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What to expect from Episode VIII's Score?


Unlucky Bastard
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It's likely the proximity between TFA & TLJ will improve consistency between the scores. He started writing TLJ only 12 months after he finished recording TFA, unlike the 3 year gap between each prequel.

 

John's writing evolved quite significantly in the late 90s/early 2000s, with an increasing focus on motivic cells, dissonance and atonal textures over lush melodies and themes.

 

I think there'll be a consistency of themes but with new textures, more exotic orchestration and abstract writing.

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1 minute ago, BloodBoal said:

 

While I agree with this, we have to consider the fact that it's not entirely the Williams' fault. The story of the prequels in itself is fragmented (for example, characters like Qui-Gon, Grievous, Dooku, etc. appearing only in one episode, etc.), which made it hard for the composer to have many recurring ideas to use throughout the trilogy to help bind all three scores together. When you look at the whole picture, really, how many themes (specific to the prequels) could be used throughout all three films (or two films, at least)? Anakin's theme, Across The Stars and the Confederation thematic material. That's about it, really.

Of course, Williams is still to blame in major part, since he could have come up with other themes for characters/elements that appear in all three films (a theme for Mace Windu, a theme for the Clone army, etc. Though even then, he wouldn't have had much opportunity to develop those. For example, most of the Clone Army scenes in AOTC are scored with tracked music...), and he could have made better use of the three themes I mentioned above, too (for example, why not use a twisted version of Across The Stars in Padmé's Ruminations? Or even a new version of Anakin's theme, since the scene is about the character making a big decision here?) but that was not meant to be...

I agree on this. The stories really didn't have many connecting elements in the Prequel trilogy arc. Williams had to start almost from scratch with each film.

And yes there were quite a few wasted musical/thematic opportunities in the Prequels.

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I made a huge mistake since I listened to the leaked TFA OST hours before going to see the movie and it kind of ruined it. When I first heard the OST, I was really really disappointed and so I was kinda unimpressed by the movie, for some reason. Then it took me lke 2/3 weeks to love it. As for TLJ, I'll do like you, and watch the movie before.

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I can't remember the music in-film leaving a big impression on me, except thinking how fantastic the end credits were (and it was fun trying to work out where each theme began and ended). I knew early reactions to the score were mixed though.

 

I think I'll go in cold again. It added to the experience.

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This is a little random but I was just having some fun reading through old TFA threads from release time, and it was pretty hilarious reading first impressions of the score from JWFans who had just seen the film, before the OST was released. 

 

There were people who complained that Kylo Ren didn't have a theme, that they couldn't remember any of Rey's "little flute theme," etc. I'm not so much trying to make fun of those posters; rather, I'm simply fascinated by how the human brain's first impression ends up being what it is. I guess this ties in a lot with the endless discussion of "memorability" here. The psychology of it is really interesting to contemplate. I'm planning, for the first time other than The BFG, to see TLJ without hearing the OST first. I remember when I saw The BFG, I, like those posters mentioned above, came away with some impressions of what music fit where, etc., that I later found, upon watching on DVD, to be distorted. And I had no memory of a big unreleased Sophie's Theme statement that mrbellamy mentioned in a thread. 

 

I'll be very interested to see how my TLJ experience goes. I have a feeling it will be better than my BFG initial experience (where I was pretty disappointed), if only because Star Wars music is generally more upfront and suited to first impressions. 

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The Force Awakens score was a grower; I was not impressed with in on initial listen, but grew to love it.  I still haven't listened to it as many times as I listened to, say, TPM or AOTC in their first 18 months.  I probably still havnen't listened to it as many times as I've listened to Tintin OST either.  But I've listened to it more than the BFG OST!

