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Post by emperorferus on Feb 2, 2020 23:23:37 GMT
My favorite score is either for TESB or ROTS
Williams is at his peak in those.
Don’t get me wrong, he does great in all of them.
I also like how much like the planets, each Lucas film has a distinct theme that may recur, but is most associated with the given film.
Not limited to these
TPM- Duel of the Fates, recurs in AOTC and ROTS
AOTC- Across the Stars- recurs in different, more melancholy tempo in ROTS
ROTS- Battle of the Heroes, never recurs. it was meant to signify the saga’s ultimate climax
ANH- Leia’s theme, recurs in relevant parts of TESB and ROTJ
TESB- Imperial March, recurs in ROTJ, at parts to symbolize either Vader’s conflict or his lingering evil, recurs in all three prequels to foreshadow the rise of Vader
ROTJ- The Emperor’s theme, recurs in prequels to foreshadow his rise
I also love how the songs in the credits indicate what we are intended to ultimately take away-
ANH- Hope has returned, Luke, Han and Leia have won the battle
TESB- Yoda’s teachings will be important for Luke’s journey, Vader is still powerful, but there is hope for the Rebellion and also for Han and Leia’s love
ROTJ- Galaxy is free, Empire is gone, Luke and Leia are reunited and heirs to the Jedi and Skywalker bloodline (cough cough)
TPM- Overall Sith threat remains despite Maul’s defeat, young Anakin has a long, hard physical and mental journey in the years ahead
AOTC- War begun, Anakin and Padme’s love is stronger than ever, but will it survive the inevitable tragedy ahead?
ROTS- Palpatine has won, Vader has risen, Anakin and Obi-Wan’s brotherhood is broken, but Luke and Leia provide hope for the light side and the free galaxy. The Jedi will ultimately win
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Post by Subtext Mining on Jun 13, 2021 0:38:03 GMT
Creating this much-needed thread after a discussion that started in the Lucas ST Treatment thread. John Williams' blistering opening score may also have had something to do with Lucas sticking to the title and applying it to all the films. Several notes in the main theme literally say "Star Wars" -- in a manner not dissimilar to the way John Williams' subsequent score for "Superman" also says that title. I think a lot about the music in this scene. The repeated ominous melody is like an obsessive thought repeated over and over in the mind. As Padmé would be doing here, going over all of the things Anakin has said and all the strange ways he's been behaving lately, seeing if it all adds up to what Obi-Wan is telling her. It's like the words are "Could it be true? It can't be!" |
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Post by Cryogenic on Jun 13, 2021 1:32:41 GMT
John Williams' blistering opening score may also have had something to do with Lucas sticking to the title and applying it to all the films. Several notes in the main theme literally say "Star Wars" -- in a manner not dissimilar to the way John Williams' subsequent score for "Superman" also says that title. I think a lot about the music in this scene. The repeated ominous melody is like an obsessive thought repeated over and over in the mind. As Padmé would be doing here, going over all of the things Anakin has said and all the strange ways he's been behaving lately, seeing if it all adds up to what Obi-Wan is telling her. It's like the words are "Could it be true? It can't be!" Ahhhhhhhhhh! 16:9!!!! I cannot stand Star Wars in 16:9!!!! *reaches out to Force Choke the uploader* Okay, I'm calmer now... Yeah, I've always loved that musical cue. The way it starts low, almost like incidental background music, and by the end of the scene, it turns into an undeniable surge as it reveals its "true" form, with that fierce accompaniment -- the eruption into a brassy, earth-shattering crescendo -- when the film cuts to Anakin on Mustafar. Padme's grief and denial are palpable here, and the way the scene is done, as a superficially "happy" daylight scene, with a dream-like tone, supports your idea that Padme has essentially been alone with her thoughts and running things in her head (and yet refusing to come to any conclusions) over and over since the preceding night. ROTS is her tragedy as much as Anakin's, and we see in this scene how "Camelot" is lost. That there will only be pain and suffering, and stark collisions with the truth, from this point forward. A simple conversation shatters the false paradise of Padme's comfortable world. The lie can be maintained no more. What I noticed more than before on this quick re-watch was how Padme may act shocked to hear that Anakin has turned to the Dark Side and scolds Obi-Wan for asserting it, but she also seems to want Obi-Wan to set her right. Her vocal tone is flush with indignation, but her eyes betray her. And Obi-Wan, for his part, seems to touch Padme's shoulder either because he's trying to "impress" upon her the truth, or maybe trying to get a sense of her emotions and her underlying (dis)equilibrium. An interesting detail -- considering how Obi-Wan never touches Anakin in that manner. Padme's dialogue response is also remarkably similar to Anakin's when he's pleading with Mace not to execute Palpatine: "It's not the Jedi way! He must live! I need him!"And Padme here: "I don't believe you. I can't."
