mstrox

In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie.  The cue for the rebel briefing is not on the album.
 
In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue.
 
In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase.  The cue for when they leave Venice for Austria isn't on the album.
 
In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together.  The actual cue for her being rescued from the glass isn't on the album.
 
In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home.  Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it).
 
In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track.
 
In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track.
 
In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead).  The actual cue for Roy killing Ogilvy isn't on the album.
 
In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie.  Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album.  (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).

My mantra while writing it out was "make Daddy Jay proud"

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:
 
 
 
 

Hell yeah, brother!  This is the best possible thing they could do for a Joker sequel, and I’m not joking.

There is another not unlikely scenario. Your kid likes Star Wars, but only the new Disney stuff and calling the OT boring and old fashioned.
 

Russian Doll ruled so I’m looking forward to the showrunner’s take on Star Wars. 

good. not everything needs multiple seasons to tell its story.

Oh no! People on the internet are cranky about Star Wars!

They might be better than *most* of the live action shows, but none of them is even close to as good as Andor.
 
EDIT after first angry reaction: Hey, if you’ve watched through the prison arc on Andor and think the animated shows are better written, better acted, better told stories… I guess we’ll just have to agree to disagree.
 
Yavar

At the end of the month, Zendaya will fulfill the prophecy
 

WAR HORSE

‘Joker 2’ Gets R Rating for ‘Strong Violence’ and ‘Brief Full Nudity’
 
Brief full nudity? So will we see the Joker's boner? 
 

A filmmaker can leave things open to interpretation or not by choice. In this case, I don’t think an argument is there that anything in Barbie is subtext.  It’s a movie for tweens and it wears its morals on its sleeve, often even telling explicitly instead of showing.  The only variable is the sociopolitical baggage - or the chip on their shoulder - that each viewer brings in .

I had never bothered to pick up Godzilla, so I just ordered from BSX.  I’ll be the lab rat to see if those tracks are really on there.  You’ll find out in a week or twelve, depending on when BSX gets it to me.

I always prefer whatever works best musically.  With most scores I own, I don’t have an intimate knowledge of the movie and probably have never seen it at all.  If a film version is full of hacky edits or extraneous loops, give me an album version every time.

I always prefer whatever works best musically.  With most scores I own, I don’t have an intimate knowledge of the movie and probably have never seen it at all.  If a film version is full of hacky edits or extraneous loops, give me an album version every time.

A filmmaker can leave things open to interpretation or not by choice. In this case, I don’t think an argument is there that anything in Barbie is subtext.  It’s a movie for tweens and it wears its morals on its sleeve, often even telling explicitly instead of showing.  The only variable is the sociopolitical baggage - or the chip on their shoulder - that each viewer brings in .

I can only talk about what I’ve seen @HunterTech and @Stark talk about on a Discord server, but I believe this is what’s up:
 
one has the BSX release (purchased 2/2021) that HAS those two tracks on it, despite what the back cover said.
 
one has the BSX release (date purchased??) that DOES NOT have those tracks on it, matching the back cover.
 
Now the website has been updated to mention those two tracks, despite the fact that the back cover appears unchanged.  This would be the first time that those two tracks have an “official” title, hence the reference to somebody making up titles for them in 2021.

I understand what you’re saying, Ed, but I think the read is all wrong - the movie never posits that women are perfect, and is all about the expectation or facade of feminine perfection being eroded  - the world is a much less perfect place than it seemed at the beginning, and the Barbies and real life characters reconcile the frustrations of that and learn to cope on their own terms.  
 
As for Kens, the movie puts on a very broad display of toxic traits, the kind of thing you would typically see in any movie that has a Jerk Boyfriend or something like that - and says that those are wrong.  It’s the Kens play-acting the bad habits they picked up from the real world in a comical way.  It doesn’t say that all masculinity was wrong.  If pop megastar Shakira is saying that the buffoonish mistreatment of the Barbies is the ideal of being masculine, there’s no hope for her and I hope she can find solace in her millions of dollars.

I had never bothered to pick up Godzilla, so I just ordered from BSX.  I’ll be the lab rat to see if those tracks are really on there.  You’ll find out in a week or twelve, depending on when BSX gets it to me.

When he ripped it in 2021, the titles weren’t on BSX’s website.  The titles he has are slightly different.

She watched a different movie with her kids than I watched with my kid, I guess.  Ken’s character was a stereotypical lout for the third act as he emulated what he saw in the “real world,” but he had a full arc, broke free and ended at a place of freedom to do pretty much anything he wanted (except hook up with Barbie).

https://www.facebook.com/share/p/HLwnigqpi7SG9k3S/?mibextid=WaXdOe
 

I did!