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About steb74

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  • Birthday 07/19/1974

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  1. Hi man, I've always found this to be an earlier presentation of it when Luke surrenders to Vader and acknowledges him as his father during their conversation. and then of course later, the glorious biblical version. There are probably more references throughout the score but I've never made much of a search or study on it to be honest. The 'Father & Son' version always popped out to me though. There's a similar figure after Yoda dies and Luke makes his way back to the X-Wing contemplating his new revelations.
  2. [The OT Star Wars Foreskin Collection] Learn About The Foreskin Use The Foreskin Yoda And The Foreskin Light Of The Foreskin and from The Foreskin Awakens I Can Wank Anything Rey Bums BB-8 That Girl With The Cock The Arsekiller The Ways Of The Foreskin
  3. While I don't disagree and to be honest at the moment I do find the title to be a little lacking ....well, I suppose that I was expecting the middle film to have four words. I don't recall any of the other films having titles that were difficult to digest though and none of them ever came close to being risque or offensive.
  4. @TownerFan I can't play that clip at the minute but I'm guessing it's the audio snippet from the Rinzler SW book? It was great to finally hear Williams talking about it and expanding his thoughts a little beyond what he wrote in the original liner notes.
  5. There's something wrong if fans can't present their ideas or interpretations here of all places, I think it's a little disingenuous to start bringing out the 'silly season' nonsense. I think the Cloud City Doom motif and the Cloud City escape motif are absolutely not the same and represent two completely different ideas. Two sides of the same coin perhaps but representing two completely different sides/goals and the emotional stakes at hand for each of those sides. No-one (or I'm not) is saying that the motif literally represents the AT-ATs (the orchestration is no doubt for that) bu
  6. Sorry man, it serves myself right for trying to write something when I was in a hurry!! ha Yeah I was kind of only talking about Luke's exploits with Yoda's theme, when he's getting shot at by Boba, etc, as a lot of people still get confused by its usage there. I know where you mean now though and I guess similarly to what I was saying earlier, I feel as though at that point we as the audience have inherited the right to use Yoda's theme for protection and to aid us in our escape, we haven't quite earned it in the french horns or strings but its 'wonky' orchestration should be enough
  7. I understand what you're getting at and regarding Yoda's theme over the gang so to speak, for me it's as simple as we are always meant to be in Luke's shoes. When Leia is shouting ' ...it's a trap', etc, she's shouting it to 'us'. TESB is about 2 characters for me, Luke and Vader and the musical tapestry for that movie reflects that in my opinion. Yes at times we're quite intimate with the others but I always feel it's more of a case of us being a fly on the wall yet with Luke, we the audience are Luke. Now I don't feel like I'm explaining well !! ha As for your second pa
  8. When you have a master at long form writing and the material is contained in an individual work, ie: a movie ....yes, for me it's basically out of the question, even if done consciously or instinctively. Don't be expecting one note up and two notes down thematic development when it comes to Williams, it goes much deeper than that. Yoda's theme in Cloud City should be obvious ......the heroism of Luke's own theme has abandoned him for pretty much the majority of the movie, Ben and the force are unable to provide assistance. Luke and we as the audience need something else to hel
  9. Well these things are clearly there, how connected they are comes down to one's own interpretation.
  10. I think for me it's because (imo) JW's music in these movies works in two ways, one is often quite literal and that can perhaps be the orchestration, the cold and declamatory heavy piano lines representing the walkers but secondly they're only there by command of Vader and his ground assault, to kill or capture the rebels ....but really he's only interested in Luke, which for me is what the movie is about. The cloud city versions are obviously much more grave as Vader's end game is coming to fruition, again like you say it's almost a funeral procession which does literally match what we're see
  11. Oh I definitely think they're connected, it's a similarity that's never been lost on me ......plus it wouldn't make much sense for them to sound too similar in a literal way as they're almost at opposite ends of the film when things are very different. I also consider them related to what is known as the Dark Side Motif, all really part of Vader's plans, goals and obsessions. Another thing I like is what I call 'Han's quick thinking motif'. Here it is when he looks at the dead Tauntaun and realises that he can keep Luke warm in it. (about 5:40)
  12. Yeah, there's some melodic and rhythmical bobbing and weaving that sounds reminiscent but not as blatant as The Radar Train.
  13. Well it's a pity for those who'd prefer an alternate and more expanded listening experience. It's a shame that you still begrudge others their preference, especially for an album you've been less than favourable to over the years. Hardly a surprise though.
  14. Thor, nobody cares if you don't like the score, it isn't about you. It's simply about you trying to present evidence that isn't true, everything you've offered is not musically correct. All of this rhythmic figure & variations, motif business just shows that even you don't understand either of the themes or what you're talking about in general when it comes to music. That's the issue ....go on hating, disliking the theme all you want, nobody cares.
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