Tydirium

I'm still trying to wrap my head around how the beginning of FYC track Prologue can match to OST Journey to Exegol, yet the end of the track can match to OST Fanfare and Prologue.
 
Does the prologue of the film involve a Journey to Exegol, or is that a separate event that happens later?  What's an Exegol anyway? 

Less than 20 hours to go now!
 
@AzOutcast, gonna head over to Epcot today to see if it's there? =D

Destiny of a Jedi is the only track title that sounds like a concert arrangement to me.

Yeah the new heroic  theme in Rescue/Farewell/Approaching the Throne is 100% the same theme
 
The other one in We Go Together and other tracks is different
 
But they could be the A and B theme in the same concert arrangement

I easily grant that this stuff is unverified, but I see some people acting as if Williams vocally expressing displeasure with something is some dark secret truth about the man, and is tantamount to pulling the curtain back to reveal someone other than the polite gentleman we see in interviews and countless anecdotes. 

Why would that be him being a Diva? It's his work. He wouldn't want it represented in a way he does not want it to be. Every artist has that right. 
 
Different Studio and most stuff in there is pretty much quoted as is. Not put under different chords that are actual re-orchestrations. Plus he might not have the clout he does with his Star Wars films to say too much. Either way, it's not really different when his stuff comes in. He has no problems with his themes being there, just how they are treated and reimagined. 
 
I have never heard of him having any issue with Powell in Solo though.
 
In the end the way Williams writes, there is a rhythm in his themes and they make sense for a reason. There is a cadence that flows. Do too much with it and it loses it's meaning, cut it off too soon and you lose the rhythm. It would be like trying to say a sentence but you leave out words. Also he orchestrates and uses harmonic language that is from the Classical world not Film world or Pop world, so he would probably have issue with that (my assumptions of why here, nothing I have heard, just trying to figure out what it might be). It's not that I do not like Gia, I actually love him in things like Ratatouille and The Incredibles. But when it comes to pure orchestral, I honestly do not think his harmonic language is there. Not in the way a classical composer would write. He hardly modulates. I do not know the RO score well because I don't like it and have not sat down to listen to it all that much after trying to initially but there is a track, it sounds like what Williams would write in one of those marches like the Resistance March. If you notice with Williams when he writes something like that, just like a natural composer he knows when to modulate. Either going to the 5 or just going up a step. He changes the orchestration. Different groups of instruments take the theme, whilst others then take on different counter parts or chords, some then stay silent etc etc. With Gia, he stays on the same tonality pretty much the whole track.... What? You've bored the orchestra playing your music and bored me to death..... Sorry, again, I love him in his other more jazz, big band, alternative scores and he MODULATES with those. Also in Jurassic World, there is a track where the kids are in that round bubble vehicle. He has woodwinds bubbling up with these scales that have nothing to do with the tonality of the piece. I'm like, did you just choose random notes or is this just going over my head, because I know what it "should" be there, but there is no rhyme or reason in what I am hearing. Again, music is subjective and someone else might love that randomness, but to me, it makes no sense classically or musically. These are just a couple of examples off my head.
 

So this is REALLY weird. My dad and me were toying around with this Shazam app and so I played the Kylo Ren theme from ‘Prologue’, trying to fool the thing because that music hasn’t been officially released yet but it contains an existing theme. 
 
And then it said THIS:
 

 
😳😳😳

This is such a weird time... probably the last time it will be like this, unless Indiana Jones 5 actually gets made and JW scores it.
 
What I mean is, it was weird yesterday, as I was out and about doing errands, then doing various things around the house... basically all day long constantly checking to see if the STAR WARS EPISODE 9 ORIGINAL SOUNDTRACK ALBUM was available to listen to.  Then eventually... going to bed... and realizing "well, when I wake up in about 8 hours or so, either there will be dozens of pages of discussion, and I'll know how my day is starting... or there will be nothing".  And today... I keep checking.  At some point, some time soon, I'll be able to hear the STAR WARS EPISODE 9 ORIGINAL SOUNDTRACK ALBUM... but I have no idea when that point will be.
 
