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Bah! I'll have to try Google Drive tomorrow. Looks like Vimeo are flagging copyrighted material now.

Can't believe this one didn't occur to me sooner. Had an epiphany listening to Holdo's Resolve tonight and knew I had to test my theory. Lo and behold, this was the result, with only one small music edit and a few frame trims. Ultimately though, no shots deleted, no shots added, no shots switched around. This is basically the final cut of the film: https://vimeo.com/352518362 (video reversed and sped up 5% to avoid Vimeo's automated takedown filter)

What reason did anyone have to expect this film would be released with its original colour timing, after years of Universal denying such requests and the director himself refusing anything except his desaturated version, claiming it was his "true vision" for the film? Yet here we are.

So Scream Factory have announced a Blu-ray remaster of the original version of this film, with the correct colour timing (not the revisionist desaturated version Badham created in 1991, and is the only available version of the film ever since). What are the odds of an isolated score track that might feature the unreleased source music? Complete breakdown of bonus features still TBA... releasing November this year.

What are the odds of Williams scoring the reboot? Either way, he'll enjoy some delicious residuals from his theme...

John looks and sounds fantastic here, full of energy and spirit. If he's this sprightly writing TROS, I reckon we're in for one hell of a final Star Wars score.

Wouldn't the show go to Disney+ with Disney acquiring Fox? The residuals must be huge when sold globally, surely the only reason they're still making new episodes.

They're at season 28, no? Seasons 3-9 were gold, but yes, barely a quarter of the show's entire run -- which has been thoroughly awful for decades now.

Good luck to him but his axing was simply a brazen attempt to cut costs, probably due to skyrocketing salaries for the voice actors. They're within their rights to drop him and go with a cheaper option, even if it's a thoroughly shitty way to treat a show veteran (and a sad reflection of the times and the way these music houses are putting composers out of work and driving salaries down). Doesn't change the fact this garbage should've ended well over a decade ago. Depressingly, the show has been terrible for twice as long as it was ever great.

Keeping my fingers crossed the MSO announce it for a few weeks before Rise of Skywalker (opening December 19th). They appear to have nothing scheduled for Thu Dec 5, Fri Dec 6 and daytime on Sat Dec 7. ROTJ is scheduled on the same days a month prior, so here's hoping!

Yes! I just listened to excerpts from their performance of Tchaikovsky's 4th Symphony. Sounds excellent to my ears. Would be interesting to hear this orchestra perform TLJ.

Talk about mixed messages!

Oh dayum! That's almost worth a trip to Japan, if the MSO aren't performing TLJ in Melbourne before year's end. Buc is an excellent conductor -- not surprised he's conducting the world premiere of TLJ, considering he's done all Williams' LTP concerts in Australia. What's the Tokyo Philharmonic like?

@PoggoAOTS Hi Andrew! Apologies for being a pest -- just wondering if part two of your EMPIRE STRIKES BACK discussion might be coming in the foreseeable future? I know you guys are super busy so please know we love and appreciate all the work you put into these podcasts. In my opinion, you're unchallenged when it comes to the realm of film score podcasts, especially with the industry experience you 3 share. I'm assuming you guys have already recorded the episode but I'd be really interested to hear your thoughts on JW's updated concert suite for Han Solo and the Princess, considering that theme originated in ESB and he chose to revise it nearly four decades later (with such melancholic heft). On a semi-related note, I saw that THE LAST JEDI was now available for live-to-picture performances. Are you allowed to say if the MSO has any plans to perform this score before year's end? I reckon the MSO would smash this score out of the park -- unlike the relatively restrained TFA, TLJ is brimming with orchestral highlights like Escape, Holdo's Resolve, The Spark and The Battle of Crait, where the orchestra takes centre stage. On a personal note, one of my favourite parts of seeing the MSO performance of THE FORCE AWAKENS at the Palais (other than your pre-concert discussion ) was knowing that John's score for TLJ was only one week away. It would be amazing if the same entree could be served before THE RISE OF SKYWALKER, potentially John's final entry in the main Star Wars saga... just saying.

That's really disheartening news, especially in difficult economic times. All I can say is -- if Mike/MV/MG/whoever reads this, we love the work you guys are doing and we'll keep opening the wallets to ensure it continues, if you'll indulge us! Here's hoping this is only temporary...

What if there's more than one? My hope is JJ asks for several, plus a new end credits suite.

And yet, somewhere, on someone's hard drive, exists probably an hour's worth of recorded music from TROS. How about that!

I recall reading that the Finale was revised late because John wasn't totally happy with the version he recorded earlier in the year. No further information though.

Yeah I'd be expecting another round of sessions at the end of this month, then multiple batches throughout October and November (heavily comprised of inserts and revisions, probably) to finalise the score. Not dissimilar from what happened with TFA, really. John's focus so far has probably been on whatever reels were complete enough for him to write substantial cues. Not much point doing a bunch of short cues when the edit is so young.

There were mid-November records for TFA, yes. That score was finalised quite late.

Only if it's not a huge pain... I'd be happy to make a spreadsheet to compare with the complete cue list, so we know what was actually recorded. Then we just need to contact someone who works at Sony and ask them to leak the complete score online, seeing as the labels can't afford these modern Williams scores, nor work with Sony.

I'll put the feelers out and see what I can find. Someone has all the data, somewhere. Certainly makes you wonder what else might be 'accessible' if you have the right skills to acquire them...

Well done mate! Good find. And yeah, that sucks. Are we 100% sure the actual files didn't leak? In any case, if they are AIF files, they are certainly audio files, which means they correspond to cues that were actually recorded. Presumably what you posted was part of a much larger list, so if it corresponds with the complete cue list posted above then we might have some clarity about what was actually recorded for this score (considering all the revisions Williams wrote for multiple cuts). Not that it matters, because we won't be getting an expansion of Tintin for decades, probably.

Well, kudos to whoever thought to look for it, considering the mass of files. Was it only Williams' score for Tintin that had a bunch of audio filenames in the leak? What about his other Sony scores like The Patriot or Hook?

That quote you posted above, with all the filenames, was that just an excerpt of a much larger list? I must not have been around when this discussion happened, it's total news to me, but who went searching for something this obscure? Kudos to whoever joined the dots.