He could have easily died during the great purge, or even in Ep 2 or 3.
A lot of characters in the PT are not in the OT and they don't all die.
Star Wars Soundtrack
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He could have easily died during the great purge, or even in Ep 2 or 3.
A lot of characters in the PT are not in the OT and they don't all die.
Gruson
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The score for Episode 1 is great and Williams got to do most of it like he did with the original trilogy. However, some of his stuff was cut or rushed and he was not happy about it.
The problem comes with Episode 2. Williams only scored a couple of scenes and they were not even complete. The whole thing was rushed and it shows. The score is very lacking and Williams did not have the chance to score it the way he usually does. Lucas and team ended up piecing together music from all over the place for the final score. They even used segments from Star Wars PC video games. There is a big article on it that I will try and find again. It breaks down all of the music from Ep2 and where it came from. Williams did very little of the music overall which is why it just does not have the impact of a Star Wars score.
Ep3 was almost as bad but Williams did do a little more for it.
Part of the magic of Star Wars is how John Williams scores it and we missed out on that for Ep2 and Ep3...
The problem comes with Episode 2. Williams only scored a couple of scenes and they were not even complete. The whole thing was rushed and it shows. The score is very lacking and Williams did not have the chance to score it the way he usually does. Lucas and team ended up piecing together music from all over the place for the final score. They even used segments from Star Wars PC video games. There is a big article on it that I will try and find again. It breaks down all of the music from Ep2 and where it came from. Williams did very little of the music overall which is why it just does not have the impact of a Star Wars score.
Ep3 was almost as bad but Williams did do a little more for it.
Part of the magic of Star Wars is how John Williams scores it and we missed out on that for Ep2 and Ep3...
Last edited:
There was also the fact that he needed to be out of the way so that Obi-wan, not him, would train Anakin. OK so it didn't necessarily mean he had to die but what would have been the point of bringing this guy into the saga as the one who discovers Anakin but who then goes off and does something else and disappears completely. Something impactful and dramatic had to happen - his dying been the most obvious. Of course I would argue that he was totally superfluous to begin with but thats another debate.
CollectorNC
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From JWFan.net about the complete cue list.
Star Wars: Episode II - Attack of the Clones: "Scene by Scene" Score Breakdown
By John Takis
Main Title (1:41) * Track 1 [0:00-1:41]
On the CD (and probably in the film) this is the same recording used for The Phantom Menace, right down to the opening post-title strains, which flow into ...
Ambush on Coruscant (2:32) * Unreleased (OST Track 1 is mislabeled)
A dark mysterioso passage underscores the Naboo flight's passage through the clouds of Coruscant and continues through the assassination scene with some tragic horn writing. There is an unsettling transition to ...
The Councils Confer (2:47) * Unreleased
More mysterioso strings as Palpatine confers with the Jedi Council regarding the Separatists. We hear the first statement of the galactic CONFLICT THEME, a dark seven-note figure and variations. Hints of the main title theme usher in the Loyalist Committee, followed by a lighter interlude as Yoda talks to Padmé. The conflict theme returns as they bring up Count Dooku. A passage foreshadowing the LOVE THEME follows, as we cut to ...
Old Friends (2:01) * Unreleased
Obi-Wan and Anakin arrive at Padmé's quarters, where they reunite with Jar-Jar. The music is in the whimsical vein of Phantom Menace's lighter moments, and while Jar-Jar's theme is absent, there's a nice quote of Anakin's theme for his opening dialogue with Padmé, just before the music fades out.
Unrequited Love (0:52) * Unreleased
This brief passage includes a suggestion of the LOVE THEME B-SECTION as Anakin bemoans Padmé's standoffishness. Cut to:
Jango and Zam (0:25) * Unreleased
Percussion and muted trumpets as Jango gives Zam her assignment. Cut back to:
Setting a Trap (0:57) * Unreleased
Atmospheric strings underscore Obi-Wan and Anakin arguing about using Padmé as bait.
Zam the Assassin and The Chase Through Coruscant (15:07) * Track 3 * Partially Unreleased
This powerhouse cue is one of the film's major setpieces. And it's a mess to sort out, the first real victim of post-production editing. A few minutes of original music are unreleased: some tender music recalling Shmi as Aniken confides his dreams to his master, the slithery accompaniment to the centipedes invading Padmé's room, and later a brief bit where Zam shoots Obi-Wan down then hops on her speeder. Later in the chase, music is tracked and repeated, and the electric guitar that featured so prominently on the album is removed. Ultimately, a portion of Track 3 [4:20-5:25] on the OST didn't make the final cut. Fortunately, the album experience of this cue remains thrilling and dynamic ... some of Williams' most inventive action-writing. The cue slows down towards the end (without losing tension), culminating with Zam's death and the transition to the Jedi Council. A quote of the conflict theme may have been tracked in for Jango Fett's brief appearance.
