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THE ADVENTURES OF HAN - 2018 John Williams theme for Solo: A Star Wars Story


Obi

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He don't like modern technologies...but his wife is a photographer... I think she more likes new technologies like digital camera, computer...maybe she reads this thread! She advises him, when he compose the music.

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He is 85 years old and like any good old man he likes to read his interviews in newpapers and magazines that he kept on the shelf for when he wishes to remembers the old days.

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5 hours ago, Obi said:

Dragons, X-Men 3 (Phoenix theme), Mars Needs Moms, Evolution and Pluto Nash.

Thanks! HTTYD has a great melody with phrases, so is Assassin's Tango. The others I've heard are brilliant themes that repeat. A-B-C contrasting with A-A-A''. Or a succession of phrases that don't repeat, A-B-C-D-E-etc
The main Star Wars melodies have 3 or 4 contrasting phrases that form a classic melody. There's also themes or motifs for secondary or less developed characters that are similar to what most composers today do.
I think JP will do a great score for the Solo movie, now.

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31 minutes ago, TheUlyssesian said:

What is this based on? Has anyone associated with the production said this?

 

Just speculating. :) At least Han Solo and the Princess in its original slow, serene version would not suffice for such a film, and I'm not convinced that the theme would be successful in a more energetic arrangement. But a new theme derived from the old one would be interesting...

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What are the chances Williams creates a concert piece for this theme?  I'm certainly hopeful he will since it'll probably be a major theme in the film.

 

9 minutes ago, Tom said:

I'd wager that Williams would not have done this had he done RPO.  So, it is very nice consolation prize.  Of course, maybe because he is doing this, he could not do RPO (but I highly doubt that).  

 

I really think it was scheduling.  I mean, isn't the score already recorded now?  I was expecting it to be recorded in January.  Plus, Williams was originally announced to score the film.

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6 hours ago, Skywanker said:

He don't like modern technologies...but his wife is a photographer... I think she more likes new technologies like digital camera, computer...maybe she reads this thread! She advises him, when he compose the music.

 

"Reprise Battle Of The Heroes again in Episode IX, honey, and more, people love it!"

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3 hours ago, Pieter_Boelen said:

Didn't he already do that a few years ago...? ;)

 

Yeah! He did! I recognize a leitmotif for Obi Wan in the ANH, but a theme does not. I agree that it is difficult to imagine a theme for Obi Wan and not think straight away about the Force's Theme.

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In the original Star Wars it wasn't a theme for the Force: it was Obi Wan's theme. While it did lose connection with him across the following episodes, he never had another motif assigned to him.

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Some interesting comments about Giacchino/Powell/Williams on the FSM board, if you believe them:

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I've heard from multiple people in the know that indeed Williams didn't like the ROGUE ONE score very much at all. Williams seems very protective of Star Wars in particular (he reportedly didn't like Joel McNeely's SHADOWS OF THE EMPIRE much either back at the time), and it's probably a good thing to try to get his blessing when they pick a new composer. I heard that when Kathleen Kennedy asked him who was out there that he liked, he heartily spoke up for Powell.

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I've heard the same story from two different people who have worked at Lucasfilm, and independently from a friend in the know. Williams saw the final version of ROGUE ONE, with MG's score in it, and was not especially impressed. When asked by Kathleen Kennedy who should score the next spin-off movie, he recommended Powell. That's all I've got!

 

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Williams asked for a screening of "Rogue One" and was unimpressed by the score. I was told he then recommended Desplat for "Solo," but Kennedy told him that hadn't worked out last time, so he suggested Powell. I believe this story to be true, based on my source.

 

http://filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=9&threadID=120825&archive=0

 

Things seem to fit into place with these stories. Williams is seemingly very protective of the Star Wars brand musically; if he was unhappy with Rogue One's score then perhaps this is his way of giving creative guidance for other composers entering the franchise, to establish the musical 'ground rules' for the score then let the composer extrapolate?

 

It wouldn't surprise me at all if Williams recommended Powell for the score. Desplat possibly being his first choice is really interesting, if true. Would also indicate he's got a line through his name now, which makes you wonder what happened on Rogue One...

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This is rumour control, here are the facts.

All this is pure conjecture.

The point is, we have no idea what was said, and, more importantly, how it was said. Remember, that JW has known Kathleen Kennedy for over thirty-five years, and (I would imagine) considers her a friend, as well as a colleague.

By comparison, he's known Cappuccino for about five minutes.

What happened behind closed doors was one professional passing an opinion on another professional's work, which he is entitled to do, given both the circumstances, and the context.

JW created the STAR WARS sound, and if anyone knows how it should sound, it's him.

The only other time (certainly that I can think of) that an event like this was covered in print, was JW's reaction to SUPERMAN II. That was an honest and visceral response to what he had just watched.

I agree with artguy; this is heretical.

In other words: forget it, JWfan, it's FSMtown.

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An interesting theory Ulee, but I have one question: what does God need -sorry - where's Ron Howard, in all this?

He's not exactly a comer, and he still has some clout in Tinseltown. What about his opinion? Since when did producers, and not directors have the final say on who scores their film? Was Powell attached before Howard came on board, and does Howard want JW to contribute to his film, anyway?

