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  1. Today marks the 20th anniversary of the release of Star Wars Episode II: Attack of the Clones in American theaters. The movie is not good, it has some atrocious CGI and laughable moments, but at the very least John Williams' score is amazing.
  2. Nicholas Britell to Score Disney+’s ‘Rogue One’ Prequel Series ‘Andor’ Nicholas Britell (Succession, Moonlight, If Beale Street Could Talk, Don’t Look Up, Cruella, Vice, The Big Short, The Underground Railroad) has been tapped to score the upcoming Disney+ original series Andor. The show is developed by Tony Gilroy (Michael Clayton) and stars Diego Luna who will reprise his role of Cassian Andor from 2016’s Rogue One: A Star Wars Story, Genevieve O’Reilly as Mon Mothma, as well as Stellan Skarsgard, Denise Gough, Fiona Shaw and Kyle Soller. The Lucasfilm production takes place five years before the events of Rogue One. No plot details have been announced yet. Gilroy also serves as the project’s showrunner and additional writers include Dan Gilroy (Nightcrawler), Beau Willimon (House of Cards) and Stephen Schiff (The Americans). Andor is set to premiere this year on Disney+. Britell also has Benjamin Millepied’s feature Carmen (to premiere this year), Barry Jenkins’ The Lion King prequel and the HBO limited series Winning Time: The Rise of the Lakers Dinasty (to premiere on March 10) coming up and will also return to score the fourth season of HBO’s Succession. http://filmmusicreporter.com/2022/02/16/nicholas-britell-to-score-disneys-rogue-one-prequel-series-andor/
  3. Ahsoka Tano Disney Plus Series Adds Mary Elizabeth Winstead Jay approves
  4. Hello, a couple of friends from Austria have produced a small Star Wars-inspired fan-film. What the flick lacks in dialogues and dramaturgy is hopefully compensated by the excessive overuse of homicidal martial arts elements (All are passionate fencers.) Well, since John Williams unfortunately didn’t have the time, I had to step in for the music. Have fun, Dustin
  5. Of all the action music Williams wrote for Star Wars, one of my very favorite cues is Here They Come from A New Hope: It's a fast paced, energetic cue brilliantly performed by the LSO and it fits the movie very well. Also, I think this cue encapsulates the very spirit of Star Wars: the Rebels' daring escapades from the Empire, the sense of adventure and fun, the sheer spectacle of it... It's Star Wars at its best. I also really like the Here They Come version from The Last Jedi: What about you? Post your favorite performances of Here They Come!
  6. No idea how this slipped under the radar but I stumbled upon this article tonight. It details a 2017 AES presentation called “Bearing Witness: The Music of Star Wars, Archiving Art and Technology,” in which Dann Thompson and Leslie Ann Jones (the Skywalker Sound employees who transferred all known scoring elements for the first six Star Wars scores) discuss their efforts to track down the scoring masters, what elements were located, how they archived all the music, etc. This is a listing for the event. An excerpt from the article: At the bottom it says this presentation would be available to download, but I cannot find any trace of a recording: Has anyone heard of this presentation before, or happened to attend, or have more info about what was discussed? It seems they went into great detail about the elements and their condition, how they were preserved, even the different album/film mixes and John's mixing process on the prequel OSTs with Pat Sullivan. They mention the Star Wars Main Title coming from a mag source, but what about the multi-tracks? Pretty elusive information we've been speculating for decades now! Seems like a must-have for anyone curious about the status of the Star Wars recording masters (feared missing or lost), but I cannot find any trace of where to access or watch this presentation. Anyone have any clues?
