Chen G.

You think it's going to suddenly capture the imagination of a generation of children who have been completely apathetic to the previous movies?

My sense with this 3rd Kylo Ren motif is that Williams did originally conceive of it as a kind of intro or supplemental idea, but that over time it's grown legs of its own so to speak. Especially in TLJ, there are a few instances where it really does sound detachable. And there are some moments with material strongly evocative of that I'm not sure are derived from it, but belong in the same motivic family.
 
Example: 
 
 
 
Alternatively, I think you could make a fair case that this rising string motif is actually a variant of the First Order motif in TFA which, besides the unused Parade Grounds cue, is really undeveloped in that score. Both are based on a C-D-F-Eb melodic cell.

With all due respect, Chen, I think you're contradicting yourself. First you say it's related to either one of the two themes, then you say it's a little baby manta ray to the secondary theme, and there are times, like in "Escape", where it doesn't play off that theme at all. 
 
And if they play off each other, why would that be excluded from being a distinct musical idea? There are a number of times where the other Kylo ideas bounce off each other, but everyone considers them two distinct themes. And what about times when parts of a theme don't interact with other, does that mean they're separate? Like in Empire Strikes Back, there's a part where the little woodwind bridge in Yoda's Theme plays solo, and I don't think it precedes or follows the theme. Does that mean Yoda has two themes?
 
This is all silly music semantics in the end, but all I'm saying is I don't think juxtaposition of musical ideas, or lack thereof, is necessarily the best indicator of an idea being a distinct theme or not.
 
 
 
 

I'm sure they saw it, but if that influenced any part of TROS? Who knows? I doubt it, there's a whole process for the last film that would be concerned with concluding the story, making the film that they can be happy with. I don't know how much of TLJ could even influence TROS, to me it's kind of like Johnson (if he did do anything wrong with TLJ...) already did the damage and what comes after is business as usual...

But do the fans really know what they want though? 

You expected a Tarantino movie to not end in a bloody showdown? For shame!

The sequel trilogy isn't Rey's? @Mattris 
 
You sure about that?

Even than. His direction is so static.

HEAT AND DUST, one the sexiest things you'll ever see, starring Julie Christie, one of the sexiest things you'll ever see.

I've already forgotten about most of those places and characters anyway. But from what I can gather of people here at JWFAN (after spending a bit of time in their company), is that they can be a bit, er... "particular" in regards to absolute completionism. It's chronic!

Anakin's Theme was always intended specifically for Young Anakin, though.

He'll score the film on its own merits. Revenge of the Sith doesn't really payoff or resolve musical threads established in the first two prequels, for example. It practically abandons the love theme other than a few cameos (and Anakin's Theme gets a single reprise), instead writing a new lament theme that prominently underscores the collapse of Anakin/Padme's relationship (also -- more experimental, non-thematic ideas like Padme's Ruminations and Leaving Mustafar).
 
That said, as far as sequel scores go, TLJ is far more reliant on the ideas raised in his previous score than, say, AOTC to TPM.

and..."fall into the nothingness that awaits you and the fandom", I suppose you were going to say, right?
 
Or am I in the wrong franchise again?

The whole "Leia and Luke are siblings" is mind-numbingly idiotic, anyway.

I should hope not.

.

I think the difference is that Star Wars tells a unified story, as opposed to Bond where each entry is its own story.
 
The one's a cycle, the other - an anthology; and that extends to the role of the music. John's achievement is mostly in the composition of multiple leitmotives and their development across such a long-form of a work. That doesn't happen with Bond because there is no through-development from entry to entry.
 
Its more comparable to Howard Shore's Middle Earth work (with less entries but at an overall similar length and scope, and greater intricacy) and Wagner's Ring Cycle, the shortest but perhaps most intricate of the three.
 
Its a great achievement however you look at it. Even within the original hexalogy, there hasn't been one director, writer, editor, cinematographer or art director throughout - but there has been one and only composer, minus the odd diegetic piece.

Any way you cut it, it is a huge achievement.  I have been underwhelmed by the Disney SW-product, but I hope for Williams' sake, IX goes out on a high-note.  And, why not make the pun intended. 

Judged holistically, I think SW is the greater achievement but it's apples and oranges really. 

John Barry scored 11 Bond movies.

Maybe that’s the problem. 
 
There haven’t been enough tits in a show about Tits and Dragons 

I like to wonder what JW's reaction would have been, if somebody came into his office in 1976 while he was at his piano working on the first score, and told him that 43 years later, he'd be using the same themes and material for an ninth installment.  John probably would have called Security and had him committed.

That's GRR Martin you're thinking about right there. 
 
It seems Williams shows no signs of slowing down. I'm holding out for what I hope would be one of his very best.
 

There no reason to ever release every take of every cue.

Seems like he already made this movie a couple of times.