 

The film... meh.  The new characters are great, and the old characters were cool as old versions of themselves.  The story was a lazy retread.  I hope 8 has a better story than 7

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I think the one problem with TFA movie was that some of us older folks wanted a straightforward continuation of the OT character arcs, with new characters (a la the Zahn books), but Lucasfilm went with an introduction of new characters as paramount.  The latter approach makes obvious sense, and would have been Lucas's approach as well.  Given that approach, quite frankly, I think TFA would have been better without any of the original characters at all.  I find the movie begins to lose its momentum when Solo shows up. 

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I like all the new characters a lot though, I just wish they had those new characters do something other than escape from the desert planet they grew up on, learn about the force, and use it to destroy a planet-killing space station after a wise man from the previous generation sacrificed himself to help

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  • 1 month later...

According to this guy, there's a tribute to Carrie at the end of TLJ's credits, which Williams specifically wrote a new "mini-score" for:

 

If true, I wonder if it makes the OST? Guess it depends on whether it's integrated into the TLJ credits suite or standalone. If it's anywhere near as powerful as the  brilliant Rey/Force/Luke denouement in Jedi Steps & Finale, it will be very moving indeed.

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9 minutes ago, artguy360 said:

Step 1: Hand the movie to John Williams for him to write a brilliant new score without too much director involvement.

Step 2: Cut John Williams' score up to bits and insert music from the original trilogy for pivotal dramatic moments.

 

Brilliant approach!

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I've been listening to TFA over the last few days and wondering what Williams will come up with! Will there be new developments of Rey's theme? Will he write a theme that's so unexpectedly mindblowing that will top Rey's theme? Will it be better than TFA? Are Kylo Ren, Snoke, and the First Order going to get a new March? 

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Williams just doesn't work like that. He just sees a film and scores it. He doesn't look ahead to the sequel and writes with that in mind. He doesn't introduce embryonic forms of themes that are to come in a later episode. If he did, we would have heard hints of Across the Stars in Phantom Menace, which we don't.

 

Even if he wanted to, we know thanks to Rian Johnson that there really isn't such an overarching story planned in advance, as indeed is the case with most trilogies.

 

On 9/30/2017 at 4:19 AM, Arpy said:

I've been listening to TFA over the last few days and wondering what Williams will come up with! Will there be new developments of Rey's theme? Will he write a theme that's so unexpectedly mindblowing that will top Rey's theme? Will it be better than TFA? Are Kylo Ren, Snoke, and the First Order going to get a new March? 

 

You're making it sound like Rey's theme is the greatest thing since sliced bread. Personally, the only renditions I really like are the last few ones.

 

I think he will use the existing themes, but maybe he'd introduce a new theme, for the First Order itself and use it often so he doesn't have to repeat the existing themes, which he doesn't like to do.

 

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1 hour ago, Will said:

Mike Zeroh can read our minds...


"John Williams composed an action-filled track for the trailer itself that will keep fans on the edge of their seats."

 

;)

 

We can hope he guessed correctly, although I doubt it. 

 

Even assuming that he did guess correctly, the big question for me is whether he will write trailer music that reuses the existing thematic material or will he use the trailer to exhibit one or two new themes that will be at the forefront of this upcoming movie.

 

57 minutes ago, JohnSolo said:

It's certainly of the most complex themes he's written for a character in Star Wars.

 

That much is true. It's a very long-lined and multi-facet idea. Essentially it's like Williams writing Leia's theme, only now from the point of view of a grandfather.  For me, its just too lilting and delicate compared to his larger more sweeping themes. It didn't leave an impression on me coming out of the theater, and to this day its not something you'd catch me humming, and I believe the same is true of the average moviegoer. The proof, than, is in the puddin'.

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My own experience with the theme was strange. While watching the film at midnight showing I noticed all the secondary Rey material but didn't quite catch the main theme (maybe because I was expecting Jedi Steps to be her theme). Then I went to bed and the CD arrived first thing next morning. I listened to it on my way to work, again not really identifying her theme. And while at work I started humming this one tune to myself, not being able to tell what it was exactly. But after my shift I played the CD again... and there it was... all over the score.  

 

Karol

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