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The "returning Jedi" in the title of ROTJ is indeed Anakin Skywalker. This is in Luke Skywalker's biography on starwars.com:

Anakin is the returning Jedi in ROTJ.

Thats great for Thor, because he will no longer have to hunt for the 3 cd set of Mr. Chips!

It works better in the theme park ride where the tour boat accidentally enters a gigantic illogical building with a lift hill and waterfall where the predators have gotten loose, including the T-Rex inexplicably at the very top, which apparently goes wherever the hell it wants like in the movies.

Regarding the discussion about "War of the Worlds" several posts ago, I should point out that Erich Kunzel did record "Escape from the City". This was a companion track on the digital release of "Great Film Fantasies" from 2006, which also included music from the "Star Wars", "Harry Potter" and "Lord of the Rings" series. Those were all on the CD release, and both the "War of the Worlds" and "Batman Begins" tracks were iTunes exclusives.

I have on good authority that Lockhart sifted through the BSO archives to find stuff to record for this album, so there's gonna be some surprises.

Sick of always digging through Future Films for this so I'm just gonna start a thread for the man. Don't mind me. New film is now officially scheduled for this year!

Jurassic Park was a breathtaking film by Steven Spielberg; filled with spectacle, wonder, and imagination. Likewise, the novel and the adaptation process included many inventive ideas. This video presents one of the most famous ideas that didn't make it into the film: "Tyrannosaurus Rex At The Lagoon". Following closely to the tense sequence from the novel, the filmmakers also revised it with their own ideas, more than once. This version appears to be the last of the revisions, before it was scrapped entirely; along with the rest of the "river adventure" that was inspired and adapted into the classic Universal Studios attractions. This video uses the official original storyboards that were contained in Phil Tippett's Early Sequence Storyboard Binder, from his own collection. They have never been publicly seen before. This video was made to dramatize the sequence with original music by Derrick Davis and Mikhail Cucuk, inspired by the John Williams Jurassic Park themes. It is made for entertainment and educational purposes only. Amblin Entertainment and Universal Pictures own any copyrights to the material. See video for full credits of this production. For a download of this video, the music, the storyboards, and much more, visit the "Time Capsule" and other pages at: JURASSIC TIME http://jurassictime.trescom.org

OK, hang on to your hats, folks! We have a crapload of new info on upcoming SW films, courtesy of Star Wars News Net. I am really, really excited about what I've read, but some of this could well provoke very negative reactions. Remember, though, that A) these are officially unconfirmed and B) there will be a lot more to the stories than reported here, of course. This apparently comes from the same source that gave SWNN the "three returning planets in the ST" info from a few days ago. Lucasfilm’s Plans for the Future: Things We’ve Heard About Upcoming Star Wars Projects! | Star Wars News Net Here's my quick summary of what's in the pipeline beyond 2019's Episode IX, based on this article: - Ewan McGregor will star in an Obi-Wan anthology film set between ROTS and ANH. Kathleen Kennedy was happy with Gareth Edwards' work on Rogue One, so he may be returning for that film. This film may be announced at SW Celebration next month. - An anthology film including Boba Fett. It will likely not be an origin story, and will focus on a group of bounty hunters, rather than Fett specifically. - A young-adult film including a tragic love story. It could have a female director. It is likely not a Lost Stars book adaptation. - There will be a hiatus in films, starting a few years after the sequel trilogy's conclusion. Lucasfilm wants to be very careful to leave fans wanting more rather than fatiguing them. - Star Wars on television will become a big focus soon. The next TV project "might be more in-tune with the existing story arcs of the Star Wars saga instead of 'filling in gaps' like The Clone Wars and Rebels have," whatever that means. - There will be a fourth saga trilogy, but it will happen after the aforementioned hiatus in SW films, because "SW is a generational thing." I'll save my thoughts on this for another post, but in general I'm hyped.

I actually think both videos are great. "Hot Knife" is one of my favorite uses of split screen, hypnotizing. His more virtuosic videos are fantastic, though. "Paper Bag" is classic Boogie Nights/Magnolia era PTA:

To think that the last generation had to make do with only Lindsay Anderson and Michael Anderson!

What a time to be alive!

THE REFRAMES OF THE DAY

I'm pretty sure Lucas was addicted to painkillers or some other drug when writing Phantom Menace (when he came up with all the chosen one/midichlorians bullshit).

It's your opinion versus a proven fact on starwars.com!

Empire Strikes Back for Father's Day.

I always figured it was about Rey.

I remember hearing that the TFA suite was recorded for this.

