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The Film Scores of John

Williams: Star Wars and


Jurassic Park
BY: MATTHEW LEPINE
HUMANITIES AND ARTS COURSE SEQUENCE: MUSIC

HU 3002: Film Scoring (C 2015)


Humanities and Arts Courses:
MU 3002: Arranging and Orchestration (A 2014)
MU 2723: Music Composition (B 2014)
MU 2636: Concert Band (Fall 2013, Spring 2014, Fall 2014)

Presented to: Professor John F. Delorey


Department of Humanities and Arts
Term C 2015

Submitted in Partial Fulfillment of


The Humanities and Arts Requirement
Worcester Polytechnic Institute
Worcester, Massachusetts
Contents
Abstract ...................................................................................................................................................................................................... 2
Introduction ................................................................................................................................................................................................ 2
John Williams ............................................................................................................................................................................................ 3
Background and Early Life ............................................................................................................................................................... 3
Accomplishments .................................................................................................................................................................................. 3
Style ....................................................................................................................................................................................................... 4
Star Wars (1977) .................................................................................................................................................................................... 5
Plot Summary ....................................................................................................................................................................................... 5
About the Score ................................................................................................................................................................................... 7
Leitmotifs and Themes ........................................................................................................................................................................ 7
Jurassic Park (1993) ............................................................................................................................................................................. 10
Plot Summary .................................................................................................................................................................................... 10
About the Score ................................................................................................................................................................................ 11
Leitmotifs and Themes ..................................................................................................................................................................... 12
Comparisons ........................................................................................................................................................................................... 13
Plot Similarities ................................................................................................................................................................................. 13
Repetition ........................................................................................................................................................................................... 13
The Style of John Williams............................................................................................................................................................. 14
Contrasts ................................................................................................................................................................................................. 15
Plot Differences ................................................................................................................................................................................ 15
Repetition ........................................................................................................................................................................................... 15
The Evolution of John Williams ...................................................................................................................................................... 16
Conclusion ............................................................................................................................................................................................... 17
Appendix A: In-Depth Score Analysis............................................................................................................................................... 18
Star Wars (1977) ............................................................................................................................................................................ 18
Jurassic Park (1993)........................................................................................................................................................................ 33
Appendix B: Basic Cue Sheets............................................................................................................................................................ 44
Star Wars (1997) ............................................................................................................................................................................ 44
Jurassic Park (1993)........................................................................................................................................................................ 46
Appendix C: Other Cue Sheets.......................................................................................................................................................... 48
Barbarella ......................................................................................................................................................................................... 48
The Fifth Element .............................................................................................................................................................................. 51
Total Recall........................................................................................................................................................................................ 55
Snowpiercer ...................................................................................................................................................................................... 60
Starship Troopers ............................................................................................................................................................................. 64
Metropolis Restored ........................................................................................................................................................................ 78
References .............................................................................................................................................................................................. 91
Abstract
This Humanities and Arts Seminar in Film Scoring followed the history of music and film, it

conception, construction, and application in films. The final paper for the seminar compares the film scoring

style of two movies, and was accompanied by a presentation that compared one scene from each movie.

The movies compared were Star Wars (1977) and Jurassic Park (1993).

Introduction
Film scores are an essential part of any movie. Often these soundtracks can make or break the

film, so it is crucial for any good movie to have an excellent score; therefore, a top-notch film composer is

an essential member of the team. One of the best film composers of all time is John Williams, a man who

has written scores for hundreds of films throughout his long and illustrious career. This report will analyze,

compare, and contrast two of his most popular scores: Star Wars and Jurassic Park.
John Williams

Background and Early Life

John Towner Williams was born on February 8, 1932, in Floral Park, New York. He was always
around music, as his father was a jazz percussionist in the CBS Radio Orchestra and the Raymond Scott
Quintet. In 1948, when John was in high school, his family moved to Los Angeles. After graduating, he went
on to study at the University of California, Los Angeles (UCLA), where he studied privately with the Italian
composer Mario Castelnuovo-Tedesco. Williams was drafted into the United States Air Force in 1952,
where he was assigned to arrange music for the United States Air Force band. After his service ended in
1955, he studied at The Julliard School in New York. While in New York, he played in clubs and on
recordings as a jazz pianist. After graduating, he moved back to Los Angeles, where he began playing as
a pianist for film studios, although having no film background whatsoever. In 1956, he began arranging
scores at Columbia Pictures, and then at 20th Century Fox.1,2

He came at a time when smaller pop and jazz orchestras were most prominent and popular, when
lovers of classic, Golden Age movie scoring feared that the glory days of film scores, like the ones found in
American classics like Lawrence of Arabia and Ben-Hur, were over for good. However, he ushered in a new
generation of music, straying from the pop bias that had taken over Hollywood and returning to the style
of the classics. This approach has let him become considered the greatest living composer, as well as the
best-paid composer, since the 1970s.3

Accomplishments

Ever since he began composing, he found success. Some of his greatest accomplishments come from
films directed by his friend, Steven Spielberg, who requested Williams to score all but one of his major
motion pictures.4 Some of Williamss best received scores include Star Wars and Jurassic Park, of course, as
well as Jaws, E.T.: The Extra-Terrestrial, Schindlers List, and several film series, like Indiana Jones and Harry
Potter.5

He has been nominated for 49 Academy Awards, winning 5; he holds the record for being the
most nominated living individual and the second most nominated of all time, behind Walt Disney. He has
also been nominated for 25 Golden Globe Awards, winning 4; 6 Emmy Awards, winning 3; 65 Grammy
Awards, winning 22; and has won 7 BAFTA Awards from the British Academy of Film and Television Arts.6
Style

There are not many people who can deny the influence John Williams has had on the film scoring
industry. His heavy and widespread use of leitmotifs engendered a rebirth of classical nineteenth-century
romanticism, characterized by grand, large-scale orchestral music.7 His most common and familiar style can
be considered neoromanticism, a musical movement that he was instrumental in orchestrating (puns
intended). To say that the style of John Williams is purely unique would be largely false; he has borrowed
much from earlier composers and styles. However, perhaps no single composer in history has engendered
so many memorable themes and stimulated so many audiences throughout his career.

His use of leitmotifs is perhaps the greatest characteristic of his writing style. From Jaws to Star
Wars to Jurassic Park, his themes are widely recognizable and are most often the deciding factor in the
films initial and lasting successes. He has also scored the most sequels in film scoring history, and expertly
weaves in original themes and leitmotifs from the original film into the subsequent films, while introducing
new themes to give each film its own unique flavor.4
Star Wars (1977)
Star Wars is considered by many to be one of the greatest movies of all time, and was the

facilitator in catapulting the Star Wars franchise to be the most successful of all time. There is no doubt that

the score for this space opera played a vital role in its lasting success. Star Wars tapped aspects of the

heroic western as much as the monster movie and the sci-fi spectacle, therefore providing a good example

of...the creative interaction of semantic and syntactic generic expressions, the former relating to a genres

broad subject-matter and the latter referring to its audio-visual language.3 Without John Williams, there

might not even be a Star Wars franchise, a dynasty that reinvigorated a space craze that lasted for years

after the movies releases. Nevertheless, Star Wars has rightfully earned its place among the greats, and is

the best-scored movie of all time.8

Plot Summary

OPENING CRAWL:

A long time ago, in a galaxy far, far away....

It is a period of civil war.


Rebel spaceships, striking
from a hidden base, have won
their first victory against
the evil Galactic Empire.

During the battle, rebel


spies managed to steal secret
plans to the Empire's
ultimate weapon, the DEATH
STAR, an armored space
station with enough power to
destroy an entire planet.

Pursued by the Empire's


sinister agents, Princess
Leia races home aboard her
starship, custodian of the
stolen plans that can save
her people and restore
freedom to the galaxy....
After ejecting from the Rebel spaceship, droids R2-D2 and C-3PO, carrying vital information, land

on the planet of Tatooine. After being captured and sold to the aunt and uncle of Luke Skywalker, R2-D2

plays a holographic message from the princess asking for the help of Obi-Wan Kenobi; Luke thinks she

might mean the old hermit Ben Kenobi. Luke meets Ben and learns that he is indeed Obi-Wan (in this

report, these names will be used interchangeably); Ben teaches Luke about his days as a Jedi Knight and

tells him about a powerful, omnipresent energy field called the Force. Luke learns that Obi-Wan fought

with his father, who was also a Jedi Knight, but was betrayed and murdered by Darth Vader, a pupil of

Obi-Wan who turned to the dark side of the Force.

After Imperial forces destroy Lukes house and kill his aunt and uncle, Luke joins Obi-Wan on his

mission to the planet of Alderaan, a main rebel base, and vows to learn the way of the Force. They join up

with Han Solo, a mercenary pilot, and his first mate, Chewbacca, so they can travel on their ship, the

Millennium Falcon, to Alderaan. However, when they arrive to the Alderaan location, they find that the

planet has been destroyed by orders of the evil Grand Moff Tarkin with the war fortress/weapon called

the Death Star. The tractor beam of the Death Star captures the Millennium Falcon, and the protagonists

figure out that Princess Leia has been captured and is held in the Death Star.

After some trickery and heroism by the protagonists, Princess Leia is saved and brought back to

the ship. However, Obi-Wan knows he must fight his former pupil, Darth Vader. They fight with weapons

called lightsabers, and when Obi-Wan sees Luke watching, he sacrifices himself and becomes more

powerful than you [Vader] can possibly imagine.9 Luke, Leia, Han, Chewbacca, and the droids escape in

the Millennium Falcon and travel to the planet of Yavin 4, where the Rebel Alliance discovers a single

weakness in the Death Star, thanks to the plans carried by R2-D2. They mobilize as the Death Star plans to

destroy the planet. With his expert flying skills, and a little help from Han Solo, Luke exploits the weakness

and destroys the Death Star, just after Darth Vader narrowly escapes. The movie ends with a victory

celebration and ceremony, with Princess Leia awarding Luke, Han, and Chewbacca for their heroism.
About the Score

John Williamss score of Star Wars is one of the most well known and is considered to be the

number-one greatest film score of all time, according to the American Film Institute.8 The director, George

Lucas, had originally wanted to have the soundtrack be comprised of popular classical symphonic works,

much like Stanley Kubrick found much success doing nine years earlier with 2001: A Space Odyssey, but his

friend Steven Spielberg, who had just enjoyed much success with the Williams-scored Jaws less than two

years earlier, convinced Lucas to hire Williams for his ability to write classically-inclined music for foreign

environments.10 Unknown to either director was the fact that Williams was in the infancy of his own

Golden Age, a time in which he would compose the most iconic film scores and become the most famous

film composer of the modern era.

