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Star Wars: Episode IX - Early Score Predictions Thread

Episode IX Score Predictions  

94 members have voted

  1. 1. Will John Williams score an Episode IX trailer, like the TFA teaser?

  2. 2. Will John record the Main Title during the IX sessions and actually use it, or re-use the TFA version?

    • A new 2019 recording will be used
    • The Force Awakens recording will be re-used again
  3. 3. What will be the final theme of the score before the ending credits fanfare?

    • Force Theme
    • Rey's Theme
    • Luke's Theme (Main Title)
    • Something new/non-thematic
  4. 4. Will John write an original end credits suite or assemble an edit of film cues?

    • A proper end credits suite (ala TFA's "Jedi Steps and Finale")
    • An assembly of excerpts from the score (ala The Last Jedi's "Finale")
  5. 5. Will John again reprise an existing suite, such as The Throne Room, to finish the credits?

    • Yes, he'll reuse an existing concert piece
    • No, John will write something new as his big send-off to the saga
  6. 6. Will JJ finally get his Williams-composed 'Cantina Band'-esque source music, ala Canto Bight?

    • Yes, JJ won't let that opportunity slip twice!
    • No, there won't be any need for it in IX... or JJ will hire Lin-Manuel Miranda again!


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Podracing Ben Hur is disasterous🤦‍♂️🤦‍♂️I'm so happy Williams got back to his normal brilliance after the horrendous 90's style. I kind of like some of it but not with these classics. Jeesus😨😨😨

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1 hour ago, hornist said:

Podracing Ben Hur is disasterous🤦‍♂️🤦‍♂️I'm so happy Williams got back to his normal brilliance after the horrendous 90's style. I kind of like some of it but not with these classics. Jeesus😨😨😨

do you have a problem with The Flag Parade?

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Yes. It aint SW in my book. Everything in TLJ is, I love it. 

 

What those guys did(elephant convoys) is so much dated and what Williams (usually) do is timeless. 

 

TLJ is CE3K quality

 

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Well, I would say that we know for sure he will be working on it by May--otherwise he would have conducted the BPO concerts.  My guess is that the Mutter pieces and meetings with her were organized around his schedule to happen before working on IX--meaning that he could have begun work even last week.  A broad rough cut would suffice for working out themes and such, which is usually what he works on first.  

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I’m imagining he’s already written important new themes if needed - this would be the time to write concert versions since he can’t be writing for the film itself yet. I know Williams isn’t usually so involved before post-production but given his age and the fact it’s Star Wars make me think he’s already worked with JJ on certain main concepts.

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Sometimes the concert versions come later though, or seem to.

 

ROTJ doesn't have a Jabba The Hutt concert piece on it. Han Solo & The Princess was probably written afterwards.

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The Jabba concert piece was written and recorded for Jedi but then became lost along with the source music. A part of it is on the OST.

The HSatP piece was just an extension of a score cue and it wasn't very widespread.

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38 minutes ago, crumbs said:

I remember reading an interview a few years ago where he said he likes writing the end credits suite first, so he can "work backwards" and make the ending seem inevitable by hinting at its ideas throughout the rest of the score.

Could you find it? Sounds very interesting. 

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11 hours ago, Fabulin said:

Could you find it? Sounds very interesting. 

 

Had a look but couldn't find it. It might have even been a JJ Abrams interview, hard to say. But I'm pretty sure the finale suite was one of the earliest things Williams wrote for TFA. It was also revised and re-recorded later in the sessions, because apparently Williams wasn't fully satisfied with the earlier version. It was subsequently revised again after the sessions themselves (the Poe's Theme extension), which is heard in the concert performances.

 

Rey's Theme also likely had a few incarnations along the way. The album version, recorded in the October sessions, was listed "Long Version" on the sheet music. Presumably there was a shorter alternate recorded earlier in the process (wonder if it's similar to the intermission cue from the TFA LTP performances?)

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Yeah, I seem to recall the interview in question, and I think he said he scores the finale and is than capable of weaving threads and building towards it through the course of the picture.

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This isn't the interview I'm looking for, but some of these quotes from Williams about Abrams' process are relevant nonetheless and worth revisiting.

