Jump to content


Popular Content

Showing content with the highest reputation since 12/24/19 in all areas

  1. 25 points
    An anonymous tipster has sent JWFan some information that I can share with you now! The information is a list of cues that appeared in a cut of the film dated November 11th, 2019. Remember, the final day of recording sessions didn't happen until November 21st, and even by this cut some of the cues JW had written had already been dropped or replaced, so consider this a PARTIAL cue list: 1M01 Main Title 1M022 The Ninth Beginning 1M05 Rey Trains 1M06 Ren's Entrance 1M08 Approaching The Nursery 1M09 Rey Wakes Up 1M13 Tell Me What They Are 1M15 Vader's Castle 1M20 Rey Training 1M24 Meditation 1M26 Spy's Message 1M26 Lightspeed Skipping 2M01 Cockpit Dialog 2M02 Fixing The Helmet 2M03 The Wisdom of Maz 2M04 The Emperor Lives 2M06 The Medal 2M07 Ship Trip 2M20 The Forge 2M30 Rey's Mission 2M32 Quicksand 0M01 Children's School 3M00 Lando 3M01 Before The Chase 3M03 No Title 3M06 Knights of Ren 3M07 Ochi and the Dagger 4M01 Rey Senses Ren's Approach 4M02 Rey's Incredible Hand 4M04 Zucini? 4M05 To The End 4M05B Good Ship, Bad Ship 4M06 He Won't Remember 4M07 Rey's Grief 4M10 Red Eyes 4M11 Poe and Girlfriend 4M12 Ship Walk and Talk 5M01 Meddling and Poe's Crush 5M03 Hallway Shooting 5M05 Rey Sees Mother 5M06 Hard To Get Rid Of 5M07 I'm The Spy 5M08 Geneology 5M10 Landing At ? 5M12 Off The Waterfront 5M30 Under a Blanket 6M02 Rey Climbs Pipes 6M02A Climbing 6M04 Daisy In A Veil 6M05 Leia Lies Down 6M07 Stop and Start 6M08 Healing Wounds 6M12 Six Twelve 6M13 Rey's Trip To P 6M20 Sabre Toss 7M01 Seven One 7M02 Rey Meets Luke 7M03 Luke's Advice 7M04 The Meeting 7M05 March Of The Resistance 7M08 Father Knows Best 7M10 Leia's Sabre 7M12 Seven Twelve 7M12A Horses #2 7M20 Approaching The Throne 7M21 Parents 7M30 More Action 7M32 Make The Sacrifice 7M36 Dunkirk 7M38 I Am All The Sith 8M04 Psalm of the Sith 8M05 Jumping The Chain 8M07 Big Ship Blows Up 8M08 On Their Knees 8M10 Success and Sliding 8M11A Dropping The Sabre 8M14 Ben to Rey 8M15 Horn Solo 8M16 End Credits 9M03 Bows 9M05ALT Return to Tattooine The list also contains the two source pieces not composed by Williams: 2S35 JJ Festival Music 3S35 JJ Bar Source As well as the cue names from prior scores that were tracked into this cut: 13M2 from Ep.6 Vader's Death 7M03 from Ep.3 The Birth of the Twins 7M05 from Ep.3 Plans for the Twins 3M26R from Ep.7 You're Han Solo? 4M36R from Ep.7 I Ran Into You 5M46R from Ep.7 Kylo Stalks Rey 6M50R from Ep.7 Han and Leia Reunion 6M55R from Ep.7 Council Meeting 6M56E from Ep.7 Ren In Cockpit 8M77 from Ep.7 March Of The Resistance 4M36 from Ep.8 Luke and Rey
  2. 11 points

    What’s next for JW?