CUE BREAKDOWN:
Track 3 [0:00-0:25]
Unreleased [1:19] (Anakin's bad dreams; centipedes slip in)
Track 3 [0:26-2:32]
Unreleased [0:09] (Obi-Wan is hit; Zam takes off)
Track 3 [2:33-4:20] (no guitar)
Track 3 [1:29-2:17]
No Music [0:04] (Zam in the tunnel)
Track 3 [3:43-3:54]
Track 3 [5:26-10:16]
Unreleased [00:25] (conflict theme -- might be tracked from "The Councils Confer")
Track 3 [10:17-end]
The Greatest of all Jedi (1:41) * Unreleased
A dark passage with vague hints of the theme for Darth Sidious and the Dark Side, as the future Emperor counsels his future apprentice. This is followed by atmospheric scoring as Obi-Wan shares his concerns about Anakin with Yoda and Mace Windu.
Growing Up (2:37) * Unreleased
The first 14 seconds of this cue are tracked from Track 10 [0:23-0:37] More subtle atmospheric music for Anakin talking with Padmé about Obi-Wan. Here Williams introduces the first formal presentation of the love theme, as an oboe solo. This is followed by an unusual off-beat fanfare for the transition to the shuttle-bus.
Departing Coruscant (1:44) * Track 5
Subdued horn fanfares open Anakin and Padmé's departure. This cue features an interesting four-note figure oddly reminiscent of the "Approaching the Death Star" motif that opened Return of the Jedi. A short quote of the Force theme appears.
Dex's Diner (Source Music) (2:03) * Unreleased
The "Dex's Diner" scene is a tip-of-the-hat to Lucas' American Graffiti days -- as close to a 50s diner as you're likely to find in the Star Wars universe. A swingin' bass vamp plays softly in the background.
The Jedi Archives (1:15) * Unreleased
Another darkly mysterioso piece, as Obi-Wan searches for answers at the Jedi Archives. There is another extended quote of the conflict theme before a high-energy orchestral run as we cut to Anakin and Padmé's transport.
Forbidden Love and Yoda and the Younglings (3:55) * Track 4
The first minute or so of this cue covers Anakin explaining his broad definition of love to Padmé. We hear the first phrase of the love theme in the reeds before a soft transition to the Jedi Temple, where Obi-Wan interrupts one of Yoda's lessons. After a quote of Yoda's theme, there is a lovely wordless choir to accompany a holographic projection of the galaxy. The Force theme closes the scene, followed by a sweeping statement of the love theme as Anakin and Padmé arrive at Naboo.
Entering Theed and Royal Counsel (2:17) * Unreleased
Quiet underscore for Anakin and Padmé's consultation with Queen Jamilla regarding appropriate security measures.
Arrival at Kamino (1:51) * Film Version Unreleased * Track 1 [2:13-end]
A new fanfare for Obi-Wan's arrival at Kamino. A five-note rising and falling motif accompanies the landing sequence. There is a quote of the conflict theme as Ob-Wan learns he is expected, followed by another new motif for the audience with the Prime Minister. This last passage is a different recording in the film, with some minor alterations.
Audience with Taun We (0:37) * Unreleased
The second Kamino motif returns in a foreboding passage, as Obi-Wan is informed of the existence of the clone army. This cue may have initially been longer, since Track 1 [2:40-3:01] has been tracked as a transition to the next scene.
Padmé's Island Retreat (1:54) * Unreleased
This cue begins with a warm movement prefiguring the meadow picnic scene. Anakin and Padmé's conversation turns romantic, and the pair share their first kiss to a bittersweet rendition of the love theme (with harpsichord accompaniment) that blossoms and quickly fades as Padmé pulls away. There is a sweeping musical transition for the cut back to the Kamino cloning facility.
Clone Army Revealed (1:55) * Track 9 [1:28-end]
A new five-note motif for Obi-Wan's tour of the cloning facility. The music builds to a striking rendition of the Droid March from The Phantom Menace for his first view of the assembled troops, who are "superior to droids." One of the measures in the march is looped.
The Meadow Picnic (2:30) * Track 8 [0:00-2:30]
An album highlights, this is a gentle pastoral movement for Anakin and Padmé. The music turns subtly serious for Anakin's half-joking endorsement of dicatorship, then swells into a lovely 4/4 arrangement of the love theme for a "the hills are alive" moment. This unique arrangement was awkwardly looped in the film. The cue rounds off with a final statement of the pastoral theme.
Kamino Storm (0:31) * Track 1 [1:41-2:12]
A thrilling horn fanfare opens an extended exterior view of the Kaminoan city, and the rising and falling "storm" motif from "Arrival at Kamino" returns briefly. The music fades directly into the next cue, as we are introduced to a young Boba Fett.
