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What to expect from Episode VIII's Score?


Unlucky Bastard

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Yeah. Although, then again, I remember thinking some of the TFA titles were really weird when I read them. "Main Title and the Attack on the Jakku Village" and "Kylo Ren Arrives at the Battle" immediately struck me as really awkward. Should have just been "Main Title and the Village Attack" and "Ren's Arrival," or something like that. 

 

Obviously this sounds awkward for a different reason but it's still worth keeping in mind. 

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1 minute ago, mrbellamy said:

"That Girl with the Staff" was the one that made me question the TFA track titles initially. 

That "Follow Me" (Always track title), "Finn's Confession" (there was no confession in the MSW plot summary), and Scherzo for X-Wings (and Orchestra).  

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What? The OST would've been assembled, mastered and locked months ago. Just because it's not releasing until December doesn't mean Williams twiddles his thumbs until the release date. The engineering and mastering team would produce the soundtrack in tandem with the film's production, which means they need to finalise their responsibilities on time and move on (and they wouldn't have perpetual access to the mastering facilities whenever they please, because this all costs money).

 

The master is probably sitting on a hard drive at Disney just waiting to go to the pressing plant in a few weeks.

 

Anyway, it'd be the furthest thing from Williams' mind right now and the last distraction he needs while writing and recording an entirely different score.

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The same place as the recording sessions for TFA and the other six scores: on an encrypted hard drive at Disney HQ, sitting behind thirteen firewalls.

 

Different story once it hits the manufacturing plant though, although TFA's OST was kept incredibly secure considering the anticipation. Did it even leak a day in advance? 

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6 hours ago, crumbs said:

The same place as the recording sessions for TFA and the other six scores: on an encrypted hard drive at Disney HQ, sitting behind thirteen firewalls.

 

Different story once it hits the manufacturing plant though, although TFA's OST was kept incredibly secure considering the anticipation. Did it even leak a day in advance? 

 

Amazon fucked up and sent the digital pre-orders three days early. We all had it by the next day.

 

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  • 3 weeks later...

Does anyone else think that dominant repeating chord structure that appeared in both the new trailer (over shots of Rey training) and again in this new TV spot might actually be based on something Williams has done for TLJ? I mean, it's clearly a reworking of that chord structure from Darth Vader's theme...

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12 minutes ago, crumbs said:

Does anyone else think that dominant repeating chord structure that appeared in both the new trailer (over shots of Rey training) and again in this new TV spot might actually be based on something Williams has done for TLJ? I mean, it's clearly a reworking of that chord structure from Darth Vader's theme...

 

Based on the TFA trailer/teaser experience in regards to the music, I think it's possible. But would those who worked on the trailers/spots been allowed to listen to Williams TLJ music?

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Good question. Well their trailer people nailed Han Solo and the Princess returning for TFA (when Williams could have easily forgotten about it and just used Leia's theme). I'm guessing they might have a vague idea of returning themes and so forth but not much else.

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Some score predictions in music form for you guys (tpt. and violin players please forgive me, chops are pretty sad) (this is kinda off-the-flow of this thread but wanted to share it anyway cause I thought guys might enjoy it).

 

 

Super pumped for TLJ and to listen to what JW does with it! (mods feel free to delete this if this is in the wrong place)

 

 

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  • 2 weeks later...

I would love to hear the end credits end with something like this again.  And not another Star Wars/ROTJ/ROTS ending.

 

 

TFA end credits ending was appropriately subdued but I would like to hear something less restrained for TLJ.  However, depending on where they put "In Memory of Carrie Fisher" in the credits, Williams may have wrote something soft and touching to wrap up the credits.

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  • 2 weeks later...

So that's at least 3 choir performers we know of, both male and female, if IMDB is to be believed. Seems to me that choir will play a much larger role in this score than it did in TFA.

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It's an oddly specific credit to give yourself for a joke, especially from industry people who've worked on other large scale movies. You don't just invent working on a Star Wars score with John Williams unless you want to shoot your reputation. It's like lying about your job history on a CV.

 

The more simple explanation is that the score involves choir, which isn't a stretch.

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19 minutes ago, Manakin Skywalker said:

Could easily be fake. Remember back in 2015 when I put my own name in as an "additional composer"?

I am guessing I would have preferred your version of Maz castle music. 

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5 hours ago, Not Mr. Big said:

If there is a choir I hope it's more ooing and aawing than sanskirt chanting Duel of the Fates stuff.  

 

Snoke's theme is chanting Sanskrit, too. I don't think we'll get a greater involvement of choir past that type of basso profundo singing.

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Much darker and threatening music, with more low cello notes like the segment starting at 4:12. More Rey, Kylo, and Snoke developed themes. I really want more goosebumps.

 

Starting at 1:01... I lllllike this part a lot. Williams is just phenomenal.

 

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51 minutes ago, Chen G. said:

 

Snoke's theme is chanting Sanskrit, too. I don't think we'll get a greater involvement of choir past that type of basso profundo singing.

Hopefully Williams will develop this material into a more thematic identity and transform it into something operatic.

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11 minutes ago, Incanus said:

Hopefully Williams will develop this material into a more thematic identity and transform it into something operatic.

 

Hopefully? Yes. Likely? Sadly, no.

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Well he doesn't like repeating himself, so where does he have to go with the Snoke material except more operatic? I'm predicting some choral extroversion for the reveal of that glorious red throne room, minimum.

 

But it'll just be another instrument in the score, not the primary voice like it was in parts of the 1st and 3rd prequel.

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Something about Williams music in the last few years, especially in The Force Awakens, strikes me as more scaled back. He isn't looking to blow the roof off of the cinema as he did previously.

 

And remember, no London Voices this time. The Hollywood Chorale really isn't up to par with that.

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What's the most ostentatious use of choir Williams has done with an LA based score? Nothing really springs to mind, which indicates he probably tailors his music to the orchestra/musicians performing it, not the other way around. London Voices was perfectly suited to the operatic style of the prequels & Potter scores and he left nothing on the table there!

 

Of recent US-based scores I can only think of choral elements in TFA, War of the Worlds & Lincoln and they're all very low-key. I don't recall any choral elements in KOTCS, War Horse, Tintin, Book Thief, Terminal, CMIYC...

 

Minority Report, AI and Munich had very noticeable soloist vocals though, a style I could envisage for Rey's new material?

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1 hour ago, crumbs said:

 

Clearly JJ agreed, by removing it from the final cut.

Let's hope Rian Johnson didn't cut the best parts from the upcoming score.

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17 minutes ago, crumbs said:

Of recent US-based scores I can only think of choral elements in TFA, War of the Worlds & Lincoln and they're all very low-key. 

 

Indeed.

 

It's all low men voices, which Williams certainly has a taste for. Maybe for Snoke going forward he'll dig deeper into the bass and go to oktavist registers like he did in War of the Worlds, but somehow I doubt it.

 

Its also worth noting that Williams is self professed for not being a "vocal" composer. Scores like Revenge of the Sith are the exception for him, not the rule.

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