STAR WARS: EPISODE II – ATTACK OF THE CLONES (2002) – Complete Score Analysis

“Scene by Scene” Musical Breakdown
By John Takis
(original post)

Main Title (1:41) * Track 1 [0:00-1:40]
On the CD (and probably in the film) this is the same recording used for The Phantom Menace, right down to the opening post-title strains, which flow into …

Ambush on Coruscant (2:32) * Unreleased (OST Track 1 is mislabeled)
A dark mysterioso passage underscores the Naboo flight’s passage through the clouds of Coruscant and continues through the assassination scene with some tragic horn writing. There is an unsettling transition to …

The Councils Confer (2:47) * Unreleased
More mysterioso strings as Palpatine confers with the Jedi Council regarding the Separatists. We hear the first statement of the galactic “conflict theme”, a dark seven-note figure and variations. Hints of the main title theme usher in the Loyalist Committee, followed by a lighter interlude as Yoda talks to Padmé. The conflict theme returns as they bring up Count Dooku. A passage foreshadowing the “love theme” follows, as we cut to …

Old Friends (2:01) * Unreleased
Obi-Wan and Anakin arrive at Padmé’s quarters, where they reunite with Jar-Jar. The music is in the whimsical vein of Phantom’s lighter moments, and while Jar-Jar’s theme is absent, there’s a nice quote of Anakin’s theme for his opening dialogue with Padmé, just before the music fades out.

Unrequited Love (0:52) * Unreleased
This brief passage includes a suggestion of the love theme b-section as Anakin bemoans Padmé’s standoffishness. Cut to:

Jango and Zam (0:25) * Track 3 [0:00-0:25]
Percussion and muted trumpets as Jango gives Zam her assignment. Cut back to:

Setting a Trap (0:57) * Unreleased
Atmospheric strings underscore Obi-Wan and Anakin arguing about using Padmé as bait.

Zam the Assassin and The Chase Through Coruscant (15:07) * Track 3 [0:26-end] * Partially Unreleased
This powerhouse cue is one of the film’s major setpieces. And it’s a mess to sort out, the first real victim of post-production editing. A few minutes of original music are unreleased: some tender music recalling Shmi as Anakin confides his dreams to his master, the slithery accompaniment to the centipedes invading Padmé’s room, and later a brief bit where Zam shoots Obi-Wan down then hops on her speeder. Later in the chase, music is tracked and repeated, and the electric guitar that featured so prominently on the album is removed. Ultimately, a portion of Track 3 [4:20-5:25] on the OST didn’t make the final cut. Fortunately, the album experience of this cue remains thrilling and dynamic … some of Williams’ most inventive action-writing. The cue slows down towards the end (without losing tension), culminating with Zam’s death and the transition to the Jedi Council. A quote of the conflict theme may have been tracked in for Jango Fett’s brief appearance. Ultimately, we can be sure of at least 10:40 of original music here.

Unreleased [1:19] (Anakin’s bad dreams; centipedes slip in)
Track 3 [0:26-2:32]
Unreleased [0:09] (Obi-Wan is hit; Zam takes off)
Track 3 [2:33-4:20] (no guitar)
Track 3 [1:29-2:17]
No Music [0:04] (Zam in the tunnel)
Track 3 [3:43-3:54]
Track 3 [5:26-10:16]
Unreleased [00:25] (conflict theme — might be tracked from “The Councils Confer”)
Track 3 [10:17-end]

The Greatest of all Jedi (1:41) * Unreleased
A quasi-sinister passage with vague hints of the theme for Darth Sidious and the Dark Side, as the future Emperor counsels his future apprentice. This is followed by atmospheric scoring as Obi-Wan shares his concerns about Anakin with Yoda and Mace Windu.

Growing Up (2:37) * Unreleased
The first 14 seconds of this cue are tracked from Track 10 [0:23-0:37] (“Spying on the Separatists”). More subtle atmospheric music for Anakin talking with Padmé about Obi-Wan. Here Williams introduces the first formal presentation of the love theme, as an oboe solo. This is followed by an unusual off-beat fanfare for the transition to the shuttle-bus.

Departing Coruscant (1:44) * Track 5
Subdued horn fanfares open Anakin and Padmé’s departure. This cue features an interesting four-note figure oddly reminiscent of the “Approaching the Death Star” motif that opened Return of the Jedi. A short quote of the Force theme appears.

