ocelot
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Posts posted by ocelot
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On 12/30/2017 at 9:29 AM, Stefancos said:
I think he only composed the new themes.
On 12/30/2017 at 9:32 AM, Jurassic Shark said:Didn't he compose the themes (including orchestration or approving orchestration), while Bill Ross adapted them and conducted?
Williams was supposed to only write a few themes but ended up writing the whole new score material and Bill Ross adapted material from Sorcerer's Stone to put into other sections.
This whole ongoing notion that Bill Ross is secretly writing for John is pure horse crap, lol. Williams love to use him on conducting assignments now because of his ongoing back troubles etc.
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No promises but I'm back in LA and am trying to get a copy of the FYC CD (if there is one). It's probably a long shot but I have a few connections to try. However, in a world of digital markets, do you think maybe they just did it online this time?
- Taikomochi and Obi
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10 hours ago, TownerFan said:yes, I got immediately when I saw the film in theater. However, the bit I'm talking about in "The Master Codebreaker" is very Broadway-esque, in a kind of Jerome Kern/Cole Porter sound. And I'm pretty sure it's a quote of something famous, but right now I cannot remember what
He was just channelling that Kern/Porter sound, it's not any actual tune.
On 12/27/2017 at 6:38 PM, crumbs said:Escape V2.1:
Volume changes have been fixed up, cleaned up the remaining FYC edits and made some changes to the part with Poe's Theme. To my ears, it sounds like Williams intended for the gorgeous strings build-up (as BB8 fixes the X-Wing) to flow straight into the big statement of Poe's Theme (sadly cut to shreds in the FYC) but I've recreated what I think was his original intention.
Edit: Refined the sections around Poe's Theme, which sounded a little clunky. Don't think I can get it much better than this due to the crappy overdubs they've slapped into the film mix (unless someone can find me a clean boom-tsh I could add over the top, which would smooth it out).
At least all the tracked music from Battle of Crait is gone.
So I just did a 45 min chest and back workout at the gym and ummm, thanks, I just had this on repeat for the whole workout. I think it made a huge difference, HOWEVER, I think everyone in the gym thinks I'm nuts now....
- JTWfan77, Pieter Boelen and crumbs
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3 hours ago, Lord Zimmer said:Just walked out, 2nd viewing. Such an underwhelming score. At least TFA had that brilliant Rey theme, this has basically nothing (then again I haven't really liked JW's output since Harry Potter). It's just generic noise in the background, I never was a fan of how JW scored action scenes and in this one it got annoying how off he really is when doing it. Hopefully he stops after 9 (or before that one, but I'm guessing he won't). Get some fresh blood in there, I'd like to hear what Desplat would have done with a SW movie. No Giacchino/Powell please.
So you prefer one note being banged on endlessly and ad nauseum to actual virtuosic orchestral writing and playing. Well, they do say music is subjective, lol
- fuhrsy31, leeallen01, crumbs and 1 other
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There's already a few places in the film that I want the score for (one being Rey in the pod going to Kylo), but that's always the case with so many of the movies he scores. I hope they are on the FYC, if there is one. Incidentally, has anyone put together a much longer well edited TFA or is that bad to ask about?! Agreed on HP 3, one of my favorite scores. Same with TinTin, TFA and yup, probably this one in the mix. I love his adventure scoring, especially his action sequences. I didn't vote because I think anything not there in most of his scores is worth having, so it sort of makes it neutral in a way.
On 12/23/2017 at 6:05 AM, king mark said:I don't mind that he posts he doesn't t like Last Jedi, but his reply felt like a personal attack ..That's why I replied
Ignoring, honestly, I have now found to be the best policy, but I can understand the annoyance when your sitting there and there's a buzzing gnat that won't get away from your ears, at some point you want to smack it....
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Mother always told me. "Just let people stew in their own juices. If you let their mood affect yours, then you're at fault. Your day is valuable, go enjoy it."
or in other words
What would Meryl Streep do?
