Popular Post crumbs 14,316 Posted September 20, 2019 Popular Post Share Posted September 20, 2019 We all have our favourite scores and our favourite cues, but one of the best parts of Williams' scores is his detail to syncing with the picture itself. He regularly writes short, throwaway ideas that perfectly accompany a specific shot or handful of shots, as if something in the visuals specifically inspired him to write something out of the box. I loved this short 10 seconds of score in The Last Jedi from the first viewing: It's deceptively simple but incredibly clever. Williams repeats this three note fanfare but it never reaches climax. The first note is strained and dragged out, over dramatic shots of fast moving objects and panicked characters, yet the drama is focused squarely on this slow-moving bomber drifting towards its target (such excellent visual contrast). Cleverly, these 3 notes appear to be the first 3 notes of the Resistance March. Perfect for a scene that depicts the Resistance at their most desperate hour, unable to 'complete' the theme given the uncertainty of the events unfolding. Combine that with the orchestra swelling on the third note with increasing drama, building towards that fantastic final shot (from the reverse of the bomber hovering over this enormous ship) and you just know Williams wanted to plant something very specific for this short segment of the sequence. So what are your favourite short little moments like this, where Williams departs from the flow of a cue and just dives into a cool one-off idea? Bayesian, The Illustrious Jerry, Smaug The Iron and 9 others 12 Link to comment Share on other sites More sharing options...
Bayesian 1,363 Posted September 21, 2019 Share Posted September 21, 2019 My musical analysis skills aren’t advanced enough to offer any examples, but I enjoyed reading your take on that short segment. It reminds us (as if it weren’t already plain to see) that JW is the consummate craftsman. Hristo 1 Link to comment Share on other sites More sharing options...
TJH132 48 Posted September 21, 2019 Share Posted September 21, 2019 Too many to name, probably, but one that always struck me was tracking shot at the opening of SAVING PRIVATE RYAN. When the first cross comes into frame, Williams scores it with a subtle snare roll. Appropriate and moving. Link to comment Share on other sites More sharing options...
Popular Post Alan 689 Posted September 21, 2019 Popular Post Share Posted September 21, 2019 This moment from Phantom Menace always stuck out for me: Aside from it being a genuine cool shot (imo), the little brass fanfare just gives it something. I seem to recall a similar thing in The Patriot too. The Illustrious Jerry, Will, JackPat and 1 other 4 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted September 21, 2019 Author Share Posted September 21, 2019 I always loved this bizarre transition from outright horror scoring (those trumpets!) to something seemingly beautiful, as Dieter's blood flows down the river in TLW (all the while being torn apart by the compys off-screen). Such inspired scoring I doubt other composers would have even considered. Those two films were really a huge sandpit for Williams to play in, and he seriously delivered. All the references to other composers were really the signpost that he knew exactly the type of film he was scoring. Link to comment Share on other sites More sharing options...
Montre 79 Posted September 21, 2019 Share Posted September 21, 2019 There are so many scenes I could choose from. This underwater scene from Phantom Menace is one. I love the underwater music next to the visuals of them leaving the city, and the way it descends as their vehicle dives deeper underwater. Then it swells after the big fish starts following them, and becomes almost chaotic once the fish catches them. I could go on but you can just watch the scene. The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted September 21, 2019 Share Posted September 21, 2019 2 hours ago, crumbs said: I always loved this bizarre transition from outright horror scoring (those trumpets!) to something seemingly beautiful, as Dieter's blood flows down the river in TLW (all the while being torn apart by the compys off-screen). Such inspired scoring I doubt other composers would have even considered. I always saw that moment in the strings as a kind of sigh, almost, like Dieter's life is released. Even in a film like this, I think Williams has a certain philosophical and perhaps empathetic side that compels him to score things such as death in a very compassionate and "real" way (see the bitter music in "Wade's Death" the following year). Marcus and crumbs 2 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted September 21, 2019 Author Share Posted September 21, 2019 1 hour ago, Nick Parker said: I always saw that moment in the strings as a kind of sigh, almost, like Dieter's life is released. Even in a film like this, I think Williams has a certain philosophical and perhaps empathetic side that compels him to score things such as death in a very compassionate and "real" way (see the bitter music in "Wade's Death" the following year). Interesting interpretation. I'd never read into it that deeply, but it's a compelling explanation of his intentions there (in an otherwise horrific and brutal scene). Link to comment Share on other sites More sharing options...
