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The Lost Jedi

Do droids even have a gender? And do they dream with electric sheep?

Yes! Normally in his film scores he's a story teller. This is more painter like.

Memoirs Of A Geisha Compositionally JW's theme is nothing special. 4 "question and answer" variations on the same phrase. But William' orchestrations shine here. Bathing is in sumptuous textures. There's a wonderful eb and flow to it. Williams intended for the theme to be direct and simple, so he could concentrate on its colors rather than his shapes.

Imagine two years respite from shitty comic book movies altogether!

It's a 8-voice women's choir, if I remember well. It will likely be repurposed through a synth patch, as it's a very brief moment. As for ROTJ, I guess the set-up will call for an optional male chorus (I think it's like an 10-12 voice choir) since it's used pretty extensively in all Emperor's scenes. I don't think it can be done with film stems since the choir was recorded together with the orchestra and not on a separate stem (ah, the old days!).

That bit in particular reminds me of this part from Williams' American Journey! 3:01 - 3:09 I've heard good things about Paul Lewis' Beethoven. I will certainly take a listen!

It's one of Stef's catchphrases that you just have to accept as Stef being his loveable obnoxious self. It's also hypocritical of him because I made an anti-Islam comment in the TV thread that he agreed with, but here Thor doesn't like something that's Jewish and Steef sees that as a sign his next step involves tiny mustaches, gas chambers, red armbands, and denial. Hatred of something that the race makes is clearly hatred of the race. Clearly. Good old Stefancos. We love him and his childish harmless idiocy.

10 Cloverfield Lane. It was actually quite entertaining. Bit ridiculous but solid performances really help to sell it. The score is mixed really loud in this, probably even bit too overBearing (see what I did there?) at times. But hey, at least it does something. What I love most about this film is that it proves that you don't need huge budgets to really make a great entertaining blockbuster. Karol

I absolutely love the first movement of Richard Danielpour's Concerto For Orchestra (Zoroastrian Riddles). It's a crazy mix of Stravinsky, Copland and Bernstein, and some parts sound unmistakably Williams-esque as well. Some cool bits: 0:00 - The mystic opening. 0:26 - Quartal goodness. 1:01 - The double-tonguing woodwinds. 2:03 - Copland's ghost lingering! 3:03 - More Copland (+ whipcrack). 3:16 - Enter Bernstein! 3:26 - A Lydian (the top layer, at least) - very Williams-esque! 3:44 - The spiccato parallel major chords remind me of Thomas Newman. 4:23 - Very cinematic.

Here, I recreated what his experience might have been like

Anti-semite!

Right, that's basically how I feel. And with him being signed up for this so early, hopefully the extra time will lead him to write a lot of interesting cues this time to go along with the nice theme runthroughs. It could be a score with a lot of themes, using music from all the character's individual movies

The proper elements for all 3 scores exist, apart from the stuff that got lost in relatively quick manner (the raw sessions for the final day of ROTJ recordings, meaning the full recording of Jabba The Hutt and the End Credits opening are what ultimately isn't available from that day via the album master) The free DVD that came with ROTS proves this, as well as better versions of OT music showing up in video games. If Disney wants to spend the money, proper 2CD sets will sound great.

I already know what they're doing, and I'm really excited to experience it in person at the world premiere! I will, of course, post a complete report after the show!

FC4L, it seems that I owe you an apology: I failed to realise that were reposting another post. My criticism of you, was, therefore, unjustified, and I ask your forgiveness. I sincerely hope that you do not think I am a troll (I don't think that I am), however, I can understand your reasons for thinking it, after reading my posts. Once again; sorry. No harm done, eh?

The reason I like this so much is simple: in 1975, I toddled along to my local cinema, to see TTI, when it went "wide", in the UK. The Main Title was (obviously) the first piece of music heard. I liked it, and, soon after, obtained the LP. The rest, as they say... Ps, it's not my #1 cue.

IT ALL MAKES SENSE NOW

Compared to what Zimmer and Junkie XL gave us, Giacchino is a MAJOR step up.

He responded to my question that his Prussian Requiem will be commercially available soon! Woohoo!

That's all they found, the album masters. So they can use it for those cues but it's only 45 minutes of music. They desperately need to find the original session masters. There's no point even redoing the scores unless they find a better source for ROTJ.