Dex’s Diner (Source Music) (2:03) * Unreleased
The “Dex’s Diner” scene is a tip-of-the-hat to Lucas’ American Graffiti days — as close to a 50s diner as you’re likely to find in the Star Wars universe. A swingin’ bass vamp plays softly in the background.

The Jedi Archives (1:15) * Unreleased
Another darkly mysterioso piece, as Obi-Wan searches for answers at the Jedi Archives. There is another extended quote of the conflict theme before a high-energy orchestral run as we cut to Anakin and Padmé’s transport.

Forbidden Love and Yoda and the Younglings (3:55) * Track 4
The first minute or so of this cue covers Anakin explaining his broad definition of love to Padmé. We hear the first phrase of the love theme in the reeds before a soft transition to the Jedi Temple, where Obi-Wan interrupts one of Yoda’s lessons. After a quote of Yoda’s theme, there is a lovely wordless choir to accompany a holographic projection of the galaxy. The Force theme closes the scene, followed by a sweeping statement of the love theme as Anakin and Padmé arrive at Naboo.

Entering Theed and Royal Counsel (2:17) * Unreleased
Quiet underscore for Anakin and Padmé’s walk through the palace and subsequent consultation with Queen Jamilla regarding appropriate security measures.

Arrival at Kamino (1:51) * Film Version Unreleased * Track 1 [2:13-end]
A new fanfare for Obi-Wan’s arrival at Kamino. A five-note rising and falling motif accompanies the landing sequence. There is a quote of the conflict theme as Ob-Wan learns he is expected, followed by another new motif for the audience with the Prime Minister. This last passage is a different recording in the film, with some minor alterations.

Audience with Taun We (0:37) * Unreleased
The second Kamino motif returns in a foreboding passage, as Obi-Wan is informed of the existence of the clone army. This cue may have initially been longer, since Track 1 [2:40-3:01] has been tracked as a transition to the next scene.

Padmé’s Island Retreat (1:54) * Unreleased
This cue begins with a warm movement prefiguring the meadow picnic scene. Anakin and Padmé’s conversation turns romantic, and the pair share their first kiss to a bittersweet rendition of the love theme (with harpsichord accompaniment) that blossoms and quickly fades as Padmé pulls away. There is a sweeping musical transition for the cut back to the Kamino cloning facility.

Clone Army Revealed (1:55) * Track 9 [1:28-end]
A new five-note motif for Obi-Wan’s tour of the cloning facility. The music builds to a striking rendition of the Droid March from The Phantom Menace for his first view of the assembled troops, who are “superior to droids.” One of the measures in the march is looped.

The Meadow Picnic (2:30) * Track 8 [0:00-2:30]
An album highlights, this is a gentle pastoral movement for Anakin and Padmé. The music turns subtly serious for Anakin’s half-joking endorsement of dicatorship, then swells into a lovely 4/4 arrangement of the love theme for a “the hills are alive” moment. This unique arrangement was awkwardly looped in the film. The cue rounds off with a final statement of the pastoral theme.

Kamino Storm (0:31) * Track 1 [1:41-2:12]
A thrilling horn fanfare opens an extended exterior view of the Kaminoan city, and the rising and falling “storm” motif from “Arrival at Kamino” returns briefly. The music fades directly into the next cue, as we are introduced to a young Boba Fett.

An Interview with Jango (2:13) * Unreleased
Unsettling music gives way to the conflict theme as Obi-Wan and Jango meet. A new motif — three notes rising, three notes falling, a la Vertigo — is introduced, and seems to represent mystery and descent. The conflict theme returns, but just before it does, we hear the low woodwinds play a very subtle statement of the Dark Side theme — or perhaps it’s a nod to Boba Fett’s motif from Empire. Both revolve around a minor third.

Anakin and Padmé (3:56) * Track 6
The flute-led pastoral theme plays beneath the dinner scene. The tone turns serious, followed by a statement of the love theme on synthesizer. The love theme b-section (which seems to represent the angst-ridden side) returns in an impassioned passage dominated by the strings as Padmé rejects Anakin’s confession of love. A final swell in the horns, for the transition back to Kamino, can be heard on the album, but was replaced in the film with a less obtrusive cut from Track 6 [1:35-1:47].