  7. (I don't know if this is worth it's own thread and I will certainly move it to an appropriate one if asked.) Since Disney doesn't seem to be moving on this I will boldly go where I'm sure lots of people have gone before: Making MY Star Wars albums. (I'll be sticking to the OT.) I had a few guidelines for myself: I'm using the original cue names to the best of my knowledge. Which is a big part of why I'm bothering to post it here for a set of more knowledgeable eyes. I have a lot of questions. I'm really trying to codify when I feel like a track should be separate or combined. (This is a way more relevant to Empire and Jedi.) If the last note of one track leads directly into the first note of the next (e.g. The Mouse Robot to More Rescue or Stand By to Approaching the Target) AND the focus of the scene doesn't change then I combine them / keep them combined. I'll do the same for Losing a Hand to Hyperspace on Empire. But the Battle of Hoth will be broken the heck up, ditto Endor. Different cues, different characters, different scenes. OK, here is Star Wars. I'm realizing that I really know Star Wars but I don't know Empire as well as I think. Jedi might be a bit of a trial for me. Film 01. Twentieth Century Fox Fanfare with CinemaScope Extension 02. Main Title, The War, The Escape Hatch (1M2,1M3, 1M4-2M1) I can't imagine any "real" edition of this score would be presented this way with the main title and the Imperial Attack cues combined. But after making an isolated score of Star Wars and realizing that last note of Main Title leads right into The War I can't hear it any other way. Maybe when the Super Set comes out I'll be surprised. OTOH sure, it's nice to just listen to The War / The Escape Hatch by itself. (Like we have been doing for 44 years.) That's what the bonus section is for. (Again, can't see this being this way on a real release.) 03. Desert Song (1M5/2M1) 04. The Little People (2M3) 05. More Little People (2M3 Rev.) 06. R-2 (2M4) 07. The Princess Appears (3M1 Rev.) 08. Lost R-2 (3M2 New) 09. The Sand Speeder (3M3 Rev.) 10. The Sandman Attacks (3M4/4M1 Rev.) 11. Obi-Wan Kenobi (4M2) 12. The Force (4M2A) 13. The Princess Reappears (4M3) 14. Learn About the Force (A Home Destroyed b1-14B) (4M4 Rev) Is this really also called A Home Destroyed? I just couldn't name it that. 15. A Home Destroyed b31-72,15-30 1 (4M4 Rev. [4M4A]) 16. A Hive of Villainy (5M1) 17. The Inner City (5M6 Rev) 18. Blasting Away (6M1) 19. The Destruction of Alderaan (6M5 New) 20. Is It a Bird? (7M1 New old 6M3) 21. The Hatch Opens (7M1/7M2 New) 22. The Mouse Robot, More Rescue (7M2, 8M2 New) Are these titles right? Does "More Rescue" come before "The Rescue"? 23. The Rescue (8M2 Rev.) 24. The Water Snake (8M3 Rev.) 25. The Walls Converge (8M4) 26. Ben Creeps Around (9M1) 27. The Swashbucklers (9M2) I went back and forth on if I should separate these two cues. It's one of those instances where they are clearly separate ideas but there is the tiniest connective tissue. Plus you can hear the end of Ben Creeps Around at the start of The Swashbuckler. I'd be very curious to hear these two actually separate as they were recorded. My edit isn't perfect, but it works. (I'm open to improving.) 28. Ben's Death, Here They Come (9M3/10M1, 10M2) 29. Stand By, Approaching the Target (10M3/11M1, 11M2 Rev) 30. The Last Battle (12M1) 31. End Titles (12M2, 12M2) Source cues and suite 32. Cantina Band 33. Cantina Band #2 I went back and forth on keeping the Cantina source in the main program or no. I finally decided that there is a better than even chance that I skip these when I listen so I moved them. 34. The Princess Theme (27A) Alternates and Discrete Cues 35. Lost R2 (Alternate) (3M2 New) 36. The War (1M3) 37. The Escape Hatch (1M4-2M1) Does anyone have a good way to make the break between The War and The Escape Hatch "clean"? I saw some discussion about these being separate in the Radio Play but covered with dialog. I'm not the musical engineer in my family (and the one who is is too expensive.) 38. The Mouse Robot (7M2) 39. More Rescue (8M2 New) 40. Ben's Death (9M3/10M1) 41. Here They Come (10M2) Just realized I broke this in totally the wrong place! I broke it at "We're not out of this yet" rather than, well, "Here they come!" 42. Stand By (10M3) 43. Approaching the Target (11M1) 44. Main Title Take 16 45. Main Title Take 17 46. Main Title Take 18 47. Main Title Take 19 48. Main Title Take 20 Next up: Empire!
