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Here is Part 2

I compose when I have the time. "Anyone here could have written Rey's theme" strikes me as woefully naive, and gives me the impression that you're young and precocious--the type that would dismiss Eric Satie, John Barry or John Tavener. I say that because I was (sorta) like you when I first hit JWFan 5 years ago. I can only hope you mature out of this phase and will be able to look back on these early posts and cringe or laugh. Writing a theme this precise and eloquent in character is extremely challenging. You're constantly second-guessing yourself as you refine your idea, until it "speaks" in a musical and almost logical way. It's not something you can really teach, either.

It always upsets me when I read people saying that tracks like this are "just noise". It takes a tremendous amount of skill, effort, and above all confidence, to write music like this; to achieve balance within the orchestra, to make all the different ideas flow together. Besides, I love the energy and excitement Williams' action tracks convey. It's the kind of music I can play over and over again, discovering something new with each listening.

No, but he recently learned a couple of new words and is dying to use them.

Still holding out hope Christopher Young is doing it

In this movie, Indy goes to the moon. Imagine the map segue of Indy's Saturn V spaceship's journey from the earth represented by that red line.

Fixed.

Such negativity around here sometimes. I'm definitely going to really "live with" this score for a week or so before checking on opinions here.

He could write a sort of long suite for this movie before actually seeing it and let Spielberg use it as he pleases.

Cantus, all great themes are really just re-combinations and arrangements of familiar musical structures. What makes Williams stand above the rest as a tunesmith is his incredible patience and crafting, adjusting and fine-tuning that sequence to come up with the tune that is "just right". And as much as composers rely certain intervals and cadences to evoke the appropriate feeling, it's ultimately a very subjective voice that determine whether that half note should become a dotted quarter, or whether the 4th should move to a 6th instead. Williams has spent so many years doing just this, as much of his Hollywood success is indebted to it, so his instincts are incomparably sharp in this regard. There's a reason that so many amateur Williams clones are so good at aping his sound without actually being able to capture the essence of what makes that classic Williams tune. To me, Rey's Theme is a clear product of that same artist, but one that is less interested in getting to the crowd and more keen on capturing a more personally evocative feeling. He takes melodic units that he's grown rather accustomed to, and plays around with them in more unconventional ways in comparison to his Hollywood hits. It sounds like something he wrote more for himself than others, and I think that's what gives it that "sunset quality" that everyone was raving about initially. I doubt most here actually believe it to be his best, but that doesn't make it any less beautiful.

I had the idea for double-stuffed Oreos like 10 years before they did.

The first score is amazing but it's conventional Williams. He can write scores like the first two Potter's in his sleep. Azkaban is remarkable because it's such uncharted territory by comparison. Cuaron pushed him out of his comfort zone and produced a unique, bizarre, otherworldly score, yet for all its idiosyncrasies it still works holistically. Not only does it punch home the emotional heart of Cuaron's direction, it fits the film like a glove and stands on its own as one of the most enjoyable standalone listening experiences of Williams' entire career. It's so remarkable how perfectly the colour of the score encapsulates the entire Potter universe, I'm certain no other composer could've achieved anything close.

Hey guys ! RedoKeyboard shortcut Ctrl+Y As you might remember a few years ago I released several French Horn Medleys of JW cues. Back then my audio mixing and video editing skills were quite limited, and listening back to the whole thing I felt it would definitely benefit from a little "update" ! So I am now in the process of remixing and remastering the entire Tribute ( that is 5 parts, totalling 1 hour of music ) I will be doing a brand new video for each part, which will feature a brand new audio mix, all of the corresponding movie scenes and sheet music synchronized to the piece Part 1 Part 2 Part 3 Part 4 Part 5

One of my favorite themes composed for the Star Wars series. I have pieced together moments of the theme from Return of the Jedi to create this "concert" version. Also included is a piece of music from one of the best scenes in the entire canon, at one time one of the most requested "unreleased" cues. Enjoy. Emporer_Theme.wav

Awesome, yet again! Can't wait for part 3!

It's also worth noting that he stresses how it's a job, and you do what you're asked to do. He acts like if Alain Ducasse was asked to cook a burger.

Lincoln didn't serve non-American audiences well, or at least my family and the showing we were in. We just didn't know enough American political history to understand what was going on. I was half interested, half bored for most of it, and apparently I was by far the most engaged, with my brother and parents. My co-worker understood it only having read an online article concerning what non-US audiences needed to know.