Dark Mysteries (2:42) * Track 8 [2:31-end] * Partially Unreleased
The six-note “mystery” motif returns and is developed while Obi-Wan informs his masters of the information he has uncovered. There are about 58 seconds of unreleased material that belong at [2:39], including a haunting quote of the mystery theme in the bells. The first four notes of the eight-note horn figure that follows are looped once, as Yoda and Mace discuss their increasing weakness. There is a cut to Anakin’s nightmare, which is scored with frantic strings that anticipate his murderous frenzy. The music quiets as Anakin wakes.

Anakin’s Resolution (1:28) * Unreleased
A lovely horn solo as Padmé approaches Anakin about his nightmares. Anakin decides he has to return to his mother, and we hear a brief statement of Anakin’s theme, followed by the Force theme. A few lines of dialogue at the end of this scene have been removed, hence the cut back to Kamino is clumsily edited with an actual piece of recorded music from The Phantom Menace (check the transition between Track 7 and 8, Disc 2, of the The Phantom Menace: Ultimate Edition). This is the first time this happens … unfortunately, it isn’t the last.

Jango’s Escape and Return to Tatooine (3:48) * Track 7 (OST Track 10 mislabeled)
Roughly the first three minutes of this cue are pure action, revolving around a short ostinato, as Obi-Wan battles Jango, who manages to escape Kamino with his “son.” It’s typical Williams: brass-intensive, with lots of rushing strings and woodwind punctuations. The last third of the cue is music for Anakin and Padmé’s arrival on Tatooine, and has a definite Arabic flair.

A Visit with Watto (0:51) * Unreleased
A bit of non-thematic dramatic underscore as Anakin learns that his mother has been sold.

Bounty Hunter’s Pursuit (1:46) * Track 9 [0:00-1:27] * Partially Unreleased
This exciting cue launches midway through the battle among the asteroids, winding down once Jango believes Obi-Wan has been destroyed. There’s around 19 seconds of unreleased music around [1:17], as Jango lands and Obi-Wan leaves his hiding place.

Secret Landing (0:41)
An eerie and foreboding passage as Obi-Wan lands on Geonosis.

The Lars Homestead and The Search Montage (4:07) * Track 10 [0:00-4:07]
The beginning of this cue employs a relatively light touch, underscoring Anakin’s reuinion with Threepio and his meeting with his new stepfamily. The six-note mystery/descent motif returns as Anakin learns from his stepfather that his mother has been kidnapped by Tuskens. Anakin goes outside and stares into the Tatooine sunset. The scene parallels Luke in A New Hope, and the music clinches the likeness: Williams uses the exact same orchestration … only instead of resolving the theme, he shifts into a minor mode and launches into “Duel of the Fates” for the subsequent search montage. It’s a new arrangement with some subtle electronic effects. Lucas must not have approved of the way Williams wound it down, because he spliced on a slam-bang finale from The Phantom Menace (TPM:UE Disc 2, Track 27 [2:04-2:10/2:14-2:17]) that ruins the effect.

Spying on the Separatists (2:48) * Track 10 [4:08-end]
Sneaky music for Obi-Wan’s infiltration of the droid foundry, where he comes across a Separatist gathering. The Trade Federation theme from TPM is reprised, then the conflict theme, as Obi-Wan eavesdrops.

The Tusken Camp and Bringing Mother Home (5:54) * Track 11
A darkly percussive rhythm accompanies Anakin sneaking into the Tusken Camp. There’s a tragic and tender passage for Shmi’s death that is reminiscent of her music from TPM. Tension builds to the tumultous strings of Anakin’s earlier nightmare as he begins his vengeful slaughter. The music keeps moving, but quiets down as Yoda, on Coruscant, senses Anakin’s pain (and yes, that’s Liam Neeson’s voice calling “Anakin, Anakin, no!”) Here is the score’s first statement of the Imperial March. The tension continues as Obi-Wan attempts to contact his apprentice. Anakin bringing his mother’s body home is scored with a low male chorus and some descending horn movements. Section [3:11-3:24] of this cue is looped.

The Dark Side Takes Root (2:42) * Unreleased
An oboe solo underscores the beginning of a dialogue between Anakin and Padmé, leading to Anakin’s confession. As he realizes the horrific nature of his actions, and the hatred that has taken hold of him, the Dark Side theme swells, with chorus. Anakin collapses to a pronounced statement of the Imperial March. A highlight amoung the unreleased cues.

Shmi’s Funeral and Crisis on Geonosis (4:03) * Unreleased
Begins as a warm eulogy for Shmi, with some prominent horn-writing. Artoo interrupts with a communication for Obi-Wan that turns violent in an attack. Padmé and Anakin resolve to go to his rescue. Meanwhile, Palpatine’s councilors gather with the Jedi.