An Interview with Jango (2:13) * Unreleased
Unsettling music gives way to the conflict theme as Obi-Wan and Jango meet. A new motif -- three notes rising, three notes falling, a la Vertigo -- is introduced, and seems to represent mystery and descent. The conflict theme returns, but just before it does, we hear the low woodwinds play a very subtle statement of the Dark Side theme -- or perhaps it's a nod to Boba Fett's motif from Empire. Both revolve around a minor third.
Anakin and Padmé (3:56) * Track 6
The flute-led pastoral theme plays beneath the dinner scene. The tone turns serious, followed by a statement of the love theme on synthesizer. The love theme b-section (which seems to represent the angst-ridden side) returns in an impassioned passage dominated by the strings as Padmé rejects Anakin's confession of love. A final swell in the horns, for the transition back to Kamino, can be heard on the album, but was replaced in the film with a less obtrusive cut from Track 6 [1:35-1:47].
Dark Mysteries (2:42) * Track 8 [2:31-end] * Partially Unreleased
The six-note "mystery" motif returns and is developed while Obi-Wan informs his masters of the information he has uncovered. There are about 58 seconds of unreleased material that belong at [2:39], including a haunting quote of the mystery theme in the bells. The first four notes of the eight-note horn figure that follows are looped once, as Yoda and Mace discuss their increasing weakness. There is a cut to Anakin's nightmare, which is scored with frantic strings that anticipate his murderous frenzy. The music quiets as Anakin wakes.
Anakin's Resolution (1:28) * Unreleased
A lovely horn solo as Padmé approaches Anakin about his nightmares. Anakin decides he has to return to his mother, and we hear a brief statement of Anakin's theme, followed by the Force theme. A few lines of dialogue at the end of this scene have been removed, hence the cut back to Kamino is clumsily edited with an actual piece of recorded music from The Phantom Menace (check the transition between Track 7 and 8, Disc 2, of the Phantom Menace: Ultimate Edition). This is the first time this happens ... unfortunately, it isn't the last.
Jango's Escape and Return to Tatooine (3:48) * Track 7
Roughly the first three minutes of this cue are pure action, revolving around a short ostinato, as Obi-Wan battles Jango, who manages to escape Kamino with his "son." It's typical Williams: brass-intensive, with lots of rushing strings and woodwind punctuations. The last third of the cue is music for Anakin and Padmé's arrival on Tatooine, and has a definite Arabic flair.
A Visit with Watto (0:51) * Unreleased
A bit of non-thematic dramatic underscore as Anakin learns that his mother has been sold.
Bounty Hunter's Pursuit (1:46) * Track 9 [0:00-1:27] * Partially Unreleased
This exciting cue launches midway through the battle among the asteroids, winding down once Jango believes Obi-Wan has been destroyed. There's around 19 seconds of unreleased music around [1:17], as Jango lands and Obi-Wan leaves his hiding place.
Secret Landing (0:41)
An eerie and foreboding passage as Obi-Wan lands on Geonosis.
The Lars Homestead and The Search Montage (4:07) * Track 10 [0:00-4:07]
The beginning of this cue employs a relatively light touch, underscoring Anakin's reuinion with Threepio and his meeting with his new stepfamily. The six-note mystery/descent motif returns as Anakin learns from his stepfather that his mother has been kidnapped by Tuskens. Anakin goes outside and stares into the Tatooine sunset. The scene parallels Luke in A New Hope, and the music clinches the likeness: Williams uses the exact same orchestration ... only instead of resolving the theme, he shifts into a minor mode and launches into "Duel of the Fates" for the subsequent search montage. It's a new arrangement with some subtle electronic effects. Lucas must not have approved of the way Williams wound it down, because he spliced on a slam-bang finale from The Phantom Menace (TPM:UE Disc 2, Track 27 [2:04-2:10/2:14-2:17]) that ruins the effect.
Spying on the Separatists (2:48) * Track 10 [4:08-end]
Sneaky music for Obi-Wan's infiltration of the droid foundry, where he comes across a Separatist gathering. The Trade Federation theme from TPM is reprised, then the conflict theme, as Obi-Wan eavesdrops.
The Tusken Camp and Bringing Mother Home (5:54) * Track 11
A darkly percussive rhythm accompanies Anakin sneaking into the Tusken Camp. There's a tragic and tender passage for Shmi's death that is reminiscent of her music from TPM. Tension builds to the tumultous strings of Anakin's earlier nightmare as he begins his vengeful slaughter. The music keeps moving, but quiets down as Yoda, on Coruscant, senses Anakin's pain (and yes, that's Liam Neeson's voice calling "Anakin, Anakin, no!") Here is the score's first statement of the Imperial March. The tension continues as Obi-Wan attempts to contact his apprentice. Anakin bringing his mother's body home is scored with a low male chorus and some descending horn movements.
Section [3:11-3:24] of this cue is looped.
