The appearance of these two main types of orchestration correspond with the general shape of the film’s narrative: in the earlier part of the film, it is not.

Nightwing Movie Will Nod to Dick Grayson’s Past. The upcoming Nightwing movie will feature several nods to Dick Grayson’s past, according to the movie’s director. The iconic DC Comics character will be headlining his own film sometime in the near future as part of Warner Bros.’ DC Extended Universe. Unfortunately, details on the production are scarce at this stage. So far, The LEGO Batman Movie director Chris Mc. Kay has signed on to helm the project based on a script from The Accountant screenwriter Bill Dubuque.

The film was noticeably absent from the studio’s DCEU slate that was revealed at San Diego Comic- Con earlier this summer. DC Films head honcho Geoff Johns has previously stated that they will only reveal movies when they are ready, and that’s a notion that Mc. Kay has also expressed.

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He has stated before that he wants to make sure everything is right before he jumps into production. Of course, in addition to finding someone capable of portraying Grayson, that means fine- tuning the story so that it does the character and the fans justice – and that may mean bringing up the superhero’s past. Mc. Kay has been busy promoting the upcoming release of The LEGO Ninjago Movie, and in an interview with Cinema. Blend, the filmmaker revealed that his DCEU film, Nightwing, will contain nods to Dick Grayson’s past, presumably when he worked alongside Batman as his sidekick, Robin, as well as when he was originally a circus performer. Here’s what he said when he was asked about Grayson’s past coming up in the film: “Yes. In some form. There will be lots of nods. Lots of nods.”For those that don’t know, Dick Grayson was originally an acrobat, the youngest performer from the circus family known as the Flying Graysons.

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Sadly, his parents were murdered, and Bruce Wayne eventually took in Dick and trained him to become his very first sidekick, Robin. He burst onto the scene in 1.

Batman had made his debut in Detective Comics the year prior. After spending years working alongside Batman, fighting crime in Gotham City and defending the planet from extraterrestrial threats, Dick eventually grew up and moved to Bludhaven, where he operates under the name Nightwing and tends to work with the Titans. Although the character has yet to make his debut in the DCEU, audiences know that he’s out there somewhere. After all, the studio has already confirmed that the Robin suit seen in the Batcave in Zack Snyder’s Batman V Superman: Dawn of Justice belonged to Jason Todd, the second Robin, who was brutally murdered by the Joker. Perhaps, in addition to Grayson’s time as an acrobat, his time working with Batman, as well as the effect Todd’s death had on him, will also come up in the Nightwing movie. Source: Cinema. Blend.

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John Williams Themes, Part 1 of 6: The Force Theme. The “Force theme”, also known as “Ben Kenobi’s theme”, “Obi- Wan’s theme”, or “May the Force Be With You”, is one of the most beloved of John Williams’ music for the Star Wars saga. It appears in all six films, but perhaps most memorably in the very first, Episode IV: A New Hope, in the cue “Binary Sunset”, where Luke Skywalker contemplates his future while watching a pair of suns set on the horizon: Hear it in this clip from 2: 2. Emotionally, the theme ranges from the gentle poignancy of cues like this that can bring a tear to one’s eye to a brash militarism that can rouse the spirits and make us root for the good guys. So what is it that gives this theme its emotional qualities and makes it such a perfect fit for what we see onscreen?

My film music analysis below gives some ideas. Melody. Let’s start with the theme’s melody, which divides into four two- bar ideas. In the example below, notice that the goal notes of each idea together form a shape that rises through the first three ideas, reaches a climax, then falls with the last: Thus, the theme gradually builds to a climax over a long stretch, then more quickly relaxes and comes to an end. Because this is the general pattern of tension found in most action narratives and the struggles they involve, you might call this the “struggle” contour. But the Force theme goes even further than this in its sense of struggle. In the example below, I show the prominent scale steps the melody moves through, as shown by the numbers with caret marks over them.

After a brief pickup note, the first idea starts with a slow rise from the first note of the scale (tonic), up to the second, then quickly through the third and fourth before sinking back down to the third again. In this quick rise to the fourth note, it’s as though the theme wants to continue its upward motion but is thwarted from doing so. In the second idea, we get the same rise up the first, second, and third scale notes, and quickly touch on the fifth before falling back to the fourth. Again, the theme seems to want to rise higher to the fifth and beyond, but somehow it just cannot—it’s struggling hard to make its way up the scale. Finally, in the third idea, we rise from the first, through second, third, and fifth up to an octave (eight) above the first note. Reaching this high note through this kind of slow rise gives it the feeling of a climax, a success of sorts.

