Ray Barnsbury

His score was pretty good though, I thought. It may not be everyone's cup of tea apart from the film, but it worked well within and is certainly one of the more unique scores this year.

Morlock, they have had this whole show pretty much planned out from the first episode. If that's the case...then how come the show's narrative only seriously kicked into gear in the middle of the third season, after Lindeloff and Cruse set the date for the finale? In broad strokes, perhaps it was vaguely planned (I doubt from season 1, though. And I'm less convinced when I think of the meandering of season 2). But they are definitely throwing a lot in the pot, seemingly hoping to see what makes the best soup. L&C have been less and less enigmatic and more and more belittling of the questions people have raised to them. I'll keep on watching the show, but my confidence in it's makers has been deeply shaken over the past year or so. In one of their past podcasts, they compare it to a road trip; they knew from the beginning where they were going to start and (roughly) where they wanted to end up, but not exactly how they'd get there along the way. I think QMM's point about the show's end date finally being set is a significant one; it allowed them to stop drawing things out and coming up with less interesting storylines to take up an undefinite amount of time, and begin to head toward a known conclusion. This excerpt from a recent interview with Damon and Carlton basically says as much (the episode they're referring to is "Stranger in a Strange Land," which they say is universally considered the worst episode they ever produced): The whole article is here. Makes for an interesting read.

Oh, gosh. I don't think I've heard Prague's take on that piece, but I can just imagine it.

True. The producers have said that Yemi and Christian, along with Kate's horse, are the only characters to fall into the "undead" category (as in, neither alive nor dead). Perhaps Locke will join them?

Yeah, it doesn't surprise me that Locke may not really be dead. I mean, c'mon...it's LOCKE. It was interesting to see that Ben has contacts in the "real world" who know about the island and all that (like the meat lady). And whether or not she's Faraday's mother, Ms. Hawking just got a lot more intriguing. I wasn't sure if she herself was giving Ben the 70 hours, or just relaying the message so to speak. Her whole cloak/chalkboard/computer/map/pendulum setup was pretty sweet.

Not familiar with Milk or WALL-E, but the other three are pretty good choices.

Here's where Hellgi discusses "Reunion of Friends." And pages 5-8 of that thread are where he gave us a lot of info, including cue names, orchestrators, and scoring notes.

Isn't the Asteroid Field Williams' own concert arrangement? I quite like it. It removes the thematic elements that would be out of place in a concert context. Same here. That was actually the first version I heard of the piece (I think from a Pops record my dad had), and I think it works well as a standalone arrangement.

Oh yeah, and it was cool to see Ana Lucia again. And her "message" from Libby to Hurley...*tear*

Wow, what a night! I can see what Koray means about the plot being all over the place, but I see that as a sort of necessity to get us into the season. Now that we've firmly established what's going on with everyone, I imagine that they'll begin to focus more on individual storylines (as evidenced by Jason's revelation about next week). I thought the opening of the first episode was awesome.....I love a good "who the hell is this" opening scene, and realizing it was Dr. Chang/Candle/Wickmund/Halliwax was a real shock. The second episode also had some nice character moments, like between Kate and Sun, and Hurley and his mom. There's really a lot to take in, so it's kinda hard to think of anything coherent to say....can't wait for next week, though.

Yes, that and the fact that President Crichton has yet to choose his Woman....cross your fingers, ladies!

I wonder if there are sound design enthusiasts who would be as excited over an isolated effects track as we get for iso scores.

I think this offshoot discussion is pretty much the answer to the thread's original question.

Give me a source. Then I might believe it. Ross' assistant, who occasionally posts here as "Hellgi."

Justin Timberlake's dance hit "The Parish Church Aflame" is a real toe-tapper.

What's the one that appears at 2:18 in "Drink Up Me Hearties"? I like that one.

The main page links to this review of the piece from the New York Times. A nice, almost surprisingly respectful article.

Which one are you referring to? I count something like a dozen themes in that score, with there being several equal contenders for "main theme." Yes, I believe the one I meant is "This Land." It plays grandly as Simba reclaims Pride Rock at the end.

It was probably better in one of its many, many previous incarnations.

Sure he can. That's rarely the problem with his music. One of his best (that I can think of offhand) is his main Lion King theme.

I think you're referring to the wording that the new theme JW wrote will bookend "Simple Gifts" in the new piece. It's all just one performance.

I'm recording CSPAN on DVR, since they said they'd do the whole thing with as little commentary as possible. Let's hope!

Mithril was the most valuable material mined by Dwarves. It was in abundance in the mines at Moria, which became the largest and richest of all Dwarven realms before its fall. It was coveted by all for both its enchanting beauty as well as its toughness as battle armor. A coat of mythril rings was as valuable as the entire Shire, as hard as dragon scales, and could make any wearer appear kingly- even divine. ...Stop looking at me like that. ... In other words, yes, I should be glad.

It has three votes.

Should I be glad that I don't know what "mithril" is?