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The irony was not lost on me.
Lukas
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Well, I'm not likely ever gonna forgot your new composers name, cos he shares it with a Spanish football club 
And please consider a DVD/CD combo for us dinosaurs who didn't bother signing up for that blu-ray malarkey.
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A big problem that Ron and I had is that we weren't able to get together in person and sit and watch the film, listen to sample tracks and talk about the film. (I did not temp it—not one note.) As the writer and director, I do have a vision for what the film should be, and given that we were working on it with upwards of a hundred missing VFX, I needed to explain how certain moments were going to appear in the finished film. Ron built a studio north of Seattle and lives up there now, and I have small kids at home and can't easily travel. We tried communicating over the phone and via email but it's not the same thing. He is a pencil-and-paper guy (old school) and so he was writing a few demos and paying to have an engineer assistant mock them up so I could hear them; that process was taking a lot of time and money, and by the time I heard a demo or two we had diverged in what we were thinking and talking about. As I said before it was a frustrating process and Ron was very gracious about accepting my apology for taking up his time and not using him well.
Having gone through this experience now, I definitely have a greater appreciation for what the process of film scoring entails. I think I am fairly unique as I have a lot of film music knowledge and I am able to talk in technical as well as dramatic language. I think Bobby and I worked well together and I hope people like the film and score.
Lukas
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I'm sad we won't be getting a new Ron Jones science fiction score. It was a nice thing to look forward to since, for what ever reason, he's still not done "The Orville".
Surely a versatile composer such as himself could have tried a new direction?
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I'd be lying if I said I wasn't disappointed. I was happy to help fund a sci-fi short film by Lukas Kendall, but I'm one of those who was even more excited to be helping commission a new Ron Jones sci-fi score (even an all synth one -- he demonstrated on TNG that he knew well how to use them). I'm really sad this didn't work out, but I guess when it's your first time as a director, certain things just don't work out and it's a learning experience.
But yeah, I was indeed expecting a Ron Jones soundtrack CD for my $30. Lukas, if you are actually still on good terms with Ron, do you think he would be willing to let you put his demos on the score disc as a bonus, at least? I for one would be interested to hear what you decided not to go with (since Ron wrote it), if you and your final composer don't feel too terribly uncomfortable with the comparison. And obviously there would be room on the disc. In fact for the original perk you wrote,
"The Sky Fighter short film score by Ron Jones will not be long enough to fill out a CD by itself, so it will be combined with other new music composed and recorded by Ron Jones at his SkyMuse Studios facility north of Seattle and released as a special limited edition by La-La Land Records—with YOUR NAME in the special thanks list in the packaging!"
So...what happens with that additional material, now? Will Bobby Villarreal be writing "other new music" to fill out the CD of his film score? Will that same "other new" Ron Jones music still be put on the album with Bobby's score, for those who were looking forward to it and gave based on the hope of new Ron Jones compositions?
Or were you saying we'd get a movie/score combo, the score disc of which would just be the short length of the short film score itself?
Yavar
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Yavar, nobody is more disappointed than I am. And I am embarrassed, to boot, now that I can't deliver what I promised to the donors. I am not exactly sure what we'll produce as a CD or CD-blu ray combo, but we will do the best we can. Sorry but there's pretty much no way I can go back to Ron and ask to release his demos, nor would I want to subject him to any more annoyance and bad feelings on this project.
Lukas
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That’s what I was afraid you’d say, but I appreciate you taking the time to write that response. Of course I understand how disappointing this must be for you too. I hope, apart from this, that your relationship with Ron isn’t too damaged. You’ve done so much to champion his music over the years and I hope you still have more Ron Jones soundtracks in your future to produce.
I’ll tell you what — convince Seth MacFarlane to hire Ron to score an Orville episode and all will be forgiven! 
Yavar
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Hey Lukas, just be thankful you never had John Williams tied in to score it.
Then you would have HAD to use what you were given!
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Stuff like this happens... Peter Jackson was happy, enthusiastically happy with Howard Shore on LORD OF THE RINGS, but the two had different ideas about KING KONG, and so they parted. It's perfectly normal that sometimes things just don't work out. I am actually surprised that it did not work out in this case though, since I assumed there was at least some understanding upfront about what kind of a score for what kind of a movie it's going to be.
I keep my fingers crossed for the project and wish for Lukas to make the movie as good as can be.
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It does highlight an interesting point about why 'pencil and paper' guys (as Lukas called RJ) may struggle to nab or maintain modern films, if the younger, more tech/computer/keyboard savvy can demo and relay what the producers want much more swiftly and economically.
Maybe explains why the composers we lament not working (Cliff Eidelman, Lee Holdridge, John Scott etc) could be being overlooked for the Remote Controllers (Balfe and co) on the grander scale of things?
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