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As other members here have already stated in one way or another, one big thing these sequel scores have going for them over the OT and PT entries is the actual development of character themes over an entire trilogy. It's a lot of fun going back and reading through our discussion threads for TLJ and seeing how, while some were expecting and hoping for Williams to pull a Shore and really advance and build upon the themes he had laid out in TFA, many were, understandably, expecting for Williams to do what he usually did with his sequel scores: revisit old themes through brief and limited renditions (perhaps with the occasional surprising variation here and there) but with largely no development, all while the new thematic material took center stage as the older stuff got relegated to the backseat. Which, again, was a logical assumption to make! That was the approach Williams used for The Lost World, that's how he handled things with the Potter sequels, that's largely how he handled character themes in his prior Star Wars films. Outside of the scope of the film that saw that theme being introduced, Williams never really seemed to have the desire to advance old themes for characters when there was new music to develop and focus on. The first time we hear Leia's theme in the OT and the last time we hear it in the OT. It goes out with a super brief rendition. Hardly seems like the last time you will be hearing it in the saga. The first time we hear Han and Leia's theme in the OT, the the last time we hear it in the OT. Nothing really has dramatically changed about it. The first time we hear Vader's theme in the OT, Vader isn't even on-screen and it's introduced uncharacteristically by woodwinds. It's concluded usage in the OT is in a very similar, albeit much softer, way. First time we hear Anakin's theme in the PT, last time we hear it in the PT. It's cold and distant in the end, a noticeable departure from how it was introduced. However, with the theme itself having been only a cameo appearance in the last 2 films of the PT, such a departure can't really be characterized as real tangible development, more of a brief alteration to match the character's new head-space as the theme itself isn't even synonymous with Anakin, only his childlike state. And the list goes on and on. Character themes within Star Wars had largely gotten cool variations here and there but no real conscious development as connected to the characters said themes were attached to. But with the ST, things are remarkably different. Rey's theme is first heard in TFA in a way that very much hearkens to the idea of someone who is just beginning their journey while also expressing the loneliness and perhaps lost nature that someone currently finds themselves in in searching for greater purpose. We last hear the theme in a way very suggestive of the completion of a journey and of someone who has matured through the events they have experienced. The theme concludes, like the character, in a way far different than how it started. Poe's theme goes through a similar metamorphosis also perfectly in line with his character growth, first heard in a way that perfectly embodies Poe's daring and hot shot nature at the start of the ST before last being heard in a way more befitting now of "Poe the leader" than "Poe the pilot." Those final thematic statements mean something this go around and are utilized by Williams as an opportunity to highlight character change. And Kylo Ren's theme, perhaps the best example, is introduced as this. It's huge, it's powerful, it's commanding of attention. This is someone to fear. By the end of the very next film, the theme has changed to match the evolved state of the character. His theme has more structured orchestral backing now, akin to the new First Order army he now has complete control over as Supreme Leader. The denser state of the rendition gives the theme more direction and clarity to its statement, similar to the sureness the character has now acquired throughout the film. By the very last film, it concludes by being used like this, this and this. You could not be more removed from the initial usage. It's now light, hopeful, very much a theme for a character of good. Kylo's theme, as a result, may be the most developed theme in all of Star Wars. This is not to dismiss all the wonderful variations of the Force theme we got across the 9 films, nor to ignore the unique permutations that Luke's theme has undergone. But as far as living up to the true purpose of a character theme, a recurrent musical idea associated with and fully representative of a particular person, Kylo's theme takes the cake. Every significant beat and change in that character feels like it is marked by a concurrent beat or change in his theme. I'm certainly not trying to critique or criticize one approach to theme usage over the other. Rather, I'm just trying to make the point that it seems like Williams went into this trilogy with the very conscious and deliberate choice to try a different approach with how he dealt with character themes (and sequel scores in general). He seems to treat them with a reverence he had normally forgone when doing scores to sequels in the past, reprising them unabashedly in new ways that connect with how the characters themselves are changing. As I started out saying, in trying to compare and contrast these 3 new scores over the other two trilogies, one way that this trilogy does stack up undeniably better (IMO) than the other ones is in character thematic development. Had Williams been able to go into these 3 films with a clear roadmap of where each character was going, he could have potentially capitalized on that approach even further, but I think he did a damn fine job despite that. Sorry for the long-winded post. This is all pretty much stuff that has already been said in one way or another alongside fairly obvious observations that I'm sure most noticed and thought about, but I wanted to verbalize these thoughts nonetheless.

