Star Wars Episode III Revenge of the Sith Score Analysis

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. Instrumental to the shaping of a complete universe was the musical language created by John Williams. 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. Lucas, never having been a conventional filmmaker, completed the Star Wars (Original) Trilogy (OT) with Return Of The Jedi in 1983 (see Appendix: Synopses). However the original Star Wars premise was of a 9 episode epic. 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, in 1999 Lucas released Episode I – The Phantom Menace. This began the Prequel Trilogy (PT) which culminated in 2005 with Episode III – Revenge Of The Sith1. 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. 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. 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. Yet Lucas’s use of an operatic score in A New Hope caused some to raise their eyebrows. “When George started A New Hope, in the mid-1970s,” sound designer Ben Burtt remembers, “the trend was not to have densely scored movies. Music was used sparingly by today’s standards.” Lucas nevertheless went on to order a soundtrack that played for much of the

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http://www.imdb.com – The Internet Movie Database

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film’s running time2. A New Hope went on to win Williams an Academy Award for his score that 3

year . And that was just the beginning of a successful collaboration. Part of this success has been continuity. 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. 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. 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. 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. Williams uses the various sections of the orchestra to great effect. 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. However, it is Williams’ art that he can juxtapose instruments in classically inopportune moments, yet still create a fantastic score. One of Williams’ pet preferences is the use of the French horn. Throughout the Star Wars films the French horn has always had prominence during the more emotional, quieter moments. For example, the Binary Sunset scene in A New Hope (where Luke looks out over twin sunsets on Tatooine from outside his uncle’s farm) featured a French horn version of the Force Theme, which is also revisited note-for-note as Uncle Owen holds the newborn Luke in his arms looking out over a Binary Sunset at the close of Episode III. The solo French horn also plays a version of the Leia theme as the infant Leia is presented by Bail Organa to his wife. Not only do instrumentational choices such as this imbue the Episode III score with a sense of continuity within the compass of John Williams’ work, but also establishes itself as a score in a larger collection of Star Wars scores. The use of the LSO (a 100+ piece orchestra) and the London Voices (an over 180 4

strong choir) gives a large degree of, well, force, to the recordings. When Williams thinks a French horn solo will give the best results, he uses a solo French horn (such as the Binary Sunset homage on Tatooine), and if he thinks that the French horn is the instrument of choice but needs a thicker texture, or more resolute timbre then will write for all four horns (Timothy Jones, 5

David Pyatt, John Ryan and Jonathan Lipton ). It is this integral knowledge of how far to extend parts to instruments that is Williams’ forte. Williams can write in a myriad of different styles and genres. Perhaps no coincidence that his most well loved scores (most of which have a predominance of large orchestras) happen 2

The Making of Star Wars: Revenge Of The Sith -- The Final Chapter by J.W. Rinzler (2005). http://www.dlynnwaldron.com/JohnWilliamsbio.html - John Williams biography. 4 Revenge Of The Sith Soundtrack CD liner notes. 3

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http://www.lso.co.uk/aboutus/ - The London Symphony Orchestra.

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to be the biggest grossing films at the box office. From E.T, Indiana Jones’, Jurassic Park, (in fact, think almost every Steven Spielberg film) to the recent Harry Potter films, large dramatic orchestra has been the way to go. Still, it is with films like Minority Report, Jaws (his first Oscarwinner), Saving Private Ryan, Schindler’s List, AI, Nixon, that emotional context and delicacy become just as important to Williams. Through Star Wars and his other big-orchestral works he can indulge his clear influences from the likes of Erich Korngold (himself an Oscar winner for The 6

Adventures of Robin Hood {1938} ) and become the forefather of the ‘modern’ film score. Starting in the 1930s with the likes of Korngold, big orchestral scores were popular until the experimental 50s and 60s where jazz, world music and other influences would saturate the scoring community. However, with the score for the then titled Star Wars (since renamed Episode IV - A New Hope), Williams returned the big orchestra to the fray, where it has resided ever since. Part of the effectiveness of Williams’ A New Hope score was his extensive use of the leitmotif device. In music drama, this is a marked melodic phrase or short passage which always accompanies the reappearance of a certain person, situation, abstract idea, or allusion in the course of the play; a sort of musical label. Also appears as a dominant and recurring theme. With origins in the operas of Wagner, who wrote particular melodic or harmonic passages that the audience associated with certain characters such as the Sigmund theme from Wagner’s tetralogy Der Ring Des Nibelungen, Williams’ use of leitmotifs throughout the 30 year history of Star Wars is never more evident than in Revenge Of The Sith. The Force Theme, Luke’s Theme and Leia’s Theme all appeared in A New Hope and return in various (and perhaps their most emotional) guises in Revenge Of The Sith. The Imperial March (often quoted as Darth Vader’s Theme although differs from the A New Hope Vader theme), and Yoda’s Theme from The Empire Strikes Back return. Also returning is the Emperor’s Theme from Return Of The Jedi. It is through the use of these themes and tracked music from the PT that Williams creates a sense of continuity between the preceding five films and Revenge Of The Sith. In terms of this score, Williams himself said in The Making of Star Wars: Revenge Of The Sith -- The Final Chapter by J.W. Rinzler:

“My first impression, whenever George shows me these films, is usually, My God, so much? I’m not going to be able to write all that. Because it goes from scene to scene, battle to battle, and fight to fight. I have to confess it’s always a little bit daunting when I first see these things. I may ask George something like, how many weeks did you say we’ve got to do this in? And he’ll tell me and we laugh.”

This is a very important trend with the Star Wars films even more so than in Williams’ canon as a whole: there is a lot of scoring in Star Wars. The majority of the film is scored; 6

http://www.imdb.com/title/tt0029843/ - IMDB / The Adventures of Robin Hood

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perhaps as much as 90% of the final two hour twenty minute running time has music added. Add that to the fact that these films have an awful lot of post production and visual effects shots to be completed before release, and it’s no wonder that Williams often appears in danger of running out of time to write and record the pieces for this film. One of the main elements of this score has surfaced numerous times throughout the Star Wars saga, which is the process of tracking. With such a back catalogue of themes and recordings to look back on, much of the thematic material is used in new ways (one of the predominant examples is the appearance throughout all the films of the Force theme in its various guises), and some is literally taken from previous recordings and used in the final film. Not only does this alleviate slightly the burden of work on Williams, but also thematically links all six films together. For example, the opening shot of the Battle of Kashyyyk could have had some original music composed and recorded, but a track from Episode I – The Phantom Menace entitled Activate The Droids, has not only been established as a theme for a battle within the Star Wars universe, but fits the action cue too. It seems in terms of tracking within Revenge Of The Sith that (Sound Designer) Ben Burtt, has not massacred Williams’ score like he did in Attack Of The Clones, where much of the Arena duel was not scored even though Williams wrote exceptional music for that scene (in a curious twist much of Williams’ unused music from the Arena is tracked into Episode III), but rather Lucas and Williams have sat down and spotted exactly where new music needs composing, and where tracking of specific previous material is acceptable. This can be seen from the Anakin vs. Obi Wan cue, which ends on the exact same chord that segues into the opening choir of Duel of the Fates from The Phantom Menace. Most of the tracking of the music in the film was exemplary, with only a few exceptions. Although, like most avid listeners of W illiams’ music I expected to hear the Imperial March when Vader climbs the steps to the Jedi Temple, the absence of it, and it’s predominance at the close of Attack Of The Clones, made much more sense in context than I would have initially predicted. Some fans of Star Wars and Williams in general seem to focus too much on associating a piece of music with a particular scene, rather than as a cue in itself. For example, when Yoda confronts Sidious in his office, a highly dramatised version of the Imperial March theme is heard, and as Sidious is the Empire, this music fits so well with the scene. However, some fans complain that “this is the music from The Empire Strikes Back final duel” and can’t see past this to discover how 7

well it fits with the scene . In listening to the CD soundtrack release, it is clear that during certain scenes, such as the CD tracks Anakin vs. Obi-Wan and Enter Lord Vader have added percussion parts that seem to be ‘additions’ by the sound design department. It seems similar to Ben Burtt’s ‘additions’ to the

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http://www.jwfan.net/index.php?name=PNphpBB2&file=viewtopic&t=7383&postdays=0&postorder=asc&start=100 – The Official Film Review Thread (John Williams Fan Network) Steve Beaty

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Attack Of The Clones Droid Factory sequence; luckily Lucas did not like the metallic percussive ‘sound effects’ and asked John Williams to score that sequence instead!