All we know is that it will be legally for sale digitally in Australia and New Zealand 41 hours and 38 minutes from now, and that's goddamn exciting.
 

I kind of don't like that the FYC dropped first, because, now when I first listen to the new STAR WARS EPISODE 9 ORIGINAL SOUNDTRACK ALBUM, my brain won't simply be taking a ride on what John Williams wanted me to hear for 75 minutes to sum up the score.  Instead, my brain will keep going "oh, that was on the FYC" or "Oh wow, this music wasn't on the FYC at all, and it's great!" or "Wow, this concert arrangement makes that theme from the FYC make so much more sense now", or whatever else.  Oh well.
 
In an ideal world, the OST album should have just come out digitally in early December, and we should just be waiting for the physical one to come out once it's done pressing.  Oh well.

I would think it was the Force Theme's use in Trust Goes Both Ways (as suggested above) and the Binary Sunset usage in Hope that Williams would have taken issue with specifically. The former just sounds so... wrong in its timing. The latter is far too abrupt in its flow to the ascending material that closes out the cue, and it doesn't have a proper segue to the end credits, which just makes it all the more jarring. I like the score, but I was honestly thinking 'seriously? Sounds like something was cut from this cue' when it came to Hope.
 
Vader's theme usage in Krennic's Aspirations is one place I can think of where Williams' themes sounded 'correct', and there were some good usages of the Force theme elsewhere. Just not in those two particular pieces.

Prequels have a more broadly definable premise, but those movies individually are barely about anything. Ballsier music, cooler world-building, planets, ships, sounds. Higher kitsch value, JJ doesn't really go for this, I enjoy a couple things on that level in TLJ like Luke milking the tits and Space Leia but Lucas was more tapped into that, grotesque stereotypes and all...
 
Sequels I admire most from a directiorial standpoint which Lucas phoned in except for key sequences. Stuff like Podracing, Duel of the Fates, Padme's Ruminations show he had some interest, especially in editorial; anytime the prequels go into montage, it stands out. I like the one bit in II when he has Anakin/Dooku fighting for a few seconds entirely in close-up, pretty slick. The Plagueis story is brilliant and just about the only scene that uses RLM's hilarious "sitting on a couch" observation to its advantage. But Lucas never wanted to direct those things and Abrams and Johnson are obviously having more fun with the staging in even the smallest dialogue scenes. And it just goes without saying the actors in the sequels are more interesting to watch. The prequel actors/characters merely have funnier memes aside from Kylo Ren.
 
As far as adding to the saga, the prequels are more relevant but the original three has everything, anyway. That is one hell of a nice story and there's nothing in the prequels that enhances those movies seriously. For the most part they take away the magic and a lot of it is contradictory. They are pure novelty and so are the sequels, but I like them for what they are. The most accurate take on Force Awakens is that it's a movie about Star Wars (Rise of Skywalker will undoubtedly be the same), which is either fun or hack depending on how you look at it. Last Jedi is better than the YouTube subscribers will ever give it credit for even though I'd acknowledge some of it is out of whack. But I like its half troll-y, half sincere vibe.
 
Idk, it's Star Wars, who cares? The saga's a mess and there will be many glorious 1-9 box sets. And they're all scored by John Williams. That is cool.

The prequels had an interesting story. It was just poorly executed. 
 
The sequel trilogy has a boring story. That is also poorly executed.
 
 
Prequels - The rise of Sidious and the fall of Vader. The rise of the Empire and the fall of the Republic. Interesting.
 
Sequels - The instant perfection of Rey and the instant imperfection of Kylo. The already risen First Order and the 15 second destruction of the New Republic. Boring.

Daisy Ridley cannot act. She has one reaction to everything; eyes wide/mouth open.
 
Adam Driver is a great actor, with nothing to work with other than 'be emotionless and bored, followed by extremely angry...and repeat.'
 
Boyega is an okay actor. But doesn't fit this style of acting at all. And his character's interesting premise is completely wasted.
 
Isaac is a great actor. Again, given nothing to do.
 