Here's my analysis of the new themes in The Rise of Skywalker (beware: spoilers present!) http://www.filmmusicnotes.com/new-themes-and-their-meaning-in-the-rise-of-skywalker/ Enjoy!

If you count tracked music, then the Main Theme also appears in all 9 films' underscore (AoTC battle) Here's the tally of the OT themes used in more than 1 movie: Force: 9/9 Main Theme: 8/9 (9/9 if inc. tracking in AOTC) Imperial March: 8/9 Rebel Fanfare: 7/9 (8/9 if inc. this vaguely RF-ish moment) Leia: 7/9 Yoda: 7/9 Emperor: 6/9 Han & Leia: 4/9 (5/9 if inc. tracking in TROS) Death Star: 3/9 Luke & Leia: 3/9 TIE Fighter Attack: 3/9 Throne Room: 2/9

Regardless of whether you count Augie's as Emperor's theme, TPM has the Emperor's theme.

https://estonianworld.com/culture/arvo-part-was-the-worlds-second-most-performed-living-composer-in-2019/

I watched Marriage Story over the weekend. I'm honestly bowled over by how great it is. It's incredible how honest, understanding, and perceptive that movie is. Far and away the best movie Baumbach's made, and the best 2019 film I've seen thus far.

Very interesting and cool insight. I noticed that too. I've really enjoyed this over 40 year journey known as the Star Wars Saga (not in the literal sense, as I am only 27 years old, but I was introduced to Star Wars when I was six years old with Episode IV, V and VI on VHS. I saw Episode I, II, and III in theaters. I've read the novels and seen the series that add additional depth and content to the Saga, and I've enjoyed every moment; I also saw Episode VII, VIII and IX in theaters, of course; I experienced all of Galaxy's Edge and enjoyed everything). My passion for classical and contemporary orchestral music began with Maestro John Williams, having first heard that Main Title. I still remember my expression of awe and delight as a six year old kid. Now 27, that same feeling inside never left. What a great journey. I can't wait until Episode IX: The Rise of Skywalker comes out on Blu-Ray and Digital. The collection will be complete. Now the only thing that I'll have to wait for is a box set of all nine scores remastered and expanded in the definitive treatment that the Maestro's work deserves. Anyway, a heartfelt congratulations and thank you to the cast and crew of Episode VII, VIII and IX, everyone at Lucasfilm, a thank you to George Lucas, and a tremendous thank you and congratulations to the Maestro himself.

Daft Punk is magnificent! It actually has a very memorable theme.

"1.21 jigowatts?"

Yes, he is excited for the influx of cash that will accompany the release of a fan favorite composer!

While the TROS music is excellent, it has very little presence and impact in the film... which is what really killed Williams' chances of winning. And it doesn't help that the film wasn't well received, either. He'll no doubt be nominated since the music branch probably recognizes its brilliance outside of the film.

Williams' score for Star Wars: The Rise of Skywalker is among the nominees for this year's British Academy Film Awards, which will take place on Sunday, February 2. Newman, Giacchino, Desplat and Guđnadóttir are the other nominees in the Original Score category: BEST ORIGINAL SCORE 1917 Thomas Newman JOJO RABBIT Michael Giacchino JOKER Hildur Guđnadóttir LITTLE WOMEN Alexandre Desplat STAR WARS: THE RISE OF SKYWALKER John Williams Full list: http://www.bafta.org/film/awards/ee-british-academy-film-awards-nominees-winners-2020