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I’m sorry but I can’t resist lol just a joke and an observation. Love you all deeply madly and non organically
1081B65C-ADDF-4C98-8050-B1D0E4A9B912.MP4
Wait, WTF, why do people have to download it?! It's supposed to just be there..... Ugh, I'm too old for computers!!!
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1 minute ago, karelm said:
5. Rain provided a temp track and JW decided if, when, and how he would follow it allowing for creative liberties and in some cases JW ignoring it. <- This is what happened.
Rain Rain, go away, come again another day!
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On 12/20/2017 at 12:14 PM, artguy360 said:
Does anyone else think JW might be exploring a new stylistic approach to scoring big, dramatic, climatic scenes in Star Wars? Listening to TFA and TLJ I notice a similarity in how JW scores the big moments in the 3rd act of each film. Consider Torn Apart and the build up to Kylo Ren killing Han, The Spark as Luke walks out to confront Kylo Ren/ the First Order, and The Last Jedi with whatever is happening on screen as the second half of the track finishes. Without any musical terminology to guide me, all three have non-thematic music with a very clear use of repeated string figures over the top of building brass. Specifically it's the non-thematic part, the use of strings, and the focus on rhythm instead of melody that I find so interesting. I know JW has written similar music before, but I've never heard this approach used so consistently for similarly climatic scenes and never like this in a SW score.
Here are the moments in question, from TFA:
And during The Spark from TLJ:
And from TLJ:
So what do y'all think? Is there an interesting similarity across all three that might be of note? Or am I just losing my mind?
well first of all, you have some knowledge of music. You at least name the sections of the orchestra, you should hear how others put it, lol.
Yes they have some sort of similarity in use, but he does it with the whole orchestra as well in other scores. He's always done it to some degree and I love how he always does it a little differently...
10 hours ago, someonefun124 said:Yup Yup, that's when she actually flies the ship into the Destroyer to defend them
2 hours ago, crumbs said:It's the best mixed JW score since, what, the 90s? Say what you want about the reused music, but Rian clearly treated that score with absolute reverence.
More than can be said for JJ on TFA, where the score is microedited to within an inch of its life, and mixed so low you can barely hear it. Say what you will about the treatment of his prequel scores got, but at least Kenny Wannberg fought for its presence in the mix.
Also JJ or someone decided to try and hide the woodwind writing, which annoyed me. It's in the score! Why can't I hear it like I'm supposed to?!
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8 minutes ago, Jurassic Shark said:
Maybe Han Solo and the Princess is better called a warm emotions theme.
Not by the way those two were sparring and acting towards each other in Empire, lol "You're Worshipfulness!!!"
25 minutes ago, Chen G. said:The other love theme is what's called the "courtship motif". Y'know, when the pair have, well, pears and such nonsense.
Anakin's Lament also occurs in the immolation scene, and is itself derived from the B-phrase of "Across the Stars."'
No. Set-piece-specific scoring isn't leitmotivic.
But that's what you did too...... Yours are set pieces, lol, that's my point!
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9 minutes ago, Chen G. said:
I'm not sure. Attack of the Clones had two love themes, the mystery motif, the Kamino motif and a motif for Dooku. Revenge of the Sith has Battle of the Heroes, Grievous, Anakin's Lament, a motif for Mustafar, that piece from "another happy landing" and the first recurring statement of one of the fanfares associated with Curoscant.
This has Rose's theme, the Last Jedi motif and the Desperation motif - half of either of those two.
I'm talking themes and motifs, there are 5 I believe in TLJ. if you are counting pieces for areas and concert pieces, then you have to count canto bite, Fathiers, and other stand out moments in TLJ. I don't even recall the second love theme in Attack of the clones. Just ATS. Anakin's Lament is not a theme, it's more a concert piece. Or does that theme happen in different parts of the film? Themes and Motif's are things you can use all over the film and the next films, not great moments of music used once.
