Tallguy

My google doc lists the composer of each individual cue.  Steiner did all of the cues you mentioned except Inner Workings
 
https://docs.google.com/spreadsheets/d/1uUWXMhGC2Io0MzLR6_SAW55sNGdaSAVs1ehEdr78huQ/
 
I find it interesting that V'ger Speaks and A Good Start are the only Steiner cues that Jerry approved of including on the 1999 Sony edition.  Maybe he liked what Fred did in those more than Meet V'ger, System Inoperative, and Hidden Information?

Oh, first: Lower Decks. You were too good for us. I never thought I'd find a show that loved Star Trek more than I do. (It's close.)
 
Second: I've spent the last month posting commentary on a chapter a day from Gene Roddenberry's Star Trek: The Motion Picture novel. While I was writing I would listen to the section of score that covered the part of the book I was reading / writing about. I'd usually start at the part of the movie I was in and then let it play. As a result I listened to the last section of the score a lot more times than the rest of it.
 
I think I'm starting to get it! This has been my least favorite section of the score (I mean, it's still my least favorite) since 1999. But I'm finally getting into the rhythm and the pace of these tracks.
 
I think maybe I need to break it up into the two sections / composers. System Inoperative / Hidden Information (Steiner, right?) and then Inner Workings / V'ger Speaks.

The Quick and the Dead is rising through the ranks as one of my favorite scores, period. The Polar Express is one of my grails.
 
I know everyone loves the finale of The Abyss, but my favorite track from the expansion was Let Me Drown Your Rat / Search The Montana. And his Lindsey theme is one of my favorite things he ever wrote.
 
Infinity War is a score that I never listen to on its own but I marv- er, wonder at it every time I see the film. Every note is perfect. It greases the gears of that whole impossible film. One of these days I should do a track by track watch / listen of Avengers / Infinity War / Endgame.

Well, I did go see Always (again) the next day. Besides, I wanted to land when I was done.
 
 
It's the first track of the second side of the original LP. It's a suite of Marty's Letter, parts of Clocktower, um, '85 Lone Pines Mall? Bunch of good stuff.

Oh, first: Lower Decks. You were too good for us. I never thought I'd find a show that loved Star Trek more than I do. (It's close.)
 
Second: I've spent the last month posting commentary on a chapter a day from Gene Roddenberry's Star Trek: The Motion Picture novel. While I was writing I would listen to the section of score that covered the part of the book I was reading / writing about. I'd usually start at the part of the movie I was in and then let it play. As a result I listened to the last section of the score a lot more times than the rest of it.
 
I think I'm starting to get it! This has been my least favorite section of the score (I mean, it's still my least favorite) since 1999. But I'm finally getting into the rhythm and the pace of these tracks.
 
I think maybe I need to break it up into the two sections / composers. System Inoperative / Hidden Information (Steiner, right?) and then Inner Workings / V'ger Speaks.

Darn. I thought I posted this! @enderdrag64 is mind reader! (Mine reader?)
 
Even if we abolish the copyright system tomorrow there are still physical assets to be preserved and looked after. Remember when they found the Superman tapes in a salt mine? Who was paying for that?
 
I also remember the case where It's a Wonderful Life was never restored (preserved) until it got pulled back OUT of the public domain.
 
 
I'm not saying you're not right, but is the legacy not preserved? Or have they just done a terrible job at releasing it to the public?

Oh, first: Lower Decks. You were too good for us. I never thought I'd find a show that loved Star Trek more than I do. (It's close.)
 
Second: I've spent the last month posting commentary on a chapter a day from Gene Roddenberry's Star Trek: The Motion Picture novel. While I was writing I would listen to the section of score that covered the part of the book I was reading / writing about. I'd usually start at the part of the movie I was in and then let it play. As a result I listened to the last section of the score a lot more times than the rest of it.
 
I think I'm starting to get it! This has been my least favorite section of the score (I mean, it's still my least favorite) since 1999. But I'm finally getting into the rhythm and the pace of these tracks.
 
I think maybe I need to break it up into the two sections / composers. System Inoperative / Hidden Information (Steiner, right?) and then Inner Workings / V'ger Speaks.

I guess more the latter. But in addition to things like the oddly terrible production on a significant number of the Legacy soundtrack releases, I have seen comparison stills from older films where they’ve too robustly cleaned up the animated cells and lost a lot of the fine detail - something like the sparklingly detail and folds in Cinderella’s gown are now virtually invisible. I mean I guess they do preserve things in a “not lost” sense but not necessarily preserving them in the best way. A bit like all those Greek and roman statues where they picked all the paint off because victorians preferred white marble…

Darn. I thought I posted this! @enderdrag64 is mind reader! (Mine reader?)
 
Even if we abolish the copyright system tomorrow there are still physical assets to be preserved and looked after. Remember when they found the Superman tapes in a salt mine? Who was paying for that?
 
I also remember the case where It's a Wonderful Life was never restored (preserved) until it got pulled back OUT of the public domain.
 