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This raises an interesting question regarding ownership and collaboration within the motion picture business. Many critics of film scoring see it as an inferior side of music, merely bashing out the same tired old clichés time and again. They do not see the craftsmanship involved in weaving a tapestry of musical ideas that complement the moving images so succinctly and successfully. I personally believe that film scoring is one of the best forms of musical expression available, and at a commercial level is one of the most effective ways of distributing your material to a wide audience. The question that has to be asked is to what extent is the composer in charge of their material? Certainly in Attack Of The Clones Ben Burtt’s decision to track the entire Arena sequence when Williams’ new original music (available on the film’s soundtrack CD) was not used seems criminal, but ultimately by wearing both sound designer and editor hats Burtt had the final say. By only being assistant editor on Revenge Of The Sith, and because Williams and Lucas held detailed spotting sessions (including what material was to be tracked), Burtt’s ‘creative’ decisions were limited. Fortunately. The main reason for this, and the explanation for many fan’s bitter disappointment with the previous two prequel films, boils down to the belief that “George Lucas is surrounded by ‘yes’ 9

men” . Lucas will be certain in his convictions towards certain aspects of the film, but then his producers and heads of departments will start working on talking him around to their way of thinking. This extract from The Final Chapter demonstrates this:

Animator Shawn Kelly then plays a rough animation of a scene outside the Jedi Temple when Obi-Wan and Yoda are attacked, with Yoda throwing his lightsaber through a stormtrooper, jumping on the trooper’s chest, and pulling it out. “They do this a lot in video games,” Kelly says. “I like it,” Lucas responds, “but in theory . . .” “Darth Vader throws his lightsaber on the walkway [in Episode VI],” Knoll chimes in. “Yeah! Let’s do it,” Rick interjects. “You want to think about it?” Rob asks. “I hate to say it, but it seems very un-Jedi,” Lucas says. “But these are difficult times,” McCallum counters. “A good Jedi does not let go of his sword,” Lucas protests, but adds, “If Yoda swings around, he could end up on his chest . . .” The matter is left hanging.

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Attack Of The Clones DVD Feature Commentary.

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http://efilmcritic.com/review.php?movie=723&reviewer=20 – The Phantom Menace review (eFilmCritic)

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When the final film was released the scene of Yoda throwing his lightsaber was in the final print, much to the dismay of many fans. It seems that Lucas, the man who knows exactly what a Jedi would or wouldn’t do, could not say no to the people around him. Fortunately it seems he was much more resilient in terms of Williams’ scoring. Lucas knows how far to push Williams, as another extract from The Final Chapter reveals:

As they go up the stairs, heading for the dining room, Lucas explains that after the spotting session, “This is it. I won’t hear the music until I step onto the stage at Abbey Road Studios. That’s always the most exciting part. Usually, I love ninety percent of what Johnny has done. Of the other ten percent, I might complain about five percent of it, and Johnny rewrites it during the weekend. The other five percent I stay quiet about.”

I’m sure much of Lucas’ faith in Williams comes not only from the wealth of experience that he brings with his compositions, but also that Williams scores are tremendously popular. Part of the popularity of Williams’ scores is that an audience can understand it and relate to it. If they went into Harry Potter and the Chamber of Secrets and were delivered a postmodern diatribe in atonalism, they would be severely disappointed. Although mostly diatonic in origin, Williams is not afraid to use extreme dissonance (particularly to create tension with some of the more horrific Dark Side moments of Vader’s actions in Episode III) when the emotional and semiotic context of the film requires it. It is his knowledge of how far to push the dissonance that makes all the difference. Certainly the degree of dissonance increases as the film works towards Anakin’s fall to the Dark Side. Williams’ brass parts in Episode III can be highly charged, such as in the opening space battle, or mournfully solemn such as during Padmé’s final words to Obi Wan before her death. Ostinati within the brass is prevalent for much of the action sequences, Williams either has an innate knowledge of how to create exciting action music, or over 46 years-worth of experience (if you are cynical). Brass ostinati with either woodwind and strings, or full orchestral melodies have been his trademark, and in Revenge Of The Sith they are no disappointment. Melodic focus is vital to Williams’ scores. Upon viewing Raiders of the Lost Ark (Indiana Jones), Superman, or Jaws, I defy anyone to not be able to whistle the main theme’s melody whilst leaving the screening. It is the balance of melody and accompaniment that makes Williams relevant. This is not to be completely sycophantic, there are some times where a lack of either discernable melodic strands or driving bass rhythm can just take the edge off the film, but they are rare moments in this picture.

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The melodic material in this film is highly developed. Just taking the Force Theme (see Appendix: Star Wars Thematic Material) as an example unearths a variety of developments depending on the action. From the opening militaristic rendition (which indicates who the fighter pilots are before their faces are ever shown), to the disappointed woodwind version in the Jedi Council chamber (which tells us how Obi Wan is feeling about his old padawan’s impulsiveness as if the look on his face was not enough), to the triumphant trumpet blasts of Force as Yoda defeats the Clones outside the Jedi Temple; each character using the Force in different ways, each Force theme being used in different ways. There is only one rendition of Yoda’s theme from The Empire Strikes Back, yet it is at its most touching. After having been rescued from the Clones by the Wookies, Yoda is given an escape pod and (much like E.T’s exit from the film of the same name) escapes to the stars. At this point there is a subtle yet emotional strings and woodwind voicing of Yoda’s melodic theme from Episode V. Notably there are many references to the Imperial March. Although expected to be revealed in it’s fullest most powerful form (as in The Empire Strikes Back), it does not appear this way, having it’s moment of infamy at the close of Attack Of The Clones, where the taking off of the Republic army’s ships heralded the true beginnings of the Galactic Empire. However, it does appear in a number of forms, some incredibly subtle such as the harp chords when Palpatine is rescued, some incredibly dramatic such as in the battle between Yoda and Darth Sidious. The development of this theme throughout the film perfectly ties the Prequel trilogy and the Original trilogy together. The more sinister representations of this theme occur when the (not yet revealed to be evil) Chancellor Palpatine is manipulating and clouding the judgment of the confused Anakin Skywalker, though these sections are also punctuated with elements of the Emperor’s theme. Perhaps the most revealing suggestion of the Sith’s corruption of the Jedi Order is the use of the Imperial March theme when Anakin is in the Jedi Council and is told he is not granted the rank of Master… As Episode II – Attack Of The Clones showed the blossoming love between Anakin and his wife Padmé, so Williams created a musical motif to complement their closeness. Entitled Across The Stars (and often dubbed the Love Theme for expediency), this piece made up the majority of the Episode II score and returns in various (more and more disintegrating) versions within Revenge Of The Sith. From being phrased in mostly the same manner as the previous film when Anakin is first reunited with Padmé at their apartment (although with a wonderful solo violin countermelody akin to the more beautiful parts to James Newton Howard’s The Village score), to the emotionally draining synthesised layerings whilst Anakin is deciding to intervene in the Chancellor’s arrest (CD soundtrack title Padmé’s Ruminations), this piece gradually fades away throughout the length of the score. Not because Anakin feels any less for Padmé, in fact, it is

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because he loves her so much that he becomes Vader, the ultimate in tragic irony, but because the Dark Side of the Force, and it’s musical connotations, are brought into the foreground. I feel at this point I should mention Padmé’s Ruminations; ever since Hans Zimmer’s wonderfully collaborative score with Lisa Gerrard for Ridley Scott’s epic Gladiator (2000), ethereal, mellifluent female vocals have surfaced during intensely emotional scenes. Here, Williams’ foray into this use of the female voice adds fantastic insight into the scene. Where there is no dialogue, Williams’ can show the audience what the characters are thinking and feeling clearer than any lines Lucas could have put in the scene. The blending of the (synthesised) female vocal wailing, and synthesised exposition of the Love theme create such a strongly emotional scene that when Anakin makes his decision to stop Mace, as an audience you feel his pain too. Another cue of Williams at his most experimental in this film is a bizarre hybrid of scoring and source music; As Anakin meets with Chancellor Palpatine in a Coruscant theatre, we are treated to the sight of a troupe of Mon Calamari performing an aerial / water ballet. Here Williams creates source music literally like nothing ever heard in Star Wars before. He uses the throat singing technique, with all the overtones and polyphony associated with it, to create a dramatic and ethereal musical experience. Through this scene Palpatine divulges to Anakin the story of the Sith Master Darth Plageis, and as it progresses we hear less throat singing, and more low sinister strings and brass as the focus of the scene changes. This audacious balancing of source music and score creates a memorable musical experience. It is scenes like the Calamari ballet and Padmé’s Ruminations that show Williams at his most experimental, yet still making the score believable. It is with his more recent works like Revenge Of The Sith and Harry Potter and the Prisoner of Azkaban that demonstrate an experimental edge and maturity that are a direct influence on the complimentary tone of this essay. Some of the ‘enlightened’ academic criticism of film scoring as an art form and “banging out tired old clichés” has been levelled at John Williams because he gives the audience a familiar frame of reference. It is with experimental scoring like the two scenes I have mentioned that seem to confound the critics and endear his scores to those with more than a passing interest in film. One of the more memorable and emotional revisitations of original themes is the use of Leia’s theme. First written for A New Hope in 1977, the theme that captures the beauty yet determination of the First Daughter of Alderaan is reworked for the lead in to that particular episode. Unpredictably, it is not played when Leia herself is born, but on a French horn when Bail Organa tells Master Yoda that he and his wife will adopt her. Williams’ use of the French horn manages to convey the sadness that the twins are being split up, yet still retains a glimmer of hope. The theme also appears with an orchestral backing when Bail actually does present Leia to his wife in their palace on Alderaan. This is striking in that it establishes a bizarre paradox where chronologically Williams uses material he has already composed some thirty years previously, yet

