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Re: No, it won´t.
• Posted by: zimmerfan1
• Date: Friday, June 15, 2007, at 9:46 a.m.
• IP Address: n166-u99.estnet.bg
• In Response to: Re: No, it won´t. (G.K.)

> "Transformations"? You don't hear ANY theme in there that isn't
> played EXACTLY the same way it was originally introduced.
> As some reviewer mentioned, maybe it even was Clem, stacking a theme on
> top of another doesn't pass as thematic development.

The following is a short quote from this site’s review of “Attack of the Clones”:

“Just before the end credit suite, Williams leaves us with two repetitions of the Imperial March which flow right into a monumentally bittersweet final performance of the love theme. It's the moment that fans of the score for The Empire Strikes Back have been waiting for over the past ten years.”

It was indeed an impressing passage from one theme to the other, just like the similar moment in the "End Credits" of "Empire Strikes Back".
Connecting themes together is not like stacking boxes on a pile. There could be magic in their transitions, which I think Zimmer is capable of achieving. My favourite example is again track 11, where he blends them into each other while maintaining the raging pace.

> The music doesn't even try to be unpredictable and surprising.

I wouldn’t bet that Zimmer has no ability to write a fugue, but as Cesar soberingly points the chord progression of Pirate’s themes (although effective in the movie and affecting emotionally) is simple and in the “popular” chords – I agree to that. Because of this all themes are easy for further developing, especially if it is to be done by their author. Zimmer merely chose not to do that (my opinion) defining the whole music style of the movie – we’ll have new themes, but the old established ones won’t be touched.
(I read his interview where he says he took “Jack Sparrow” theme and disassembled it completely for POTC III – something even I being his die hard fan can’t see clearly happening.)
My conclusion is that developing and unpredictability were never a goal, but gradually coloring the movie richness of new themes was a well achieved one, preventing the trilogy from watering down into other less effective style of scoring.




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