John Crichton

LOL Good one, KM. And all too true. Maybe all CDs should be put together at the last second so there is no time to "edit the score for a better listening experience," also known as butchering.

The list price according to amazon.com is $69.98. They're selling it for $41.98 right now.

The anit-TPM: Ultimate Edition one got us an offical apology from Lucasfilm. And I think I remember someone mentioning that an online petition was a reason that the complete Superman was released a few years ago.

Oh, OK. My bad. Guess I dreamed it or something. :roll:

Correct me if I'm wrong, but I think HP1 was performed by the London Philharmonic, the same orchestra that did all three LoTR scores. I don't know who performed HP3.

Wait a minute! Is this for real? What if I didn't want to know this? It's not for real, it's one of many rumored titles.

Whoa, welcome back Jim Ware. I'd like to discuss all this with you, I'll PM you when I get a chance to put something together. Thanks to everyone who's responded for the compliments, and criticisms.

And I think he had the best line in the movie. "Did what?" That line is awesome. Justin That was great, I'll admit that. But one line does not a whole performance make. Love the new sig Justin.

I think that's the overall trend with all movies nowadays.

Yeah, McGonagall has some wonderful dry humor moments in the books, and OOTP is great for her. I LOVE her interactions with Umbridge. It is true that it's difficult to have Rowling's wit be translated to the screen, but it's still something that's missing in the films. Maybe if they got Joss Whedon to start writing the screenplays...

As one who has read them all, several times, I would say Sorcerer's Stone. But I think most of us who read the books will have different opinions on this. I think POA was the LEAST true to the book, due to the plot omissions that have been discussed ad nauseum in other threads.

Gambon didn't do much for me either. It's like he just went through the motions and didn't really sink his teeth into the role. But Dumbledore in the movies has been a disapointment from the start. The wisdom and dignity are there, but the quirkiness and humor are mostly gone. But none of the movies have done a good job of capturing Rowling's sense of humor. They have funny moments, but the wit of the books is lost somewhere.

I have some serious problems with the adaptation too (expertly organized by MaestroJW), but these really are things that aren't missed unless you know that they're being missed. Someone watching the movie that hasn't read the book will probably not think to ask these questions. The plot works in the film, it just loses almost all of its depth. The plot in the movie is an appetizer, the plot in the book is a full meal.

I've written up a quick thematic analysis for TPM. I'd like to get everyone's feedback and after it's polished hope that it deserves a place on the main site. Also, since I have no musical background to speak of if anyone wants to contribute a more technical, Frank Lehman-like side to this feel free to contact me, and I'd be happy to give a co-writing credit . STAR WARS: EPISODE ONE: THE PHANTOM MEANACE THEMATIC ANALYSIS By John Lamm, aka ?John Crichton? No John Williams score, with the possible exception of Hook, has had the depth and scope of thematic material of The Phantom Meanace. Not even Episode Two: Attack of the Clones has the sheer number of themes Williams presented in Episode One. This makes it perfect for an in-depth analysis of themes and motifs, both new and reused. Please keep in mind while reading this that I have no background or education in music, other than playing in my Junior High band. I?m just an average guy who loves John Williams and knows a thing or two about Star Wars music. New Themes Duel of the Fates- One of the two signature new themes. This is a powerful and quasi-religious piece that embodies the eternal fight between good and evil, personified by the battle between the Jedi and the Sith. It consists of three parts. A five note background piece that is the start of almost any statement of the theme, a nine note theme that builds on the background theme, and the choral chants of ancient Sanskrit. The choral Sanskrit is also used as a background motif for Darth Maul (although he has his own theme). The theme as a whole only appears during the Battle of Naboo sequence, acting as the main musical idea throughout the battle. Anakin?s Theme- The second of the major two new themes. This is one of Williams? most brilliant constructions. Depending on how it?s played, it can convey childlike innocence, heroic bravery, or heartbreaking tragedy. The statements in the film focus on the innocence and heroic aspects, but the concert piece emphasizes the future tragedy of Anakin?s destiny. The last three notes mirror the famous dum-da-dum ending of the Imperial March, again foreshadowing Anakin?s future. In fact, I think it can be argued that this entire theme is based on the B section of the Imperial March. This is the most quoted theme in the film. Battle Droid March- A brass based theme used to underscore scenes in which we see the Trade Federation?s battle droids. It is used sparingly, mostly in the scenes in which we see large numbers of droids invading Naboo. For this reason it is often erroneously called the Invasion Theme. Invasion Motif- This is one that has not, to the best of my knowledge, been mentioned before. This motif is mostly played on high strings and/or winds. It appears during Nute Gunray?s first conversation with Amidala, Qui-Gon?s discussion with Boss Nass in the underwater city, and when Padme listens to Sio Bibble?s message after leaving Tatooine. It makes a short appearance in a lower register in the quickie cue when Amidala and Palpatine are talking in Palpy?s quarters before the Senate debate (it plays right after Palpatine says that they are going to have to accept Federation control for the time being). Qui-Gon?s Theme- A heroic, swashbuckling theme that is loosely based on the Force Theme. Like most other new themes it is used sparingly, despite Qui-Gon?s heavy role in the story. It?s biggest appearance is as the basis of the Maul/Qui-Gon Tatooine duel cue. Jar Jar?s Theme- A wacky, bumbling, childish cue for the clumsy CG character everyone loves to hate. It?s only real appearances are at the start of Arrival at Tatooine, and the unused portion of the Jar Jar?s Introduction cue that is on the OST. There is a statement of it when Jar Jar is being ?attacked? by a pit droid in Watto?s shop, but this is almost certainly tracked. Shmi Skywalker?s Theme- Anakin?s mother has a soft, beautiful theme that is introduced in spectacular fashion in The Pod Racer Roars to Life. It is also the basis for the first part of Anakin saying goodbye and preparing to leave. Right when Anakin is saying goodbye for the final time, the theme "evolves? into something a little less warm and a little more longing. This new, ?evolved? theme is used as Shmi?s Theme in Episode Two. Darth Maul?s Theme- A quick eight note dark fanfare. It is introduced the very first time we see Maul as a hologram standing next to Sidious, and is used in every cue involving Maul on Coruscant (with Sidious) and Tatooine. It?s final appearance is when Maul is boarding his speeder bike to intercept Qui-Gon and Anakin. Returning Themes Star Wars Main Title- In the original trilogy this was Luke?s Theme. But despite the fact that he has no role in the prequels, no Star Wars film can start without this, perhaps most famous single John Williams piece ever. There were reports that Williams and Lucas cooked up a darker version of this piece for the prequels, but the idea was rejected early and it was never recorded. Williams even goes a step further than main title continuity, putting quick quotes of this theme into the very first action cue in the film, as well as the Battle of Naboo. It can be seen in the prequels as a kind of battle cry for the Jedi Knights. The Force Theme- The glue that holds the Star Wars musical universe together. And, in my opinion, the greatest theme Williams has ever written. As with all Star Wars films it gets many moments to shine, most notably when Anakin leaves home and when the Trade Federation ship is destroyed in the Battle of Naboo. The Rebel Fanfare- Like the main title, in keeping with tradition this theme gets a couple of quick statements at the start of the end titles. It is not used in the film proper, although it seems to be hinted at a couple of times. The Emperor?s Theme- Used to underscore scenes with Darth Sidious (who looks and sounds remarkably like a certain Emperor in Return of the Jedi). Most statements are the traditonal male chorus we heard in Return of the Jedi that gradually get more intense as the film goes on. However, the last time we hear this is the Coruscant balcony scene. Afterwards, the theme appears when Sidious is talking to Nute Gunray right after the heroes depart Coruscant, but it is played in a much higher register. It is also a portion of what the children are singing in Augie?s Municipal Band at the end of the film. It only gets one statement here in the film version, but several in the album version of the cue. Yoda?s Theme- The little green guy?s theme gets one quick but beautiful statement at the end of the film, in the transition shot before we see him and Obi-Wan talking. Jabba?s Theme- Gets a huge, fanfare statement when he appears before the start of the pod race, although it is hard to discern as it is buried in the orchestration. Imperial March- To the untrained ear, this theme only makes a brief appearance at the end of the film when Yoda is warning Obi-Wan about Anakin?s potential future. However, from the start of the Tatooine sequence on, the famous dum-da-dum that is used as the end of Anakin?s theme is used throughout the score as a hint of things to come. Some are more obvious than others, but it is there frequently, and is so fully integrated into the underscore that sometimes you?re not sure what you heard. Absolutely brilliant.

