bored

For our first of the post-score releases, we've got our usual Temp Score Demos and Deleted Scenes.
 
We didn't actually end up temp scoring the Deathly Hallows films like we had with all the previous ones, but rather just filling in our favorite/most essential moments that we wanted to try out. We've shared the most significant ones today. For the deleted scenes, we chose four this time and used material from both part 1 and part 2 of Deathly Hallows.
 
@bored pretty early on in the process, I had also tried out Gryffindor Wins over the last Great Hall scene! We synced it up a bit differently though. Other than that, we've got alternates of the opening, epilogue, and King's Cross (I'd never waste an opportunity to use Artificial Intelligence!!)
 
Next two weeks will be OST/complete score. Thanks for listening!
 
MS

In his sequel era, he sells all of his conspiracy theories to me for billions of dollars, and thenI just kinda make up whatever stupid shit I feel like.

The chase gave Han, Leia and Vader something interesting to do while Luke was training without them. Also, revealing that Vader was only after Luke at roughly the same time that Luke is shown to be making his way to Cloud City serves to raise the tension before father and son finally meet for their very first saber duel.
 
As Faleel pointed out below, Vader’s pursuit of Luke is mentioned in the title crawl.

Yes, it's oddly compelling.

Episode XII part I: The Return of Desplat 
Episode XII part II: The Sacking of Desplat 

Zimmer's epic phase (from 1998 to 2007) is my favorite from him, but I still take King Arthur, The Last Samurai, The Thin Red Line and At World's End over Gladiator though. Maybe even Pearl Harbor.
 
On the other hand, I prefer Gladiator over things like Batman Begins and The Da Vinci Code (this one is a little overrated, the complete score is just so tiresome and meandering). 

The Kraken and Davy Jones' themes are two pieces that I tend to forget how much I loved. Might be time to revisit them.

Before I get all nostalgic and start reflecting on the journey of these scores - here they are!
 
The final end credits!!
 
We have our normal post-film releases coming in the next few weeks, but this is the end of a long journey that we've been so honored to share with you all. It's really made all of this so worth it to read all of your comments, thoughts, critiques, and support. I know I've said this before but we've enjoyed it so much!
 
Hope you like Cue No. 58: End Credits - Deathly Hallows Part 2 version 
 
-MS

Thanks for the response! I understand that rationale, I just always imagined "Wondrous World" being an essential part of Williams' catalogue so I was hoping for more of it, especially after it had such an essential role in Chamber of Secrets. I do love it when you use it though! 
 
By the Nimbus 2000 stuff, I mean this theme specifically:
 
2:36
 
It's also one of the few returning themes in Prisoner of Azkaban so it seemed like it was an essential part of "Hedwig's Theme" that could have had some great time to shine in these fan-scores. Again as well as had some fantastic variations in the Anne-Sophie Mutter version making me believe that it was important to Williams too. 

I do.
 
OTOH, I find this kind of hilarious.
 
 
 
His shock and amazement at discovering Gladiator just means that he wasn't around at the time. (There was a radio host at the time who used Gladiator as an intro so I almost knew it better from that.)
 
On the Horner side of the house it was like when people were losing their minds over A Beautiful Mind and I was saying "HEY! Where were all of you when SNEAKERS was out?!?"
 
Of course Gladiator was actually widely known and acclaimed. It got a second soundtrack release, didn't it?
 
As much as I love Dune and Man of Steel I think Pirates 3 is the last really perfect thing Zimmer wrote.

My current theory: Do not theorize on the motivations of Mattris, that's impossible. Instead, only try to realize the truth: there is no Mattris.

Is that all you can tell me? Look a bit deeper into your crystal ball, surely there is a deeper connection than what you have come up with.
 
Otherwise, you imply that because Rose's theme has a connection to the Force theme, Rose has a stronger connection to the Force then other characters whose theme does not have such a connection, like Yoda, Qui Gon, or Mace Windu who did not even have a theme. That obviously cannot be the case. 
 
I really expected a deeper understanding from you than to state the obvious, that the only musical similarities between the March of the Resistance and Trade Federation March is that they are "both marches for groups certain they were doing the right thing". I could've told you that, and my understanding of Star Wars is nowhere near as comprehensive as yours!
 

Because they’re the same character as will be revealed in Episode XII when “somehow” Malfoy will return…

Yeah, so, what do the connections I mention represent?
 
I haven't gone on a years long journey of enlightenment, so I'm not smart enough to figure it out on my own 

Why does Rose's theme have connections with both Anakin's theme and the Force theme? And why is Finn's confession a direct lift of Talks of Podracing? Or the March of the Resistance having connections to the march of the trade federation?
 
The only possible explanation is that these connections are intentional. But what is the meaning of them? Will Rose turn out to be Anakin's long lost sister be revealed in Episode X? That would really tie the saga together. Was Anakin's podracer reincarnated as Finn? Will the Resistance turn out to be a front for Nute Gunray's latest taxation scheme? the "deliberate design" is obvious

You think if you compare the brain waves of a George Lucas fundamentalist and a religious fundamentalist they'd be the same?

Yes, I think it's intentional that many of the themes have similarities. It's part of how JW creates a distinct Star Wars sound.

Your overconfidence is your weakness.
 
 
Are there any other kind?

I think it's more like John Williams was making connections that he thought could have been plausible. An example being Rey's Theme's numerous connections to many other themes, not just Palpatine's such as Vader, Luke, or the force, and Snoke's music being deliberately attributed to either Palpatine or Plagueis, because he wasn't sure what his relation was to other characters. Kylo's theme always sounded like an offshoot of Vader's theme to me before Palpatine, and the connection there is far more obvious in the film. He was trying to cover his bases and happened to get lucky by the end. Not that Williams isn't a genius overall.