I don't really have a joke to make. I'm just really happy she was there. Must have meant a lot to Williams, I'd imagine. I'm glad that the newer actors in these films like Daisy seemed to be really appreciative of him and his impact on these films and really tried to make the most of it. I'm just tickled that Williams got to know this new group and connect with them in a way similar to the the OT cast (perhaps more profound even), and that that connection seems to be have been formed more from a willingness on the part of the actors to reach out and befriend him than the other way around.

https://www.comicbookmovie.com/gotham_city_sirens/suicide-squad-director-david-ayer-was-offered-the-sequel-shares-update-on-gotham-city-sirens-a172579 Birds of Prey are still coming, but with Leto now doing some whatever movie for Sony and Gotham City Sirens put on hold, I guess that's the end of the road for Suicide Squads spin offs. I'm as sad with it as John Williams when Daisy Ridley shows up on a Star Wars recording session.

I was just reading the 2019 summary from FSM Online (by ever-entertaining Jon and Al Kaplan) and they make a curious connection they make between Rey and the duo of new themes: They are referring to this: And this: They also conclude it is most well thought-out SW trilogy from the musical standpoint. It's hard to disagree. Karol

I've mentioned this chord before (and its nearly note for note similarity to the climactic chord in CE3K's End Titles), but I didn't realize at the time that it was heard earlier in the film, and probably tracked at that, here: Perhaps it's foreshadowing or even shipping, as it were. I find it very interesting tonally; a chord that has tension with B-flat major (Main Title/Luke's key) and its relative minor, G minor (Vader), and even can be transposed and spelled as the Death Star chord below (C# minor major 7th third inversion vs. E-flat minor major 7th first inversion in TROS).

I agree there. Going down the list, very few of the themes consistently underscore characters or ideas on a recurring basis throughout the whole series. Let's take a look at some that aren't really held down by any on-screen connections: Recorder Riff There was never any really leitmotific association with this theme. I feel like it's main role is to capture the musical aura of the series as a whole. Plus, I'm fairly convinced that both the flashback sequences and some of the blurg scenes provide major variation on this, making it even more broad. Main Fanfare Once again there's no need for any other association- it's simply the main theme, and can be used for anything from riding blurgs to soaring through space. "Razor Crest" Used most often in relation to scenes involving Mando's ship, the Razor Crest, although Chapter 4 broke the barriers right from the start, opening the village prologue with the theme on acoustic guitar, and no ship present whatsoever. "Travelling" Motif Another very loosely used motif. Initially used in the first three episodes for "travelling" scenes (i.e. Mando walking through the street in Episode 1, Mando and Baby Yoda walking through desert in Episode 2, Mando landing on Navarro in Episode 3). However, it reappeared in the last episode as part of the big emotional finale, when Mando and Baby Yoda leave Navarro. Then there are a few that play by the rules a bit more: The Client As far as I can recall, this plays exclusively in scenes involving Werner Herzog's character, appearing in Chapters 1, 3, and 7. Jawa Motif Definitely to be associated with the jawas in Chapter 2, although @Holko pointed out that the rhythm reappears in Chapter 5's Speederbikes. The Child The guitar line appears first in Chapter 1's The Asset, and also plays in Chapter 3 with a beautiful oboe counterpoint. Both scenes are focused on our dear friend Baby Yoda. My memory isn't the greatest on where else it appears, but as far as I can recall the relation is clear. Raiders Exclusive to Chapter 4, particularly scenes with the raiders and villagers. More of a theme for the episode as a whole than anything else. IG's Theme Heard in the final two chapters and only used in relation to IG as a reprogrammed nurse droid. It plays under his "training" montage, his rampage on Navarro and his final sacrifice. Moff Gideon's Theme Also heard in the final two chapters and used for Moff Gideon's character, but for his stormtroopers as well it would seem. Notable moment is when it plays under the shot of the flametrooper in Chapter 8. As for Mandalorian Culture, I concur with @Disco Stu. Goransson uses it more as a utility for scenes that call for something dramatic. Man, I love this score but analyzing it is no piece of cake.