Yep, John Williams' music provides a satisfying undertone, indeed. A sense of something churning -- trying to liberate itself, trying to connect with something greater than itself. In a way, it's also a microcosm for the PT: a chain of events, and digressions, bubbling under, that lead to an apocalyptic finale. Primal fires from below welling up into the realm of "ordered" civilisation -- where the illusion of order and perfection is rudely ripped out from underneath. Coruscant, the home base, is never seen in daylight again. |
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Post by Seeker of the Whills on Jun 13, 2021 3:26:48 GMT
John Williams' blistering opening score may also have had something to do with Lucas sticking to the title and applying it to all the films. Several notes in the main theme literally say "Star Wars" -- in a manner not dissimilar to the way John Williams' subsequent score for "Superman" also says that title. I think a lot about the music in this scene. The repeated ominous melody is like an obsessive thought repeated over and over in the mind. As Padmé would be doing here, going over all of the things Anakin has said and all the strange ways he's been behaving lately, seeing if it all adds up to what Obi-Wan is telling her. It's like the words are "Could it be true? It can't be!" To me, the music in this scene is perfection. It perfectly captures the bittersweet nature of Anakin and Padmé's relationship, and simultaneously the tragic final days of the Republic. They are seemingly so peacefully gazing at a blissfully unaware Coruscant where business continues as normal, while the war is ripping the Republic apart in far away systems and secretly gnawing at the heart. This little scene is just perfect. And I love the foreshadowing of Padmé's "So love has blinded you?" Because love does indeed blind Anakin to reality and makes him do terrible things. |
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Post by Cryogenic on Jun 13, 2021 3:57:25 GMT
I think a lot about the music in this scene. The repeated ominous melody is like an obsessive thought repeated over and over in the mind. As Padmé would be doing here, going over all of the things Anakin has said and all the strange ways he's been behaving lately, seeing if it all adds up to what Obi-Wan is telling her. It's like the words are "Could it be true? It can't be!" To me, the music in this scene is perfection. It perfectly captures the bittersweet nature of Anakin and Padmé's relationship, and simultaneously the tragic final days of the Republic. They are seemingly so peacefully gazing at a blissfully unaware Coruscant where business continues as normal, while the war is ripping the Republic apart in far away systems and secretly gnawing at the heart. This little scene is just perfect. And I love the foreshadowing of Padmé's "So love has blinded you?" Because love does indeed blind Anakin to reality and makes him do terrible things. A scene I used to love -- though now, I must admit, the "gooeyness" of it slightly annoys me. I mean, beautiful surroundings 'n' all, and Natalie is still a babe (if missing her near-pristine looks in I and II), and Hadyen looks like an Adonis, and I love how he's resting on that pillar, the contented male hero -- and plain just admiring his wife. And gosh, is the music fantastic, yes! But it's a little out-of-step with the rest of the movie, the rest of their scenes, which makes me think it is probably deliberately "fake" in some way. Don't hate me, Seeker?  