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in the chronology of the films’ story he is merely alluding to music that will become much more familiar in the next episode. The absence of Luke’s theme is just as striking. As this theme also serves as the Main Title in its most triumphant reincarnation, it has not been heard within the context of the films since 1983’s Return Of The Jedi. After Luke is born at the end of Revenge Of The Sith, and in the Binary Sunset revisitation, it returns with the string section optimistically looking forward with Luke as a new hope for the galaxy. The main title of every Star Wars film opens in the same way: The 20th Century Fox fanfare and logo (composed by Alfred Newman in 1954 and used as the studio’s trademark before all their films) followed by the Lucasfilm logo. Immediately afterwards the Star Wars title card flies away from the viewer before the story exposition text crawl slides up the screen before fading into the distance and giving way to the action. This continuity (it happens in each of the six films, the only difference being the textual content of the crawl) imbues the saga with a sense of fulfilment; you know what you are going to get at the opening. In fact, having seen Episode III on its opening night, the first beat of the Main Title music was received with raucous cheering and applause! They knew that this was the last in the series, a poignancy made even more apparent by the Luke theme at the close of the film. The ending rendition of the Main Title serves just as important a function in the tradition of Star Wars scores. Throughout all six films, and Revenge Of The Sith being no exception, the final scoring scene builds up to a climax that segues into the same ending arrangement of the Main title theme. This then continues through the revisitation of various pieces (for example Episode III cycles through the Main Title, then Leia’s Theme, then Battle of The Heroes) before finalising with a triumphant concluding rendition of the Main Title. This not only creates a framework for scoring the end credits sequence, but once more demonstrates the continuity between all six pictures in the saga. It is not just character leitmotifs that Williams has revisited during this film, but also situation themes. In Episode I – The Phantom Menace, Qui-Gon Jinn’s funeral pyre was accompanied by a lamentatious choir, and in Revenge Of The Sith he revisits the powerful funeral dirge for Padmé’s funeral (and indeed the rebirth of Darth Vader). The orchestration for Episode III’s funeral is again a more mature and sensitive approach, to the extent that the cinema screening I saw had many a glistening eye… Battle themes are a staple within the Star Wars universe; the clash of lightsabers mostly always accompanied by some dramatic Williams scoring (although interestingly a lot of the opening Obi Wan & Anakin vs. Dooku duel is unscored). In The Phantom Menace Williams blended 180 voice strong Sanskrit choral work with driving brass ostinati and a woodwind countermelody in the dramatic Duel of the Fates. This cue reappears in its exact original form in Revenge Of The Sith when Master Yoda and the Emperor are duelling in the Senate Chamber.

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The tracking here is deliberate, the newly composed previous cue Anakin vs. Obi Wan concludes with the same chord as the opening choral blast of Duel of the Fates; a prefect segue between the two. Anakin Vs. Obi Wan, instantly passing the whistlability test has a new 9 note melody over a driving brass ostinato, and through the course of the Mustafar battle picks up choral and brass voicings of the Force theme, with emotionally tragic overtones. This battle theme is typical Star Wars pomp and spectacle, the music matching the quality of the storytelling, and the dazzling special effects. It is through his music that emotionally Williams can switch in a heartbeat from influencing the way the audience feels, to demonstrating exactly how a particular character is feeling. Yet emotional context is not all the score for Episode III is limited to. The trademark wipe scene transitions associated with the Star Wars films are back in Revenge Of The Sith, and with them come very slight musical fanfares or transitional lead-ins to accompany the visuals. Some are literally just moments, such as the flight over night-time Coruscant before the reveal of Anakin and Padmé’s apartment, whereas others, such as the transition of Obi Wan flying down onto Utapau, lead into a more extended musical passage. Underscoring dialogue is vital in Star Wars, especially in Episode III as most of the film’s running time is musical. However I feel that Burtt sometimes mixes the music too low for it to be as effective as the composer intended. But, when all is said and done that is his responsibility and not the composers. Marrying music with image is also important. Whether it is a sinister anti-fanfare heralding Grievous’ arrival on the bridge of his ship, or a timpani roll just before Anakin decapitates Count Dooku, the music just adds an extra layer of depth to the picture. Williams is also not afraid to hit the action where appropriate; not in a cartoony boink splash fashion, but, for example, where Grievous is advancing on Obi Wan with his ‘sabers twirling, and at the exact moment Obi Wan lunges at the General, only to have his strike blocked, the dramatic music licks in with gusto. It is the diverse roles of Williams’ music within Episode III – Revenge Of The Sith, punctuating action scenes, influencing the emotions of the audience, explaining the emotions of characters, underscoring dialogue, transitioning between scenes and locations, that I am certain contribute to the success of Revenge Of The Sith. And a film that in only one showing at 12.01 am on its opening day can make $16.5 million

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cannot be deemed anything but successful.

However, the John Williams express cannot pull into station just yet, with Spielberg’s upcoming release War Of The Worlds and the yet untitled fourth Indiana Jones film already

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http://www.themovieblog.com/archives/2005/05/revenge_of_the_sith_takes_165m_opening_night.html - The Movie Blog Steve Beaty

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agreed to, it appears that Williams’ unique skills and legendary status as a film score composer will be in demand for many more years to come…

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Further Reading: •

http://www.imdb.com/name/nm0002354/ - The Internet Movie Database (John Williams).

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http://www.jwfan.com/modules.php?op=modload&name=News&file=article&sid=688 – The John Williams Fan Network (The Score in the film, by Elvisjones).

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http://www.jwfan.net/index.php?name=PNphpBB2&file=viewtopic&t=7383&postdays=0&post order=asc&start=100 – The John Williams Fan Network (The Official Episode II Review Thread).

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http://www.jwfan.net/modules.php?op=modload&name=Reviews&file=index&req=showconte nt&id=99– The John Williams Fan Network (Soundtrack Review by Roald van der Laan).

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http://www.dlynnwaldron.com/JohnWilliamsbio.html - John Williams, composer, biography.

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http://boards.theforce.net/Star_Wars_And_Film_Music/b10190/9458226/p21/ - Revenge Of The Sith Score Discussion.

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http://www.starwars.com/episode3/ - Official Star Wars Revenge Of The Sith Website.

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http://www.theforce.net – The Force.net – Your Daily Dose Of Star Wars.

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The Making of Star Wars: Revenge Of The Sith by J.W. Rinzler:

Appendices: •

Synopses

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Star Wars Thematic Material

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Graphic Score: Padmé’s Destiny / Rise of the Death Star.

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Star Wars Episode III Revenge Of The Sith Cue Sheet Timestamp

Action / dialogue in film

Musical Cue

01:00:38:09

Main Title and opening text crawl

01:02:02:21

Pan through space across Destroyer Ship bow Two Jedi Starfighters appear

01:02:17:21 01:02:44:09 01:03:14:09

Fighters weave through the ensuing space battle “Lock onto them Artoo”

01:03:24:18 01:04:38:21 01:07:09:27 01:07:15:12

Vulture Droids leave Grievous’ ship. “Missiles – pull up!” Artoo defeats Buzz Droid “The General’s command ship is dead ahead.”

01:08:35:00 01:12:00:24

Grievous arrives on the bridge Count Dooku arrives with Super Battle Droids. Dooku kicks Anakin & Force holds Obi Wan. Anakin looks at prostrate Obi Wan “Kill him now…do it!” Anakin’s reaction to killing Dooku “It’s not the Jedi way” “…before more security droids arrive” “…there’s no time” “His fate will be the same as ours” Grievous’ ship begins to tilt.

01:13:17:06 01:13:22:18 01:14:31:24 01:14:39:21 01:14:53:09 01:15:18:27 01:15:18:27 01:15:28:15 01:16:10:24

Star Wars – Main Title Theme played by full orchestra. Solo ‘war’ bass drum. Snare drums, brass stabs, brass & strings playing a highly militarised version of the Force Theme. Dramatic, military orchestral incidental music. Snare rolls & brass ostinato underscoring dialogue. Trumpet development of the Force Theme. Double-time rhythmic feel – increases tension. 1 Brass play The Rebel Fanfare . Woodwind, brass, string ostinato – music shifts up a gear. (part of Escape from Naboo Theme from Episode I 2 The Phantom Menace) . Low brass & timpani – menacing ‘anti-fanfare’. Low brass, timps, and strings held chord. High brass ostinato & allegro string arpeggios. Mid range string arpeggios increase drama. Timpani roll (pre decapitation). High violin tentatively sustained. Slow violin descending scale pattern. Harp chords (derived from Imperial March). High strings over harp chords. Orchestral swell to punctuate exterior battle shot Brass fragment (Escape from Naboo Theme from Episode I - The Phantom Menace)

01:20:27:09

Grievous’ bodyguard falls apart

01:20:40:26

Anakin vaults over console

01:22:12:01

“We lost something.”

