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As if you would! Anna Gunn was looking slender and gorgeous last night, I have to say. So happy for her win. Can feel myself fancying her again, might have to watch her Skylar in season 1 later.

No, sorry, it doesn't work that way at all. Ownership doesn't automatically mean an appropriation of intellectual property rights in relation to authorship. Lucas is still the writer, director and original producer of the existent Star Wars films (EpI-VI), hence he still holds to the creative rights associated with it (the new movies are a different matter, as they're being made under the new ownership and Lucas doesn't have apparently any kind of key creative role as writer and/or producer). We go into heady lawyer stuff here and of course I don't know the specifics of the agreement made between LFL and Disney when the acquisition was made. I can only make assumptions like you, but it's very likely that all these kind of details were matter of discussion of the overall contract and were settled among the parts. And the reason is very simple: none of the parts want make a false step in the eye of the other, as the consequences could be very displeasing. Given that Lucas told publicly (and adamantly) more than once that the versions of the movies he wants to be out are the Special Editions, it's quite safe to assume that nobody wants go against his will. And not because they just don't want "to piss off a billionaire", but because the worst-case scenario could be a lawsuit filed against them, as Lucas probably still can exercise his own intellectual property rights attached to the movies. Add to this the already mentioned tricky situation of the distribution rights still holding at 20th Century Fox and you realize why it's very unlikely we'll see the original theatrical cuts released in home video formats in the foreseeable future.

That's it? That's the reason why Drax call this an "important part of any film score collection"? Well, honstely I don't care. Lapti Nek is not part of the Williams score and I don't like it. It's still important to include these tracks. They are a part of the films, especially Ewok Celebration which was (and largely still is!) the musical finale to trilogy's conclusion. Any attitude that seeks to omit them reeks of Lucas-style revisionism that treats previous incarnations as ephemeral or worse, like used car parts set for the scrap heap. He kept "upgrading" his "saga", which became less about the adventures of Luke Skywalker and his pals opposing a tyrannical empire and more about the "tragedy of Anakin Skywalker". As a result, Sebastian Shaw was a component that didn't work anymore. So he had to be replaced by Hadden Christie so that his "saga" would be more unified. To hell with preservation and posterity - the old ones are obsolete and don't work anymore! No wonder the guy can't write dialogue that a human being can say. He even treats people and characters like a mechanic would when discarding blown out car parts. Same goes for the music. Tracks that didn't fulfil their function to conform to the prequels (or how the prequels were planned, since this was '97) were deemed obsolete and tossed out. Unfortunately, one of my very personal favourite tracks got the chop. If these scores are someday revisited for a new release, I believe it would of course be important to include Victory Celebration, but only as an alternate. However Ewok Celebration should be in the main program because it was part of the original score to the theatrical film. For everything else, we demand every last scrap be included in complete and chronological presentations, but curiously many SW fans are happy to toss out elements from the originals that seem inconvenient to them.

That's an issue I can understand. But I don't qualfies the covers and impling this to the music as Drax stated. It makes sense as a 'Saga' tryptic poster without the letters. It's great that way. (notice he added lando!)

"Yub Nub". No contest. End of.

The big problem I have with the Hook score is that it is a bit unoriginal, and I am not talking about the hommage of Korngold in the Ultimate War. You know every composer has their references, no big deal. But in Hook, I hear a lot of the russians, nearly 1:1. Dvorak 5th symphony, Stravinsky's Firebird, The Ride of Spring and much Tchaikovsky. Most annoying that the unused Rufio track is now on the 2CD, it's a totally rip-off Stravinsky. So not in the level of James Horner, but close. But the Ultimate War is really strong piece. My vote is for Schindler's List, btw.

That's it? That's the reason why Drax call this an "important part of any film score collection"? Well, honstely I don't care. Lapti Nek is not part of the Williams score and I don't like it. I konw he used it on the original Polydor album, but maybe because of the marketing strategies for common potential buyers. Ewok Celebration, no words - what's the intension of this thread? Alternates are mostly uninteresting to me. The film version Ewok Celebration is on Disc 4. What Ford A. Thaxton did with Disc 4 is a crime. Put some unreleased tracks from the three films on one disc, start with the fox fanfare and try to make it as an listing album. Totally fail. Film version Ewok Celebration with the film end credits of TESB? Some tracks are stereo reversed, etc., etc., etc.? Oh my god... That's a thing I don't like for some expanded soundtrack albums: After the end credits putting some alternates on the end, or make a new disc and put those alternates in there. If I want to listen to an album, then it has an opening, beginning, a middle and an end. Like if I listen to a concert or a classical music piece. There is one exception I accept tracks after the ending: Unreleased music. If it is interesting, then OK (e.g. Attack of the Clones "On the Conveyor Belt").

found this online https://www.youtube.com/watch?v=iwnr4GU5RVE The End Credits, for anyone who is interested some parts differently arranged and that choir rendition is there

I sold it. I said in another thread, that the Anthology is obsolete. The track order with all those cues without any combinings in chronological order doesn't have musical sense and logic in it. The structure and flow is far better on the complete presentations. And Disc 4 is forgettable. It has better artwork, superior sound quality, as well as tracks absent from the Special Edition releases. It's an important part of any film score collection. Nothing obsolete about it at all.

