Delorean90

Absolutely spot on 100% And how many shots of ships landing can you have?
 
The writing really is particularly awful, feels like one of those Kevin J. Anderson, post ROTJ novels we used to get before the prequels were made.
 
One thing I particularly dislike is the urge to, somehow, fill in every gap between this and ANH, while at the same time, actually contradict it.
 
It's also particularly annoying  when you see two characters that have obviously run into each other every now and then in the last few years, like Kenobi and Owen, have a conversation like it's the first time they've met since Anakin turned, just for for the sake of the audience's understanding. It's lazy, lazy, screenwriting. I really hope that the toy Obi-Wan wants to give to Luke is not the very same toy ship we see Luke swooshing around in ANH, but of course, it most certainly will be.
 
This show reminds of something that used to happen when I played football when I was kid, and me and my teammates never had enough shampoo to shower, because a bunch of us always kept forgetting to bring it. So we just took a nearly empty bottle of shampoo and refill up to half with water, in order to dilute and stretch whatever little shampoo was left. This is what this show feels like

In a way I envy you.
On the other hand that reminds me of that fairytale movie that I saw recently where some hikers were invited in the forrest by some beautiful fairies to the most delcious meal. But suddenly broke the spell and they saw the fairies were the most ugly witches and the food was rotten full of maggots and insekts.
This is how I feel watching The Rise of Skywalker.

My brother just showed me this video he found. What could have been...
 
 
EDIT: LOL, posted this over at the main Star Wars sub on reddit:
 
"It’s too loud for the scene. Focuses too much on Vader and not enough on the shock on Kenobi’s face. They did it better bud."
 
"I think the score in the show matches the scene and tone better than this."
 
"sorry mate but i'm not feelin' this."
 
"There's more to Star Wars scoring than reusing old themes. There's a whole musical galaxy out there - you need to see that."
 
I'm not saying that I think this "fix" is perfect; it's more like a temp track, and obviously it would have been done differently in the show if Ross or somebody scored it. Either way, I don't understand these people... It's depressing. Thankfully, I've seen a lot of SW fans elsewhere who have been calling out the problems with this show's score.

Wow. Earlier when I read your other comment, I remember thinking to myself, "This sounds like one of those people who would say 'Can't people just be glad we're getting new Star Wars?!'"
 
Again: this mindset breeds mediocrity. I'm not just going to mindlessly "enjoy" any and every piece of crap that a multibillion dollar corporation puts out. And it's not like I'm unwilling to praise what I consider to be great Star Wars: I'm a big fan of the PT and OT, The Clone Wars, Rogue One, the KOTOR games, Jedi: Fallen Order, The Bad Batch; heck, I even like Rebels. Also enjoyed Mando for a while, though I'm starting to get tired of that one. And I'm very much looking forward to Andor and the new animated series Tales of the Jedi.
 
But there has been a decent amount of content put out since Disney took over, that I do not feel is great (or even good!) Star Wars, and as a paying customer I'm not going to just sit here and pretend that it's all great and that there are no issues. And I and other fans should be allowed to express our complaints and disapproval (with the hope that the people in charge will do better in the future!) without being labeled "toxic" or "haters."
 
In fact, for all the talk about the "toxicity" and "hate" (note that I never even said I "hate" anything, but even mere criticism tends to automatically get branded as "hate" these days) of the fandom, I'd argue that "toxic positivity"—the idea that everyone should just shut up and be thankful we're getting anything, as though our media overlords are being so incredibly gracious to give us any new Star Wars content—is a bigger problem. This mindless consumer mindset of just accepting and enjoying anything they crap out, only sends one message to Disney: that they don't actually have to work hard to deliver high-quality content, because people will always still watch and enjoy and make excuses for it, no matter what! Which results in more and more ever-inferior content. I get being glass-is-half-full, but come on.

Roger says
 
"we are announcing next week's release this Friday.
 
this has been a grail release for some time, especially to get that Daedalus cue released. Similar to Monsignor, different mixes existed. So as with that release, one disc features the complete score from Armin Steiner's spectacular film mix, with a second disc featuring Len Engel's album mix we've all come to know and love. Finally it's all here produced under the love and care of Mike Matessino."
 
http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8910
 

Watched it last night, having only seen the theatrical version prior (and parts of the longer TV cut over 20 years ago--"We all create God in our own image" has always been missing in my memory haha), and I thought it was pretty fantastic. The colors are fantastic. The sound mix is incredible. I'm the kind of guy that doesn't mind watching the complete Cloud/Vejur Flyover/Force Field sequence at all, I can bask, but the cuts made here are such that you still get a sense of a journey without it dragging.
 
