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ragoz350

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ragoz350 last won the day on May 16

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  1. In fact, it's possible that the snippets of the Force theme in this trailer are taken from the cue that JW wrote for this trailer, only they're pitch-shifted. So, Williams was asked to write the music for the finished trailer, and then somebody "trailerized" it. Interesting approach...
  2. The Force Awakens. 6m57 - Rey's Rope Climb 6m57R - Rey's Rope Climb 6m57R Alt Ending - Rey On The Wall The scene where Rey quietly scaling the wall, hiding from the stormtroopers. In fact, a total of three versions of the cue were written for this, and they were all written when the scene was located elsewhere in the movie: after Han, Finn and Chewy go to infiltrate the base. 1. 6m57 Rey's Rope Climb (written no later than March 30) JW decides to use a quiet piano/synth ostinato throughout the cue, with interjections of the Rey's theme on the harp. This version is longer than the final edit. There are two big "swells" in the cue, and both end with the "Door Opens" sync hint, so Rey wasn't initially able to hit the hatch the first time (probably?). Also, after that, there should have been another little scene where the imperial droid drives past Rey in the hallway: this moment is in both novelizations: 2. 6m57R Rey's Rope Climb (no later than June 11; recorded) In the revised version JW uses the same idea, adding a slight variety. This version is already shorter, but still has differences from the final edit: it seems that in the beginning there was added another shot with Rey hiding (then later it was moved again), and at the end there was still a scene with the droid. 3. 6m57R Alt Ending Rey On The Wall (probably August, fixed on September 3; recorded) This cue replaces the second half of 6m57R, and is in fact written by W. Ross (probably, based on JW's idea). A more tense but less minimalistic approach is used here, which was left in the movie (in abridged form).
  3. About the underrated... When I first listened to Sleepers OST, I was surprised that it wasn't talked about very much. It's unusual combination of subtle writing with sometimes heavy synths. Not that I'm ready to listen to the whole album often, although Hell's Kitchen is, for me, one of JW's best concert arrangements.
  4. Ke Huy Quan (Short Round) has already denied his involvement in the film "First of all, I don’t want to spread any rumors: I’m not in Indy 5." (Source)
  5. In the deeps of the thread TSMefford posted some interesting info here from the old Magic Box site: guys, who did the music for the trailers. And another post from Datameister, with German trailer that apparently uses the original track.
  6. I wouldn't want a separate thread: all the videos of the restored SW scores would be in one place.
  7. The Force Awakens. 5m46 [Kylo Stalks Rey] 5m45R [Back to Battle] 5m45R Alt This cue is for one of the battle scenes on the forest planet, when Han and Chewie fight off the stormtroopers and Finn gets and uses the lightsaber. 0. 5m46 [Kylo Stalks Rey] (probably June, fixed on July 3) In fact, the history of these cues is somewhat confusing. This scene was originally divided into two parts (separated when the lightsaber is activated), and in between was another scene where Kylo discovers Rey in the forest, with their dialogue apparently cut out. JW wrote 5m46 cue for the Rey/Kylo scene and the second part of the battle scene. Of the cue, only its opening and ending are available (the material of which has been kept in later versions). In this video, I've tried to restore the beginning of the old cue (with a presumably abridged montage of the battle scene). The middle of the cue is unknown, and the ending (when Finn fights the stormtrooper) is the same as the one in 5m45R. 1. 5m45R [Back to Battle] (no later than August 3; recorded) The scene has been re-edited, and William Ross had to redo this cue. In addition to using material from the old version, Ross added new stuff, most likely based on JW's ideas. The result is a fun cue with a mix of very different action material. Since in the final edit the scene is completely without music, I mixed my mockup with SFX. There are also differences from the final edit: I had to reduce Han's shots at the beginning of the scene, as well as inserting a black screen during the final duel (not sure if it's in the right place). 2. 5m45R Alt (no later than August 3) JW later wrote an alternate ending to accompany the duel. A completely different approach, which then returned in Chrome Dome from The Last Jedi. Here are my mockups in isolated form (for better quality you can download them): ragoz350 · TFA 5M45R
  8. Yes, and a similar fanfare is also heard in 6m58 The Bombing Run, also accompanying the X-wings. I wonder which of these cues was written earlier: 6m56C or the 6m58.
