> 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.

I didn't mean to condemn Zimmer for playing theme *after* theme, I meant that playing two themes on top of each other, as counterpoint, doesn't pass as thematic development.
And Williams segueing the Imperial March into Across The Stars is as breathtaking as Zimmer will never be. That's the difference between a cleverly, thoroughly structured piece of music and a simplistic pile of "up the scale - down the scale".

> 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.

He chose not to do that? Well, then he chose not to do it in every score he has written in the past 10 years.

> (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.)

Yeah, because it doesn't happen.

> 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.

Are you seriously saying not aiming for development and unpredictability is a good thing? That's the most ridiculous thing I've heard, like, ever.
"Less effective style of scoring" in this case would mean more complex harmonies (realise it or don't, but you can't get any less complex than Zimmer) and orchestrations.
Heaven forbid Hans Zimmer appeals to folks more musically perceptive and intelligent than the last lobotmised amoebae!