I will say that I last watched the theatrical a couple years ago, and having since seen the video with the Joe Kraemer mockup of Goldsmith's original "Body Meld" cue, I think watching this, with the Ilia's Theme Overture over a starfield, really firmed up my conviction that Goldsmith had it right the first time. It really works to bring the whole journey together with a big emotional punch. It's funny, because watching with the final "The Meld" cue now makes it feel like something that would have been in the initial slate of cues that Wise rejected because, "Where's the theme?" It's beautiful and transcendent, but not as specific.

If they need content, they should HD-remaster DS9!

Ordered, at long last!

Awesome 30th anniversary retrospective article from Tim Grieving, who discusses all the deleted songs and provides some lyrics 
 
https://www.theringer.com/movies/2021/12/8/22823113/hook-west-side-story-robin-williams-musical-steven-spielberg

Feel like hearing T-Rex To The Rescue with boosted Hns & Tpts ? 
 
 

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

This is a real dang good release, even if it does use the album master!
All I knew about this score and movie were the S/W piece and the basic premise, until crumbs' iso score came along and the score didn't manage to impress me that much in that strictly film C&C form. Here, on the other hand, I'm taken away completely! A great main program really fills the score out, and this kind of score lends itself to the slight chrono cheats employed by Mike. The less conspicuous thematic material weaves its way until the climax brings the big guns, the two main twinkly cues provide some break time but even the 6+ minute one changes enough to not be dull, Follow Me is such a well-earned break (and what a great little cue, so much better than the alternate! Despite its short length you really feel it went somewhere and explored its material satisfyingly), and then the alternates are all either very much or interestingly subtly different! I switched the Old Timer's Shacks and End Creditses for my main program, the one fault I feel the CD has is that the "film" End Credits reprises Dorinda Solo Flight too closely, right after Dorinda Solo Flight. But listening through as one big program, the two final tracks are a fantastic finale. Booklet's good too! Cover's great too! I'm really happy with this set.

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

Hello hello! Been away for some time, but I was going through The Fury recently, and I can shed some light!

Timings for extensions/cuts don't necessarily allow for extended measures of repeated material, but you can see where passages were adapted. Timings indicate score recording passages.
 
01. Main Title
     "End Title"
02. For Gillian
     "For Gillian" (extended/embellished at 0:58-1:15, extended at 1:32)
03. Vision on the Stairs
     "Vision on the Stairs" (0:00-1:18)
     "Father Meets Son" (trimmed 0:48-0:52, 0:57-1:53)
04. Hester's Theme and The House
     "Hester's Theme and The House" (0:00-1:41)
     "Before Dinner" (0:00-0:17, 0:37-end)
     "Approaching the House"
05. Gillian's Escape
     "Gillian's Escape"
06. The Search for Robin
     "Remembering Robin" (extended at 1:26)
07. Gillian's Vision
     "Gillian's Vision"
08. Death on the Carousel and End Titles
     "Coming Down the Stairs"
     "Calliope Goes Wild/Death on a Carousel"
     "Gillian's Power"
09. Epilogue

I'll tell you what a paramecium is: THAT'S a paramecium! It's a one-celled critter with no brain, that can't fly! Don't mess with me, man--I'M A LAWYER!

The Matrix does it perfectly

My favorite Williams score. It's a glimpse into eternity, as stupid as that might sound.

In terms of Cinematography, it sill is one my favorite movies of all time

Herrmann's Vertigo is a certified film music masterpiece. Just live with it!
For me the allure of the score past the obvious highlights is the subtle inventively subtextual underscore Herrmann conjures with such apparent ease. The habanera rhythm for Carlotta suggesting the woman's Spanish roots and the tentatively romantic yet uneasy mood of the dialogue scenes. It is not complex but highly economic for the most part yet has a sort of elegance that just tickles my fancy. I have often remarked on Herrmann's masterful way of creating unease in even his loveliest melodies and moods and there is a ghostly suggestion of the supernatural about this music, which deals with the central subtexts of the film very aptly. Then again I can wax poetic to the point of incoherence about this music since I like it so much.
A good example of a classic film music masterpiece that I can't get into is North's Spartacus. All the praise on its different aspects doesn't really help to rationalize the greatness of the music for me when I don't hear it.

Hitchcock's Foreign Correspondent. Wow what a big film with excellent production values.
Really nice film.

Yep. Most problems with those films all come down to this decision.
Weird pace, weird editing, uninteresting added subplots, hacked up score, last-minute changed designs, changed character roles, unexisting endings... Most of these things happened after they decided to do three films.