The Dark Side Takes Root (2:42) * Unreleased
An oboe solo underscores the beginning of a dialogue between Anakin and Padmé, leading to Anakin's confession. As he realizes the horrific nature of his actions, and the hatred that has taken hold of him, the Dark Side theme swells, with chorus. Anakin collapses to a pronounced statement of the Imperial March. A highlight amoung the unreleased cues.
Shmi's Funeral and Crisis on Geonosis (4:03) * Unreleased
Begins as a warm eulogy for Shmi, with some prominent horn-writing. Artoo interrupts with a communication for Obi-Wan that turns violent in an attack. Padmé and Anakin resolve to go to his rescue. Meanwhile, Palpatine's councilors gather with the Jedi.
Emergency Powers (0:40) * Unreleased
The conflict theme plays underneath the suggestion to vote Palpatine emergency powers, then the music builds through a cut to Geonosis and Obi-Wan's imprisonment.
Count Dooku's Offer (1:00) * TPM:UE Disc 2, Track 3 [0:07-0:38/0:50-1:05]; Track 12 [0:01-0:21]
Who knows if Williams composed original music for this scene? If he did, Lucas didn't use it. It's been tracked with brooding music from TPM.
New Authority (1:48) * Unreleased
A trumpet fanfare returns us to the Galactic Senate. Noble music for Jar-Jar's proposal. Another statement of the conflict theme, with martial overtones, for Palpatine's acceptance speech.
Going After Obi-Wan (2:30) * TPM:UE Disc 1, Track 3 [0:27-1:13/1:19-2:02]
Tracked music for Anakin and Padmé's landing on Geonosis. They sneak into the droid foundry.
The Droids Follow (0:39) * Unreleased (might be tracked)
A short motif for Artoo and Threepio as they secretly follow Anakin and Padmé.
On the Conveyor Belt (4:45) * Original Version (3:12) * Track 14 (Exclusive Bonus Track)
Before Lucas decided to add a horrendous subplot involving Threepio and a Battle Droid swapping heads, this sequence was significantly shorter ... and presumably, Williams' original cue (as heard on the exclusive Target bonus track) fit perfectly. Alas, very little of the original, wackily percussive cue survived intact ... the middle section was thrown out entirely. Instead, music has been tracked from all over the place: "The Arena" (Track 12), "Yoda Strikes Back" (Unreleased), but mostly "The Chase Through Coruscant" (Track 3). Amidst it all are a few precious seconds of material that don't appear on the soundtrack or any other cue in the film ... but it's too much of a mess to be worth bothering about.
CUE BREAKDOWN:
Track 14 [0:00-0:32]
Track 12 [6:10-6:28]
Track 12 [7:13-7:29]
Track 12 [6:10-6:18]
Unreleased [0:12] (The Force Theme)
Track 14 [0:28-0:55]
Track 3 [1:53-2:06]
Unreleased [0:14] (Yoda's Theme from "Yoda Strikes Back")
Track 3 [1:29-2:18]
Track 12 [7:40-7:48/7:57-7:59]
Track 3 [2:33-2:50]
Track 3 [3:47-3:55]
Track 3 [6:22-6:24]
Unreleased [0:10] (Artoo lands)
Track 3 [2:38-2:50]
Track 3 [4:06-4:14]
Track 14 [3:04-3:07]
Track 14 [2:41-end]
Captured (0:37) * Unreleased
Light comic moment for Anakin's broken lightsaber, then a brief conclusion as the couple are captured by Jango Fett. Transition to the arena...
Star Wars: Episode II - Attack of the Clones: "Scene by Scene" Score Breakdown
By John Takis
Main Title (1:41) * Track 1 [0:00-1:41]
On the CD (and probably in the film) this is the same recording used for The Phantom Menace, right down to the opening post-title strains, which flow into ...
Ambush on Coruscant (2:32) * Unreleased (OST Track 1 is mislabeled)
A dark mysterioso passage underscores the Naboo flight's passage through the clouds of Coruscant and continues through the assassination scene with some tragic horn writing. There is an unsettling transition to ...
The Councils Confer (2:47) * Unreleased
More mysterioso strings as Palpatine confers with the Jedi Council regarding the Separatists. We hear the first statement of the galactic CONFLICT THEME, a dark seven-note figure and variations. Hints of the main title theme usher in the Loyalist Committee, followed by a lighter interlude as Yoda talks to Padmé. The conflict theme returns as they bring up Count Dooku. A passage foreshadowing the LOVE THEME follows, as we cut to ...
Old Friends (2:01) * Unreleased
Obi-Wan and Anakin arrive at Padmé's quarters, where they reunite with Jar-Jar. The music is in the whimsical vein of Phantom Menace's lighter moments, and while Jar-Jar's theme is absent, there's a nice quote of Anakin's theme for his opening dialogue with Padmé, just before the music fades out.