Wow... your complete sentences are fine, but where are all the complete WORDS? It took me a while to think about all those acronyms! Habit. And the fact that my degree is in Political Science. Talking about government is just one long series of acronyms after another. It's code, really.

Are you sure? I could have sworn I saw clips in the making of with doubles doing the fight, and the actors getting their faces scanned. Well, I was pretty sure I was sure until you asked me if I was sure, now I'm not so sure. Are you sure? Seriously, I thought that's the way it was. I don't remember doubles or CG scanning. But I could be wrong. I'd have to watch the DVD specials again to be sure.

I agree, and I'm shocked that you might have just said something positive about POA. Up until now, all the characters have been British. GOF has characters from France and Bulgaria. But I am wondering about the report of them casting a German actor to play Cedric Diggory, who is British.

If you're so sure of that, you put up the money. Neil If I ever won the lottery I'd probably take you up on that offer.

Didn't they also do that to McGregor and Neeson in TPM? No. I think they filmed the whole thing themselves with no doubles. If they did use doubles, they didn't use any CG tricks.

Like I've said, he's had so many things come and go, I'll believe it and start to get excited when I hear something is actually filming.

I've seen each HP movie twice. I saw FOTR and TTT twice each, but ROTK only once. I saw TPM three times, once during that re-release in November '99 or whenever it was. But the record for me is AOTC. Three times, but they were all in the first week it was out. I meant to go see it again but never got around to it. And I'm too young for the ET, Raiders, SW OT craize. I was around, but couldn't yet form complete sentences. (Some debate on whether I can now. )

Yeah, he was criminally underused in that game. Maybe I am....

AOTC I think. I know the TPM OST had them, not the UE. I don't think any of the HP releases did. Why is it so difficult to put track times on? I get annoyed when I open up a CD and don't see them. But it's not as bad as Independence Day, where the only place you can find the track TITLES is on the CD!

I would lean toward marketing, but I'm not too sure. The perfect marketing opportunity was when the DVDs came out. At the time, Indy 4 was on the fast track, so they might have thought that Indy 4 would be a better opportunity. But we now know that Indy 4 has as much chance of being made as a good Rob Schneider movie. Almost none. I can't imagine Williams holding it up. I can't comment on the master tape rumors, cause they're rumors I know little about. And to be honest, things people don't like Lucas doing are always chalked up to money and greed, but I can't imagine a financial reason NOT to do them. They can't cost THAT much to make, and should sell decently. Indy is probably Williams third most popular franchise after Star Wars and Harry Potter. So my ultimate conclusion is: who knows?

Thanks, assume you're talking to me. It's a direct quote from Murray's first appearance at the start of Curse of Monkey Island.