Show Notes
In Episode 15, we return to the galaxy far, far away and take a look at how the musical landscape of Star Wars changed between the almost 40 years between A New Hope and The Force Awakens. In the first of a two part episode we look at Rey’s Theme, Kylo Ren’s motifs, and The March (or is that the fugue?) of the Resistance. Recorded last year in eager anticipation of The Last Jedi, we’re finally getting this episode to you just in time for its release on Blu-Rey (see what we did there?), so sit back and enjoy our return to perhaps John Williams’ greatest musical franchise.
Episode notes:
0:00 – A disclaimer (and possibly an apology!) 5:15 – Dan is writing a book about Star Wars 7:51 – The weight of expectation for The Force Awakens 10:00 – The legacy film 16:30 – The return of little-known composer John Williams 17:35 – Rey’s theme 22:40 – Rey’s riff 26:32 – Rey eats her lunch, on solo flute 30:41 – Rey’s abduction 33:11 – Rey’s impassioned bridge 36:15 – Comparison to other John Williams work: Potter and The Terminal 44:35 – Williams bringing Rey and The Force together in the end credits 46:40 – Rey’s theme – the dance remix 49:10 – Musically, Rey is a Jawa 50:33 – Kylo Ren’s theme 55:50 – The Kylo Ren B motif – the call of the dark side 1:00:00 – Ren and the Imperial March 1:01:45 – The March of the Resistance 1:04:51 – The March or the Fugue? 1:10:00 – Poe’s theme 1:16:39 – Finn’s rhythmic motif 1:19:00 – The mixed-meter Falcon theme 1:28:10 – John Williams as the bloodline of Star Wars 1:29:34 - …and more to come in Part Two!
We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.
More from Art of the Score
Time dilation is a funny thing. For many, we understand there’s been a bit of a gap between episodes. For us, however, it’s been mere minutes since our last appearance – but thanks for sticking around nonetheless, as we’re finally back to discuss Hans Zimmer, Christopher Nolan, time, and Interstellar. Join us as we chat all things organs, pianos, space travel, and answer the question of whether Interstellar is Zimmer’s greatest score of all.
It’s Episode 35, and the long-awaited part two to our investigation of a fascinating and often-overlooked area of film music history – studio fanfares. In this episode we travel from the 1980s to today, taking in the sights and sounds of evergreen studio fanfares from the likes of Jerry Goldsmith, John Williams, the THX Deep Note, and the Buc dynasty of screen composers. And of course, there’s a round of ‘Name That Theme’ with host Andrew Pogson, as well as a look at some of the most contemporary of logo themes – including Marvel, Star Wars, and a curious update of MGM’s Leo the Lion.
You’re sitting in a darkened movie theatre, and the latest, highly anticipated blockbuster is about to play. The ads are over, the trailers are all done, and the lights dim. What’s this? Why, it’s Art of the Score Episode 34, as we investigate a fascinating and often-overlooked area of film music history – studio fanfares. From 20th Century Fox to MGM’s Leo the Lion roar and many more, over the next two episodes we’ll be revealing the secrets behind the musical moments that open the movies and set the musical agenda, and telling the stories behind the studios and the composers who made them.
It’s finally time for Episode 33, and Art of the Score’s analysis of one of the landmark composers of the last decade: Jóhann Jóhannsson. We sit down with special guest, synth (and tape loop) expert Seja Vogel, and Jóhannsson’s soundtrack for Denis Villeneuve’s masterpiece sci fi film, Arrival. Join us for heptapods, looping seals (?), and the only true universal language: film music.
It’s Episode 32, and we come back to you from the city of the lockdown with the crown jewel of 1990s action adventure: Jerry Goldsmith’s wonderful score for The Mummy. Goldsmith has for some time been one of Art of the Score’s most requested composers, so join us as we journey to 1920s Egypt and scheme among the pyramids with Brendan Fraser, Rachel Weisz, and that incredible music.