It may seem elementary by post-2000 standards of film music composition, but the use of a

prominent title theme and the constant development several leitmotifs in 1977 was a refreshingly bold

move back to the Wagnerian influence of Hollywoods Golden Age. The existence of so many memorable

themes and their masterful placement throughout the film for individual characters and settings was a

somewhat novel concept at the time.10 In order to gain inspiration for some of these themes, Lucas

encouraged Williams to review a variety of classical works and movie scores, as he wanted the to ground

the otherwise strange and fantastic setting in well-known, audience-accessible music.11 Regardless of the

inspiration, the score to Star Wars ushered in a renaissance of grand symphonic scores and was

instrumental in the resurgence of a once-thought-dead masterful art form.

Leitmotifs and Themes

A major factor in the success of the Star Wars score is the incredibly prominent use of leitmotifs.

The Merriam-Webster Dictionary defines a leitmotif as an associated melodic phrase or figure that

accompanies the reappearance of an idea, person, or situation.12 These repeated themes are repeated

constantly throughout the movie, although some are more prominent than others. These motivic phrases can

be separated into to sections: primary themes and secondary themes.


There are three primary themes found in Star Wars. The first is a heroic and adventurous phrase

associated with the protagonist, Luke Skywalker. Lukes Theme also acts as the main theme, as it begins

each film during the opening crawl (the iconic scene containing a text description of the background of the

film, seen above in the Plot Summary section). John Williams describes this theme perfectly: When I

thought of a theme for Luke and his adventures, I composed a melody that reflected the brassy, bold,

masculine, and noble qualities I saw in the character.13 Lukes Theme is written in such a way that it can be

played ostentatiouslylike in the Main Title cueor subtlylike in The Moisture Farm cue, depending on

the mood of the scene. This theme contains a good amount of symbolism, especially with respect to heroism.

The opening fifth symbolizes reaching upward to a goal; the descending triplet represents gathering

strength for another try at attaining that goal; the triumphant lift to an octave above the opening note

signifies the attainment of the goal; the repetition of the last four notes provides a reassurance of

accomplishment; finally, resolving the phrase symbolizes a completed task.13 This theme is one of the most

recognizable of the entire movie, as well as arguably the most well-known motif in the history of film.

The second primary theme is a lush, romanticized theme associated with Princess Leia, and is

therefore known as Princess Leias Theme. It primarily represents her innocence, and is thus prominent in

scenes where she is acting on her own, in trouble, or particularly vulnerable. It is repeated several times

throughout the score, but perhaps most unusually at Bens death, as Ben is most associated with the third

major theme.

The third and final primary theme is the most vague and constantly developed theme not only

throughout this movie, but the entire Star Wars movie franchise also. It is most commonly referred to as the

Force Theme, but is also often called Bens Theme. For the sake of consistency, this report will refer to it

as the Force Theme. In the movie, it is most prominently found in the cue Binary Sunset. At various times,

this theme represents the character Obi-Wan Kenobi, the Jedi, and the Force. It also represents the dual

themes of fate and destiny, a crucially important premise in the film.

Along with these primary themes are several less-prominent themes throughout the film. These

themes might be found in only the original Star Wars movie, or they might be found in several or all of
them. The most prominent secondary theme is most likely the Rebel Fanfare, a short motif used to

represent the Rebel Alliance. It is found in all of the Star Wars movies, but is featured most prominently in

the original film, featured in this report. It is constructed out of closed-position chords moving in parallel

through intervals of a third, giving it a very heraldic feel.

Another minor motif in the film is titled the Death Star Motif. This powerful and ominous four-

chord brass-dominated phrase is heard whenever the Death Star comes into view or whenever its

manifestation is suggested; this motif casts a shroud of evil on the scene whenever it is expressed.

The Imperial Motif is another secondary theme used to represent the Galactic Empire. This might

get confused with the famous Darth Vader theme, the Imperial March, which was written later. It is

unclear as to who or what this motif refers, since there is a short, rarely used Darth Vader Motif heard in

the movie as well; the Imperial Motif is most likely meant to either represent one of the main antagonists,

Grand Moff Tarkin, or a general sense of militaristic evil in the film.

Another minor theme, the Jawa Theme, is used extensively at the beginning of the movie,

anytime the characters are on Tatooine and come into contact with Jawas. It is a sprightly and mischievous

tune, associated primarily with the oboe and English horn.

These catchy themes representing their unique characters are what have helped transform Star

Wars from a popular 70s space flick into the stuff of legends.
Jurassic Park (1993)

Plot Summary

John Hammond, the wealthy founder and CEO of the bioengineering company InGen, has bought

a volcanic island, Isla Nubar, and has bred female dinosaurs to live on it, by using DNA taken from blood

extracted from ancient mosquitoes trapped in amber. After one of the Velociraptors kills a worker while

moving it to its pen, investors of Jurassic Park, as Hammond calls it, become skeptical of the parks safety.

To quell their fears, Hammond brings in a paleontologist, Dr. Alan Grant, a paleobotanist, Dr. Ellie Sattler,

a chaotician, Dr. Ian Malcolm, and a lawyer, Donald Gennaro. After their initial shock of the awesome

power of the park, the guests, except for the lawyer who is driven by the potential profits, express

concern over the stability of the operation. Nevertheless, the group goes on an automated tour of the park

with Hammonds grandchildren, Lex and Tim Murphy.

The tour is initially uneventful, as some of the dinosaurs could not be seen. Grant, however, spots a

sick Triceratops in a field, and goes to check it out. After enjoying the presence of the dinosaur, the group,

minus Dr. Sattler who wants to help the park veterinarian cure the debilitated dino, returns to the tour after

hints of an incoming storm. The staff of Jurassic Park leaves the island, except for Hammond, the game

warden Robert Muldoon, and chief engineer Ray Arnold. During the storm, the parks computer

programmer, Dennis Nedry, shuts down the parks security systems so he can steal embryos for a

competing bioengineering company, BioSyn; he gets the embryos but during his escape, he is eaten by an

adolescent venom-spitting Dilophosaurus.

During the power outage, the dinosaurs break out of their paddocks. This leads to the

Tyrannosaurus rex to attack the tour group, eating Gennaro and injuring Malcolm; Alan, Lex, and Tim

narrowly escape, but become lost in the park. Sattler and Muldoon go out looking for survivors, but only

find Malcolm before the Tyrannosaurus rex returns. Hammond and Arnold fail to break onto Nedrys

computer, so they decide to reboot the whole system and head to an emergency bunker. Arnold goes to

the shed to reboot the system, but when he doesnt return, Dr. Sattler and Muldoon go to reboot it

themselves. They realize that the Velociraptors have escaped their paddock and Muldoon distracts them as
Sattler runs to the shed to turn on the power. She switches on the power, causing Tim in another part of the

park to get electrocuted, but he survives. The arm of Arnold falls on her shoulder and she faces a

Velociraptor, but escapes the shed alive; however, Muldoon soon after gets ambushed by a herd of

Velociraptors and gets eaten.

Meanwhile, Alan, Lex, and Tim wander through the park and find broken shells of dinosaur eggs,

coming to the conclusion that the dinosaurs are indeed breeding, meaning that some changed sex from

female to male. They finally meet up with Dr. Sattler and they make it back to the main building. The

children are left alone for a few minutes, while they try to escape from two Velociraptors in the kitchen.

They finally escape and retreat into the control room, where Lex turns back on the security systems, as

Grant and Sattler try to keep a Velociraptor from entering the room. They escape the room through the

ceiling and end up in the main entrance hall of the park, where they try to escape from the Velociraptor

duo. They get surrounded, but the Tyrannosaurus rex comes in and eats the raptors, as the protagonists

escape to a waiting Jeep in the front of the building. They go to the helicopter and the film ends with

Hammond, Grant, Sattler, Malcolm, and the kids escaping the island peacefully in the helicopter.

About the Score

The score from Jurassic Park arguably plays the most important role in making the film so

memorable. This was the twelfth film composer John Williams and director Steven Spielberg worked on

together, and was a tremendous success, although Spielberg was not around to hear the music in person,

as he was filming Schindlers List, another John Williams masterpiece, in Poland at the time. This was also

the first horror film Williams and Spielberg had worked on since Jaws was made in 1975. However, this

score does not set its focus on heavy, terror-inducing cues; it utilizes a softer, lighter feel, though Jaws-like

dread-engendering phrases come about every so often.14

John Williams uses a few themes in the film, but the score goes much deeper than just those themes.

He scored each major cue differently, providing a unique flavor and a distinctive identity to each piece

found in the movie; however, he retained a unity throughout the pieces, ensuring that they all felt like they

belonged together. Williams has not scored many films in this way, and none have had this separate-but-
together success in the same way that this movie does.15 Nevertheless, this score has for decades been

taking the audience to the memorable, magical world that can only be Jurassic Park.

Leitmotifs and Themes

There are two primary themes that can be found in Jurassic Park. The first one, which is the most

popular and also functions as the main theme is fittingly called Theme to Jurassic Park or Main Theme of

Jurassic Park. This themea sweeping, pastoral, elegant piece, conveying the beauty and majesty of the

recreated dinosaurs15is the one found most often throughout the score.

The second theme is called Journey to the Island, and is a noble fanfare paying tribute to the

wonderful spirit of discovery and adventure. John Williams describes this theme as an adventure theme,

high-spirited and brassy, thrilling and upbeat musically.16 Both of these major themes are used for the

scores more beautiful and tender moments, entrancing the listener in a major way. Williams intended for

these leitmotivic themes to represent the park in a broad sense, so they could be used in several different

places, and when orchestrated differently, could convey the beauty of what they were seeing at first.17

There is one secondary theme found in the movie, the Raptor Motif. Unlike the other two themes,

this four-note menacing phrase is used to evoke terror; he borrowed from what he had worked on with

Jaws to concoct this vividly fierce and ominous phrase. Williams commented on this short motif: I needed to

compose a much darker tone for many of the scenes, especially the rex...The music for the Tyrannosaurus

rex had to be absolutely frightening. I wanted to convey the feeling that two children would have if they

encountered such a beast. Very dark, very scary.17

It was through themes like these coupled with the composing brilliance of John Williams that

catapulted Jurassic Park out of the screen and into our hearts.
Comparisons

Plot Similarities

Star Wars and Jurassic Park are very different movies, plot-wise. With respect to the actual plot,

there is arguably no noticeable overlap, though they do both end with a very dramatic scene followed by

a short culminating epilogue. They do, however, have some slight overlap when it comes to the characters.

