crumbs

Definitely possible but who knows. One good thing about a major label having these scores is they'll probably receive high definition digital releases, whereas the smaller labels can only release expansions on CD.

If you look closely, it appears to be the overhead shot of Kylo and the troops marching into the Resistance base. And the exact moment you mentioned seemed to get revised twice: 9m85B Between Luke and the March 9m85C Island to March Maybe 9m85C Island to March is the final film version of Kylo's march, while 9m85B Between Luke and the March is an early alternate of the march which was a better fit for the regal fanfare that closes Luke Looks?

Just remembered another one, the music for a deleted scene at the end of Abandoned in the Woods was placed in the film score presentation.

Rian mentions in the audio commentary that the insert shot of Rey in that sequence was a late addition. The original cue (Luke Looks?) is featured in the TLJ music featurette. You can actually see the film on JW's monitor, which had a different sequence of shots than the final cut, and no reaction shot of Rey. So 9M85A Rey Looks is probably his revised version of the cue, as heard in the film and OST. The fact that both are labelled 9m85A is a headscratcher though... unless JW scored and recorded both versions at the same time, so Rian had both options?

Most of Mike's expansions have presented unused/music for deleted scenes in their intended chronology in the film score presentation. Spilling Petrol (TLW), Schubert Collage (Minority Report), even the deleted scene with Vader/Luke at the start of ROTJ. Levitation is an exception (probably because disc 1 was approaching LLL's space cap). But yeah, the ST is anomalous because huge portions of the film were re-scored. You can easily reinstate unused music or deleted scenes, but which versions of cues do you present in the main assembly? Potter would indicate that Mike prefers the final film versions (with inserts included) in his film score assembly, so presumably the earliest recordings would be relegated to a 'bonus' section. MM's Star Trek TMP or A.I. assemblies would make great templates on how to approach the ST. Complete film score on discs 1/2, significant alternates on disc 2, then a third disc for curiosities/rarities like alternate takes/inserts, arranged for the best listening experience.

What the heck is 'Light of the Force'? And is this being livestreamed on radio anywhere?

OTOH it's great ammunition Mike can use to convince him to assemble comprehensive, complete versions of all 3 scores, to present his musical vision as intended (rather than the hacked up mess in the films). Same with the prequels, though at least pretty much everything recorded got used. I doubt he's thrilled that so many hours of music went begging. A few cues here and there might not bother him but the hatchet job on the rest...?

Poe's Theme in the film seems like an insert that replaced the cool Resistance theme variation on the OST, so probably that. Thanks @Falstaft (hiatus til TROS), this is incredibly helpful. Can't wait to start analysing! Also seems to confirm the fragment in Escape that sounds like Battle of Crait was indeed an unused insert for the latter sequence, as I speculated. And OMG, 3 versions of the Rey lightsaber training cue!

TLJ was fighting an uphill battle against 3+ decades of glorified EU nonsense, which treated him as an overpowered galactic superhero. I liked that he was treated like a human being by Johnson, capable of mistakes and regrets. But I can understand why longtime fans hated this approach, given all that EU material which was far more conventional with a post-ROTJ Luke.

Ditto, interesting. Definitely wasn't that loud theatrically. The clips might come from a stereo 2.0 mix prepared for home video, rather than a downmix of the 7.1 mix (where the music can be spread over 7 tracks, probably lowering the overall volume).

Well, I'd love to attend this concert but I can't get from Melbourne to Vienna in less than 48 hours!

I really don't think he's suited to Batman but at least he'll do something melodic. Batman really needs to return to that gothic darkness that Elfman started, but somehow I don't think Gia can write in that darker tone. Although maybe if Fallen Kingdom is any indication, he could be quite good at it!

Unless there was another female composer in the mix Williams is ultimately judged against his own best, not against the output of others. And the treatment his scores have received by Abrams (and the derided film it accompanied) were the nails in the coffin.

I used to be big on the 'anniversary' theory but, after all the big milestones that went begging last year, I'm less confident. Reivers, Always, Sugarland...