    We’ve sorta circled back to 2006. He’s done with Star Wars and the main thing we’re looking forward to is the vague promise of a new Indiana Jones plus whatever concert works and one-offs happen to pop up.
  3. 11 points
    By my count (last page of my catalogue), there's 22 distinct recurring leitmotifs in TROS, down from the series high of 28 in TLJ. TLJ: 1: Main/Luke 2: Rebel Fanfare 3: Force 4: Leia 5: Death Star (for the Ironing Board fakeout) 6: TIE Fighter Attack 7: Imperial March 8: Han & Leia 9: Yoda 10: Emperor 11: Luke & Leia 12: Battle of the Heroes (debatable, I know, but I'm fairly certain of it) 13: Kylo Ren (Aggressive) 14: Kylo Ren (Hesitant) 15: Kylo Ren (Menacing) 16: Rey (Main) 17: Rey (Gallop) 18: Rey (Chimes) 19: Map 20: Poe 21: Pursuit 22: Snoke 23: Tension 24: March of the Resistance 25: Jedi Steps 26: Luke in Exile 27: Desperation 28: Rose TROS: 1: Main/Luke 2: Rebel Fanfare 3: Force 4: Leia 5: Imperial March 6: Han & Leia 7: Yoda 8: Emperor 9: Luke & Leia 10: Kylo Ren (Aggressive) 11: Kylo Ren (Hesitant) 12: Rey (Main) 13: Rey (Gallop) 14: Rey (Chimes) 15. Poe 16. Tension (hard to differentiate from Anthem of Evil in places) 17. March of the Resistance 18. Wayfinder 19. Anthem of Evil 20. Knights of Ren/Kylo Ren (Fulminating) 20. Heroics 21. Rise of Skywalker/Trio (Cantilena) 22. Rise of Skywalker/Farewell (Hymn) Missing from the TROS score as currently hearable are any references to the new motifs introduced in TLJ, or any references to leitmotifs from the Prequel Trilogy. Jedi Steps is *not* directly referenced, nor is Rose's Theme. A New Home sounds to me like a new, non-leitmotivic theme based on aspects of Rey's Theme (esp. the first ending), Jedi Steps, and Imperial March. Of course, further study might reveal more concealed references to earlier themes, in which case we can all update our listings. If we ever get complete session recordings, I'm also confident some major surprises will turn up.
  4. 10 points
    And here's all the info from the document, in a nice readable table! ## # Start End Title Dur Orig Old Other Old Notes REEL ONE v9DC2 1 1 00:23:20 01:50:03 1M01 Main Title 1:26 1:26 Star Wars 1:26 2 2 01:50:03 02:30:13 1M022 The Ninth Beginning 0:40 0:34 0:06 Kylo :06 3 3 02:30:13 04:34:05 1M08 Approaching The Nursery 2:04 1:53 0:11 Kylo :11 4 4 04:34:05 04:48:12 1M15 Vader's Castle 0:14 0:14 Vader :14 5 5 04:48:12 05:31:15 8M04 Psalm of the Sith 0:43 0:43 6 6 05:31:15 06:01:17 1M24 Meditation 0:30 0:18 0:12 Force :12 7 7 06:01:17 06:19:09 1M09 Rey Wakes Up 0:18 0:18 8 8 06:19:09 07:49:12 1M20 Rey Training 1:30 1:05 0:25 Rey :15 Vader :06 Kylo :04 9 9 07:49:12 08:13:10 1M05 Rey Trains 0:24 0:24 10 10 08:21:13 08:30:20 2M03 The Wisdom of Maz 0:09 0:09 11 11 08:30:20 09:23:12 1M13 Tell Me What They Are 0:53 0:53 12 12 10:07:17 12:39:01 1M26 Lightspeed Skipping 2:31 2:15 0:16 Emperor :05 Resistance :04 Falcon :07 REEL TWO v9DC3 13 1 00:08:00 02:10:00 2M30 Rey's Mission 2:02 1:22 0:40 Emperor :10 Rey :20 Force :10 14 2 02:10:00 02:52:20 2M20 The Forge 0:43 0:23 0:20 Kylo :20 15 3 02:59:05 04:50:08 2M06 The Medal 1:51 1:29 0:22 Force :22 16 4 04:50:08 06:03:13 2M02 Fixing The Helmet 1:13 1:07 0:06 Kylo :06 17 5 06:03:13 06:34:21 2M07 Ship Trip 0:31 0:31 18 6 06:28:01 07:32:10 2S35 JJ Festival Music 1:04 1:04 19 7 07:32:10 09:38:01 0M01 Children's School 2:05 1:41 0:24 Rey :10 Kylo :14 20 8 09:38:01 10:10:17 2M01 Cockpit Dialog 0:33 0:33 21 9 10:10:17 10:27:15 8M05 Jumping The Chain 0:17 0:17 22 10 10:27:15 10:56:23 3M00 Lando 0:29 0:29 23 11 10:56:23 11:40:13 5M10 Landing At ? 0:43 0:43 24 12 11:40:13 12:43:19 3M00 Lando 1:03 0:50 0:13 Leia :13 25 13 12:43:19 13:13:05 3M01 Before The Chase 0:29 0:29 26 14 13:13:05 15:29:07 3M03 No Title 2:16 2:05 0:11 Rey :11 27 15 15:41:22 16:08:00 2M32 Quicksand 0:28 0:28 REEL THREE v9DC4 28 1 00:08:03 00:43:10 3M07 Ochi and the Dagger 0:37 0:37 29 2 01:16:00 02:35:06 3M07 Ochi and the Dagger 1:19 1:19 30 3 02:51:05 04:01:03 6M02 Rey Climbs Pipes 1:10 1:10 31 4 04:01:03 04:48:04 2M04 The Emperor Lives 0:47 0:22 0:25 Rey :11 Force :14 32 5 04:48:04 05:02:08 3M06 Knights of Ren 0:14 0:14 33 6 05:02:08 05:19:18 2M07 Ship Trip 0:17 0:17 34 7 05:19:18 07:46:09 4M01 Rey Senses Ren's Approach 2:26 2:15 0:11 Resistance :11 35 8 08:48:10 09:55:22 4M02 Rey's Incredible Hand 1:07 0:57 0:10 Kylo :10 36 9 10:11:15 10:40:03 8M08 On Their Knees 0:28 0:28 37 10 10:59:11 11:37:19 1M08 Approaching The Nursery 0:38 0:38 38 11 11:28:04 12:23:09 4M12 Ship Walk and Talk 0:55 0:55 39 12 13:01:13 13:28:18 4M05 To The End 0:27 0:27 40 13 12:23:09 14:13:15 4M05B Good Ship, Bad Ship 1:50 1:50 41 14 14:13:15 14:37:19 2M04 The Emperor Lives 0:24 0:13 0:11 Rey :11 42 15 15:26:15 17:13:05 4M04 Zucini? 