For example, they both have a large set of protagonists and a smaller group of antagonists. Likewise,

there is no one primary protagonist in either film. Similarly, there is no singular antagonist in either film.

Repetition

The use of themes and motifs throughout the films is very apparent and plays an important role in

each of the films. Both films use leitmotifs or leitmotivic themes to represent a character, place, or idea.

Since most of the major characters in Star Wars have a theme or motif, for example, whenever they play

a large role in a scene, the music reflects their influence by playing their respective theme. Similarly in

Jurassic Park, if the characters are going on an adventure or are in awe of the dinosaurs, the respective

theme plays. One way that the musical genius of John Williams is displayed is in the flexibility of his

themes. How any of the major themes are played determines the mood of the scene. For example, in Star

Wars, the Force Theme is played in scenarios where it can be interpreted as powerful, nostalgic,

empowering, or even sad at times. Likewise in Jurassic Park, the Main Theme is played majestically,

nostalgically, and peacefully, depending on what is required of the scene.

One minor theme that John Williams incorporates subtly into the film is the centuries-old Dies Irae

motif. Dies Irae means song of death, and has been around since the thirteenth century. It is most often

attributed to Thomas of Celano or another Franciscan monk around that time.18 However, some give credit

to St. Gregory the Great, who claims to have heard it from a dove coming from the voice of God in the

late sixth or early seventh century.19 Dozens, if not hundreds, of composers throughout history have used

the seventh-century motif, and it has stood the test of time by being the go-to motif for doom and death. It

is heard in many classical and orchestral works, and can also be found in movies ranging from Its a
Wonderful Life to Lord of the Rings to even The Lion King.19 This short theme is most notably found in Star

Wars in the Binary Sunset cue, but is sprinkled throughout the film. In Jurassic Park, it is featured most

noticeably in the High Wire Stunts/Flipping the Switches cue. In general, the repetition found in the

scores has eternalized these unique themes and catchy motifs.

The Style of John Williams

John Williams scored both Star Wars and Jurassic Park, which was the most significant deciding

factor in the movie choice for this report. Because the same composer wrote both scores, there are some

obvious similarities based on his style of writing. He loves to employ the use of leitmotifs and themes, as

made apparent in the previous section. He also likes to use a large orchestra, occasionally with strange

instruments or a chorus.

Throughout the years, John Williams has not changed very much both generally and stylistically.

He began his career as a good composer and soon became one of the greatest, and has kept his status as

the greatest living composer to this day. With respect to his style, it did not change very much; in most, if

not all, of his films, the score plays an important role and he has stepped forward, welcoming the

challenge and consistently excelling in his own way. In the constantly changing musical world, John Williams

has stayed true to his style, evolving but not to the point of overruling his inherent musical genius, and in

turn has remained in the hearts of all touched by his many melodic masterpieces.
Contrasts

Plot Differences

The plots for these two films have nearly no similarities, thus they are nearly completely different.

One major difference has to do with how the storylines are set up. Star Wars begins in the thick of battle

and does not have a lack of action for very long; it is very busy and intense right through the movie to the

end, which could also be partially attributed to its very intense score. Jurassic Park, on the other hand, has

one intense scene at the beginning, and then slows down considerably, slowly building up to the climax at

the end; most of the action finds itself towards the end of the film.

As far as the characters go, there is some considerable difference between the two movies. The

main characters in Star Wars can be broken up very easily into heroes and villains. Luke Skywalker, Obi-

Wan Kenobi, Han Solo, and Princess Leia are very obviously the good guys, while Darth Vader and

Grand Moff Tarkin are very discernibly the bad guys. The entire story concerns the fervent triumph of

good over evil. On the other hand, the characters in Jurassic Park cannot really be broken up into good

and evil; it just does not fit with the story. It is not so much a story about the good guys versus the bad

guys, but instead more about misguided, nave, or convoluted personalities. Dennis Nedry, considered the

primary human antagonist, was just greedy (as was Gennaro, the lawyer), while the Velociraptors were

just doing what is in their nature. Some would even argue that Hammond was a semi-antagonist due to his

nave and even ignorant execution of his plans, although his intentions were purely good. The protagonists

were heroes either; they basically just wanted to get off of the island alive and with all of their limbs. In

general, although some parallels can be found between the two films, Star Wars and Jurassic Park are

inherently quite dissimilar.

Repetition

Although both movies use several themes and motifs in the score, the way that these devices are

used differs in some ways. The most noticeable difference is in the way that these phrases are used. Star

Wars uses themes and leitmotifs more to represent characters or objects being shown or teased; Jurassic
Park, on the other hand, uses themes to convey a certain feeling about a place or situation. For example,

Star Wars has a principal theme or motif for many of the major characters (Luke, Leia, Ben, and even

minor themes for Darth Vader and the Jawas), most often played when a certain character is featured in

the scene or is implied to be present in a certain way. Dissimilarly, Jurassic Park has its two major themes

focusing on the experience and majesty of the park itself, and its other motifs (Raptor Motif and Dies Irae)

are used to evoke a general feeling of dread and ominous foreboding. Regardless of how it is used,

repetition in the scores has given unique characteristics to each of these unforgettable films.

The Evolution of John Williams

Throughout his years as a film composer, John Williams has naturally evolved and changed with

the times, though he has not changed very drastically whatsoever. He has obviously grown and become

more experienced with every score, reflecting his increasing experience in his masterfully composed scores;

however, this change is not very apparent, as some of his best-received scores, like Jaws and Star Wars,

came closer to the beginning of his career.

Listening closely to his scores as he progressed through the decades elucidates a slightly more

noticeable example of his evolution. In his earlier works, he used large, full orchestras to give a large,

grand sound. As he progressed, he more or less used the orchestra to the same extent, but he became

more open to using stranger instruments when needed. Also as synthetic sounds became more widely used,

he incorporated electronic music into his film scores more, though not much; he cannot even be compared to

other composers like Hans Zimmer who use electronic music for a majority of their film scoring compositions.
Conclusion
Throughout his career, there is no doubt that John Williams has changed the course of film scoring

history. From his early beginnings, he strove for greatness and achieved it, becoming the most awarded

and one of the best composers of the last century. Through his use of memorable themes and captivating

leitmotifs, he is able to connect with the audience on a most fundamental level.

One of his first major successes, Star Wars has captivated the world for generations. Through the

very prominent use of unmistakable leitmotifs, he engendered a melodic masterpiece and ushered in a new

age of flamboyant film music. With Jurassic Park sixteen years later, he again filled theaters and homes

across the world with his moving handiwork. This edge-of-your-seat thriller expertly blends the classic John

Williams style into a more modern-sounding score.

John Williams will go down in history as a legend in his own right, and there is no doubt that Star

Wars and Jurassic Park will be seen as two of his finest achievements. The unobtrusive aural assaults that

he incorporates into each film on which he works has captivated and inspired audiences for years, and will

hopefully continue to entrance and enthuse for as long as he possibly can. The man himself sums up his

passion beautifully: So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it's

gratifying to have something you have done linger in peoples memories.4


Appendix A: In-Depth Score Analysis
This section provides an in-depth look at each cue in each of the movies. It acts as a high-level

version of the Basic Cue Sheets found in Appendix B.

Star Wars (1977)

Cue #1: Main Title (Timing: 0:00:29-0:02:34)

The movie begins powerfully with a majestic brass fanfare. Trumpets and French horns, with the

timpani booming along with the harmony in the low brass, go into Lukes Theme. Strings are added at the

end of the phrase, leading into a string-based interlude, with French horns accompanying and the other

brass (predominantly trumpets) harmonizing. The brass and strings fall into a quick antiphonic transition of

sorts and Lukes theme comes back, with the French horns and violins taking the melody while the rest of the

brass and strings cover the harmony. Low brass, followed by a fast-moving string phrase, lead into another

interlude; the music slows down and gets less busy, seeming to calm down. A piccolo plays a quick melody

over a harp-based harmony, which takes a lot of tension out of the piece. Suddenly, the strings wildly

tremolo very quickly in a rising pattern with low brass piercing in the background, crescendoing to a blast

by the low brass as the planet comes into view. The brass then teases the Rebel Fanfare quickly, and then

goes into an accented phrase, adding the rest of the brass and strings over the thrice-repeated phrase, as

we see Princess Leias ship being attacked by an Imperial Cruiser. The low brass then take over with an

accented, pulsing pedal-note bass line, with the trumpets playing the Rebel Fanfare once again before a

long bass note, acting as a transition to the Imperial Attack cue.

This cue is very majestic and heroic, with the heraldic brass leading the way. From the very first

note of this now-iconic fanfare, the audience is prepared to go on an exhilarating adventure. This cue is

non-diegetic and is classified as motivic.


Cue #2: Imperial Attack (Timing: 0:02:34-0:08:59)

This cue begins with a rhythmic, pulsating bass line with the melody (the Rebel Fanfare) switching

between the French horns and the strings. The brass all come in with a fanfare of the Imperial Theme

briefly, then the bass line from the start of the cue takes over again, transitioning to a soft antiphon

between the flutes and the timpani. The strings come in wildly as the marimba and trumpets both punctuate

short notes and phrases into the frantic passage as the rebel soldiers battle the stormtroopers. The strings

and timpani then come in steadily as a bass line for the brass with the Rebel Fanfare, leading up to the

entrance of Darth Vader. After a quick blast of the Death Star Motif by the brass, it gets very quiet, with

only the low strings playing softly, with a militaristic percussion beat going steadily in the background.

