MikeH

Typical reasons for a forum-goer: I was a dumb teenager then who spewed responses to every topic like a sick hyena vomiting its lunch. 

Probably because almost every work Williams touches deserves reverence and respect, simply due to the level of craft on display in his writings.

Chiming in with no real knowledge of what exactly happened here i think it's fair to say that Giachino's inadequacies as composer are not lost on Williams, who in all probability doesn't listen to current film music much and became only acutely aware of this when actually listening to what Giacchino delivered - the bloody triplets were so out of line when i watched R1 in the theatre i would have been annoyed, too. Well, i was.
 
Which may be a way of saying that displeasure can make itself noticeable any which way, but i somehow doubt there would be big problems with old war horses lie Horner (ach) or JNH, because they offer the musicianship required.
 
In hindsight, WB was right. But i also understand that Rowling may have wanted a true british composer for this quintessentially british subject. I have more than once criticized the overly russian 'Hook' homage Williams cooked up for HP and would have requested a more british idiom. Cuaron obviously agreed.

I do not believe JW had anything to do with AD's involvement, or eventual lack of involvement, with the film.  AD was hired by Gareth Edwards because of their previous working relationship on Godzilla.  Also, KK had worked with him on Benjamin Button and considered him a friend.
 
I do know that Tony Gilroy, who eventually took over the film in many ways, has a long-standing relationship with JNH and that JNH's schedule prevented him from even being considered for the scoring duties if AD was replaced.
 
I have inferred that JW was not annoyed that AD got the boot, so to speak.  
 
JW apparently tried very aggressively to get the job to score Deathly Hallows, but that JKRowling did not want an American composer.  I do not know what that means in terms of JW's opinion of AD's work, but I can imagine that, like any human being, there is some healthy competitive judgement there.
 
I have also heard that JW was asked to score Jurassic World.  He turned it down but lobbied hard for William Ross to get the job in his stead.
 
Put all this together and you get a situation where people's egos, intentions, and an enormous amount of money are on the line.
 
JP was hired for Solo by the original directors, and when they were fired, JP assumed he might be too.
 
As long as JW is alive and well, anyone else scoring a SW movie is stepping into a tangled mess of corporate directives conflicting with artistic ambitions.  As a famous orchestrator observed to me, right now scoring a star wars movie is job "you can only fuck up" 
 
It's very much like Bond when John Barry was still alive.
 

As I heard it explained to me, JW became aware of certain decisions that had been made by the final composer for R1 and was not happy with the way elements from his original scores were being integrated into a score being credited to someone else and that changes had to be made either to the music or to the credits.  The decision was made to change the music.
 
I think JW's feelings about the final score can be inferred from the fact that it was not included in the program of SW films performed live in NYC last fall, despite Disney's wishes that it would be.
 
In defense of the final composer for R1, given the politics of the situation at that point in the process, I'm not sure anyone except William Ross would have been a satisfactory  choice for JW, who I have inferred was very unhappy with the way things were handled with the score for that movie from the very beginning (very much like Shadows of the Empire).
 
As far as JW approving Powell for Solo, I don't know the details.  I do know Ron Howard depends very much on Zimmer for all his musical decisions now, and that HZ vouched for Powell.  I also infer that, based on his recent announcement that after Ep 9 he will be retiring from SW films, JW has realized that Disney is going to keep cranking these things out long after he has become an ex-parrot, and that it was as good a time as any to let go his desire to try and keep some sort of quality-control over the material.
 
I also suspect that JW writing the Solo theme was an effort to placate him after the disruptions he may have caused late in the game on R1.
There is no single BEST release.  The closest to a definitive is the 1997 SE CD of Star Wars Ep4, but that is currently trapped in the 44.1k/16bit world of 1997 compact disc mastering.
 
In my opinion, to get the best version possible, one must get the '93 boxset, the '97 cds, the '16 HD releases and the '18 HD remixes, learn how to use Pro Tools or a similar editing system,  and create a new edit using their favorite bits from each release.  
 
Every release has plusses and minuses.  If you are really only looking to buy one, I side with Jay and encourage you to get the 1997 cds.  Although ESB and ROTJ suffer from weaker sonic presentation than the '93 set, the completeness of the content itself is the closest to definitive.

The part in D minor has a similar opening phrase to the theme. It may or not be intentional.
 
The scene involves Palpatine talking about cheating death, so the death of Shmi was implied to be on Anakin's mind then? That's my best guess.

It's hard to believe that RotS is 13 years old. The music is still so vivid in my mind that it felt like it was recorded yesterday!

Quote of the day
 
 

I wish I had some wailing women to bram.

Nice underscore, but is that sassy robot that sounds like Captain Phasma supposed to be funny? I ain't feeling it.

I can tell you definitively that JW had approval over the score for Rogue One, and that cues had to be rewritten on short notice to his approval

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

RAWRGWAWGGR
 
Music and Lyrics by John Powell

Probably. 
 
Beverly Hills Cop is at 24 years if it counts as "major" (though supposedly a fourth film is being made, and a TV pilot was recently made [but never aired]) 
 
Lethal Weapon is 20 years if it counts as major (and the TV show doesn't count).
 
The Matrix is at 15 years now. 

Some designer in the 80s trying to create 30s art deco graphics... which end up just looking super 80s in retrospect

But who and why...harder to answer. Meditate on this I will.

There’s a lot of interesting parallels between the making of Jaws 2 and Damien: Omen II. 1978. Both troubled productions that fired their directors for similar reasons, originally conceptualized as more psychological/cerebral than outright horror, and eventually hiring directors considered to be more of the journeymen variety who ultimately delivered what the studios wanted. 
 
While I do like both films, my favorite shots in each were leftovers from the original directors: the fin in the harbor at dusk, and Damien’s entrance framed in fire at the Thorn estate. 

Always two there are, no more, no less.

I think he must have some say in this. But once he passes away... who knows...
 
While all the subsequent Jaws films were mild to major disasters, the accompanying scores are actually all at least good. I enjoy them all.
 
Karol