1:46 1:46 43 16 17:13:05 17:22:14 5M03 Hallway Shooting 0:09 0:09 44 17 17:22:14 17:39:01 3S35 JJ Bar Source 0:16 0:16 45 18 18:42:17 19:34:04 4M06 He Won't Remember 0:51 0:43 0:08 Star Wars :08 46 19 19:35:21 19:58:14 1M06 Ren's Entrance 0:22 0:22 REEL FOUR v9 DC 5 47 1 00:53:21 02:01:13 4M11 Poe and Girlfriend 1:07 1:07 48 2 02:08:07 02:40:04 4M36 from Ep.8 Luke and Rey 0:32 0:32 49 3 02:40:04 03:39:14 4M10 Red Eyes 1:09 1:05 0:04 Kylo :04 50 4 03:51:12 05:45:00 5M01 Meddling and Poe's Crush 1:53 1:42 0:11 Kylo :11 51 5 05:54:08 08:05:12 5M03 Hallway Shooting 2:11 2:04 0:07 Resistance:07 52 6 08:06:12 08:55:13 5M05 Rey Sees Mother 0:49 0:42 0:07 Vader :07 53 7 09:07:19 11:27:03 5M06 Hard To Get Rid Of 2:19 2:08 0:11 Emperor :11 54 8 11:27:03 12:58:23 5M07 I'm The Spy 1:31 1:16 0:15 Rey :08, Kylo :04, Star Wars :03 55 9 12:59:00 15:16:03 5M08 Geneology 2:17 2:09 0:08 Star Wars :04, Rey :04 56 10 15:16:03 15:44:19 4M12 Ship Walk and Talk 0:29 0:29 57 11 15:49:05 16:11:10 4M07 Rey's Grief 0:22 0:22 58 12 16:11:10 16:28:23 5M46R from Ep.7 Kylo Stalks Rey 0:32 0:32 59 13 16:28:23 17:02:07 6M56E from Ep.7 Ren In Cockpit 0:33 0:33 60 14 17:02:07 18:19:06 5M10 Landing At ? 1:17 1:17 REEL FIVE v9DC3 61 1 00:51:18 01:15:04 4M36R from Ep.7 I Ran Into You 0:23 0:23 62 2 01:15:04 01:41:13 2M06 The Medal 0:26 0:12 0:14 Force :14 63 3 01:41:13 02:45:11 5M12 Off The Waterfront 1:03 1:03 64 4 02:57:01 03:31:14 6M02 Rey Climbs Pipes 0:34 0:34 65 5 03:52:03 04:20:08 6M02A Climbing 0:28 0:28 66 6 04:20:08 05:05:23 13M2 from Ep.6 Vader's Death 0:45 0:45 67 7 06:59:16 07:49:13 6M04 Daisy In A Veil 0:50 0:50 68 8 07:49:13 07:55:17 6M05 Leia Lies Down 0:06 0:06 69 9 07:55:17 08:18:20 6M50R from Ep.7 Han and Leia Reunion 0:23 0:23 70 10 09:52:05 11:17:23 6M07 Stop and Start 1:26 1:20 0:06 Kylo :06 71 11 11:34:21 13:36:13 6M08 Healing Wounds 2:02 1:52 0:10 Force :10 72 12 13:36:13 14:37:13 5M30 Under a Blanket 1:01 0:11 0:50 Leia :50 73 13 15:15:19 16:56:12 7M08 Father Knows Best 1:43 1:43 74 14 16:56:12 07:14:23 1M08 Approaching The Nursery 0:18 0:18 75 15 17:14:23 17:34:04 1M06 Ren's Entrance 0:19 0:19 REEL SIX V9DC5 76 1 00:08:04 00:47:01 6M12 Six Twelve 0:39 0:39 77 2 01:05:13 01:25:21 7M03 from Ep.3 The Birth of the Twins 0:20 0:20 78 3 01:25:21 02:15:00 7M05 from Ep.3 Plans for the Twins 0:49 0:49 79 4 02:20:02 02:51:12 7M01 Seven One 0:31 0:31 80 5 02:51:12 03:10:21 7M02 Rey Meets Luke 0:19 0:19 81 6 03:10:21 03:17:04 6M20 Sabre Toss 1:45 1:29 0:16 Rey :06 Force :10 82 7 04:05:17 05:03:02 7M03 Luke's Advice 0:57 0:30 0:27 Rey :13 Force :14 83 8 05:03:02 07:33:22 7M10 Leia's Sabre 2:31 1:15 1:16 Leia :15 Star Wars :15 Yoda :46 84 9 08:21:03 08:36:23 3M26R from Ep.7 You're Han Solo? 0:16 0:16 85 10 08:36:23 08:46:01 5M10 Landing At ? 0:09 0:09 86 11 08:46:01 09:39:03 6M55R from Ep.7 Council Meeting 0:53 0:53 87 12 09:39:03 10:08:23 7M04 The Meeting 0:30 0:30 88 13 10:08:23 10:46:00 7M05 March Of The Resistance 0:37 0:37 Resistance :37 89 14 10:46:01 11:10:08 8M77 from Ep.7 March Of The Resistance 0:24 0:24 90 15 11:10:08 11:42:02 6M13 Rey's Trip To P 0:32 0:32 91 16 11:42:02 12:00:07 7M03 from Ep.3 The Birth Of The Twins 0:18 0:18 92 17 12:00:07 12:56:21 1M26 Spy's Message 0:56 0:56 93 18 12:56:21 13:36:23 1M08 Approaching The Nursery 0:40 0:22 0:18 Emperor :18 94 19 13:37:01 14:57:05 7M12 Seven Twelve 1:20 1:06 0:14 Star Wars :04, Force :10 95 20 14:57:05 15:33:18 7M12A Horses #2 0:36 0:23 0:13 Force :13 REEL SEVEN v9 DC7 96 1 00:08:00 02:34:09 7M20 Approaching The Throne 2:27 2:27 97 2 02:34:09 04:09:16 7M21 Parents 1:35 1:35 98 3 04:46:01 06:52:07 7M30 More Action 2:06 2:06 99 4 06:52:07 08:36:01 7M32 Make The Sacrifice 1:43 1:43 100 5 10:59:06 12:41:10 7M36 Dunkirk 1:42 1:42 101 6 14:04:12 17:12:20 7M38 I Am All The Sith 3:08 3:08 102 7 17:12:20 18:08:21 8M07 Big Ship Blows Up 0:56 0:56 103 8 18:08:03 18:46:13 8M10 Success and Sliding 0:38 0:31 0:07 Falcon :07 104 9 18:46:22 19:37:15 8M11A Dropping The Sabre 0:50 0:20 0:30 Rey:30 REEL EIGHT v9 DC5 105 1 00:16:00 04:32:00 8M14 Ben to Rey 4:16 4:16 106 2 04:32:00 07:50:05 9M03 Bows 3:18 1:15 2:03 Star Wars :08, Force :19, Yoda :40 Rey:13 Luke &Leia :43 107 3 08:00:15 09:42:15 9M05ALT Return to Tatooine 1:42 1:42 108 4 09:48:04 10:21:21 8M15 Horn Solo 0:33 0:33 Force :33 109 5 10:21:12 22:37:00 8M16 End Credits 12:00 10:30 1:30 Star Wars :30 Rey 1:00 Total Music in Film 2:03:56 Total Thematic Material from Eps. 4, 5, 6 10:31 Total Thematic Material from Ep. 7 6:00 Total Cues from Previous Episodes 6:08 Total Source 1:20 Total Original Music (80.55%) 1:39:50
