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Probably. It's likely one of those other pointless things that literate people use to sound smart... you know, proverbs? Pronouns? Verbjectives? Ad-herbs?

Yeah, he had to create mock-ups and demo the score, too. Desplat don't have the clout of Lord John Effin' Williams!

Don't forget this marketing beauty: Can you imagine how many suckers bought all 4 versions? Would've been nice if they at least put a different bonus cue on each version. Jerks!

What if the deluxe edition had embossed text and screensavers though?

I'd guess it'll be a relationship theme for Luke and Rey or just an entirely new theme for Rey. Williams was already pondering "what to write next" for her back in August -- that comment stuck out to me, as if he wasn't content merely rehashing the existing theme for VIII like he has for other characters (albeit brilliantly and with great diversity). Surely you realise how Star Wars merchandise works? There are fans who literally buy everything. Two different soundtracks means two revenue streams, especially if each one contains music not included on the other (see The Hobbit releases). There would be fans who actually bought the TFA OST on CD, casette and vinyl, for real. It's the whole concept of double dipping on the same product, which studios embrace at every opportunity. Already got the Bluray? Get it again, in 3D! Already got it in 3D? Get it again with new special features and deleted scenes! Already got the special edition? Get the 4K HDR deluxe edition! Lucas made billions doing this, Disney will be no different. Even better for them, this music already exists, they own it, and it's collecting dust on a hard drive until they slap it on a CD with new artwork.

It reuses the word Jedi, too. Previously in 7 titles they haven't reused a key Star Wars noun in a subsequent film title. Phantom, Clones, Sith, Empire, Jedi, Force. But I'm okay with that if the central focus of the film is Luke and Rey's story. No point having 'Dark Side', 'Resistance' or 'First Order' in the title if they aren't really the thematic focus.

I think the First Order will get a proper, expanded new theme (the signature bad guy theme for the trilogy) while Rey and Luke will end up with a new theme that derives from both their solo themes and possibly becomes the New Jedi Order theme by Episode IX.

What about the free screensavers?

MM's struck a great balance with JW's team. He's respectful of JW's fondness for the OST listening experience by selling the idea of expansions as complimentary releases, not OST replacements. That expansions are for a niche audience, his most passionate fans who love every note, hence limited stock numbers. This reiterates that independent labels are passionate about remastering his music to optimum quality, not simply chasing profits. I think it's "clicked" for JW, thanks to MM. There's still a few compromises and requests to move tracks to the bonus section (which is pretty reasonable), but he's much less meddling than 2008 Raiders or even Hook.

Different times for film score expansions almost a decade ago. Independent labels weren't as prodigious nor did they have the studio relationships they do now. Also, Disney owns Lucasfilm now, Kathy Kennedy runs the company, Spielberg/Williams have a thirst for expanding JW's catalog properly and they're loving their collaboration with MM. He seemingly finishes one score then moves straight onto the next. He's built enough trust to actually ask JW's team to expand scores that weren't even offered -- and they're agreeable (though perhaps the Amblin factor made TLW an easier request). I don't think MM would face the same resistance LB did with Indy. At the very least I think he would talk JW down from any microediting requests to Desert Chase.

Maybe, but there's little denying that JW and SS have more clout than some marketing guy at Disney or Lucasfilm who might prefer to sit on expansions for marketing reasons. If JW asked Kathy Kennedy to explore Indy expansions, it would happen sooner rather than later. In any event, the rights seem murkier for the Indy scores. We know Disney reacquired the SW scores but there's no word on the situation with Paramount/Concord and Indy. Hopefully Concord's licence is OOP.

Azahid, please ask MM to do the Indy and Star Wars trilogies! Honestly, I reckon the Indy trilogy are very likely in the coming years. Raiders had live-to-picture concerts prepared last year so it's right in line with the reasoning for the JP expansion.

The Man Who Loved Cat Dancing and The Paper Chase expansions confirmed!

Those 3 score omissions are frustrating, even if we have all 3 in complete form. Hopefully the early tracklisting was incomplete and they had another round of sessions. Fingers crossed!

That's been verified by Wikileaks.

Now you're just falling for Disney's nostalgia-fest with all these new films. I have no issue with the reuse thematically, but JW was perfectly capable of writing something new for the occasion. No matter, as we had a glorious end credits suite comprised of mostly new material!

That was all FAKE NEWS leaked by Conrad Pope!

Further proof that Williams is very conscious with expansions to accompany his live-to-picture concerts, hopefully a positive sign for the HP trilogy. I kind of love that Williams is still so involved in these expansions. I know he created editing issues with IJ and Hook sets, but in the hands of the right producer his input is most welcome. Even in expanded form, he still aches for that "listening experience"! I love how conscious of sound quality he is. It bodes well for Star Wars remasters (considering how awful parts of ROTJ sound) and another attempt at Hook if the complete masters are discovered.

I guess I was also a little disappointed to have two Star Wars films in a row end with Binary Sunset as the big climax. His original music in Jedi Steps was far more captivating, IMHO. I really hope the final cue of VIII is something original rather than another rehash of existing music or themes; AOTC and ESB are benchmarks in that respect. I also find their transitions into the first note of the end credits more fluid, not that I can explain why musically.

Whoops! Well, nonetheless, it was another 4-score year! Besides, everyone knows William Ross wrote COS!

Munich was pretty restrained and short compared to his other 3 scores in 2005, but it was still an incredible effort. The last time he did 4 scores in a year, too.

I haven't heard a note from those two scores, either.

I haven't heard a note from this score, either. I like that Williams is so open to revisiting and remastering his older scores, forgotten gems. It makes for a nice appetiser between the flagship releases like JP. There's so much to his filmography outside the Spielberg and Star Wars bubble. And MM yet again! Gotta wonder if any other producer will touch a Williams expansion ever again? I hope not!

They might have workshopped it on the scoring stage, when JJ decided to switch the shots around. The final seconds of Jedi Steps always sounded a little unrefined to me, until I got used to it. I found it a jarring transition into the End Credits on my first viewing.

Film is apparently 40% live-action, 60% mocap. Didn't expect that at all, figured the film would be entirely live-action with digital enhancements for the OASIS scenes, but apparently the actors are mocap animations during OASIS segments (ie. Avatar). http://collider.com/ready-player-one-movie-oasis-motion-capture/#parzival Surprisingly WETA don't seem to have any involvement in RPO, despite doing the mocap for Tintin & BFG; the main VFX house is ILM. Can't see Williams scoring this until very late in 2017. Wouldn't surprise me if he wrote KOEM before even starting RPO.