Popular Post Edmilson 7,457 Posted September 21, 2019 Popular Post Share Posted September 21, 2019 This scene is hilariously bad: the direction, poor fight choreography and the inexplicable use of slow motion. However, Williams scores it with a very fast paced, brutal and frenetic piece, almost like something coming out of The Lost World. I like the contrast between the slo-mo and Williams energetic action music. I'm not sure if when he scored it the scene played at normal speed or if it was his artistic decision. Maybe if he had scored it with a slow and mournful piece it would have given Gabriel's fate to early to the viewer, so perhaps he scored it with fast paced action music to give the impression that Gabriel actually has any chance of defeating Lucious Malfoy, I mean, Tavington, and thus making his death more surprising. James Horner employed a similar strategy during Samuel's Death on Legends of the Fall - there's some heroic and energic horns scoring Brad Pitt looking for his brother on the battlefield, giving the impression that Samuel might be saved after all. crumbs, Bayesian, Not Mr. Big and 1 other 4 Link to comment Share on other sites More sharing options...
Popular Post Cerebral Cortex 3,357 Posted September 21, 2019 Popular Post Share Posted September 21, 2019 A key element missing musically from the post-Williams Potter films (aside, of course, from Williams himself) were scores that didn't just support the films they accompanied but that also dared to interact with and engage in helping to create the visual narrative as well. I think a great example of this is in the first film when Harry first discovers the Mirror of Erised and looks into it to see his dead parents standing alongside him. The scene shows Harry's entire approach towards the mirror and his revelation. Now, Williams could have easily, and quite logically, chosen to start playing his wonderful family theme for the film right when we first make the discovery alongside Harry of what the mirror can do (i.e. when we first actually see his family - at 1:04) and it would have fit nicely and hit the proper emotional beats and what have you. Instead, Williams holds off, instead scoring Harry's approach and discovery with something a little more somber but still effective. It isn't until Harry himself reaches out and touches the mirror (1:40), physically both reaching out with longing for something he can't have and seemingly summoning the next bit of music in the process, that Williams allows the family theme to be heard. It's so subtle but so incredibly genius. You don't even really notice it if you're not paying attention to it. On one hand, you have the visuals dictating the score in that it isn't until we see Harry touch the mirror that we hear the theme. On the other, we also have the score interacting with the visuals and, by extension, dictating our own emotional experience because by delaying the usage of the theme Williams is picking and choosing when we, the viewer, get to feel that maximum emotional impact. On an even larger level, Williams doesn't use the theme until Harry himself, by virtue of being so overcome with longing that he is moved to physically react to what he is seeing, reaches his most emotional moment of the scene, and, by waiting until then to play the theme, so also allows us to share with Harry in that emotional moment. Just sublime. Holko, Marcus, DarthDementous and 8 others 11 Link to comment Share on other sites More sharing options...
Fabulin 3,513 Posted September 21, 2019 Share Posted September 21, 2019 . Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted September 22, 2019 Share Posted September 22, 2019 Dark Side Beckons (RotJ) Yoda lifts the x-wing (ESB) When Harry Potter wins the quiddich match in HP1 "ouch" moment at the end of E.T. Visitor at Himmel Street The Book Thief End of Appearance of the Visitors in CE3K Bringing them Back in Empire of the Sun Rescuing Sirius PoA End of Map Room in Raiders when the light beam goes through the medallion Main titles Superman when the Superman logo appears That moment in Jaws when the shark first passes by the Orca (B theme of the Jaws theme with the harps) Barchiosaurus appear in JP (but movie mix is not that great) Poseidon Adventure Main Titles Spacecamp Computer Room The Spark in Last Jedi End of Plowing War Horse Tennis Game Witches of Eastwick Will 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 22, 2019 Share Posted September 22, 2019 When Anakin and Padme kiss for the first time. Jay 1 Link to comment Share on other sites More sharing options...
Montre 79 Posted September 22, 2019 Share Posted September 22, 2019 55 minutes ago, King Mark said: Barchiosaurus appear in JP Barchiosaurus, my favorite dinosaur. So majestic. Cerebral Cortex and crumbs 1 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 22, 2019 Share Posted September 22, 2019 What do you call a Brachiosaur's dog? Link to comment Share on other sites More sharing options...
