Star Wars (1977 - present)

Creasy47

John Powell will score the 'Han Solo' film:

http://www.slashfilm.com/john-powell-will-compose-the-han-solo-movie-score/

DarthDimi

Interesting, @Creasy47. I love his Bourne stuff to the point where I could even "hear" him do an ambient Bond score.

DarthDimi

Confession time. I love marathoning the Star Wars scores. All of them. I can't read a Star Wars comic or book without some John Williams, Kevin Kliner or Michael Giacchino (or even Meco) bursting through the air in my living room. And just for fun, I've decided to rank the live action film scores.

1) STAR WARS

People keep telling me how robust and so not sophisticated Williams's music for that first film was but I couldn't disagree more. He may have added more themes to his scores as the series went along, but nothing beats the Wagnerian magic of that '77 score. Even its only weakness I may be willing to recognise, which is the absence of the Imperial March, doesn't take away any of the musical brilliance Star Wars brings. From the opening fanfare to Leia's Theme, from R2's wandering around on Tatooine to the Jawa scene, from Luke's Theme to our first encounter with Obi-Wan, ... every scene has its own musical moment with its own tone, rhythm, playfulness or seriousness or dreaminess, its own power and story to tell. Thirty minutes into the film, more musical diversity was achieved than in most other Star Wars scores in their totality. Tension builds aboard the Death Star. When the Falcon enters it, a strong march-like rendition of the Star Wars Theme plays over one of the most breathtaking model shots of the entire film. When the Falcon escapes again, the "Here they come" track brings the epitome of Star Wars awesomeness. The raid on the Death Star is a musical story onto itself. And even after several minutes of building tension, of musical climax after climax, pulling almost every other tune from the film into this epic composition, we have yet to hear the beautiful and "matrimonial" Throne Room finale. And as the first credit appears over the famous stars, the orchestra bursts open with fire.

There's no substitute for this score. The highest praise can't even come close. People have grown so used to this score that they often forget how often Williams gets it right here. If this were a snooker game, he'd score a 147 literally every single frame. An outstanding, unparalleled achievement.

2) THE EMPIRE STRIKES BACK

Almost as good as the score for Star Wars, its follow-up shows not one sign of fatigue or repetitiveness. The outstanding collection of moments of mystery, despair and action on Hoth receive one of the most memorable musical interludes ever composed: The Imperial March. What The Blue Danube did for 2001's waltz of spacecraft, The Imperial March does with twice the 'cool' when imposing Star Destroyers are suddenly overshadowed by an even larger, even more imposing Super Star Destroyer, harbouring the enigmatic Darth Vader. Back on Hoth, Williams launches a battle which begins with ominous AT-AT's approaching us to a loud, thundering DUM-DUM, gaining momentum as the snowspeeders fight back, descending into desperate sounds as the AT-AT's break through the defences and take out many rebels, only to turn totally starwarsian when Han and Leia manage to fly off, but not before the presence of the Empire is heavily emphasised with The Imperial March. When Luke has heroically taken off too, we immediately go Imperial March at lightspeed when Han does his unbelievably cool manoeuvring tricks between the Star Destroyers and into the Asteroid Field, another unique composition of Williams's. On Degobah, we feel the magic with Yoda and later on Bespin, hard drama as the film reaches its last batch of conflicts. Vader confronting Luke brings dark and heavy drama, while Lando, Leia and Chewie fight off TIE's with rhythmical splendor. When Luke and Leia stare at a whirling galaxy, the score reaches its apotheosis, right before it segues into the End Title suite, which begins as it did in Star Wars but immediately wanders off to its own tunes. Williams also did this with his Indiana Jones scores.

Empire has another marvellous score, the only other Star Wars score IMO that comes close to the perfection Williams brought with the first film.

3) REVENGE OF THE SITH

Not what you expected? Could be. But in 2005, Williams brought back the "method" of handing out individual themes to the most important characters, events and conflicts. Expanding his Duel Of The Fates from The Phantom Menace to serve the battle between Anakin and Obi-Wan as well as the battle between Yoda and Palpatine was a stroke of genius. Williams brings nothing if not music of the highest quality. Nearly every pivotal theme from the original as well as the prequel trilogy gets at least one moment in this film and not in a checklist kind of way but exactly where it belongs, properly used, never overused.