There's some covers like that here: STAR WARS Custom Covers thread

Not a minifig, but I'm sure I'll make an Oma Tres mod for my Williams Brickhead at some point, when the full clip is available in good quality for reference.

"What does it do? Can it conduct?"

Part of this is that as we got further into the series, it became clearer that Goransson wasn't really applying recurring melodies in much of a representational manner. There are a few (like his Jawa motif), but they mostly seem to be just moods he can tap into. They might be broadly associated with a particular location, but aren't meant to represent that location. Like one Jerry, Holko, and I had tentatively identified as being a melody for the Mandalorian culture, I've decided is really just a motif he uses when a scene on the bounty hunter planet calls for intense and mysterious atmosphere. I'll let the other close listeners chime in if they agree or disagree @The Illustrious Jerry @Holko

I love all those too, but I gotta be honest with myself. No Rush song gives me more of a transcendent, complete experience than "Red Barchetta."

And of course the Rivendell fountain scene in the extended AUJ. If you check the margins, these films are raunchy.

@Naïve Old Fart, there's a YouTube channel uploading isolated pop/rock tracks. A good amount of Rush on there. YouTube has terminated his/her account before, so listen while you can.

I shouldn't post before I've had my coffee

Leader: Isn't this too big to be a buttplug? Minion: But sir, we are talking about the greatest asshole in the universe.

There’s pretty much nothing to feel yet.

Poltergeist didn't win the Oscar for Best Score, so who cares.

I didn't think Pitt's turn in Hollywood was anything to write home about, certainly not compared to the performances in The Irishman (both Pacino and Pesci, for that matter).

The sweetest thing is that I can imagine her in the future, in her 80s, telling anecdotes about Williams, who was born 150 years prior.

No, I just think it gives fans something to cling to. They have someone to blame in the form of Kathleen Kennedy, and they have a hope to cling to as for there being a version of this film that isn't crappy waiting somewhere just to see the light of day. It makes them feel better about the series they love in much the same way that Lucas' rhetoric of "I had this 300-page script which I divided into six movies" used to do. Its a nice sentiment, and surely there's some truth to it - a version of The Rise of Skywalker that actually takes its time will most likely be much more enjoyable - but I don't think anything of this sort can really save the movie. The Emperor being alive and behind everything is still moronic, Rey being a Palpatine is still dumb, Kylo being redeemed is still despicable, etc...

Beautiful CD!

They could have asked Desplat. The guy can work really fast!

Here's an exclusive image of the moment on which Zimmer showed Barbara Broccoli the Remote Control headquarters:

Maybe he'll do something more traditional and surprise us.

I tried to like it, but ended up being depressed.

Oof. More of an edit than a playlist, but here we go: Overture: The Mandalorian(orchestral) Preparations: Face to Face (trimmed)+Back for Beskar (first half) + HammerTime The Job: You Are A Mandalorian (until it dies down) + The Asset The Old Gang: Hyperspace (first half) + The Gang Little Mousey: Little Mousey Training the Villagers: Ponds of Sorgan, until it would start up, then Training the Plebs Kuiil and IG: Trashed Crest + Reprogram + Kuiil Signet Forging: Mandalore Way (trimmed) + Signet Forging Sandcrawler: Jawas Attack The Next Journey: The Next Journey Standoff: Ewebb (sic) Sacrifice: Mando Flies + Sacrifice The Baby: Bright Eyes (trimmed?) + Can I Feed Him? A Warrior: A Warrior's Death + Clan of Two Speederbikes: Speederbikes + Night Riders + Farewell Memories: A Throusand Tears Finale: The Baby The Mandalorian: The Mandalorian Bit too heavy on ep8 but what I tried to do with it (like showing developments of the more main motifs more in the beginning, middle and end, filling the inbetweens with more diverse material), I kinda succeeded, I liked it on its 3 trial runs and Jerry seemed to pretend to like it when we listened together, too!

Making garbage is quick and easy.

