DrTenma

I didn't dislike the song... Is not great, but I prefer this song than Spectre, for instance. In any case I'm more interested in the score, although I could imagine how is going to be.

Yes, sure, I guess they made many iterations but I doesn't give me confidence that something as important as the fate of Kylo Ren was not fixed since the first draft. Although we know that George Lucas is also known for changing many things from one draft to another...

This could be an indication of this draft being false. Supposedly Kylo didn't redeemed in "Duel of the Fates" according to the previous leaks...

Hildur: Is a huge honor... John: Oh thanks... Gustavo [Santaolalla], have you lost weight?

I kind of recall that part was also used for the Kashyyyk battle, or am I wrong? I agree that if the cue is used before in a relevant scene it sticks more, but I always felt that scene could had either the imperial march, the emperor's theme, the music from "Palpatine TV set", or even silence... Also, do we know if Williams composed something for that? was a last minute adding to the picture and Williams couldn't compose something?

Isn't it similar of what Lucas did in the prequels? There's a lot of micro-editing, tracked music (with weird decisions: I still can't understand why Lucas thought reprising the area music during Anakin's march to the Jedi temple was a good idea, or even an ok idea), etc. I think that Johnson did a better job because he's a very good director, he understands all the aspects of his movie whereas JJ simply is not that good. Despite of TLJ being a less interesting score with less themes, it works so well in the movie that I like it more.

You're right, a great score also has to be well used in its movie. I probably should have said that I feel is the best music as a listening experience...

I wanted to give my impressions on the 5 nominees: - The Rise of Skywalker: this is the score I enjoyed the most and also, the one I think is the better. I'm biased because that's the style of music that I enjoy the most and because Williams is still my favourite composer but, even I didn't like at all the movie and feel that the score is not well used there, the composition is so good that (unrealistically) I want it to win. - 1917: I didn't like the score before seeing the movie and I couldn't finish listening to the FYC promo the first time. After seeing the movie, everything changed. I like this score very much. Is not always excellent but it has some great minutes in it. Maybe is because between the score nominees this is the better movie, but the score is just perfect with the images. It's epic when it has to be, emotional the it's needed, there's silence when the movie needs that... I would be happy if Thomas Newman wins for this one. - Little Women: by no means this is a bad score but IMHO is a boring score. I couldn't care for the music with the movie and outside I still feel it lacks "something". I'm sure that people that knows more music than me can find the subtleties on Desplat's composition but I find it dull. Pretty, but boring. - A Marriage Story: I don't have anything against this score, but also anything in favor. Is short and nice but not better than the majority of music composed last year. - Joker: I'm sure this will win, I knew it when the Oscars run started, and it makes me a little bit sad and annoyed. Again, I'm sure that musical experts can find greatness here but not me. Is the most contemporary and also the most generic score of the bunch. The music of Guðnadóttir could fit in any thriller, drama or sci-fi movie... I don't find the character of Joker in the music, or the city, or any distinctive thing. Also, this is the movie that has the more pop music material, all the "iconic" moments in the movie have a preexisting song in it and that's the real reason the academics will vote for it.

2000$ is beyond crazy for an Oscar promo... Doesn't make any sense.

I can understand why Williams removed the music in those two scenes. I hope to listen to those cues and maybe I'll love them as much as the music not used in Empire Strikes Back, but I can see why the sound effects and the silence works well there.

Could be a guild thing indeed. The Thomas Newman situation is true, he worked on the Death of Vader cue and in the official releases is not credited anywhere... Does his name appear in the original score sheet?

How did we miss that?? Shit, that makes even more absurd to purchase the one at 166$...

I see the point in what Morricone says but I think he's making the mistake of evaluating Star Wars after knowing it was a huge success. In 1977 what Williams did was not mainstream nor a commercial choice. After the success Hollywood wanted every movie to sound and feel as Star Wars, but that's another story.

Maybe someone with more musical knowledge can explain it but, as far as I understand, one thing is to compose themes and another to adapt previous themes. I remember some declarations of Conrad Pope saying that working with Williams as an orchestrator is essentially being a copyists. I could imagine that Williams has always worked like that: he doesn't seem a person that delegates or improvise in his music, we know that he likes to see the movies he's going to score with time and even when he left William Ross or Gustavo Dudamel to conduct the orchestra he's sitting there probably giving indications and asking for another take if he doesn't like the interpretation. I don't know what Steiner did for Return of the Jedi but could have been to follow Williams indications and write the themes in the order he was asked for?

Not a fan of The Rise of Skywalker as a movie but still better than Nemesis. I would have voted for Nemesis if the question was "Which score is better represented in its movie?"

I also like the crowdfunding idea!

I remember reading (but can't recall where...) that apparently Brian Singer wanted Williams for X-Men, but he refused. Also, for Superman Returns and Williams also turned down that.

Well, I think that the composers are still the ones that vote the nominations, so that's important. I much doubt he will win, although I between the 5 nominations his work is the strongest by a big margin. I'm sure that Guðnadóttir will get the award...

Probably incorrectly, but I always assumed the Emperor Theme was more The Dark Side Theme, could be that Williams or Johnson had also that idea in their mind?

But the "Anthem of Evil" situation seems similar to "Luke & Leia" in ROTJ, right? In ROTJ the theme appears... ¿2, 3 times? and we could also argue that since both Luke and Leia had themes, Williams didn't need a "brother and sister" theme.

That's one of the problems in this century: people seem more concern in finding political meaning to art than appreciating the art itself; and it doesn't make sense. Also, I hate when people just assume that Europe, which is quite diverse because is a fucking continent, is jus a big place full of only white people...

I remember Williams saying in a concert after The Force Awakens and before The Last Jedi that he didn't knew it for sure but for him she was the daughter of Luke... What I believe is that he wanted to make a musical connection between Kylo-Palpatine and Kylo-Rey and maybe there's why he end up connecting Rey to Palpatine.

I haven't seen How to Train Your Dragon 3, so I can't judge how's the score there. What I feel is that Wiliams gives more to a sequel than any other composer. The Rise of Skywalker has many more themes and motifs that one could expect, and that's 100% pure Williams. He keeps the identity with some themes and adds even more things.

My list is: 1. TESB 2. SW 3. TFA 4. TROS 5. TPM 6. ROTJ 7. TLJ 8. ROTS 9. AOTC But there's very few distance between the 1st and the 9th...

This really impressed me! Is a very weird combination but definitely with some Williams-esque style there