IsanRido

My biggest problem is that despite being far better than the prequels (is that difficult, to begin with?) they still have a plethora of problems that the OT did not encounter. The cinematic medium is far too apparent (though not as severely as Marvel’s nonesense), with some lines referencing events in the OT as though they were scenes in a movie. The sets and creatures at their worst look quite fake and uncreative, it’s such a waste of budget, why do they need to spend so much money?

And that is on the creative side, as far I’m concerned these movies are still very cynical and corporate-driven.

Niiiice!

I prefer the chronology of the Japanese cut for Godzilla’s landing on Tokyo Bay, though I imagine in this new context the hybrid version will fit better. The Super-X’s reveal is more effective in Godzilla 1985 and this edit; however I’d have Godzilla firing first, since it matches the “agressive” Godzilla from the US cut.

As for the sound design, it should be noted that the center channel on the Kraken’s 5.1 track features only the dialog and some sound effects, which might help you mask the edits better. Do you plan to use the loon sound effects that precede the Ihama attack?

Perhaps when the AT-ATs are firing at Projection Luke, cut to footage of several other things firing to a point where it’s ridiculous.

It’s an interesting idea, one that has been brought up from time to time in the fandom; much like combining the John Beck scenes from King Kong vs. Godzilla into the Japanese version. I like that you’re porting the sound design from Godzilla 1985.

What I wonder though, is how will you work out the scenes around Godzilla being put into a coma by the Super-X. Since the US cut doesn’t interrupt that scene with the soviet missile being fired, there’s a sense of relieved tension when the Americans watch Godzilla unsconscious (“The only problem now is cleaning up the mess”). I’m not sure it would work to have such a line being said after the missile has been fired.

I don’t know if this has been brought up in previous pages. Doesn’t anyone else find it bothersome that Rose doesn’t utter a word of complaint to Poe for getting her sister killed?

Why would anyone want to be in the prequels, though?

“The Awakening of Jacob” as heard in the film is the Cracow Philharmonic Orchestra recording. The one listed there (and heard in the LP) is by the Polish Radio National Symphony Orchestra.

Well, the Bayres release it a bootleg, and lazy one at that 😦 Judging by the track titles I was under the impression it was the leaked promo score. As it turns out, it’s simply the cues from the Imperial edition extras, presented exactly as they appear there. Don’t waste your money on it 😉

I almost ordered it, thanks FulciLives!

Anyhow, head over to the main post.

That is one nice analysis, though some of the listed recordings are incorrect. They appear to be same as the OOP release.

Are you interested in the current, far from perfect version, or the WIP that has the recently discovered tracks?

In retrospect, I was wrong to identify this as complete, sorry.

Done!
Track list:
01 Main Title (3:33)
02 Rocky Mountains (3:04)
03 Heartbeats & Worry (2:12)
04 Lontano (10:10)
05 Music For Strings, Percussion & Celesta - Adagio (8:11).
06 Polymorphia (8:58)
07 De Natura Sonoris N°1 (8:17)
08 De Natura Sonoris N°2 (9:24)
09 Untrenja - Ewangelia (2:21)
10 Untrenja - Kanon (2:50)
11 The Awakening Of Jacob (7:52)
12 Home (3:15)
13 Masquerade (3:13)
14 It’s All Forgotten Now (3:22)
15 Midnight, The Stars And You (3:25)

Those interested let me know, I’ll shoot you a PM.
NOTE: This compilation passes the 80 minute mark by a mere 7 seconds (!!!). So, if any of you are old school enough to want this recorded on a CD, you may need to delete the silence between some of the tracks. I was hesitant to do such a thing because it made the suite feel choppy.

Luckily the Blu-Ray reverts to the original poster art, but still:

But that’s only the appetizer, it’s now time to go bananas:

Some DeLaurentiis Kong madness, the R1 is bad:

Albeit not as much as:

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And then there’s the sequel…

Have a nice day!

Thanks alexp120!

As for ripping the 5.1 track, I’d say it’s not necessary, since all of this music was released in one form or another. And naturally the music appears in edited (albeit gracefully) form. It would be useful, however, if someone wants to make an isolated track, as recreating some of these edits would be a pain.

IMO an ideal release would present these cues uncut, and by sorted by composer/release date. What I compiled thus far fits nicely in the 70 minute slot.

As far as I’m aware, the out of print LP from the '80s not only did not feature all cues used in the film, but also included the incorrect performances for some of them. In 2005, Wendy Carlos releases a compilation of her unused music for the film, and while such material makes for an interesting listening experience on its own, I feel a release with the music as heard in the film is just a necessary.