  5. 9 points
  6. 9 points
    That was an amazing concert. I went to the 18th one. I'm generally picky with european orchestra when it comes to performance of John Williams's music, but the VSO surpassed all the other orchestras in the world. As soon as the brass came in, I was literally shocked. What a powerful sound the french horns had I honestly never heard JW's music as greatly performed as it was yesterday. Lets hope for another decade of amazing John Williams's scores
  7. 9 points
  8. 8 points
    straight people are weird
  9. 7 points
    No, but I was planning on writing one up tomorrow on my day off!
  10. 7 points
    It would've been nice had Rose accompanied them on their journey to Pasaana, especially as a lighthearted foil to both Finn and Poe. Zori Bliss is another example of 'quick sob story in exposition scene = full-fledged character' which is so sloppy and cheap this late in the game. Although I liked the way in which they introduce the village she's in, which is reminiscent of WW2, with the stormtroopers searching the houses.
  11. 7 points
    Ugh I can’t get over how much I love “The Force is With You”. The stunning rendition of Rey’s chimes theme followed by the subdued moment of sheer bliss as Rey looks into the stars and hears the Jedi calling to her. It’s fucking sublime and heartbreaking. Emperor’s theme doing its thing for a bit and then........ And then possibly my favourite ever rendition of the Force theme ever rising and rising to an incredible climax - the whole melody by the way, not just the first part. Then a gorgeous statement of the Rise of Skywalker/whatever we’re calling it theme. A great hit of the rebel fanfare. we don’t deserve this
  12. 6 points
    I was fortunate enough to have been able to go to both performances, and just came out of the second concert. It was equally amazing as yesterday, if not even better!!! I’ll gather my thoughts as soon as I have some time to put them down... right now I need some champagne to celebrate an amazing weekend!
  13. 6 points
    A Thematic Breakdown of: THE MANDALORIAN: SEASON ONE Music composed by Ludwig Goransson Part 1 of 4 Themes in Chapters 1 & 2 (in order of appearance) Recorder Riff (original presentation) "Western" Motif "Travelling" Motif The Client * Mando Utility Motif (recently discovered) * Dramatic Utility Motif (previously known as Mando Culture) "Forge" Motif Recorder Riff (skeletal presentation) Chime Motif Dies Irae (traditional) The Child Razor Crest Jawa Motif * - utility refers to the fact that Goransson uses the theme(s) whenever he needs to without leitmotific significance CHAPTER 1 1. Hey Mando! (2:14) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 1:42 Western Motif (piano w/ distorted guitar) 1:48 Western Motif (piano w/ interlude) 1:55 Western Motif (piano) 2:01 Western Motif (piano) 2. Face to Face (5:13) 0:00 Travelling Motif 0:42 Recorder Riff (variation) 1:06 Travelling Motif Recorder Riff (variation) 2:45 The Client 3:22 Recorder Riff (variation) 3. Back for Beskar (2:26) 0:00 Western Motif (piano) 0:07 Western Motif (piano) 0:15 Western Motif (piano) 0:23 Western Motif (piano) 0:32 Mando Utility Theme (high strings) 0:46 Dramatic Utility Theme Mando Utility Theme (high strings) 1:02 Dramatic Utility Theme Mando Utility Theme 1:16 Dramatic Utility Theme Mando Utility Theme 1:55 Mando Utility Theme 4. HammerTime (2:18) 0:15 Forge Motif 0:27 Forge Motif 0:46 Recorder Riff (orchestral variation) 1:18 Forge Motif 5. Blurg Attack (1:26) 0:17 Recorder Riff (skeletal variation) 0:29 Recorder Riff (skeletal variation) 0:57 Chime Motif Recorder Riff (skeletal variation) 1:05 Fanfare 6. You Are a Mandalorian (3:56) 0:34 Recorder Riff (skeletal variation) 0:46 Recorder Riff 1:56 Recorder Riff (skeletal variation) 2:11 Fanfare 2:42 Recorder Riff 2:53 Recorder Riff (skeletal variation) 3:04 Recorder Riff (skeletal variation) 3:26 Recorder Riff (skeletal variation) 3:37 Recorder Riff (skeletal variation) 7. Bounty Droid (3:03) 1:23-1:55 Dies Irae (traditional) 8. The Asset (1:36) 0:55 The Child 1:23 Recorder Riff 9. The Mandalorian (3:19) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 