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Brass syncopated ostinato (allegro) with pitched percussion melodic fragments. Chromatic fall in trumpets leading to big action cue. Timp roll into dramatic orchestral action cue (Anakin Destroys The Federation Battleship from Episode I 3 The Phantom Menace)

01:22:39:02

Ship continues through the atmosphere

Brass rendition of the Force Theme over leaping strings and woodwind.

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Steve Beaty

-1-

Cue Sheet

01:23: 02:04

“Fire ships on the left…and right”

Reintroduction of rhythmic orchestral action (Anakin Destroys The Federation Battleship from Episode I - The 4 Phantom Menace)

01:23:42:29

“Another happy landing”

01:25:52:25

Anakin leaves Bail Organa as he spots Padmé.

01:26:14:02

“I’ve missed you Padmé”

01:26:56:24

“Something wonderful has happened…I’m pregnant.” “We’re not going to worry about anything right now.” Grievous’ transport heads for Utapau, then flies into the sinkhole.

01:27:23:23 01:27:43:11

01:28:22:06 01:28:27:21 01:28:39:28

Grievous exits his transport. Grievous’ private quarters. Grievous speaks to Darth Sidious.

01:29:18:14

Fly through night time Coruscant.

01:29:32:25 01:29:49:29

Anakin and Padmé’s apartment. “…where we can be safe.”

01:30:06:08 01:30:34:15

“You’re so beautiful”. Anakin’s Dream.

01:30:48:00 01:31:11:10 01:31:28:12

Anakin wakes. Anakin leaves the bedroom. Anakin in fountain room.

01:32:55:00 01:33:14:20 01:33:30:22 01:33:41:05 01:34:08:14

01:34:52:10 01:35:27:20

“This baby will change our lives.” “Our baby is a blessing…” Jedi temple meeting with Yoda. “They are of pain, suffering, death.” “The fear of loss is a path to the Dark Side.” “Train yourself to let go of everything you fear to lose.” Anakin arrives in briefing room. “Be careful of your friend Palpatine.”

01:35:56:12

Anakin in Palpatine’s antechamber.

01:36:53:04 01:37:14:26

Transition to the Jedi Council Chamber “…but we do not grant you the rank of Master.” “Go, I will. Good relations with the Wookies I have…” Anakin & Obi Wan discuss decision.

01:34:37:25

01:38:10:08 01:38:29:10

Calm collected strings motif with timp underpinning and brass flourishes. Celli introduce a string moment that leads into a woodwind rendition of Across The Stars (Love Theme). Celli and Basses more prominent create slight feeling of unease. Allusions to the Love Theme. Clarinet melodic fragment leading to more uneasy low strings. Clarinet and flute Love Theme over harp accompaniment . Celli and Viola arpeggios with brass flourishes leading to brass melodic cells over militarised percussion. Large choir interjections. Strings only ostinati. Low string tremolo with harp pulses, punctuated by woodwind cries and bass drums. Violins ostinato over harp arpeggios and French horn melody. Solo violin melody over harp chords. Solo clarinet Love Theme against solo violin descant. Flute also playing the Love Theme. Horns and woodwind dischord with string melody falling over it. High violin / synth pedal. Strings plus harps and woodwind crescendo. Bass motif leading to sombre strings and woodwind phrase. French horn rendition of the Love Theme String crescendo to bold scene transition cue. Tense bass and cello underscore. High violins meander over bass rumblings. Uneasy bass clarinet version of the Force Theme. 3 note (root fourth & fifth) fanfare-like flourish signifying scene transition, leads to underscore. Low strings underscore. Bassoon and clarinet version of The Emperor Theme. Tense strings & woodwind give the Emperor Theme a suggested vulnerability. Brass and strings take the edge off the tension. Edgy high string tremolo to atonal woodwind and string clusters. Imperial March phrased. Disappointed woodwind representation of the Force Theme. Low strings, brass and woodwind tension.

4

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-2-

Cue Sheet

01:39:22:28 01:40:15:25 01:40:52:18 01:42:12:05 01:42:45:09 01:42:56:24 01:44:31:08 01:45:01:08 01:46:13:19 01:48:05:21

“…they want to know what he’s up to…” “Why are you asking this of me?” “A prophesy, that misread could have been.” “Make a motion in the Senate where that kind of a request belongs.” Transition to Coruscant theatre. Source music: Mon Calamari water ballet “They’re planning to betray me” “Why?” “Did you ever hear the tragedy of Darth Plageis the Wise?” Yoda’s arrival on Kashyyyk.

Disintegration of the Force Theme in woodwind. Crescendo in orchestra and choir. Bass and cello downbeat rumblings with timp hits. Minor strings and woodwind phrases. Single violins chord. Throat singing source music for ballet. Basses and celli begin low tension device. Trombones add to the tension then clarinets enter slightly later. Throat singing becomes more prominent though now more as sinister scoring rather than source. Brassy, militaristic battle prelude (The Confederation March from Episode II - Attack Of The Clones) 5.

01:48:35:16 01:49:39:15

Holographic conference between members of the Jedi Council. Battle Of Kashyyyk begins.

Fragments of the Imperial March and also the Force Theme in woodwind. Military snare and brass battle music (Activate the

01:51:20:03

“Goodbye old friend.”

01:52:05:04 01:52:29:09 01:52:42:22 01:53:07:00

Obi Wan’s fighter leaves the larger ship. Anakin’s second dream. Anakin and Padmé in their apartment. “He says you’ve been under a lot of stress”. “No, I promise you.” Obi Wan’s ship comes out of hyperspace. Obi Wan flies down over Utapau Obi Wan disembarks his Starfighter

Droids from Episode I - The Phantom Menace)

01:53:55:04 01:54:01:24 01:54:12:25 01:54:36:03 01:55:37:21 01:56:07:05 01:56:45:29 01:57:19:14 01:57:35:28 01:57:51:28 01:58:04:10 01:58:24:19 01:58:55:13 01:59:33:21 02:00:20:03 02:01:00:07 02:01:04:10 02:01:24:10 02:03:29:06 02:03:54:02

Obi Wan goes back to his fighter. Obi Wan rides Boga the lizard to the Tenth level to find Grievous. “I’m sending you to the Mustafar system in the Outer Rim…” “Your ship is waiting.” Obi Wan jumps down to Grievous. “Kill him….” Obi Wan tak es out remaining bodyguard. Grievous removes his cape. Obi Wan lunges at Grievous Clone troopers storm the sinkhole Grievous’ vehicle rumbles toward Obi Wan Jedi Temple exterior shot. Jedi Council War Room meeting Mace Windu’s reflections “You know the Dark Side?” “Only through me can you achieve a power greater than any Jedi.”

Cello and violin motif leading to flute and oboe playing a laid back Force Theme. Full orchestrated triumphant Force Theme. Heavy horrific dischords from orchestra. High violin pedals clashing ominously. Bass cello and bassoon low pedal comes in. Strings crescendo and timpani roll. Woodwind and brass fanfare like motif. Driving string rendition of the Force Theme. Bass and trombone under woodwind mutterings underscore the dialogue. String crescendo interjection. Ethnic percussion with brassy flourishes up tempo rhythmic cue Trombones support the travelling rhythmic piece with the Force Theme. Sinister low brass clusters. String and brass crescendo over harp arpeggio. Low brass suggests a threat to Obi Wan. Brass crescendo in volume and pitch. Menacing brassy rumblings Trumpets and trombones enter. Major key statement of triumph in full orchestra. Frenetic, rhythmic action scoring continues. Trombone and timp unsettling chord. Subtle woodwind Force Theme underscore. Trombones and cello rumblings. Menacing double bass rumblings Trumpet off-kilter countermelody – references to Shmi’s Theme from Episode I - The Phantom Menace6

5

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-3-

Cue Sheet

02:04:15:06 02:05:20:00 02:06:00:22 02:06:17:10 02:07:29:17 02:07:42:24 02:08:15:17 02:08:20:19 02:08:55:00 02:09:10:02

Anakin activates his lightsaber “..know the power of the Dark Side.” Obi Wan and Grievous turn the corner. Obi Wan acquires electrostaff. Obi Wan pulls himself up over the edge. “Master Windu, I must talk to you.” “Are you sure?” “We must move quickly if the Jedi Order is to survive.” “Yes Master.” Anakin / Padmé’s ruminations.

02:10:44:25

Anakin’s fighter prepares for launch.

02:10:56:05 02:11:06:28

The Jedi enter Palpatine’s office. “I take it General Grievous has been destroyed then?” “I am the Senate.” Darth Sidious launches himself over his desk and attacks the Jedi. Anakin’s fighter lands on the roof.

