BLUMENKOHL

Also Ridley Scott is a prime example that the auteur theory isn't getting you anywhere with the number of plot-driven commercial drivel he turned out over the years.

Exactly. I can tell when Deakins is cinematographer. And I can tell when Ken Adam has been designing sets. I can tell when John Williams is composing.
 
But to then turn around and say this film is clearly the vision of one person...uh...defies logic. 

Pub clearly said that this is possible but does not prove any fantasies of auteurism. 
 

Publicist and I agree so rarely that when we do, it must be because whoever is arguing against him has lost his damned mind!
 
Comparing a single author novel with 800 crew member films and asking why we can't attribute films to one person. Jesus Christ. 

Because they aren't done by one person and as far as we know, often ruled by all kinds of interferences that just makes the label impractical and misleading.
 
It's just another stupid label invented for film fans to hang their adoration on this one face when the term 'film director' pretty much sums it up. 

Zimmer is the first composer to truly give film music its own unique voice, distinct from quite anything else. His place in the history books is secure.
 
 
Classic bullshitology at JWFan. 
 
For all we know Williams divines the cracks in his constipated dumps into notes on the page, and Zimmer uses the blood of his first born child to get his music written. But the black box nature of composers' process sure won't stop us arguing about who put the most amount of effort into their music, and what this speculative effort means for the art!
 
Artsy fartsy people are not right in the head.

Zimmer is the first composer to truly give film music its own unique voice, distinct from quite anything else. His place in the history books is secure.
 
 
Classic bullshitology at JWFan. 
 
For all we know Williams divines the cracks in his constipated dumps into notes on the page, and Zimmer uses the blood of his first born child to get his music written. But the black box nature of composers' process sure won't stop us arguing about who put the most amount of effort into their music, and what this speculative effort means for the art!
 
Artsy fartsy people are not right in the head.

Zimmer is the first composer to truly give film music its own unique voice, distinct from quite anything else. His place in the history books is secure.
 
 
Classic bullshitology at JWFan. 
 
For all we know Williams divines the cracks in his constipated dumps into notes on the page, and Zimmer uses the blood of his first born child to get his music written. But the black box nature of composers' process sure won't stop us arguing about who put the most amount of effort into their music, and what this speculative effort means for the art!
 
Artsy fartsy people are not right in the head.

Don't they teach you arithmetic in Petit France? Jaws was 3 notes!
 
You can make anything sound manly with a pair of tubas and a trombone. 

Our artistic elite are not comfortable with people making money from their art. Unlike Mozart, Haydn, and Tchaikovsky, who I hear worked pro bono composing music for the poor, the syphilitic, and the damned. Such was the wondrous life and art of true artists in the old country...

Our artistic elite are not comfortable with people making money from their art. Unlike Mozart, Haydn, and Tchaikovsky, who I hear worked pro bono composing music for the poor, the syphilitic, and the damned. Such was the wondrous life and art of true artists in the old country...

Our artistic elite are not comfortable with people making money from their art. Unlike Mozart, Haydn, and Tchaikovsky, who I hear worked pro bono composing music for the poor, the syphilitic, and the damned. Such was the wondrous life and art of true artists in the old country...

Hmmm, I'm not sure it's as simple as that. 
 
A longer line melody gives the composer more degrees of freedom in terms of time and usually pitch as well, within the melody. So yes, it's more complex in that immediate sense. A compact musical idea doesn't offer the same degrees of freedom in that immediate way.
 
But once you start zooming out of that immediate line of melody or musical idea, the perspective changes a little. Now the compact musical idea affords the composer far greater degrees of freedom than a long line melody.
 
The simplicity of the ditty allows, if the composer chooses to take advantage of it, far more degrees of freedom (which lets you do complex things) for the overall piece. The complex melody, on the other hand, constrains what you can do around it. Without simplifying the long-line melody, it becomes tough to get it to fit with other things. So as an example: the Force theme in full usually sounds a out of breath and clunky when it's presented in a frenetic action context....and so usually it's not, at least not without streamlining and shedding some lines. 
 
So it's really a matter of deciding where the composer wants their degrees of freedom and complexity. The melody? Or what's around the melody?
 
To illustrate it at an extreme: if you simplify the musical idea enough, say just one note, you can actually do all kinds of wacky stuff, and as long as that one note persists it provides a gravitational center for a cogent narrative. I believe that's called the tonic note?
 