0:46 Western Motif (piano w/ distorted guitar) 0:52 Western Motif (piano) 0:58 Western Motif (piano w/ interlude) 1:04 Western Motif (piano w/ interlude) 1:09 Western Motif (piano w/ interlude) Fanfare 1:15 Western Motif (piano w/ interlude) 1:21 Western Motif (piano w/ interlude) 1:26 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:32 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:39 Fanfare Western Motif (triangle [?] w/ interlude) 1:44 Western Motif (triangle [?] w/ interlude) 1:50 Western Motif (triangle [?] w/ interlude) 2:09 Razor Crest 2:20 Razor Crest 2:33 Recorder Riff Western Motif (interlude) 2:38 Recorder Riff Western Motif (triangle [?] w/ interlude) 2:45 Recorder Riff (skeletal variation) Western Motif (triangle [?] w/ interlude) 2:51 Recorder Riff (skeletal variation) 2:56 Chime Motif CHAPTER 2: THE CHILD 1. Walking on Mud (1:39) 0:15 Recorder Riff 0:45 Recorder Riff (increasing distortion) 1:18 Western Motif (piano w/ distorted guitar) 1:23 Western Motif (piano) 2. Jawas Attack (3:47) 0:00 Jawa Motif (underlying rhythm) 0:03 Travelling Motif 0:20 Travelling Motif 0:32 Jawa Motif (underlying rhythm) 0:40 Jawa Motif (underlying rhythm) 0:47 Jawa Motif (underlying rhythm) 0:54 Jawa Motif (underlying rhythm) 0:58 Jawa Motif (underlying rhythm) 1:12 Jawa Motif 1:20 Jawa Motif 1:27 Jawa Motif 1:34 Jawa Motif 1:39 Jawa Motif (underlying rhythm) 1:53 Jawa Motif 2:01 Jawa Motif 2:08 Jawa Motif 2:22 Jawa Motif (underlying rhythm) 3:12 Jawa Motif 3:20 Jawa Motif 3:35 Jawa Motif (underlying rhythm) 3. Trashed Crest (2:19) 0:06 Recorder Riff 0:38 Fanfare (variation) 1:24 Recorder Riff (skeletal variation) 1:34 Fanfare 2:03 Recorder Riff 4. To the Jawas (1:36) 0:00 Chime Motif 0:12 Recorder Riff 0:21 Fanfare 0:37 Jawa Motif 0:48 Jawa Motif 0:54 Recorder Riff (skeletal variation) 0:56 Recorder Riff (skeletal variation) Western Motif (interlude) 1:02 Recorder Riff (skeletal variation) Western Motif (interlude) 1:08 Recorder Riff 1:19 Recorder Riff 5. The Egg (2:55) 0:00 Jawa Motif (underlying rhythm) 0:17 Jawa Motif (underlying rhythm) 0:26 Jawa Motif 0:34 Jawa Motif 0:40 Jawa Motif (underlying rhythm) 1:00 Recorder Riff 1:17 Recorder Riff 2:22 (see 4:30 The Hangar - Chapter 5, 2:16 Nice Family & 2:05 Mando's Back - Chapter 6) 6. The Mudhorn (3:01) 2:11 The Child 2:34 Recorder Riff 7. Celebration (3:32) 0:01 Mando Utility Theme (orchestral) 0:13 Mando Utility Theme (orchestral) 0:23 Jawa Motif (underlying rhythm) 0:30 Jawa Motif (underlying rhythm) 0:49 Jawa Motif 1:09 Recorder Riff (skeletal variation) 1:14 Recorder Riff (skeletal variation) 1:23 Fanfare 2:07 Jawa Motif (underlying rhythm) (percussion) 2:23 Recorder Riff 2:48 Fanfare 8. The Next Journey (2:36) 0:00 Recorder Riff (skeletal variation) 0:12 Recorder Riff (skeletal variation) 0:23 Recorder Riff (skeletal variation) 0:35 Western Motif (piano) 0:44 Western Motif (piano w/ interlude) 0:49 Western Motif (piano w/ interlude) 0:55 Western Motif (piano) 1:01 Fanfare 1:22 Razor Crest 1:33 Razor Crest 1:47 Recorder Riff (variation) 1:58 Chime Motif 2:14 Recorder Riff (skeletal variation) I'm working on Part 2 (Chapters 3,4) as you read this. Any cross-referencing would be great as I am only one person and could've easily missed or misinterpreted the music at times. It takes a good deal of time, but it has been a lot of fun revisiting the albums in order so I'm happy to do it.
  14. 6 points
    The first 40 seconds of Journey to Exegol is the most badass thing JW has written for years
  15. 6 points
    Whatever. Some of us like what we hear in films that doesn't make the album. We sincerely apologise for loving music.
  16. 6 points
    Interesting thread to look back on!
  17. 6 points
    The trio theme at the end is my fave. I’ll never get sick of violins gliding up to a high note like that. That sound actually does give me the chillz. Yoda’s Theme and Luke & Leia are ridiculous and make no sense but fuck it, it’s Star Wars, they sound great and I think it flows pretty well musically, the movie sucks anyway. I love that track.
  18. 6 points
    Holy shit. When you list it out like that, it's stunning. John Williams really has a different concept of what a score highlight is, compared to the fans of his work.
  19. 6 points
    Skyfall is probably the best-looking Bond flick of them all.
  20. 6 points
    Look what managed to arrive this Christmas Eve: Christmas sorted. Rise of Skywalker next week for us Aussies.
  21. 6 points