 

Quote

How do you compare working with J.J. Abrams today to working with George Lucas in the ’70s?

George Lucas and J.J. Abrams have very different working styles. With George ... I mean the edit that I received was the edit we scored. In the case of J.J. Abrams ... he has grown up with Pro Tools and Avid and all the rest of these electronic and technological aids that people have now. And so his editing process is very different. We were making changes up till the very last minute, and because of this, we recorded with the orchestra sporadically through the months of June to November, which we never did with George. With George we always recorded the scores in seven or eight days running. So the process was markedly different in that respect. J.J. made, with great facility, a lot of changes all the time and they were always improvements. And we were glad to see them because he knew what he shot; we did not. We only knew what we had seen.

 

What can we expect from the music in The Force Awakens?

Well, there’s about two hours of music in it. Maybe more. We actually recorded about three hours, believe it or not, one version or another of this cue or that.

 

How much collaboration goes on between you and the director, in this case, J.J. Abrams?

Oh, a lot. We had one meeting at the piano where I played him themes and he seemed to be very happy with them. And then we had our recording sessions with the orchestra and he always had wonderful ideas and he would sometimes change scenes and make suggestions for the music.

 

He was a great collaborator and great partner. I would play him a certain theme and he would be very enthusiastic about it, and he would say we should use that in this scene and that scene. And I have to tell you his guidance was fabulous. If you think the music is good in the film, a lot of it has to do with the empathy we shared together and with his very, very good ideas. Particularly in the beginning of the process, when I was working on the earlier reels, he was with me on that but he also knew the later reels which I did not at the time. So he began to guide me towards developing a theme that would eventually mature in reel seven or reel eight — scenes that I may not have yet seen at all or at least not in their entirety at that point.

 

So over a period of really close to nine months, we were very, very closely collaborating. Mostly talking, not at the piano. I always spend a lot of time at the piano with Steven Spielberg. But J.J…. we spent most of our time together at Sony Studios, where we recorded. He was a great help. He is very musical and has a wonderful sense of rhythm and dynamics. So he was a great partner.

 

www.bmi.com/special/john_williams

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Well unless it's the best kept secret in Hollywood, it would appear Williams did not write or record any new score for the IX teaser trailer (presumably premiering this weekend at Celebration). 

 

Maybe he'll turn up and do a mini concert again? 

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1 hour ago, crumbs said:

Well unless it's the best kept secret in Hollywood, it would appear Williams did not write or record any new score for the IX teaser trailer (presumably premiering this weekend at Celebration). 

 

Maybe he'll turn up and do a mini concert again? 

2

 

Why do you say that?  I mean, it's highly unlikely he wrote any new music for the teaser but he has gotten away with working on projects without anyone knowing until it's formally announced.

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I think there’s a reasonable chance we’ll get one for the inevitable climactic duel of the movie, maybe with choir. It would be a nice build-up: TFA had practically no choir, TLJ a healthy dose of it and with the conclusion of the trilogy it’d be nice if Williams goes DotF/BotH mode again.

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Yeah I agree with you, but at least the usage of choir is more tastefully done in the ST (so far) than in the PT where he went all out on the first movie already. I’d be totally fine with a purely orchestral score, but maybe it could feel a bit restrained after TLJ’s use of choir.

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2 minutes ago, Remco said:

Yeah I agree with you, but at least the usage of choir is more tastefully done in the ST (so far) than in the PT where he went all out on the first movie already. I’d be totally fine with a purely orchestral score, but maybe it could feel a bit restrained after TLJ’s use of choir.

 

Yes, I'd be very, very surprised if whatever Force-focused confrontation happens didn't involve choir.  This is a big assumption about the film, but still a fairly likely scenario given the narrative echoes of each analogous classic trilogy entry for the corresponding sequel trilogy film (which were a bit more restrained in TLJ but definitely still there).

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Since Newman's fanfare is really gone from the opening, and so the title crawl doesn't need to be tied to it...

 

how about a forte more string-heavy than usual?

 

Or the first notes of the Imperial March played by celli and bassi at some point in the film...

 

I am sure Williams at least considered these things.

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