Mr. Breathmask

The Rex bares his teeth over Kelly's head, then we pan over to Kelly and see a tear rolling down her face. It's the last shot before it cuts back to Malcolm outside. The piano comes in right as the shot moves to Kelly's face.

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.

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. 

Ugh. Another hero vs. hero film. 

Something just becomes less holy if there's a complete sessions leak out there.
 
Can you imagine if we were still listening to only the original soundtrack album of Harry Potter and the Philosopher's Stone and a complete score release was announced tomorrow? Or if the Star Wars video games hadn't used all that unreleased prequel music and we were still listening to the albums with the incomplete Battle of Coruscant and that glorious fanfare from It Can't Be never coming to its resolution and we'd still be wanting that music?
 
I remember recording Jurassic Park off a VHS copy onto a cassette, complete with dialogue and sound effects, just to listen to the music. I knew a CD must be out there, but local stores just didn't have it and there was no online shopping to get it. And DVD wasn't even around, so no ripping the rear channels either. You just had to make do with the stereo mixdown. 
 
Jesus Christ. I'm fucking old.

Our first DVD player had the option to switch the audio output between 2Ch and 5.1Ch. We didn't have surround, but if you set the player to 5.1Ch, it would send only the front left and right channels to the TV speakers via the SCART cable.
 
I used to play the LotR movies that way to be able to listen to the full thing, even though that still meant listening through many sound effects, volume changes and some (brief) stretches without any score.

The timeline in 1991's Beauty and the Beast is a bit wonky. The rose is supposed to bloom until Beast's 21st year and we see it drop its last petal, so we know Beast is 21 by the end of the film. But Lumière mentions they've been enchanted for ten years, which would mean Beast was 11 when he turned the beggar lady away.
 
It gets even more confusing when you realize Chip (Mrs. Potts' son) looks like he's about eight years old when the spell is broken.

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.