    What’s next for JW?

    First, the Pope must recognize that having scored the 9 SW movies, John Williams did a Miracle. Then we proceed to the canonization. After we’ll celebrate the 4th of May as the Saint-John-Williams.
  22. 6 points
    Reposting from Twitter a little analysis I cooked up of this extraordinary piece of music: "Rise of Skywalker" concert arrangement based on two distinct but emotionally simpatico themes, a hymn (A) that's stated in full in the first minute (first woodwind choir, then strings), and a more lyrical, striving melody (B) that is stated over the next minute in strings and horns. The middle the piece is essentially a development section that sequences and composes out the B theme. Midway through, it becomes based on the music from the aftermath of the final battle in the movie.There's a big arrival back on the A-theme at 2:50, now much more fully orchestrated (in the film there's also chorus). This has some developmental qualities too (internal modulation to Db maj before returning to Bb), but overall serves a climactic & recapitulatory formal function. There are a few cadential delaying tactics before the very end, including a great brass chorale that evokes the conclusion of Rey's Theme nicely and a little rebel-fanfare-esque chromatic planing. The final bars make a brief, transformed statement of the B theme. The unusual structure of this piece -- bithematic ternary with some light rotational and developing-variational features -- is characteristic of I guess you could call "late" period Williams SW concert arrangements. "Rebellion is Reborn" and "Galaxy's Edge" work similarly. Watching the way his approach concert arrangements have evolved over time is fascinating. The developmental, dare I say sonata-principle-esque, impulse seems to be getting stronger and stronger the older Williams gets. In terms of melody & harmony, there's a nice mix of old and new here too. The A theme has a Lincoln-y quality, and the B-theme a War Horsey vibe (those tearjerking IV<=>iii progressions!), but I also get some ET, Amazing Stories, Midway, Spacecamp, even Close Encounters...I also hear Williams channeling Brahms quite strongly in the opening section, and echoes of Franck, Saint-Saens, and Prokofiev in the B-theme. As far as connections with Star Wars music, there seem to be some passing echoes of Rey (esp. her chimes), Rebel Fanfare, Jedi Steps, and March of the Resistance in there, plus Yoda/Young Anakin/Rose by dint of the lydian disposition of both A and B themes. Overall -- and my opinion will surely evolve over time -- I think it's an intensely beautiful, well-balanced, & sophisticated piece of music with a direct, heartfelt sentimentality that Williams does so well. Up there w/ Rey's theme as the best concert arr. of the ST.
  23. 5 points
    The second one was even better if possible. John is in so good condition, that I hope he will do this again. I will definitely be there, so wonderful!!
  24. 5 points
    Ready to board the plane! Here I come Vienna and John! #excited😅
  25. 5 points
    Wholly undeserved. Its nice lip service from the Academy, which has no credibility remaining.
  26. 5 points
    As crazy and fast-paced as they were, I absolutely loved the first 2 or 3 minutes of this film. Even though it's mostly just a very quick montage, the film felt normally paced and there is a confidence to how gung-ho it chooses to be starting out that I think is never really felt again for the rest of the movie. There was something very satisfying about just immediately hopping into the story, almost in a way like the film was saying "whether you like or hate the direction we chose to go in, we're going for a ride so you best buckle in." And obviously the music comes in to great effect here to help with that, but I really have to especially highlight this moment in 0:55 to 1:28 of the FYC Prologue track. When I first heard those quick little string lines in the film at the start after Kylo grabs the Wayfinder and sets out for Exegol, I assumed it was gonna be just a brief little idea that Williams would voice before moving on to something else because it seems like that has more or less been his style when having to deal with these quicker and faster cut action pieces as of late. It's something that really annoys me at times because there will be a fun little phrase he'll throw in and it'll be gone as soon as it was introduced and I'm left just wishing he had chosen to spend a little more time with that idea before moving on. As a result, I really got a thrill out of hearing in the theater Williams just choosing to keep building and building upon those string lines. I kept waiting for him to pull back and cease the momentum but he just continues to double down and ramp up the intensity. Felt very Anderton's Great Escape which I loved. I also appreciate how Williams doesn't even just leave it as this fun little action moment to get things going, instead even going so far as to throw-in that little Anthem of Evil statement in there at the start. There's just something about how well Williams captures the energy of what is happening on the screen with those 30 seconds and how sprightly the music is during that sequence that really got the blood pumping. The music and film seemed to be perfectly in-sync and, for one of the few times in the movie, that feeling of obtaining information faster than you could process worked in favor of the film, making for a really great opening in my eyes. I don't know. It's nothing SUPER special, but there's just something about that section of the music I really like. This score is good.
  27. 5 points
    Anyway, am I the only one that thought the Sith troopers would be on screen for more than 3 seconds?
  28. 5 points
    My clue about this disappointing film came when I listened to the score as a preview. I love listening to the pure musical storytelling before seeing the film, when it becomes forever associated with the images and scenes. Now I'm a devotee to John Williams, but how strange that I found this score dark, melancholy, and even meandering and lost. I thought it was the characters that might get lost, but alas it was the film itself. It's also worth noting this score features the fewest hearings of original trilogy themes, which have served as storytelling anchors since Episode 1. This has few, the film has no centre, and an avant-garde score didn't help. I agree with all your points. Poor characterisation is this films biggest flaw. Ben's turning to the light - the TITLE OF THE FILM - was handled so badly: a talk with ghost dad, Rey saying she would've taken Ben's hand, and Leia reaching out to him. (The last had to happen so that Leia could go the way of Carrie Fisher, her big CGI head and odd one-liners were getting awkward). And to cememnt his turning, the Knights of Ren were one of the many lost ideas in this trilogy so a face off with them was already going to be flat, but might have had more effort put into it (after the choreography of TLJ's red-suits fight, this felt like they didn't want to bother). I would've loved Rey's tantalising delve into the dark side to actually have been a struggle and gone somewhere, but nah. Finn and Poe's charisma was great, but didn't make up for their lack of development - bickering yes, but exploring how strife and the presence of evil turns the best against one another, and how they find solidarity, is what their story could have, should have, been about. Finn didn't need a new friend, he needed to focus on working on his existing friendships lol. Lando did his best, introduced unceremoniously within a moving box. And yes, Rose was criminally ignored. So if you're not going to work on your characters, get a good story. This plot was pish. I was hoping for the plucky rebels rallying support across the galaxy, new helpful, interesting friends, and looking for a way to defeat the baddies in one last desperate assault. The Emperor could get a twisted reveal as master orchestrator and Rey and Ben destroy him together, never quite eliminating evil as the light and dark balance is alluded to. But no, the Emperor is flagged up in the first line - "This film will be about Emperor Palpatine" - and gets shlocky flash-shriek horror treatment from the off. Our heroes know about him already and have to find a Horcrux or whatever to be able to access the necessary final battle. We fly from place to place, or back and forth, while seeing lots of people we don't know much about. Jeopardy is missing for a number of reasons, and the ultimate threat of the Final Order fleet doesn't really help. The action is flashy, but doesn't matter much, and feels 'lighter' than ever. That 'ground battle' was pointless, was entirely exposed to cannon fire from above, and knocking out a comms dish does not neutralise a fleet. An entire fleet of rebels is great, but how many destroyers do they manage to destroy? I didn't really get any sense of the ebb and flow of battle. Does the melting of Palpatine, the destruction of the flagship (sadly not an Executor-type like previous ones), a few more falling down, and "people rising up across the galaxy", count for a total victory? Doesn't really feel like it, except that I'm being told so. I'd rather roll with Return of the Jedi's simple battle station elimination and forest victory, then party with some teddy bears. And the mechanics finally got to me; I could tolerate TLJ's fleet-running-out-of-fuel-and-slowing-down-in-space, the arcing laser blasts and the comms-through-hyperspace. These are totally geek criticisms, but this film really cemented this trilogy's move from away from plausible science-fiction mechanics in the originals, tilted towards science-fantasy by the Force, into the realm of out-and-out fantasy. Now the Force is bending it's own rules arbitrarily to serve story (as per Rey's/Ben's healing and its cost). Now the Falcon's is light-speed jumping into absurd scenarios as if moving at light-speed is like using a portal - the audacious trick is tried twice in TFA where they just about got away with it. But compare it to the original trilogy where the first light-speed jump takes an entire scene to prepare, and the use of one precious light-speed jump to escape capture in The Empire Strikes Back creates almost the entire jeopardy of that film. And now the Empire can destroy a planet with a star destroyer's penis-cannon: isn't it amazing how they've miniaturised their technology! Back in the seventies you needed a battle station the size of a small moon to destroy a planet. Again, too much threat, not enough jeopardy. It's obvious that this film was batted about a bit: the credits show Trevorrow worked on the story before it was handed on. They couldn't have helped Carrie Fisher's absence, and their handling of that would've been forgivable within a better-conceived, better-executed film. But Trevorrow got the gig by directing Jurassic World, and it's clear that him and Abrahms are adept at flashy, hollow fan-service that might carry some gravitas if the studios put enough time and talent into script-writing. Too busy churning them out to a schedule. It's also not very clear in what way this is an ending, with Disney so eager to continue milking this juiciest of cows. For a supposed 9-film arc, it certainly didn't wrap up with the anything like the sobriety or reverence of Avengers: Endgame, or Return of the King. It feels to me like The Force Awakens is the best of this trilogy, while not even being a great film. It could have been so different if Disney, acquiring the OP 5 years ago, before embarking on the first of the new films, had spent some years planning with committed creative minds a whole and well-ordered trilogy, drawing some of the best ideas that many authors have explored in sequel novels since the late 80s. Instead this trilogy tries to be everything, but ends up flitting here and there, overbaked by too many cooks - multiple contradicting intentions and half-executed ideas, and films that feel like they are 'about Star Wars'. The Original Trilogy and Prequel Trilogy benefitted from George Lucas' creative vision at the centre - the first one being seminal, a new context for old mythology with stunning aesthetic design and cutting-edge technological execution. The Prequels famously suffered for Lucas' weak script-writing and flat direction, and the opposite of today's problem: his dominance of the creative process without the diversity of producers to round things out. Both trilogies are also quietly awful in their race and gender representation, though worst in their beginnings. And now we have films for the modern attention-span, featuring the modern ethics, full of the modern self-referential, recycled repetoire. My ill wife was watching The Hobbit, for which all of this applies too methinks, and I remarked how we should go back and watch good old-fashioned racist and sexist Lord of the Rings, because we knew where we stood with those tired old values, and at least each thing mattered in it. If only our new films in beloved franchises could be brought towards better values without having to be hacked to little pieces for the ADHD generation or made-to-recipe for the widest possible box-office grab. I think I'll got watch The Mandalorian. It doesn't pretend to be anything other than what it is.
  29. 5 points
    Yeah but it's happened too often he omitted ABSOLUTE highlights of the score Superman: Helicopter Rescue Raiders: Indy on the Sub Temple of Doom :Short Round Helps Last Crusade: The Portuguese Coast Krystal Skull : Marion over the Cliff, Jungle Chase Return of the Jedi: Dark Side Beckons Empire of the Sun :Bringing them Back Phantom Menace: It's Working, Anakin Wins, Talk of Podracing, Battleship Destroyed Revenge of the Sith : Goodbye Old Friend,Boys Continue,Padme's Visit,Padme's Funeral,Plan for the Twins,Finale ...etc Harry Potter and the Sorcerer's Stone: Gryffindor Wins the House Cup Harry Potter and the Prisoner of Azcaban: The Rescue of Sirius The Force Awakens: The Resistance Arrives The Last Jedi: Ray Trains with Lightsaber The Rise of Skywalker: Lando Arrives, Ray Training
  30. 5 points