I think it was more for effect - if you compare the orchestration of the string instatement of Rey's Theme in the actual Rey's Theme track (1:40); there is much more overt rhythm and energy, and indeed pleasing harmony. In The Abduction for example, the horns play very deliberate accented dissonant chords whereas in Rey's Theme horns 1+2 double the melody whereas 3+4 play supporting, rhythmic harmony. Also there's a lack of a sense of movement as the semiquaver trumpet and viola accompaniments found in Rey's Theme aren't present either. It reflects more the mood of the film at that moment in my eyes, it's quite clever.

For a man of Pope's caliber, that did seem like a peculiar professional mis-step.

Saying "it will take time to do this, it's complicated. This isn't LotR" is not an insight, nor is it intelligent. It's comment that could have been made by a rabid Williams geek here on the board.

I think Richard simply doesn't like those directors. Personally, I'm grateful to have THE PATRIOT among Williams' works. "Autopilot" or not, it's a fine score.

I've been reading surprises on the net that the film follows the plot of CRYSTAL SKULL. Seriously? Why is that so surprising? Indy/Ford is 10 years older, and the plot will account for that (taking place in the 60s). Plus, I'm a sucker for continuity, so I I'm relieved to hear this. I also belong to the three people who find CRYSTAL SKULL underrated (despite a couple of apparent flaws).

Sessions, schmessions, Potter, schmotter.... Call me when someone leaks a good-sounding version of STORIA DI UNA DONNA.

It would all be worth it if we got a performance of the Raiders March on theremin for the journey.

This is just getting in the way of the Moctezuma movie...

The Count of Monte Cristo by Edward Shearmur. Now, this score is rather understated and quite dark. But it's a real fine composition uncovers its riches to the listener gradually. Probably requires more than one listen to get the most out of it. I particularly love this lengthy cue (and the action material right in the middle of it): And, of course, there is this standout cue: What is happening to Ed Shearmur anyway? And why isn't he getting hired for any Star Wars spin-offs? He's a perfect choice. Not to mention his Johnny English James Bond spoof is better than most James Bond scores out there (post-Barry anyway): Karol

I don't think this sounds dull at all. Quite the contrary, a very intriguing story with lots of audiovisual potential. And my heart burns after another religious-style score by Williams.

So assuming he starts writing in May; he'll have about 6 to 7 months to write and record it. That's about 4 years in Desplat's composing terms, so plenty of time. I'm sure he already has sketches and ideas of things as well.

They're the true vision of George Lucas. At least until 2004/2011 when his vision changed.

Not at all. Shore is in the privileged position to pick-and-choose whatever project he's interested in. He doesn't need to chase big hits and doesn't seem particularly interested in commercial studio fare. He only works for people and projects he feels attuned to. Also, it happens frequently a composer bails out of a project because of scheduling conflicts and not necessarily for creative reasons.

Yeah it was such a unique thing that Williams actually walked away from the franchise after working with Cuaron.

JWFan mangles this little 3-minute tune a lot. Sure, there are the more 'melodramatic' parts of it that by design and necessity relate to a simpler, more populist Hollywood style but if you compare it to David Arnold, John Debney or Michael Giacchino - all composers that have come up with similar concoctions - it still seems a lot more profound (even if it's not the greatest tune ever written). Wholly pentatonic or not, the way its build out of this rigid scale makes it a far more worthy addition to the SW canon - shades of a stoic asian warrior - more than another Tchaikovsky-flowered 'Across the Stars'.

Or jbfan2234

Absolutely fantastic! My favorite thus far. Truly, this was a joy to hear, thank you

I didn't realise colour gradists charged extra fees when you branch outside the teal and orange filter!

The Signature Editions are overall quite good, and quite faithful to the original works. What you're getting is typically only modified very slightly from the original - things like changing the number of horns or getting rid of synth parts. There also may be structural changes where Williams has written a new intro or ending, things like that. But the parts that are from the films aren't brand-new arrangements - they're adapted only slightly from the originals.

That was amazing! I especially enjoyed Cantina Band + Forest Battle. Awesome stuff!

