MikePetersen

First) There's a fragment that appears during the Jawa music, that is quoted again during the Trash Compactor sequence in ANH, that I've always assumed is related to the droids. Second) No. The ESB droid theme recurs often throughout that score (more on album than the film itself) but we never hear it again. The ROTJ material is fresh and different.

Two possibilities spring to mind: 1) A concert suite for R2 & 3PO, using ideas from each of the themes he wrote for each of the films. Droid music from ANH, segue into droid music from ESB, into droid music from ROTJ, and maybe even a lick from the meeting of the droids from TPM. 2) Lost in Space - a distillation of the 4 scores he wrote for the original series. Wouldn't even need the main titles, just the scores themselves, from Reluctant Stowaway, Island in the Sky, The Hungry Sea, and My Friend Mr. Nobody.

Yes. Raiders has a Nazi theme, heard most prominently during the beginning of the Desert Chase, and also the Airplane Fight. Last Crusade introduced a new Nazi theme, more developed, and it's heard pretty much every where in that score.

Did anyone else notice the JW tune tucked into the score for last week's episode of The Mandalorian? Walking around the streets of Coruscant, in what looked like a nighttime carnival, there was music in the air, almost a kind of festive calliope. The tune is a direct quote from one of the themes in The Force Awakens. (Forgive me, but I always get mixed up between Scherzo for X-Wings and March of the Resistance.)

INDIANA JONES AND THE TEMPLE OF DOOM: The plane crash sequence, the engines are failing, the propellors are sputtering to a halt, Indy looks out the window and says "I think we have a big problem." Cut to a view of the jagged mountaintops. That rise in the french horns at that exact second is one of my favourite Williams moments of all time. That, and the sudden trilling of flutes that kicks in when the yellow raft is in mid-fall.

I agree with those who have said that it's difficult to divide his style into periods, that it's been a gradual evolution. But - I've always noticed a clear shift between SpaceCamp and The Witches of Eastwick, as though SpaceCamp marked the end of an era, and Witches a new beginning.

Take a listen. Compare the OST to this new one. Maybe I'm imagining things ... confirm it for me.

Forgive me if this has already been discussed elsewhere, but has anyone else noticed that the strings have been dialed way down on Hymn for the Fallen?

Ah, yes, that. I forgot that the Lucasfilm properties fall under the Disney banner now. But is that true for all, or just for Star Wars?

Willow would surely be included, *if* the Lucasfilm vault has been made available. So would all of the Indy scores, Land Before Time, and Star Wars. I would love an expanded Willow!!

I wonder if the "meh" release could be Peter Bernstein's Ewok scores, the wider implication being that La La now has access to the Lucasfilm vaults.

Stupid question (maybe) but I'll ask anyway: are people judging the quality of these new remasters based on the samples? Or has anyone received an actual CD and heard the sound of that yet?

No, actually that was George Lucas who said that. "I can't believe it! Five movies and no love theme!"(until Across the Stars.) Williams never said anything of the kind. Wrong. 2:55 You're right. I was wrong.

No, actually that was George Lucas who said that. "I can't believe it! Five movies and no love theme!"(until Across the Stars.) Williams never said anything of the kind. In fact, I imagine he was totally confused by George's statement, considering that -- from a certain point of view -- EACH ONE of the Star Wars films had a romantic love theme composed for them.

Has anyone who's been shot on LOST ever stayed dead for long? I doubt Faraday is gone.