And in the “Binary Sunset” cue above, Williams emphasizes this climax with a fuller scoring for the orchestra and with the melody in the strings, both of which add to the poignancy of the effect. Just as we reach this climax, the melody quickly begins to fall again, eventually ending on the tonic we started on. Thus in its first three ideas, the melody suggests a “striving” quality, a long, arduous road towards a success that is tarnished with setbacks both large and small. Surely this is one of the reasons why the theme feels “right” as a musical symbol of not just Obi- Wan’s struggle, but the Rebels’ struggle more generally. Rhythm. The rhythm of the Force theme is one of its most distinctive features. Watch American Graffiti Online. But notice some of the specifics of its rhythm: it’s set in a four- beat meter, beats 1 and 3 of each bar are almost always emphasized with a note that is a beat or two long, and there are conspicuous dotted (long- short) rhythms and triplet rhythms: These are all characteristics of a march, so even in its gentle versions, the theme has an underlying military quality. No doubt, this is why it is well suited to represent the Jedis and Rebellion, and also why it is entirely fitting when the theme assumes a more obvious march- like character with a faster tempo and brassier orchestration.

Harmony. The Force theme is set in a minor key, and minor keys usually signal some kind of negative emotion. But it’s not all doom and gloom in this theme.

The chord ending the second idea is a more positive major IV chord: Normally, IV is a minor chord in a minor key, so this change to major gives us a sense of hope within a prevailing negative context, which is precisely the situation of the Rebels in relation to the powerful Empire. At the end of the theme’s third idea, the climax emerges over another major chord, VI (see above example). Because this chord is found naturally within the minor scale, we have not lost the sense of the negative context. But the sound of the major chord on VI strikes an overwhelmingly positive tone, especially when combined with a loud melodic climax, as in “Binary Sunset”, so tends to sound like a heroic triumph of sorts. This is likely why the chord is frequently heard in the themes of superheroes, Elfman’s and Zimmer’s themes for Batman being other examples. The final chord (or “cadence”) of most of Williams’ themes gives a sense of punctuation, a sign that we have finished with the theme altogether, or at least with that section of it. The Force theme is no exception, since in its fullest form, as heard in “The Throne Room” march, its ends with a final- sounding tonic chord.

In “Binary Sunset”, the theme leads us to expect this same closure on a tonic chord, but trails off before reaching it. Listen again to “Binary Sunset”, starting from 2: 3. Besides the “Throne Room”, the only time the theme does reach a final chord in A New Hope, it is tainted by dissonance, as in the second statement in the cue above—hear its last idea from 3: 5. In every other instance of the Force theme in this film, we only hear its first half. And as we have seen, when the second half is sounded, it either does not resolve or moves to a dissonant chord that sounds equally unresolved. The theme is only completed in the Throne Room march, after the Rebels’ mission to destroy the Death Star has been completed.

Thus, the success of the mission is mirrored in the resolution of the music. Hear this final version of the theme below from 0: 1. Orchestration. The two main versions of the Force theme heard in A New Hope are differentiated largely by their orchestration. The gentle statements set the theme’s melody softly in lyrical instruments like the horn, strings, or winds. And they are often accompanied by fast, repeated notes (or a “tremolo”) high up in the strings, which has a shimmering effect that gives the theme a contemplative or vulnerable sound. In its more aggressive, militaristic settings, the melody assumes a loud and strident tone in the trumpets and/or trombones, and there is usually a heavy accompaniment in the rest of the orchestra that suggests the emotional weight of the situation at hand. The intensity of these statements of the theme are usually bolstered by the use of dissonant harmony, as below in the cue “The Battle of Yavin”, starting at 3: 4.

The appearance of these two main types of orchestration correspond with the general shape of the film’s narrative: in the earlier part of the film, it is not certain whether Luke will become the hero the Rebellion so desperately needs—hence the more contemplative forms of the Force theme. But as Luke learns the ways of the Force with Obi- Wan and begins to act more and more like a hero, we hear more of the brassy military form of the theme, especially in the final battle with the Death Star. Conclusion. The Force theme packs a lot of meaning into a very small space.

Its melody has the contour of a “struggle” and strives to reach a hard- won climax. Its underlying march rhythm gives it an appropriately military air, even when it is scored in its gentler versions. Its major chords on IV and VI lend it a feeling of hope and heroism within the larger negative climate of the minor scale. Its lack of resolution to a clean final chord in all but the last statement in “The Throne Room” gives it the sense of struggling towards a goal that is only achieved at the very end of the film. And its differences in orchestration correspond with Obi- Wan’s shaping of Luke into the hero of the story.