  9. The Force Awakens. 6m56,6m56R,6m56R Ext - "Preparing for the Mission" [6m56B],6m56BRv1 (+New Ending) - "Kylo's Rage" 6m56C - "To Lightspeed" Among the TFA cues there are several that have the same number 6M56. These cues were written for the film sequence, beginning with the Resistance team's preparation for departure, and ending when Han, Finn and Chewy infiltrate the base. Apparently the filmmakers weren't sure of the order of these scenes (and they did move them around all the time), so these slots were not numbered. Here I have made "partial" mockups of only the first three cues. They (6m56, 6m56B, and 6m56C) were written for an early editing in spring 2015. JW also wrote 6m56D Ice Landing and 6m56E Ren In Cockpit in early August (after the first cues were recorded), and William Ross wrote 6m56F Hey! in October. 1.1. 6m56 Preparing for the Mission (written no later than March 19) The cue is for the scene of the Resistance team preparing for takeoff and the last dialogue between Han and Leia. The dialogue was originally longer: a couple of lines were cut from final movie, remaining in the novelizations (and the sync hint confirms it): But more importantly, there was a deleted further scene where Leia gives Finn the lightsaber (according to the leaked shot list), Han and Co go aboard, and the Falcon takes off. --- Interestingly, this is the first written cue featuring the March of the Resistance. The video starts in the middle of the previous cue (6m55R, I just like that buildup). 6m56 starts at 0:37. There is also one cut bar at 0:36, but I was lazy to reconstruct it. 1.2. 6m56R Preparing for the Mission (no later than June 11) There are changes in the second half of the cue. The beginning of the dialogue now has Leia's theme added to Han and Leia's theme. Only the shot of Falcon taking off is left from the last part of the scene: JW wrote an "optional" ending to it, alternatively suggesting to just hold the last chord until then. 2.1. 6m56B [Kylo's Rage!] (probably March/April) 6m56R Ext (no later than June 19; recorded) 6m56B was originally a short cue, played when Kylo discovers that Rey has escaped. That said, the scene of Rey's escape itself was apparently without music. However, the scene was later split: the Rey's escape was placed before the Resistance scene, but Kylo comes to the empty chair after that scene. So JW decided to "join" 6m56B cue to 6m56R (since they weren't recorded yet), while removing the first 4 bars of the original cue. And this is how the cue was recorded (and leaked). JW also added a low string crescendo at the end of the cue. 2.2. 6m56BRv1 Kylo's Rage! (no later than October 10) 6m56BRv1 New Ending (no later than October 12) The story of this cue was continued when filmmakers decided to place the scene with Kylo before the Resistance scene as well, and added (or asked to write music for it) a short scene with the "charging" of the weapon on the planet. So William Ross wrote an addition to the old cue (and made slight changes to the old material), and seems to have made more than one version of it, but only the first is available. Later, JW himself decided to rewrite the last bars of the cue, writing a "new ending", which was recorded. This video includes both endings. Later, 1m2A was written based on this cue, which is heard at the beginning of the film. 3. 6m56C To Lightspeed (probably March/April; fixed on June 15) The numbering isn't chronological here, as 6m56D Ice Landing must play earlier. Perhaps the Falcon landing scene wasn't ready yet, so JW skipped it. The main part of this cue is for the deleted scene where the X-wings are commanded to activate lightspeed. The scene was officially released, but JW worked with another edit where there was no footage of the X-wings taking off, but there was dialogue with Leia, who was told that the Falcon had landed (according to the novelization and the hint in the sketch). Nevertheless, the first bars of the cue are used in the film instead of the opening of 6m58 The Bombing Run. Also the first half is heard in the released deleted scene, but it isn't synced properly. The cue only lasts 52 seconds, but there's a lot going on in it! Bonus: in "unfixed" version of this cue the underscoring of the planet's wide shot was a little different: instead of quiet flute chords, flute trills were used, accompanied by "something like a high wind machine". Also further string pizzicatos are missing. ragoz350 · 6M56C - Old fragment
  10. The Force Awakens. Cue 4M38A Rey's Dream. Time of weird mockups. This cue is for the scene when Rey finds a chest in the castle dungeon, after opening it various visions come to her. This scene seems to have had a difficult history. The version that JW underscored is *very* different from the final one (the original cue was written no later than March 19). This version is described (redundantly) in both novelizations. Here's a snippet from Foster: And here from Kogge: Over time this scene began to be edited. By mid-June the scene had been shortened, but the original cue had not yet been recorded. At first the composer simply crossed out the redundant measures, but then made a "revised" abridged version of the cue with slight changes no later than June 18. The new length of the cue became 1:37 (vs 2:25 in the original). And this version was recorded. But then the scene was heavily reworked: not only was it shortened even more, but it appears to have been partially reshoot. The Cloud City part was totally cut, the mention of the temple (Luke and R2 sitting next to it) was also removed, etc... I restored the original version and mostly left the black screens in the video. I've also included here the restored end of the previous cue (4M38R Into the Cellar), and marked the measures that are missing from the revised version (as "Omitted msrs."), and therefore were not recorded. I also made a mockup of a small fragment from the revised cue (when old Luke appears), which is slightly different from the original. ragoz350 · Fragment from 4M38AR
  11. Honestly, it's hard for me to compare the Galaxy's Edge to the Han's and Obi's themes. The Edge is a separate suite with several thematic constructions at once. I don't know what Ross brings to it, but it's an interesting "free Star Wars music fantasy" of JW on a non-specific theme (not a saga character). I like the Han's and Obi's suites, too. I find Han's theme itself a bit odd, but the concert version is very solid - and it's clear that JW appreciated this material, since he moved many of the bits to the Battle of the Crait in TLJ. Obi-Wan is a nice melancholic theme. Many good things have already been said about it, but I especially like one progression (0:58-1:06 in the single, and on the picture from Falstaft's analysis) - I wouldn't have thought I'd hear something like that in Star Wars music
  12. Hmm, this (accidental) connection is interesting from a plot point of view as well.
  13. Yea, this 1-3-2-5 motif (grown out of Ludlow's demise) is now becoming a kind of JW's version of DSCH And it's remarkable that both the themes from sequels and Obi's begin with this motif, a seed for new musical ideas...
  14. In Spotlight's recording of Tintin's main theme, the harpsichord sounds terrific (better than in OST) - how could anyone not love this instrument?
  15. Yea, such a bright cue! The second half of these cues sounds to me like the combo of "The Norwegian Ridgeback" from Philosopher's Stone and some intonations a la Droid Motif from Empire Strikes Back. Basically, from what I know: 3M29R: The first half is present in the movie during the last dialogue between Han and Leia (AFAIR), so the cue was definitely recorded. 1M4A: the beginning (up to the start of Leia's theme) is in the bonus features, someone (@Manakin Skywalker?) was able to extract the music from there with good quality, and I used this fragment. For me, in fact, it's surprising that the bassoon solo didn't appear in the bonuses, very good material for underscoring.
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