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9 hours ago, gkgyver said:
I love that someone has an opinion of the score that differs from the average JW or SW fanboy, and despite him saying he enjoys it, he gets instantly insulted.
It's like throwing a small stone into a chicken coop. The noise and severity of the stone is insignificant compared to the triggered panic of the chicken.
Not true! He's wrong when he eluding that there is less new material here than other Star Wars scores. episodes 2 and 3 had less new thematic material. Now as you said in the next post, Episode 1 is head over heels brimming with new material and ideas. Hell yes, to me its the best score by far, I'll give you that.
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I absolutely LOVE this score on so many levels. It perfectly highlights every scene of the movie and honestly, how many new themes do we really need? Think about it. I love that he used so many themes from previous movies because this is a continuation of those characters and situations. I don't need any more new themes unless it really calls for them. As for "Austin Wintery Autumnface", what's he talking about? How many new themes are in Episodes 2 and 3? If a character requires a theme or motif and the director asks for it and Williams thinks it calls for one, he'll write one. Since when can he not write a theme? We got at least 5 new ideas here didn't we?
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On 12/15/2017 at 5:41 PM, Jay said:The only thing I don't really get is why he uses the Imperial March rhythm for the scene, as Vader has nothing to do with it, and its a heroic moment for Luke
On 12/15/2017 at 6:01 PM, Remco said:Well funny thing is, it isn’t really the Vader theme. The motif that is mostly repeated is F - C - Ab which doesn’t correspond with the theme. Only in the beginning we briefly hear F - Db - Ab because there is a harmony change, and apparently that is what the trailer house took, and then they transposed it from F to G minor so that it is in the same key as the Imperial March.
Maybe that’s the reason that we associate it more with Vader’s theme than Williams might have intended - who knows.
Also nobody seems to be associating the shift in tone and Vader's theme and associating it with Luke in the sense that Luke is Vader's son. I thought it was brilliant. Take those three notes, normalize them so they aren't in the same harmonic language totally and you have Vader's Offspring going up to the challenge.
On 12/16/2017 at 6:01 PM, someonefun124 said:Thanks. I really love this music. However, I will say I'm glad Yoda's theme did not appear in the film version of the credits. Although, it was hard to listen and pay close attention to the music with everyone getting up and the guys behind me arguing whether Phasma really died. Apparently her armor protected her from not only the fire but the fall too.
I love Admiral Holdo's Theme/Motif!!!!
On 12/16/2017 at 8:56 PM, Holko said:Listen to the strings right after the brass stops, for a very short time, it's a direct Quiddich quote:
The rest of the times, it's more on an allusion or a major variation of the same idea.
Quidditch is not its first appearance, though, I noticed it a number of times in the San Diego portion of The Lost World, but for all I know, it may have originated in The Towering Inferno.
OMG that's not a rip off of the quidditch material, that's just triplet string writing with the whole section playing in octaves that many composers use. It started with Prokofiev, ugh, I'm trying to remember the name of the piece. But anyway, it's just a form of action writing. As long as you aren't copying the same exact notes bar in and bar out.
- crumbs, DarthDementous and Taikomochi
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On 12/15/2017 at 8:01 AM, Stefancos said:
There's really no reason why they couldn't have met at the end of TFA. But we didnt see it so it never happened.They didn't meet in the film but they did meet in the book of TFA.
Also Holdo and Leia were friends from childhood and there's a ton of them in the newest Leia book which is set before A New Hope.
On 12/15/2017 at 8:16 AM, mrbellamy said:Yeah it's New Alliance. Probably my biggest disappointment with the score, that sequence really did deserve something much more distinctive and I think he kinda let it down. Maybe the best sequence of his career to have the most anonymous music? That and the chase through the Crait mines really felt like big missed opportunities for some bold new material.
One unreleased bit I noticed and liked was some pretty cool fluttering underscore as Rey's pod landed to meet Kylo.