I'm hopeful too, of course. I was thinking more about the fact that performing pieces from, say, The Plainsman, Gidget Goes to Rome or Daddy-O in concert might be very, very difficult unless someone will reconstruct the scores from what's available. But of course I hope some of those original recordings will be released one day. From what I know, this new CD will not contain any evergreen like Star Wars, Indy or Harry Potter.

Quoting Lockhart: "Well, um, at the Pops we are in the middle of recording an album. As soon as I go back, couple weeks later, we're gonna be in the studio again uh preparing an album of music that spans six of those decades starting in the mid 1960s with Goodbye Mr. Chips... The Towering Inferno in the 70s..."

RCA Victor was a label which catalogue is now owned by Sony. They did record extensively with both the BSO and Pops in the 50's and 60's, and Lockhart recorded his first albums with the Pops for them in the mid to late 90's. Around the time James Levine took the post with the BSO, they initiated a record label of their own, totally independent of any of the big ones, called BSO Classics. You can learn about their releases, both digital and physical, on the BSO store site.

I was hoping for something more spectacular from the Silmarillion score actually.

Why? It's from an Indy film and probably a fav of Williams and that's why it's there. I'd prefer Scherzo for Motorcycle myself but I'm not going to complain about getting a bonus Williams piece.

It would have to be to elevate these two young leads who look both tired, pale and entirely devoid of charisma.

Also the City of Prague Philharmonic Orchestra has recorded a seven and a half minute Suite from War of the Worlds, that combines a number of cues from the soundtrack.

Trying to seal the rip!

Her lightsabre is slicing into his shoulder.

I assuming Will is referring to something Desplat said about his Valerian score.

Now I hope Williams writes a score featuring children's choir throughout that repeats the main melody over and over!!

Godzilla - Desplat

Point taken, but I was trying to avoid the debate surrounding "high definition" audio. My point really was that if a company advertises music at a certain quantization and/or sampling rate, and either/both are false claims, then there's a problem IMO. In fairness to HDtracks, they refunded my purchase of Spielberg/Williams Collaboration Part III when I emailed them about it, so I really shouldn't complain. (For the record, I didn't ask for a refund; I asked for corrected files, if/when they are available.) They deflected blame onto the record label, stating that there are no standards in music mastering and the results may vary, they don't record or master anything themselves, they rely on the files that the record labels give them. blah blah blah. Even more egregious was one of the files they offer in their free sampler, which I also brought to their attention. It's indicated as being a 96 kHz remaster of an existing recording, but while the file is 96 kHz, the audio content is brick-walled at between 20 and 21 kHz. A clear indication of a simple up-sample from 44.1 kHz (CD quality) to a 96 kHz file, not of a different approach to mastering/re-mastering.

See, I don't consider 4:3 obsolete; It's a perfectly valid aspect ratio choice. I do consider older broadcast standards obsolete; When Drew Carey or Night Court reruns are on TV I cringe at how poor they look on modern tellies. Luckily studios have been rescanning shows shot on film like Seinfeld, Friends, Star Trek TNG, etc to bring them up to standards that will persist through time. It's amazing how many shows from the tape era will look crappy forever now.

That's how I feel. I prefer black bars - of any size - over stretching the image - in any way. Period. Quint's images cement my opinion further - that stretched image looks AWFUL (both of them). That is my opinion, yes. Quint feels differently. He's not permanently converting his files, simply choosing to display them differently than intended using the settings in his video player.

Surely I'm I missing something (I usually am), but...something filmed in 4:3, is, IMO, meant to be watched in 4:3, n'est pas? Ps how do you convert 4:3, to 16:10?

I'm not attempting to challenge your subjective viewing experiencing, I'm just surprised at how many people seem to be bothered by the black bars on the side. 16:10 is certainly more acceptable than a margin to margin screen-filling stretch, but it's not like the 4:3 empty space is filled with rainbows or something distracting. After 5 seconds I'd figure people's minds would adjust and forget it's even there.

No need to post pics. If you're stretching the image, its an inferior viewing experience. I will never attempt this for any reason.

Our first long video is here! 4. Journey to the Island 2m3-3m1 To the Island 3m2 The Dinosaurs 3m2A The Entrance of the Park After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme. Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march. This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead. Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

To the exasperation of amateur orchestra's all over the world!

It's time for our first video featuring unused music. Hurray! From now on, you'll quickly be able to see if a video features unused music. These titles have been marked with a *. 3. Entrance of Mr. Hammond * 2m1 The Entrance of Mr. Hammond So this is the first cue to feature unused material, even if it is only very brief. After the disruptive arrival of a helicopter at the dig site, Alan Grant first meets JOHN HAMMOND, who makes Alan and his colleague/girlfriend ELLIE SATTLER an excellent business offer. As Hammond blows the pair away with his generous offer, this brief cue underscores the celebration of the two. In the film, this is where the score ends. But when we cut to a distant foreign location, Williams underscores LEWIS DODGSON exiting a beat-up taxi with an ominous coda, as the film’s corporate espionage subplot is about to begin.