Another brass fanfare plays, which leads into a quick hint of the Force Theme when the princess is giving

the data to R2-D2, the melody played by the French horns while the upper strings tremoloed a harmony

with the lower strings playing pizzicato lightly. This goes right into a quick taste of Princess Leias theme,

played by the trumpets. The strings then come in uneasily, as the French horn hints once more at the Force

Theme. The brass and strings then come in suddenly with a fast and intense, but relatively static, phrase,

signifying danger. It then goes into a less intense, but more uneasy, section as Darth Vader chokes a rebel

soldier; the strings and woodwinds play high notes as the brass glissandos up then down. The strings and

woodwinds then hold out a long trill, as they crescendo to a fanfare by the brass. It gets calm once again

as a flute repeats Princess Leias Theme, accompanied by French horns and a harp in the harmony. Strings,

woodwinds, and trumpets trade short melodic phrases in a way evoking mystery, until a big build up by

the strings and brass when C-3PO and R2-D2 launch out of the ship in an escape pod. Princess Leia is then

brought to Darth Vader, and just about all of the instruments in the orchestra have a chance to play his

theme, with the strings playing a simple four-note pattern in the background. It heads toward the end of

the cue very uneasily, with a series of dissonant chords played by various sections of the orchestra. It

finally comes to its big finale with an unresolved 4-note phrase of the Death Star Motif.
This cue brings a dark, militaristic tone to the movie. It introduces the Force Theme and Princess

Leias Theme, as well as a little bit of the Death Star Motif. This cue is non-diegetic and is classified as

motivic.

Cue #3: The Dune Sea of Tatooine (Timing: 0:10:28-0:11:21)

Woodwinds come in with strings, playing an eerie melody as C-3PO walks through the desolate

desert. The trumpets take over, and the strings take the melody last to end the short cue.

This cue uses woodwinds, strings, and brass to create a mysterious and unnerving mood as C-3PO

wanders alone. Parts of this cue have been heavily borrowed from Igor Stravinskys Rite of Spring.11 This

cue is non-diegetic and is classified as motivic.

Cue #4: Jawa Sandcrawler (Timing: 0:12:30-0:16:00)

The oboe and English horn interject randomly, as strings play pizzicato lightly in the background.

Eventually the oboe and English horn alternate with the melody, as low brass is added to the strings in the

background. The muted trumpet and tuba also take the melody as the cue progresses. The mood remains

light throughout the piece, until the very end when, after a crescendo of brass, the French horn comes in

with the Imperial Theme.

The light instrumentation in this cue conveys the childlike playfulness and mischievousness of the

Jawas. This cue is non-diegetic and is classified as motivic.

Cue #5: The Moisture Farm (Timing: 0:16:00-0:17:44)

The light and mischievous Jawa Theme returns in the beginning of this cue, first with the woodwinds,

then with the brass as the Jawas unpack the sandcrawler. The strings build up nicely, and when Luke

appears, Lukes Theme is played gently by the French horns and repeated by the woodwinds and strings.

This cue is a continuation of the Jawa Sandcrawler cue, so it maintained that playfulness for the

first part, but then it changed to a gently heroic section when Luke is introduced for the first time in the
movie. His theme was heard in the Main Title cue prior to this, but this is the first time he is actually seen.

This cue is non-diegetic and is classified as motivic.

Cue #6: The Hologram (Timing: 0:21:16-0:23:00)

The cue begins mysteriously with low strings, and then flutes come in and dance above a sustained

tremolo in the strings. This leads into Princess Leias theme, played by the oboe, then flute, then French horn,

then back to the oboe. It ends slightly unresolved and soft.

This cue is special, because it is the start of the main quest of the movie; through this intriguing

message, Luke is introduced to Leia, signified by her theme being played throughout the cue. This cue is

non-diegetic and is classified as motivic.

Cue #7: Binary Sunset (Timing: 0:25:11-0:27:22)

The cue starts with flutes playing Lukes theme, with the clarinet interjecting with a key change. The

Force Theme then accompanies Luke as he gazes off into the double sunset, displaying his longing to leave

Tatooine and live a more exciting life; it begins with a solo French horn, then transforms beautifully and

brilliantly into the full orchestra. Then, three themes end the cue: the flutes come in with the Rebel Fanfare,

a solo clarinet plays Lukes Theme, then finally the flute and horn both play the Force Theme, with chimes

and a celeste gently adding runs in the background.

This cue is one of the most beautiful in the entire movie. It expertly elucidates Lukes longing for a

better life through the beautiful execution of several themes already introduced in the movie. This cue is

non-diegetic and is classified as motivic.

Cue #8: Landspeeder Search (Timing: 0:27:55-0:28:20)

The cue begins with light, bouncing brass, which is joined by flutes playing Lukes Theme as the

vehicle moves across the landscape. It then gets darker with a trumpet fanfare as we see the Tusken

raiders. The cue is then filled with wildly percussive drums, including what sounds like tuned logs, slap sticks,

and steel plates.


This cue, beginning with a sense of mild adventure, ends up being a warning for future danger.

This cue is non-diegetic and is classified as motivic.

Cue #9: Attack of the Sandpeople (Timing: 0:28:37-0:30:39)

The cue starts with a blast of intensity with the brass and strings as R2-D2 senses danger, and then

gets curious and mysterious when Luke decides to check it out. When the sandpeople attack, percussion

begins to play wildly. It calms down with strings, woodwinds, and brass playing strangely after Luke is

captured. Then all of the instruments flourish quickly and intensely when Ben Kenobi appears. Not long

after, the French horn plays the Force Theme while the low strings play mysteriously and apprehensively

below.

During this cue, Obi-Wan Kenobi is introduced, although his theme (the Force Theme) has been

played several times in the movie so far. He is seen immediately as a familiar and friendly figure. This cue

is non-diegetic and is classified as motivic.

Cue #10: Tales of a Jedi Knight (Timing: 0:31:06-0:32:43)

This cue begins with strings, flutes, and a celeste in a mystical sense. Then, it transforms into a

gentle rendition of the Force Theme played by the English horn and cello, accompanied by strings in the

background. Muted trumpets and bongos ruin the magical feeling as the threat of sandpeople returns,

followed by bittersweet music played by French horns as the C-3PO is found and recovered.

In this cue, Ben reveals to Luke that he is Obi-Wan and gains interest in R2-D2s mission. The music

resolves from the frantic sandpeople attack and introduces the next cue. This cue is non-diegetic and is

classified as motivic.

Cue #11: Learn About the Force (Timing: 0:34:11-0:37:09)

A solo clarinet beings the cue by playing Darth Vaders theme over strings and woodwinds.

Descending flutes characterize the scene in which Ben talks about the fall of the Jedi Knights. As Ben

describes the force to Luke, the Force Theme is played optimistically by the French horns, accompanied by
a harp. As Princess Leias holographic message is played back for Obi-Wan, the oboe then the English

horn gently plays her theme over strings playing with tremolo beautifully, fading away beautifully with a

harp. Cellos then come in somberly, teasing the motif of Dies Irae, as Luke displays his reluctance to go to

Alderaan, followed powerfully followed by brass blaring the Death Star Motif as the Star Destroyer

approaches the Death Star.

In this cue, Obi-Wan shows Luke the force and gives him his fathers lightsaber, a crucial moment in

the movie; it is emphasized by the variety of music throughout the cue. This cue is non-diegetic and is

classified as motivic.

Cue #12: Burning Homestead (Timing: 0:39:07-0:41:39)

This cue begins with a sad solo trumpet and strings as Luke and Ben find the slain Jawas. The cellos

then play a faster phrase; strings are added, and trombones come in powerfully and ominously playing

the Force Theme. The strings and French horns build apprehensively to a percussive boom when Luke finds

the farm destroyed and his aunt and uncle killed. At this point, the trombones play the Dies Irae motif. The

cellos repeat the Force Theme, which builds to a brass blast of the Death Star Motif. The trombones play

the Imperial Motif, immediately followed by Princess Leias Theme as Darth Vader approaches Leias cell.

The winds and strings play harshly and ominously as the torture robot is brought out. A powerful, militaristic

timpani phrase ends the cue.

This cue introduces sorrow, anxiety, despair, and evil in a short period of time, expertly changing

the mood of the scene immediately. It also includes the Dies Irae, the song of death, to accompany the

scene of death that Luke sees. This cue is non-diegetic and is classified as motivic.

Cue #13: Mos Eisley Spaceport (Timing: 0:41:39-0:44:09)

The music continues from the last cue, with woodwinds building to an uneasy section, as Luke returns

to the attacked sandcrawler. The clarinet and English horn combine mournfully for a bit as Lukes loss is felt,

leading into a passionate French horn statement of the Force Theme as Luke vows to learn the ways of the

force. The bouncing horn again accompanies the landspeeder as they journey toward the spaceport,
culminating with a large brass fanfare as the spaceport comes into view. Percussion and piano are added

to the bouncing music of the landspeeder, leading to a quiet declaration of the Imperial Motif by the

woodwinds, which accompanies the groups encounter with stormtroopers. The flutes end the cue by briefly

stating the Force Theme.

This cue introduces a changed Luke, who is now focused on his new mission with Ben. This cue is non-

diegetic and is classified as motivic.

Cue #14: Cantina Band (Timing: 0:44:51-0:47:35)

This cue begins as Luke and Ben walk into the Mos Eisley Cantina, a bar filled with sketchy alien

creatures, as they look for a pilot. The upbeat jazz music provides a light atmosphere.

This cue is one of the most popular and one of the most fun cues in the entire movie. Cantina Band

and Cantina Band #2 are the only pieces of diegetic music in the entire movie. The first Cantina Band has

a faster tempo and is the more popular version of the two cues. The small, nine-musician jazz band for

both cues consists of a trumpet, a saxophone, a clarinet, a Fender Rhodes piano, a steel drum, a

synthesizer, and a few percussion instruments, including a tambourine and a drum kit, among others.20 This

cue is diegetic and can be classified as a song.

Cue #15: Cantina Band #2 (Timing: 0:47:41-0:51:14)

This cue begins as a continuation of Cantina Band, although they are different songs. Ben and Luke

follow Chewbacca to pilot Han Solo, who agrees to take them to Tatooine, for a sizable sum. The music

continues to be very light and upbeat, as in the first of the two cues.

The idea for the Cantina Band cues came from George Lucas, who challenged John Williams, who

originally wrote jazz music: Can you imagine several creatures in a future century finding some 1930s

Benny Goodman swing band music in a time capsule or under a rock someplaceand how they might

attempt to interpret it? To give the instruments a more alien quality, the music was filtered so the bottom

end of the sound was clipped, the lower end was attenuated, and a reverb was added to thin the

instruments out.21 This cue is diegetic and can be classified as a song.


