TheUlyssesian

Rogue Player One?? Jeez I completely misread the post. I thought this Rogue Player One is the Felicity Jones Star Wars spin-off.

I think he might do Episode 8 for sure. I think of Rogue Player One as a separate entity. I don't think Williams is obliged to score that at all.

The quality of journalism these days. The article has no sources and no information to add. The writer just sat and wrote it might or might not be eligible, did not research, called up nobody, had nothing to add. And mad her paycheck.

It was achingly lovely. Williams career is full of dazzling themes which don't get as much air due to his other monumentally famous scores. One of my absolute favorite themes by Williams that I think is little known is The Reivers. God I love that theme. I'd maybe even put in a Top 5 or Top 10 of themes by Williams.

Lol the eligibility period for the Oscars hasn't changed. Trust me that is never happening. A film has to meet the following criteria to be considered for the Oscars - release starting in the calendar year (that is from Jan 1 to Dec 31) commercially for atleast one week atleast in LA. So basically any 2015 release qualifies as long as they submit the paperwork. So yeah no strings being pulled for Star Wars, it is eligible normally just like everything else released this year. Oscars care jack shit about general audience. They mostly exclusively reward indies these days. No true blockbuster is ever heavily in contention save for some exceptions. Like they nominated Nicole Kidman for a films whose total BO gross was like 600K or something.

1. Tomorrowland 2. Inside Out

The music seems burried under the sound effects. I could listen to the music only in the music only embed above.

I am one of Gia's biggest fans and I love a lot of his scores but even I would say that Gia wishes he was even close to Williams. Williams is in another universe. Gia's themes are trivial. They do not sustain interest. Most of his themes have no interludes. They just have a primary phrase. That's the reason there are next to no concert presentations of any of his themes. There simply isn't enough material for one. Williams on the other hand is god gifted in that regard. He can write a melody for sure but the mileage he gets out of it is extraordinary. He makes it sing and soar through multiple interpretations in a concert suite. And it builds and builds and with each new statement you feel you are hearing some new development. Take Tomorrowland. Atleast 3 or 4 good themes but not one concert theme presentation. Williams knows how to add orchestral color. No kidding his new theme from the teaser is already some of the most interesting work this year.

If I were to guess, I would say it seems like a new Williams theme too. Because otherwise it would be so random. Up till now they have ONLY featured re-arrangements of franchise themes in all the promos. They won't suddenly feature non franchise music. So a new theme likely might mean that it is a new theme from Williams for the franchise.

The only way Abrams would mess the score would be through just editing it to conform with the film (and I feel that the long scoring and recording process for this film should avoid much of that). Abrams seems to have a lot of respect and admiration for the guy and has said nothing but good things about working with him on this film. There's no way he'd dare actually alter the sound of his score, especially not to make it sound more "epic" if that's what you were implying. I worry about that. Even Spielberg isn't averse to that. Williams wrote one of his most complex, detailed and dense scores for Tintin. The score is thick with counterpoint, with sometimes multiple themes running together or in quick succession, very fast tempo, quick changes, this almost nauseous rushing feeling of flying through cascading musical tapestries. I think it was all in an attempt to match the fast pace of the action scenes... a bit like 'mickey-mousing'. But the picture was tinkered with so much in post in terms of the edit that Williams music was often hacked to pieces even in Tintin. I hope that is not what happens. Clemensen claims that while the PT scores are all masterworks, they are hacked to death within the movie with constant editing and re-placements and looping. I sometimes feel the modern action movies are too hectic in their style of random editing to really give Williams a chance to shine. More classically styled dramas with patient editing is where his music can bloom in the movie and not just on album. I think his score for War Horse really popped in the cinema. Made me cheer at the big theme statements. In that regard, Bridge of Spies might have been a great assignment for him. There are many silent sequences with just some sound effects where I thought Williams could really showcase his music. Eitherways excited for this score. And what new material Williams has written.

I guess with the rapid fire sound effects I did not notice the drums but jeez in this music only version, the force theme sounds horrible with those drums. I guess I now see the desecration of Williams music that others have been talking about. Williams would never write something so Remote Control-ish.

It's also Han and Leia. I don't hear it! I tried playing it on the piano but it doesn't sound the same. The first four basic harmonies in HS&P go something like this (assuming we're in the key of E major, disregarding alternate bass): (notes in (brackets) are the ones you prominently hear in the piano in the trailer...I think) Someone correct me if I'm wrong! The harmonies are correct. The reasons why the reference might not be immediately recognizable (I also had not noticed it the first time I had seen the trailer) are that, in the trailer, 1) the second piano chord is without the 6th (F#), which is an important harmonic note, as well as the melodic one in that moment; 2) the third chord (F), in the theme of HS&P is prolonged to the first part of the next bar, where it becomes F6# with E in the bass (the 6# being the D# in the melody), before resolving to E major in the second half of the 4th bar. But it is definetely the harmonic skeleton of the Han Solo + Princess theme. Also, even the first chord in the trailer is without the third (G#), which again happens to be the melodic note in that moment, apparently to disguise the reference even more at the beginning. For the rest, I join the community of "who cares about the trailer music". The artistically valuable work will be the score of the movie, I don't get why we should be excited about a 2-minute piece which only has advertisment purposes. I also don't care very much about the trailer itself, except that I am glad that it seems to suggest that there will be no Gungans, Jar-Jar's, Watto's or the other awkward creatures of the prequel trilogy. It wouldn't surprise me if this version or variation or adaptation is used in the movie for Han and Leia's child. Seems like a reference that Williams COULD do to establish connections.