Popular Post Edmilson 7,457 Posted September 22, 2019 Popular Post Share Posted September 22, 2019 I love how Williams scores the climax of The Last Jedi. There's a lot of great moments in it! (I'll be using clips from the albums) On 0:56 on The Spark, this sad and mournful rendition of Luke and Leia's theme from ROTJ, scoring their reunion over such terrible circunstances. They've lost Han, they've lost Ben to the dark side, the galaxy is on the verge of becoming ruled by tyrants - which is specially painful, considering how hard they fought against the Empire. Then, on 1:52, there's this brief, but very touching and emotional passage for strings, followed by another sad rendition of Han Solo and the Princess, as Luke gives to her sister the dices Han used on the Falcon - the three were briefly reunited, although on a tragic occasion. On 2:15, the music builds and builds and gets more powerful as Luke walks to the outside of the bunker to confront the entire First Order all by himself. I've read a lot of theories about that passage on The Spark - it's the Imperial March on a new setting, it has this and that theme, but what I know for sure is that Williams music helps elevate the scene and it's perfectly sincronized with the picture. On this unreleased bit, the music builds again, leading to a heroic version of Rey's Theme. Now, a bit of a story: I listened to the OST BEFORE watching the movie, which I did on December 17, its first Sunday. Also, before going to the theater, I was spoiled that Luke was going to die at the end. So, when I listen to this choral passage on The Last Jedi, I found it to be a little similar to Amistad or Schindler's List, and I thought it would actually score Luke's tragic demise - and the fact that the OST track followed with a grandiose performance of Kylo's theme, I was even more sure of that. However, I was pleasantly surprised. The choral stuff is not tragic, actually it is the contrary: it scores Rey lifting the rocks of the cavern and allowing the surviving Resistance soldiers to escape, which is preceded by Luke saying "and I won't be the last Jedi". I've give some thought on why Williams used the choir to score this, well, rebirth of the Jedi. Maybe it's a way of connecting the First Order era with the prequel era, an age during there were a lot of Jedi on the galaxy, and which had some more choral based music? Or it is his way of giving the rebirth of the Light Side of the Force a more religious tone? Then, Kylo attacks Luke at 1:50 on the OST track, but to no effect. And the music that scores the revelation of Luke's trick and that Kylo was fooled and blinded by his own hatred is pretty incredible - almost dance like, with percussion, piano, strings and choir, then concluding with a very indescribable fanfare for French horns. I mean, the music is not heroic neither triumphant, is almost like the score is from Kylo's point of view, expressing his rage and confusion. It's an emotionally complex scene, and I'm not sure how would a less talented composer would have approached it, but Williams certainly nails it. The Illustrious Jerry, Joni Wiljami, Bofur01 and 6 others 8 1 Link to comment Share on other sites More sharing options...
Popular Post Montre 79 Posted September 22, 2019 Popular Post Share Posted September 22, 2019 Starting around 3:30 in the video, the scene when Vader first gets his mask is scored with only one chord, an A minor chord, slowly building up with increasing ornamentation and orchestration. I love what the music does right when we see Vader’s view of the mask being lowered. It becomes an ominous Am7 with the 7th on the bottom, crescendoing and as it’s doing so, some of the woodwinds (the flutes, and maybe clarinets as well) enter with a high sustained E flat, creating some subtle but exciting dissonance. Fun fact, the electronic beeping in the sound effects here is also a high E flat, so whether or not this was intentional or coincidence, I don’t know! Gruesome Son of a Bitch, crumbs, The Illustrious Jerry and 1 other 4 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 22, 2019 Share Posted September 22, 2019 Aww yeah! Link to comment Share on other sites More sharing options...
Trent B 337 Posted September 22, 2019 Share Posted September 22, 2019 A lot of good things... but one that stood out to me a lot over the years is "Yoda Strikes Back" from AOTC. Now grant the music was hacked up in the film but it's still awesome music and nice to hear via clean from the games. Link to comment Share on other sites More sharing options...