 
I'm not saying you're not right, but is the legacy not preserved? Or have they just done a terrible job at releasing it to the public?

I used to think of him as the 80s/90s Ron Goodwin. Great main themes but slightly unexciting underscore which often feels like it’s marking time and best enjoyed via a compilation.
 
I’ve revised my opinion on both considerably since (positively) but I think the aesthetic analogy still broadly applies. If they developed their thematic material with a JW or Jerry level of skills they’d be getting in for comparative levels of genius as their thematic abilities were/are exceptional.
 
For the record… favourite Alan scores…
 
Back to the Future - I’ll cheat and say all three but if forced to pick one I’d probably go for 3 as the western stuff is great. Forrest Gump - the 9 minute suite used to be one of my favourite things not by JW when I was first collecting and it remains wonderful. Contact - I mean the theme is basically a variation on FG but that’s no bad thing. Judge Dredd - I like the chunky action writing in this… my Jerry loving side would love to have heard what he’d have done but I can’t imagine he’d have done much better but that neatly leads to… The Mummy Returns - I used to prefer it to Jerry’s in an “embarrassment of riches” kind of way but I’d probably pick Jerry’s as my favourite now but they are both great. Returns is bursting with great tunes and it represents the pinnacle of his action writing even if it’s exhausting by the end. Mouse Hunt - as someone at FSM said at the time, AS’s comedic style naturally falls into a Carl Stalling groove and can bounce all over the place but still make musical sense. Plus it has a main theme played by the bassoon. For a mouse. Fucking genius. Stuart Little - the boat race is possibly my favourite Silvestri cue and certainly my favourite Silvestri action cue. The rest has enough sugar to sink a battleship dedicated to eradicating diabetes but with tunes this lovely, who cares? The Polar Express - probably his best score that’s never had a proper release. Lucky (if that’s the word) there are plenty of boots floating around but I’d buy a legit copy instantly. The only thing that slightly lets it down are the sugary songs (like JW, I think adding lyrics gilds the lily, the tunes are lovely enough as instrumentals but the lyrics send them into cloying) and some of the interpolations of jingle bells and other Christmas classics (obviously dictated by the needs of the film) are kinda cheesy. The Abyss goes in as an honourable mention. I love the finale (Bud on the Ledge is up there with the Gump suite as a formative piece of film music listening which I still love) but the rest is… fine. Yes it’s structurally close to CE3K, much like the film (I’m talking broad strokes here… don’t start getting pedantic ;-) but JW’s challenging atonal stuff is miles ahead of the scoring in the early parts of The Abyss. I’m sure having aquatic megalomaniac James Cameron to work with instead of Saint Steven of Spielberg didn’t help. 
 

I've thought of this myself before, and I like to think of it as a solution, but then I consider that it might not actually work for past material and could actually be actively harmful
 
For new releases, sure reduce copyright to 10 or 20 years or something, but for old releases - doing that would mean that all the content buried in salt mines and vaults that studios have barely preserved but are keeping as a potential future asset become completely worthless. I expect you'd see a lot of unreleased content no longer under copyright that is simply trashed by the studios because it's more expensive to keep than to release for no money 

This.
 
Actually my spoiler paranoia began when I went to Star Trek III already knowing that they were going to steal the Enterprise and that it was going to blow up.
 
My favorite Star Wars movie is still probably Star Wars. And even in Empire, "I am your father" is my least favorite thing.

I know he's had a wide and impressive career, but if he had only written The Abyss he would be a legend.

Although I agree with @Tallguy, that THE ABYSS couldn't hold any sized candle to CLOSE ENCOUNTERS OF THE THIRD KIND, it is (probably) still Silvestri's magnum opus.
I can't decide which score I like more: THE ABYSS or CONTACT. Both are brilliant, and both deal with "first contact" scenarios. It really all depends on what side of the bed I get out of 

Back when The Force Awakens came out, I showed Star Wars to my younger sister for the first time.  We were trying to watch in Machete Order, but since we were pressed for time we had to skip AotC as well as Phantom Menace.
 
She, of course, already knew the Vader twist...  but the Machete Order version of the Twins reveal got her good!  When Padme announced Leia's name, she said "They can't be siblings, they're in love!"

Toy Story 2 spoiled the Vader twist for me.

Wrong.
 
 
 
 
He would be Alan Silvestri, who only wrote BTTF.

Not part of the proceedings. He was just in attendance for the last show, as his score was heavily incorporated into the musical. But I definitely wasn’t the only one who recognized him!

@Jay I love these.

@Jay I love these.

@Jay I love these.

HIGHLANDER.

BTTF’s score is infinitely better and complex than TLS’. 

 
 
I wasn’t comparing the two scores with each other musically.
The Abyss is Silvestri’s masterpiece to a first contact sci-fi that has an amazing grand finale just like CE3K has. 
The Abyss has amazing choral writing that Silvestri hasn’t been able to top since imo. 
 
CE3K is in a leage of its own.