thecomposerthatwaspromised - Tumblr blog

[thecomposerthatwaspromised]

[thecomposerthatwaspromised]

Disc 7's tracklist 🥲🥲🥲

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Can't wait to listen to the new Hollow Skies arrangements and all the music from the Gongaga reactor sequence

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Rebirth soundtrack week!

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yeah ramin really phoned in this time. The main theme feels like Westworld and there's even his Video Game cover ...

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Sadly sold out already :(

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Rings of power s2 news when

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In case anyone hasn’t seen this yet

Their performances are absolutely gorgeous here

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Jenova Emergent boss battle soundtrack!

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save me ffvii rebirth Gongaga theme save me

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In anticipation of Rebirth, here's a demake of my favorite underrated soundtrack from Remake, Target: Mako Reactor 5! This song plays on the ill fated train ride to Avalanche's second bombing mission.

[thecomposerthatwaspromised]

The Music of Dune: Part Two - Behind the Scenes | Hans Zimmer, Denis Villeneuve & Cast | WaterTower

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I brought my son over to Dan Romer's house when we were recording this piece of "What if a Wolf Ate the Baby"

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“George was very clear to me that the music should be symphonic,” recalls Williams, a sunny man dressed, as almost always, in a black turtleneck. He is eloquent but soft-spoken. “I took it to mean late 19th century, maybe European — Mahler, Wagner, Strauss, that period of orchestral writing. He said it should be classical. Not Bach — not classical in the baroque sense, but in the romantic sense, the Byronic sense. Why? Because all the images you’re going to see are images of desolate places or places you’ve never seen before, with people wearing clothes you’ve never seen before. It’s all alien, the whole visual experience. So the emotional experience should be familiar. It should be a classical modality that describes heroism and romance and adventure and operatic emotions higher than reality.”

“Star Wars” was not the one-off Williams had imagined, inspiring sequels, spinoffs and streaming series that continue to this day. And Williams’ music, with its sumptuous and stirring signatures, gave the space opera a transcendent power. “Doing it at the time, I didn’t think it was radical,” he says. “What made it radical was the embrace that it had. People seemed to have been starving for this kind of expression, and here was a vehicle into which it could be put.” 

There was one blip in scoring the first movie. “I mistakenly wrote a love theme for Princess Leia and Luke Skywalker. I learned later that they were brother and sister, so it was an incestuous idea to have a love theme for them. But George never told us there was going to be a second film!” 

Fortunately, Lucas didn’t scrub that romantic theme out of future releases like he did Han Solo drawing his blaster first on Greedo. But realizing the error of his ways gave Williams an opportunity to write Carrie Fisher a new, non-incestuous theme for “The Empire Strikes Back,” along with first-time leitmotifs for Darth Vader and Yoda that would further become part of this universe. Over the nine “Star Wars” films he scored, Williams has written 45 identifiable, recurring themes — or so he’s been told by fans. (“It’s hard to believe, but I imagine people are seriously counting.”)