Tallguy

I think I mentioned that I'm performing a little social experiment. One of my daughter's friends wanted to see what this Star Wars thing was all about.
 
So I started her with Rebels.
 
Unlike Star Wars where there was no expectation that you knew who these characters are and unlike the prequels where there kind of is, she's getting an "Ezra's eyes" view of the Star Wars universe. It's kind of fun to watch.
 
And she has said "This music is just next level." Ha! Just you wait.
 
Oh, she already knows the whole Darth Vader twist so I'm not worried about this being her intro to that.

Yeah, they might just dial it out!

He's sooooooo good on Shrinking!

(Kidding.)

That's TWO of us!

Too soon.
 

I have to say, I like Giacchino's Rogue One score. The Hope theme sounds a little like the instrumental of a Bond song which does not really give a Star Wars vibe. But still it's one of the best non-Williams SW scores to me.

You say one word about SPY GAME...

This edit was very hard to do since the section with Burke and the Pachycephalosaurus (I had to Google for the correct spelling) has motorcyles, roars, and guys yelling all on top while the music sinks pretty low. Whats interesting is this section which cuts in Ripples is about 30ish seconds and has a bunch of tiny edits where some are little scraps are barely a second long to 2 seconds, which makes you wonder how Ken Wannberg did it since it was probably harder for him since he visually couldn't see the waveforms (I don't think) like I can. The ironic thing is is immediately after this section they track in Ludlow's End which more of it is heard here than where it was supposed to be heard
 
 

Unscored, because Brother And Sister plays as written

Clearly green is easier than we've been lead to belive. 

Was it? I only knew it didn't have the best reputation, but whether from critics or the general audience or both I don't know. I just saw it today and liked it. Worth watching not just for Colman and Deakins.

LLl did the last edition, sure, but that doesn't mean they'd have to do the next one.  it's WB, so it could be by any label.  Except, WB hasn't licensed any scores to anyone in 5 years now, so right now, it's no label

I've decided I have a new "rule": If I can create the film sequence from what it given to me on the CD then it's fine. But if the film mix left out an element that was in the CD mix or there were drums added in the film or some other thing that makes it impossible then at least give me a separate track. (I LOVE you Star Trek: The Motion Picture La-La Land second edition!)
 
(I don't know why this makes me think of this: But I have yet to find the version of the song that Sinclair and Jenny dance to in The Rocketeer.)

Excellent post, and yes, many hopeful future expansions bring the possibility of unearthed alternates, material we didn't know was missing, and generally a more definitive presentation for a big score. My now current grail has little in the way of editorial stuff (if any) thankfully.
 
But I definitely get a sense that some (not all) producers think we shouldn't be listening to film versions if they weren't properly written and recorded as an actual cue. Certainly, some of the responses in the Moonraker thread at FSM suggest that if someone wants to hear the looped film edit, they're 'welcome to create it themselves', but the undertone is pretty obvious - we think you should ignore the music you've heard for decades and get used to the actual cue instead because that's what the composer wanted.
 
Hence I often ask one question: is there any evidence in the film that a cue was edited/tracked/looped? If not, then I consider it just as valid an alternate as what the composer recorded. That doesn't mean include editorials on an expansion, but acknowledge the validity of wanting to hear it.
 
The aforementioned cue from The Terminal is a perfect example of this. When an expansion happens, one of the first curative things I will do, without apology, is create an edit of the film version - hopefully using a version of Jazz Autographs without the 'jazz'.

Most producers of archival releases first and foremost want to present a version of the film score as written and recorded for the composer for the final film before any post production tinkering. Think of it as a sort of "Composer's Cut" of the film. Final film versions of cues usually take precedence in the main program, but sometimes the original version is preferred because of purely musical reasons, i.e. it's a better piece, or more varied, or less the product of a compromise between the composer and the director, etc. In the end, you should listen to it as music, not as an isolated score track.
 
Of course the niche of film score fans is a very vocal one and many of them become very obsessed when it comes to minutiae like film edits, patch inserts, warts and all, especially when we get to popular titles. It's virtually impossible to please everyone. It seems to me that producers tend to put pretty much everything they can on these releases so that everyone is happy, but sometimes decisions must be made and something needs to go out because of disc space, bad sound or other technical issues. And surely they know that people like you are passionate enough to create custom playlists or even personal edits. I don't think there is more a film score fan can ask for.

What's next, air traffic controllers?

I like the repeated section of the Raiders A theme in TOD when Indy repeatedly punches the thugee on the conveyor belt.

Stu!!!!😄

SUPERMAN! Helicopter rescue. It's one of the few film edits I can think of where I prefer the edit to the full cue.
 
(Ironically I do NOT have a copy of this in my music collection. I should fix that.)
 
 

This is a great thread idea.  I will have to think of any from some of my favorite films.  
 
I wonder if there are any good prequel edits.  I think the Arena music used in ROTS with Anakin leading the Troops marching into the temple in sync with the tempo of the music is very effective, and bonus points for using music that was dialed out of AOTC. 
 
Regarding Hyperspace: I was eight years old when The Empire Strikes Back came out.  When the Snowspeeder banks up and over the Hoth mountains, you could hear the entire audience gasp and audibly go “whoooaahh” as if we were on a roller coaster.  Lemme tell you, it was gripping.  What an adrenaline rush, perfectly propelled by that rapid ostinato.  It was the right choice. 
 
The Hyperspace music chronologically appears first for that sequence. For a long time, that’s what I associated it with, even though it repeats again for its intended sequence in the final act.  Even the “Story of” album with dialogue ( @Tallguy’s avatar) used the Hyperspace cue for the Hoth rescue.   And as it was the very first appearance of the Snowspeeders in the film, I associated it with Snowspeeders more than the Millennium Falcon for which it was written.  I am certain that when I unboxed my Kenner Snowspeeder toy for Christmas of 1980, I was running around the house singing “Hyperspace”

You know, there are days you want to track down a writer and beat them with a trout.
 
https://www.inverse.com/entertainment/john-williams-et-yoda-theme-star-wars

 
 
or
 
 
If you're enough of a fan to be "discussing" the Yoda appearance in E.T. you damn well will have noticed the music.
 
 
Even Spielberg knew people were going to notice it.
 
Mind you, this moment in E.T. set me up for expecting a Star Wars theme or two to appear in Space Camp.

I'm listening to a political podcast and at the end they recommend stuff that they like that isn't politics. 1) They recommend Music by John Williams. 2) They tell this AMAZING story that they hadn't heard before where Williams hears Schindler's List for the first time...
 
"But they're all dead!"

Good heavens yes. And I LOVE that part! But... Often?
 
 
Is this what we're arguing about? There are definitely large parts of the suite that are not the main Princess theme and are not heard in the film or even the credits. This should be easy to agree upon, yes? I think I can say the same about March of the Villains from Superman. (Not being in Superman. Obviously it's not in Star Wars either.)
 
 
Which is a very different arrangement than this suite.

Good heavens yes. And I LOVE that part! But... Often?
 
 
Is this what we're arguing about? There are definitely large parts of the suite that are not the main Princess theme and are not heard in the film or even the credits. This should be easy to agree upon, yes? I think I can say the same about March of the Villains from Superman. (Not being in Superman. Obviously it's not in Star Wars either.)
 
 
Which is a very different arrangement than this suite.

I remember him also for his role in the SCTV-derived 'Strange Brew,' featuring Canada's own Bob and Doug McKenzie.
 
"Good day, eh!"