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That can't be right. The final cut clearly uses a different version of the Force Theme for the shot of Rey floating, than the new version in the clip Chewy shared. Compare 0:00-0:32: ...to the film version. The Force Theme is different. The material from 0:34 onwards sounds the same as the final cut though, for the scene between Rey and Leia (albeit heavily cut down).

Now it looks like the infamous elevator scene from Earthquake!

I wish there was some visual consistency between the 3 covers, it seems like a different graphic artist did all 3? At least we know the music will be perfectly mastered, etc. Anyway, I used AI to remove the text from that far superior artwork for the book cover. Maybe someone else can make a fan cover using this?

Amazingly, no less than THREE different cues were written for this one short scene: 1M3 Nothing is Impossible, 1M9 Rey Wakes Up and 1M24 Meditation. The final cut uses a combination of two (1M24 and 1M9). The timings in the November 11 spreadsheet seem to match the final cut, so only 18 seconds of this cue ever got used. What a shame... and really makes one wonder how much other gold is sitting on a hard drive in Disney's vault gathering, er, dust. 1M24 Meditation ultimately scored the shot of Rey meditating, before the film transitions back into 1M9. Who knows if 1M24 originally went longer and covered the rest of the dialogue with Leia, considering two other cues were already recorded to cover that dialogue. As for the earliest version of the cue, 1M3 Nothing Is Impossible? Well, fortuitously, it appears we can hear a snippet of that in the making-of doco! It's wild that such a simple scene could end up with 3 different cues but it seems reel 1 was heavily restructured throughout post-production, constantly moving scenes around. Probably made JW's task all the more difficult, when so much of his Star Wars writing is transitional music between cues. At various points in post-production, this scene followed the Luke and Leia flashback, then Kylo's first meeting with the Emperor, then finally the lightspeed skipping sequence.

Sounds like two different performances being crossfaded, with the volume on the second half starting a bit lower than it should, before settling at the correct volume after a second. It's probably fixable by adjusting the volume in Audacity or audio editing software.

Nice one @Steffromuk! People are spoiled for choice with covers for this score

And Bryce Dallas Howard directed several episodes of Mando and BOBF. Marcia Lucas is often praised as the unsung hero who saved Star Wars in post-production. And they hired Patty Jenkins for Rogue Squadron, even if it joined the pile of abandoned projects. I guess Sharmeen meant having a female director of a Star Wars feature film, but it's pretty dismissive and poorly worded.

The Deluxe Edition banner is very well integrated too! Clean and stylish. Nice work @A. A. Ron

Sure, I've enhanced the shadows on the title. I'll leave the other version above for anyone who doesn't want that dark outline around the title.

Paid, it's a subscription model with Creative Cloud.

@A. A. Ron Adobe Photoshop The latest versions have AI features integrated into the software itself.

Basic colour correction goes a long way... But in technical terms, what the art director has done is select a very narrow batch of pixels on the edges of the painting and "stretched" them sideways to bridge the gap. Presumably this was because whatever element they had didn't fit the width of the cover art. This creates a rather obvious smear of pixels on the edges, because you're taking 20-30 pixels of information and smearing it across 5-10x the width, creating artifacts around the edges. This is probably the laziest of all techniques to fill gaps, and you can get away with it if you're delicate or using simple/blurry backgrounds, but not something textured like a watermark painting. An example of what's been done in the official artwork: Instead, I used AI to generate new material around the edges, then enhanced it with a new watermark texture over the entire image to cover up the seams. Of course, I colour graded the image before anything else. Choosing appropriate fonts is also an art unto itself... it's nice to choose something that compliments the film's logo. I can't say Myriad Pro is the first font that springs to mind for this film's logo... sadly that font seems to be used for almost every Intrada cover, regardless of the film's art direction.

I'd adore either of these scores, but Intrada keep licensing stuff other labels could also licence. I wish they'd focus their energy on exclusive titles only they can access (ie. anything associated with Disney, like Nixon and Patriot). I'm still predicting BOT4J from LLL in July for the 35th anniversary, so Nixon from Intrada makes perfect sense. We can assume JFK is off the table indefinitely. But 2 out of 3 Oliver scores...

