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That's true, but he could find a way around that limitation, if he really wanted. I mean, Williams works with orchestrators... who presumably know how to use computers. They could create the demos, while Williams continues working wih pencil and paper.

This mentality is really unique.. and fascinating, I have to say. On the other hand, it could be said that obsessing about 5-second inserts being unreleased, or about film takes being slightly different is also unique and fascinating, and here we are lol.

One example is at 2:55-3:05 of the opening track of Empire ("Main Title/The Ice Planet of Hoth" in the RCA release): the flute/piano/oboe descening line, the instruments are never together, each going at a different speed.

I mean, if you forget about the OST albums and just go by the films, the end credits of both TPM and AOTC feel like perfectly earned developments of the main themes. Just like the Raiders end credits feature an original full rendition of the Raider's theme (once again, if you forget about the OST album track). Or the "Window to the Past" segment of the Harry Potter 3 End Credits, which many people criticised for considering a copy&paste job. My understanding is that, most of the times, concert suites are composed at the very end of the process, and are based on the e

The "Duel of the Fates" segment of the TPM End Credits is not a copy&paste of the concert version. It's the other way around. Williams composed a "end credits" version of the duel theme used in the score. Then he edited it and presented it as its own track on the OST.

In other words: both Duel of the Fates and Throne Room were indeed recorded as 7m3/end credits. Anakin's Theme was recorded as a concert piece (likely for the album). It is a rather subdued piece, not like most of the end credit pieces, which are more energetic.

This is the logical assumption. After all, the end credits are basically two concer versions pasted one after the other. They probably just recorded the other piece just to have more material (recorded with the same quality). Williams likes to reprise old cues without (necessarily) caring much about thematic consistency. As we know now, the orginal end credits for Harry Potter 3 included part of the concert version of the "Hedwig's/Nimbus 2000 theme", featuring a theme that is barely present in the film itself. The album version of the end credits for SW III feature the Throne

The prequels win, without any doubt. The Hobbit films are more similar to the sequel trilogy of SW, in my opinion: they're fun, harmless films, occasionally interesting and with some good bits here and there, but ultimately flawed at the core and (most importantly) without any reason to exist. Both SW and TLOTR work better if you ignore the ST and the Hobbit.

It's clearly the other way around. Is a section of the underscore that is used as a concert piece (same as the Jurassic Park theme, for example).

The thing is, the concert suite is just a section of the actual score with an added opening and ending. Therefore, it's not constructed as a concert piece. I think the overall progression of the theme from its first statement (when the duel starts - with a lot of energy and no choir yet) to the last (when the duel ends - much more dramatic, less energetic) is quite good. Each section of the duel develops the theme further, going from a very energetic action piece to a more dramatic lamentation piece.

Where there any circumstances in HA2 that limited the abiliy of Williams to work in the movie? With CoS, we know that he wasn't able to devote himself fully to the score, which makes the reprising music somewhat more forgiveable.

The original poster seemed to be asking our favourite FILM edits of music (=edits made by the filmmakers to fit the final cut of the film), not the album edits created by Williams to present a better listening experience. But everyone seems to be talking about the album edits instead.

Can't provide the timecodes, but I can tell you the statements that are actually on the film. There are very few, actually: -Bounty for a wookie (Boushh negotiating): the first tuba statement is unused, but the second one (on woodwinds) is used. That's actually the only "big" appearence of the theme. -"Han Solo Returns" was not used, but was replaced with an insert, which does contain a more sinister version of the theme (low woodwinds) -"Luke Confronts Jabba" has a really short statement of the theme when Jabba is awakened. That's in the film as well. And tha

If I'm not mistaken the insert is meant to replace the first section of the "wizard band" portion of the cue (not the way it's presented in the LLL soundtrack). In the film Hermione's feather is used exactly where the cue was meant to begin. Then the original cue starts later than it should and goes into more tracked music. I'm sure Jason is able to explain it much better than I did.

But many of them are unused in the actual film. Only a few statements survive.