It's a little oasis in a desert, but the fact they're both so drunk on love here... Cryo must destroy. Kidding (I think!). Hmm. What if Anakin is experiencing a double-dream: ya know... a dream within a dream? What if it's the Force; or even Palpatine manipulating the Force? Fake happiness followed by stereoscopic baby-wailing and sudden horror. George pulls all the strings. But so does Palpatine in-universe. The Magnificent Bastard that he is. After all, this scene does come after his Saturday Morning Super Villain boast that soon he will have a new apprentice, "one far younger and moooooorre poh-wer-ful!" Ani, I wanna have our baby back home on Naboo...Yes, yes. Make the boy think of safety, security, idyllic surroundings.We can go to the Lake Country where no-one will know, where we can be safe.Safe! I once boasted that Coruscant was safe to Padme when she was Queen. Just thought I'd have her emphasise that for my new apprentice. I can go early and fix up the baby's room.It's that thing in dreams, these silly humans have, isn't it? Those gaps in logic, her being a serving Senator and all, aren't so easily noticed.I know the perfect spot. Right by the gardens.Plenty of gardens on Naboo, boy! But you're still not noticing anything amiss, Young Fool, are you?You are so... beautiful.Wait until you see Emperor Palpy unveiled in all His Glory. You don't know true beauty, my boy. But yes, yes, go on gushing over your wife.It's only because I'm so in love.Or it's because you're puppeteered, my dear.No! Uh-huh. No, it's because I'm so in love with you.That's it. Take the bait, boy! Use your amorous feelings. So love has blinded you?Just thought I'd throw that one in. Old Palpy checking there's still a working brain cell in my apprentice's head. Uh-huh-huh. Well, that's not exactly what I meant.Good. The boy hasn't taken leave of all his senses. Maybe he won't get completely burned up by lava later on. I've told that boy I'll buy him a chemistry set if he does 100 push-ups every day for a month.But it's probably true.Yes, blinded you are, Anakin! Happens to the best of us. It happened to me about 80 years ago on Naboo with a young flower named Smelda. But I digress. Now I have the Dark Side and bald-headed chicks really dig me. Anyway, it may be impossibly vain, even for a Dark Lord of the Sith, but I thought that smile at the end was a nice touch. Okay, enough of this gooey shit. Onto the nightmare. Good luck, boy! |
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Post by smittysgelato on Jun 13, 2021 4:44:39 GMT
I enjoy that gooey scene because Padme is half-jokingly laying out how stupid Anakin is right on the spot. Then he spends the rest of the movie acting out that very stupidity. It is very very human.
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Post by Seeker of the Whills on Jun 13, 2021 7:10:20 GMT
To me, the music in this scene is perfection. It perfectly captures the bittersweet nature of Anakin and Padmé's relationship, and simultaneously the tragic final days of the Republic. They are seemingly so peacefully gazing at a blissfully unaware Coruscant where business continues as normal, while the war is ripping the Republic apart in far away systems and secretly gnawing at the heart. This little scene is just perfect. And I love the foreshadowing of Padmé's "So love has blinded you?" Because love does indeed blind Anakin to reality and makes him do terrible things. A scene I used to love -- though now, I must admit, the "gooeyness" of it slightly annoys me. I mean, beautiful surroundings 'n' all, and Natalie is still a babe (if missing her near-pristine looks in I and II), and Hadyen looks like an Adonis, and I love how he's resting on that pillar, the contented male hero -- and plain just admiring his wife. And gosh, is the music fantastic, yes! But it's a little out-of-step with the rest of the movie, the rest of their scenes, which makes me think it is probably deliberately "fake" in some way. Don't hate me, Seeker? It's a little oasis in a desert, but the fact they're both so drunk on love here... Cryo must destroy. Kidding (I think!). Hmm. What if Anakin is experiencing a double-dream: ya know... a dream within a dream? What if it's the Force; or even Palpatine manipulating the Force? Fake happiness followed by stereoscopic baby-wailing and sudden horror. George pulls all the