My favourite Williams score, it was like Anakin's Theme/Anakin is Free stretched into an entire for me. I love how consistent it is, no "jump scares" like Memoirs or "tone" swings like his action work

I live in Europe, so I never heard the one with the narration. But I do remember there being a lot of fuss about it at the time. Dialogue on soundtracks sucks.

Oscar Isaac has dropped out of the film, in addition to the film being postponed indefinitely (early 2018 shoot, before Spielberg starts Indy V?) http://www.awardscircuit.com/2017/03/11/exclusive-oscar-isaac-drops-kidnapping-edgardo-mortara/ Seems like Spielberg's struggle to find a child actor for the lead role, Isaac dropping out for family reasons (his mother passed away in February), and The Post landing in his lap with Streep & Hanks available all combined to make delaying Mortara the best option. Unfortunately I get the feeling Mortara will join Robopocalypse as another 'almost' movie that never sees the light of day.

I've found a new theme. It represents Jyn and Galen. Like a father/daughter theme. Not sure if we're saying spoilers on this thread but SPOILERS! It appears as Jyn is watching the hologram of Galen here at 1:10 - 2:00 on piano, and then switches to strings from 2:00 - 3:00. Then it appears again, but more emotional, as Galen dies in Jyn's arms here at 5:58 - 6:55. And appears one final time as Cassian says "your father would be proud," here at 2:46 - 3:16. It also appears in the suite for Jyn at 1:55 - 2:28.

Says you! ;)

Here ya go - based on the track titles and my recent second watch of the movie. Spoilery

Here is my review: https://cinemusicreviews.wordpress.com/2016/12/29/rogue-one-a-star-wars-story/

I work at a theatre, and we're showing the movie on seven screens, so I'm constantly walking past one of them. They're frequently blaring the score -- and I have to say, the more I hear it, the more positive I am about it.

I think that would've been a strength if the themes had their own strength. Correct my music-theory newbness, but he's not into long-line melodies, uses lots of short intervals and repeating phrases in his themes - and they seem to get simpler and simpler. I wish he'd had longer to create, because none of these new themes or their presentation really grab me. And they're merely serviceable in-film. That title card cue could've done with a minor key, or more scattered and challenging orchestration, surely? Personally I enjoyed the inclusion of familiar themes in the score alone and within the film - they were more subtle than they could've been. The tremulous ANH theme for Vader's body-horror shot; the Death Star motif in its hammy glory; Vader's theme (right choice considering the plethora of Imperial imagery); 'Alliance Assembly' shuttle run seemed a true fan's callback; Leia's theme, just; the Rebel Fanfare and the many passages that use its interval and key - the drop from hyperspace fanfare is great (what reason can a Star Wars score fan have for not enjoying that statement?). The only exception I would add is the Force theme: hurried or partial renditions don't do credit to the franchise's most profound piece of leitmotif. Trust Goes Both Ways' early bungled statement (missing the meter of the phrasing, I believe) still rings sore but I think it just about suits the editing of the take-off scene it accompanies - I wonder if a more satisfying straight-through rendition would've done the same job though. As for all the huffing and puffing about this score: I can understand us geeks' sensitivity to a supreme and beloved set of scores getting blended, shoehorned or mashed into the simpler style of a less-sophisticated composer. The fact that Williams' legacy, and Desplat's potential, are implicated in this score goes a long way to explaining the harsh opinions aired here. There is also a demographic - say, not-quite film-score lovers, but fans invested in 'geek-media' and franchises - who like Giacchino and appreciate his involvement. Their noise about (as one forumite put it well) the 'Golden Boy' will leave a sour taste in the mouth of those who just don't like his music, especially as it is splashed upon the Star Wars universe. I wish he'd had longer to score Rogue One, as I think much of the music would be improved, but honestly, I don't think the overall score would've been a huge amount better. I'm a big fan of Giacchino but musically-literate people here have helped me see his technical shortcomings. I still enjoy plenty of his music. What I'd like less of here is people bluntly stating their opinions (positive, but more pertinently, negative) and thinking they're contributing to a discussion. What I'd like to read more of is actually discussion about the actual music. Argue it's strengths and shortcomings, in detail, so that I can understand what makes a composer good at what they do. Explain to me how Williams can create magic where Giacchino cannot and I'm going to learn from this board and you people - please critique my musical understanding of the score as I have attempted to analyse it. Verbally shit over what you don't like and you'll be as banal and boring as the Rogue One title card fanfare. Ha.