Cue #16: The Millennium Falcon (Timing: 0:51:43-0:54:56)

The cue features the woodwinds, prominently the lower woodwinds: bass clarinet and contra-

bassoon. Overall, the mood is relatively light and relaxed when showing Ben and Luke, and ominous and

foreboding when showing stormtroopers or an Imperial alien spy. Woodwinds play Lukes Theme lightly

twice during the cue. When the Imperial alien spy shows up, trombones play apprehensively with a sense

of mystery and danger.

Although this cue is largely nonviolent and calm, certain choice phrases give a sense of foreboding

and provide somewhat of an introduction for the next cue. This cue is non-diegetic and is characterized as

motivic.

Cue #17: Imperial Cruiser Pursuit (Timing: 0:55:00-0:57:21)

This cue begins with the brass playing the Darth Vader Motif as the stormtroopers start shooting at

Han Solo and the Millennium Falcon. The strings and brass soon playing franticly as the French horns begin

playing the Force Theme. The strings then take over the Force Theme with the trumpets coming in often. The

low brass plays four-note rising harmonies ominously. The intensity increases, with the strings and brass

making fast, dark runs, as the Imperial cruisers chase them. It comes to a big blast when they make it into

hyperspace. The scene then cuts to the Death Star, and is fittingly followed by a powerful brass fanfare of

the Death Star Motif.

This scene focuses mainly on Han Solos heroic escape, but the Force Theme is prominent, marking

the Jedis return after the many years they were in isolation.22 This cue is non-diegetic and is characterized

as motivic.

Cue #18: Destruction of Alderaan (Timing: 0:58:12-0:59:35)

The winds begin the cue threateningly, and then are taken over by the brass and strings. The music

increases in intensity and volume and comes to an evil-sounding climax when the planet of Alderaan is

destroyed. After the destruction of the planet, the cue gets sullen and quieter, until it fades out.
This scene demonstrates the awesome but evil and uncontrollable power of the Death Star. After

the introduction of this terrible weapon, the rest of the film focuses on destroying it. This cue is non-diegetic

and is characterized as through composed.

Cue #19: The Death Star (Timing: 1:04:29-1:06:11)

The cue begins with dissonant brass chords, evoking the same desperation as what is found in the

Destruction of Alderaan cue. The strings double the brass for a bit, until the brass majestically plays the

Rebel Fanfare. It ends with pulsing brass, strings, and percussion, and then dies down to a single held flute

note.

This cue demonstrates the bad situation the protagonists have literally gotten dragged into. The

exclamation of the Rebel Fanfare at the end of the cue is a bit of a surprise, as the Imperial Motif or the

Death Star Motif might have fit more with the scene; but because it was the Rebel Fanfare, it reinforces the

hope that the protagonists can figure out a plan. This cue is non-diegetic and is characterized as motivic.

Cue #20: The Stormtroopers (Timing: 1:07:16-1:09:07)

The cue begins with the Force Theme being stated by the English horn and bassoon as the

protagonists emerge from the hidden compartments. Then, muted trumpets and flutes play the Imperial

Motif. A crash of percussion denotes the overpowering of two stormtroopers. The Imperial Motif plays once

again as two more stormtroopers investigate; they are also overpowered. Strings and woodwinds play

softly as Luke and the others, disguised as stormtroopers, escape the ship. Then, a blast of brass and

percussion denote the overpowering of the stormtroopers in the control room. Lukes theme is quickly

played by clarinets and flutes, and then partially echoed by the strings, which hold a note until it fades

out.

This scene uses the score cleverly to denote the heroes attacking the stormtroopers, subtly using a

technique commonly known as Mickey-Mousing. This technique occurs when the physical action that takes

place onscreen has an accompanying music sound to help reinforce that action.23 This cue is non-diegetic

and is characterized as through composed.


Cue #21: Wookiee Prisoner (Timing: 1:12:33-1:14:34)

This cue begins lightly with woodwinds and pizzicato strings. Occasionally brass, play repeated

low notes as the strings play softly. The timpani and other percussion enter, with the piano interrupting with

short, punchy chords as Luke, Han, and Chewbacca move through the halls of the Death Star. In another

part of the ship, Obi-Wan goes to turn off the tractor beam, but Darth Vader senses his presence through

the force, scored with low woodwinds. The woodwinds repeat Lukes Theme softly right before they get to

the detention block. It ends by crescendoing then cutting off abruptly, leading into the next cue.

This cue reinforces the clever and sneaky behavior of the protagonists in the scene by playing

lightly. However, the music still retains some of the potential danger that this kind of behavior could lead

to, especially in the Death Star. This cue is non-diegetic and is characterized as through composed.

Cue #22: Detention Block Ambush (Timing: 1:14:34-1:16:24)

This cue begins by building off of the end of the last cue, with intense blaring trumpets over frantic

strings. The brass plays a majestic and heroic version of Lukes Theme during the shootout. It then becomes

calmer once the shooting stops, with low strings and timpani playing softly. When Luke goes to get the

princess, the Rebel Fanfare is played by the brass, followed by the flutes playing Leias Theme, followed

by the trumpets and French horns switch off playing Lukes theme, fading out.

This is the most intense cue that has been heard in a little while, which emphasizes the crazy fight

scene. It introduces this kind of frantic scene that will be prominent for the rest of the movie. This cue is non-

diegetic and is characterized as motivic.

Cue #23: Shootout in the Cellbay (Timing: 1:17:09-1:19:10)

This cue begins apprehensively, but only for a short time; it soon crescendos into an intense fight

scene as Luke, Han, and Leia shoot at the stormtroopers attacking them. This cue is characterized by the

passing of phrases or themes from one set of instruments to another. This is most prominent in passing the

Rebel Fanfare from a trumpet-oboe mixed melody to the French horns. As the cue begins to end, the
trumpets and French horns trade off the Imperial Motif. To end the cue, the orchestra plays powerfully

together in a series of descending chords.

This cue fits very well with the scene, as in the music demonstrates what is happening very well. The

trading of the melody to and from different instruments represents the protagonists exchanging fire with

the stormtroopers, while the ending descending chords signify the heroes descending into the garbage

compactor. This cue is non-diegetic and is characterized as motivic.

Cue #24: The Trash Compactor (Timing: 1:21:31-1:24:36)

The cue begins with the playing of the Imperial Motif by the trumpets, with low brass playing in

almost a lethargic marching pattern below. Strings play eerily with long, held notes as the woodwinds play

short ominous figures above the trombones and low brass, which continues with the constant ominous two-

note pattern. This continues while the music gets louder as the trash compactor turns on and begins

squishing everything. It culminates almost anticlimactically as they are saved by the droids; the music just

fades out.

This scene represents the Empires desire to literally crush the rebellion. The cue adds to this

relentless desire, which increases but ends disappointingly for the antagonists. This cue is non-diegetic and

is characterized as motivic.

Cue #25: Tractor Beam/Chasm Crossfire (Timing: 1:25:01-1:30:12)

The cue begins with Obi-Wan creeping around trying to turn off the tractor beam that holds the

Millennium Falcon in the Death Star, characterized by strings and woodwinds playing eerily and

uncertainly, accompanied by some drums, including a military snare, and a marimba. Some winds and

French horns come in during the part of the scene where Luke, Han, Leia, and Chewbacca emerge from the

trash compactor. The brass plays Lukes Theme, which is followed by anxious strings and woodwinds as

they are discovered and chased by stormtroopers. The orchestra plays uncertainly, and then the brass

comes in strongly playing Lukes Theme again as Luke and Leia fight off stormtroopers. The French horns

play Leias Theme quickly and the pulsating rhythm continues as they swing across the gap. It relaxes
briefly, and then intensifies again with the Imperial Motif as Han and Chewbacca are chased by

stormtroopers; it resolves as they escape. Timpani are featured as Obi-Wan meets Darth Vader for a

battle.

This scene returns to the intensity found in the Shootout in the Cellbay cue, as the heroes are being

chased. The end of the cue prepares the audience for an intense destiny-defining fight scene, although

most of the ensuing fight is unscored, until the next cue begins. This cue is non-diegetic and is characterized

as motivic.

Cue #26: Bens Death (Timing: 1:32:21-1:34:34)

This cue begins with a solo French horn playing the Force Theme as Obi-Wan looks to Luke, and

then smiles before surrendering to Darth Vader. The scene intensifies with strings, accompanied by the rest

of the orchestra, playing Leias Theme. The trumpets then majestically state the Rebel Fanfare a few times

as the Millennium Falcon takes off. A nostalgic and somber rendition of the Force Theme follows, played by

the oboe and the flute, and then the French horn. The music then becomes lighter and slightly more intense

as they prepare for a battle with the Imperial fighters; strings and woodwinds build up to the next cue,

while pizzicato-playing strings accompany them.

This scene is one of the most moving in the entire film, thanks to the masterful cue that accompanies

it. Obi-Wan has one last salute before his death with the statement of the Force Theme. Then Leias Theme

comes in, which may seem like an odd choice, but it perhaps reinforces the connection between the two,

going way back to the hologram at the beginning of the movie that catalyzed the entire plot. The Rebel

Fanfare when they escape the Death Star reinforces the hope found in The Death Star cue. The Force

Theme played at the end highlights the sadness Luke feels now that Obi-Wan is gone. Finally, the end of

the cue prepares the audience for the next cue. This cue is non-diegetic and is characterized as motivic.
Cue #27: TIE Fighter Attack (Timing: 1:34:34-1:36:06)

This cue begins with brass blasting heroically. The Rebel Fanfare comes in many times. The strings

keep a steady pulse in the background, although for most of the cue, they cannot be heard. There are

descending five-note phrases throughout the cue. It ends with a dramatic blast of the Death Star Motif.

This cue fits with the action in the scene perfectly; there could be no better cue for this scene. The

Death Star Motif at the end of the cue is there to foreshadow the last final battle, signifying that just

because they escaped, the war is not yet won. This cue is non-diegetic and is characterized as motivic.

Cue #28: The Battle of Yavin (Timing: 1:45:04-1:57:43)

This cue begins with melodic strings. It then transitions to very militaristic brass and percussion,

including a rigid snare drum pulse. The music crescendos with a loud blast of the Death Star Motif,

followed by strings and brass building up to the battle. The trumpets and the other brass cut in with an

extended fanfare of the Force Theme. It transitions into a section in which strings play a fast-paced and

exciting harmony, with the trumpets blasting the Force theme above. The trombones and woodwinds play

Darth Vaders Motif briefly. The brass then builds up as the fighters keep flying and preparing to attack.

