Mr. Breathmask

Fun scenario:
 
Disney restores the Star Wars trilogy and releases the original theatrical versions on DVD, Blu-Ray and 4K in a glorious new transfer BUT omits the 20th Century Fox Fanfare and replaces it with a modern digital Disney logo. 
 
The outcry will be hilarious.

"Pull out his teeth!"

There's a clear throughline of brilliant thematic development in the complete chronological score (The Island's Voice motif) that is simply absent on the OST. JW re-ordered his score into a haphazard dissonant slog with the OST sequencing.
 
The Trek and Finding Camp Jurassic makes for a particularly grueling 8 and a 1/2 minutes only 17 minutes into the listening experience. This is a section of the score that needs some more lyrical music like The Stegosaurus, but that's bizarrely relegated to the fourth last track.
 
It just jumps back and forth between light and dark throughout and it's all very confused, stylistically. The gradual descent from jazzy, adventurous, percussive rhythm into dark, uncompromising dissonance is one of the great joys of the score in complete, chronological form. It feels earned, a steady devolution from the rhythmic percussion that starts the adventure into something primeval and wild, mirroring the film's journey into the dangerous interior of Site B.

There is certainly great music on the OST. It's just not presented in a digestible program.
 
Editing the OST into a chronological program already makes a difference, but the OST and the complete score are night and day in terms of listening experience. 

I listened to the OST's a few weeks back. The TLW OST program is just really badly sequenced, especially in the second half.

You mean the rendition when the fleet is first seen?
 
It's the concert suite tracked into the picture. Williams' original composition can be heard in Aboard the Executor.

I used to think that was just the way that score sounded.
 
Then I heard the same tracks on the Anthology set. World of difference.

You know I use to be a active member on a different forum and the place was just so cluttered and toxic. People would get mean and snobby quick, but ever since I became a member here I feel more like I belong here. I love it here and the people you welcomed me way better than them and you are a heck of alot nicer. You guys are a true community. I feel open to talk about a lot of things, Have a real conversation and connect with people just like me If you know which forum I am talking about don't mention in here please. I just wanted to say thank you JWFan for being you. I recomend this forum to not only John Williams fans but all who love music! Thank You!

The songs are cheesy as he'll,  but it has a killer main theme.

I tried that once but they had the box mislabeled and when I opened some stupid sessions to a movie called Harry Potter and the Prisoner of Azkaban was inside so I just tossed it out.  

I bet the next step is to add screensavers.

Those were the highlights and they were quite good - the dress waltz in particular. It seemed like the only time the film dared to embrace it's genre and run with it.
 
But everything else is just so misguided. There is no sense of history or space in this film. Characters lack establishment or motivation. Scott's obsession with sparkles or dust falling through the frame becomes old very quickly and why oh why couldn't Tom Cruise find some proper pants in that magic cave when he has to spend most of the film in a crouching position?

There would be a lot of lengthy tracks on The Lost World otherwise!

It's over.
 
Thank goodness it's over.

As much as I enjoy Across the Stars, this definitely goes to Rey's Theme. It's Williams' best theme in years.

Giacchino was on fire when he was writing Lost. It has some of the best musical writing in television and he handles all the thematic material beautifully. Great scoring.

Giacchino was on fire when he was writing Lost. It has some of the best musical writing in television and he handles all the thematic material beautifully. Great scoring.

Giacchino was on fire when he was writing Lost. It has some of the best musical writing in television and he handles all the thematic material beautifully. Great scoring.

That'd be my guess.
 
A Spielberg film, Live to Projection concerts currently running, and the film's 35th anniversary coming up this year.
 
Exciting times.

I'm still quite happy to have my expanded CE3K, E.T. and Indiana Jones sets, all produced by Bouzereau!
 
Still, I'd be happy to see an updated release that's on the same level as stuff like A.I., Jaws and the John Williams Jurassic Park Collection.

That'd be my guess.
 
A Spielberg film, Live to Projection concerts currently running, and the film's 35th anniversary coming up this year.
 
Exciting times.

That really pissed me off last year when I saw TTT at the Sportpaleis. Complete disrespect to the performers!

"You're welcome."

The Rocketeer
 
I finally got the chance to the complete release. The album was good, but the full thing brings more of the same goodness, which is great, with some fun pieces added to the first act that help the score build up towards the first big action piece. The Rocketeer is a gorgeous, stunning score with a theme that just soars the way only themes by great movie composers do. I love it to bits.
 
Thank you, James.
 
And as The Rocketeer finished, I realised I hadn't completed another Horner album yet, so I'm now listening to the final tracks of...
 
Living in the Age of Airplanes
 
...and it's still fucking gorgeous. It's like James Horner doing George Fenton. I love it.
 
Horner had a bit of a slog in the early 2000's when his material just wasn't as strong as it used to be and it all sort of sounded the same. But listen to this and Wolf Totem and tell me this isn't music by a man completely in control of his craft, writing music from the heart.
 
It's been a year and a half since his passing and he's still missed. A loss for film and film music indeed.

Well excuuuuuuuuse me!