02:11:20:29 02:11:34:22 02:12:12:29 02:12:23:04 02:12:27:19

02:20:34:08 02:20:45:20

Anakin runs into the Senate building. Mace Windu and Darth Sidious continue to duel in Palpatine’s office. Windu forces Sidious to retreat. Sidious ceases his Force Lightning attack on Mace Windu. “You can’t; he must stand trial.” Windu makes his decision. Sidious launches more lightning. “What have I done..?” “To cheat death is a power only one has achieved…” “…as Darth…Vader.” Sidious gives Vader his orders. “…it will be civil war, without end.” Vader leads the Clones up the steps of the Jedi Temple. “We’ve got a battle to win here”. Cody receives Order 66.

02:20:57:23

Obi Wan rides Boga up the cliff path.

02:21:09:22 02:21:35:08 02:22:07:21 02:22:30:09 02:23:13:08 02:23:29:14 02:23:39:13

Obi Wan falls through the air. Ki-Adi-Mundi turns as his Clones halt. Yoda drops his cane and stumbles. Plo Koon’s fighter is fired upon by Clones. Clones approach Master Yoda. Wookies talk to each other Return to the Jedi Temple purge.

02:12:58:00 02:14:12:16 02:14:26:04 02:14:42:12 02:14:55:16 02:15:21:28 02:16:06:00 02:17:00:29 02:17: 23:07 02:18:09:11 02:19:17:18

7

High violin pedals add tension. Female chorus and woodwind (pseudo-Satanic) Dramatic full orchestra rhythmic action cue. Music loses timp driving force but retains rhythm. ‘Respite for now’ flutes and woodwind feature. Brass and bass rumblings with violin dissonances. Brass slow Imperial March statement. Violin repeated ostinato over brass and cello pedals. Strings repeated motif, atonal and unsettled. Dark, brooding synthesised female vocal wailing over synth bass pedals. Synthesised moments of the Love Theme. Brass and orchestral flourishes with the Force Theme played on trombone. Violin tremolo and timpani hits; very suspenseful. Violin shrieking dissonance interjection. Trombone allusions to the Emperor Theme. Shrieking strings and trumpet hits over cello ostinato punctuate this scene. Trombone and bass driving ostinato with flourishes from brass and strings. Trumpet fragments of the Force Theme. Disintegration of rhythm; flourishes from brass, tremolo high violin dissonances. Brass dramatic climactic stabs. Timp roll heralds trombone, bass and cello slow movement in sequence. Trombone and cello version of the Force Theme. Orchestral dissonance crescendos. Tutti arpeggios very forceful in execution. Cello and bass hint at Emperor Theme. Violin pedal enters as lower strings drop out. Dissonant, sinister cue. Trombone strong Imperial March motif enters. Low strings & brass rumblings with male chorus. Double bass Imperial March motif. Snare drums and brassy militarised march. (The 7 Arena from Episode II – Attack Of The Clones ). Pitched percussion arpeggio over brassy chord. Trombones & cello chords, the woodwind and violins hint at the Emperor Theme. Rhythmic pulse from brass and woodwind arpeggios. String lament phrase begins. Mixed choir joins powerful strings section. Trombone allusion to the Force Theme. Violin reinforcement of Force Theme elements. Timpani roll and general crescendo. Choir upper parts give slight hope to lamentation. Hope is lost as choir modulates to minor

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-4-

Cue Sheet

02:23: 53:16 02:24:59:04 02:25:18:04 02:25:36:12 02:25:46:21 02:25:52:24 02:26:34:02 02:26:42:14 02:26:58:00 02:27:08:16 02:28:00:06 02:28:16:04 02:30:00:14

“What are we going to do?” Young Jedi appears on landing platform. Obi Wan surfaces. AT-TE walkers on Kashyyyk. “All these Wookies are dead…” Yoda bids Tarful & Chewbacca farewell. Tantive IV takes off from Senate. Bail Organa prepares to track down any Jedi still alive. Obi Wan peers round the corner Obi Wan finds a ship. Padmé talks with Vader. “The Jedi have tried to overthrow the Republic.” Obi Wan’s ship approaches the Tantive IV

Woodwind dissonance heralding horror. Violin ostinato and brass stabs reflecting action. ‘Twinkling’ woodwind and string suspensions. Brass and woodwind ostinati, more tension. Subtle woodwind Imperial March motif. Strings and woodwind rendition of Yoda’s Theme. Woodwind and strings imperfect fanfare. Snares and low string pulse with military flourishes by flutes and trumpets. High violin pedal. Military flourishes continue. Woodwind melody over subtle strings. Low brass and strings sinister pedal. Low brass dischords fall over the top. Brassy fanfare motif (Arrival at Coruscant from Episode I – The Phantom Menace)

02:30:19:28 02:31:04:06 02:31:24:06 02:31:46:04 02:31:57:13 02:32:37:06 02:33:36:29 02:33:44:29 02:33:59:23 02:34:06:10 02:34:32:28 02:35:03:23 02:35:49:07 02:36:42:22 02:37:24:27 02:37:54:24 02:38: 36:24 02:40:05:22 02:40:31:26 02:40:49:28 02:41:40:09 02:42:17:16 02:42:55:26 02:43:02:09

Obi Wan, Bail and Yoda converse. Initial viewing of Mustafar. Nute Gunray talks with Sidious. Tantive IV arrives in orbit of Coruscant. Bail communicates with the Senate office. Vader arrives at Mustafar. Vader uses to Force to draw the shutters. Yoda and Obi Wan battle outside the temple. Yoda powers down his lightsaber. Sidious addresses the Senate chamber. Yoda and Obi Wan see the fallen Younglings. Vader killing the Separatists on Mustafar. The Empire is created. Obi Wan changes the transmission in the Jedi temple. “I must know the truth Master.” “Destroy the Sith we must.” Obi Wan at Padmé’s apartment. “You’re going to kill him aren’t you?” “Anakin is the father, isn’t he?” Vader alone on Mustafar. C3PO approaches Padmé’s ship.

02:43:20:05 02:43:33:09 02:44:15:18 02:45:43:03 02:45:52:09

Exterior of Senate Chamber. Padmé’s ship appears on the scope. Padmé’s ship approaches the landing platform on Mustafar. Padmé sighs. Vader sees Padmé from the balcony. “Obi Wan is trying to turn you against me.” “The Jedi turned against me…” “Anakin, you’re breaking my heart…”

02:47:43:20

“…then you’re my enemy”

Steve Beaty

-5-

Solemn cello melody under a violin high pedal. Militarised snare, strings and brass. Cello ostinato with violin meanderings above it. Sweeping strings and brass fanfare like motif. Tension building strings and woodwind. Militarised brass, strings, snare and bass drum. Trombone recital of Imperial March motif. Sweeping harsh strings and trumpet clusters. Trombone loud Force Theme statement. Cello slow exposition of Emperor Theme, with trumpet Force Theme also present. Mournful female synthesised vocals. A mixed chorus singing aggressively over a highly dramatic orchestral suite. Dramatic crescendo in orchestra and choir. Harp slow arpeggios and tense strings and woodwind. Bass and cello sequence adding tension. Low horns playing Emperor Theme fragments. Violin tremolos and woodwind tension device. Solemn violin disintegration of the Force Theme. Crescendo strings to emotional scene climax. Rising sinister brass fanfare motif Violins enter with tentative phrase, then cellos suggest the Love Theme accompaniment. Solo trumpet phrase. Dissident violin clusters appear. Brass and strings fanfare-like motif heralding Padmé’s arrival. Soprano sax and Clarinet play slow Love Theme. Trombone plays sinister fanfare. Sinister undercurrent in brass and strings begins. Trombone hints at the Imperial March. Slow crescendo of orchestra and strings predominantly. Thick dischordant strings layered over orchestra. Cue Sheet

02:47:58:14

Vader leaps backwards towards Obi Wan.

02:48:06:03

Obi Wan and Vader duel.

02:48:20:05

Yoda enters Sidious’ office.

02:48:55:14

Sidious launches Force Lightning at Yoda

02:49:03:12 02:49:35:06

Obi Wan and Vader duel. Sidious approaches Yoda cackling. Yoda gets to his feet.

02:50:13:12

“At an end your rule is…”

02:50:34:18 02:51:00:19 02:51:11:12 02:51:27:08 02:51:55:25

02:52:44:13

Sidious activates his lightsaber Vader chokes Obi Wan Obi Wan kicks Vader. Yoda and Sidious rise on the platform Vader and Obi Wan continue to duel on Mustafar. Vader & Obi Wan locked with opposing Forces. Vader and Obi Wan push each other across the room. Obi Wan and Vader continue on the balcony. Yoda leaps down onto Senate pod.

02:54:07:21 02:54:13:04 02:54:23:18 02:55:06:21 02:55:19:04

Yoda loses his grip on the pod. Sidious laughs. Vader and Obi Wan on beam. Yoda crawls through the access tunnel. “There’s no sign of his body sir.”