strings. But so does Palpatine in-universe. The Magnificent Bastard that he is. After all, this scene does come after his Saturday Morning Super Villain boast that soon he will have a new apprentice, "one far younger and moooooorre poh-wer-ful!" It's a little bit gooey, but I think that's what makes it funny and human, like smitty said. It's deliberately in a style that modern audiences would find unnaturally acted, which is a very earnest and straight forward approach, that I think makes it even more real. People act silly sometimes. It's not preoccupied with sounding cool or hip, and it would definitely feel out of place in The Force Awakens or a Joss Whedon film. And I think it's wonderfully juxtaposed with the following nightmare. Like you said, it's almost like a pleasant dream before the bad one. Ani, I wanna have our baby back home on Naboo...Yes, yes. Make the boy think of safety, security, idyllic surroundings.We can go to the Lake Country where no-one will know, where we can be safe.Safe! I once boasted that Coruscant was safe to Padme when she was Queen. Just thought I'd have her emphasise that for my new apprentice. I can go early and fix up the baby's room.It's that thing in dreams, these silly humans have, isn't it? Those gaps in logic, her being a serving Senator and all, aren't so easily noticed.I know the perfect spot. Right by the gardens.Plenty of gardens on Naboo, boy! But you're still not noticing anything amiss, Young Fool, are you?You are so... beautiful.Wait until you see Emperor Palpy unveiled in all His Glory. You don't know true beauty, my boy. But yes, yes, go on gushing over your wife.It's only because I'm so in love.Or it's because you're puppeteered, my dear.No! Uh-huh. No, it's because I'm so in love with you.That's it. Take the bait, boy! Use your amorous feelings. So love has blinded you?Just thought I'd throw that one in. Old Palpy checking there's still a working brain cell in my apprentice's head. Uh-huh-huh. Well, that's not exactly what I meant.Good. The boy hasn't taken leave of all his senses. Maybe he won't get completely burned up by lava later on. I've told that boy I'll buy him a chemistry set if he does 100 push-ups every day for a month.But it's probably true.Yes, blinded you are, Anakin! Happens to the best of us. It happened to me about 80 years ago on Naboo with a young flower named Smelda. But I digress. Now I have the Dark Side and bald-headed chicks really dig me. Anyway, it may be impossibly vain, even for a Dark Lord of the Sith, but I thought that smile at the end was a nice touch. Okay, enough of this gooey shit. Onto the nightmare. Good luck, boy!  |
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Post by Samnz on Jul 3, 2021 15:56:01 GMT
I've been wondering for some time why John Williams' work for the Sequels disappointed me almost more than the movies themselves. I didn't expect much from the movies, but I thought the music was going to great and yet it wasn't, imo. The only theme worth remembering was Rey's and even that only in TFA.
I think JJ's style doesn't fit orchestral music very much. I think the music he went with for Alias works best for his style. His scenes are usually too fast paced and too uneven and restless for orchestral music to shine. There is no "lingering" in his shots, while George's smooth style really allows the music to take centre stage. This allows the music to work wonders even in scenes where the score is not designed to draw attention. The burial of Shmi is a great example. I'd also suspect George put a lot more thought and input into the spotting session with the composer. I mean all of Lucas' movies have a great score. THX's score is very different, but equally powerful.
And I also love the music in this scene:
That music alone is heartbreaking, even though it is so subdued. It combines the micro tragedy of the two loves and Across the Stars with the doom and turmoil that pulls the Republic down.
