Arpy

I'm repeating myself here, but for that very reason the film was far more immersive for me. Instead of a ton of grand vistas from some third party's vantage point, you see more or less only what the characters see: views from their windows.

Ah the classic taking it personally accusation.
No, I'm not. Spare me the armchair diagnosis, guys.
But as I enjoyed it I'm inclined to look hardly at people who didn't to understand their reasons. In some cases I have been able to, and in others I haven't. And it has nothing to do with having read a script or anything. It has to do with imagination and common sense.
What's not healthy is the eagerness with which some of you jump on me over this. It's genuinely disturbing. Maybe it's that I tend to be confrontational when I don't see where someone is coming from. But it's not my fault if you reply in kind.

Joey the launch tower put one side of the rocket at risk. Essentially the same as launching it against a wall. That's why "clearing the tower" was always such a big deal.
The film doesn't ask you to interpret much, no, but Cooper's speculation isn't necessarily true. There's no reason to assume it isn't. It suggests that there's this sort of recursive intervention happening: "they" are helping Cooper to help Murph help her species, and who's to say someone isn't helping "them" even further up?
And since this is all happening outside of time, it avoids any pesky loop paradoxes.

There's nothing remotely mushy or contrived about it, but of course that's wildly subjective. So why even comment on it as if it's some indisputable "flaw"?
And this notion that things are overly spelled out is one I don't agree with at all. I can see a film like Inception and notice some very gratuitous exposition. But here? No... it just seems like people were looking for it, and so they found it.
It's this allergy to "plot" that seems so rampant now that confounds me. Is it the successor to the plague that was aversion to unabashed sentimentality? I enjoy a heavily visual, impressionistic film with little dialogue as much as anyone, probably more. But I don't count it as a bad thing if a film takes another path.

Been thinking about the complaints regarding exposition. I honestly didn't feel at any point that sense of "oh, so-and-so is explaining something to me now." There were none of those obvious Inception moments of plot dumps. Everything that could qualify as exposition was justified as conversation between characters, with none of those particularly glaring instances of a character asking a question that they should undeniably know the answer to, just for the audience's benefit. Hell, if there were any less talking, you'd have people whining and saying things like "I go to the movies to be entertained, not to think!"
And about the visuals... while it would have been nice to have swaths of lush space vistas, I can appreciate the choice to keep things more claustrophobic. For the most part, we see what the characters see: glimpses out the windows of their ship. When we do get a "big" shot, it's appropriately restrained, like the staggeringly small Endurance set against an incomplete view of Saturn and its rings. Those few moments, the traversing of the wormhole, and the design of the singularity/tesseract leave me fully satisfied visually.
No, no. The only real thing I can gripe about here is a wish for three scenes to have unfolded more deliberately. It's likely that I'll find even that a moot point for myself on repeat viewings. Films pass by so quickly the first time.

He is correct. Figures for live viewing no longer tell the whole picture.

That article mentions something I'd read before in an interview with the Moff about how at least once a season there's a 'Doctor Who's ratings are down' story ... he said that the overnight ratings don't factor in people who have recorded Who to watch at another time, or those who catch it on the iPlayer. When those viewers are added on, it can amount to another couple of million.

Yeah, I think you're right. Although I wouldn't be surprised if it started with the Force theme first.
I expect it to start somewhat similar to this:

unreleased forever, tech guys destroy the recordings is more realistic

a completely new, kick ass version of the main titles

I love Banning Back Home! He surely showed folks like Dave Grusin how it should be done. Why can't Williams write a whole CD like that?!

There is another.

Yes. the ending of ROTK is the moment when the film ends. I think they even have a helpful The End text for people.
Yet still they remain puzzled....
Sam and Frodo surrounded by lava...not a end, but a transition.
Camera pull back from Minas Tirith...not a end, but a transition.
Fade to white of the ship disappearing the the horizon not a end, but a transition.
Samwise closing the door of Bag End....The End.

ROTK only has one ending.

