DrTenma

So unnecessary... But, in any case, Debney is a very good composer capable of mimicking many styles. I'm sure his score will be entertaining.

Thanks @Jay for the analysis on Maul's Call / Parting Ways. Having silence between the tracks in the movie makes the crossfade even more strange...

Indeed. I'm fine with the other long tracks but as many others have remarked those two tracks doesn't fit well together. I don't remember now if in the movie is like that or there's some silence between them.

I was thinking the same thing... I don't know why Powell hyped and even called the track "Super Extra Deluxe End Credits Suite" when it's just a copy-paste of other tracks. I like the re-recording of the fanfare but I was also expecting something like specific new arrangements of the cues or something like that.

Not so sure about that. I think Powell is only answering where was the unreleased music from William's demos. Edit: oh, no, because he's answering also Meet Han. So yes, it seems that the ending was not Williams

I misspoke: is not her role but her acting, which is subpar to say the least. For me is one of the few cases of Coppola miss-casting a young actor/actress.

Yes, the narration is not as clean as in the previous movies maybe because Puzo didn't write a sequel of his novel and he and Coppola wrote the script directly. And also the movie has some over the top moments as the helicopter scene...

The Godfather III is a fine movie, is not a masterpiece as the first two but is not a horrible movie by any means. I'm curious to see this new editing although I'm very sceptical seeing that in the trailer he tries to hide Sofia Coppola. I'm afraid this version is made to please the people complaining about her role (which, yeah, is not great but not the biggest problem in the movie).

Yes, I couldn't recognise many of the voices at the end of TROS although I didn't cared about it... Which is sad taking into account how much I used to like the Star Wars saga. I recall seeing the 2003 show on that year and I barely recall anything apart from being 5 minutes episodes with no interest, so that's why I didn't even tried to see it again. Funny that it was precisely when I left the show hahaha I'll keep it in mind.

I'm re-starting to watch The Clone Wars. In 2008 I saw the first 2 seasons and stopped because I found it very dull. I know there're many fans and, as always, "the series gets better from Season X onwards" (not sure which is X for this one hahahaha). I'm seeing just for completionism...

The start of the alternate makes me like it much more than the original.

For me is a close tide between The Force Awakens and War Horse, but I voted for the former. I love all these scores although not so much The BFG and The Post (I think they have great moments but overall I don't enjoy them as much).

Agree, McCreary could be very interesting and Trapanese depends... I hope Disney release an album with the music from Galaxy Edge and that someone uses Williams themes. For me is a pity how disconnected everything might be.

Gladiator by far. Is probably one of his more entertaining scores and (even if it's uncredited) the use of Holst's Mars is very appropriate. I also like The Last Samurai but King Arthur is a weak score IMHO.

60s Williams is not so great for me, but I went for The Reivers which I think is fine. 70s: Dracula, although I was considering also Jane Eyre or family Plot 80s: The Witches of Eastwick is too good. 90s: Far and Away, again because I think is very, very good but other contenders of that decade are also excellent. 00s: Memoirs of a Geisha is one of my all-time favourite Williams scores.

I love TFA, but the original SW has too much value and for me doesn't feel right to say that is worst than other score (apart from ESB). SO I would say SW > TFA > TPM

hahahaha That's the best version of that movie and score TFTA

I feel TROS has a huge amount of great music that we don't know of, so I voted for that. If not, maybe I'll go with TFTA for the same reason and after that ROTJ.

Luckily this time I got my disc without delays from the posts I'm enjoying right now, I didn't exhaustively checked the cd's to see if they were perfect, they seemed but I'll also try to rip them to see if everything went fine.

Thanks! So far I think is a nice editing of TROS. I'll give it a full listen. About the Trevorrow script I feel ambivalent, I think is better than we officially got, but is also far weaker than what I expected as the end of the trilogy.

I also bought it yesterday... I was a little bit afraid since my last experiences with shipping CDs from US have been complicated at least. But, anyway, I hope it doesn't take more that 3 months hahahaha

Well, in that case I don't think we'll see it expanded this year. In 5 or so, yes, definitely. But, obviously, I'm just speculating. The album is one of my Williams' favourites, it's been a lot since I saw the movie so I'm not familiar on how good is the unreleased material but, as the commercial CD, I'm quite happy about it.

Yes, I recall that is kind of a secure data storage of the crime to be. A way to avoid that someone fake some information of a made up crime. And yes, also it looks cool.

You're right! For some reason I forgot that there was some music not present in the film. And yes, no objections to that! Makes a lot of sense, probably we got the isolated track of another version of the movie. In was a weird move...

I also think that TPM UE is not totally awful (being totally the important word, I'd always prefer composer edits than film versions), but very disappointing as a commercial album. When I bought it in ¿2000? I was expecting something as the RCA edition for the OT but sadly it wasn't. BTW what still bothers me a lot in the UE is that Augie's Band and the End Credits are not the film version... I'm sure this has been debated along the forums butI still think is very weird to get film version edits of everything but the ending.