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Post by Cryogenic on Jul 3, 2021 16:46:19 GMT
I've been wondering for some time why John Williams' work for the Sequels disappointed me almost more than the movies themselves. I didn't expect much from the movies, but I thought the music was going to great and yet it wasn't, imo. The only theme worth remembering was Rey's and even that only in TFA. Of the sequel movies, I agree that Rey has the best theme. I also dig Kylo's theme: basic but moody and suitably villainous. The extended stretch of music when Luke confronts Kylo on Crait and fades into the Force is also first-class, even if it's reusing existing character themes. And I think TROS has some decent cues. Indeed, I hold that TROS has the single-best piece of music of the entire ST, this marvellous suite -- which, as the top commenter says,"is a combination of Anakins theme, Rey’s theme, Yoda, Luke and Leia, Across the Stars all combined into one piece that represents Star Wars as a whole and the Skywalkers": Absolutely stirring. Still, I agree with you otherwise. There's something terribly lacklustre (by John Willliams' standards) about a lot of the ST scoring work. Most of the action cues, in particular, are really weak and unengaging -- and fuck, this is Star Wars!!! Why should action cues be anything less than top drawer stuff? Perhaps you diagnosed the problem here: I think it's telling that a lot of people love the vignette that introduces Rey in TFA. Even if the imagery isn't riveting, it certainly has that "tone poem" feel about it, and that whole passage is carried beautifully by the music. Perhaps because, surprisingly, Abrams actually took a more George Lucas approach here, giving John Williams a more appropriate "emotional space" (a rolling cinematic canvas) to work with. Another example that comes to mind is Rey's theme being used on Takodana (or the "Lake District" planet as I call it). Once again, when Kylo abducts Rey, Abrams allows the film to play out more fluidly for a brief moment as Finn helplessly chases after Kylo's shuttle, leading to the now-infamous outburst of "Reeeeeeyyy!!!" Yet as you suggest, the film is a bit too hectic and hypertensive elsewhere (despite its paradoxically slow storytelling) for the music to continually shine -- leading dangerously close, in moments, to more of an "aural wallpaper" approach. For some reason, Rian Johnson didn't necessarily elicit a great improvement from John Williams here. I definitely think TLJ has some wonderful music moments, but there's plenty of stuff that's more on the so-so side again. John Williams being of an advanced age probably didn't help matters for this trilogy, either. Lastly, the imagery in the ST isn't on the same level of "imagination station" as the PT or OT. Sure, the movies look nice -- even breathtaking in moments. But there's very little of Lucas' transporting visual lyricism or bounteous "expansive universe" feel. The environments are more limited in design/impact, the galactic scope is missing, and there is also quite an aesthetic shift from world to people. The Lucas Saga movies are arguably more macroscopic in orientation and intent, while still being character dramas (well, ROTS and the OT, anyway). But the ST films are much more square and reductive: there's much more emphasis on characters and their stuffy little psychodramas. In the Lucas Saga, we get an ideal blend of people and place (civilisation and its discontents); under Disney, it's more about the people and their Identity Politics speech-bubble interactions (some sort of high school anime-ish bubble universe). Indeed. A beautiful and incredibly elegiac scene. In fact, by Episode III, Lucas surely recognised how integral John Williams had become to his entire process, saying in 2005: web.archive.org/web/20050514030952/http://www.staticmultimedia.com/content/film/features/feature_1115643931 |
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Post by Gen on Jul 4, 2021 2:55:45 GMT
This badass Morricone-esque* flourish when Anakin and Obi-Wan confront Dooku. Always stood out to me. Love the way it creeps in after hearing a bunch of brass and explosions the last half hour. Love the way Dooku flashes his piece as he turns to them, and the Jedi's pre-battle stances. Even the squeaking of the ship's loading ramp sounds good coming off the cue.
*See also the way Lucas specifically "directs" Yoda to pull out his saber like Clint. He gets to experiment a lot here given the relatively inconsequential nature of the battle. Williams too, with a couple (cut) Coruscant chase tracks where he busts out his axe, Dexter Jettster blues, I'm pretty sure that's harpsichord later with Yoda and Dooku, and lots of classic theme rearrangements. Burtt's seismic charges! Clones is concentrated A/V weirdness. It doesn't get stuck in your head so much as it gets embedded. Anyway next cue.