Emergency Powers (0:40) * Unreleased
The conflict theme plays underneath the suggestion to vote Palpatine emergency powers, then the music builds through a cut to Geonosis and Obi-Wan’s imprisonment.

Count Dooku’s Offer (1:00) * TPM:UE Disc 2, Track 3 [0:07-0:38/0:50-1:05]; Track 12 [0:01-0:21]
Who knows if Williams composed original music for this scene? If he did, Lucas didn’t use it. It’s been tracked with brooding music from TPM.

New Authority (1:48) * Unreleased
A trumpet fanfare returns us to the Galactic Senate. Noble music for Jar-Jar’s proposal. Another statement of the conflict theme, with martial overtones, for Palpatine’s acceptance speech.

Going to Rescue Obi-Wan (2:30) * TPM:UE Disc 1, Track 3 [0:27-1:13/1:19-2:02]
Tracked music for Anakin and Padmé’s landing on Geonosis. They sneak into the droid foundry.

The Droids Follow (0:39) * Unreleased (might be tracked)
A short motif for Artoo and Threepio as they secretly follow Anakin and Padmé.

On the Conveyor Belt (4:45) * Original Version (3:12) * Track 14 (Exclusive Bonus Track)
Before Lucas decided to add a horrendous subplot involving Threepio and a Battle Droid swapping heads, this sequence was significantly shorter … and presumably, Williams’ original cue (as heard on the exclusive Target bonus track) fit perfectly. Alas, very little of the original, wackily percussive cue survived intact … the middle section was thrown out entirely. Instead, music has been tracked from all over the place: “The Arena” (Track 12), “Yoda Strikes Back” (Unreleased), but mostly “The Chase Through Coruscant” (Track 3). Amidst it all, there sounds like there might be a few precious seconds of material that don’t appear on the soundtrack or any other cue in the film … but it’s too much of a mess to be worth bothering about.

Track 14 [0:00-0:32]
Track 12 [6:10-6:28]
Track 12 [7:13-7:29]
Track 12 [6:10-6:18]
Track 13 [0:09-0:21]
Track 14 [0:28-0:55]
Track 3 [1:53-2:06]
Unreleased [0:14] (Tracked from “Yoda Strikes Back” [2:22-2:36])
Track 3 [1:29-2:18]
Track 12 [7:40-7:48/7:57-7:59]
Track 3 [2:33-2:50]
Track 3 [3:47-3:55]
Track 3 [6:22-6:24]
Unknown [0:10] (Artoo lands)
Track 3 [2:38-2:50]
Track 3 [4:06-4:14]
Track 14 [3:04-3:07]
Track 14 [2:41-end]

Captured (0:37) * Unreleased
Light comic moment for Anakin’s broken lightsaber, then a brief conclusion as the couple are captured by Jango Fett. Transition to the arena:

Love Pledge and The Arena (6:57) * Track 12 [0:00-6:57]
A rumbling swell leads to perhaps Williams’ most impassioned statement of the love theme. It starts softly during the pledge then blossoms into a magnificent, sweeping statement as the lovers are wheeled into the arena. There are some xylophone effects for the Geonosians during a short passage that precedes a new march for the arena monsters. Developed over the next four minutes, the march is Rozsa-like, similar in style to the droid march and the flag parade from The Phantom Menace. Most of it has been cut from the film, in favor of silence.

From this point on, through the duration of the army battle sequences, it all goes to the Sith. There are dozens of frequent edits and splices. Almost all of the music is tracked from TPM. Ironically enough, some of it was written for TPM, not actually used in TPM, and makes its first film apperance in AOTC. Confused? Understandable. Some of this music was heard in the various TPM computer games.