I went into Spectre with high expectations based on the cast and crew and was disappointed, but maybe my low hopes for this troubled production will be exceeded. Searching for silver linings here: I'm kind of glad David Arnold wasn't asked back as a last minute replacement - better he be involved from the outset, and ideally working in tandem with the title theme writer(s). Zimmer didn't return to Mission: Impossible or Spider-Man, so here's hoping we'll get someone more appropriate to usher in the post-Craig era.

JW: So Anne-Sophie is many things... but she certainly isn’t a woman you can say no to. Daisy: ...

Do we... Do we dare? Could it... Might it? Is it possible that...? Revenge of the Speeder Chase.mp4 No, no it's not. Excellent job on those first two videos, Holky. Pretty cool stuff.

JW: Well I have a lightsaber too you know. Not as powerful or potent as it used to be but it still works. Do you want me to show it to you? Daisy:

What if...? No, no, surely it won't. Well, let's check anyway. ... Holy shit

2 disc OST for The Rise of Skywalker What people are expecting: Rey's Training, Lando Arrives, Fighting the Guards, Pulling the Shuttle, amazing unused cues that on the movie went replaced by tracked stuff from other movies. What they would actually get: The two source cues by Lin Manuel Miranda and Abrams and a new A Musical Journey DVD, with random scenes from the movies set to selected suites of Williams' themes.

Isn't the Golden Globes run by like 2 dozen star-fucking Europeans that live in LA and call themselves press? Their importance is like that of Iowa in US presidential races: largely symbolic and increasingly tenuous as time goes by.

I think going into production without a 3 film outline was catastrophic. And I will agree with the discussion that happened sometime ago - Rian Johnson gave JJ nothing to work with. NOTHING. Here is what JJ set up in Ep 7 for Rian and how Rian paid it off - Luke is finally discovered at the end of 7 - Luke dies at the end of 8 Knights of Ren are set up in 7 to be explored further - Ignored in 8 Rey's parentage a mystery in 7 - Solved in 8 Snoke set up the big bad villain in 7 - Killed in the middle act of 8 Finn set up as one the 3 leads in 7 - Trapped in a ridiculous side subplot in 8 Ep 8 gave no guidance to the follower as to how to follow it. I'd argue Ep 7 atleast set up various lines to be explored in 8. Not only did Rian trample all over them - he provided none of his own. Nobody had any idea at the end of 8 where the story could go. We knew at the end of Ep5 atleast something about what to expect. We knew at the end of Ep2 atleast something about what to expect. We knew absolutely nothing about what was going to happen in Ep 9 after Ep 8. The story had no momentum point, set up no mysteries, created no momentum or inevitability. So JJ was forced to cook up the nonsense garbage that he did. Because he had nothing to work with. NOTHING was set up for him in Ep 8. Absolutely nothing. I think the only option would have been - they should has asked Rian back. Saying Rian - you have put us in a corner. We don't know how to proceed. You show us the way and write the script for us. Have some skin in the game. Your name is going to be credited up on the screen on 9. So come join the fray and if there is blame - share the blame and if there is reward share the reward.

As one of the tracks that was earmarked as 'damaged' (or sonically challenged) on the previous release, you'll be happy to know that all tracks in this edition sound the best they ever have. It's a great cue and in a sense a satisfying conclusion to the aftermath of the events in the story.

The troll sequence is so prominently referenced in The Lord of the Rings, there would be riots in the streets if they hadn't included it in The Hobbit! I mostly find the exposition in An Unexpected Journey to be hindering to the pace. Never mind that it takes Bilbo a goddamn 45 minutes to start on his quest. At least those 45 minutes are evenly paced, if slow. But when he finally leaves Bag End and the movie seems to start in earnest, we get the introduction of Azog and the flashback to the fight at Moria and the movie grinds to a halt again. It is also the first time the film really can't seem to make up its mind whether it's about Bilbo or Thorin - a problem that only becomes more prominent as we progress through the trilogy.

Fantastic to see Gloria getting a performance! A really great piece and is there is a smaller, dare I say nigh unknown, score from the Maestro that deserves to be spotlighted in a concert Monsignor is definitely among the short list.