 

This feeling of inevitability in many of his themes is, to me, one of Williams' greatest qualities as a composer. One thing that he does regularly in his writing of themes that isn't so common in others' is the variation of a short opening idea across the rest of the theme, which gives the theme a sense of a narrative like you mentioned, with a beginning, middle, and end. Not only this, but combined with Williams' inimitable coordination of so many musical parameters, the theme starts to take on a feeling of inevitability.
 
You mentioned the Force Theme - I couldn't have picked a better example. Most long-lined themes break down into two halves, a sort of beginning and end, or statement and response. And these halves (especially the first) usually break down into two shorter ideas something like this:
 
1st Half                  |  2nd Half
Idea 1      Idea 2    |  Idea 3       Idea 4
 
Like many of Williams' themes, the Force Theme has four short ideas. The first sets the mood of a slow, arduous struggle mixed with a tinge of militarism but also forlornness that suggests the whole struggle is unlikely to succeed. The second idea begins like the first, but moves more quickly through the same first four notes before attempting to reach up higher, only to be cut down a notch and fall back by a note - the struggle, it seems, moves two steps forward and one step backward. This relationship between the ideas, I think, creates an appealing sort of musical narrative, as though we are hearing the same character undergo trials and tribulations. The third idea once again begins with the same four notes as the first, but this time reaches a powerful climax, as though the character has reached a pivotal moment that will decide matters. And the fourth idea, again like many of Williams' themes, gives way to something new, suggesting a kind of conclusion for the character. The theme's two halves also map neatly onto narrative-like parts of introduction + conflict, then climax + conclusion, which is not unique to the Force Theme, but when combined with everything else, tends to give it this gravitas that adds so much depth to its surface meaning of depicting the Force and the Jedi.
 
The constant reshaping of a single idea throughout a theme, though, is something that I believe taps into something deeply emotional and psychological - it seems hard-wired into our systems for understanding meaning, which may partly be why audiences like ourselves can feel that so many of Williams' themes have this inevitable quality. E.T. is another one that has the same structure as the Force Theme of an initial idea, two variations on it, and a different closing idea. And many of us feel just as strongly about that one than we do the Force Theme. Though there are definitely other factors at work as well, I think the constant-development kind of structure is fundamental to both of these themes' meaning, whatever we might interpret that to be.

Last time I felt that was No Man's Land in War Horse. Holy shit, a man from almost a century ago writing kick-ass fresh action music. 

Trailer looked amazing. Incredibly well done. 

Looking at the trailer again, the harsher lighting in parts looks very retro. I dig it. 

Nearly two decades ago, the prequels were considered horrible. Unbelievable. Ridiculous. Throw whatever synonym of "WTF" on there as you might. 
 
Now many Star Wars fans of old are dead. Replaced by people who grew up on Jar Jar. Donald Trump is president, so any criticism of things being politically unrealistic has gone out the window. The Patriot Act was a democracy saying, SURVEIL US, to thunderous applause. The Tragedy of Darth Plageius the Wise is an internet phenomenon. Prequel sales are up. Prequel quotes are up. More people are getting together and rewatching the Prequels. Shoot, I just rewatched them over the last two weekends. And they are more endearing than I remember. And my god, Hayden Christensen makes an amazingly realistic teenager. He is exactly what you would expect Darth Vader to be as a teen.
 
And I think that pissed off a lot of the nerds, by virtue of being too realistic. The nerds were really all Anakin's during their teenagehoods. Talented and "smart" and because they knew it, also insufferable and whiny, and they just couldn't see it, like Anakin couldn't his own failings. 
 
But now...now things are different. Has the tide turned? Are the prequels in vogue? 
 
 

He should score a zombie flick. 

You know what is really strange? I rewatched the old films (in one of those restored original versions) in late 2015... and they mostly did nothing for me. They were just bunch of movies, nothing godly or that special about them. Sad but true.
 
Prequels are still worse though.
 
Karol

They are awfull, all three of them. But they are unique. Which in todays cinematic milieu gives them some intellectual credibility.

Not yet, but they will be.
 
In the pantheon of all the Star Wars film that we will have in say, 5 to 7 years they will be seen as unique. The vision of Star Wars by the Creator itself. Undiluted by studio interference.
A radical homage to the old Flash Gordon serials, right down to the rigid direction style, artificial looking sets and wooden acting.

Looking at the trailer again, the harsher lighting in parts looks very retro. I dig it. 

Last time I felt that was No Man's Land in War Horse. Holy shit, a man from almost a century ago writing kick-ass fresh action music. 

Trailer looked amazing. Incredibly well done.