  8. Since my early days of studies on John Williams’ Opus, I have always been intrigued and confused about the two big Suites from Star Wars. Now, thanks to the wisdom and knowledge of jwfan.com scholars, I hopefully await for a lot of answers to the numerous mysteries about these transcendental pieces. These are the movements from the two different suites, obtained from the original LPs presentations: Zubin Mehta 1. Main Title 2. Princess Leia’s Theme 3. The Little People 4. Cantina Band 5. The Battle 6. The Throne Room and End Title Charles Gerhardt 1. Main Title 2. The Little People Work 3. Here They Come! 4. Princess Leia 5. The Final Battle 6. The Throne Room and End Title Mehta Movements 1, 2, 3 and 6 can be considered equivalent to Gerhardt 1, 4, 2 and 6. Main Title and Princess Leia arrangements are similar to those from the original album by John Williams. The extended concert version of The Throne Room and End Title doesn’t appear in the original album, but it is undoubtedly from the hand of the composer, and so it has been well-known as a concert piece and has been printed under Williams’ signature. Mehta Movement 3, The Little People, is almost equal to Gerhardt Movement 2. Although a different presentation from the recording from the original Williams' album, I dare to affirm that it is an arrangement by Williams himself, since it would appear in the cd John Williams Conducts The Star Wars Trilogy [1990]. Mehta Movement 4, Cantina Band, sounds more like an “improvised” arrangement. I suppose it would be difficult to ascertain Williams’ involvement in it. Mehta Movement 5, The Battle, which combines music from disperse scenes, makes me doubt: could it be a special arrangement by Williams’ himself? If it is so, it is unique to this suite, as far as I know. Gerhardt Movement 3, Here They Come!, with its special concert coda, doesn’t appear in the original album, but it would be used with an almost identical content in Williams’ own recording for the cd John Williams Conducts The Star Wars Trilogy [1990], so I assume it is an arrangement by the composer (it also appears in Varujan Kojian’s cd The Star Wars Trilogy [1983].) Gerhardt Movement 5, The Final Battle, presents a concert arrangement of themes in an order and form unique to this suite. I really would like to know if the conductor was using a music sheet by the composer, or if the arrangement should be credited to Gerhardt himself.
  9. Does ~8:00 and then again at ~8:45 and on, but most especially at ~9:15 on in "The Train" (Horner, The Legend of Zorro) sound like music for the Resistance in Star Wars: The Force Awakens? For me, I now hear those strings at ~1:00 in "Scherzo for X-Wings" as castanets!
  10. Hello fellow John Williams and Star Wars fans alike! Was wondering if anyone would be in possession of (and if so, willing to sell) the following programme from John Williams’ live concert performance at the Royal Albert Hall in 1978? Thank you in advance! May The Force Be With You!
  11. Two of the maestros classic “trilogies” head to head. Created in practically the same decade (later sequels not included of course) Of each entry which do you/would you rather LISTEN to?
  12. Not sure if this has been done yet. This could get messy. I imagine it might be divided along generational lines (aka in what era of Star Wars you became a fan) But vote for your favorite score out of the first films in each trilogy:) what’s your favorite?
  13. Do you think if Indy 4 had been more successful film (regardless of how much money it grossed) would its score be as highly regarded as The Force Awakens is today (in the soundtrack listening community). I suppose I’m injecting personal bias here. I find the two films/scores comparable as they were both long awaited sequels to popular franchises with sky-high expectations for both the films and scores. For my money Indy 4 is a fun score, but tainted by my disappointment in the film and nowhere as entertaining score-wise as the previous entries. But Force Awakens is a score I grow to love more and more with each listen. I guess it begs the question, are you able to listen and enjoy a score and completely divorce it from its film?