The orchestra keeps playing intensely and quickly. Then, the Imperial Theme makes another appearance

with a brilliant brass fanfare, which is followed by a brass fanfare of the Force Theme. There is one long-

held note, with some members of the orchestra thinking about coming in. Then the intensity returns and the

tension in the orchestra builds frantically for a few minutes of the cue while the fighting intensifies. The

brass comes in with Lukes Theme as Luke evades Darth Vader in the trench. Out of nowhere, the Force

Theme plays with woodwinds and strings coming in softly as the voice of Obi-Wan tells Luke to turn off his

computer and just use the force. The strings and brass build up heroically, with French horns and then

trumpets playing Lukes Theme as the chase ensues. A timpani solo introduces Lukes Theme played in a

minor key by the strings. Intensely pulsating hits primary from the brass play as Han Solo swoops in with

the Millennium Falcon, shooting the fighters and Darth Vader out of the trench, allowing Luke to get the

shot off. It increases in intensity until a large blast from the timpani hits, symbolizing the explosion of the

Death Star. It is very quiet and light afterwards as flute and bells play, representing the little fragments of
the Death Star flying all over the place. The victory is scored majestically with the strings and brass

playing the Rebel Fanfare, until the music happily and lightly fades out.

This scene is packed with action and is the big action scene that outdoes every other action scene

thus far in the movie; the corresponding cue encompasses that magnificently, with various themes played in

a variety of ways, depending on the intended mood. However, the scene ends lightly, thus requiring Mr.

Williams to add another scene to end with a majestic flourish, found in the next cue. This cue is non-diegetic

and is characterized as motivic.

Cue #29: The Throne Room (Timing: 1:58:29-2:00:15)

This cue begins with a brass fanfare, which transforms into a majestic rendition of the Force Theme

as the ceremony starts. The strings take over, relieving the audience from the heraldic trumpets and brass

while introducing a new melody. The brass soon returns, however, with the French horns coming in with

Lukes Theme. The new melody is reintroduced, until finally the trumpets lead the orchestra to a

flamboyantly majestic regal resolution.

This majestic epilogue allows for the score to end victoriously and as heroically as possible. We

get to see our (surviving) protagonists all together for one final ostentatious fanfare, ending the movie with

a grandiose blast of orchestral enthusiasm. This cue is non-diegetic and is characterized as motivic.

Cue #30: End Credits (Timing: 2:00:15-2:04:44)

This cue is a continuation of The Throne Room cue. It begins with the brass stating Lukes Theme,

and then transitioning to the Rebel Fanfare. The French horns with the rest of the orchestra reinstate Lukes

Theme in full. The strings beautifully singing Leias Theme, accompanied by harmonic flutes and woodwinds,

then follow. The music swells and Lukes Theme comes back in, lead by the blaring trumpets. A trumpet

fanfare plays the Rebel Fanfare, which is then echoed by the strings. The entire orchestra comes in for a

final perfectly constructed grand finale.

This final cue allows for the many different themes found throughout the movie to be showcased

without the need for fanfarish exuberance (although there is no lack of this heraldry by any means), as
found in The Throne Room cue. The music tells a story throughout the credits, and ends the movie flawlessly.

This cue is non-diegetic and is characterized as motivic.


Jurassic Park (1993)

Cue #1: Opening Theme (Timing: 0:00:28-0:01:01)

This cue begins with a short pizzicato string hit followed by a crescendoing choral note. This

repeats a few times. An ominous-sounding flute comes in towards the end of the cue, which just fades out.

This is a very ominous and dark way to start off the film, which really sets the horror mood that the

film dives right into in the next cue. The dynamic choral note gives a religioso feel to the film right away.

This cue is non-diegetic and is characterized as motivic.

Cue #2: Incident at Isla Nubar (Timing: 0:01:16-0:03:37)

The cue begins with a repeating bass note and strange percussion. Low brass comes in with a soft

melody, which ends with a long-held note. Soon, strings begin interjecting with short, fast up-and-down

runs, with the percussive sound of a chain hitting every time one of the runs ends. A chorus comes in with a

few ominous-sounding. The brass increases in intensity to a majestic trumpet melody that quickly turns into a

frantic woodwind section, punctuated by trumpets and other brass. The scene increases in intensity and

speed as the Velociraptor attacks the gatekeeper, until it finally resolves with a held bass note.

This scene introduces dinosaurs to the movie, but since it attacks and kills a worker, it does not give

a good first impression as a friendly creature, and the music highlights that. This cue is non-diegetic and is

characterized as through composed.

Cue #3: Que Lindo Eres (Timing: 0:05:05-0:06:14)

This cue begins with mysterious brass, strings, and choral voices coming in calmly. The strings take a

melody, and then are taken over by the woodwinds briefly. When Dr. Grant stands up, there is a flourish,

and the music fades out.

This short motif brings another mysterious religioso feel to the movie as the mine person examines

the amber and we are introduced to Dr. Grant and Dr. Sattler. This cue is non-diegetic and is

characterized as through composed.


Cue #4: Journey to the Island (Timing: 0:15:21-0:24:07)

This cue begins with a flourish by the strings and woodwinds, as the strings take a melody,

accentuated lightly by woodwinds, brass, and a harp. This is when the Journey to the Island Theme is

introduced. As they come in view of the island, the strings provide a solid harmony to the trumpets majestic

melody. The strings and woodwinds provide interludes as they start to land. The trumpets and French horns

come in with another statement of the theme as they land. The strings and brass build up to yet another

exposition of the theme as they step out of the helicopter. Once they are in the Jeeps going to the main

building, the music gets lighter, with woodwinds and pizzicato-playing strings carrying the melody through

the dialogue. The music dies down, then builds up slowly with French horns and strings as the passengers

see dinosaurs for the first time. When the Brachiosaurus comes on the screen, strings and brass take the

lead playing the Main Theme. The light trek music returns, slightly more intensely than the first time, as they

journey to the main building. The strings come in with the Main Theme softly in the background,

accompanied by flutes interjecting with short phrases. The cue ends with a low ominous phrase, played by

the low brass and the low strings.

This scene introduces the majesty of Jurassic Park to the audience in one fell swoop. The cue begins

lightly as they travel to the island, and then becomes grand and majestic as the visitors see the island for

the first time. The trek music as the guests are en route to the dinosaurs acts as a light interlude before the

majesty and magnificence returns when the guests are blown away by the reality of the dinosaurs. The

ominous tone at the end of the cue, however, suggests that the dinosaurs might seem too good to be true,

and might cause trouble later. Both major themes are introduced in this cue, which acts as a grand welcome

to Jurassic Park. This cue is non-diegetic and is characterized as motivic.

Cue #5: Hatching Baby Raptor (Timing: 0:28:33-0:31:45)

This cue begins with woodwinds and strings playing lightly in the background as the guests see the

dinosaur eggs. An ethereal chorus with an accompanying piano countermelody comes in as the little

dinosaur is being born. Strings come in with woodwinds for a spell, then the choral melody returns as they
admire the dinosaur. It dies down for a bit while Dr. Malcolm talks, then comes back in with woodwinds

and strings ominously as Dr. Grant finds out that the baby dinosaur is a Velociraptor.

This cue starts off light and almost magically, as they witness a baby dinosaur coming into the

world. However, after Dr. Malcolms speech saying that life finds a way and after Dr. Grant realizes

that they bred raptors, the cue becomes ominous, suggesting that something bad will come from the

raptors and that life will indeed find a way. This cue is non-diegetic and is characterized as through

composed.

Cue #6: Loading Area (Timing: 0:39:11-0:40:34)

This cue begins lightly and playfully with strings and woodwinds as Dr. Grant meets the kids

before they go on the tour. The woodwinds play the Main Theme lightly. The end of the cue allows the

strings to resolve nicely.

This scene is playful and some light comic relief before the movie takes a turn for the worse. We

meet the grandkids of Hammond, who seem to be bounding with energy, making this trip turn into a chore

for Dr. Grant. This cue is non-diegetic and is characterized as through composed.

Cue #7: Jurassic Park Gate (Timing: 0:41:02-0:42:57)

This cue begins apprehensively as the tour starts. It soon returns to the light trek music as the

automated Jeeps take off. As they go through the large gate, the French horns play the Main Theme, which

is then echoed by the trumpets, as they begin their adventure. The music continues softly and slightly

ominously in the background with strings and woodwinds as the announcer talks about the Dilophosaurus.

This scene introduces the adventure and mystery that Jurassic Park holds. It also hints at the

dangers of the dinosaurs, as eerie music plays when the narrator talks about the Dilophosaurus; this also

acts as a foreshadowing to Nedrys death by Dilophosaurus later in the film. This cue is non-diegetic and is

characterized as through composed.


Cue #8: Sick Triceratops (Timing: 0:50:02-0:51:55)

This cue begins with French horns and strings playing a soft, beautiful melody as the group meets

the sick Triceratops. The flowing melody continues throughout the scene until the end when Dr. Sattler

searches for the cause of the sickness.

This scene is the perfect exposition of what paleontologists would feel when they finally stood eye-

to-eye with what they have dedicated their lives to studying. The cue highlights this magical experience

brilliantly, with a free-flowing melody. Unfortunately, this magic will wear off pretty quickly once they

meet the less disabled and more vicious dinosaurs. This cue is non-diegetic and is characterized as motivic.

Cue #9: A Storms A-Brewin (Timing: 0:53:34-0:54:50)

This cue begins with dissonant brass chords and ominously held notes in the strings as Nedry

prepares to execute his program. As the group catches wind of the approaching storm, the strings and

woodwinds play an ominous melody apprehensively. The dissonant chords return when the scene cuts back

to Nedry, culminating with the low brass and strings holding an evil-sounding chord.

This scene primes the audience for the catastrophe that is about to unwind, the coming storm. This

cue is non-diegetic and is characterized as motivic.

Cue #10: Dennis Steals the Embryos (Timing: 0:55:35-1:00:30)

This cue begins with repeated held synthesizer notes with strings dancing softly above. Dissonant

horns join in as the strings add a dark melody to the already ominous-sounding cue. This melody intensifies

and woodwinds play as Nedry opens the embryo holding cells. The eerie music continues as flutes come in

with sharp, airy notes, adding another layer of terror. The synthesizer goes on some short runs toward the

end of the cue. The cue ends with an ominous brass note.