It's also Han and Leia. I don't hear it! I tried playing it on the piano but it doesn't sound the same.

Its a curious choice to be Han's theme. It is a very melodramatic, a very longing theme. Han would have a masculine theme, not something like this. I read somewhere the original fanfare is supposed to be Luke's theme. I don't think Han has a theme. Even if he does, this one seems an unlikely candidate. A Han theme would be more heroic and masculine, wouldn't it?

I've heard the Gerhardt version. Didn't really like it. Too slow for once and I don't like the statement of Leia in the middle, dilutes the effect of the love theme I think. I really like the arrangement in the midi I posted. I wish someone would record that arrangement with a proper orchestra.

The only concert version of the love theme i can find is the midi version on this page http://moviethemes.net/starwars.html Is there an actual recording and did Williams personally arrange it/orchestrate it?

He never did write a standalone concert version of it, did he? I wonder why?

What's the theme in the first one minute of the trailer before the explosion of Han and Leia?

So this was not a plum scoring assignment at all. This is a like Lincoln. The music is very sparsely used and frankly there is little place for music. Its non stop talk for the most part. Can anyone tell me how much music Williams wrote for Lincoln and how much was featured in the movie? Anyways, Newman writes a serviceable score but nothing more. A very ordinary respectful score. Though surprisingly my friends came out of the screening and told me the score was really good and I was like what? But I have no doubt Williams would have elevated this. There is a lot of macabre going-ons in Berlin that Williams would have added some malevolence to. And he would have added a lighter tone to some of the things. There was this one exciting sequence during the building of the Berlin wall that I think Williams would have killed. So yeah, scoring a Spielberg means an automatic Oscar nomination but no luck for Newman I guess. He better hedge his bets on Spectre.

Maestro! Cheers!

Silvestri's Theme was serviceable. But Elfman's re-working is I would definitely better. Silvestri had the main melody line which was not very catchy thought he "chorus" or the "fanfare" line was. Elfman has made the main melody line much bolder and a superb rising fanfare. It sounds much more heroic and is much better structured and better incorporates the fanfare at the end of the theme. Elfman also adds a pretty nice interlude which is I think essential for any good theme to warrant lengthy concert suites. Overall I think Eflman's re-working is definitely has pumped up Silvestri's foundation and made it bolder and more memorable. The trouble is Silvestri's is embedded in our minds. I took quite some time to get over Silvestri's theme to be even able to HEAR what Elfman had done. I wish we had had Elfman's version from the start. But its pretty good. A very strong superhero theme I would say. Of course Silverstri's Captain America theme has been mentioned which is the best theme in the MCU. A pity it isn't played very often. Its balls out old fashioned masculine. I think the reason for its lack of use is it does not have a good action variant which can be employed in short bursts during action scenes or heroic scenes. Same was the case with Silvestri's Avengers theme. Elfman's has an amazing action scene progression than can be easily used. Again speaks to the strength of theme construction that the theme can be malleably be used. What use is a great theme when it can't be used in action scenes which is the bread and butter of a superhero movie?

I am beginning to think this is the best score of the year. Fantastic.

Anyone heard the Instrumental Version yet. I don't mean the karoke version that seems to be out. I mean a proper instrumental version. I think it was supposed to be released the same day as the song. Anybody sampled it?

That's actually not Athena's theme, that's the main theme from the film. Athena's theme is heard for example at the beginning of A Story About The Future or at 02:58 in End Credits. Here is my favourite statement of the main theme (01:58 - 02:57): https://www.youtube.com/watch?v=gYR7Tlq-5bs when I think back to the movie, I think you might be right but I don't think this theme is the main theme either. This is more like the Athena/Frank love theme or relationship theme. It always seemed to play when when the pair were on screen and it receives its most emotional statement during Athena's death scene. I think the main theme (the theme for Tomorrowland) is the one which starts of the end credits (0:00-0:25) https://www.youtube.com/watch?v=M3pUZsC2HIk or this other triumphant identity (1:37-2:12) https://www.youtube.com/watch?v=M3pUZsC2HIk I think the idea that represents Tomorrowland would be the main theme of the movie so I think its one of the two above, perhaps both but probably not the Athena/Frank love theme. Lol, that theme is a masterpiece. The one from UNCLE isn't nearly in the same ballpark but its still quite good.

Top 7 JW Scores from this period 1. Harry Potter and the Sorcerer's Stone2. The Adventures of Tintin 3. A.I. Artificial Intelligence 4. Harry Potter and the Prisoner of Azkaban 5. Lincoln 6. Catch Me If You Can 7. Indiana Jones and the Kingdom of the Crystal Skull