Mr. K

JW considers the LSO's involvement with the SW saga as intregal and very special. He seems to be trying to summon up enough energy and strength to go the 'whole nine yards' with this score. He will be in London with the LSO...even if they have to wheel him in. I guarandamntee you.

Here's something to consider. Filmmakers hire composers the same way they cast actors- they have a pre-conceived notion of the kind of performance they expect that person to accomodate. Most filmmakers wouldn't go to the trouble and expense of hiring someone like, say, Danny Elfman- and ask him to produce a score that sounds like Vangelis' score for Chariots of Fire (although that might be an interesting paradox of style). They expect Elfman to produce an Elfman-esque score. Same with JW. The opportunities given him by Spielberg to go outside his comfort zone into such varying degrees of genre is not the path most composers have laid out for them. It was damn hard for Horner to break out of the sci-fi/fantasy mould. Elmer Bernstein had simliar problems in the 1980's with comedies. Yes, composers- like most talent in Hollywood- are indeed typecast. Some of the blame of self-plagurism isn't an intentional laziness in their craft, it's a matter of appeasing to the job expected of them. Why do you think they lay down temp-tracks? Honestly, if you had the means to produce and direct a feature and had Mr. Horner, wouldn't you suggest a throwback to his Wrath of Khan/Krull/Willow days? Damn sure I would!

First badmouthing JP, now Drac?! How can you listen to 'Love Scene' or 'Dracula's Death' and say...ho-hum. Boring. ??? Mr. K

Yup. A shame, they're missing out.

Thematic intonations of Emperor's Theme appears in Augie, very much like Imp. March is in Anakin's Theme- but you're correct. They are often mistaken as the same theme- they are not. They have the same elements and some of the same intervals in composition, but JW made it cloaked just enough that a casual listener will pick up the similar phrases without thrusting the thematic identification in your face. Finding those mirror-like representations of established themes was a lot of fun to discover in the prequels. If only the movies were as good as the scores. That would have been a big undertaking, but absolutely amazing had that happened. Can you imagine new arrangements of those wonderful action cues by JW's pen & baton? I would pay admission just to hear that, nevermind the ride!

The Jurassic Park theme makes me squeal with glee. WITH GLEE, I TELL YOU!!!

Regardless of the delivery or interpretation, Spielberg is very much aware that his career is indebted immeasurably to JW's contribution. I wonder what alternate reality Spielberg films would be like without JW.... Jaws scored by Lalo Schifrin, Close Encounters by Goldsmith? Who knows... Eat your Wheaties, Johnny! Can't wait to for 2015! Mr. K

The TPM:UE made me so angry. I even entered Sony's stupid giveaway contest and won a copy...only to receive it nearly two months after the album's release! So here I am with 2 copies of "every single note" of TPM teetering between anguish and white-hot beligerence. Even the track supposedly "unused" was indeed in the film. "Desert Winds" or something like that. Source music wasn't unused, it's in the damn film at the exact placement in the album. Ohhhhh...I'm getting all worked up about it all over again! Mr. K

I really hope the Rebel Fanfare makes a return. It, more or less, served as a musical identity for the Millenium Falcon as well as the Rebels heroics. I was very pleased to hear it in ROTS, appropriately underscoring the heroics of R2D2. My favorite theme has always been the Han & Leia theme from ESB. Charles Gerhardt's recording of the concert arrangement is wonderful. Not so sure he'll use the Luke & Leia theme though. He had an ideal opportunity to use it in ROTS but chose to utilize the character's own individual themes instead. I'm less interested in the substance JW applies (new/old themes) than the style he chooses. I really hope he makes a return to the swashbuckling romantic style that made the original trilogy so soaring. His prequel scores, although technically superior and more complex, didn't inhibit the sense of wonder and magic that the OT has in spades. Leitmotif-driven rousing adventure gave way to pastoral and operatic narrative. I'm an 1980's kid...toss me into nostalgia, JW. Mr. K Or if Ben Burtt decides to track old cues in lieu of new material. I could c-c-c-combo break that guy for his treatment of the prequel scores. Some truly inspired cues were terribly hacked apart or abandoned completely so he could paste 'Escape from Naboo' or 'Escaping the Trade Federation Ship' all over the place! Go ahead and record your whiz-bang sound fx, Benny- and stay outta the editing bay. We should have let Ken Wannberg crucify him years ago. Mr. K

I'm borrowing a concept from filmmusic's topic "Best and Worst Film JW has scored". There are some really awful movies that the Maestro has blessed with his best effort. But which movies has he made watchable; films so bad that the only redeeming factor is his score? My top three: Spacecamp Superman IV (by proxy, via A. Courage) Monsignor Mr. K

I'm not ashamed to admit, I air conduct to JW's works all the time! Preferrably when no one is watching. I do get some strange looks from passersby when I'm at a stoplight. I CAN'T HELP MYSELF!!! Mr. K

It was an absolute chore to sit through HEARTBEEPS, although the score does elicit some interest. His "Crimebuster Theme" is a very close cousin to "Setting the Trap" from HOME ALONE. The best film he's scored IMO is probably a tie between EMPIRE STRIKES BACK & E.T. It's kind of difficult to determine the quality of the film apart from the score because his contribution cannot be retracted from the picture easily. I cannot say whether or not JAWS, for example, would be a great film without JW's collaboration. Without his work, would STAR WARS still be a phenomenon or would it be reduced to just a trendy novelty of the late '70's? That might be up to debate for some, but I know my answer. Mr. K

I'm an 80's kid too and don't play either, but those that do have found a treasure trove of cues- especially those from Lucasfilm games. The game designers have open access to the complete recordings.