Mace Windu Arrives (0:06) * TPM computer game — sqdanger1.imc
Mace Ignites His Lightsaber (0:06) * Unknown
“This party’s over!” (0:06) * TPM:UE, Disc 1, Track 3 [1:55-2:01]
The Jedi Reveal Themselves (0:12) * TPM:UE Disc 1, Track 4 [0:50-0:56/0:58-1:01/1:04-1:13]
Back to the Balcony (0:02) * TPM computer game — sqdanger1.imc [0:08-end] (last note)
Impossibly Outnumbered (0:10) * TPM:UE Disc 1, Track 3 [2:02-2:13]
Super Battle Droids Advance (0:04) * TPM:UE Disc 1, Track 9 [3:01-end]
The Battle Begins (0:28) * TPM:OST Track 9 [1:58-2:26]
Jedi vs. Droids (0:14) * TPM:OST Track14 [0:50-1:04]
Stolen Chariot (0:40) * SW:E1 RACER computer game — Podloop1.wav [0:01-end]/TPM:UE Disc 1, Track 33 [1:44-end]
The Battle Continues (0:32) * TPM:OST Track 9 [2:27-2:59]
The Reek Charges (0:38) * TPM:UE Disc 1, Track 12 [0:09-0:41]
Mace vs. Jango (0:04) * Unknown (a few looped notes)
Mace Decapitates Jango (0:03) * TPM computer game — sqplayerdeath.imc
Jango is Dead (0:02) * Unknown (a few timpani hits)
Count Dooku and Boba React (0:08) * TPM:OST Track 13 [4:34-4:42]
Threepio Down/Aggressive Negotiations/Obi-Wan vs. The Acklay (1:06) * TPM:OST Track 5 [0:26-0:45/0:19-0:24/0:46-0:49/0:55-1:25/2:20-2:30]
“This is such a drag!” (0:20) * TPM:OST Track 9 [1:36-1:57]
Surrounded (0:39) * TPM:OST Track 5 [1:51-2:23/2:29-end]

The Droids Re-activate (0:02) * Unknown (timpani rumble)
Imminent Execution (0:11) * TPM:UE Disc 1, Track 14 [1:02-1:13]
Send in the Clones (1:04) * TPM:UE Disc 1, Track 15 [0:03-0:29/0:51-0:58/1:01-1:38]
A Most Peculiar Dream (0:08) * TPM:UE Disc 1, Track 14 [1:00-1:08]
Boba Mourns (0:08) * TPM:UE Disc 1, Track 3 [1:55-2:02]

Underground Chamber (0:04) * Unknown (timpani swell)
Dire Straits (0:13) * Conflict Theme (probably tracked from “The Councils Confer”)
Republic Gunships (0:48) * TPM:OST Track 6 [0:03-0:48]
Spider Walker (0:08) * TPM:OST Track 10 [4:02-4:10]
“Attack those Federation Starships” (0:14) * TPM:OST Track 14 [2:27-2:41]
Reporting to Master Yoda (0:10) * TPM:OST Track 14 [3:15-3:25]

The Ultimate Weapon (0:47) * Tracked from “Spying on the Separatists” * Track 10 [6:45-6:50/6:08-6:51] (ends with timpani-roll snippet)
Wheel Tanks (0:10) * TPM:UE Disc 1, Track 5 [0:02-0:12]
Droid Explosion (0:05) * TPM computer game — sqplayerdeath.imc (a few extra timpani hits tacked on)
The Conspirators Escape (0:26) * Tracked from “Arrival at Kamino” * Track 1 [2:13-2:39]
Concentrating All Fire (0:44) * Jedi Power Battles computer game — Track 5 [0:15-0:59]

Attack of the Clones (0:22) * Unreleased
A short bit of very dramatic action music that begins as the sphere ship falls, continues through a brief firefight, and ends with the cut to Obi-Wan’s transport. Some nice heavy brass chords for the clone troopers.

Going After Dooku (1:50) * Track 12 [6:58-end] * Partially Unreleased
This cue begins with some high-speed chase music. There’s about 0:23 seconds of music spliced out of the soundtrack at [7:09], just before Padmé gets knocked out of the Republic ship. Here the album resumes with a tragic statement of the love theme, as Anakin is torn between love and duty. The Force theme is woven in as Master Yoda senses a disturbance. This is followed by a fast-paced conclusion as Dooku lands in his hangar.

Confrontation with Count Dooku (2:47) * Unreleased (OST Track 13 mislabeled)
A horn fanfare announces Obi-Wan and Anakin’s entrance into Dooku’s secret hangar. The music for the ensuing duel is tense and percussive, very dark. There’s a brief interlude where Padmé is seen recovering outside on the dunes, and we hear the love theme. The battle is rejoined, and a low chorus sounds a note as Obi-Wan falls. The music intensifies as Anakin battles Dooku, the percussion building in strength until Anakin’s defeat. An explosion in the brass continues the cue, and there is a segue to …

Yoda Strikes Back (2:59)
A timpani roll fades into eerie, atmospheric music for the arrival of the diminutive Jedi Master on the scene. The music here is dissonant as Dooku challenges Yoda with Force tricks. Dissonant brass and a chorus support the ensuing lightsaber assault. When he can’t win, Dooku knocks a huge pillar towards the defeated Obi-Wan and Anakin. We’re treated to a forceful statement of Yoda’s theme in the brass as the Jedi Master abandons the fight to save his Jedi. There is a final explosion of brass as Dooku escapes.