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4 minutes ago, Richard said:

An interesting theory Ulee, but I have one question: what does God need -sorry - where's Ron Howard, in all this?

He's not exactly a comer, and he still has some clout in Tinseltown. What about his opinion? Since when did producers, and not directors have the final say on who scores their film? Was Powell attached before Howard came on board, and does Howard want JW to contribute to his film, anyway?

 

I think franchise superproducers like Kennedy and Feige are essentially the equivalent of showrunners in TV series if you want to consider these franchises big budget TV series for the big screen which is what they are frankly.

 

Forget consulting with the directors for creative choices, Kennedy has fired 3 sets of them for crossing her. SW is a very suit driven enterprise. You have the Disney CEO attending the premiere, storylines being discussed on earning calls with shareholders and many decesions going up to Iger.

 

This is very much a producers franchise. The buck stops with Kennedy and she calls the shots. She can overrule the director and even fire them. She has the suits behind her.

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I mean, Abrams had to pitch Episode IX to Iger himself! That isn't a normal state of play with franchise movies, especially for a director with his clout.

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20 minutes ago, TheUlyssesian said:

This is very much a producers franchise. The buck stops with Kennedy and she calls the shots. She can overrule the director and even fire them. She has the suits behind her.

 

She's finally emerged from Spielberg's shadow!

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2 hours ago, artguy360 said:

I don't believe those quotes for a moment. JW has approved of Gia writing Star Wars music in the past. Don't forget Gia wrote SW music for Star Tours and JW approved of that too. 

 

To compose drive-by music for a theme park attraction and for a dramatic motion picture are wholly different things. In a movie, dramatic shortcomings are much easier to spot. 

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7 hours ago, James said:

 

Yeah! He did! I recognize a leitmotif for Obi Wan in the ANH, but a theme does not. I agree that it is difficult to imagine a theme for Obi Wan and not think straight away about the Force's Theme.

As @Chen G. mentioned, I was indeed referring to the Force theme.

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On 31.12.2017 at 12:56 PM, Stefancos said:

Makes it sound like a cheap knock-off, which I guess it was.

 

It was probably anything but cheap to get Giacchimoto to write a replacement score at the last minute.

 

On 31.12.2017 at 1:59 PM, Chen G. said:

There's nothing in Empire Strikes Back to suggest that Han Solo had an earlier run-in with Boba Fett, to justify his involvement in this film.

 

Also, his backstory in adressed in the prequels to the point that further exploration of his character (especially given his at-random death in Return of the Jedi) is redundant, and that it would quite possibly require bringing the prequel actor back.

 

They can just make him wear armour the whole time.

 

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21 hours ago, king mark said:

The music in the Echo base corridor at the beginning of the film where Leia's Theme morphs into Han Solo and the Princess makes it pretty clear it's a love theme

 

As far as Powell goes. I have a film music compilation of several GB and and about 200  composers and have retained only 1-2  tracks from him .His music doesn't do anything for me

 

Chicken Run is his best score, although it's collaborative. Bring back those kazoos!

 

:D

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8 hours ago, Chen G. said:

In the original Star Wars it wasn't a theme for the Force: it was Obi Wan's theme. While it did lose connection with him across the following episodes, he never had another motif assigned to him.

 

I know. The harp that appears at the beginning of the theme of the Force. I always imagined as a leitmotiv for the characterization of Obi Wan as a mysterious wizard.

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23 minutes ago, James said:

I know. The harp that appears at the beginning of the theme of the Force. I always imagined as a leitmotiv for the characterization of Obi Wan as a mysterious wizard.

 

Nah. It's too inconsequential to be a leitmotif, much less one that can be treated separately from the unabridged Force theme. It's just a little introduction figure.

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1 hour ago, El Jefe said:

Here’s an interview with Desplat where he mentions leaving Rogue One;

 

https://filmschoolrejects.com/composer-alexandre-desplat-choosing-luc-besson-star-wars/

 

 

It's funny that he claims he left the film due to scheduling, instead of being fired. 

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As far as I know, Lucasfilm has not given a detailed explanation of why Desplat left the project. Desplat could be saying what he says to save face. I still doubt Desplat would be able to write a proper Star Wars score.

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We'll find out what happened eventually.

 

They clearly thought enough of Desplay to offer him the job in the first place. If it was really a scheduling conflict, he'll get another chance. If he was fired, he won't.

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I would believe Lucasfilm would secure the services of the composer in case of delays due to reshoots. Anything else would be highly risky and unprofessional. It's not like SW is a low budget production anymore.

 

That's why I find it most likely that Desplat was indeed fired.

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10 hours ago, crumbs said:

Some interesting comments about Giacchino/Powell/Williams on the FSM board, if you believe them:

 

 

Just imagine if Goldsmith were still alive...

2 hours ago, Jurassic Shark said:

 

Chicken Run is his best score, although it's collaborative. Bring back those kazoos!

 

:D

 

...performed by Jerry Hey!

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23 minutes ago, JoeinAR said:

What an insult to John Powell. How insulting. 

 

 

Well I’m not entirely sold on Powell either. I’ve enjoyed some of his works but I’m not bowled over.

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23 minutes ago, Stefancos said:

I'm sure he's honored and humbled to be working with the Maestro!

Perhaps but it is still an insult.

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