ocelot

Yes but for TFA he did compose the music for the first teaser trailer if I remember correctly. None of the music was in the film, only for the trailer.

Well he has already recorded a bunch of music already if not a majority of the film so far, I would think they could use some of it. Let's see....

So seeing as they will be dropping the first trailer to The Last Jedi this Friday at Star Wars Celebration. Do we know if Williams composed the music for it? Hope to hear some new music in it. Mind you I just can't wait to see the trailer!

From what I have heard through the grapevine Ryan Johnson wants to edit parts of the movie to William's score rather than the other way around.

UHUH and I'm a giraffe....

Episode 1 is still my favorite score by a fraction over the original trilogy. There is something so intense about so many of the cues in that. Tons of themes, whomever said there were only 4 is insane. It's chock full of new themes and motifs and the action music is better in my humble opinion over most of all the other scores. The writing is virtuosic and the playing is astounding on that score.

Agreed

I think it's one of the best scores ever written for film. Great themes and brilliant orchestration throughout.

Chris is not getting much work these days which is a shame because he can out compose all those others on the MCU I'm good either way as I love those two motifs and I'm not gonna say no to more of a theme from Williams

That's so not true. It might not have the cohesiveness or heart of Hook however it's a master of orchestration and plenty to listen to.

I thought some of the string playing on TFA was sloppy and I missed the woodwinds. It's all over the score but not really heard in the mix. Also, the trumpets lacked the brilliance the LSO give. Especially with the newer young 1st trumpet player who is absolutely incredible!

It shall be buried with me bitches! Why is that not an option?

Can't decide on this one. One is a tragic love theme for the both "Armadildo" and "Anadin" and unfortunately it's tainted in the film by the bad performances and script, so it's unfair to judge it because no matter how hard you try and not think about the marriage of the two, it's there. I think it's an absolutely gorgeous theme and harkens back to the golden age of Hollywood yet it's still modern, and then you have Rey's theme which is like a female version of the force theme in it's structure and tonality. It has adventure written all over it, but yet feminine and has many different parts to it to be able to be used better narratively in the film. So really, Love them both equally for very different reasons.

Jurassic Park for me. It's a monster of orchestration, piccolo oboe and Eb clarinets not to mention pretty much every extension of woodwinds and thematically, it's incredible. Mind you I love all 3 pretty highly....

Well, I tried to get it for us by going to 275..... Someone has put on a number that's quite high I think....

Funnily Enough it's GOF I wanted him to really do.

Shut it! Do Not Say That!!!!!! I'll need xanax to cope!

I believe they wanted Rogue one not to have any other Star Wars attached to it as many people still think it is the sequel to Episode 7, lol...

It's totally where he got it from but plagiarism is using the exact notes, this is taking the idea and rewriting it for the film in his own way. We all do it. Williams once called himself and other film composers "pastichers". There's a finite time in writing a score and you go to your resources and get ideas but you don't copy the notes themselves. The one that I always heard was Hanson and last cue form ET and you could totally hear that the temp score to a lot of Home Alone was The Nutcracker, but again, he took the idea and wrote his own thing. Thats homage definitely, while in Hanson's case it is closer. I know that Cor Anglais solo well. Using the same rhythms and jumps does not mean plagiarism or we are all screwed, lol. Plagiarism is using the notes verbatim in succession. Not rewriting it yourself in a completely different melody and tonality. That constitutes homage or influence at best. Now go listen to Korngold's King's Row and compare it to the Star Wars theme and Superman, now THAT is uuummm... well go listen LOVE Images!!!!!! Gorgeous piece of work. The second clip is definitely where he got the idea from and built on it but it's all there.

Very true. So far I have orchestrated all my cues and pieces before going to anyone. I go straight into finale and it's fully fleshed out so it's just note checking and part extraction for them to do. I don't know how to write in sketch form and I'm a bit of a control freak when it comes to my stuff. As good as that is because it's all me, sometimes I think I should ease off and let go somewhat so I can write faster and also, it's a good way to learn from an expert orchestrator. However, so far so good. If I get behind in time I will of course do that, I'm not dumb. But very true about the diva thing, not just for orchestrators but for composers too.... I think the key is to work with people you respect and like, then there is a natural flow between all parties.

Williams: The Force Awakens Korngold: Captain Blood

My problem with Gia is this. He starts an idea but never finishes it. There's never an end in sight, he just clips his themes at the start and doesn't follow through. I will again mention the Star Trek theme which is not a theme by any standards. It's a motif, and a flat one at that. When you think of what Goldsmith wrote as full fledged themes for many a Trek movie and tv series, especially, to me, First Contact, which just soared in its simplicity and beauty, then you get this thud of a few notes from Gia that sound like the ship tried to fly but just anchored itself in constipation, it made me not want to watch what I actually thought were decent movies. The same can be said with his Jurassic World score. His attempt at a theme to coincide with the incredible and again, simple Williams theme that is iconic now, was to turn the notes sort of backwards? And it again, just lay there lackluster, which is why they probably went back to Williams theme to give that sense of awe and nostalgia. I also don't think his chase cues are all that intricate or musical but it is better than many others out there that just repeat a note ad nauseam. I don't know, I feel bad saying this stuff, and I know in time I will get fucked sideways with a chainsaw when I get critiqued, but I was really actually looking forward to Desplat doing this if Williams could not. Or someone else who could write great themes. Star Wars needs themes, it's a space opera. I do think he will do better on this than his Trek attempts. I will go into Rogue One optimistic.... I think....

Yes you are right, the orchestrator's role in Hollywood is anything the composer needs, but even more so than what you said. In may instances, the orchestrator is actually writing parts of the score, and in some cases a lot of the cues in the movie as the composer might not have time to do so. You'll hate me for saying this probably after our last back and forth, lol, but I had lunch with Conrad a while ago and I won't name the composer or the movie but he said he came on to the project and it was a rewrite and the composer said to him and the other orchestrators. Take these cues and write "Me", so he asked, well do you want to give me any themes? And the Composer said, no, you know what I sound like.... Conrad also said that if he could just orchestrate Williams he would be a happy man as 1. Williams makes his job be a glorified copyist, no more than that and 2. Williams works on a schedule of certain hours a day and stops in the afternoon, which puts him on a beautiful similar schedule daily, without him getting frantic calls at 4 am to save certain cues or re-orchestrate this or that. I can't for the life of me use a computer or samples, so I am at a huge disadvantage nowadays. I just go pencil to paper for ideas and then just orchestrate it straight into finale and even then, I don't have it set up with a keyboard so it's painstakingly slow clicking in one note at a time for a cue using a 90+ piece orchestra. I should get off my ass and learn how to do the other stuff but you know, too old to learn maybe...

I'm just starting out and this is my first big tv series so I have no major accomplishments yet. I don't have awards nor have I been nominated for any, but I love what I do and I do it well. I do not hate Zimmer, I just know too many people who write for him, so I know how little he writes himself, was asked to join the ranks years ago and I passed. My insight is just my opinion, no more, no less Reactions to Rogue One all positive, some say even more so than Force Awakens. http://collider.com/rogue-one-reviews-star-wars/?utm_source=twitter&utm_campaign=collidersocial&utm_medium=social#twitter

Why? It gives me a little insight into how I approach music. It doesn't mean you have to agree with me, or that you even like anything I do, but I am a composer, so that's where I am judging it from, not just as a listener.