Unrequited Love (0:52) * Unreleased
This brief passage includes a suggestion of the LOVE THEME B-SECTION as Anakin bemoans Padmé's standoffishness. Cut to:
Jango and Zam (0:25) * Unreleased
Percussion and muted trumpets as Jango gives Zam her assignment. Cut back to:
Setting a Trap (0:57) * Unreleased
Atmospheric strings underscore Obi-Wan and Anakin arguing about using Padmé as bait.
Zam the Assassin and The Chase Through Coruscant (15:07) * Track 3 * Partially Unreleased
This powerhouse cue is one of the film's major setpieces. And it's a mess to sort out, the first real victim of post-production editing. A few minutes of original music are unreleased: some tender music recalling Shmi as Aniken confides his dreams to his master, the slithery accompaniment to the centipedes invading Padmé's room, and later a brief bit where Zam shoots Obi-Wan down then hops on her speeder. Later in the chase, music is tracked and repeated, and the electric guitar that featured so prominently on the album is removed. Ultimately, a portion of Track 3 [4:20-5:25] on the OST didn't make the final cut. Fortunately, the album experience of this cue remains thrilling and dynamic ... some of Williams' most inventive action-writing. The cue slows down towards the end (without losing tension), culminating with Zam's death and the transition to the Jedi Council. A quote of the conflict theme may have been tracked in for Jango Fett's brief appearance.
CUE BREAKDOWN:
Track 3 [0:00-0:25]
Unreleased [1:19] (Anakin's bad dreams; centipedes slip in)
Track 3 [0:26-2:32]
Unreleased [0:09] (Obi-Wan is hit; Zam takes off)
Track 3 [2:33-4:20] (no guitar)
Track 3 [1:29-2:17]
No Music [0:04] (Zam in the tunnel)
Track 3 [3:43-3:54]
Track 3 [5:26-10:16]
Unreleased [00:25] (conflict theme -- might be tracked from "The Councils Confer")
Track 3 [10:17-end]
The Greatest of all Jedi (1:41) * Unreleased
A dark passage with vague hints of the theme for Darth Sidious and the Dark Side, as the future Emperor counsels his future apprentice. This is followed by atmospheric scoring as Obi-Wan shares his concerns about Anakin with Yoda and Mace Windu.
Growing Up (2:37) * Unreleased
The first 14 seconds of this cue are tracked from Track 10 [0:23-0:37] More subtle atmospheric music for Anakin talking with Padmé about Obi-Wan. Here Williams introduces the first formal presentation of the love theme, as an oboe solo. This is followed by an unusual off-beat fanfare for the transition to the shuttle-bus.
Departing Coruscant (1:44) * Track 5
Subdued horn fanfares open Anakin and Padmé's departure. This cue features an interesting four-note figure oddly reminiscent of the "Approaching the Death Star" motif that opened Return of the Jedi. A short quote of the Force theme appears.
Dex's Diner (Source Music) (2:03) * Unreleased
The "Dex's Diner" scene is a tip-of-the-hat to Lucas' American Graffiti days -- as close to a 50s diner as you're likely to find in the Star Wars universe. A swingin' bass vamp plays softly in the background.
The Jedi Archives (1:15) * Unreleased
Another darkly mysterioso piece, as Obi-Wan searches for answers at the Jedi Archives. There is another extended quote of the conflict theme before a high-energy orchestral run as we cut to Anakin and Padmé's transport.
Forbidden Love and Yoda and the Younglings (3:55) * Track 4
The first minute or so of this cue covers Anakin explaining his broad definition of love to Padmé. We hear the first phrase of the love theme in the reeds before a soft transition to the Jedi Temple, where Obi-Wan interrupts one of Yoda's lessons. After a quote of Yoda's theme, there is a lovely wordless choir to accompany a holographic projection of the galaxy. The Force theme closes the scene, followed by a sweeping statement of the love theme as Anakin and Padmé arrive at Naboo.
Entering Theed and Royal Counsel (2:17) * Unreleased
Quiet underscore for Anakin and Padmé's consultation with Queen Jamilla regarding appropriate security measures.
Arrival at Kamino (1:51) * Film Version Unreleased * Track 1 [2:13-end]
A new fanfare for Obi-Wan's arrival at Kamino. A five-note rising and falling motif accompanies the landing sequence. There is a quote of the conflict theme as Ob-Wan learns he is expected, followed by another new motif for the audience with the Prime Minister. This last passage is a different recording in the film, with some minor alterations.
Audience with Taun We (0:37) * Unreleased
The second Kamino motif returns in a foreboding passage, as Obi-Wan is informed of the existence of the clone army. This cue may have initially been longer, since Track 1 [2:40-3:01] has been tracked as a transition to the next scene.
Padmé's Island Retreat (1:54) * Unreleased
This cue begins with a warm movement prefiguring the meadow picnic scene. Anakin and Padmé's conversation turns romantic, and the pair share their first kiss to a bittersweet rendition of the love theme (with harpsichord accompaniment) that blossoms and quickly fades as Padmé pulls away. There is a sweeping musical transition for the cut back to the Kamino cloning facility.