  14. Hi everyone one. I figured my first post should be something of substance. This is my fan-made concept album inspired by the Colin Trevorrow's rejected script for Star Wars Episode 9 entitled "Duel of the Fates". The bulk of the score utilizes John Williams' work for Rise of Skywalker only edited and arranged differently to better suit the plot of Trevorrow's story. (I know it’s blasphemous to chop up & rearrange Williams work. Especially after it was butchered in the final edit of RoS. Just consider this a sonic "fan edit" and an experiment to see if a different story could be told with the same music) Additionally, I also incorporated themes and moments from the prior two sequel scores and a sprinkling of the prequels as the script called for. I attempted to make the quotes from other films as seamless and organic as possible without getting too “fan-service-y”. But you may think otherwise. But come on. This was supposed to be the culmination of the entire saga for crying out loud;) Some edits aren’t perfect. But it gets the idea across. I should note there’s about 3 or so tracks that weren’t edited at all because the fit the scene so perfectly (in my mind at least) I’ve uploaded the first 10 tracks (out of 26 total) and will have more up shortly. It just takes a bit to export and upload these videos (The videos are kinda lame btw. Just focus on the music. But the concept art is nice at least). Side note: I attempted to just upload it all to SoundCloud but it kept flagging it for copyright. If anyone knows a workaround for that I’d give it another shot. I have it unlisted here on YouTube. Let me know if it’s not showing up/working. I’ll also go back at some point and add track summary/explanations in the description section. In reading the script it’s interesting how many beats were lifted and used in RoS yet (IMHO) they didn’t quite work as well. The script can be easily found with a simple online search. I recommend reading it or one of the many online summaries of it before listening as it's 1) a fantastic continuation of the stories episodes 7 and 8 set up and 2) helpful in understanding the editing choices I made and envisioning this untold story via John William's amazing scores. If you don't consider this a colossal waste of time and energy, I hope you enjoy it!
  15. So, apparently someone leaked 4 themes from the soundtrack of the incoming game Star Wars Squadrons. Haven't listened to it since has been already removed, but we have the names. An intro for both the Rebels and the Imperiales, and two others called "Kickoff Base" and "Frigate Attack High". If anyone listened to it and wants to share their thoughts, let us now! Also, someone in comments said Haab is the composer. Not sure if that has been confirmed but good to know if true. Source:
  16. There has been a deluge of Star Wars media ever since Disney bought LFL. There was some good stuff, some bad stuff and mildling stuff. So, for you, what was the best things about SW released since the Disney purchase? Was it the movies, the new TV shows, the new games, or something else? And, for you, do you think the Disney acquisition was good for the franchise, or was it bad? Let's discuss!
  17. 15 years ago, everywhere people was gathering to watch the newest and (at the time) last chapter on the Star Wars franchise: Revenge of the Sith! Despite the lukewarm reception of the first two Episodes on the prequel trilogy, ROTS broke Spider-Man 2's record of biggest opening day at the American box office, earning $50 million. To this day, it's still the biggest opening day on a Thursday. On Sunday, the movie had earned almost $160m, and it ended its career on the US with $380m, a little more than Return of the King, but less than The Phantom Menace. Its worldwide box office was $850m, the second biggest that year behind Goblet of Fire. The score was composed and conducted by John Williams and performed by the London Symphony Orchestra. To this day it's one of my favorite SW scores thanks to the epic choir during the most dramatic scenes. These days, the movie is more of an internet meme thanks to the hilarious dialogues and performances, but it's still considered by some the best of the prequels. Will you celebrate ROTS' fifteenth birthday re-watching it or listening to the score?
  18. Yes, why don't they? Just listen to Imperial March from the ESB "https://www.youtube.com/watch?v=jLmUgeHc2tw" (background sounds can't be removed) and if you can hear well you can conclude that this isn't the same bad quality version that we got on the album... I really wish they would one day release original movie mix of Imperial March and ROTS Duel of the Fates version which had different choir from TPM version.
  19. Another day, another Star Wars movie announced. https://www.hollywoodreporter.com/heat-vision/star-wars-movie-works-jd-dillard-matt-owens-1280459
  20. Greetings, fellow JW fans! My name is Aaron Fullan and I'm a film composer from near the Chicago area. As you know, John Williams' 88th birthday is this weekend (February 8), so I decided to arrange a musical tribute piece in honor of this most special occasion. It's entitled "Skywalkers' Legacy | A Star Wars Symphonic Suite" and it highlights some of my favorite themes from the Star Wars saga. Much to my surprise, John Williams' go-to orchestrator (William Ross) listened to the piece last night and used words/phrases like "quite good", "wonderfully arranged", and "bravo!" in his comments about it! Needless to say, my day/week/month/year was made. I'd love to hear your honest thoughts about it if/when you have a few minutes to listen/watch it! I highly value the opinions and input of my fellow JW fans on this "labor of love." HAPPY BIRTHDAY, JOHN!!!!!!!!!!!!!
