When John Williams returned to the Star Wars films in 1999 with Episode I: The Phantom Menace, there was something quite different about his approach to the score. Of course, the main theme and a handful of other old themes … Continue reading →
In his score for Return of the Jedi, John Williams introduced a handful of new memorable themes into the Star Wars saga including that for the Ewoks, Jabba the Hutt, and Luke and Leia. But the only one to have … Continue reading →
This is the second in a series of six posts on themes from the Star Wars films. Each post will examine a theme from each of the six films in turn, leading up to an analysis of the score for … Continue reading →
Through the first six films of the Star Wars saga, John Williams’ inimitable scores have generated a large body of musical themes that have played an inextricable part in building the fantasy world that is the backbone of the films. … Continue reading →
Long gone are the days where the main tasks of a film composer were the seeking out of scoring projects and the writing process itself. Over the past few decades, the film scoring profession has undergone tremendous changes that have … Continue reading →
While predicting the future is something we can only dream of, I have always found that digging into the past reveals recurring patterns that tend to point in a particular direction. Even so, with this year’s Oscar race for the … Continue reading →
When director Christopher Nolan first approached his regular composer, Hans Zimmer, to write the score for Interstellar, he wanted to avoid the clichés associated with the science-fiction genre and “engage Hans in a very pure creative process.” To do this, … Continue reading →
English composer Gary Yershon has largely staked out his career in various realms of dramatic music, scoring mainly for theater but also for television, radio, and film. His experience in writing original music for feature films has been for the … Continue reading →
No stranger to film scoring, Jóhann Jóhannsson has been writing music for films for the last fifteen years (mainly for films from his native Iceland and from Europe), and has had plenty of experience in scoring other narrative works such … Continue reading →
In addition to earning two Oscar nominations in 2014, Alexandre Desplat managed to score some of the year’s biggest box-office successes as all five of the films he scored ranked within the top fifty-five. These include The Grand Budapest Hotel, … Continue reading →
