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Chen G.

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Everything posted by Chen G.

  1. "It doesn't matter what the film is about, it's how it is about it" - Roger Ebert. We have serious films about space samurai-wizards, and about hairy-footed little people. Surely we can have serious superhero films. If anything, the modern setting of most superhero films makes it easier to make them serious. But than again, there's always something like Man of Steel... They most certainly are. Especially The Dark Knight which is credited as being a virtually perfect film, where its far from it. They're still preety damn brilliant.
  2. He might, but there are already going to be plenty of new characters and plot elements for him to write themes for, I believe. He isn't one to write a large number of leitmotives per a single film: He doesn't like to keep it too dense, he wants the themes to have time to "breath" and he doesn't want the audience to get the different themes mixed up. Again, a good way to look at how Williams builds his catalogue with each film is to look at the themes as suggestions of various emotional "dimensions" of the film: Idealy, he would have one theme in each category: a heroic theme (e.g. Luke's), a romantic or lyrical theme (e.g. Leia's), a pensive theme (e.g. Ben's), a playful theme (e.g. Jawas), a menacing or evil theme (e.g. Death Star). Depending on the mood of the film, there might be a tragic theme (e.g. the Lament theme) and/or a motif of mystery and revelations (e.g. the conspiracy motif). This also goes to explain some of his more "romantic" uses of his themes. Williams tries to achieve this balance, even if it means to make more of a character or plot point than is strictly necessary, which he might do here with something like the Porgs. The more the film suggest a certain mood (e.g. a more tragic one a-la Revenge of the Sith) the more themes will Williams write in that vein, or use his one theme more prominently.
  3. If I recall correctly, BB-8 is associated with the same "'Unknown' Chords" that Doug Adams idenfied in the score to the original Star Wars. Look for them in the "Throne Room" concert setting. They just denote mystery: in the original Star Wars - that of the Tatooine desert as the Droids land there. In The Force Awakens - the map (more so than BB-8 itself) and the mystery of Luke's whereabouts. So not only are they not specific to BB-8, but I would argue that they aren't really a leitmotif, either. Rather, they're just a Williams' device of creating a sense of intrigue, and as such can be found in several of his scores. See the music for the Ark of the Covenant and for the Crystal Skull in the Indiana Jones films. Its also, allegedly, one of Williams' classical references, in this case said to be lifted from Stravinski's Rites of Spring. I do think he will provide one of the unusual creatures in this film with a thematic identity. It might be his only way of injecting levity into this score.
  4. Score - probably. I think the Zimmer scores suit the Nolan films well, but I can never see myself sitting at a long concert of those - it can't stand on its own. As for the films: to me, the more serious it is in tone, the more the audience can be emotionally involved (beyond just enjoying the action or the characters). That's the meaning of an action drama, as opposed to a plain action film.
  5. My most revered films are, for the most part, grandiose action dramas. The penultimate superhero films in that category are Nolan's Batman films. They are the only superhero movies (pre Logan) that are serious enough that I can be emotionally involved. As to which of them I find the best, that's harder to answer. The Dark Knight is the most well-made film of the three, but I feel like it has less heart than the other two, which are more about Bruce Wayne than about Batman. For one thing, The Dark Knight under-utilizes Alfred, one of the few male characters allowed to express emotion openly in these films, because he is framed as Bruce's father figure. Besides those, I really love the Avengers, when framed as an action comedy. I don't care as much for the classics of the genre: Superman (which is my favorite superhero score) has so much silliness that I can't take it seriously, while on the other hand I can't take it as a comedy unless it's in a meta kind of way of laughing at the decisions of the filmmaker.
  6. The question isn't just whether the new music is Williams' own, but whether the music features the existing themes or rather utilizes the trailer to introduce the main theme of the episode at hand.
  7. Seen it a good couple of times. Personally, I find that drama works best when it is complemented by grandeur and scale, so naturally I'm not one to rave over it.