During some of the darker moments of the film, e.g. when Anakin enters the Jedi Temple with an army of Clones, when Obi-Wan is suddenly targeted by his Clone friends, when we witness the slaughter of Jedi, when Padme observes the Temple burning, ... Williams brings very emotional music to the game, music which saddens me and frightens me. Williams is the architect of my emotional responses in this really good Star Wars prequel film.

4) THE PHANTOM MENACE

Say what you want about the film but the score is a great achievement. Most attention is drawn to and by the Duel Of The Fates track, which plays so dramatically during the impressive lightsaber fights between Qui-Gon, Obi-Wan and Maul. But the podrace music, the Gungan battle and even the victory celebration music are wonderful moments too. The score may lack many of the great themes from back in the day, with only vague hints of The Imperial March for example, but it nevertheless sets up a few new ones which are quite satisfactory.

5) THE FORCE AWAKENS

By now an ageing composer, and one who has been accused of repeating himself quite often, Williams nonetheless delivers beauty, mystery and yes, even excitement. It's still an even score, with its own sound, though lacking in the thematic richness that the first two films had. There's still a strong Star Wars feeling here, even though many critics refuse to see (or hear) it. I don't know how much of the effort has come from Williams himself and I don't even consider that relevant here. The point is that when I listen to this score, it's ethereal and thematically less compartmented but the Force is still strong with Williams, though not even remotely as strong as in '77 and '80.

6) RETURN OF THE JEDI

Upset that I didn't put this one higher on the list? Is it the Ewok thing? No, because I'm not commenting on the film, only on the music. And while this score delivers a few wonderful musical peaks, the overall "flesh" of the score tends to lull me at times. Also, the recording quality seems a bit off. This score comes with a poor audio quality, both on CD or digital download. Sometimes I wonder if they recorded this in mono rather than stereo. Nevertheless, I mentioned some peaks and yes, they're here. Escaping from Jabba's boat for example, or an angry Luke going full lightsaber mode on Vader after his comment about Leia. I even like the Ewok dance from the Special Edition. But what's with that rock song from Jabba's palace? And the Rancor music just doesn't sound anything like the quality Williams usually brings. During the Battle of Endor we get some good music, some re-used music and some disappointing bits of loudness and noise. Did Williams lack the time? Was he temporarily reaching for inspiration?

I'm a bit torn on this one. Some themes are excellent. But the overall composition, written between two of Williams's all-time best (E.T. and Temple Of Doom), is a major disappointment.

7) ATTACK OF THE CLONEs

Again not a comment on the film. Look, this one has very beautiful themes, like the romantic theme for Anakin and Padmé, which is hauntingly beautiful. But what was Williams thinking when he brought something guitarish sounding to the speeder chase over Coruscant? Almost like alarms yelling. And the battle of Geonosis has good music but a bit dull by Williams's standards. A few good tracks, including a dramatic return of The Imperial March, but overall nothing special. Even the best stuff in this score matches nothing from the original Star Wars score. Which is not to say I don't like it, but it's a huge step-down from many of the other scores. A lot of this music sounds like what Williams wrote for The War Of The Worlds and other films. He was clearly experimenting in those days, trying to find a new sound. I'm glad he sort of made amends soon thereafter.

8) ROGUE ONE

Let me start by saying this is a very good score. Giacchino wrote some interesting themes which sound fairly starwarsian. There's good action, adequate drama and pure opera when Vader does his awesome thing at the end of the film. The only reason I put this score at the bottom of the list is because, while good, it lacks the Star Wars magic of Williams. Giacchino doesn't have to copy Williams of course and again, I really like this score; it's allowed to be its own thing. It's just that I like the Williams sound for Star Wars a tad more than the Giacchino sound. Perhaps it lacks playfulness. I can't quite put my finger on it.

patb

I think I (and others) may have been gulty for taking Willaims for granted. Perhaps because of the shere volume? Perhaps because his movies are so mainstrean so they don't have the arthouse chic,

but there is no reason (other than elitism) that in a hundred years time, his music is not in the same catagory as the other great classical composers. He really is an immense talent.

Fire_and_Ice_Returns

DarthDimi wrote: »

Confession time. I love marathoning the Star Wars scores. All of them. I can't read a Star Wars comic or book without some John Williams, Kevin Kliner or Michael Giacchino (or even Meco) bursting through the air in my living room. And just for fun, I've decided to rank the live action film scores.