Lord Tyranus Returns and Finale (6:04) * Film Version Unreleased * Track 13 [0:00-4:43]
This cue is a bit of a conundrum. Parts of it have been tracked over and extended in the film, parts of it have been removed on the album. At least one part of it was entirely re-scored. To begin with, Dooku’s flight has been tracked with music from Track 1 [1:54-2:00]. There are a few seconds of unreleased music as his interstellar glider unfolds, then a brief statement of the force theme and some tired-sounding music for Yoda, but these are almost certainly tracked. The passage closes with an edit from “Bringing Mother Home” — Track 11 [5:36-5:43]. At this point, the first 44 seconds of Track 15 — which features a very nice, pained statement of the Force theme — have been replaced for no apparent reason, and to detrimental effect.

The cue continues with a swirling motif, with chorus, for Dooku’s arrival on Coruscant (this same idea opens Track 15 on the CD, and should have underscored Dooku leaving Geonosis). There are some low string movements as Dooku’s ship re-folds itself. Now we are at Track 13 [1:15] on the CD, and there is an edit. The film features a statement of the Dark Side theme as Dooku’s ship travels over a hostile, smoldering landscape to land in a secret hangar. The CD resumes … a chilling soprano solo over delicate strings play as Dooku is revealed as Darth Tyranus during his meeting with Darth Sidious. This is followed by a passage of delicious foreboding as the Jedi attempt to discern what has taken place. The music builds over scenes of clone troopers marching off to war under, rising to a grandiloquent statement of the Imperial March in all its glory, with hints of the love theme woven in.

Sources involved with the recording of the score maintain that Williams had originally composed a magnificent “orchestral blowout” for these final scenes, and that the Imperial March was added as a re-score. The fact that a few seconds of unreleased finale music appear in the “Across the Stars” music video support this theory, as do the rather obvious edits on the CD at [2:59] and [3:37].

The finale closes with scenes of Padmé and Anakin’s wedding on Naboo. The love theme hits full stride, building to a grand finish that bursts directly into the end credits. It’s not hard to argue that it’s Williams’ best Star Wars finale since Empire.

End Credits (6:00) * Track 13 [4:43-end]
Insult on top of injury. After his slaughter of the score in the film, George Lucas neglected to preserve Williams’ original end credits — again, for no apparent reason. Williams originally composed for the credits: (a) the traditional main Star Wars theme, (b) an arrangement of the love theme very similar to his concert suite “Across the Stars” (Track 2 on the CD), with some very significant alterations. To start with: in “Across the Stars,” the final movement features a harp solo. In the end credits, it’s a harpsichord. Then, instead of a conventional ending, we get an exquisite quote of Anakin’s theme from a solo horn. It’s an incredibly powerful moment … it feels like an elegy, a reminder of something that has now been lost. The final subdued passage insidiously weaves together the love theme and the Imperial March. A perfect ending, one that sums up the whole undercurrent of the film. And Lucas simply cut it out. No conflicting special effects, no time requirements … we can only assume that he didn’t like it. That’s not a point in his favor.


Now, what are we to make of all this deconstruction? Official media sources claim that Williams composed 110 minutes of music for a 140-minute film. That’s hard to accept. Crunching the numbers, we find that, even when we remove all of the tracked material, we still end up with about 120 minutes of original music in the film! And that’s if we don’t count “The Love Theme.” If we remove the love theme (and bonus track) from the OST, that gives us a premier release of just under 74 minutes. In other words: not counting “Across the Stars,” we’re currently missing about 45 minutes of score … that we know of! Almost 20 minutes of music were tracked in the film … did they replace original compositions? And we know of at least one significant alternate cue. Suffice it to say that there’s unquestionably enough material to put together an “Ultimate Edition” AOTC score release … but not so much material that fitting it all on two discs — with room for alternates — would be problematic. Another reason to jump-start a new petition. Anyone interested, able, and experienced should please contact me about setting up a website.