blondheim

I'm relatively familiar with a lot of his work, just not super familiar. I have always listened to The Motion Picture, however. Right now I am looking for his best 90's action cues and guilty pleasures. I love 90s Goldsmith.

I just a want a shelf of collectible CDs, is that really too much to ask?

I grew up on Mulan. Star Trek V is on my list. I need more familiarity with scores like The Edge, etc. Unfortunately, I was not one of those people. I would buy a re-release today.

I don't know how I missed that one. I've been spinning the expanded score behind everything today, trying to catch love theme appearances. My recent love for First Knight and The Shadow have me looking through his 90s output for more scores to discover/rediscover. I think I want to make a playlist with Arthur's Farewell and The Mirrors on it... and a bunch of other badass shit that deserves to sit next to them.

This love theme! Where are all the instances of it in the complete score? Or are the cues listed in the Intrada booklet (Secrets, Do You Believe, What I Know, The Dream, and of course, Frontal Lobotomy) its only appearances? There just isn't enough of it. Is there anymore out there anywhere on compilations? I doubt it but you never know. If not, I plan to cherish every occurence so please let me know if it is hidden anywhere else. I'm mad for it.

The Township of Eastwick does have a Home Alone vibe.

The Expanded Archival layout is damn near perfect for an expansion. The third disc is highly listenable. I am very appreciative of alternates being enjoyable to listen to as their own program. Also separated onto their own disc. Like I said, damn near perfect.

I've only just started getting into the OST. I was only ever familiar with the suite from S/W. Among the Clouds is lovely. This expansion gives me hope for the rest. He is clearly looking to get them all done right.

Nixon and Sleepers expansions, please.

That's how I feel as well. Maybe it's my own personal experience, but I find this score very affecting. The only moment with any real hope comes towards the end of Finale, which isn't even part of the score proper in a way. Even that is very quickly turned back around to uncertainty, melancholy. Almost self-defeating, the way negative thought loops return. "Maybe things are getting better." Then the other voice scoffs, "Yeah, right."

You can hear the Island's Voice just around the corner with that descending synth line that seems to represent the suffering at Wilkinson. The first three notes aren't inherently ominous but then it suddenly descends and abruptly ends. I suffer from it and for me, it echoes the micro-traumas of PTSD flashbacks very well. These flashbacks sneak up on you with nostalgic memories of the past that flip quickly. I'm relatively sure the effect was not intentional but it shows me that if you spend enough time over the years sympathizing and musicalizing characters, perhaps you gain insights into sections of the human condition you haven't had the misfortune to explore. I would never assume whether John Williams has and the point is it doesn't matter anyway. All the transient melodies in this score do seem to express never quite feeling comfortable, anywhere, even especially at home or church, or any other place where one should feel safe. There is a sharp sense of the bitter in this score's bittersweet. There is a saying that resentment is like drinking poison and expecting someone else to die. I think this score embodies that idea.

I love it too. I've also been considering working on something because I can't find enough information about this score and talk about a score that deserves such detailed analysis. It's the connection between Jurassic Park and A.I. that helped unlock a lot of Williams work for me during that period, including his second presidency.

I'm just interested in knowing which cues lay over which scenes, the album is well-constructed as is.

Having not seen the film in a while, is there a rough chronological order to the tracklisting out there somewhere?

So nice when that happens. I order classical releases from Japan all the time because they just know what they're doing over there.

What a nice little collector's item. I'm jealous.

Personal events have a huge part to play in this. Perhaps more than any other consideration. Music is part of one's soul, it cannot help but be affected.

That's my thought as well. That's typically how it works with classical composers.

I would be curious to know what it is, if you are willing to share.

I agree that's why it is difficult. That was the gist of my comment about his work ethic. There is no doubt that his style has changed over time. It doesn't have to be firm delineation. I am curious about links as well as just larger blocks.

I often consider where to divide Williams work. The man basically never stops working. I do think that around 1989 his style got more lush. The Last Crusade seems different than what came before, a pretty clear precursor to Hook. Born on the Fourth of July also seems incredibly extravagant to me in lieu of what came before but I am curious what others think. Previously, it's clear Star Wars and Close Encounters were a new sound, but I am not familiar enough with every period of his work to make tons of these decisions. His concert works surely would help inform this. Since some of you are very knowledgeable about such things, please get into the nitty gritty of it. ** So far what I can surmise is right around Fitzwilly he started developing a more perky classical sound. Before this I am not familiar enough to say. That then continued with Heidi all the way through Jaws in seems like. Fitzwilly and Tourists on the Menu seem linked. Then again, the Spielberg collaboration defines his career practically, so is Jaws sort of the last of the old style and the start of the new? I don't think Sugarland is a keystone score, although I am not familiar enough. Then Star Wars, Close Encounters, Superman, Empire, Raiders and E.T. all seem to have the same sound and thematic development with darker textures and setpieces. Return of the Jedi seems to begin a brighter phase with some of the sound I later associate with Last Crusade and Hook, most especially in the Ewok sequences. Temple of Doom is after Jedi but seems to have a lot of style connection to the earlier 80's scores, like Empire. Its setpieces seem more Empire than Jedi to me, although there are a few that feel straight out of Jabba's Palace. Then The Last Crusade and Fourth of July. Different, to me at least. His style changed after 2005, although Crystal Skull feels like prequel-style Indy music, even though it is a sequel. Tintin is clearly in a new style. These are my thoughts so far. Help both wanted and appreciated.

This. Something to grow out of, I think.

I figured that's what it was. I was listening to the set again and I couldn't hear any difference without timestamping.

Is that really all?

Hot take but I think Jurassic Park should have WON the Oscar in 1993.