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RUMOR: Williams has already written 3 reels of The Force Awakens


Not Mr. Big

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I suppose that is a leap, though he did go for it in the 70s. I would be happy for a documentary of the recording sessions themselves. I guess we are fortunate to have the BBC documentary that we do, though it would be nice if it were professionally released.

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I bet your average CBS viewer is the type to swoon upon hearing the strains of Remembrances. It's such a good classical music song. I love how Williams uses the music to convey an emotion in the song. By the way, I have this charming story about John Williams and how he felt unfit to score the film because it was too important.

Wasn't it that he felt himself too important TGP, not the film?

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After we viewed the film, I was speechless for a bit before I could finally turn to Steven and speak. I told him that this crap was quite beneath me and I wasn't sure why he was wasting my time with it. I suggested that he would be better served by hiring some low-rent Strauss-thief to do the score. He said, "I know John, but they're all dead."

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Let's be honest, does Williams REALLY need to see a complete, start-to-finish rough cut of a Star Wars movie to start writing the score?

He can write a Star Wars score in his sleep at this point (see Attack of the Clones). As long as JJ is feeding him fresh reels every few weeks, and gave him an overall idea of key themes he wants explored musically (a new Sith theme, some themes for the new characters, probably a Han Solo motif seeing as he's the lead in Ep7, plus new variations on the Force theme, Leia's theme, Luke's theme, etc.), there's no need for Williams to see a rough cut of the whole film before he starts working.

Besides, his priority is Spielberg so he likely stipulated the score needed to be done before July when he starts work on St. James Place. I wouldn't be surprised if they record TFA as early as June and worry about pickups closer to release, ala Tintin, when his schedule is clear again.

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The process on Tintin was different. Because it was animation.

Yeah, the only similarity I was really referring to was the idea of recording a score in two sessions, months apart. An initial session that basically covers the whole film in its current state, then a session closer to release for scenes that were re-worked/re-edited after the initial sessions.

I'm sure if Tintin hadn't changed so much throughout post, the second sessions wouldn't have been necessary. Similarly, if JW records TFA in June/July, but Abrams pulls a Lucas and re-edits the whole film, JW might have to do another 3 or 4 days of pickups in November.

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The process on Tintin was different. Because it was animation.

And it didn't work out, eventually, as they needed a second batch of sessions. When Williams wrote the music, he was under the assumption that the plan was to synchronize the imagery to the music.

I think Williams aims to score at least nearly-completed portions of the film, this time, instead of having to rewrite half of the score during or after the recording sessions because of problems regarding the synchronization.

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I'm sure if Tintin hadn't changed so much throughout post, the second sessions wouldn't have been necessary. Similarly, if JW records TFA in June/July, but Abrams pulls a Lucas and re-edits the whole film, JW might have to do another 3 or 4 days of pickups in November.

Or Abrams will pull a Lucas with the music too, and won't bother organizing second sessions but instead will just edit the music Williams will already have recorded to make it fit with the new edit of the film!

Well that's the obvious, easy thing to do.

Hopefully Peter Jackson is also in his ear providing tips about how to dial out any "excessive" musical moments in favour of sound effects and silence.

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The process on Tintin was different. Because it was animation.

And it didn't work out, eventually, as they needed a second batch of sessions. When Williams wrote the music, he was under the assumption that the plan was to synchronize the imagery to the music.

I think Williams aims to score at least nearly-completed portions of the film, this time, instead of having to rewrite half of the score during or after the recording sessions because of problems regarding the synchronization.

Why do you think it didn't work out? Its a very standard practice for animated movies to have the scores recorded very early in the production so the animators can use it.

I'm sure a second set of sessions was always part of the plan to adjust the changes the film went though.

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He can write a Star Wars score in his sleep at this point (see Attack of the Clones).

Bollocks to that.

Comfortably the weakest of the six scores for my liking.

The other two prequels are filled to the brim with enthusiastic writing and orchestration, and the OT speaks for itself.

AOTC, Across the Stars aside, just feels like Williams was completely bored writing that score (who can blame him?)

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He can write a Star Wars score in his sleep at this point (see Attack of the Clones).

Bollocks to that.

Comfortably the weakest of the six scores for my liking.

The other two prequels are filled to the brim with enthusiastic writing and orchestration, and the OT speaks for itself.

AOTC, Across the Stars aside, just feels like Williams was completely bored writing that score (who can blame him?)

There are a few other stand out cues, but overall I agree. I think Williams did the best he could considering the material.

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Jackson is a far better filmmaker then Lucas.

I thought people were disappointed with The Hobbit, just like they were with The Prequels. Jackson is mirroring Lucas' career.

?

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They are far better made then the Prequels.

There's a difference between someone who's not able to direct a coherent movie using CG effects and someone who's trying to make a film where dwarves are the heroes (ha ha ha).

Peter Jackson: "I want to borrow money for making a movie where dwarves will be the heroes"

Bank Guy: "Are you making a sort of sequel to Snow White?"

Peter Jackson: "Sort of"

Bank Guy: "OK."

LOL

It's sooooo ridiculous.

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