Clone Army Revealed (1:55) * Track 9 [1:28-end]
A new five-note motif for Obi-Wan's tour of the cloning facility. The music builds to a striking rendition of the Droid March from The Phantom Menace for his first view of the assembled troops, who are "superior to droids." One of the measures in the march is looped.
The Meadow Picnic (2:30) * Track 8 [0:00-2:30]
An album highlights, this is a gentle pastoral movement for Anakin and Padmé. The music turns subtly serious for Anakin's half-joking endorsement of dicatorship, then swells into a lovely 4/4 arrangement of the love theme for a "the hills are alive" moment. This unique arrangement was awkwardly looped in the film. The cue rounds off with a final statement of the pastoral theme.
Kamino Storm (0:31) * Track 1 [1:41-2:12]
A thrilling horn fanfare opens an extended exterior view of the Kaminoan city, and the rising and falling "storm" motif from "Arrival at Kamino" returns briefly. The music fades directly into the next cue, as we are introduced to a young Boba Fett.
An Interview with Jango (2:13) * Unreleased
Unsettling music gives way to the conflict theme as Obi-Wan and Jango meet. A new motif -- three notes rising, three notes falling, a la Vertigo -- is introduced, and seems to represent mystery and descent. The conflict theme returns, but just before it does, we hear the low woodwinds play a very subtle statement of the Dark Side theme -- or perhaps it's a nod to Boba Fett's motif from Empire. Both revolve around a minor third.
Anakin and Padmé (3:56) * Track 6
The flute-led pastoral theme plays beneath the dinner scene. The tone turns serious, followed by a statement of the love theme on synthesizer. The love theme b-section (which seems to represent the angst-ridden side) returns in an impassioned passage dominated by the strings as Padmé rejects Anakin's confession of love. A final swell in the horns, for the transition back to Kamino, can be heard on the album, but was replaced in the film with a less obtrusive cut from Track 6 [1:35-1:47].
Dark Mysteries (2:42) * Track 8 [2:31-end] * Partially Unreleased
The six-note "mystery" motif returns and is developed while Obi-Wan informs his masters of the information he has uncovered. There are about 58 seconds of unreleased material that belong at [2:39], including a haunting quote of the mystery theme in the bells. The first four notes of the eight-note horn figure that follows are looped once, as Yoda and Mace discuss their increasing weakness. There is a cut to Anakin's nightmare, which is scored with frantic strings that anticipate his murderous frenzy. The music quiets as Anakin wakes.
Anakin's Resolution (1:28) * Unreleased
A lovely horn solo as Padmé approaches Anakin about his nightmares. Anakin decides he has to return to his mother, and we hear a brief statement of Anakin's theme, followed by the Force theme. A few lines of dialogue at the end of this scene have been removed, hence the cut back to Kamino is clumsily edited with an actual piece of recorded music from The Phantom Menace (check the transition between Track 7 and 8, Disc 2, of the Phantom Menace: Ultimate Edition). This is the first time this happens ... unfortunately, it isn't the last.
Jango's Escape and Return to Tatooine (3:48) * Track 7
Roughly the first three minutes of this cue are pure action, revolving around a short ostinato, as Obi-Wan battles Jango, who manages to escape Kamino with his "son." It's typical Williams: brass-intensive, with lots of rushing strings and woodwind punctuations. The last third of the cue is music for Anakin and Padmé's arrival on Tatooine, and has a definite Arabic flair.
A Visit with Watto (0:51) * Unreleased
A bit of non-thematic dramatic underscore as Anakin learns that his mother has been sold.
Bounty Hunter's Pursuit (1:46) * Track 9 [0:00-1:27] * Partially Unreleased
This exciting cue launches midway through the battle among the asteroids, winding down once Jango believes Obi-Wan has been destroyed. There's around 19 seconds of unreleased music around [1:17], as Jango lands and Obi-Wan leaves his hiding place.
Secret Landing (0:41)
An eerie and foreboding passage as Obi-Wan lands on Geonosis.
The Lars Homestead and The Search Montage (4:07) * Track 10 [0:00-4:07]
The beginning of this cue employs a relatively light touch, underscoring Anakin's reuinion with Threepio and his meeting with his new stepfamily. The six-note mystery/descent motif returns as Anakin learns from his stepfather that his mother has been kidnapped by Tuskens. Anakin goes outside and stares into the Tatooine sunset. The scene parallels Luke in A New Hope, and the music clinches the likeness: Williams uses the exact same orchestration ... only instead of resolving the theme, he shifts into a minor mode and launches into "Duel of the Fates" for the subsequent search montage. It's a new arrangement with some subtle electronic effects. Lucas must not have approved of the way Williams wound it down, because he spliced on a slam-bang finale from The Phantom Menace (TPM:UE Disc 2, Track 27 [2:04-2:10/2:14-2:17]) that ruins the effect.
