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THE LAST JEDI: ESCAPE - Complete Restored Intended Score


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Cool! Any chance of sending me a PM with the audio track (music only, I mean)?

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Just finished watching..... tremendous work :worship::worship::worship::worship::worship:

 

Watching this, I don't see why Johnson thought he needed to change anything.  Not only is the whole sequence paced wonderfully here, the music is all very right for it throughout.  Well, maybe it wasn't him, maybe it was Disney execs butting their heads in, who knows.

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Thank you so much for sharing. This is phenomenal!

 

This sequence makes wonderful use of the "Resistance" motif. I'm especially pleased to see the time-changing version make an appearance at 05:55; I was so excited to hear it in the OST and gutted when it didn't sound in theaters. 08:29 is another fantastic one that I don't think I've heard anywhere.

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Escape is easily one if the best action music sequences of the ST. I rate it above The Battle of Crait.

 

Certainly nothing from TROS comes close. 

 

Maybe The Falcon sequence from TFA is a close second?

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I'm bummed they didn't keep this, but a bit more bummed that Williams chose to follow the film edit in the OST track. This just flows so much better musically than the final version in the film.

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I love it!!!!!!!! Thank you for this! Such great emotional writing toward the end of the scene.

 

One of Williams' biggest challenges must have been to sustain the tension in the music during the "your mom" jokes.

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7 hours ago, artguy360 said:

Escape is easily one if the best action music sequences of the ST. I rate it above The Battle of Crait.

 

Are people really that big fans of Battle of Crait? It always felt like an action version of Reunion from The Rise of Skywalker. Escape is way better, especially the OST version (compared to the film version).

 

The edit was great, by the way. Added back in that amazing rendition of the Resistance theme. I felt a lot more emotionally involved here and Paige's scenes were a lot more impactful. Just that little more time spent with her makes a difference. Gives it all more breathing room. 

 

Also, I remember hearing about that opening with Finn. Considering how much the movie shook things up from the formula, it's really not a bad way to open the film.

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Brilliant work @crumbs!!! That musical sequence is indeed one of the best in the whole trilogy and this video further illustrates that. Williams really knows how to construct a dramatic arc while constantly expertly weaving in and out of the action thematically as we switch to different sides of it. And most of all he understands the dynamics of musical storytelling meaning that he (even though this aspect might be often dictated by the film, director and other demands) miraculously manages to make the music gradually more complex and louder and not have the score blaring on overdrive levels all the time from start to finish.

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Wow, this was simply incredible. Thank you so much for restoring the original version. :) One question: Do you have the score without sound effects and dialogue?

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This is just the best. Thank you so much Crumbs, for all your work restoring this part of a score that I really love.

 

(And seeing this again, my god how I wished Johnson had done IX as well. But this isn't the right place to discuss that, I know)

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Is there any music that was tracked from the opening battle in The Battle of Crait or vice-versa?

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Vice versa. Part of the music in the opening sequence is tracked in from the Battle of Crait music. 

 

You can see so in the FYC breakdown here

 

The crazy part is they had JW write an insert for the opening that replaced part of the tracked music. I wonder if hat he thought about that request... 

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The score - when presented like this - is absolutely sublime and really ups my estimation of TLJ's music, so thank YOU! And darn directors and their unmusical alterations to their pictures

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On 17/10/2021 at 5:44 PM, BrotherSound said:

This version uses the cue Williams wrote for the original opening, 1M2 Finn Wakes Up, but we don’t yet know if it was ever recorded. The deleted scene doesn’t use it, but there’s a couple deleted TFA scenes that definitely had music recorded, but aren’t presented with it.

 

That is what has confused me about this. I was wondering: what happened to the opening heard on the album and in the film? The pan down to the Resistance ships evacuating; Lieutenant Connix spotting the First Order Star Destroyers coming out of hyperspace? I figured that was missing while everything else is included here. Would it not be more prudent to utilize what was clearly recorded AND used vs. what was not used and may or may not have been recorded? Obviously the revised opening was recorded AND used, since it is both in the film and on the album. Forgive me if I'm a bit confused.