The cue that plays with the shot of the Jedi Starfighters flying into the camera right after Obi-Wan says "In the name of-!". Satisfying refresher after the back and forth between Anakin and Obi-Wan and some dissonant Williams stuff. Feels quintessentially SW to me, reminds me of something from the ROTJ space battle. Basically signals to you that the big battle still rages on around the little battle.
The entire opening scene of Sith from the war drums to Obi leaping out of the cockpit is just really good sex.
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Post by smittysgelato on Jul 4, 2021 21:23:07 GMT
The entire opening scene of Sith from the war drums to Obi leaping out of the cockpit is just really good sex. The best description of the opening to ROTS I have ever heard. I wish I thought of it. |
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Post by Subtext Mining on Jul 23, 2021 18:23:59 GMT
The melody the children’s choir sing in The Parade song at the end of TPM is the melody of The Emperor's Theme but changed to a major scale and slightly modified after the first bar.
It’s also directly inspired by a song from Powaqqatsi (heard in this trailer) written by Phillip Glass in the tradition of Brazilian parade music, and in the same key.
Amazing how much symbolism, language and foreshadowing is tucked into the music alone.
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Post by stampidhd280pro on Jul 23, 2021 18:56:44 GMT
I was thinking last night about the scene in Return of the Jedi where Jabba strikes C-3PO while he's translating the negotiation of the price of Chewbacca, and I realized that slipped into Jabba's music is a reference to the theme from The Godfather.
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Post by Samnz on Jul 24, 2021 13:13:26 GMT
One of my favourite musical moments is - at the very end of Attack of the Clones - the transition from the Imperial March to Across the Stars.
Both musical pieces are great just for themselves, but I especially love how this specific moment feels like good bounces back for one more time with all powers left before darkness inevitably takes over. It's like that last vaguely innocent moment for Anakin and Padmé, untouched by the war and politics and the Jedi, and the following iteration of Across the Starts is approproately beautiful as always, but nonetheless sells the idea that this is a kind of Swan Song for the Republic and the depicted characters. It carries a tragic note and feels like a "last hooray!" to the innocence and pureness still left in both the Repuclic and the two lovers.
Great cinema.
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Post by Subtext Mining on Jul 26, 2021 3:11:33 GMT
It carries a tragic note and feels like a "last hooray!" to the innocence and pureness still left in both the Repuclic and the two lovers. Great cinema. Exactly! Their love may be forbidden, it may be doomed, but even though the shroud of the dark side has fallen, it's fruit will eventually help bring forth the end of the Sith and their Empire. I was thinking last night about the scene in Return of the Jedi where Jabba strikes C-3PO while he's translating the negotiation of the price of Chewbacca, and I realized that slipped into Jabba's music is a reference to the theme from The Godfather. Well, speaking of The Emperor's Theme, Jabba's Theme is also a modified version of that piece. As explained in this thread |
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Post by Subtext Mining on Nov 8, 2021 8:56:52 GMT
I'd like to give a shadout to one of my favorite pieces from ANH, the Jawa Theme, or Sandcrawler Medley. youtu.be/ZxMdImpj4mkIn contrast to the sweeping themes and grandiose exclamations in the film, this track stands out in its quirky, whimsical nature. It invites you into this odd world of the busy little sand creatures, and keeps you intrigued during an otherwise mostly functional sequence.  Lucas did a great job of turning a plain desert in Tunisia into an alien world of its own, complete with ambient sounds, local fauna calls and dragon skeletons. Then Williams brings it all together with the music. Oboes, tubas, triangles, it's almost too enjoyable.  I also love listening to this song because while doing so I can picture everything in my head as it happens on screen.  And like all good cues from SW, it ends with an Imperial flourish. This one, the memorable baritone murmur which accompanies the famous "Look sir, droids." line. |
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Post by Ingram on Nov 8, 2021 10:24:31 GMT
I'd like to give a shadout to one of my favorite pieces from ANH, the Jawa Theme, or Sandcrawler Medley. youtu.be/ZxMdImpj4mkIn contrast to the sweeping themes and grandiose exclamations in the film, this track stands out in its quirky, whimsical nature. It invites you in to this odd world of the busy little sand creatures, and keeps you intrigued during an otherwise mostly functional sequence. Lucas did a great job of turning a plain desert in Tunisia into an alien world of its own complete with ambient sounds, local fauna calls and dragon skeletons. Then Williams brings it all together with the music. Oboes, tubas, triangles, it's almost too enjoyable. I also love listening to this song because while doing so I can picture everything in my head as it happens on screen. We park our speeders in the same garage.