In this scene, Nedry sets everybody up for a bad time by shutting off the security systems and

exhibit fences so that he can make his great escape. This cue provides the creepy mood for this scene to
take place. However, the scoring is unlike any other cue in the rest of the movie, as John Williams relies

heavily on the synthesizer. This cue is non-diegetic and is characterized as motivic.

Cue #11: Find the Grandchildren (Timing: 1:09:52-1:11:03)

This cue begins with French horns and strings playing ominously as the people in the control room

realize what Nedry has done. The melody gets more intense when Muldoon and Dr. Sattler agree to go

out and save the people stuck on the tour. The brass comes in with woodwinds when Nedry crashes his

Jeep to end the cue.

This scene begins the general panic of the control room people, after they realize what has

happened (the people on the tour have already panicked when they met the Tyrannosaurus rex). The cue

is dark and ominous to portray this general feeling of dread. This cue is non-diegetic and is characterized

as motivic.

Cue #12: Out of the Tree, Into the Car / Search Party (Timing: 1:17:32-1:20:07)

This cue begins with brass punctuating the wild tremoloing strings and the intense trumpet phrases.

The orchestra plays a cascading arpeggio until the end of the cue, when the orchestra plays one final

crescendoing note. This cue continues as Dr. Sattler and Muldoon search for Alan and the kids; the chimes

accompanying the strings, which are playing a faster variation of the traditional Dies Irae motif,

characterize this scene. After rescuing Dr. Malcolm, the Dies Irae motif is picked up by the low woodwinds,

punctuated by brass and pizzicato-playing strings. This cue ends with a low dissonant chord.

The frantic orchestration at the start of the cue mirrors the life-or-death scramble down the tree,

while the prominent cascade symbolizes the falling car. The Dies Irae motif in the second half of the scene

shows the panic of the search party, as well as highlights the death of Gennaro. This cue is non-diegetic

and is characterized as motivic.


Cue #13: Must Go Faster (Timing: 1:20:07-1:21:38)

This cue begins with low woodwinds playing fast, steady runs as Dr. Malcolm feels the impact

tremors coming from the Tyrannosaurus rex. The low brass plays a strong note as the woodwinds, strings,

and brass play wildly as the large predator chases the car. The music fades out, drowned out by the hum

of the Jeep.

This short cue represents the frantic, panicked mood of the characters as they narrowly escape

outrunning the Tyrannosaurus rex. This cue is non-diegetic and is characterized as through-composed.

Cue #14: A Tree for My Bed (Timing: 1:23:32-1:25:39)

This cue begins gently with a celeste playing a calm melody; this transforms into the Main Theme,

with strings and woodwinds coming in with the harmony. As the scene changes to the main building, the

clarinet takes the melody, with the other woodwinds and the strings as a harmony. The celeste comes in at

the end to play a brief ending phrase.

This scene shows the tenderness of Dr. Grant and begins to reminisce about what the park could

have been, a topic covered more thoroughly in the following cue. The celeste, an often-overlooked

instrument, gives the scene a very light and gentle feel. This cue is non-diegetic and is characterized as

motivic.

Cue #15: Remembering Petticoat Lane (Timing: 1:26:01-1:28:31)

This cue begins with strings quietly adding a harmony to a gentle xylophone melody. As Hammond

and Dr. Sattler continue talking, the woodwinds are added to the strings. The xylophone comes back in at

the end, to finish the cue.

This music box cue is very nostalgic and also quite sad. Hammond explains his good intentions,

while maintaining his navet, while Dr. Sattler explains to him that the park holds too much power. The

music keeps the scene light, continuing the break in the frantic survival situations. This cue is non-diegetic

and is characterized as motivic.


Cue #16: Waking Up with a Dinosaur (Timing: 1:28:31-1:30:12)

This cue begins right where the last left off, beginning with a French horn solo over strings and

woodwinds. A clarinet takes over the melody, with the strings, other woodwinds, and harps playing as well.

The strings conclude the cue with a gentle resolution.

This scene is very sweet, and the cue reflects that pleasant, light mood with woodwinds and strings.

This cue is non-diegetic and is characterized as through composed.

Cue #17: Life Finds a Way (Timing: 1:30:27-1:31:37)

This cue begins with low brass and an otherworldly-sounding chorus. Some woodwinds come in

apprehensively and play somewhat eerily as Dr. Grant talks about how the dinosaurs have started

breeding. As the tracks of the baby dinosaurs are shown, brass comes in, and the whole orchestra quietly

resolves nicely.

This scene reinforces Dr. Malcolms belief that life finds away. Although it adds little to the story,

the cue does add some uneasy feelings to the scene. This cue is non-diegetic and is characterized as

through composed.

Cue #18: System Reboot (Timing: 1:33:29-1:34:14)

This cue begins with anxious-sounding strings, brass, and woodwinds playing softly in the

background. The cue fades out when the scene changes back to Dr. Grant.

This short cue introduces even more uneasiness to the already compounding nervousness in the

movie at this point. This cue is non-diegetic and is characterized as through composed.

Cue #19: Going to the Power Shed (Timing: 1:35:58-1:39:20)

The cue begins with dissonant strings, low woodwinds, and brass. The brass continues building up

as Dr. Sattler volunteers to turn the power on herself. Woodwinds and percussion come in decisively when

Muldoon agrees to accompany her. The brass section plays the Main Theme above strings in the

background, as they get ready. When they go outside, the strings build up and then play dissonant chords
when they see that the raptors have gotten out. Woodwinds, strings, and percussion play uneasily as they

travel closer to the shed. Woodwinds play more intensely when Muldoon says that they are being hunted

by the raptors. When Dr. Sattler starts to run, the woodwinds, strings, and brass play wildly until the end

of the cue when she makes it into the shed safely.

This scene begins the sacrifice that Dr. Sattler and Muldoon make to turn the power back on. The

music remains anxious, as do the characters, for most of the scene, but then the music gets ferociously

frantic as Dr. Sattler makes the run to safety. This cue is non-diegetic and is characterized as through

composed.

Cue #20: High-Wire Stunts/Flipping the Switches (Timing: 1:40:48-1:44:48)

This cue begins with low woodwinds playing ominously as Dr. Sattler begins her journey through

the shed and as Dr. Grant and the kids come to the perimeter fence. As Alan and the kids hear the

Tyrannosaurus in the distance, the brass comes in, intensifying to a climax, when the scene goes back to Dr.

Sattler. Woodwinds and strings play softly and ominously as she makes her way through the shed. The

woodwinds play a variation of the Dies Irae motif as she follows the pipes and as Dr. Grant and the kids

make their way up the fence. The brass and strings come in as Dr. Sattler opens the power box and as Dr.

Grant and the kids reach the top of the fence. Woodwinds play short descending phrases. The orchestra

continues to intensify as Dr. Sattler turns on the power to the different sections of the park while Tim is stuck

on the soon-to-be-electrified fence. It climaxes with a brass blast as Dr. Sattler turns on the power to the

perimeter fence and shocks Tim off of it. The strings and woodwinds become frantic then calm slightly, and

then the brass is added and the entire orchestra gets very frantic as a Velociraptor attacks Dr. Sattler. It

climaxes again with a brass blast when Mr. Arnolds arm rests on Dr. Sattlers shoulder. It soon re-intensifies

with trumpets playing short, powerful blasts and woodwinds playing feverishly as Dr. Sattler tries to

escape the Velociraptors attack. The cue ends abruptly when she leaves the shed and slams the door.

This cue is a very frantic one. The scene switches back and forth from Dr. Sattler turning on the

power to Dr. Grant trying to get him and the kids over the perimeter fence. The Dies Irae motif just adds to
the overall sense of doom. In general, this scene and this cue are both very frantic in nature, the cue

escalating the franticness of the scene. This cue is non-diegetic and is characterized as motivic.

Cue #21: Back in Business...Almost (Timing: 1:44:48-1:45:49)

This cue begins with brass and woodwinds occasionally introducing short phrases to the scene. The

strings come in and their pitches are altered, presenting a terrifying sound. When Muldoon spots the

Velociraptor next to him, the trombones play the Raptor Motif to end the scene.

This scene sees the end of Muldoon. The cue begins sneakily, but ends up getting much more

intense during the raptor attack. This cue is non-diegetic and is characterized as through composed.

Cue #22: Raptors in the Kitchen (Timing: 1:48:52-1:57:17)

This cue begins with a dissonant chorus and strings as the Velociraptors enter the kitchen; low brass

comes in soon after. The strings begin to tremolo and low brass blares short, accented notes. However, that

soon dissipates and strings play softly but ominously in the background. Throughout the scene, whenever

the Velociraptors hear a noise or something happens, the strings, brass, and woodwinds intensify quickly,

often playing the Raptor Motif, and then dissipate shortly thereafter. One raptor gets knocked out for a

short while, while they lock another in the freezer and escape, the music intensifying throughout the whole

ordeal. Dr. Grant, Dr. Sattler, and the kids retreat to the control room, where Lex goes to turn on the

security system and the adults try to keep the raptors from coming inside. At this point, the brass has

stayed very punchy, while the strings and woodwinds frantically make wild runs. When Lex reboots the

system, the trumpets play the Main Theme, while the rest of the orchestra recovers slightly from the

craziness. When the Velociraptor tries to come through the glass, however, the orchestra resumes the

franticness. The characters climb into the ceiling and the strings play apprehensively as the raptor figures

out how to get to them. The trumpets play the Raptor Motif as the Velociraptor breaks through the ceiling.

The groups escape into the main hall is characterized by a lot of strong brass playing powerfully with

strings playing quickly in the background. They get to the ground, but become surrounded by the raptors;

the woodwinds play the Raptor Motif as the rest of the orchestra continues the frantic, last stand-type
music that has been playing. The cue ends with two anxiously held notes, before transforming into the next

cue.

This scene is one of the most intense of the entire movie, and the score definitely fits the part. As

the Velociraptors are a major part of this scene, the dark Raptor Motif is heard often. This cue is non-

diegetic and is characterized as motivic.

Cue #23: T-Rex Rescue & Finale (Timing: 1:57:17-1:58:08)

This cue is a continuation of the previous, and begins brilliantly with the trumpets playing the

Journey to the Park Theme as the Tyrannosaurus rex snatches a leaping Velociraptor right out of the air

before it devoured the protagonists (how it snuck up on them like that is still a mystery, especially since the

characters from feel it coming from a hundred feet away). The group runs out to a waiting Jeep while

strings and woodwinds play a complex phrase during the dialogue. The Jeep takes off and the cue ends

with the Tyrannosaurus grabbing the second Velociraptor and throwing it into the hanging dinosaur bones,

in a spectacular orchestral climax.