It is indeed quite lovely album and score. The pastoral John Williams, the one that might annoy some more cynical listeners, is a force to be reckoned with! As the weather outside is crap (same as last two days), I think the summer might be gone for good. It is the time that scores like Angela's Ashes and The Book Thief grace my ears more often. Stepmom is the third choice today to complete this autumnal trilogy. Isn't Angela's Prayer the most achingly beautiful piece? Karol

The children chorus is cheesy, I also like it better without that. But that is much better than the cheesy Yub Nub. As for the segue, in FSM Issue Vol. 3 Nr. 3, Matessino responded: As to the placement of the track against the “End Title,” again the filmmakers gave us no indication as to what they were doing, and were under no obligation to do so. John Williams was concerned, however, that “Victory Celebration” ends on a B-flat major chord and the “End Title” begins in E-flat major. Obviously his concerns were justified, since what is heard in the film is downright sloppy. Guessing that this is how it would be, we tried this same timing for the CD at first. As predicted, it was a jarringly unmotivated modulation. But allowing the B-flat major chord to resolve before coming in on the E-flat chord two beats later made it musically palatable because the tonic of the B-flat chord is the dominant in E-flat, and therefore one’s ear can expect this as a logical chord progression. That said, I really like it how it is presented on CD with a general pause before the end credits starts. Well said. I am one of the "older" generation, I grew up with the originals. But I am not of those who are saying: "This and that are better because of the nostalgic factor" or "That's my childhood and that's the reason I like it better." If I listen to a revised version and if it fits better or is superior from the composition, then this is the way I am going to go. There two major things I really liked about the Special Editions: First, we got finally the complete soundtracks of trilogy. And second, Yub Nub is replaced with this strong piece, which is now presented on the SE.

Silly man.

While this topic has been resurrected, I vote "Victory Celebration." Sorry to be sacrilegious here, but "Yub Nub" always struck me as awful schlock. It's entertaining in its own cheesy way, and the film version is certainly better than the album version, but I'll take "Victory Celebration" any day. That being said, there are issues with "Victory Celebration." It doesn't really feel like an organic part of the whole film, just like most of the Special Edition changes. The album version has that incredibly cheesy children's chorus going "ya ya ya"...not a fan of that at all. As others have said, it does feel rather New Agey in its instrumentation and mixing. And the end of the cue is utterly baffling - it's not clear whether Williams intended it to segue into the credits in the musically inept way heard in the film, or to resolve on its final chord and then switch over to the credits after a beat of rest, as heard on album. Neither option is a good one. I don't know why he didn't write it so it would properly resolve and segue to the first Eb major chord of the credits. Still, the melody itself is a strong one, IMO. The fact that it's not purely celebratory - that it does have a bit of a bittersweet edge to it - is appropriate for two reasons. Firstly, the Rebel victory came at a steep cost; lives were destroyed and friends were lost, and even in its original form, the film itself always reminded us of that by showing the ghosts of Anakin, Yoda, and Obi-Wan. Secondly, this is the final scene of the OT, and at the time, it was going to be the final scene of ANY Star Wars movie. (And till next year at least, it's still chronologically the final scene of the saga.) There's a certain bittersweetness about that from an audience perspective, too. I think it works well. Granted, none of this will change anyone's mind - we're gonna like what we like, and perhaps being part of a generation that was younger at the time of the SE releases influenced my opinion on the scene. Maybe I would have developed more nostalgia for the grotesque cutesiness of "Yub Nub" otherwise.

https://www.youtube.com/watch?v=rRFCunFsHKo

I agree, though he certainly doesn't shy away from acknowledging the criticisms of the man or his work and the occasional scandals that surrounded him, especially the Twilight Zone tragedy and subsequent trial, which he could have brushed over but instead devotes several pages. He also clears up a great deal of confusion regarding Spielberg's self-perpetuating, mythic tales of his time at Universal. In all, it's definitely written by an admirer but McBride's no dummy. I didn't find there to be anything in the way of ridiculous and unfounded psychoanalysis and I appreciated his comments toward the end in favor of viewing Spielberg as a personal filmmaker and observations on the relative lack of academic writing on his films. From what I remember he generally limits his personal opinions on the movies themselves too, though occasionally can't help himself, for good or bad.

Had to give it to Harry Potter and the Sorcerer's Stone. Brimming with themes, it's a fine sequel to Young Sherlock Holmes. I love the Family Portrait theme that represents Harry's family as he stares in the mirror, used at the end of the film. Stuff like the Arrival at Hogwarts and the Entry into the Great Hall are what do it for me.

My Mary Poppins set from Amazon arrived today - earlier than expected! Looking forward to checking it out. I'm so happy this series exists.

I popped in my Jurassic Park 3 OST the other day because I was curious to see if the enhanced content still worked on a modern computer. Turns out it still does, at least on a Windows 7 64-bit. I primarily wanted to access it to extract a couple video files (a trailer for a JP3 game that never came out, and the first trailer for the film that was by far the best). However, I also noticed a text interview in the enhanced content with composer Don Davis. While short, I thought it was worth preserving just in case there comes a time the next modern computers wouldn't be able to access it. So here it is, transcribed below: I actually didn't know Williams met up with Davis in the cutting room for the film. And I am a bit perplexed that Davis though JP3 was a darker film than the previous two. LOL.

So a friend of mine watched the latest Hobbit teaser and recorded a cover of it and asked me if I could provide underscore for it. I was hesitant, because I didn't really want to touch any of the Middle-Earth music, especially with how perfectly the original "Edge of Night" was, but I agreed to it. I kept putting it off, but last night, I had a few hours to spare so I sketched something out. It's nothing much. Just added a few themes to bookend the song, and snuck in some bits in the underscore. I didn't play around with the themes as much as Georg (GK) did, so in that sense it's pretty straightforward. So here it is, for anyone who cares: ? Oops.