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About oierem

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  1. "Doctor Jones: once again we see that there is nothing you can possess that I cannot take away. And you thought I'd given up" "Too bad the Hovitos don't know you the way I do, Belloq". That's how you introduce a new character who has a previous relationship.
  2. JKR not allowing Williams release the Children's Suite, or work on DH sounds messed up. But so does Williams vetoing cues from R1. But of course, real life is complicated and real people are complicated (and we don't really "know" John Williams, or JKR, or any other famous celebrity). Really interesting "behind-the-scenes" look, anyway.
  3. Really interesting info, @Jay, but I do have to ask if you vouch for the credibility of that deleted account. I'm not denying its credibility, I just want to know if its a legit source of information.
  4. That's why the theme is mostly heard when Luke watches Leia's hologram, not when he shares scenes with the actual Leia.
  5. One questions about Last Crusade.... in the film, the beginning of "Meeting Hitler" (rather, the first section of the cue that isn't dialed out) sounds.... bad. You can hear the music twice at the same time, and they're not even in sync! Suddenly, it sounds good once the blimp appear on screen. Why is it that? And why hasn't it been corrected?
  6. That's definitely not accurate. There is far less music in Star Wars than in Empire.
  7. I don't know about the conductor score, but the whole score was recorded between March 8-21 2004 in Abbey Road Studios, so no, Buckbeak's flight wasn't a later addition, as far as I know.
  8. Would be great if the film concluded with a flashforward of the young protagonist becoming a filmmaker and meeting a certain famous composer for the first time...
  9. 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.
  10. 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.
  11. 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.
  12. 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
  13. 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.
  14. 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.
  15. 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
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