    What’s next for JW?

    JW's mom lived to be 97 without "being sick a day in her life", dad lived to be 80. By all accounts, he will never retire because he is doing what he would do if he retired which is compose. So as long as he is physically able to, we will get new music from him and that could be for a few more years. Sure his pace has slowed and maybe he would prefer to do more personal projects but I still think we'll have a few more years of new music from our Maestro. I heard from many in the SWIX session that his mind, aptitude, endurance was the same as its been for decades.
  31. 4 points
    Maybe I'm naive or down to earth, but this is totally what I expected a soloist at such mixed concert to do. But yes, ASM was great in conduct in every way. She played great, and when a bowstring broke, she corrected the bow between notes and played flawlessly till the end of the piece despite the dangling bowstring. She also clapped for Williams (so did at least one more musician as well) and even did a little "woo" at one point. Can't wait for some description in what ways will the concert today (it started 10 minutes ago) differ, whether in playing or audience reception. P.S. The one thing I still cannot wrap my head around is that Williams conducted for over 2,5 hours yesterday, all standing. At the age of 88! And he did it with so much energy as if he was middle-aged again. The fact that it started snowing beautifully right before the concert reminds me of the story of a thunderstorm when Beethoven died. Only this time, it was real!
  32. 4 points

    RIP Christopher Tolkien

    A 96-year old friend of mine died in October, half a year after he'd released his memoirs. He told me "Now I have said everything I've wanted to say. Now I can go quietly." I believe with "The Fall of Gondolin", Christopher Tolkien had seen every major piece of his father's writings through to publication. An astounding achievement. He, too, could now go quietly, I guess. They don't make 'em like CJRT anymore. Namarië!
  33. 4 points
    Regular folks thinking - 6 nominations for the same song?
  34. 4 points

    THE POST - SCORE Thread

    Complete cue list for The Post, courtesy of the BMI database. The only FYC track that isn't represented here is FYC 'Ben's Living Room' (which is the same cue as OST 'Scanning the Papers'). Having verified with the film the cue list is in correct order (and no cues went unused) but the split between the final 3 cues (and the contents of 'Redo') remains unclear. I could only find one "courtroom" cue before Court's Decision and End Credits, which is partially included on the OST at the end of The Presses Roll. Music on the FYC or OST is delineated green. Film Cue List Papers Various Presidents Reading the Paper Richard The Base First Class Seat Scanning the Papers McNamara Photo Wild About Harry Let's Publish Lawyer Talk Dad's Note Setting the Type Presses Roll Courtroom to Court Building (partially released) More Courtroom (unclear) Court's Decision and End Credits Redo OST Tracks Nixon's Order (which is the cue Reading the Paper) Mother and Daughter (which is the cue Dad's Note) Deciding to Publish (which is a microedited combination of Wild About Harry, Let's Publish and Lawyer Talk) Two titles struck me as the missing source cues. Anyone with a better musical knowledge who might understand what For Chester with Love is referring to? Source Music Booth at Chasens For Chester with Love Oak Room 1971 Two Martini Lunch
  35. 4 points
    "hE sHoULd hAvE qUotEd aCrOsS tHe sTArs"
  36. 4 points
    Mike kinda disses JW at the end, but Jay sticks up for Rey’s Theme a bit Seems her main theme is still generally having a harder time sticking than the catchier little motifs. Reminds me of “Duel of the Fates” on a smaller scale, everyone thinks of the ostinato and nobody would ever immediately remember the central melody.
  37. 4 points
    Well JJ had to make room for such memorable new characters as... Zorro Blass. And Jannah someone. And Dominic Monaghan! All playing vitally important characters that left no room for the existing ones to have any sort of closure or relevance in the narrative.
  38. 4 points
    As much as I want the unreleased music and like the combined assembly of the OST and the FYC, I still think this cd, as it stands, provides a very good listening experience.
  39. 4 points
    I am perfectly capable of both enjoying what I have AND desiring the rest of the score, thank you
  40. 4 points
    I always love how you treat the release of a new Williams OST as a bad thing, KM.
  41. 4 points
    I'm going to find Matthew Wood and come to his house dressed as General Grievous and kill him. No Joke.
  42. 4 points

    What’s next for JW?