My own understanding of the situation is the following:
 
March 1971-September 1975: Between Lucas first pursuing a space opera, and Star Wars taking the shape we know, Lucas keeps the prospect of multiple installments in the back of his mind.
 
September 1975-August 1977: In spite of making his drafts increasingly standalone, Lucas plans to retcon the ending should the film prove a success, as predictions show. He signs several actors and crew-members for a trilogy, which would naturally end with the defeat of the Empire. He also entertains doing a prequel of Ben's younger days.
 
August 1977- February 1978: Following the film's success, he starts gradually expanding his plans to "at least three or four more films." Cognizant of issues of actor availability, he still aims to start with a trilogy.
 
February 1978-April 1978: Lucas' ambitions extend to a twelve-film series. Outside of the initial trilogy, it is not concieved in sets of three films, but as an anthology of standalone adventures.
 
August 1978: Having turned Vader into Luke's father (Late March?), Lucas tries to fit the sequel into his twelve-film scheme, initially as Episode seven, alongside prequel trilogy about the Clone Wars (Episodes two-four) before deciding to scale down to either nine of six films. He labels the sequel "Episode Five." This is not announced publically until the release of the film.
 
Early 1981: Whether Lucas actually meant to make nine films - or just six and spoke of making nine to avoid telling fans he's halving the series - by this point, when he was sketching the third film, he had surely dispensed with any notion of a sequel trilogy, although he kept talking about it through the 1980s, early 1990s and intermittently as late as 2004.
 
2012: Preparing to sell the company to Disney, Lucas decides to turn the idea of the sequel trilogy to a reality to bolster the deal.

He talked about it being 4 trilogies a couple of times around the release of Empire as well. It seems clear to me that we was never committed to a specific number of movies.

Not to mention the shill media still churning out articles and videos that unconditionally praise Disney/Lucasfilm and trash the naysayers.

@bored Thank you so much! And thank you for your passionate response! It means a lot that this project would spark such a great discussion. I will do my best to answer you comments so here we go: 

DH2 was by far the hardest score to do because it was a balance of “does this go in or that? There’s only 90 seconds so only one will work” when it came to reprising things. Not to mention it’s the longest and most active of the five scores despite it being the shortest movie. So I can both agree with you on Gryffindor Wins the House Cup working at the end, and also say it came down to which one I felt was best to put in given the score surrounding it as well. Lonely First Night doesn’t appear in the original Sorcerer’s Stone film either, so technically it’s not a reprise, which made me feel like I was getting away with something . And as far as Wondrous World representing the trio, I can meet you halfway on that one, but I think because the concert work (and JW) speak about it as Harry’s viewpoint into the world he comes to love so much, my brain has always strongly associated it with his perspective. 

When you say the bridge/flying theme from Hedwig’s Theme, I’m going to assume you mean the B theme of Nimbus 2000 material. (If you mean the literal bridge of Hedwig’s theme, we can discuss that too). As far as the Nimbus 2000 material goes, I personally always saw that as just part of “Mr. Longbottom Flies” within the context of a scene. I know it’s popular via the concert work, but it doesn’t get air time (pun intended) outside of that scene anyway. This is also a good example of how many different options were available during the project. Even at the outset, I knew that I had to just write what I felt might work best, knowing that there were plenty of options available, and that listeners were certainly chime in and give is their take. I appreciate this so much! 
 
The Voldemort 2 question is a good one because it’s both something I didn’t even recognize until you brought it up. I think, looking back, that I began shortening it regularly because harmonically it takes a lot of screen time to unfold. Additionally, the end of the full theme always cornered me harmonically, and I think leaving a theme open-ended allows for both a turn in a different direction, and more anticipation within the scene it appears. I’m going to have to go back and listen though. This is so interesting! 
 
Regarding the tone and orchestration of Hallows, I tried to stay away from my own writing as much as possible in this project (as you know of course) until I came to a scene where there really was no previous reference available. There was also a creative decision early on that Sorcerer’s Stone had to be the sound template for Deathly Hallows when it could be. That way, the nostalgic moments don’t feel like a random emotional grab like the tracked moments in the actual score for DH2. Desplat wrote an amazing DH2 score for example, but his style is so different from Williams that the moments of actual Williams in that score jolt the audience out of the mood and it feels like a cheap attempt at nostalgia. Here I did my best to smooth that out. Of course like you say, nothing’s perfect, but as an alternate version of what might have happened, I felt that this was my best swing for where my writing is right now. But I do appreciate all of the cues you mentioned, where you felt it was captured - those were all more my own writing style rather than being focused on adapting and tweaking.
 
This actually brings us to the use of Williams’ themes. The example you bring up from The Forest Again was actually completely on purpose since Harry has never known his parents, and therefore has never developed a real relationship with them. I didn’t feel that there was any different between this scene and the mirror scene where I took the material from in terms of emotional growth. Harry, of course, has grown immensely, but while talking to or seeing his parents, I imagine he’s still internally 11 years old, and just a boy. I used Window to the Past the same way here. Harry sees a relationship frozen in time, so it wouldn’t be able to grow beyond where it was. You make great points, and an alternate version of that scene for sure exists (obviously since this score is basically fan fiction). Hopefully my reasons can explain why I made my choices though! 
 
Thank you SO SO much for everything you mentioned though. I truly appreciate that someone would take the time to comment so thoroughly. Not just now, but through the years. Order of the Phoenix is Molly’s favorite too, haha. Personally I’m a HBP guy, but I’m gonna need some distance before I actually know which is my favorite. After doing all the research and writing them, I become attached to certain scenes or ideas and can’t step back really until it’s done and in the books. And we've still got end credits to finish!

BP