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Chen G.

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Everything posted by Chen G.

  1. The character of the theme is one of a love theme. Its not a heroic theme. Its used for the heroics of either one of the couple, but its still a love theme.
  2. That's one of those moments that have an air about them of the arse that Yoda would be in the prequel trilogy. I mean, what kind of teacher dismisses questions with "no, there is no why!"
  3. Some of the C3PO stuff, especially as the film nears its conclusion, gets a bit creaky. But certainly there's nothing pervasive throughout the film that weighs it down.
  4. Star Wars is definitely a B-movie, unpresumptously so. The Empire Strikes Back is much more of an A-picture in its feel.
  5. The emperor using the Force was a late addition, and so they can be excused for not having it figured out. And the nature of the Force itself was still in flux: in the original film, its basically just a metaphor for believing in yourself (Luke can use it because he believes in it - and so can anyone who believes); and in the story conferences for Return of the Jedi, that idea surfaced back.
  6. Its first appearance comes across as Williams just wanting to showcase his new thematic material at the top of the film. Its like how the first appearance of the sword motive in Das Rheingold has nothing to do with the sword. It doesn't make it any less the sword motive.
  7. But its not. Just listen to the character of the melody: its derived from Leia's theme, not from any bit of material we've ever heard in tandem with Han. Even Wiliams latest arrangement of the theme seems to have been written on the occasion of Fisher's passing. Sure, it accompanies Han, too; him being one half of the pair that the theme represents. But it follows Leia around just as much. I mean, we actually hear it grow right out of her material, for crying out loud!
  8. The issue isn't the language, rather its how the actors deal with the language. They do it much better in The Empire Strikes Back then they do in Star Wars or Return of the Jedi; and better in those two than in Revenge of the Sith, where the actors do it better still than in Attack of the Clones. It also varies across the cast members, too. For instance, Harrison Ford does his "thing" pretty well in Star Wars (minus some the post Death Star escape small-talk) and is certainly very good in The Empire Strikes Back, but in Return of the Jedi he's...not.
  9. I was not a fan of the way Columbus directed his two entries, although I like Philosopher's Stone quite a bit.
  10. I was thinking they should have gone with another numbering convention, but what would it have been? Just 1-6? A-E? I suppose the archaic nature of roman numerals works for the aesthetic of The Lord of the Rings just like it did to Star Wars.
  11. "The Lord tells me he can get me out of this mess, but he's pretty sure you're fucked!"
  12. I think this is the answer. The Cannes reel was edited jointly by Jackson and Robert Shaye, so it makes sense that it ping-ponged between them with all manner of permutations.
  13. Please let this be the beginning of the end!
  14. Its not repurposing, its recontextualizing. Same with the Luke material and the Leia material. Sure, Williams himself says in the liners that it "also serves to represent the Force, the spiritual-philosophical belief of the Jedi Knights" but the character of the melody itself speaks much more to Old Ben's character, an old veteran now living in exile, than it does to The Force. The primary association in the original film is with the character of Old Ben, and the association with The Force is derived from that; whereas in the other films the association is reversed. Its certainly not a big stretch, though. Perhaps smaller than Wagner's stretching of the Tarnhelm.
  15. I can think of very few places where its really used just for Han: Leia is almost always around. The only instance I can think of off hand is the very first statement, and in that case its really only there because Williams wants to preface his thematic material upfront: again, like how Gotterdamerung opens with Brunhilde Awakening (which is itself the Tarnhelm but nevermind).
  16. It really doesn't. It grows out of Leia's theme, not out of anything we associate with Han.
  17. Me neither. I mean, why is the Tarnhelm theme used in this scene of Gotterdamerung? Waltraute is talking about anything but the Tarnhelm, and it doesn't even make sense in the general sense of "magic theme." It is and it isn't. There was an interview of Mattesino recently where he remarked that the score to the classic Star Wars was composed "with tongue more in cheek than most people perceive" and, thinking back on it, I think nowhere is that made more clear than in the Imperial material, which has a very over-the-top-evil feeling to it: a bit like the Nazi theme from The Last Crusade. You know, its funny: if we did a tally, I bet every single theme from the original Star Wars had either been discarded or completely recontextualized over the course of the saga: Luke's theme(s) became the "Star Wars main theme" (which is what its called as early the Empire Strikes Back liners) The Rebel Fanfare started life as the theme of the blockade runner, then became the Rebel theme in the scoring process, and eventually became the theme of the Falcon (theory: did Williams see the original concept art for the Falcon - which became the blockade runner - and confused the two?) Old Ben's theme became The Force (as its called in The Empire Strikes Back liners), which is why its so mournful sounding. Leia's theme started life as a love theme for Luke and Leia. The Imperial motive and Jawa theme were never to be heard again. Several one-off figures (like the ostinato of the TIE-Fighter attack or the Throne Room) became themes after-the-fact. But is it necessarily a bad thing? The same kind of thing happened in the Ring cycle. The theme that started life as the Tarnhelm became the general "magic theme" (or else, what the hell is it doing here?) The theme that started life as the Rhinedaughters' joyous call for the Rhinegold became the general "joy" theme (or else, what the hell is it doing here?). Its fitting that I attached references from the Boulez-Chereau Ring, because at the time Boulez made the comment that its actually a great strength of the cycle "that Wagner finds new meaning in old themes."
  18. Yes, very much! Something about the mood of the piece just doesn't fit the movie.
  19. I also want it to be a managable overture length - something you could concievably listen to before popping An Unexpected Journey in. So the Symphony had already ruled itself out. Mind you, its already longer than Leneore Number 3/The Dresden Tannhauser, which are the two longest overtures I know of.
  20. The music is for breaks in the films: all the extended Lord of the Rings editions have intermissions that are just as well placed as Kingdom of Heaven's. The Hobbit has intermissions (also intelligently placed) in its 3D editions, and I happen to think An Unexpected Journey really needs that breather, although I don't have music for them. I also like the idea of a single overture for the whole of the six films, but its proven difficult to construct and then that pesky Shore decided to get involved with the prequel TV series so I'll eventually have to find ways to put its themes into it, as well...
  21. In earlier drafts Obi-wan either slices the bad guy in the middle from head to toe, or decapitates him - the latter having actually been filmed but scrapped. It seems at some points Lucas had experimented with making the film slightly "edgier" than what it turned out to be. It was always concieved to be a fairly brisk, lighthearted family film (early press on the then in-the-making film called it a comedy) but Lucas did try to push the envelope here and there a little bit.
  22. I remember that film, but I don't remember almost anything of what happened in it. And that's not just the passage of time: I remember when it ended I barely fathomed what I'd just watched. A weird movie.
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