1) STAR WARS

People keep telling me how robust and so not sophisticated Williams's music for that first film was but I couldn't disagree more. He may have added more themes to his scores as the series went along, but nothing beats the Wagnerian magic of that '77 score. Even its only weakness I may be willing to recognise, which is the absence of the Imperial March, doesn't take away any of the musical brilliance Star Wars brings. From the opening fanfare to Leia's Theme, from R2's wandering around on Tatooine to the Jawa scene, from Luke's Theme to our first encounter with Obi-Wan, ... every scene has its own musical moment with its own tone, rhythm, playfulness or seriousness or dreaminess, its own power and story to tell. Thirty minutes into the film, more musical diversity was achieved than in most other Star Wars scores in their totality. Tension builds aboard the Death Star. When the Falcon enters it, a strong march-like rendition of the Star Wars Theme plays over one of the most breathtaking model shots of the entire film. When the Falcon escapes again, the "Here they come" track brings the epitome of Star Wars awesomeness. The raid on the Death Star is a musical story onto itself. And even after several minutes of building tension, of musical climax after climax, pulling almost every other tune from the film into this epic composition, we have yet to hear the beautiful and "matrimonial" Throne Room finale. And as the first credit appears over the famous stars, the orchestra bursts open with fire.

There's no substitute for this score. The highest praise can't even come close. People have grown so used to this score that they often forget how often Williams gets it right here. If this were a snooker game, he'd score a 147 literally every single frame. An outstanding, unparalleled achievement.

2) THE EMPIRE STRIKES BACK

Almost as good as the score for Star Wars, its follow-up shows not one sign of fatigue or repetitiveness. The outstanding collection of moments of mystery, despair and action on Hoth receive one of the most memorable musical interludes ever composed: The Imperial March. What The Blue Danube did for 2001's waltz of spacecraft, The Imperial March does with twice the 'cool' when imposing Star Destroyers are suddenly overshadowed by an even larger, even more imposing Super Star Destroyer, harbouring the enigmatic Darth Vader. Back on Hoth, Williams launches a battle which begins with ominous AT-AT's approaching us to a loud, thundering DUM-DUM, gaining momentum as the snowspeeders fight back, descending into desperate sounds as the AT-AT's break through the defences and take out many rebels, only to turn totally starwarsian when Han and Leia manage to fly off, but not before the presence of the Empire is heavily emphasised with The Imperial March. When Luke has heroically taken off too, we immediately go Imperial March at lightspeed when Han does his unbelievably cool manoeuvring tricks between the Star Destroyers and into the Asteroid Field, another unique composition of Williams's. On Degobah, we feel the magic with Yoda and later on Bespin, hard drama as the film reaches its last batch of conflicts. Vader confronting Luke brings dark and heavy drama, while Lando, Leia and Chewie fight off TIE's with rhythmical splendor. When Luke and Leia stare at a whirling galaxy, the score reaches its apotheosis, right before it segues into the End Title suite, which begins as it did in Star Wars but immediately wanders off to its own tunes. Williams also did this with his Indiana Jones scores.

Empire has another marvellous score, the only other Star Wars score IMO that comes close to the perfection Williams brought with the first film.

3) REVENGE OF THE SITH

Not what you expected? Could be. But in 2005, Williams brought back the "method" of handing out individual themes to the most important characters, events and conflicts. Expanding his Duel Of The Fates from The Phantom Menace to serve the battle between Anakin and Obi-Wan as well as the battle between Yoda and Palpatine was a stroke of genius. Williams brings nothing if not music of the highest quality. Nearly every pivotal theme from the original as well as the prequel trilogy gets at least one moment in this film and not in a checklist kind of way but exactly where it belongs, properly used, never overused.

During some of the darker moments of the film, e.g. when Anakin enters the Jedi Temple with an army of Clones, when Obi-Wan is suddenly targeted by his Clone friends, when we witness the slaughter of Clones, when Padme observes the Temple burning, ... Williams brings very emotional music to the game, music which saddens me and frightens me. Williams is the architect of my emotional responses in this really good Star Wars prequel film.

4) THE PHANTOM MENACE

Say what you want about the film but the score is a great achievement. Most attention is drawn to and by the Duel Of The Fates track, which plays so dramatically during the impressive lightsaber fights between Qui-Gon, Obi-Wan and Maul. But the podrace music, the Gungan battle and even the victory celebration music are wonderful moments too. The score may lack many of the great themes from back in the day, with only vague hints of The Imperial March for example, but it nevertheless sets up a few new ones which are quite satisfactory.