Threw this together in less than an hour, thought you folks might enjoy it. Click for a high-res 2K version.

Has anyone thought of a clever way to integrate the disc 3 bonus tracks into the main disc 3 presentation? It's hard to find a home for the instrumental Pirate Sequence and the vocal Presenting the Hook without repetition (probably why they're placed at the end!) I tried Smee's Concertina Medley between Stick With Me and Take Me Out To The Ballgame, which worked well enough.

Just a reminder about Roger's post: I remember previously these lists were chronological in order of release, and sure enough James Horner had the first Intrada title in 2024. If Danny Elfman is next, we might have another new Williams expansion very soon indeed!

But here's the thing. I can't stand most modern film scores, but I don't feel the need to go into every thread about modern film scores and remind everyone I don't like them. If I did, others would be well within their rights to turn around and say, "well bugger off then, because we like them!" In theory I agree, but it's a broken record. There's dozens of threads littered with the same tired arguments and every time it goes in circles. I have no issue with Thor having a different opinion on expansions vs OSTs (I could care less, it doesn't diminish my enjoyment of them). It's the way he comes into these celebratory threads only to point out his ambivalence, or imply these releases are 'valueless.' Anyone with empathy would understand these comments are hurtful to the hard-working folks who spend years making them a reality. Or as the old adage goes: if you have nothing nice to say, say nothing at all.

Agreed, and it's possible Williams' management might instigate that process. They've requested other scores have expansions in the past. Especially if it was a 20th anniversary release. Would be more than a little ridiculous if the AFM didn't think that was sufficiently old enough to grant a waiver. Realistically the sliding date should've only been 10 years, meaning everything except BFG/Post/Fabelmans/SW sequels/DOD would've been accessible by now.

I could definitely see Williams channeling his inner Lalo Schifrin and writing something jazzy and 70s for the action sequences, a bit like what Ross did in DoD (presumably under his direction). Maybe even something like Eiger Sanction. Lots of potential depending on whether Spielberg goes period.

You can apply to the AFM for a "waiver," which means you don't pay the reuse fee. Intrada applied for one to do an Avatar expansion (recorded in 2009) but the AFM knocked them back. They might be more open-minded about waiving the fee for 2005 scores, if only because Munich and Memoirs were recorded so close to the cut-off date (plus the Williams factor, decades supporting LA musicians by keeping work local). But there's still enough pre-2005 scores to keep the labels busy in the short-term. Hopefully by the time they run out, the AFM have reviewed the date.

Depends what Spielberg's going for stylistically with Bullitt, but I don't see that needing a huge orchestral score. It might suit Williams if it's smaller scale. The idea of more European concerts is tantalizing though! I'd definitely fly across to Berlin if that happened again.

@QuartalHarmony already summed up my thoughts and I had nothing to add. I certainly wasn't going to bring the mood down on New Years by responding to your cringe attempts at baiting me. There's simply way too much love and hard work that went into this gorgeous album and I'd rather celebrate that, than engage with someone reminding everyone for the millionth time about their indifference towards these releases, while gorging on the fruits of their labour.

Yeah, that's already available on Disc 3 of this release, curated and approved by the film's composer, lyricist and director. Not whatever your attempt at a playlist is. Everyone who paid for and appreciates the hard work of the producers involved on these remasters already knows that.

Holy hell, you seriously have the gall to not only gloat about illegally pirating the set (which Jay, Mike and dozens of other people spent 8 YEARS working on) but turn around and not only complain that it doesn't interest you, but boast about how impressed you are with your newfound playlist of pirated materials? Are you seriously this tone deaf or is the whole contrarian schtick an intentional parody at this point? Here's an idea. Instead of reminding everyone for the millionth time about how little you give a shit about these expansions, why don't you support the people working their asses off to make them a reality? Better yet, say nothing at all! Especially if you're going to gloat about pirating the very thing you've spent a decade whinging about.

The link was also bound to get shared in private conversations, so you would've ended up with multiple groups making separate plans to place large bids. At least being public means most people will now withhold from placing bids, instead of assuming they're the only ones who know about it. If nobody else knew you were trying to bid on it @rpvee, there's every chance you'd have 20-30 people all trying to place large bids in the final minutes.