Damn, I love this thread! These tracks are what drew me to film scores in the first place, even before I knew what a soundtrack album was, I'd watch a scene over and over again just to soak in the sonic lemonade. It's an unfortunate reality that a lot of JW's best action cues remain unreleased. Nothing gets me more excited than discovering a "lost gem" from a classic JW score. Thank you gaming community.

Well, I will say this about Jabba's Theme- it was a powerhouse presentation in TPM. Like all returning themes in the prequels, this made me squeal with glee. Yes...squeal. With glee.

It really does fit the character perfectly- like all JW themes do. Unfortunately this is a repulsive character and the theme (quite correctly) responds in kind. In the movie it works great, but on a stand-alone listen... boom WHOMP WHOMP... boom WHOMP WHOMP... -gah! Next track, please! I gotta admit you are correct, sir. Sadly, I cannot make it past the first tuba bars to get to that point.

I have never liked Jabba's Theme from ROTJ. It's one of those few tracks that engender great irritation what I hear those first tuba notes...probably the only JW theme that I categorically hate. There are a lot of JW's themes that I didn't find very interesting in my younger days that I really appreciate now.

It seems that way. Jerry Goldsmith and Elmer Bernstein kept at it until they were nearly on their deathbed. JW entertained the idea of retiring in the mid-90's following Schindler's List but fortunately never did.

Angela's Prayer from Angela's Ashes or The Ballroom Scene from Witches of Eastwick. Years ago it would have been the finale from E.T., but I've over-listened to it... desensitized. Mr. K

The concert arrangement was not recorded for the OST. I think he knows that, Roald. He's saying the concert arrangement is almost "better" than its filmic counterpart, at least as he experienced it that first time on the Gerhardt album. Yeah...that. I think he arranged the piece just for the Gerhardt recording, methinks. Gerhardt's recording as a whole was a better listen than the OST for me.

...and she bore from her womb, the berry of her loins, the fruit of her loom- our lord and savior JW, and wrapped him in a swaddling black turtleneck and laid him in a manger.

Hmmmm. Is it possible that the switch from bombast and epic to move complex scores reflects the similar changing sensibilities of his favourite director? I don't mean that flippantly...I'm wondering if there really is a correlation there...i.e. did Wiliams scores change to suit Spielberg's evolving style and sensibilities, or whether it was William's natural maturation and evolution as a composer. This seems like such an obvious observation I'm sure it must have been discussed here before. As more of a listener, than expert on Williams, I really don't know. Oh definitely. It was for sure around the time that Spielberg began to fancy himself a history professor. I suppose it is good and right that both SS & JW's work took a more mature tone- would have been artistic stagnation if they hadn't. I just wasn't ready to grow up with them yet. Mr. K

There was a very distinct change in JW's style of writing following his success of Schindler's List that really didn't jive with me. He chose to abandon bombast and sweeping epic flair for more complex pieces. One of the staples of JW's scores before this period was that his melodies could be whistled or hummed without much effort from the memory of the listener. It took several listens to Lost World before I even could recall the interpolations of key and tone in that score. All of the elements of his other scores were there, but style & substance were subdued for the sake of complexity and being evocative. I was very pleased to hear a return to his familiar style in TPM, even though he continued with a more pastoral and cerebral palette...it was a far more sophisticated and mature score than had been done for SW, but it was still in the vein of high adventure. In other words, it was a good listen and a relief for this JW fan who thought he'd heard the last of JW blasting those power chords. Mr. K

Burtt's? Yes, you posted before I could get mine in. Absolutely. That's what happens when your sound designer is also the film editor. I remember on the TPM DVD bonus material, there was a moment when Ken Wannberg started raising hell because the SFX completely drowned out the score. JW doesn't have Wannberg to advocate for the score anymore, he's retired. Somebody needs to keep Burtt in check. Don't get me wrong, I love the sound of TIE fighters screaming by blasting lasers- but I want to hear that Rebel Fanfare even more.

Han Solo & the Princess... a fantastic piece that more or less serves as Solo's theme in TESB, acting as a musical anchor during his heroics, attempts at swooning Leia, getting a carbonite chill, and ultimately in epic fashion when he is gone and the other characters' actions are directly about him or because of him. The first time I heard the concert suite was on Charles Gerhardt's wonderful recording...dare I say it was almost better than the OST.