Datameister 2,043 Posted September 22, 2019 Share Posted September 22, 2019 16 hours ago, Modest Expectations said: I always thought that Jedi Fury is a genius piece to accompany Luke's attack on Vader. But the chorus seems a bit of a weird choice. The voices singing do not resemble Luke's. Here is my reasoning: 1. I assume that the reason for the Force Theme in "Use the Force" moment in ANH playing in such a divine way on the high strings is that it is Ben's Theme, and Ben returns as a guardian angel -> cue a wide shot of X-wing moving sideways in a way that makes Vader say "the Force is stronge in this one", which I assumed was an "angel's wings" moment. An additional strength of this interpretation is that it creates a finale to the direct arc of enmity between Ben and Vader, as interpreted from what they had to say about each other in the film. "I will become more powerful than you can possibly imagine" gets lost when the interpretation is that the force theme "belongs" to Luke. Ben's phrasing becomes much more badass when it is him who stops Vader from killing Luke for a moment without Vader even realizing the source of this power "than you can possibly imagine". Great, great moment. 2. With that said, and a mind open to a more oldschool storytelling, let's take a Luke at Jedi Fury. The voices might symbolize the Jedi in general making a comeback, or exercising their revenge, with "Return of the Jedi" interpreted as plural. The voices even sound a bit like ghosts. And then a third interpretation is also possible. Hear how the chorus starts when the camera shows a surprised Vader? Vader proceeds to just dodge hits and defend himself, constantly backing off, despite Luke not showing the best choreography, and makes just 2 weak swings at Luke. It seems to me now that the chorus (singing nearly as low as Vader's own voice) conveys that he has already started to come back from the Dark Side - here the singular "Return of the Jedi" - and cannot fight his son. In a way, this moment in music expresses the ambiguity of the title and foreshadows the title twist, which is Vader turning back to good. As someone who entered Star Wars fandom with prequel world-building "taken for granted" and the perception of OT scores as an artifact from a long time ago far, far away across the ocean - without having ever witnessed Williams being younger and actually working on these films, I find such "historical" analysis of what he might have been thinking at the time a very exciting thing to do, because it humanizes the composer of the OT in a way My interpretation is very different...the "liturgical" men's choir there strikes me as a very intentional reminder of the Emperor's material, since that timbre is otherwise only heard during his theme. Far from being a triumphant return of the Jedi, this darkly religioso moment is about Luke beginning to succumb to the Dark Side, exactly as the Emperor desires. That piece of scoring - which I agree is absolute genius - provides very important emotional context, making it very clear that while Luke may be winning the duel against Vader, he is (momentarily) losing the battle against the forces of darkness inside himself. Fabulin and artguy360 2 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 22, 2019 Share Posted September 22, 2019 One of the best is when Indy lowers himself into the map room. A reminder none of us need as we'll never forget the time when Spielberg, Lucas and Williams delivered the coolest stuff we'd ever seen or heard. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Will 2,215 Posted September 22, 2019 Share Posted September 22, 2019 I've always loved this little whimsical, heroic riff right after Poe says "This thing really moves": Such groovy rhythm. crumbs and The Illustrious Jerry 2 Link to comment Share on other sites More sharing options...
artguy360 1,843 Posted September 22, 2019 Share Posted September 22, 2019 10 hours ago, Datameister said: My interpretation is very different...the "liturgical" men's choir there strikes me as a very intentional reminder of the Emperor's material, since that timbre is otherwise only heard during his theme. Far from being a triumphant return of the Jedi, this darkly religioso moment is about Luke beginning to succumb to the Dark Side, exactly as the Emperor desires. That piece of scoring - which I agree is absolute genius - provides very important emotional context, making it very clear that while Luke may be winning the duel against Vader, he is (momentarily) losing the battle against the forces of darkness inside himself. This is how I see it as well. The moment is beautifully dark and tragic as we watch a son strike down his father. The men's chorus is very much a reminder of the Emperor's role in this duel. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 23, 2019 Share Posted September 23, 2019 Technically, he strikes down Darth Vader. Link to comment Share on other sites More sharing options...
Deacon Blues 65 Posted September 23, 2019 Share Posted September 23, 2019 That short bit at the beginning of this cue in The Phantom Menace as Obi-Wan, Qui-Gon and Darth Maul wait for the laser barrier to turn off. Link to comment Share on other sites More sharing options...
Marian Schedenig 8,193 Posted September 23, 2019 Share Posted September 23, 2019 1:43 and 2:17 - badass statements of the Imperial March over frenetic strings that sync up perfectly with Darth Vader's appearance on screen: And of course Vision on the Stairs and Gillian's Escape from The Fury. Edmilson and Holko 2 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted September 24, 2019 Share Posted September 24, 2019 crumbs 1 Link to comment Share on other sites More sharing options...
Oomoog the Ecstatic 314 Posted September 28, 2019 Share Posted September 28, 2019 I find Williams really nails a lot of moments in the Harry Potter and Home Alone films, even though they aren't my favorite scores. It could be that style he writes in fits well with the films. In HP he's able to bring back some of his classic ideas to the more dramatic cuts. Link to comment Share on other sites More sharing options...
_deleted_ 203 Posted September 29, 2019 Share Posted September 29, 2019 Binary Sunset 😊 Will 1 Link to comment Share on other sites More sharing options...
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