Spying on the Separatists (2:48) * Track 10 [4:08-end]
Sneaky music for Obi-Wan's infiltration of the droid foundry, where he comes across a Separatist gathering. The Trade Federation theme from TPM is reprised, then the conflict theme, as Obi-Wan eavesdrops.
The Tusken Camp and Bringing Mother Home (5:54) * Track 11
A darkly percussive rhythm accompanies Anakin sneaking into the Tusken Camp. There's a tragic and tender passage for Shmi's death that is reminiscent of her music from TPM. Tension builds to the tumultous strings of Anakin's earlier nightmare as he begins his vengeful slaughter. The music keeps moving, but quiets down as Yoda, on Coruscant, senses Anakin's pain (and yes, that's Liam Neeson's voice calling "Anakin, Anakin, no!") Here is the score's first statement of the Imperial March. The tension continues as Obi-Wan attempts to contact his apprentice. Anakin bringing his mother's body home is scored with a low male chorus and some descending horn movements.
Section [3:11-3:24] of this cue is looped.
The Dark Side Takes Root (2:42) * Unreleased
An oboe solo underscores the beginning of a dialogue between Anakin and Padmé, leading to Anakin's confession. As he realizes the horrific nature of his actions, and the hatred that has taken hold of him, the Dark Side theme swells, with chorus. Anakin collapses to a pronounced statement of the Imperial March. A highlight amoung the unreleased cues.
Shmi's Funeral and Crisis on Geonosis (4:03) * Unreleased
Begins as a warm eulogy for Shmi, with some prominent horn-writing. Artoo interrupts with a communication for Obi-Wan that turns violent in an attack. Padmé and Anakin resolve to go to his rescue. Meanwhile, Palpatine's councilors gather with the Jedi.
Emergency Powers (0:40) * Unreleased
The conflict theme plays underneath the suggestion to vote Palpatine emergency powers, then the music builds through a cut to Geonosis and Obi-Wan's imprisonment.
Count Dooku's Offer (1:00) * TPM:UE Disc 2, Track 3 [0:07-0:38/0:50-1:05]; Track 12 [0:01-0:21]
Who knows if Williams composed original music for this scene? If he did, Lucas didn't use it. It's been tracked with brooding music from TPM.
New Authority (1:48) * Unreleased
A trumpet fanfare returns us to the Galactic Senate. Noble music for Jar-Jar's proposal. Another statement of the conflict theme, with martial overtones, for Palpatine's acceptance speech.
Going After Obi-Wan (2:30) * TPM:UE Disc 1, Track 3 [0:27-1:13/1:19-2:02]
Tracked music for Anakin and Padmé's landing on Geonosis. They sneak into the droid foundry.
The Droids Follow (0:39) * Unreleased (might be tracked)
A short motif for Artoo and Threepio as they secretly follow Anakin and Padmé.
On the Conveyor Belt (4:45) * Original Version (3:12) * Track 14 (Exclusive Bonus Track)
Before Lucas decided to add a horrendous subplot involving Threepio and a Battle Droid swapping heads, this sequence was significantly shorter ... and presumably, Williams' original cue (as heard on the exclusive Target bonus track) fit perfectly. Alas, very little of the original, wackily percussive cue survived intact ... the middle section was thrown out entirely. Instead, music has been tracked from all over the place: "The Arena" (Track 12), "Yoda Strikes Back" (Unreleased), but mostly "The Chase Through Coruscant" (Track 3). Amidst it all are a few precious seconds of material that don't appear on the soundtrack or any other cue in the film ... but it's too much of a mess to be worth bothering about.
CUE BREAKDOWN:
Track 14 [0:00-0:32]
Track 12 [6:10-6:28]
Track 12 [7:13-7:29]
Track 12 [6:10-6:18]
Unreleased [0:12] (The Force Theme)
Track 14 [0:28-0:55]
Track 3 [1:53-2:06]
Unreleased [0:14] (Yoda's Theme from "Yoda Strikes Back")
Track 3 [1:29-2:18]
Track 12 [7:40-7:48/7:57-7:59]
Track 3 [2:33-2:50]
Track 3 [3:47-3:55]
Track 3 [6:22-6:24]
Unreleased [0:10] (Artoo lands)
Track 3 [2:38-2:50]
Track 3 [4:06-4:14]
Track 14 [3:04-3:07]
Track 14 [2:41-end]
Captured (0:37) * Unreleased
Light comic moment for Anakin's broken lightsaber, then a brief conclusion as the couple are captured by Jango Fett. Transition to the arena...
Very interesting. Did he do any similar breakdowns?