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1 hour ago, JohnnyD said:

Would it not be more prudent to utilize what was clearly recorded AND used vs. what was not used and may or may not have been recorded? Obviously the revised opening was recorded AND used, since it is both in the film and on the album.

I believe you can easily re-insert it properly in the music edit crumbs uploaded.

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2 hours ago, JohnnyD said:

That is what has confused me about this. I was wondering: what happened to the opening heard on the album and in the film? The pan down to the Resistance ships evacuating; Lieutenant Connix spotting the First Order Star Destroyers coming out of hyperspace? I figured that was missing while everything else is included here.

 

The final film's opening scenes with Connix, etc. was reshoot material. Those scenes didn't exist in the first cut JW scored.

 

The revised opening cue (heard in the final film) is 1M2A, which bridges the end of 1M1 to partway through 1M3, meaning the entirety of 1M2 (and the first section of 1M3) went unused.

 

There's debate around whether 1M2 was recorded, but clearly the music for deleted footage covered by 1M3 was recorded (because the rest of that cue is retained in the final cut).

 

2 hours ago, JohnnyD said:

Would it not be more prudent to utilize what was clearly recorded AND used vs. what was not used and may or may not have been recorded?

 

Well, no. That would defeat the entire point of this project showing Williams' original intent and replicating the film's assembly from when he first scored it.

 

Anyone who wants to hear the revised cues/inserts synced to picture can watch the official isolated score, and 1M2A is available clean on the OST.

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I see. Thanks for clarifying. Just out of curiosity, when does each cue start and end?

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7 minutes ago, JohnnyD said:

I see. Thanks for clarifying. Just out of curiosity, when does each cue start and end?

 

On 17/10/2021 at 9:32 PM, Jay said:

You can see so in the FYC breakdown here

 

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good work, crumbs.  makes me want to give TLJ another listen soon.  Haven't listened to it all the way through in a couple years, honestly.

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3 minutes ago, Jay said:

You can see so in the FYC breakdown here


I actually meant to ask when each cue starts and ends in this presentation.

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I know, but you can figure it out based on that list (and the OST list which is linked to in that post)

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I need clarification on another thing. I can’t identify the cue, but one section of music occurs after the next in both the film and on the album, while in this presentation the same section occurs before the next. The time stamp in this presentation for the section I’m referring to is 9:35 to 9:48. This presentation represents the sequence as composed and conducted, right? Why is the album sequence different in this section? Does the album presentation somewhat reflect the final picture, hence a restructuring of the sequence? Forgive me if I’m a little confused and need clarification. 

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Because John Williams has been putting things out of chronological order on his albums for 5 decades to enhance the listening experience

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I knew that, and overall the listening experience is great. In this instance, however, it is a section of an entire cue that is put in different sequential order. I’m just curious. I always thought that was how it was recorded; it certainly sounds that way.

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32 minutes ago, JohnnyD said:


I actually meant to ask when each cue starts and ends in this presentation.

 

I split the MKV file in the top post into chapters, marking where each cue starts and ends.

 

Download the video then play in VLC, you'll be able to see where each cue begins via the chapters. 

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So, the scene that Williams originally scored was 13 minutes long. But then during the editing the filmmakers cut it down to 9-10 minutes (including the opening crawl)?

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In this custom edit, from the start of the Main Title to the end of We Lose Girl Ace runs 13:25

 

In the final film, from the start of the Main Title to the end of the tracked music that replaced the ending of We Lose Girl Ace runs 11:54

 

So the sequence was shortened by about a minute and a half from the version he initially scored

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I didn't think it was possible for the music in this sequence to be even better than it was in the movie. Nice to hear Poe's Theme 3 times during this. That first reprisal is beautiful.

Man, I'd love expanded edition soundtracks for all the Star Wars films. Makes me wonder what else changed with the music editing in this one because it's not as obvious as the Prequels or J.J.'s two films. Least I don't think so.

Are there any more edits? I love this.

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Just now, CourtneyNeedsAW said:

 Nice to hear Poe's Theme 3 times during this. That first reprisal is beautiful.