Most of the cues can be found in various LP and CD releases from around the world, except for Penderecki’s “Kanon” (from Utrenja). The recording used in the film (by The National Warsaw Philharmonic Orchestra) was available in the old LP it seems, but sadly in abridged form. Anyone knows where such performance can be found in full?

You can have Maul as the main villain if you (somehow) have him survive the duel. He could pretty much replace Sidious in the holograms, and he could the puppet master behind all that mess, until he’s slain by either Anakin or Obi-Wan. Of course, this might work better in the previously mentioned scenario where Palpatine isn’t working with the Separatists. Just because two people are Sith (or simply against the Jedi) doesn’t mean they have to be on the same side.

Question, why not use all the B&W deleted content from the OT? If the goal is to make as extended a version as it can be made, with as much alternate material as possible, then I don’t see a reason to leave out such material. If the edit is to be like a restoration of a partially lost movie, then featuring material in different quality, and text/stills substituting footage should not be a hindrance.

Didn’t Ady say from day 1 that Luke’s saber would remain green?

This is my favorite Brass:

It should be noted that some of Nicolai’s tracks that were previously 5.1 rips have been identified. I don’t have the time now to update the compilation, and I’d only do so if can update the other cues.

However, if people are interested the tracks in question are:
-Track 9 is “Contorni” from Contrasti (MPS 3002).
-Track 10 is “Ombre E Riflessi” from that same album.
-Tracks 12 and 13 are “Sfida Romantica” (again from Contrasti) and “La Salda Rocca” from L’Arma Meravigliosa (NLP 103 - NLP 104). I was wrong to present them as separate tracks, since “La Salda Rocca” is one continouous cue.
-Track 25 is “Inno Sacro” and “Aulos” from Mythos (MPS 3005).

The only thing I can think of (and this applies to the entire trilogy) is for it to be R rating material.

Mind you, I love the OT as it is. However, I always imagine an alternate universe where the lightsaber doesn’t cauterize wounds, blasters result in bloody sprays, the Rancor graphically devours its victims, Jabba’s eyes pop out when Leia kills him, etc. Obviously I would never expect exploitation-type violence, just something in the line of Conan, the Alien franchise or John Carpenter’s films.

Essentially such a scenario would have prevented the franchise to become what it is now, albeit the films would still get a much deserved cult following.

Stanley Kubrick.
Ishiro Honda.
Akira Kurosawa.
Tinto Brass.
Yoshimitsu Banno.
Mario Bava.
Early Tim Burton.
Early Steven Spielberg.
Early Dario Argento.
John Carpenter.
Nathan Juran.
Sompote Sands.
Lucio Fulci.

Editroid said:

Jani-wan said:

Editroid said:

The canon firmly establishes that ROTJ takes place one year after the events of TESB.

How?

Every bit of official information around says that in the Star Wars universe, TESB takes place 3 ABY (3 years after the Battle of Yavin), and ROTJ takes place 4 ABY.

Where does it say that in the films? And what is ABY, in which scene they mention such acronym? To me it always seemed pretty vague how much time had passed between each movie.

I noticed users have come with a long list of suggestions, and I have several myself; however for the sake of brevity, I’d focus on the most pressing to me: The film’s structure, more specifically that of the third act.

Often it has been brought up how this film’s climax (and that of TPM) feels like a collection of scenes. Indeed this a problem with a great many blockbusters, multiple climaxes playing simultaneously (The Matrix sequels, The Return of the King, Marvel’s nonesense, etc), often with the transitions feeling choppy or non-existing at all.

What comes to the top of my head: Since the most interesting of the three scenes is the Duel, it ought to be emphasized more. Rather than “meanwhile in the Death Star”, Luke has to be looking at the battle as it progresses, perhaps even catching a glimpse of the Falcon being chased by fighters. As it currently stands, all he sees (as does the audience) are tiny ships in the distance, it’s not clear who’s winning or losing. The scene must also be affected by what’s happening on Endor. Luke could very well sense Leia being hurt, an in turn Vader and the Emperor could feel such turmoil in Luke. What about Leia sensing Luke being tortured by the Emperor, would that be too intrusive?

Killer Crocodile can’t catch a break.

Using the VHS covers as a basis would have worked just fine.

Transfer all of Anakin’s anger from Obi-Wan to Mace Windu. For instance, his response to Padme’s “you are more mature now” could easily be edited to “Master Windu manages not to see it”. Cut his rant. This could tie with Windu’s distrust of Anakin in the first film, and would pay off when he gets his hand chopped off. This way you can retain a good friendship with Obi-Wan and frustration with the Council.