This sequence is important to me as a (now outdated) Star Wars fan. This was square deep in the first instance narratively, cinematically and, yes, musically where Star Wars settled into a strange drift unconcerned with plot urgency in favor of Lucas' still-distinct penchant for world-building. And there's something befitting in how this first bloom is set in a protean legendary desert that cross-pollinates Arabian with Judeo with the precursor-pulp literature of Burroughs and, last but not least, the Old 'Chiricahua' West—right up to the then contemporary fringe urban/rural backyards, gas (Tosche) stations and highway stretches that overlook the Mojave and Sonoran deserts (location shots in SoCal were spliced with those in Tunisia); those places where countless wayward imaginations would sight under a high noon sun bleached bones of some animal or half-sunken remnants of frontier life, rock paintings hidden among canyons and outcroppings while, above, flying saucers in the starry night sky. It's no wonder, then, that Lucas himself pictured a hulking rusted sandcrawler nearly identical to a setting where one might happen upon an old rusted Model-T.
Williams' piece perfectly articulates the minutiae of droid misadventures with arid scavengers out there in the middle of nowhere, on the planet farthest from. There's a circadian quality to it matched with something roundabout, a kind of symphonic trail map where, for the first time in Star Wars, audiences could truly get lost.
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Post by Subtext Mining on Mar 9, 2022 13:24:08 GMT
One of the many great things about the TPM soundtrack is the fact that both Padmé and Boss Nass are accompanied by light piccolo arrangements. Signifying the symbiotic relationship between the two leaders of Naboo. Queen AmidalaPiccolo starts at 0:38 youtu.be/1ONBfQ16pF0Boss NassPiccolo starts at 0:50 youtu.be/DhTHVucxSDcAnd I like how Boss Nass' has a bit of a Native American feel to it. |
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Post by tonyg on Mar 26, 2022 23:27:17 GMT
In a group of friends we often posted music clips dedicated to specific theme. Once we decided that should be pieces dedicated to male characters (in every genre). It was a challenge because while there are too much pieces dedicated to women those dedicated to men are few. Everybody liked The Dream of Anakin while not everybody had listened to it. But this reminded me how embedded the music pieces are in the movies themselves. The Dream of Anakin and Padme Ruminations are perfect examples as the music plays the role of dialogue in most part of both scenes.
Another detail is the name of the piece. PT is exceptional in this too. Anakin’s dream begin with him awake, living the dream of his life (the balcony scene) and then dreaming the nightmare of his life that is very probably to be a vision. Astonishing.
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Post by Seeker of the Whills on Apr 22, 2022 14:58:52 GMT
I love the music in the balcony scene in RotS, especially the cue at 0:17. It greatly moves me. It perfectly sets the tone, somber but hopeful.
Also, the cue here at 1:10 is one of my favorites.
Both of these scenes and their music by John Williams highlight the purity of George Lucas' Star Wars.
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It's a little oasis in a desert, but the fact they're both so drunk on love here... Cryo must destroy. Kidding (I think!). Hmm. What if Anakin is experiencing a double-dream: ya know... a dream within a dream? What if it's the Force; or even Palpatine manipulating the Force? Fake happiness followed by stereoscopic baby-wailing and sudden horror. George pulls all the strings. But so does Palpatine in-universe. The Magnificent Bastard that he is. After all, this scene does come after his Saturday Morning Super Villain boast that soon he will have a new apprentice, "one far younger and moooooorre poh-wer-ful!"