5) THE FORCE AWAKENS

By now an ageing composer, and one who has been accused of repeating himself quite often, Williams nonetheless delivers beauty, mystery and yes, even excitement. It's still an even score, with its own sound, though lacking in the thematic richness that the first two films had. There's still a strong Star Wars feeling here, even though many critics refuse to see (or hear) it. I don't know how much of the effort has come from Williams himself and I don't even consider that relevant here. The point is that when I listen to this score, it's ethereal and thematically less compartmented but the Force is still strong with Williams, though not even remotely as strong as in '77 and '80.

6) RETURN OF THE JEDI

Upset that I didn't put this one higher on the list? Is it the Ewok thing? No, because I'm not commenting on the film, only on the music. And while this score delivers a few wonderful musical peaks, the overall "flesh" of the score tends to lull me at times. Also, the recording quality seems a bit off. This score comes with a poor audio quality, both on CD or digital download. Sometimes I wonder if they recorded this in mono rather than stereo. Nevertheless, I mentioned some peaks and yes, they're here. Escaping from Jabba's boat for example, or an angry Luke going full lightsaber mode on Vader after his comment about Leia. I even like the Ewok dance from the Special Edition. But what's with that rock song from Jabba's palace? And the Rancor music just doesn't sound anything like the quality Williams usually brings. During the Battle of Endor we get some good music, some re-used music and some disappointing bits of loudness and noise. Did Williams lack the time? Was he temporarily reaching for inspiration?

I'm a bit torn on this one. Some themes are excellent. But the overall composition, written between two of Williams's all-time best (E.T. and Temple Of Doom), is a major disappointment.

7) ATTACK OF THE CLONEs

Again not a comment on the film. Look, this one has very beautiful themes, like the romantic theme for Anakin and Padmé, which is hauntingly beautiful. But what was Williams thinking when he brought something guitarish sounding to the speeder chase over Coruscant? Almost like alarms yelling. And the battle of Geonosis has good music but a bit dull by Williams's standards. A few good tracks, including a dramatic return of The Imperial March, but overall nothing special. Even the best stuff in this score matches nothing from the original Star Wars score. Which is not to say I don't like it, but it's a huge step-down from many of the other scores. A lot of this music sounds like what Williams wrote for The War Of The Worlds and other films. He was clearly experimenting in those days, trying to find a new sound. I'm glad he sort of made amends soon thereafter.

8) ROGUE ONE

Let me start by saying this is a very good score. Giacchino wrote some interesting themes which sound fairly starwarsian. There's good action, adequate drama and pure opera when Vader does his awesome thing at the end of the film. The only reason I put this score at the bottom of the list is because, while good, it lacks the Star Wars magic of Williams. Giacchino doesn't have to copy Williams of course and again, I really like this score; it's allowed to be its own thing. It's just that I like the Williams sound for Star Wars a tad more than the Giacchino sound. Perhaps it lacks playfulness. I can't quite put my finger on it.

Agree on Rogue One I purchased that score and TFA I listen to the former considerably more, I love the Guardians of the Wills suit and the Vader climatic theme is pretty intense. It's well documented Giacchino had very little time to write the score, I think he did a good job considering.

Thunderfinger

Thunderfinger

chrisisall

Y'know, I'm actually pretty damn tired of CGI/cartoon spaceships that I've seen better footage of as real models. Wake me up when Disney decides to release the original trilogy as seen in theatres in the 80's on Blu Ray- until then I'll keep watching Battlestar Galactica. ;)

Fire_and_Ice_Returns

chrisisall wrote: »

Y'know, I'm actually pretty damn tired of CGI/cartoon spaceships that I've seen better footage of as real models. Wake me up when Disney decides to release the original trilogy as seen in theatres in the 80's on Blu Ray- until then I'll keep watching Battlestar Galactica. ;)

Unfortunately it won't happen this article explains the complexity of what Disney can and can't do...

http://screenrant.com/why-disney-cant-release-the-original-star-wars-trilogy/

chrisisall

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Fire_and_Ice_Returns

chrisisall wrote: »

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Sorry mate though I do agree with you, there is still the Enterprise in the earlier films. ;)

Fire_and_Ice_Returns

https://ew.com/movies/star-wars-the-last-jedi-exclusive-new-images/the-last-jedi-exclusive-images

http://screenrant.com/star-wars-8-last-jedi-luke-kylo-ren-chosen-one/

chrisisall

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Sorry mate though I do agree with you, there is still the Enterprise in the earlier films. ;)

