Doug Adams

Wait, someone was supposed to pay me for that!? Rats!
 
Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way.
 
Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.)
 
Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. 
 
Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good.
 
And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!
 
 
 
 
 

Wait, someone was supposed to pay me for that!? Rats!
 
Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way.
 
Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.)
 
Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. 
 
Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good.
 
And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!
 
 
 
 
 

Wait, someone was supposed to pay me for that!? Rats!
 
Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way.
 
Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.)
 
Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. 
 
Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good.
 
And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!
 
 
 
 
 

Wait, someone was supposed to pay me for that!? Rats!
 
Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way.
 
Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.)
 
Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. 
 
Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good.
 
And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!
 
 
 
 
 

Wait, someone was supposed to pay me for that!? Rats!
 
Contracts -- at least in my situation -- are not necessarily given expiration dates. Not that I think it would matter in this case. The rights are so specific that you can't really even shop these things around. Between the movie and likeness rights, the Tolkien Estate, and the music publishing, the book needs to be done a very specific way.
 
Right now, I'm trying to see what comes with the Amazon show. My deep hope is that a) it sort of clears up some rights restrictions and b) it rekindles a bit of interest. We shall see. It doesn't help that the Amazon production itself is a bit of an enigma. (Note to Amazon: if you hire me as a music consultant, I will erase that last sentence.)
 
Impossible Silence -- I don't want to get into it, but someone I was close with had a mental breakdown while we were in production. (This was not someone involved with Impossible Silence or film music at all.) Tragically, that person did not survive the ordeal. I turned my attention away from the book during that time, and it's been very difficult to regain momentum. We actually started the ball rolling again in 2019/2020, but the pandemic stopped everything once again. Compared to the suffering others experienced in both these circumstances, the derailing of a niche film music book is, of course, nothing at all. I only mention it to address the question. 
 
Again, I still haven't given up hope. In this instance, putting a little time between writing and publishing actually makes the rights a bit easier. The few things that would had to have been cleared will all be public domain soon. So that's good.
 
And hey, Spielberg is making a movie now that he's been trying to get going since before the days of E.T., so sometimes these things just take a long, long time!
 
 
 
 
 

Well, just when you think you pretty much know what there is to know about a score, sometimes you still stumble across something new. cc @Jay @Falstaft @Ludwig @crumbs @Datameister
 
So, there was an "album score" of The Empire Strikes Back that appears to have been prepared by 20th Century Fox, I'm guessing as a keepsake for the people who worked on the score. It certainly was never offered for sale, but it does have the proper copyright info. It contains full scores for all the tracks on the album, with one omission: while it does contain 1M2 The Imperial Probe, it's lacking 6M3 This Is Not A Cave, which makes up the last minute or so of the first track. It also includes 1M2 New Start, 1M2 Insert Bar 80, and 1M2 Insert #2 Bar 109, none of which are heard on the album.
 
I assumed this was just a simple mistake, until I recently looked closer and realized that there's indications of cuts not heard in the album track. The cut at 3:23 is going to sound very strange when you're not used to it, but it's exactly what's indicated. There's also a cut to something indicated at 4:13, but it's ambiguous. And I'm just guessing on that insert being used for the ending, but it seems to work well. So, here's my best attempt to reconstruct what was apparently the originally planned first track of the Empire Strikes Back album, 41 years later!
 

https://drive.google.com/file/d/1fjE-uJcsKjVkA7ufh0TGvb_W12wgwv1s/view?usp=sharing

That's in my basement now ... but I'm working on getting it displayed where more people might be able to see it in person. 

That's in my basement now ... but I'm working on getting it displayed where more people might be able to see it in person. 

That's in my basement now ... but I'm working on getting it displayed where more people might be able to see it in person. 

Happier, yes. Happy, no.

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

Happier, yes. Happy, no.

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

Happier, yes. Happy, no.

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

Happier, yes. Happy, no.

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

Happier, yes. Happy, no.

That's not inaccurate. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten. 

The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten.