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However, it is Williams’ art that he can juxtapose instruments in classically inopportune moments, yet still create a fantastic score. One could suggest that strings and woodwind moments could be quite natural for lush, romantic scenes, whereas brass and percussion will be battlised moments within the film. Williams uses the various sections of the orchestra to great effect. The massive scale of the LSO has always been integral to the Star Wars films, but in Episode III Williams carefully blends synthesised vocal work into the fabric of the score.
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It is no coincidenc e that these films are part of a series, and for each film in the series Williams has been invited back to do the scoring. Despite working in a multitude of ways and scoring a wide variety of films, it is ironic that Williams is best known for his grand orchestral scores, like Jurassic Park, Indiana Jones and Star Wars. Not only has Williams drawn on his previous material from the Star Wars saga for this film, but he has used, as with all the Star Wars films, the London Symphony Orchestra (LSO) and (certainly for the PT) the London Voices choir.
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Part of this success has been continuity. And that was just the beginning of a successful collaboration. A New Hope went on to win Williams an Academy Award for his score that 3 Music was used sparingly by today’s standards.” Lucas nevertheless went on to order a soundtrack that played for much of theįilm’s running time2. “When George started A New Hope, in the mid-1970s,” sound designer Ben Burtt remembers, “the trend was not to have densely scored movies. Yet Lucas’s use of an operatic score in A New Hope caused some to raise their eyebrows. 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. 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. 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. This began the Prequel Trilogy (PT) which culminated in 2005 with Episode III – Revenge Of The Sith1.
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However, in 1999 Lucas released Episode I – The Phantom Menace. 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 the original Star Wars premise was of a 9 episode epic. Lucas, never having been a conventional filmmaker, completed the Star Wars (Original) Trilogy (OT) with Return Of The Jedi in 1983 (see Appendix: Synopses). 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. Instrumental to the shaping of a complete universe was the musical language created by John Williams. 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.