  21. An anonymous tipster has sent JWFan some information that I can share with you now! The information is a list of cues that appeared in a cut of the film dated November 11th, 2019. Remember, the final day of recording sessions didn't happen until November 21st, and even by this cut some of the cues JW had written had already been dropped or replaced, so consider this a PARTIAL cue list: 1M01 Main Title 1M022 The Ninth Beginning 1M05 Rey Trains 1M06 Ren's Entrance 1M08 Approaching The Nursery 1M09 Rey Wakes Up 1M13 Tell Me What They Are 1M15 Vader's Castle 1M20 Rey Training 1M24 Meditation 1M26 Spy's Message 1M26 Lightspeed Skipping 2M01 Cockpit Dialog 2M02 Fixing The Helmet 2M03 The Wisdom of Maz 2M04 The Emperor Lives 2M06 The Medal 2M07 Ship Trip 2M20 The Forge 2M30 Rey's Mission 2M32 Quicksand 0M01 Children's School 3M00 Lando 3M01 Before The Chase 3M03 No Title 3M06 Knights of Ren 3M07 Ochi and the Dagger 4M01 Rey Senses Ren's Approach 4M02 Rey's Incredible Hand 4M04 Zucini? 4M05 To The End 4M05B Good Ship, Bad Ship 4M06 He Won't Remember 4M07 Rey's Grief 4M10 Red Eyes 4M11 Poe and Girlfriend 4M12 Ship Walk and Talk 5M01 Meddling and Poe's Crush 5M03 Hallway Shooting 5M05 Rey Sees Mother 5M06 Hard To Get Rid Of 5M07 I'm The Spy 5M08 Geneology 5M10 Landing At ? 5M12 Off The Waterfront 5M30 Under a Blanket 6M02 Rey Climbs Pipes 6M02A Climbing 6M04 Daisy In A Veil 6M05 Leia Lies Down 6M07 Stop and Start 6M08 Healing Wounds 6M12 Six Twelve 6M13 Rey's Trip To P 6M20 Sabre Toss 7M01 Seven One 7M02 Rey Meets Luke 7M03 Luke's Advice 7M04 The Meeting 7M05 March Of The Resistance 7M08 Father Knows Best 7M10 Leia's Sabre 7M12 Seven Twelve 7M12A Horses #2 7M20 Approaching The Throne 7M21 Parents 7M30 More Action 7M32 Make The Sacrifice 7M36 Dunkirk 7M38 I Am All The Sith 8M04 Psalm of the Sith 8M05 Jumping The Chain 8M07 Big Ship Blows Up 8M08 On Their Knees 8M10 Success and Sliding 8M11A Dropping The Sabre 8M14 Ben to Rey 8M15 Horn Solo 8M16 End Credits 9M03 Bows 9M05ALT Return to Tattooine The list also contains the two source pieces not composed by Williams: 2S35 JJ Festival Music 3S35 JJ Bar Source As well as the cue names from prior scores that were tracked into this cut: 13M2 from Ep.6 Vader's Death 7M03 from Ep.3 The Birth of the Twins 7M05 from Ep.3 Plans for the Twins 3M26R from Ep.7 You're Han Solo? 4M36R from Ep.7 I Ran Into You 5M46R from Ep.7 Kylo Stalks Rey 6M50R from Ep.7 Han and Leia Reunion 6M55R from Ep.7 Council Meeting 6M56E from Ep.7 Ren In Cockpit 8M77 from Ep.7 March Of The Resistance 4M36 from Ep.8 Luke and Rey UPDATE: Additional cue titles found in GEMA Repertoire: Chewie's Interrogation Emperor's Attack Emperor's Theme V3 Falcon's Last Trip Filial Fencing Hero Fight It Fits! Kylo's Theme Lido Hey [JJ Abrams/Lin-Manuel Miranda] More Maz Name That Tune Poe's Theme Ready to Be a Jedi Rey and Ren Rey's Training The Crowd Joins In The Dunkirk Shot The Feeling The Last Fight The Millennium Falcon Theme The Resistance Theme Through the Jungle Tunnel Monster Uncharted Territory Wayfinder Insert
  22. Here's my analysis of the new themes in The Rise of Skywalker (beware: spoilers present!) http://www.filmmusicnotes.com/new-themes-and-their-meaning-in-the-rise-of-skywalker/ Enjoy!
  23. Clearly John Williams wanted to show Giacchino how you write a knock-off evil theme, aka NOT the Imperial March. Which one is you favorite knock-off Star Wars bad-guy theme track?
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