about 0:27-0:37, the FYC and deluxe have a clean ending
 
2-08 The Chief Has Come Home
The FYC and deluxe have a clean opening
 
2-09 Where No One Goes Reprise
Obviously exclusive to the deluxe edition
 
Where No One Goes (Album Version)
Still unique to the OST
 
Into a Fantasy (Alexander Rybak)
Still unique to European editions of the OST

Just got done with my first listen (well, I haven't checked out the demos yet).  Wow, what a score!
 
The old themes returning all sound great, and some get twisted and turned in so many new ways, it's almost like they are new themes.  Astrid's theme especially!
 
I like how different it is from the first score - no one can call this a retread.  Even Williams has written sequel scores that stick way closer to their first entries than this score ever does.  Sure, it has a similar-ish opening and climax, but everything in between is so wildly different!  I haven't even seen the movie and I can tell just from the music it's a different kind of story than the first film was.
 
I can't provide any thoughts on how this compares to the OST, FYC or film, but as a followup to my beloved HTTYD 1 DE (one of my most listened to albums of music in the past 5 years), this is an instant hit for me!
 
I can't wait to get my physical copy and delve into the liner notes!  I actually pulled my HTTYD1 DE off the shelf and am going to re-read those liners first.
 
 
Oh, and I just came across this:
 
 

I like the song too. It flows very nicely with the rest of the score. I like how Jonsi is integrated more and more into the scores. Doing the song in the first, collaborating with Powell on another one in the second and then making an appearance as a vocalist in the Hidden World cue from the third movie.
 
I'm listening to the album right now. It is utterly wonderful. The original album was great, this is even better. It is definitely bigger of an upgrade than the first DE - there's simply more interesting extra material on this album. 
 
Karol - already hoping for the third DE

Completed my first listen in years.
 
 
This score is
 
 
AMAZING.
 
 
 
I love the way it uses so many old themes.
I love all the new themes.
I love all the ways it uses the new themes.
I love how dark it gets.
I love how fun it gets.
I love how emotional it gets.
 
The cue we were missing so far is really cool! Lowkey and mysterious, it actually has the first proper statement of the Alpha theme!
The Where No One Goeses are awesome! I heard a lot of orchestral detail I wasn't remembering from the rips/edits that mostly used the more stripped back album mix.
Some of the demos actually do have some minor differences.
 
 
I do hate the double opening, but aside from that and joining Stoicks's Ship/Riding the Hatchlings, I don't think I'll have to do any more editing!
 
I had no problems with the sound aside from the quiet part of Valka's Flash where we have some weird digital doubling/buzz in places, and the end of the previous track where I heard something similar, but it's like this on the OST too.

Lol, the whole gatekeeping rhetoric around who is a real fan and who isn't is completely ridiculous. There's different degrees of fandom, sure, but who actually gives a shit if someone got onto Star Wars after watching one of the Disney productions? Also, it's amusing to think of Star Wars as even having a bandwagon; it's literally the most popular franchise of all time. Everyone has heard of it and hundreds of millions of people have seen at least one of the films or shows. It's not some underground indie film series that only the cool people know. Sorry if this sounds harsh, but grow up.

It would have been entirely possible to get a better trilogy under these circumstances, but you have to factor in magic and the elusive nature of moviemaking. Everybody loves to wax on about the PLANNING and PASSION in Peter Jackson's LOTR but that dude was under some of the most insane financial and industry pressure of all-time in 1999. There's really no earthly explanation for how well those (or any) movies turned out as both critical and popular hits despite all the hard work and good intentions in the world. You just have to throw your hands up because it's alchemic. Although they did have a classic novel written by a literary genius which was no guarantee of 1-3 good movies but something to shoot for, anyway.
 
I kinda love Force Awakens and kinda hate Rise of Skywalker, so I'm split on Abrams' Star Wars. There were surely better endings and I think there are some basic hack standards that 9 fails to meet, but it certainly exposed problems in 7 that I was always happier to excuse in hopes that the finale would highlight its strengths. I still think it's an entertaining and heartwarming movie in its own right and it was so much fun in 2015. In retrospect the sequels were ill-conceived. I wouldn't deny that anymore.
 
But I can be sympathetic enough to all involved. I think the biggest underlying issue was that Disney was out $4 billion and wanted those mf Star Wars movies in theaters asap. Michael Arndt WANTED to take as much time as possible and he apparently didn't have it nailed after a year of writing so he quit or was fired or whatever. Neither Abrams nor Kasdan were supposed to write Episode VII but just had to get on with it because that was the homework - and quite frankly because the fanbase who want everybody drawn and quartered for not "taking their time with a great trilogy plan" would have still been calling for heads if we had to wait another week for the damn thing lmao. Also they still would have had to account for Carrie Fisher's death.
 
Maybe if we were just getting Episode IX this year it still would have turned out pretty crap after all the planning in the world. Maybe we would have gotten a trilogy that was ALL the way up its own ass. That's Hollywood! The disasters are part of why I love following movies. I got myself three Star Wars CDs by John Williams that didn't exist ten years ago, I'm never gonna bitch about them knocking those things out fast.

TFA is criminally underrated, IMO. I do get why people write off the whole trilogy, but the “TFA is just an ANH clone” criticism doesn’t really bother me, or even really ring true.

Fincher didn’t want it, Brad Bird didn’t want it, they were asked. Probably other auteurs they might have met were too wise to keep out of it. JJ’s a friendly guy and a studio professional, probably easy to work with under high pressure. He had three movies with a fourth on deck which looks small but 3/4 of those cost over $100 million and were successful. Trek 09 was about as much of a 1:1 Star Wars audition on paper as anyone had made. He writes and produces, he’d been in the business 20+ years. He was a good combo of a pretty steady veteran and somebody young enough to try to give it a different energy. We can shit on his taste or methods or whatever but he was a completely understandable choice, it’s not like some big mystery box. 

The song for preschoolers? Oh how could I ever live without it!

You need a fresh remaster!
 

The original opening to 1m1 is what's used for the OST. So the DE would be the official release of the film opening.
 
Other than that: 1m5, 2m11, 4m36-37, and 4m38 supposedly have some unique section differences on the OST from the FYC, but I haven't been able to fully check what they are. 3m20, 3m22, and 4m33 are also supposed to either be very different mixes or outright alt takes as well. I guess this'll be much easier to sort once the person whom I got all this info from or someone else very familiar with the score looks at the DE.

The song for preschoolers? Oh how could I ever live without it!

The song for preschoolers? Oh how could I ever live without it!

The song for preschoolers? Oh how could I ever live without it!

I assume the album version is the song as originally composed, while the two tracks on the DE are film specific versions designed to go with the picture.

I don't know why you're so needlessly confrontational about this stuff.  Everybody gets what they want and you can mind your own business instead of haranguing other people's preferences.