It's a pretty goofy song, but it's not too hard to imagine the Potter movies actually going down that pop path. Think of all the kids' books-turned-movies that actually did have that sort of crap playing during the end credits... fortunately David Heyman was very adamant that the Potter movies definitely shouldn't be like that.

Listened to the 1997 ROTJ release today, didn't have a problem with it. Between this and the grubbing for FOTR unreleased bits, ye gods! The JWFan Completionist Anthem: It ain't much I'm asking, if you want the truth Just gimme them sweet, sweet unreleased cues

It's superior to POSEIDON ADVENTURE, IMO. It's a weird combo CD (with CONRACK jammed inbetween), but I'm glad we have it.

The LEGO Batman Movie. Easily the best Batman movie of all time. Lorne Balf did something which sounded like a parody of a film score.

Maybe you heard them at the same time and that's why they sounded dissonant?

Have you ever listened to these scores?

Will, you respect most of us. Will you respect all of us? @-/--- Happy 85th time around this hellhole, Maestro!

I recall that and remember JW said in an interview that Placido Domingo, the music director of the LA Opera had approached him. This was the time where LA opera were premiering lots of operas by film composers like Goldenthal's "Grendel" and Shore's "The Fly". JW turned it down saying he doesn't write well enough for the voice. I don't know how far it got like if he actually made some progress in it but eventually abandoned it.

A reminder and confirmation that this will be broadcast on BBC Radio 2 next Friday 10th February at 8 p.m. Friday Night Is Music Night If you are not able to listen live, it will be available to listen to afterwards for the next month or so at the BBC Radio 2 website.

They all contain every cue from the start of the film to the end, including cues that Jackson dropped out entirely from the final film. But the key is that it contains only one VERSION of each cue, when many cues throughout the score have several. For example, a cue might have a theatrical cut version and an Extended cut version; the CRs only have the EE versions. Or, a cue might have been written one way by Shore, and that appeared on the OST, then rewritten another way, and that one is on the CR. Sometimes, a cue has more than 2 versions, so there is music recorded that hasn't been released at all. Finally, the FOTR CR has issues the other two sets don't. Namely that it is primarily an isolated score of the final cut of the EE film, meaning that some music that was dialed out wasn't restored, and some music that got replaced by tracked music actually contained the final film's music-editor made tracked cue on the set. Also on that set, occasionally Shore had some bars trimmed here and there for "listening experience", meaning there's actually music heard in the FOTR film that isn't on CD. None of those particular issue are present on the TTT or ROTK CRs; For those releases they properly built albums from the ground up from the unedited recording session files. Hope that answers your question.

I'm not sure if this deserves its own thread or not, but Sky High is finally getting a release from Intrada. Track List: 01. Sky High Opening (4:48) 02. Trouble Downtown (0:46) 03. Next Stop… Sky High (1:35) 04. Round-Up (0:36) 05. Welcome To Sky High (1:11) 06. Power Placement (Brandon Christy/Michael Giacchino) (2:31) 07. Still Looking/Stare Down (0:28) 08. Lollipopless/The Secret Sanctum (3:55) 09. Medulla All Blown-Uppa/I’m A Sidekick (1:41) 10. Vat’s An Idea!/Respect The Hat (1:14) 11. Cafeteria Brawl/Proud Papa (3:34) 12. Movin’ On Up (0:34) 13. A Friendly Wave (0:33) 14. Sidekicked Out (0:52) 15. Save The Citizen And Private Tutor (Michael Giacchino/Kevin Riepl/Chris Tilton) (4:04) 16. Kiss Of Death (0:56) 17. Homecoming News/Makeout Sanctum (1:28) 18. Keeping Promises (0:42) 19. She’s Totally Into You (0:37) 20. Gotta Get To Sky High (1:23) 21. Pacified (3:41) 22. Fighting Back (1:24) 23. Royal Pain Is Monologuing (4:38) 24. That Could’ve Been Messy (3:03) 25. You Saved Sky High (1:14) 26. Sky High End Credits (2:02) Time: 49:50 The Extras (Additional Cues) 27. Bus Away (0:10) 28. Power Placement – Coda (Brandon Christy/Michael Giacchino)* (0:08) 29. Starting With You (0:10) 30. A Friendly Wave (Alternate Take)* (0:32) Extras Time: 1:04 Total Time: 51:10

Whoever shot this fantastic video and uploaded it on YouTube deserves a knighthood in the New Year's Honours List. He has even captured the new music that segues from the flying theme into the intermission at the end of the first half!