Star Wars Episode 3 Score Analysis
Star Wars Episode III
Revenge Of The Sith
A New Hope for film scoring…
In 1977 George Lucas’ vision of a universe where war, mysticism, despair, and hope was made a reality by 20th Century Fox studios. Instrumental to the shaping of a complete universe was the musical language created by John Williams. Williams’ orchestration, thematic motifs and understanding of the emotional context of the story propelled the film to legendary status, and now, in 2005 we reach the climax of the six feature film series with Episode III Revenge Of The Sith.
Lucas, never having been a conventional filmmaker, completed the Star Wars (Original) Trilogy (OT) with Return Of The Jedi in 1983 (see Appendix: Synopses). However the original Star Wars premise was of a 9 episode epic. The OT was the middle three films (Episode IV – A New Hope, Episode V – The Empire Strikes Back, and Episode VI – Return Of The Jedi) and many fans thought that with Return Of The Jedi the saga was complete. However, in 1999 Lucas released Episode I – The Phantom Menace. This began the Prequel Trilogy (PT) which culminated in 2005 with Episode III – Revenge Of The Sith .
Working in this way has not only meant that the look and design elements of the film (2005 costumes and sets maintaining continuity with 1977 counterparts) have had to be carefully monitored, but have given John Williams a wealth of previous themes and styles in which to work in. Personally, I believe this to be the best Star Wars score; both as a stand alone piece of film scoring (as it complements the film excellently) but also acts as the shining jewel within the six film crown.
Through the recommendation of their mutual friend Steven Spielberg, Lucas and Williams’ union resulted in the resounding, nearly unheard-of success of the Star Wars soundtrack. Yet Lucas’s use of an operatic score in A New Hope caused some to raise their eyebrows. “When George started A New Hope, in the mid-1970s,” sound designer Ben Burtt remembers,
Revenge Of The Sith
A New Hope for film scoring…
In 1977 George Lucas’ vision of a universe where war, mysticism, despair, and hope was made a reality by 20th Century Fox studios. Instrumental to the shaping of a complete universe was the musical language created by John Williams. Williams’ orchestration, thematic motifs and understanding of the emotional context of the story propelled the film to legendary status, and now, in 2005 we reach the climax of the six feature film series with Episode III Revenge Of The Sith.
Lucas, never having been a conventional filmmaker, completed the Star Wars (Original) Trilogy (OT) with Return Of The Jedi in 1983 (see Appendix: Synopses). However the original Star Wars premise was of a 9 episode epic. The OT was the middle three films (Episode IV – A New Hope, Episode V – The Empire Strikes Back, and Episode VI – Return Of The Jedi) and many fans thought that with Return Of The Jedi the saga was complete. However, in 1999 Lucas released Episode I – The Phantom Menace. This began the Prequel Trilogy (PT) which culminated in 2005 with Episode III – Revenge Of The Sith .
Working in this way has not only meant that the look and design elements of the film (2005 costumes and sets maintaining continuity with 1977 counterparts) have had to be carefully monitored, but have given John Williams a wealth of previous themes and styles in which to work in. Personally, I believe this to be the best Star Wars score; both as a stand alone piece of film scoring (as it complements the film excellently) but also acts as the shining jewel within the six film crown.
Through the recommendation of their mutual friend Steven Spielberg, Lucas and Williams’ union resulted in the resounding, nearly unheard-of success of the Star Wars soundtrack. Yet Lucas’s use of an operatic score in A New Hope caused some to raise their eyebrows. “When George started A New Hope, in the mid-1970s,” sound designer Ben Burtt remembers,