BTR1701

My secret musical fantasy is for JW to have been given musical authorship over the Marvel Cinematic Universe, composing the scores for all the individual hero films, creating and developing themes to all of the characters-- Cap, Hulk, Iron Man, Thor, Widow, etc.-- and then weaving them all together in the various Avengers films. It would be monumental task, and likely not something he'd have been interested in committing to at his age even if offered, but it's fun to imagine.

Would have been nice to have heard a little bit of this in the scene where it was appropriate.

He's signed on to score the next Indiana Jones flick, if they ever get it off the ground.

When I saw POTTER live-to-projection with the Chicago Symphony last year, they used an old-school beautiful dark wood--mahogany?-- celesta. Very ornate looking.

I don't think it's disjointed. I think it's uninspired and just a rehash of what's come before. (I love the rest of the score. It's just this one cue that I don't like.) But the live performances, both concerts and live-to-projection, use the real deal.

Several people have said this and I have no idea if that's what happened, but I just can't imagine why Abrams or Disney would care all that much about which themes/music are playing over the end credits when most people, let's face it, are leaving the theater. I just doesn't strike me as something they would be concerned enough with to veto whatever Williams wanted to do and basically order him to recycle a bunch of old material instead.

The ending of 'Finale' is note-for-note the ending to RETURN OF THE JEDI. It's a new recording of it, but it's just a copy/paste of the ROTJ sheet music. I wouldn't say lazy. More like disinterested. Just my impression, anyway.

Really? Because this is one of the rare times JW has disappointed me. The end credits (Finale) was JW's opportunity to wave a musical goodbye to the franchise, the fans, and basically 40+ years of his life's work, and instead of new, original, and poignant material, he basically copy/pasted the Imperial March from the Hal Leonard Signature Series, did some stuff with Rey's theme, then copy/pasted the end of RETURN OF THE JEDI. It's like he finished scoring the film, then realized he still had almost 11 minutes of credits to fill and was, "I'm tired of this, I'll just ta

Williams' SUPERMAN themes were recently used in the CW's Crisis on Infinite Earths crossover event (as well as Elfman's BATMAN theme). And they weren't orchestrated the way the were in the films. I doubt Williams was involved with scoring a CW show, either.

My wish would be for the Chicago Symphony to re-record the score to RETURN OF THE JEDI. I really don't like the quality of the original recording and that legendary CSO brass would own that score.

That principal violin is quite a biscuit!

I thought it was interesting that comments from the professionals who are involved in recording these cues are similar to the folks here with regard to the sound quality of Abbey vs Sony. https://www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/ Can you say anything about the difference in working on Star Wars music with an American orchestra in a different studio? The LSO is a leading, well-established, top symphony orchestra. They play together all the time and they have a definite kind of overall sound and Abbey Road also has got its

What's a no? Your antecedent is vague.

I don't agree with all of this guy's analysis, but he does make some good points, especially regarding the overuse of the Force Theme. https://www.youtube.com/watch?v=gB4lULC87Oo

Very true. I prefer the Chicago Symphony because they are legendary for their powerful brass section, and STAR WARS is a brass-heavy genre. Of course, with digital editing these days, it's really all up to the guy in the booth how it comes across on an album recording.