Trope

Yeah, there was something different about the animation in this episode and that was really showcased in their fight. Pabu without a sunny sky was a big red herring for me as I thought this was the one where the Empire gets there... sounds like I was an episode too early.
 
I have no clue how this show is gonna end, but this episode made me contemplate the possibility of Omega parting ways with the Batch (sure, if the Batch even survives). Will Omega be able to use the Force (in a traditional way, as I'm sure she already uses it unknowingly) by the end of the series? Lots of questions and a lot to happen yet, this was basically a calm before the storm.

No more Newman indeed.
 
 

Decided to start a thread to list all of these since I've started documenting them. There are a surprising number of these available to the public.
 
From ANH, everyone knows about takes 16-20 of 1m2 Star Wars on the 1997 set, and the alternate takes throughout the 1993 album are pretty well known as well (though not necessarily documented). But I was surprised to find that the 1997 and 2018 albums actually have alternate takes too! Here's a few that I've found already:
 
1M3 The War has an alternate take on the 1993 set from 2:15-2:58, the 1997/2018 sets have the correct one.
 
2M3 The Little People has an alternate take in a couple spots. The 1993 and 1997 sets both have the wrong take from 3:12-3:16, where the 2018 has the right one. However, the 1993 and 2018 sets have the wrong take for the ending Imperial statement, where the 1997 set has the correct one.
 
2M5 More Little People has an alternate mix for 1:25-end on the 1993 and 1997 sets, where the 2018 has the correct mix. I thought this was a different take originally but @Manakin Skywalker noticed that the 1997 and 2018 versions do indeed phase, so it must be a different mix and not a different take.

I'll keep updating this thread as I find more. Feel free to include ones from other Star Wars scores, they don't have to just be ANH

I'm afraid I don't understand what you are saying.
 
The OST album track The Neverfeast contains the cue Cornucopia followed by the cue Cutting The Coconut.
 
The LLL track The Neverfeast (Film Version) contains the cue Cornucopia with an Insert inserted, followed by the cue Cutting The Coconut.
 
Does that clear things up?

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

Not to me! The OST version is much choppier.
 
 
What I find kinda weird is that this is a huge, complex score with lots of themes, I've only watched the movie 3 times and heard the whole thing 4-6 times, all of those listens being in the last 4 months, and I already feel like I know it very well and largely grasp the structure. JW made it easily graspable despite its scale!

I can't get enough of this release. There's so much to digest and such a definitive presentation. Hook has jumped right to near the top of my all time favourite Williams scores.

I agree. Except that Pick 'em Up is just no main program material.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

I had a JW dream last night. I was tasked, together with a friend, to return something (I can't remember what) to JW's house. When we got there in the morning, he was still asleep, so I decided to browse through his CD collection. I found an album with something by Mendelssohn and also a suite from The Reivers on it and decided to borrow it. My friend had to leave, but I was still there when Williams got up at 9:30 and had breakfast. I think he offered me some. We talked a bit (I forget about what) and he told me come back next day. I was going to next morning, but something (can't remember) came up and I didn't get around to it until the afternoon. JW was still there, but I mostly talked a bit with my uncle, who was also living there (at that point, JW's house had a vague resemblance to my grandparents').
 
I think the dream was a bit more substantial, but that's all I could remember when I wrote it down this morning.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.

First: Schindler’s List
Last: Harry Potter
 
At least according to some fine folks over at the Hans Zimmer forum. Apparently JW’s biggest problem is his music descends into aimless orchestral noise far too often…

Just listening to Desplat's "Deathly Hallows Pt. 1". And when you got over the fact, that this is not on a level with the Williams HP scores and that the score has hardly something that you could call "themes" like there are so many in Williams' HP scores, then this is really a good moody listen. A lot of ostinato, a lot of drama and emotion. 
I am already happy listening to a Desplat score, that I can enjoy musically.

I think that was the idea, yes. TITANIC is a masterful score for a masterful film. I know it's "hip" to dislike such a massive hit, but if that's the case, I embrace my "un-hipness" with much joy.

So it’s been a few decades…
 

 
…And if you remove some of the context, or baggage if you prefer, this is a fucking beautiful masterpiece all its own. 
 
I’ve not seen the film nor listened to the score in ages.  But I gave the film presentation of the 4CD set a listen.  At first, I wasn’t feeling it with the synth and the contemporary sound of the Gaelic stuff for the port sequences.  So I told myself to forget about Enya, and listen as though she never existed.   But then the score shifts into Rose territory, and I told myself to forget about the Celine Dion song which eclipsed everything during the original Titanic mania.  Then, with the action pieces, I felt more comfortable in familiar Horner territory. 
 
And then…
 
It was An Ocean of Memories which crystallized everything.  Goodness, that was beautiful.  And it gave the Port Themes a proper orchestral presence. And that’s when the synth choices earlier in the score made sense to me.  The flashback… it’s not real. It’s the past. The score’s synthetic nature is consistent with the digital technology necessary to recreate the Titanic in her glory.  What’s real is the memory. And the authenticity of orchestration with “real” instruments is, like the memory, eternal and more lasting, more tangible than the digital recreation.   An Ocean of Memories is SO… EARNED.  I teared up. 
 
I loved this listening with fresh perspective, and I can’t wait to dive into the bonus material. 

First masterpiece: Daddy-O
 
Last masterpiece: Towering Inferno
 
Last good score: Midway
 
After Towering Inferno, John Williams changed for the worse. He was never the same after that, in my opinion. It seems that once he reached his mid-40’s and entered middle age, he lost the energy and vigor of his youth that had made his music so special.

This thread is on the very precipice of going off the rails... Its future hangs in the balance.

If you're talking about The Cloud, V'Ger Flyover, and The Forcefield, that's my favourite part of the score, along with Spock Walk - maybe even before The Enterprise.

What I would give to be in that room now...
 

@JTN How do you feel about historians who study the personal lives of classical composers (or any other artist) in immense detail, researching their private letters/correspondences, analysing their draft manuscripts, and interviewing surviving collaborators/family members/friends, all for the sake of gaining a greater understanding of the artist as a person, and thus being able to appreciate their art/music on a deeper level?
 

Also, I don’t know anything about your personal relationship with Maurizio, but shame on you for suggesting that he is guilty of neglecting his family, friends and personal responsibilities IF your above statements are based purely on unsubstantiated assumptions without a shred of real evidence to back them up.