Jim Ware

Armie Hammer collaboration on the way?

Click bleed is quite common. It's a delicate balance - the clicks need to be loud enough for the orchestra to hear and follow, but not too loud that they can be heard in the room (and subsequently be picked up by the microphones).

No comment on any supposed controversy, but here are the Gordy Haab session dates: Star Wars Battlefront - January 6th, May 4th 2015 and February 22nd, June 3rd 2016. Star Wars Battlefront II - January 30th-31st, May 3rd-4th, June 29th 2017 Star Wars Jedi Fallen Order - March 5th-6th & 26th 2019

Fox/Disney only have distribution rights. It's still a Warner Bros. picture.

The wipes were all redone optically from original negative elements in 1996/7 by Pacific Title.

The recent 4K releases of the Star Wars trilogy (although the work undertaken may have been initiated for the aborted 3D version). In any case, it's a massive undertaking.

Varese used to upload scans of back covers - perhaps that could resume?

Produced, edited and mastered by Mike Matessino.

This was recorded, but it's also very short. It sounds somewhat incongruous next to Eowyn's Dream (which wasn't in the theatrical cut as scored). Incidentally, this sequence was originally intercut with the first Sam and Frodo scenes. There are a few transitional moments recorded for that cut that couldn't easily be incorporated on the CR.

Shore did sketch some thematic outlines for Beorn during the writing of film one. Unfortunately there isn’t a formal ‘theme suite’.

Breaking of the Fellowship was written in April 2001 and revised in August prior to the start of the main recording block. The homogeneous sound (of May It Be and Aniron) is a result of Shore orchestrating Enya's songs and recording with the same ensemble as the score (although Enya's vocals were recorded at her studio in Ireland). Everything exists in the same sound world.

There are only three short cues missing - R4P1 Speakers Corner R9P2 After Hours R10P1 The Tube A couple of minutes at most.

Almost certainly. The production was based in the UK and there would have been tax incentives.

I'm still hoping that they dig the 2001 Cannes showreel out of the archives.

Presumably this is cheaper for Disney, being a London (apart from the Williams bits) recording? A good way to test the market for expanded Star Wars releases without too much financial outlay. I think this tied in with Paramount's desire to have as much Trek music released as possible.