Ford was there for the money and to get rid of his character. Fisher was a cardboard cut-out, and Hamill was brilliant, even in having to reluctantly but contractually destroy his own iconic character.
 
 

I prefer the Prequels. 

It's simple. Think how stupid the average person is. Then understand that half the population are more stupid than that.

Because they are young and dumb .  I am 45 and movies were better « before », that’s a fact.

Woah, that statement is an acquired taste. It sort of works once you know what's going to happen, but the first time you hear it, it does sound wrong.
 
I can easily imagine JW hearing that and taking issue.

They must be insane.

The new ones just don't feel...special. There's a certain Star Warsian magic in the prequels from Lucas' touch and with the aid of the maestro, of course. The dialogue is insanely quotable as Star Wars should be.

They're profiteering off nerd naivety.

For all the criticism about the characters, script, dependence on computer graphics etc., the prequels tell a clear story and fill the gaps in the saga. The Disney movies are just more, with no real purpose other than to cash in on the franchise. They're doin' it for a shitload o' money! Lucas certainly profited off Star Wars, but it still feels like completing the saga was personal to him and these White Slavers calling the shots now are just profiteering.

I mean it's so ridiculous. The Disney movies have boring characters, are a bit full of themselves, and seem to be fixated on pleasing demographics and maximising sales through mass appeal. And it's hard to accept anything from the Disneyverse as canon anyway since George Lucas isn't involved. I mean, the guy IS Star Wars, not all these other hangers-on.
 
But the prequels, man. Those were where it was all happening. They had a clear direction, a visionary leader, a greater sense of unified artistry. And ROTS, that movie is amazing. It's a film that moves, and has suspense and things are happening all the time. You always remember the dialogue in these movies too. They're about things too, like a man's love for his woman. They're great!
 
But these sterile Disney flicks? Do people just go for these because of brand loyalty that's been drilled into them since the early 90s? I'm thankfully immune to their dainty princessy crap for kids, but it seems everyone else is enamoured by it. Makes me feel sick.

It is horrendous. It sounds like the musicians fumbled their notes

Hi everyone,

I've been trying to steer clear of JWfan and social media until TROS comes out, for fear of musical spoilers. But I did want to drop in quickly just to share an article I wrote that I think JWfan may enjoy:
 
"How John Williams’s Star Wars score pulls us to the dark side"
https://www.washingtonpost.com/outlook/how-john-williamss-star-wars-score-subtly-pulls-us-to-the-dark-side/2019/12/13/be3ab50e-1b7d-11ea-87f7-f2e91143c60d_story.html
 
Most of what I cover here is stuff a lot of you will already know (Vader's death cue, the Emperor/Augie connection, the fantastic unreleased music in ROTS Opera Scene) but even if it's not news, I bet it will still be fun seeing it in print!
 
(Also, despite my better judgment, I checked the comments on the article, and most of them are really wonderful!)

May the force be with you all!

In TESB, he does actually refer to Anakin as such: "The son of Skywalker must not become a Jedi."
 
 
Wow. It's blowing my mind just how many people seem to be ignorant on this subject. Never came to pass either way??? Anakin destroyed the Sith in ROTJ; that was the fulfillment of the prophecy... George meant it so that if you watch I-VI, you would think: "Hm, the Jedi seem to sense darkness in Anakin. Seems like they wonder if maybe he won't be the one to fulfill the prophecy after all?" *Fast-forward to ROTJ* "Whoa! Vader just turned back to the light side and destroyed the Sith! I guess the prophecy was right all along!"
 
You were supposed to be able to understand this on your own just from viewing the saga... But for the incessant doubters, George used his involvement in THE CLONE WARS show to further clarify that Anakin is in fact the Chosen One, with the Mortis arc: in which the living embodiment of the Force straight-up says that Anakin is the Chosen One.
 
The fact that we are now getting articles written by corporate shills wondering if Kylo or Rey is the actual Chosen One, is ridiculous. When will people accept that Anakin is the Chosen One, and stop trying to shoehorn others into that role? At this point, it seems like Disney is trying to steal it from Anakin and hand that title to one of their new characters. It shows a complete lack of respect for Lucas' intentions.