DarthDementous

Oh please elaborate right now. You have time to edit your posts making me look like an idiot writing random stuff after all.

Most people don't care about the music in movies, they don't listen to soundtracks outside of them. In case of the themes you mentioned people got used to them through the years because of countless repetitions in the games, movies etc.etc.
 
I bet your friends have seen Force Awakens one or two times, meaning they heard Rey's Theme probably like 10 times? Most of those times they were probably too focused on visuals and/or dialogue to consciously notice it. Let's just wait...
 
Also what facts did I not get quite on point?
 
EDIT: Nice editing skills, Cantus. Shame on you l0l

I don't think this emotionality is what Williams was aiming for in "Rey's Theme" at all, though.
 
Your example, which seems heavily influenced by Goldsmith's "The Edge", is very broad and direct, really putting emphasis on the sort of "open plain wonder" (later just another musical shorthand for big moments) that has become culturally embedded in the minor tonic - major subdominant progression. 
 
For Williams, that progression is simply there as a passing reference to the Force theme. The core of Rey's theme is about something else entirely: driven-ness and self-discovery, musically made present through the ever-shifting guises of the main melody, as well as the omnipresent undulating minor third motif.
 
 

I win!

thanks for all the responses guys, out of all of them I think I like the Waterworld one the most.
 
for the rest, not bad, but didn't really remain in my memory afterwards. I prefer the more traditional/classical orchestrations, never been fond of tribal elements for whatever reason. there are some moments where the orchestra really stands out though, I see what people mean when they say JNH has a wonderful command over the sound of his pieces. 
 
I think he'll be a good fit for this, I heard a few Williams-sounding Potter elements in some of the more whimsical samples. I quite like how it isn't a cheesy kind of whimsical either, its very restrained at times. unfortunately, the curse of Williams means that every-time I hear something similar to that I'd rather be listening to the first three Harry Potter scores. its very frustrating to find quite nice music and then go 'oh this isn't as good as Williams', stupid impossible standards!
 
if anything it'll be nice to have a score for a Harry Potter film that isn't mellow, droning, sorrowful or melancholy with exciting action moments (etc. Desplat's scoring for Deathly Hallows). I'm a great fan of thematic scoring but I don't know how JNH usually does it, I could only pick out a theme in the first Waterworld sample, even the scene between King Kong and the woman is meant to have some kind of 'love theme' but I don't hear it. might've been mixed too quietly or maybe it just doesn't stand out for me, who knows.
 
EDIT: are there any more tracks like the Waterworld one? maybe I can latch onto one particular style of JNH. also do we normally get samples for these kinds of films? I'm anxious to hear some of this film's soundtrack.

Militaristic and celebrationally triumphant for the empire, exactly what I was thinking. The audience all knows what's happening in the scene, but he uses a subconscious deception definitely, to me, if you interpret it closely, like "this is somehow more adventurous, glorious, wonderous than you thought it would be." He's switching the sides without us quite catching on to what's going on, vaguely hinting at the dark side's good theme thereby giving us the opportunity to subconsciously relate to their victory. It does so in a way of flowing in tandem with the overall conflicting theme of the film.

I interpret that to mean something differently. they're going right to the heart of the imperial war machine and so the music is glorious, militaristic and triumphant with a hint of dread at the beginning. its the kind of music that when you hear you envision the empire marching to domination, sort of like a proto Imperial March.
 
not having a go or anything but I find it amusing how your responses seem to follow a formula:
 
"I appreciate that you have a different opinion but TFA is unmemorable and some of Williams worse work. 
here's a piece of score that's much better than that miserable red-headed stepchild of John Williams. hear how much more masterful it is, witness memorable themes instead of Rey's theme, John Williams probably came up with it by whistling it in the park one day."

Overall I found Desplat's work on Deathly Hallows a little disappointing, but that triumphant performance of Lily's Theme at 0:53 in "Dragon Flight" still gives me the chills:
 
 

I do like "Dumbledore's Army" but the rest is pretty bland.
 
The biggest weakness with Hooper's score wasn't the themes (which weren't great, don't get me wrong) but with the bland and directionless underscore.  "ding ding string tremolo ding ding ding string tremolo ding ding"
 
 

I'm sure the directors, the producers etc find the music important.
 
You and MSM are acting like presumptious fanboys.

Yes, because scientific accuracy has always been at the very core of Star Wars.....
 
Haters will hate I guess.

I frequent Star Wars sub-reddits and friends have said that the Force Awakens score was underwhelming, blaming the Los Angles Orchestra because 'John Williams can do no wrong'. I stand by my initial belief that this score would be a grower and from what I've seen at least that seems to be true, while some more musically inclined people appreciated it from the get-go it seems like its slowly awakening (heh) in the general movie-going audience.
 
EDIT: obviously my experience doesn't define everyone's perception but from what I've seen there certainly is some negativity with this score being detached from the OT and even the prequels in how its regarded.

I remember Ford getting a bunch of criticism when the TFA trailer was released, with many saying it was obvious he didn't know how to play Han Solo anymore. I think his performance in the actual film proved otherwise. Let's just wait and see. 

Amazing that you can judge an actors performance based solely from some lines out of a trailer, presented out of context.
 
 
And even go so far to state what the actress should have done.

"i wish theyd gotten the LSO... "

"Anyone else hear harry potter ?"

"Where's the trailer music???? I bought the soundtrack just for that theme I liked that a lot better honestly."

Well in that case Williams should conduct the LSO from LA via hologram!
 
All jokes aside, if the same musicians who performed on TFA and War Horse are back for BFG (and I see no reason why not), the performances will again be sublime. 

Well, we know the score will include brass and a flute solo, or is that an instance of fan boy logic.  "A tweet mentioned brass and another a flute solo.  Idiot fan boys thinking this is confirmation of anything." 

Not that Williams wouldn't score RPO, as he almost certainly will, but taking that as confirmation that he will smells like the sort of excessive "JW said he likes pizza, he must be opening a pizza chain" fan speculation I have seen criticized elsewhere recently.  It seemed like a pretty offhand, self-congratulatory remark with not too much thought put into it.

I prefer Kylo Ren's theme/motif.  

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