  8. Originally, they were going for an even younger demographic. Until Revenge of the Sith they were very much being made for kids.
  9. I seem to recall Doug tweeting that the book will discuss some unreleased sections of the score. Since he isn't in the habit of writing "unused concept" clauses in the finished book, it most likely means that these will be discussed with the context of an added CD. As for what will be in there, I think the whole theatrical finale of An Unexpected Journey (including that spellbinding eagle music) will surely be included. The music for the funeral scene is a given, as is "Valley of Imladris" (Doug said it almost made it into the original album). Beyond those, it's anybody's guess really.
  10. I think the comment was aimed more at the people prone to excessive cheering.
  11. He means that the hardcore Star Wars fanbase may corelate more with people who are more prone to act like this in the theater. An unproven assertion, yet not one that is without reason.
  12. There's nothing quite like the Mount Doom music to wake one up. Especially when one had overplayed the various versions of it one on top of the other to make sound like the forces could rival Schoenberg's Gurre Leider.
  13. Because origianlly they weren't Jedi robes. Just clothes that poor desert dwelling people like Luke, Owen and Ben wore. The look kind of stuck and Lucas went along with it.
  14. It's obviously a clunky translation, but I cannot help but wonder what he means by "I have it all written down." I remember him making similar remarks soon after Lord of the Rings. Since he works with the books themselves first, there is nothing stopping him from writing themes in advance. Not for work, you understand, but for sport. I sure would love to him take on "The great tales" of the Silmarilion. They fit his operatic sensibilities the most, better than The Hobbit did. Its certainly not too far fetched!
  15. As does all of Hollywood, with the few exceptions I mentioned. Its what George Lucas did with his films, too. Or do you think the incest in Empire Strikes Back (of which there was a lot more left on the cutting room's floor, thankfully) was intentional? Or Qui-Gon Jinn? Watching Star Wars, there are no two films that feel like they were cut from the same cloth, continuity-wise.
  16. Film trilogies is rarely are mapped out from the beginning, even in the broadest of strokes. At best, they have an idea for what each film will be. but an idea isn't a story. Far from it! The exception are films made simultaneously like Lord of the Rings, The Hobbit, Pirates 2 and 3, Superman 1 and 2, etc....
  17. It doesn't sound outlandish to me to attach it to the beginning of the Lord of the Rings symphony going forward. Not that I think Howard will ever actually approve of that .
  18. Yeah, we're yet to see if he pulls an Anakin's theme on us with Rey, or whether he will stick with his existing themes as per the original trilogy.
  19. Williams doesn't do "a lot of callbacks." It's almost as if reprising themes too much feels to him like retreading musical grounds. For a score to feel "original" to him, he has to base it on new thematic material as much as possible. As for that motif specifically, its for the more lighthearted action scenes (where there typically is humor to be had with Finn's scared-out-of-his-mind behavior, hence the tendency to associate the motif with him). As the action becomes more dire, this "driving" motif is left by the wayside as it would be out of place. If the marketing is to be believed, this upcoming movie will have little room for the former kind of action. Still, I suppose the motif could recur once or twice.
  20. That Finn Motif always was something more of an "action" motif. I doubt we'll hear much of it again.
  21. That's actually quite likely. He doesn't want to repeat themes from earlier episodes too often, so don't expect too much of Luke and Rey's existing themes. A new theme for their entire storyline would be a good way around that.
  22. Wow, with the former two films I was always thinking about the level of the performance and the music production. But with Return of the Jedi there is also the question of whether one is willing to sit throughout all the Ewok shenanigans in the name of one's appreciation of the score.
  23. Watched it once and thought it was very good. Although I always suspend my final judgement until I've seen the film twice.
  24. I seem to recall Doug giving very strong and conclusive clues that there was material attached to the book. As for the diegetic rendition of Valley of Imladris, It's just a guess, but since Doug said that it almost made the OST, I assume putting it on the rarities is a no-brainer.
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