I agree, I would love a project like that, but it seems like either nobody's asking or he's just not accepting. But that to me is why Episode VIII may be the most interesting thing he's got going, because even though it's blockbuster action/adventure at least he'd be working with a writer/director who has more offbeat tastes and normally runs outside of Hollywood circles. Obviously nobody ever pegged Rian Johnson as somebody who would ever get a Williams score for his movie, and he could bring in the kinds of new influences and sensibilities within a familiar soundscape that made Azkaban so intriguing. It was unique to see a guy like Alfonso Cuaron suddenly get his hands on John Williams. Rob Marshall, Brian Percival, JJ Abrams....less interesting, even though the scores are lovely.

I'm glad that STAR WARS and Spielberg projects alone will probably keep Williams busy enough at the tailend of his career (not counting concerts, concert works etc.), but I can't help but desire that 'off beat' assignment by someone else in his presumably last decade, something a la THE BOOK THIEF, only a bit more interesting (both filmically and musically).

Spielberg may think that after Bridge of Spies, it's not a complete disaster if JW doesn't score all his future films. I really don't think JW would have written anything dramatically superior to what Newman did for BOS

The director ideally has control over every single aspect of the film. You can't be serious stating that Yates has nothing to do with the look of his own film. THAT is absurd. Of course he has control. A film looks how the director wants. The DP realizes the vision that the director has.

Maybe Desplat heard that I thought his music was boring, so he graciously stepped aside.

Overall I think the first score is the better, more consistent score, but Azkaban has some amazing unreleased highlights which make it so sought after.

Hello, I am Egardo Mortara. You killed my father. Prepare to die.

In case you did not already know this, Karol, the BBC Concert Orchestra will be doing one of those live to picture concerts of Bernard Herrmann's Vertigo next year at the Royal Festival Hall. Jessica Cottis conducts. Vertigo live in concert

I think this is likely and makes me wish we had Williams doing it even more.

I think these reactions depend on expectations and indeed perceptions of Kylo Ren as a character. To my mind Ben (or Ren) shows the impetuous immaturity of youth very clearly in the film. He has been raised to a position of power by Snoke, which he thinks he deserves through his skills and lineage but is constantly hounded by insecurity and immaturity. He lacks focus and concentration, self control, that would allow him to rule his passions and rage, from which he seems to think he can draw a lot of his power but which is mostly shown as a weakness not a resource. There is arrogance and pride in him and wounding of his pride and ego when his own actions and rash choices cause failure lead to uncontrolled rage. He has a legacy to live up to and he obviously fears that he can't. He is the Darth Vader wannabe but actually still far from attaining such status or power. He throws his authority around with mandate from Snoke without actually having quite yet earned it, at least during the events we see in the film. And just like Darth Vader in the first SW film Kylo Ren is still an errand boy of a more powerful manipulative being, Snoke, not the head honcho even though he wields a lot of influence over the First Order. Musically Kylo Ren's themes, the fanfare and the constantly descending fateful line to my mind capture this essence of the character quite succintly (be they worn dramatic musical devices or not). That exclamatory fanfare connects with the Imperial tradition (note the fanfarish flourishes surrounding the theme on Jakku, which seem to be derived from the final section of the Imperial March concert suite) and is a classic "bad guy is here" calling card which really shows the egomaniacal bluster of Kylo in his Knight of Ren persona. It exhibits his impetuous nature with short angry musical burst, an exclamation, which flares up suddenly, just like his anger and violent behaviour. He wants to be Darth Vader but can't quite summon up similar persona no matter how he postures around in a helmet and black clothes. Hence the theme doesn't go much beyond the initial 5-note motif. The second theme for Kylo, the descending line is simple, almost obsessive, strangely mournful and threatening at the same time in how it constantly repeats (sometimes over churning low strings), depicting his inner conflict and self doubt, which manifests especially in his encounters with Rey who tests his power with the Force but Williams alludes to his susceptibility to the dark side with it when he injects it under the dialogue of Han and Leia as they discuss how Snoke manipulated their son to join him. There is a pull between the light and dark in him. Williams also uses the motif freely as secondary material for Kylo Ren for the sake of aural variety and alternates the two motifs e.g. in The Ways of the Force although it could be said that each motif underscores specific dramatic beats in the duel as well. So I personally feel these two compact ideas to be pretty accurate musico-dramatic equivalents of two different sides of Kylo Ren's persona. He in a sense has not earned a full fledged villain theme yet although his motifs are the main villanous material of the score. It is no Imperial March but to my mind it didn't need to be. Let's see if Wililams might actually get to expand upon these musical ideas in the sequels in a way that feels natural progression and possibly create a lengthier thematic representation for the character. P.S. Keep up the good work with the composing.