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About oierem

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  1. I though "Suspicion" wasn't used in the film? In any case, it is presented chronologically if we look at the finished film. The only non-chronological cue would be "Collage", which would have to come before "Elevator Confrontation", even though it wasn't used in the film.
  2. According to that, the Binary Sunset film version should not be in the main program of the SW set.
  3. I'm sure all this info that comes from a twitter account is absolutely unbiased. Sure. Besides, most of the info isn't new: they've talked about the horrible pilot (it couldn't have been so horrible since a significant part of it was still retained for the actual first episode, which I hear it was considered rather good), the first season's episodes being too short (and learning to create new scenes that weren't on the books from that experience), not having previous experience, actors influencing their characters (doesn't this happen in virtually any series?) and so forth many times before. But yeah, let's trust a random twitter user and create an article with a click-baiting headline without contrasting with any other sources.
  4. There's no pause in the original cue.
  5. I have a question about the first score. In the Invisibility Cloak/Library scene is significantly longer than the whole cue: the music matches the scene perfectly until the moment when Harry sees Snape and Quirrell. In the movie, the music is looped and tracked for this moment, then continues with the original cue. But it doesn't seem that the edit is replacing any section of the cue. In other words, it seems that Williams scored a version of the scene without the Quirrell/Snape conversation. Am I correct?
  6. This track also includes another track in the middle (6M1A The Man in the Window).
  7. As I understand it, Lucas didn't work on Brackett's draft, but did his draft (second draft) starting from scratch from his story treatment (and discarding Brackett's). I'm sure the truth is probably somewhere in the middle. Most probably, "something" (a line here and there, some of her "sentiment and style"...) was transferred to Lucas' draft. BUT we know for sure that was Lucas did wasn't just a rework on her draft. Anyway, we will probably never be sure about the extent of the influence of the first draft on the second. About the credits, Lucas has said that he gave the credit to Brackett out of respect for her. But Lucas clearly deserved a credit as a co-writer, as he did write his own draft, which was then handed to Kasdan to rework the dialogue.
  8. I haven't read the full draft, but it was literally rejected, meaning that they didn't use it as a basis for the next few drafts (Kasdan never actually read it, and he did end up writing the dialogue!). Brackett's draft is similar to the film because it was based on the story treatment that established the structure of the story, so obviously, it's more or less similar. But nothing of the dialogue survived, as far as I know.
  9. Nope. That's a legend that comes from the interviews Kurtz gave in the late 90s/00s. The truth is that Kurtz was removed from his post for his inability to keep the budget and schedule under control. He resigned months before Empire came out (and before they even started talking about the third episode of the saga). What sources are they? Except from the interviews Kurtz gave more than a decade after the film, there is nothing to support the idea that Kurtz had a hand in the shaping of the story of SW or Empire. Lucas did have help shaping the story of SW (his flimmaker friends, but Kurtz was not part of them) and Empire (although much less than what people think: Brackett's influence is very questionable since her script was rejected, and Kasdan stepped in once the story was set in stone). THe problems arose because the film went massively over schedule and over budget, and it was Kurtz's job to avoid that from happening. It's not a matter of Lucas not wanting to spent time or money (his intention was not to get involved in the shooting, and he gave Kurtz and Kershnner a comfortable schedule and budged), it's a matter of being able to finish the film at all!
  10. Minority Report. I think it's one of Spielberg's best movies (certainly one of the very best of the century). It's an action/adventure movie but also a thriller/film-noir movie, with a thought-provoking and intellectually interesting premise. I've always loved the movie, and I fell in love with the score as well, which is pretty dark and atmospheric, with the exception of the beautiful-yet-sad Sean's theme. War of the Worlds is a tough score for me, and I have to force myself to listen to it all. I liked the movie when it came out, but it wasn't anything special. I don't think I've seen it again. I will though.
  11. We know that he didn't write anything "new", but it's a bit unclear what "new" means. I listed a few cues above (and others have mentioned cues like Cornish Pixies and others as well) that are pretty much lifted from PS but do contain a few seconds of original music (sometimes it's nothing substantial, but sometimes it is), and that's my question. Which cues are "new" (=Williams) and which cues are "not new" (=Ross)? Because Ross DID copy/write some of the cues right? I guess I would just love to have a cue by cue list saying who wrote what.
  12. That's not what I meant. I'm talking about the opening bars of "Introducing Colin", which are a "new" introduction (NOT present in PS) to a cue liften from PS. So, my question is, who composed that small introduction (that was NOT copied from PS) to a cue that is mostly a copy&paste job? Ok, but what about the other examples I listed above? Or rather, I'd like to know which cues did Ross compose/copy? (I know you believe that Ross did literally not compose anything, but the consensus seems to be that Ross adapted (= actually write) cues that were literally taken from PS. The thing is, most of those "copied" cues do have some small amount of "new" material, and I'm not entirely sure about who composed it).
  13. What's exactly "every new cue"? For example, what about "Prologue Book II"? That would be composed by Ross right? (it's nothing but old cues put together... sort of ). The Escape From the Dursleys? It's basically material lifted from PS but the coda is certainly original, as far as I know. Introducing Colins is basically "The Feast Begins" from the first movie, but with a longer intro. Who composed that? The first, second and fourth sections of the Quidditch music (assuming that the third section, Chasing the Snitch, is indeed pure Williams) Of course, the ending of "Reunion of Friends"... And the list goes on and on... For me, certainly, it is not clear at all who composed that kind of cues (cues that are basically copy&paste jobs but which do have small-ish sections of "original" music which acts like a bridge basically.
  14. Having more (and longer) seasons would have no impact whatsoever in the faithfulness to the books. The show deviated from the books because: 1. The books are not done, therefore it is impossible to remain faithful to them (we could talk about remaining faithful to an outline at most). And that is because.... 2. Books 4 and 5 introduce too many secondary storylines and characters that distract from the main characters. That lead to a couple of books with no clear structure and no ending point (and the impossibility of Martin to wrap up the story in any coherent way in just two more books. After season 5/book 5, the show needed 3 more seasons and was criticised for being "rushed", yet there are only two more books and way more characters and storylines to wrap up). 3. The characters (and storylines) from the show had an organic development (for many reasons) that resulted in significant differences. More seasons would only increase the differences from Martin's outline.
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