    It was hard to even count on this decade so I’m not daring to look that far ahead. But I am cautiously optimistic that we’ll get to see him as a 90 year old working composer. That’d be wonderful. This Star Wars trilogy has been a great thing to have. I’m really left feeling after all this like no stone was unturned and I have a real sense of what he can, can’t, will, and won’t do compared to his various other “eras,” not just Star Wars but all these big adventure scores that I’ve loved all my life. And I’m satisfied that even if Indiana Jones rolls around as a bonus, this closes the book on something major. There’s just no reason he would ever commit to three films of this size again and I’m happy not to be left wondering “what could have been” in this late stage of his career. I feel like he has given all I could ask him to give in the most entertaining category of his considerable talents. So as a fan of both the composer and the man, I genuinely feel more than ever that I just want him to do whatever he wants. I have no expectations but it is sad that we have nothing concrete to look forward to for the first time in years. I guess all I really hope is that he never makes me wait more than a year or two for something new.
  43. 4 points

    What’s next for JW?

    Exactly. He might be 87, but he's a sprightly 87-year-old (my own granddad passed at 86, in considerable worse shape the last couple of years of his life). More like 77 in 'physical age' if judging by his appearances lately. So I'm optimistic and hoping for another whole decade of new Williams music in some form or another. He'll be like Mozart, composing on his death bed and relating his notes to some Salieri (William Ross?). Let's hope he'll be like Portuguese film director Manuel de Oliveira, who directed films untill the very end, at age 106(!).
  44. 4 points
    My favourite imitation was done by Clint Bajakian for the video game Indiana Jones and the Emperor's Tomb. Not only did he convincingly imitate JW's various stylisms but he also managed to capture the playfulness of Indiana Jones music in particular. Some examples: This imitates JW's "Nazi" style to a tee (brass in octaves, snare drum etc.) (SHAMELESS PLUG ALERT) I have tried to imitate JW in the past, mostly unsuccessfully, but I think my most successful attempt was with this Prequel-style action track:
  45. 3 points
    I saw David Arnold reply to a tweet saying that he only received his TRoS FYC yesterday... whether that was referring to just the DVD of the film, I don’t know... but it might be hopeful!
  46. 3 points
    I haven't had any crazy theories for a while, so here we go. ...I'm listening to the Scavenger, and the rhythmic piano section of Rey's theme (starts at 1:03) sounds eerily similar to the Emperor's Theme. Sort of like Anakin's Theme was a bright and cheery version of Darth Vader's theme? Is the Skywalker gone bad, and the Palpatine gone good this time? Is this why Luke gives Rey the death stare at the end?!
  47. 3 points
    The statement of Luke and Leia is definitely new, though it starts with the concert arrangement. It’s a beautiful moment.
  48. 3 points
    One should not have to read the plot of a film to understand it before seeing it. That is not the fault of TLJ, that is the sole responsibility of the film in question. The trajectory that TLJ left was simple: Rey is the last Jedi and Kylo Ren is the Supreme Leader. The resistance is in tatters, seemingly alone in the galaxy but for a spark of hope left by the legendary Luke Skywalker’s final sacrifice. How will the war be won? We didn’t need MacGuffin daggers, revived Emperors, questionable kisses and ten thousand planet-destroying starships to answer that question. Simplicity does not equal empty.
  49. 3 points
    Damien F

    What’s next for JW?

    The lead role in 'Oma Tres: A Star Wars Story'
  50. 3 points
    I tried so hard to like this film. I held out until the very end hoping that something might happen to salvage what a mess this "final" entry was in my eyes, but nothing happened. In what was possibly a product of the film mix, the quality of my theater's speakers, or both, I could hardly hear the score throughout 85% of the film despite my best efforts. The film ended and the credits rolled and I felt immensely disappointed. I'd spent 2+ hours feeling numb to what was happening and both frustrated and surprised at myself for not feeling more when significant events were occurring with characters I had invested sizable time with. But then those end credits swung into that Rise of Skywalker theme and our theater was filled with that old Williams magic. Suddenly I was back to being a little kid again, discovering and in awe of all Williams had to offer for the first time, eagerly trying to get my hands on anything he had written. There is a seriously transportive nature to that theme that almost, to me, seems to perfectly embody the love and appreciation we have for this man and the impact he has had in our lives more than anything. It's more befitting of being representative of Williams saying goodbye to Star Wars and reflecting back on the stupendous nature of his incredible career than a closing theme for the Skywalker saga (as I'm sure others have noted). For a solid minute, I sat in that mostly empty theater and felt all these intense waves of varying emotions alongside the sinking realization that Williams was here to send us off with one final glorious farewell. Williams was able to conjure up more feelings from me and with more depth in that single minute than the entire film had in 2 hours. As much as I loved the new sequel scores, after the Last Jedi I was content with saying that Williams had said pretty much everything he had to say on this franchise but then this theme comes along and proves me dead wrong. It was like the last piece had finally clicked into place. It feels so deliberate and purposeful to me, almost as if Williams knew back when he was asked if he wanted to score these new films that he had this one last thing to say on them. Or as if he had written this theme in the late 90s/early 2000s and had just forgotten to use it in anything and discovered it stashed away in a drawer somewhere shortly before scoring this film. The man turns 88 in 2 months and still knows how to make me feel certain emotions better than anyone. I'm speechless and in total awe at how beautiful this theme is. This is a defining theme.
  • Create New...