02:55:38:11

02:58:29:26

Vader and Obi Wan duel continues as the platform they are perched on breaks and lands in the molten lava. Yoda joins Bail Organa. Vader and Obi Wan cling to unstable floating platform and continue to fight. “I have failed you Anakin…”

02:58:46:02 02:59:46:03 03:00:47:07 03:01:47:21

“Well then you ARE lost!” Vader lies groaning. Vader begins to burn. Obi Wan strokes Padmé’s face.

03:02:20:23 03:03:32:14 03:03:44:18 03:03:55:05 03:04:17:17

Vader claws himself up the bank. Hidden asteroid base exterior. “Excuse me Master Yoda…” Obi Wan flies into the base. Rainstorm on Coruscant.

02:52:07:08 02:52:15:19 02:52:20:19

02:56:42:27 02:56:55:04

Bass & cello ostinato begins followed by brass stabs. Trombone and strings 9 note melodic motif (Battle Of The Heroes Theme). Sustained high violin pedal and woodwind phrases. Brass Imperial March statement and string arpeggiation. Battle Of The Heroes Theme development. Sustained, dramatic Imperial March motif (extract from The Clash of Lightsabers from Episode V – The Empire Strikes Back ) 8.

Frenetic string arpeggios with building brass chords. Highly dramatic Imperial March passage in brass. Timpani pulse and tremolo strings dissonance. Further Battle Of The Heroes development. Rising orchestra joined by large choir. Battle Of the Heroes theme ensues in full orchestra. Choir sustaining chords against brass statements. Forceful, urgent Force Theme in the strings. Cellos begin recurring arpeggio (beginning of Duel Of The Fates from Episode I – The Phantom Menace).

Choir enters with Duel of the Fates Theme with great force. Woodwind arpeggios and brass enter. Sustained brass note with timp rolls. Melancholy cello and trombone melody. Frenetic ostinati from Battle Of The Heroes. Staccato trombone interjections. Imperial trombone beats under woodwind and string fragments. Dramatic brass hits and arpeggios. Trombone takes up the 9 note Battle Motif. Ends with dramatic brass stabs. Melancholy strings and woodwind. Battle Of The Heroes continues unabated by full forceful orchestra and choir. Horns play the Force Theme over a choral accompaniment. Battle Of The Heroes theme returns. Solemn mournful strings lament. Dissonance creeps into strings. Double bass ostinato with horns and woodwind suggesting the Force Theme. Dissonant sinister brass rumblings. Violin slightly dissonant suspensions. Cello entrance. Uncertain cello Force Theme joined by flutes. Blatant menace in strings, low brass and male

8

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-6-

Cue Sheet

03:04:41:00 03:05:02:00 03:05:20:14 03:05:39:25 03:06:22:29 03:06:46:19 03:07:02:29 03:07:10:21

Bail Organa’s medical centre. “She’s carrying twins.” Vader is probed by medical droids. Luke is born first. Vader lies prostrate with new robotic body. Darth Vader helmet is locked in place. “Obi Wan…” “There’s good in him…”

03:07:31:23 03:07:37:24

Luke starts to cry as Padmé dies. Vader’s ope rating table rises.

03:08:32:25 03:08:59:17 03:09:16:28 03:09:32:10 03:09:44:29 03:09:58:04 03:10:04:04

Vader’s anger destroys the room. Tantive IV flies towards Theed. “Split up, they should be…” “To Tatooine, to his family send him.” “Until the time is right, disappear we will.” “…training, I have for you.” “An old friend has learned the path to immortality…” Bail Organa and the droids. Padmé’s funeral on Naboo.

chorus. Woodwind and strings melancholy phrases. Flute and chimes reflect everybody’s surprise. Melancholy strings mixed with low brass menace. Chime arpeggios punctuate Luke’s birth. Tension filled brass and strings passage. Cello Imperial March reference. Brass solemn suspended chords. Choral solemn funereal dirge (New arrangement of Qui Gon’s Noble End from Episode I - The Phantom Menace).

03:10:25:10 03:10:39:20 03:11:08:27 03:11:31:11 03:11:40:22

03:13:32:04

The Queen of Naboo. Vader on the bridge. The Emperor & Darth Vader oversee construction of the Death Star. Tantive IV flying over Alderaan. Bail presents Leia to his wife. Obi Wan at the Lars homestead. Obi Wan hands Luke over to Beru. Obi Wan smiles as Beru moves to join Owen gazing at the sunsets. Owen gazes at the child Luke.

03:13:46:14

End Credits.

03:14:34:21

End Credits.

03:16:01:24 03:18:33:14

End Credits. End Credits.

03:12:04:18 03:12:24:04 03:12:50:13 03:13:11:03 03:13:17:02

Steve Beaty

-7-

Cello plays mournful Force Theme. Choir’s lament becomes thicker. Orchestral accompaniment solidifies. Force theme reprise by trombones. Unresolved orchestral cadence. French horn solo of Leia’s Theme. The cello reinforces the Force Theme. Oboe countermelody makes an appearance. Hopeful interaction between strings and oboe. Regal, majestic but relaxed Force Theme by strings, flute and French horn. Muted brass flourishes. Orchestral reprise of funereal dirge including tubular bells. Choir joins the orchestra gently. Cello reprise of the Force Theme Orchestral funeral dirge crescendo with double bass and trombone Imperial March motif. Violin recapitulation of the Force Theme. French horn and orchestra play the Leia Theme. Strings play a hopeful Luke’s Theme. Celes te delicate melodic feature. French horn Force Theme. A deliberate homage to Binary Sunset from Episode IV – A New Hope. Orchestra crescendos to finalise the Force Theme / Binary Sunset. Full orchestral exposition of the Main Title / Luke’s Theme (Ending Version). The original orchestration Of Leia’s Theme (from Episode IV – A New Hope). Full orchestra playing The Battle Of The Heroes. Recapitulation of the Main Title Theme.

Cue Sheet

Star Wars Episode III Revenge Of The Sith Appendix: Graphic Score In the scene ‘Padmé’s Destiny / Rise of the Death Star’, previous Star Wars cues are reintroduced in a climactic, emotional scene that had a few in the cinema in tears on the opening night. Padmé’s Destiny is a reintroduction of Qui-Gon’s Noble End from Episode I – The Phantom Menace. Its use here is not as forceful as in that film, here it beautifully scores Padmé's funeral procession. The piece opens with a low brass (horns and trombones ) introduction of the theme’s harmonic progression. This is then reinforced by the strings and woodwind once Padmé is seen lying in state. This scene marks the finale of the film emotionally, with Padmé’s death juxtaposed against the birth of Darth Vader in his new form. It also introduces Governor Tarkin, and the Death Star to the audience, both of which will become much better known in A New Hope. In this respect Williams saves his most bombastic use of thematic motifs for that film, and only makes subt le brass and string references to the Force Theme (reflecting that there is still good in Vader) and the Imperial March (showing him to be in the clutches of the Emperor). ***

Graphic Score Key:

X – Tubular bell strike. Thick (processed) fade -out Held diminuendo (by musicians) Sustained note by group of instruments (line thickness reflecting volume) (Shape vertical alignment in regions indicates respective pitch. Horizontal alignment reflects time.)

Steve Beaty

-1-

Graphic Score

Timestamp

Action

03:10:39:02

03:10:52:07

Cut to overcast Naboo.

03:11:09:16

Padmé lying in state in transit.

03:11:12:23

Queen of Naboo in procession.

Camera tilts down Padmé’s body.

03:11:25:25 Wipe to outside of Imperial Destroyer and TIE Fighters.

Qui-Gon’s Noble End / Padmé’s Destiny theme.

Other / Sound FX

Background talking of mourners.

Roar of TIE fighter fly-by

Horses’ hooves and chains. Flutes and Clarinets

Woodwind

Violins and Violas Strings

celli

Pizz.

Horns and trombones Brass

Aahs in place of Sanskrit lyrics Choir

Percussion

Tubular Bells x

Steve Beaty

x

x x

x

x

x x

x

-1-

Graphic Score

Timestamp

Action

03:11:29:19 Vader walking onto the bridge

03:11:33:05 Imperial staff look at Vader.

The Force theme in Celli.

03:11:42:23

03:11:51:17

Tarkin leaves Sidious and Vader to look at the Death Star.

Vader and Sidious together.

Imperial March theme in trombones. Padmé’s Destiny theme in violins.

Wipe to Tantive flying towards Alderaan.

Tantive IV engine roar.

Darth Vader’s breathing.

Woodwind

End

Imperial March motif in brass and Celli.

Harp arpeggio Other / Sound FX

03:12:04:00

Very quiet flutes

Violins Strings

Celli Celli Trumpets and Trombones

Trombones Brass

French horn leading to Leia’s theme...