 

Yea!  My favorite parts of this


The Resistance Theme works great here too

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Apart from the dazzling nature of this breathtaking sequence it's also great to hear the very opening (after the title crawl) as originally intended. To be honest I cannot hear where the mock ups come in and out as the whole reworking is so seamless so fantastic work Crumbs. I've tried to download the music only track into my phone but it's only allowing me to play and not store. Drat! 

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23 minutes ago, stravinsky said:

Apart from the dazzling nature of this breathtaking sequence it's also great to hear the very opening (after the title crawl) as originally intended. To be honest I cannot hear where the mock ups come in and out as the whole reworking is so seamless so fantastic work Crumbs. I've tried to download the music only track into my phone but it's only allowing me to play and not store. Drat! 

 

Thanks for the nice comments @stravinsky :)

 

If you'd like to download the FLAC version of the music-only track, open this link then click the download button top-right:

image.png

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3 hours ago, stravinsky said:

Apart from the dazzling nature of this breathtaking sequence it's also great to hear the very opening (after the title crawl) as originally intended. To be honest I cannot hear where the mock ups come in and out as the whole reworking is so seamless so fantastic work Crumbs. I've tried to download the music only track into my phone but it's only allowing me to play and not store. Drat! 

 

I just started listening to the music only version as I returned to this thread to make a similar point.

 

The album/film version which opens after the crawl with the piccolo solo copied straight from Star Wars was always so confusing to me. 

 

At first I thought The Last Jedi was going to be a movie about how history repeats itself, and would try to explain away all the similarities between TFA and Star Wars. So with that I thought I thought TLJ would open with a First Order Destroyer chasing a Resistance ship escaping, framed in the same way as the opening scene of Star Wars to really drive the point home.

 

So now I realize it's just because they changed how the movie opened and needed to shove new music in there and took an arrangement from a previous movie, which a lot of the score did. It's not quite needle dropping, but it happens a few times. Leia Poppins was a great example. It's basically just taken (and re-recorded) from the concert piece of Leia's theme. Even the Luke and Leia scene doesn't have unique orchestration.

 

It was a surprising choice when this was the only one of the three movies that weren't rushed and re-edited 7,000 times before release. 

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On 20/10/2021 at 12:11 PM, Jay said:

 

Yea!  My favorite parts of this


The Resistance Theme works great here too

Yeah! I'm so used to the film version of this piece that I forgot about that really cool reprisal of the Resistance during the action when Poe is wrecking stuff. It was included on the album and was so sad that it wasn't in the movie.

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7 hours ago, SilverTrumpet said:

 

I just started listening to the music only version as I returned to this thread to make a similar point.

 

The album/film version which opens after the crawl with the piccolo solo copied straight from Star Wars was always so confusing to me. 

 

At first I thought The Last Jedi was going to be a movie about how history repeats itself, and would try to explain away all the similarities between TFA and Star Wars. So with that I thought I thought TLJ would open with a First Order Destroyer chasing a Resistance ship escaping, framed in the same way as the opening scene of Star Wars to really drive the point home.

 

So now I realize it's just because they changed how the movie opened and needed to shove new music in there and took an arrangement from a previous movie, which a lot of the score did. It's not quite needle dropping, but it happens a few times. Leia Poppins was a great example. It's basically just taken (and re-recorded) from the concert piece of Leia's theme. Even the Luke and Leia scene doesn't have unique orchestration.

 

It was a surprising choice when this was the only one of the three movies that weren't rushed and re-edited 7,000 times before release. 

 

This one had a Williams temp track, and it seems Johnson wanted him to follow it pretty closely in some spots.

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1 hour ago, Datameister said:

 

This one had a Williams temp track, and it seems Johnson wanted him to follow it pretty closely in some spots.

 

Well, not the bash the guy too much because that's not what this thread is about, and I respect that, but isn't the story that RJ temp tracked the whole film with Williams music, shipped it to him, and just told him to do his thing and didn't even meet with him? I always found that so strange. 

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I swear I didn't get it from a clickbait article or something, which is often the case for these sorts of stories that do get blown out of proportion. I think it was the Soundtracking podcast when he saw a guest but I can't find it now. 

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