1957.

Coruscant is in Jedi for a about 5 seconds... you only see Alderaan from in IV and it makes sense to see it in III since Leia is dropped off there.... Kashyyyk (3 "y"s) is never even mentioned on screen.
You also forgot Mygeeto, Saleucami, Cato Neimoidia, Polis Masa, and Felucia, from the Prequels.

To chime back in here, I do not think there is anything necessarily wrong with listening to a film score without ever seeing the film. Film music is just as much an art form as the cinema, in my opinion. For example, John Williams' score from "Star Wars" can stand on its own without the Lucas film, but the opposite is not true. I remember an episode of "Evening at Pops" on PBS in 2003 when John Williams was giving the audience at Symphony Hall a very basic primer in the mechanics of film scoring. A clip was shown from the young Indiana Jones train sequence that opens "Indiana Jones and the Last Crusade" with sound effects and dialogue but without the music. It was so bad. There is a similar clip floating around using the last scene from "Star Wars." Although I have seen most of the films for which John Williams has composed the music the same is not true for other composers in my iTunes library. For some reason I listen to many James Newton Howard scores that were written for movies that do not interest me at all, such as "Dinosaur" "Vertical Limit" and "Peter Pan." I have actually owned Vertical Limit on DVD for about ten years but have not gotten around to watching it, LOL. I am not suggesting, however, that watching films is not important.

You do not contact John Williams. John Williams contacts you.

Check it out!

www.mellowdramarecords.com

-Erik-

The Ultimate version has all the music heard in the film itself, but most of the music is exactly as presented in the film, meaning it has edits (some quite heinous) and music placed where Williams never intended it to be. The album claimed to have every note John Williams composed for the film, but that is a lie. It is basically an isolated score.
You're better off with fan reconstructions of the (I guess?) complete score, but owning the official releases so you don't feel like a total criminal.

I'm still trying to imagine the conversation:
Producer A: Should we produce expanded releases of AOTC and ROTS?
Producer B: Well, they're sure to make lots of money.
Producer C: And with the experience we now have it's not much work.
Producer D: Hey guys, don't you remember? The Star Wars fans are ungrateful assholes.
Producer A: True. I still cry myself to sleep when I think of the comments they made about our great release.
Producer B: Yeah, they don't deserve expanded releases.
Producer C: Right. Screw the money.
Producer D: Right.

I can understand both fractions of people, who enjoy the original release and people, who enjoy the UE.
I am obsessed with the UE because: After listening the OST for the first time, I ranked the score from good to very good but tends to very good. After I listened to the UE, I realized this score is a real masterpiece. Although the UE has edits, loops and maybe the battle on disc 2 leads some listener to a "mid catastrophe", I can listen to it without having problems with this (If you think about it, the complete "Battle of Endor" has also a bit problem switching one scene to another). You can hear the power and giatism of this work. It should be mentioned that this is not exactly how it is in the movie. The tracks were merged together, so you get a complete whole. In the movie, some tracks were segued and combined inlogical. I don't know why you all ennoyed about the album version of "Augie's Municipal Band". The film version is looped and edited. So I am happy you get the unedited version.
The OST left out much of interesting and astonishing music. And the OST has also redundant passages. The scond half of "The Arrival at Naboo" at track 1 is heard exactly on track 13 at 1:54, which really ennoys me. "Duel of the Fates" and "Anakin's Theme" is exactly sequenced on the end credits. This could maybe interpretated as kind of potpourri or somewhat a medley. But pretty boring if you ask me. Listen to the same themes at the end without alterations. That's a big advantage for the UE. "Duel of the Fates" on the UE is nipped and tucked, so you only have segements of this, but you can listen to it with full blown arragement at the end. "Anakin's Theme" is unique on the end credits. No redudance.
Of course, a "real" complete score is much better than the UE, don't get me wrong. But there isn't a complete score offically, the UE is the essential recording for me to capture this brilliant work.
Btw, I don't think Sony wants to blame us.