Choir

Percussion Steve Beaty

-2-

Graphic Score

Appendix: Star Wars Thematic Material

{

Star Wars (Main Title) / Luke's Theme

> ú ä ÏÏÏ ÏÏÏb ÏÏÏ J Ï Ï ä Ï Ï Ï J

Majestic, steady march

> b & b 44 úä ª

q = 108

{ { {

ÏÏ R ? b4 ä Å Ï b4 ÏR

ÏÏ Ï Ï

ú b Ï Ï Ï bÏÏÏÏÏÏÏÏ ÏÏÏ &b ä ÏJ Ï Ï Ï Ï 3

Ï 3Ï Ï ú b ÏÏ ÏÏ ÏÏ3 ÏÏ ä ÏJ Ï Ï Ï Î

bÏÏÏ nÏÏÏ ÏÏÏ núúú

3 ? b Î 3 jä j 3 b Ï Ï Ï Ï Ï Ï Ï Ï bÏ

úÏ b Ï Ï & b ÏÏÏ Ï Ï 3

3

Ï

Lento

q = 70

ÏÏ ÏÏ ÏJ Ï

ÏÏÏ Ï

Ï Ï 3Ï Ï Ï ÏÏ Ï Ï J 3

3

3

jä j Ï Ï Ï Ï Ï Ï Ï Ï 3

3

Ï

ÏÏ Ï Ï úÏÏÏ ÏÏ 3

3

ÏÏ ÏÏ

> >ú Ï Ï Ï úÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ J > > 3 3 3 3 Ï Ï ÏÏ j 3 Ï ÏÏ Ï Ï ÏÏ > >Ï >Ï Ï Ï

3

3

? bb

Music by JOHN WILLIAMS

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Star Wars Episode III Revenge Of The Sith Appendix: Synopses Star Wars Episode I – The Phantom Menace (1999) The Trade Federation blockades the planet of Naboo, and the Jedi Master Qui-Gon Jinn and his padawan apprentice Obi Wan Kenobi are dispatched by the Chancellor of the Republic to negotiate for a resolution. Finding that the Trade Federation droid army is actually invading and holding the planet hostage, the Jedi release the Queen of Naboo (Padmé Amidala) and hide out on the planet Tatooine to repair their spaceship. It is on Tatooine that they meet the young slave-boy Anakin Skywalker. Qui -Gon senses the Force (the mystical energy surrounding everything that gives the Jedi their power) is unusually strong with the boy. After encountering the Sith Darth Maul, the Jedi and the Queen return to Coruscant, capital of the Republic where Qui-Gon requests that Anakin is trained in the Jedi arts. The Jedi Council refuses, stating that the boy is too old to have the discipline a Jedi requires. After consulting with Palpatine, the Senator for Naboo, the Queen calls for a vote in the Senate to replace Chancellor Valorum. With the subsequent election of Chancellor Palpatine, Queen Amidala decides to go back and retake her planet, little knowing that the Trade Federation are under the control of the Sith Lord Darth Sidious. Qui-Gon and Obi Wan are sent by the council to help her, and it is there that whilst Padmé and Captain Panaka retake the Palace, the two Jedi face off against the Sith apprentice Darth Maul.

Whilst the Jedi and Sith duel, Anakin finds himself on a Naboo fighter ship on autopilot, and subsequently uses his Force-induced skills to destroy the Trade Federation control ship and incapacitate their droid army. In the ensuing lightsaber duel, Qui -Gon is killed by the Sith, and Obi Wan has to destroy his Masters killer. As he dies, Qui-Gon makes Obi Wan promise to train Anakin as a Jedi, as QuiGon believes that the prophesy of the one who will bring the Light and Dark Sides of the Force back into balance refers to Anakin. As Naboo is freed from the Trade Federation, padawan Anakin Skywalker and Jedi Knight Obi Wan Kenobi begin the training together. Star Wars Episode II – Attack Of The Clones(2002) 10 years later, Anakin is a powerful and successful apprentice to Obi Wan, but the council do not yet think he is ready to be a Jedi Knight, he is arrogant and impulsive, mostly coming from starting the training too late. However, Obi Wan has taught his pupil magnificently, and Anakin and Obi Wan are an unstoppable partnership. The ex-Queen of Naboo Padmé Amidala is now Senator for Naboo (taking Palpatine’s office). There is unrest in the Galactic Senate. A number of star systems are withdrawing from the Republic, and under the title of The Confederacy of Independent Systems (Separatists). After an assassination attempt on Padmé’s life, the two Jedi are ordered to investigate. Reuniting after 10 years, Anakin feels pulled strongly towards Padmé.

Steve Beaty

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Synopses

After another failed assassination attempt, Obi Wan follows up a lead and arrives on the planet Kamino, where a Jedi Master ordered the manufacture 10 years previously of a clone army. The DNA the clones were based on was provided by the Bounty Hunter Jango Fett. It appears Fett was hired by the Separatist leader (and ex-Jedi) Count Dooku. Obi Wan follows Fett to the planet Geonosis where he finds Dooku but is captured. Meanwhile Anakin has been assigned to protect Padmé and they lay low on Naboo. However, being so close to her Anakin finds his love for Padmé growing, yet for a Jedi all attachments are to be forsaken. After having nightmares about his mother, Anakin and Padmé travel to Tatooine, where he finds his mother dead at the hands of Tusken Raiders. Anakin in a fit of rage, murders every single man woman and child in the Tusken camp. After receiving a transmission from Obi Wan, Padmé and Anakin travel to Geonosis and are also captured by Dooku. Just before their planned execution at the hands of Dooku, Padmé and Anakin admit their love for each other, and seal it with a kiss. Whilst imprisoned, Obi Wan is interrogated by Dooku and is told that the Senate is now under the command of a Sith Lord known as Darth Sidious. Obi Wan cannot believe it, but intends to inform the Jedi Council. During the intended execution of Obi Wan, Padmé, and Anakin, Master Yoda brings the Clone Army from Kamino to aid them and the three are released after a gripping arena battle. The Clones face off against the droid army of the Separatists (including the Trade Federation), and thus begins the many battles between the Republic and the Separatists. The Clone Wars have begun.

Obi W an and Anakin face off against Count Dooku (Darth Tyranus), but Anakin’s impulsiveness enables Dooku to render Obi Wan unconscious and Anakin to have his arm removed. Yoda arrives in time to save them both, but is unable to defeat the Sith apprentice Dooku. Dooku escapes to Coruscant where he meets his Master Darth Sidious, handing over the plans for a battle station known as the Death Star. Unaware of this, Anakin (compet e with new robotic arm) meets up with Padmé on Naboo and their love for each other is finalised with their marriage. Star Wars Episode III – Revenge Of The Sith 2005) After three long years of relentless fighting, the Clone Wars are nearly at an end. Howe ver, the leader of the droid armies General Grievous sweeps into Coruscant and kidnaps Chancellor Palpatine. During an all-out assault on Coruscant, the Jedi Council dispatches ObiWan Kenobi and newly promoted Jedi Knight Anakin Skywalker to rescue the Chancellor. During their rescue, the Jedi face off once more against Count Dooku. Although his impulsiveness has been reigned in, allowing Anakin and Obi Wan to work together in their duel with Dooku, Anakin’s hate and anger have not been controlled. After Obi Wan is rendered unconscious, Anakin bests Dooku. Under orders from close advisor Chancellor Palpatine, Anakin kills the unarmed prisoner Dooku. Once safe back on Coruscant, Padmé announces to her husband Anakin that she is pregnant. Anakin then has horrific nightmares that Padmé will die in childbirth, similar to the nightmares he had of his mother’s torture at the hands of the Tusken Raiders. Anakin resolves to not lose Padmé the same way he lost his mother. Chancellor Palpatine’s closeness to Anakin results in the young Knight being promoted to the Jedi Council (as Palpatine wants a representative on the Council). Perturbed at the Chancellor’s meddling with the Council, Anakin is granted a seat, yet is not recognised as a Jedi Steve Beaty

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Synopses

Master. Obi Wan regrettably informs his former student and closest friend that the Council only admitted Anakin to their meetings to report on the Chancellor’s dealings. Anakin, confused by the Council’s lack of trust in the Senate is further manipulated by Palpatine. The Chancellor gradually convinces Anakin that the Jedi mean to overthrow the Senate and have absolute power in the galaxy. Palpatine also tells Anakin where Grievous is hiding and the Council dispatches Obi Wan instead of Anakin to bring him to justice.