Yes, but Trek is science fiction; SW & BG are space opera. Hence the comparison. NOTHING beats the Enterprise, of course. ;)

Fire_and_Ice_Returns

chrisisall wrote: »

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Sorry mate though I do agree with you, there is still the Enterprise in the earlier films. ;)

Yes, but Trek is science fiction; SW & BG are space opera. Hence the comparison. NOTHING beats the Enterprise, of course. ;)

True though there is always...
No CGI in site, I really should revisit this film.

chrisisall

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Sorry mate though I do agree with you, there is still the Enterprise in the earlier films. ;)

Yes, but Trek is science fiction; SW & BG are space opera. Hence the comparison. NOTHING beats the Enterprise, of course. ;)

True though there is always...
No CGI in site, I really should revisit this film.

Yeah, this was fun. James Horner's music alone makes it good.

Fire_and_Ice_Returns

chrisisall wrote: »

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Fire_and_Ice_Returns wrote: »

chrisisall wrote: »

Go ahead make me cry. I still have my Galactica unmolested on Blu Ray...

Sorry mate though I do agree with you, there is still the Enterprise in the earlier films. ;)

Yes, but Trek is science fiction; SW & BG are space opera. Hence the comparison. NOTHING beats the Enterprise, of course. ;)

True though there is always...
No CGI in site, I really should revisit this film.

Yeah, this was fun. James Horner's music alone makes it good.

Agreed Horner's score is up there with Krull and Wrath of Khan.

Fire_and_Ice_Returns

http://screenrant.com/rian-johnson-mark-hamill-avoid-star-wars-8-marketing/?utm_source=SR-UMU&utm_medium=Facebook-Distribution&utm_campaign=SR-UMU&view=list

Rian Johnson @ rianjohnson
More stuff is coming, that's the nature of the beast. But I fully endorse avoiding everything you can from now till December!

Mark Hamill ✔ @ HamillHimself
I fully endorse this @ rianjohnson endorsement:
AVOID EVERYTHING YOU CAN FROM NOW TILL DECEMBER!!!!!

That will be virtually impossible!

pachazo

I would love to ignore everything from this point forward (I'm already questioning if I know too much) but when that trailer hits it's going to take a lot of willpower to not press play.

Creasy47

Do it, and you won't regret it. The less you know going into these, the better.

Fire_and_Ice_Returns

I think Hamill and Johnson know that certain things may tip people off, must be frustrating to create something then the studio practically give away aspects of the film to draw a audience.

bondjames

I think I inadvertently read some spoiler speculation online yesterday (it was a word link on the right of an entertainment page). I hope it was incorrect. Annoying. Anyway, I'm going to avoid this and the MI threads from now on.

Fire_and_Ice_Returns

bondjames wrote: »

I think I inadvertently read some spoiler speculation online yesterday (it was a word link on the right of an entertainment page). I hope it was incorrect. Annoying. Anyway, I'm going to avoid this and the MI threads from now on.

Probably wise Star Wars hype machine will go into overdrive shortly, my interest has been middling at best though Hamill and Johnsons tweets have peaked my interest, I am going to avoid anything to do with this film because it's going to be ruined otherwise.

pachazo

Creasy47 wrote: »

Do it, and you won't regret it. The less you know going into these, the better.

I heard the Emperor's voice when I read that! And yes, I will do my best.

chrisisall

I know nothing, I want to know nothing.

Some_Kind_Of_Hero

Creasy47 wrote: »

Do it, and you won't regret it.

Do or do not. There is no try.

Creasy47

If you enjoy spoilers, details from the opening scenes of 'The Last Jedi' are here:

http://www.slashfilm.com/star-wars-the-last-jedi-opening-scenes/

RogueAgent

Like the Bond films? I will just stick to the trailers and that's it!

QsAssistant

With this Star Wars, and any other movie I really want to see, I'm just sticking with the first official trailer and that's it. Unfortunately I've seen stills from the set that just show up anywhere because people don't care about if they spoil anything or not.

QsAssistant

Apparently Ron Howard has teased the Death Star in the Han Solo movie with this pic...

https://twitter.com/RealRonHoward/status/897872294944681984

Yet he never actually says anything about the Death Star and that could be on a Star Destroyer or a base on a planet.

Thunderfinger