I've always wondered why 2-3 didn't get movie tracks. Though I love my soundtracks and if there missing music. Well I believe the lego star wars game has it. All I have to do is turn the fx off and leave the music on. Record with my coputer software and boom! Instant unreleased hits.
steveo
Super Freak
If this was the case, Qui Gon should have died in his first encounter with Maul to allow the Queen, Obi Wan and Anakin to escape, thus showing that Obi Wan really did take it upon himself to train Anakin - like he says in the OT. This probably would have made a better film, but who's to say really. Much like Obi Wan in ANH, Qui Gon didn't have much to do after they escape Tatooine.
phobicsquirrel
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As far as the box set goes, I'd be for it however I doubt it will ever happen. After all Lucas is not like say Peter Jackson when it comes to giving the fans a lot of what they want.
..And I never knew about all the drama between Williams and Lucas. But it explains why so much of the score seems to feel "strange" in the prequels. I don't get Lucas at all, I mean after hearing so much about the OT and how he was, he like elevated to a whole new high on being a D-Bag. I agree with Williams, I'd feel betrayed and also PO_ed if my work got all butchered. Then again if Lucas had any sense he would have let Kersch do ROTJ and the prequals! Maybe he's still secretly p!ssed that ESB is considered the best film over all.
..And I never knew about all the drama between Williams and Lucas. But it explains why so much of the score seems to feel "strange" in the prequels. I don't get Lucas at all, I mean after hearing so much about the OT and how he was, he like elevated to a whole new high on being a D-Bag. I agree with Williams, I'd feel betrayed and also PO_ed if my work got all butchered. Then again if Lucas had any sense he would have let Kersch do ROTJ and the prequals! Maybe he's still secretly p!ssed that ESB is considered the best film over all.
Darth Mitchell
Super Freak
It looks like the Star Wars saga, and the story about Anakin turning to the darkside and becomming Darth Vader, is the story of the life of Lucas.
With the chance he got to make Star Wars he was able to fight the his way up, but he wanted so much power that he became the one thing that he never wanted to join. It's kind of sad.
I hope he also will be redeemed of this fate and turn form the Darkside to the lightside of filmmaking.
banthafett
Super Freak
This is the one thing that bothered me about the PT. Williams music is what made the OT good. Take the music away and many would finally see the faults in them.
Play a few notes of the old songs and everyone can tell you what scene its from. I have watched the PT many many times, and when I try (its very hard) to listen to EII and EIII cd's I have a very hard time pinpointing where the music goes.
Williams music made the OT, and I hate how he and his music was treated this go around. I thought Harry Potter was going to lift him up from what happened with EII, but they screwed him after a few.
The music is my only complaint about the PT. I can watch all 6 and admit they are not perfect. Im happy they are going to theaters again. Just cant stand the hate that is coming back with it. If you dont like it, dont watch, and dont talk about it. Let it go. There are worse movies out there that make as much if not more, and people love them. (transformers)
Play a few notes of the old songs and everyone can tell you what scene its from. I have watched the PT many many times, and when I try (its very hard) to listen to EII and EIII cd's I have a very hard time pinpointing where the music goes.
Williams music made the OT, and I hate how he and his music was treated this go around. I thought Harry Potter was going to lift him up from what happened with EII, but they screwed him after a few.
The music is my only complaint about the PT. I can watch all 6 and admit they are not perfect. Im happy they are going to theaters again. Just cant stand the hate that is coming back with it. If you dont like it, dont watch, and dont talk about it. Let it go. There are worse movies out there that make as much if not more, and people love them. (transformers)
His style changed a bit since he had done the OT. His older music was more thematic, but the PT had less themes and a lot of the music was just music and didn't connect much to each other.
Mighty_Jabba
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I think his change of style was partially in response to having his score butchered by editors in Phantom Menace. He started writing music that would not be as locked with the picture as his previous stuff so even when cut by editors it would still sound "good".
Possibly. But the changes were in TPM as well, though not as much as the later movies.
CollectorNC
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I agree. For me there are a lot of themes you can draw out of the OT. For the PT, there's a lot fewer. The most significant are Duel of the Fates, the Anakin/Padme love them, the Sith them, and the Duel of Brothers them. Those 4 pieces are brilliant Williams, but are bogged down by other repeated themes that aren't as good. Much like the scoring of KOTCS, which used some original, but way too many cues from ROTLA and LC.
Coheteboy
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The score for TPM is great. Droid Invasion March is actually my favorite.
Ep2.... don't care for most of it since it's all chopped up and basically a boring boring film.
Ep3 was an improvement, especially with General Grievous march.
Now, t he comparison with the Chase to Harry Potter? Anyone care to name which tracks so I can listen to them? I know a lot of John Williams can sound similar but usually different enough. I can only think of one occasion where he literally ripped himself off.
Ep2.... don't care for most of it since it's all chopped up and basically a boring boring film.
Ep3 was an improvement, especially with General Grievous march.
Now, t he comparison with the Chase to Harry Potter? Anyone care to name which tracks so I can listen to them? I know a lot of John Williams can sound similar but usually different enough. I can only think of one occasion where he literally ripped himself off.
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