Whilst Obi Wan finds and kills General Grievous on Utapau, marking the end of the Clone Wars, Anakin is further taught by Palpatine. Palpatine tells Anakin of a Sith power to prevent people from dying. After pleading with Anakin to use his knowledge of the Dark Side of the Force, Anakin realises that Palpatine is in fact the Sith Lord Darth Sidious the Jedi have been searching for for over thirteen years. Anakin resolves to tell Mace Windu and the Council of this but Palpatine tells Anakin that if he dies then all knowledge of how to save the life of his wife will die too. Mace Windu, and a number of other Jedi attempt to arrest the Chancellor, who shows his true Dark Side self and after a battle with Windu bides his time until Anakin arrives. Once Anakin is there, Sidious fires Force lightning at Windu who reflects it back. Sidious pretends to be beaten and Windu goes to finish him off, despite Anakin’s protestations that he should stand trial. As Windu strikes, Anakin comes to the defence of the scarred Sidious, and through that action alone his fall to the Dark Side is complete. Sidious finishes off Windu, and Anakin realises that through his actions all he can now do is pledge his allegiance to Sidious, and become his new apprentice Darth Vader. Sidious instructs Vader to take the Clones to the Jedi Temple and exterminate all the Jedi. “Every single Jedi, including your friend Obi Wan Kenobi, is now an enemy of the Republic”. As Vader kills all in the Temple, including the Younglings, Sidious activates Order 66, making all Clones kill the Jedi they were serving. Only Obi Wan and Yoda manage to escape. As Vader travels to Mustafar to kill the Separatist leaders, Sidious reorganises the Republic into the Galactic Empire, to the disgust of Bail Organa and the heavily pregnant Padmé. Bail Organa manages to rescue Yoda and Obi Wan on his ship the Tantive IV, and they learn of Anakin’s fall to the Dark Side. Yoda tells Obi Wan he is not strong enough to fight Sidious and so must go after Vader. Obi Wan tells Padmé of Anakin’s betrayal but she will not believe it. Obi Wan discovers that Padmé is pregnant with Vader’s child. Padmé goes after Vader on Mustafar and Obi Wan hides aboard her ship. Yoda is unable to beat the Emperor despite a valiant attempt, and resolves to go into exile until the time is right. On Mustafar Padmé realises that Anakin is now Vader and consumed by the Dark Side. After Obi Wan shows himself, Vader believes Padmé betrayed him and led Obi Wan right to him. Vader confronts Padmé, and uses the Force to choke her until she falls unconscious at his feet. Obi Wan and his friend and student must then battle for the good of the galaxy, and after an emotional confrontation Obi Wan removes Vader’s arms and legs and takes his lightsaber from him. Vader is immolated on Mustafar and Obi Wan leaves, believing his old friend to be finished. However, the Emperor finds Vader still alive and builds him into a robotic suit that enables him to move and breathe. The Emperor tells Vader that in his anger he himself killed Padmé, so Vader has nothing else to live for except his service to the Emperor. As the Emperor consolidates his Empire with the construction of the Death Star, Vader joins him on the bridge as

Steve Beaty

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Synopses

his new lieutenant. As Darth Vader is reborn more man than machine, Padmé loses the will to live and as Obi Wan and Yoda watch on, gives birth to twins Luke and Leia. Realising the danger to the children if Vader finds them, Bail Organa takes Leia to live with him and his wife on Alderaan, whilst Obi Wan takes Luke to live with Anakin’s step-brother and his wife back on Tatooine and promises Master Yoda that he will watch over him. Star Wars Episode IV – A New Hope (1977) 20 years have passed and the grip of the Empire is as tight as ever. Nevertheless there is unrest and civil war reigns supreme. Leia is now Princess of Alderaan and Senator, and she uses her ship the Tantive IV to run the Imperial blockades. As part of the Rebel Alliance she has acquired the plans for the Death Star, and stores them in R2D2’s memory banks. Darth Vader attacks the Tantive and boards the ship. Leia, remembering a General Obi Wan Kenobi who served with her father during the Clone Wars , records a message for Obi Wan on Artoo, and both Artoo and C3PO escape to Tatooine. Leia is captured by Vader. On Tatooine, Luke Skywalker acquires the droids and accidentally reads the message for Obi Wan. Luke wonders if ‘Ben’ Kenobi knows anyone called Obi Wan and goes to find him. Ben Kenobi reveals he is in fact Obi Wan Kenobi. As Obi Wan reads the message from Leia he reveals that he knew Luke’s father Anakin Skywalker. He tells Luke that Anakin was killed by Darth Vader and that his father wanted him to have his lightsaber and learn the ways of the Force. Luke argues that he can’t do anything about the Empire, and must go back to his Uncle Owen’s farm. However Imperial troops have been there and killed Owen and Beru, so Luke decides to help Obi Wan. In finding a transport to Alderaan to converse with Bail Organa, Obi Wan and Luke meet with Han Solo, a maverick pilot. Solo agrees to transport them and as they leave Tatooine, they are attacked by an Imperial Cruiser, which they manage to evade. On the Death Star Vader interrogates Leia as to the location of the Rebel base. Threatening to destroy her home planet of Alderaan, Vader makes Leia tell them the Rebel base is on Dantooine. However Governor Tarkin powers up the Death Star and fires on Alderaan anyway, immediately destroying the entire planet. On Solo’s ship, the Millennium Falcon, Obi Wan feels a disturbance in the Force as Alderaan is destroyed. Once they arrive at Alderaan, they discover a meteor shower where the planet once stood, and a tractor beam pulls them into the Death Star. Once within the Death Star, Han, Luke and Han’s co-pilot Chewbacca infiltrate the battle station, and eventually rescue Princess Leia from its bowels. In rendering the tractor beam useless, Obi Wan feels the presence of his old padawan, and knows their final battle must ensue. Obi Wan and Vader square off against each other, but Obi Wan has learned the secret of immortality; so once Luke is watching them duel on the way back to the Falcon, Obi Wan sacrifices himself to Vader’s lightsaber.

The Falcon escapes, and with the plans for the Death Star in their possession the Rebellion can mount an attack on the station. In the ensuing battle, Vader destroys a number of Rebel craft but is bested by a Wedge Antilles. This leaves Luke free to (under Obi Wan’s ghostly tutelage) fire the missile that would destroy the Death Star once and for all.

Steve Beaty

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Synopses

After the battle Han and Luke are awarded medals by the grateful Leia and on behalf of the Rebellion as a whole. Star Wars Episode V – The Empire Strikes Back (1980) The Rebels have made a temporary base on the ice-world of Hoth. Whilst out on the Ice Fields Luke is trapped and, almost frozen, has a visit from Obi Wan telling him to go to Dagobah and search for the great Jedi Master Yoda. Han puts his own life at risk to find the freezing Skywalker boy and manages to bring him back to the safety of Echo Base. Once there, the Empire tracks them down and attacks in full force in an attempt to destroy the base. Luke, Han and the other Rebels escape from the Empire and take transports into space and make those their base of operations. The Emperor tells Vader that they have a new enemy, Luke Skywalker, who must be turned to the Dark Side. Whilst Luke travels to Yoda to continue his Jedi training, Han Solo, Princess Leah, Chewie and the droids stop off at Bespin to refuel the Falcon. Han’s old friend Lando Calrissian greets them, but has secretly made a deal with Vader in order to keep his mining facility open. Han, Leia and Chewie are captured and Han, having a price on his head by Jabba the Hutt, is frozen in carbonite and taken off by Boba Fett. Luke, sensing trouble rushes off to help them, despite Yoda’s protestations.

Once at Bespin Luke and Vader engage in a dramatic lightsaber duel that culminates in Vader slicing off Luke’s arm. It is at this moment that Vader reveals to Luke the true identity of his father, that Vader is Luke’s father. Luke is rescued from certain death by Lando, Chewie and Leia aboard the Falcon, and they resolve to rescue their friend Han from Jabba the Hutt. Star Wars Episode VI – Return Of The Jedi (1983) Jabba the Hutt’s palace is infiltrated by Leia posing as a bounty hunter with Chewie as her prize for Jabba. However, she is captured after releasing Han from his frozen prison. Luke Skywalker then breaks into the palace and threatens Jabba, but finds himself bested. Luke, Han, and Chewie, all destined to be thrown into the Pit of Sarlaak, escape with a little help from Lando and Artoo. Leia also manages to strangle Jabba, and they are all reunited. Once his friends are safe, Luke then goes to complete his training with master Yoda, but it is too late and the 900 year old Jedi dies before he can complete his training. Luke discovers the truth that Vader really is his father, and Obi Wan explains that Leia is his twin sister. As the Rebellion gains intelligence that a second Death Star is under construction in orbit of the moon of Endor, they infiltrate the moon. Luke, knowing that his presence puts them all in danger gives himself up in order to turn his father back from the Dark Side. The Rebel Fleet is waiting on the other side of Endor so that once Han has disabled the shield generator on the moon; they can destroy the Death Star. Han and Leia are captured in a clever ruse by the Emperor; a trap to crush the Rebellion, for the Death Star is fully operational. As the Emperor tempts Luke ever closer to the Dark Side, Han and Leia put the shield out of commission and Lando is tasked with using the Falcon to destroy the station.

Steve Beaty

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Synopses

Luke uses his anger over the Emperor targeting Leia to defeat Vader, but is attacked by Force Lightning by Sidious. Nearing death, Luke is saved when Vader redeems himself and turns on his former master. Absorbing the lightning himself, Vader flings Sidious into the main reactor of the Death Star.

It is too late for Anakin, the force of the lightning affords him only fleeting moments with his son before he dies, and Luke escapes just before Lando destroys the Death Star. With the Emperor and Vader gone, and the Empire in tatters, a new dawn arrives for the galaxy, and the New Republic gives hope to those across the galaxy…

Steve Beaty

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Synopses