They didn't bother me in the film and I loved the use of Tie Fighter Attack during the Crait chase as they were being attacked by Tie Fighters. As for the unreleased music, I LOVED that music with that triplet trumpet line as her pod was descending!!!
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On 12/14/2017 at 7:40 AM, Oskar said:
It's Holdo's Theme/Motif, Love it! I think it's in the end titles
On 12/14/2017 at 4:13 PM, Skywanker said:Who orchestrated the music?
Williams. He always orchestrates his own music, the orchestrators are copying everything he already orchestrated. He's pretty thorough and a control freak with his orchestrations.
On 12/14/2017 at 4:33 PM, Jay said:No orchestrator is listed in the OST Album booklet, which COULD indicate JW orchestrated it all - not sure.
TFA and TLJ and all his newer film score went straight from him to Joann Kane and the guys and girls there copied everything out into score form.
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On 12/15/2017 at 11:09 PM, Tom said:
Well that is disappointing. I was hoping for The Fathiers as well as a surprise or two.
I was gonna say the exact same thing! That's the least interesting track to have the score to!
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Thank you, had no idea.
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Didn't Williams write things before seeing the film? I remember seeing somewhere that Rian wanted to edit the film TO the music. So many things must have been written first. Maybe that is why some of the action music seems choppy in terms of rhythm to some of you. IE: Williams didn't address the tempo changes but wrote pieces and they were edited later or scenes written around them and edited to them and music then also edited to fit different scenes in that fight. OMG, I think I just confused myself. You know what I mean!
I am going to see the The Last Jedi tonight. Spent yesterday and today watching Rogue One through to The Force Awakens. Lord that Rogue One score goes nowhere real fast. Mind you he (Gia) hardly had time to write but he seriously has no clue how to modulate, some great ideas, but they sort of just plonk onto the ground with a thud, Dear Lord, and there was a tie fighter attack moment where he could have used TIE FIGHTER ATTACK, gggrrrrrr. Sometimes I do not know why composers who follow Williams do not use every theme and motif he wrote for that certain franchise. It's right there for you, lol. Some lovely slow musical moments that really highlight the emotion though, I'll give him that. OK, back on topic, rant over....
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15 minutes ago, Bespin said:
It's thin.
I wonder what John Williams will decide to conduct in his next concerts.
He might write a new concert arrangement or has done so already by now, or he just does the rebellion is reborn.
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On 12/16/2017 at 6:03 AM, Denise Bryson said:
Listened to the OST. Haven't seen the movie yet. Lacks some of the wow moments that TFA had. Falls back on repeating old tropes, and quotes older films almost verbatim. Seems to lack an identifying quality that characterises it, like TFA had Rey's theme, ROTS had Battle of the Heroes, AOTC had ATS, TPM had DotF and Anakin's Theme, etc. But what does TLJ have?
Overall, it's amazing orchestral music, but feels, I dunno, more like textured wallpaper than its more highlight-heavy predecessors? Maybe I shouldn't look forward to these scores so much in the future. And if reactions to the film are anything to go by, maybe Williams ought to hang it up and let someone else take on the next one. Maybe Hans Zimmer could have a turn.
Are you totally insane?! You want a samples and synth drum score? In Star Wars?
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13 minutes ago, Arpy said:
Hey, at this point I have no fucking clue. Such a fickle thing.
Haha, well, I always know nothing, but on this I know, any trailer is done way after scores of movies are in the can, well generally, unless a composer is fired and people are scrambling to finish shit last minute.
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And again..... WOODWINDS!!!!!!!!!!!!!!!!!!
THE ADVENTURES OF HAN - 2018 John Williams theme for Solo: A Star Wars Story
in JOHN WILLIAMS
Posted
Kennedy could easily have done that with any composer out there. Composers are work for hire, be it for a whole film or theme. I do believe Williams wanted to do this himself. If you think, he has a theme (or at least a motif) for Luke, Leia, Yoda, Rey, Poe, Vader, Kylo etc etc, but no theme for Han. Now he gets to have the main characters covered for his oeuvre.