DominicCobb

Having listened to it, who knows. The celeste is different than the classic ESB one, which you'd figure a trailer house would use (like for TFA). The Rey's theme/Force theme pairing is a lot more interesting than maybe anything I've heard a trailer music house do (though I admit I don't pay much attention). We should note too that the portion of Rey's theme being intertwined is a different section altogether than in the TFA end credit suite, so it's not as if they just copied that. One thing that makes me skeptical that it's Williams is wouldn't they tell us? Weren't they really excited to say that the first TFA teaser had JW music when it first came out?

I trying not to watch the trailer but I'd be very interested to hear the music isolated, if or when something like that ever becomes available (I know they did it with at least one of the TFA trailers). Whether or not it's even Williams, it sounds like an interesting composition from what you guys are saying.

Which takes make up which parts of the track?

Yes, very cool and very real (and I know, very hard to believe, for myself included!). I initially wasn't going to ask him anything at all (obviously there's so much he can't say and so much I wouldn't even want to know until I saw the film anyway), but I had to just ask something about the experience of it all, and I knew that for me getting to work with JW would be the most absolutely insane aspect of it all and probably the most rewarding thing as a Star Wars fan (in my opinion). So yeah, it was awesome just to get a sense from him what it was like, he just seemed really honestly enthused about it (he wasn't just blandly saying that JW is great or whatever, his eyes really lit up when I mentioned the name) and about working on the film in general.

Okay, you're going to have to believe me when I tell you this, because it absolutely happened... It's kind of a long story but suffice to say I just met, in person, Rian Johnson (yes, THAT Rian Johnson), and I just had to ask him what it's like working with John Williams. I wish I could remember his exact words, but something to the effect of it's been incredible, and also something about how when the orchestra plays the cues for the first time every applauds him when they finish. He said it's amazing that John's in eighties and still sharp as a tack. I also believe the words genius and surreal were used (or something like that). Basically he's loving the experience (and I'm sure we'll hear him say as much soon enough when people start interviewing him).

Similar, but not quite the same.

Damn, that transition really is rough, didn't remember it being that bad. It honestly seems like they didn't even try there. Not sure what you guys mean by the "Trust Goes Both Ways" section. Isn't that just the end of "Hope"? Interesting to hear and finally confirm this is a new end title recording (I actually quite like his interpretation of the latter part of it). So I guess this makes this the first Star Wars film since The Phantom Menace to not feature any music tracked from a previous Star Wars score then.

Watched the film again and liking the score more each time. This time around I picked up on some good unreleased stuff, namely an action version of the Whills theme (when Chirrut first kicks stormtrooper ass), and some more bits from the final battle (including another Rebel fanfare appearance, though it sounds like that could have been tracked). Editing seems pretty minimal from what I can tell so far. I did notice a cut during the "Jedha City Ambush" scene, and I have a feeling some of "AT-ACT Assault" was rearranged because the "Battle of in the Snow" reference happens when K-2 is doing things unrelated to the AT-ACTs, which sort of negates the purpose of the reference. I'm sure there's plenty other things too I haven't noticed yet.

Haha wow sorry wouldn't have asked if I knew you would be a dick about it. For most people on the site it's not a very hard request, considering the fact that you don't need to watch the film, you just need to be familiar with the soundtracks which I would have assumed you were.

Timestamps?

Luke's secondary motif? If you talking purely recordings I think that's pretty obvious as the quality is nothing near that of the original orchestral recordings. Original is a strong word to use those when there are so many direct quotes in the music.

Yeah I hear that.

What are you referring to? The music before Luke's theme or the music before the Force theme? The former doesn't seem to be a direct quote of anything though is reminiscent of a few different TFA things. The latter is straight from the original cue.

Well I'm hoping this time, if he's actually composing it as a send off, he does more than just recycle an old arrangement like for ROTS. As for the OP's question, it's certainly possible. TFA's suite is really quite something. Here's hoping we get more of that.

Star Wars - "The Throne Room and End Title" Also worth mentioning (not my favorite score though close), is E.T. - "Escape/Chase/Saying Goodbye" (or "Adventure on Earth"), which might possibly be his best track/cue ever.

From my understanding, Lucas pretty much just visited Lucasfilm one day, saw that concept art and said it was cool, and they made sure to put it in the movie somewhere because he "endorsed" it.

The simple truth is that Lucas kept changing his mind. As with the development of any story or set of stories things constantly evolve and change. The 7 saga films we have so far were all initially conceived to be very different than how they ended up. At this point, what Lucas planned doesn't really matter at all, because what Lucas planned was a whole lot of different things and the Star Wars franchise has simply moved beyond that.

Avatar 2 in November '19 probably makes the most sense. On the other hand, it seems like Disney might be considering bringing SW back to its traditional Memorial Day weekend slot (which I think would be a mistake) so who knows.

I thought about it and there's certainly an argument to be made but I personally thought of it as more the end of the second. ESB's definitely one where they aren't completely beholden to rigid structuring though, so it's definitely up for debate. Anyway the third act begins somewhere around that spot.

Yes. And the third act encompasses more than just the climax through to the end. These are of course up for debate but third acts for the films approximately start in TPM starts when they leave Coruscant. in AOTC when they leave Tatooine in ROTS right after Order 66 in SW when they leave the Death Star in ESB when Luke arrives on Cloud City in ROTJ when the fleet enters hyperspace in TFA when they leave Takadonna So if we're really talking about music for the third act, it's a bit more extensive than what's in the poll.

It's great stuff, for sure. But I don't think The Arena really holds a candle to Battle of Yavin when it comes to action music, for example. I've heard those SW cues a bajillion and a half times too but only because they're so fantastic.

How anything in AOTC better than Battle of Yavin or The Throne Room I'll never know.

The arena tracking and the Geonosis battle tracking. I'm a big fan of the pre-credits cue, but I don't know, I think it may be a little overrated here. I mean, it's great, but it certainly isn't good enough to make AOTC have the best third act of any of the SW scores (I mean seriously?). And I think either way the end credits isn't really on par with the others. Simply put, in my mind its not a true suite (as its just one theme). An amazing theme for sure but I tend to want and expect more from the end credits.

SW only because its two of my top favorite cues. I always found it interesting though that the rest of the third act (from "we did it!" to the X-Wings taking off) is completely without music. ESB is probably the best though. Amazing stuff all the way through. ROTJ comes close, but not quite (neither celebration tune is all that great). TFA might honestly have the best end credits suite if I can take my nostalgia goggles off. TPM is also fairly excellent (minus Augie's which is the worst piece in the entire film) and ROTS is alright (for a Williams film of course). I'm highly suspect of anyone who voted for AOTC.

That was one of the things I was looking for when I first listened to the soundtrack (and couldn't find it, to my disappointment). It's actually probably the only unreleased cue that I personally am aware of specifically (though I know in general that there are others). This film needed more Rebel fanfare.