[Nicolai P. Zwar]

The point is not what music is worth listening to. I think 90% of film scores are totally uninteresting to listen to to begin with, that’s not the point. The point is I don’t complain about the 99% that are released that I am personally not interested in, and I don’t belabor the point that there is so much music released that I’m personally not interested in. I don’t know how many new film scores are released month after month, year after year, an enormous amount. I don’t think I listen to more than 1% of it, probably less.

If a label releases two albums from a movie, same mastering, same everything, and one contains just the original soundtrack and one contains the original soundtrack, plus the complete film score, plus all extras, and releases these two albums on the same day, same price, I don’t think anyone would just buy the album that contains the original soundtrack album only.

There are actually soundtrack released that have the film score and some other stuff I am not really interested in. So what? Doesn’t bother me, I just don’t listen to it. Easy as that. The Silva Screen release of ESCAPE FROM NEW YORK for example contains a lot of dialog sequences in between, but it nevertheless contains the original soundtrack, I just don’t listen to the dialog. No big deal. Maybe some people enjoy the dialog, who knows, then it’s fine by me. And in this case, the dialog has to actively programmed out, as it is interspersed, so in the days when people actually listened to CDs, that might even be a slight inconvenience, if you have to program it out. However, the way La-La Land releases their scores, you can usually just listen to the original soundtrack album from beginning to end, no programming needed, so even that is not an issue.

And I’m not even talking about all the digital only releases, where theoretically you could just literally buy only those tracks that you want.