This cue is the grand finale, the majestic climax of the action. The protagonists are saved and the

orchestra comes in playing a major theme in all of its glory. This cue is non-diegetic and is characterized as

motivic.

Cue #24: End Credits (Timing: 1:58:08-2:06:30)

This cue starts off calmly, with strings playing softly in the background as the remaining characters

get out of the Jeeps and pile into the helicopter. The flutes introduce the strings to a period of sad

reflection, when Hammond looks back at the island before he gets onto the helicopter. Once on the

helicopter, a solo piano plays the Main Theme softly but sublimely. After a full playing of the theme, a

xylophone joins in; soon after, the harp invites the woodwinds and strings to join the melody. The French

horns then lead the orchestra into a final majestic playing of the theme before the credits. Once the credits

begin, the strings take the melody for a bit before the trumpets take control once again. The strings play

an interlude before the horns recapture the Main Theme. The orchestra builds again to a grand final
playing of the popular theme. The solo piano returns to reprise the theme at the very end, and is assisted

by the strings before the horns play the Raptor Theme grandly and the strings come in for one final chord

to end the movie.

This final cue provides a proper ending to the great journey that both the characters and the

audience embarked on. The orchestra plays the Main Theme many times in many forms, but the whole

movie ends on an eerie note, reminding the audience what really happened on the adventure. This cue is

non-diegetic and is characterized as motivic.


Appendix B: Basic Cue Sheets
These cue sheets are essentially simpler, more consolidated versions of the In-Depth Score Analyses

found in Appendix A.

Star Wars (1997)

Timing Cue Name Texture Form Effect


Motivic Majestic, regal,
0:00:29-0:02:34 Main Title Full Orchestra
(Non-Diegetic) and powerful
Ominous
Motivic anticipation, then
0:02:34-0:08:59 Imperial Attack Full Orchestra
(Non-Diegetic) provokes feelings
of evil and terror
Mysterious, with a
The Dune Sea of Brass, woodwinds, Motivic
0:10:28-0:11:21 sense of
Tatooine strings (Non-Diegetic)
foreboding
Brass, woodwinds, Motivic Light and
0:12:30-0:16:00 Jawa Sandcrawler
strings (Non-Diegetic) mysterious
Light and
Brass, woodwinds, Motivic
0:16:00-0:17:44 The Moisture Farm mysterious, then
strings (Non-Diegetic)
happy and heroic
Brass, woodwinds, Motivic Adventurous but
0:21:16-0:23:00 The Hologram
strings (Non-Diegetic) mysterious
Mysterious, with a
Motivic
0:25:11-0:27:22 Binary Sunset Full Orchestra sense of future
(Non-Diegetic)
adventure
Landspeeder Brass, woodwinds, Motivic Sense of danger
0:27:55-0:28:20
Search percussion (Non-Diegetic) and adventure
Attack of the Motivic Sense of danger
0:28:37-0:30:39 Full Orchestra
Sandpeople (Non-Diegetic) and mystery
Tales of a Jedi Motivic Nostalgic and
0:31:06-0:32:43 Full Orchestra
Knight (Non-Diegetic) mysterious
Learn About the Motivic Mysterious, curious,
0:34:11-0:37:09 Full Orchestra
Force (Non-Diegetic) and sad
Sad, then frantic,
Motivic
0:39:07-0:41:39 Burning Homestead Full Orchestra then evil, then sad
(Non-Diegetic)
again
Still hints of
Mos Eisley Motivic
0:41:39-0:44:09 Full Orchestra sadness, but also
Spaceport (Non-Diegetic)
adventurous
0:44:51-0:47:35 Cantina Band Small jazz band Song (Diegetic) Jazzy and upbeat
0:47:41-0:51:14 Cantina Band #2 Small jazz band Song (Diegetic) Jazzy and upbeat
The Millennium Motivic
0:51:43-0:54:56 Brass, woodwinds Ominous
Falcon (Non-Diegetic)
Imperial Cruiser Motivic Frantic and
0:55:00-0:57:21 Brass, strings
Pursuit (Non-Diegetic) powerful
Destruction of Motivic Threatening and
0:58:12-0:59:35 Full Orchestra
Alderann (Non-Diegetic) evil
Action-packed,
Motivic
1:04:29-1:06:11 The Death Star Full Orchestra with some
(Non-Diegetic)
hopefulness
Motivic
1:07:16-1:09:07 The Stormtroopers Full Orchestra Mysterious
(Non-Diegetic)
Motivic
1:12-33-1:14:34 Wookiee Prisoner Full Orchestra Playful and sneaky
(Non-Diegetic)
Detention Block Motivic Intense and action-
1:14:34-1:16:24 Full Orchestra
Ambush (Non-Diegetic) packed
Shootout in the Motivic Intense and action-
1:17:09-1:19:10 Full Orchestra
Cellbay (Non-Diegetic) packed
The Trash Motivic
1:21:31-1:24:36 BSW Dark and relentless
Compactor (Non-Diegetic)
Subtle and sneaky,
Tractor Beam / Motivic
1:25:01-1:30:12 Full Orchestra then powerful and
Chasm Crossfire (Non-Diegetic)
action-packed
Motivic
1:32:21-1:34:34 Bens Death Full Orchestra Sad but powerful
(Non-Diegetic)
Motivic Triumphant and
1:34:34-1:36:06 TIE Fighter Attack Full Orchestra
(Non-Diegetic) powerful
Militaristic and
Motivic action-packed;
1:45:04-1:57:43 The Battle of Yavin Full Orchestra
(Non-Diegetic) sense of danger
and adventure
Motivic
1:58:29-2:00:15 The Throne Room Full Orchestra Majestic and regal
(Non-Diegetic)
Motivic Happy and
2:00:15-2:04:44 End Credits Full Orchestra
(Non-Diegetic) hopeful
Jurassic Park (1993)

Timing Cue Name Texture Form Effect


Woodwinds, Motivic (Non-
0:00:28-0:01:01 Opening Theme Mysterious
strings Diegetic)
Eerie and
Incident at Isla Through Composed mysterious;
0:01:20-0:03:37 Full Orchestra
Nubar (Non-Diegetic) provokes a sense
of danger
Brass, woodwinds, Through Composed Sense of discovery
0:05:05-0:06:14 Que Lindo Eres
strings, chorus (Non-Diegetic) and mystery
Feels like youre
Journey to the Motivic (Non- embarking on a
0:15:21-0:24:07 Full Orchestra
Island Diegetic) majestic, awe-
inspiring adventure
Hatching Baby Woodwinds, Through Composed Gentle and
0:28:33-0:31:45
Raptor strings, chorus (Non-Diegetic) beautiful
Woodwinds, Through Composed Soft and
0:39:11-0:40:34 Loading Area
strings (Non-Diegetic) lighthearted
Through Composed Light and
0:40:51-0:42:57 Jurassic Park Gate Full Orchestra
(Non-Diegetic) adventurous
Motivic (Non- Beautiful and
0:50:02-0:51:55 Sick Triceratops Brass, strings
Diegetic) gentle
A Storms A- Brass, woodwinds, Motivic (Non- Ominous and
0:53:34-0:54:50
Brewin strings Diegetic) mysterious
Dangerous, with a
Dennis Steals the Full Orchestra, Motivic (Non-
0:55:35-1:00:30 sense of
Embryos synthesizer Diegetic)
foreboding
Find the Brass, woodwinds, Motivic (Non- Frantic, dangerous,
1:09:52-1:11:03
Grandchildren strings Diegetic) and adventurous
Out of the Tree,
Motivic (Non- Frantic and
1:17:32-1:20:07 Into the Car / Full Orchestra
Diegetic) mysterious
Search Party
Even more frantic;
Brass, woodwinds, Through Composed
1:20:07-1:21:38 Must Go Faster strong sense of
strings (Non-Diegetic)
danger
Woodwinds, Motivic (Non- Light, dreamlike,
1:23:32-1:25:39 A Tree for My Bed
strings, percussion Diegetic) and peaceful
Remembering Woodwinds, Motivic (Non- Reminiscent and
1:26:01-1:28:31
Petticoat Land strings, percussion Diegetic) lightly sad
Waking Up with a Brass, woodwinds, Through Composed
1:28:31-1:30:12 Happy and light
Dinosaur strings (Non-Diegetic)
Through Composed
1:30:27-1:31:37 Life Finds a Way Full Orchestra Sense of discovery
(Non-Diegetic)
Brass, woodwinds, Through Composed Eerie then
1:33:29-1:34:14 System Reboot
strings (Non-Diegetic) mysterious
Eerie, then
Going to the Through Composed
1:35:58-1:39:20 Full Orchestra adventurous; ends
Power Shed (Non-Diegetic)
frantically
High-Wire Stunts /
Motivic (Non- Dangerous and
1:40:48-1:44:48 Flipping the Full Orchestra
Diegetic) adventurous
Switches
Back in Business Through Composed Frantic and
1:44:48-1:45:49 Full Orchestra
Almost (Non-Diegetic) dangerous
Ominous,
dangerous, and
Raptors in the Full Orchestra, Motivic (Non- frantic, then
1:48:52-1:57:17
Kitchen Chorus Diegetic) victorious, with
foreboding, then
frantic again
T-Rex Rescue & Motivic (Non- Adventurous and
1:57:17-1:58:45 Full Orchestra
Finale Diegetic) majestic
Motivic (Non- Beautiful and
1:58:45-2:06:30 End Credits Full Orchestra
Diegetic) majestic
Appendix C: Other Cue Sheets
These are the cue sheets that were completed previously in the class.

Barbarella
Timing Cue Name Texture Form Effect
Suspenseful
orchestral music
introduces, then
transforms into
0:00:29 0:04:48 Setting the Mood Non-diegetic Song
upbeat, happy
music as
Barbarella is
introduced
A regal fanfare
plays to announce
Presidential
0:04:58 0:05:11 Non-diegetic Through-composed the president as he
Fanfare
shows up on the
video screen
Xylophones and
marimbas
accompany
0:09:29 0:10:46 Nap Time Non-diegetic Through-composed
dreamlike
orchestral music as
Barbarella rests
Electric guitar and
bass accompany
The Captain has background
Turned on the orchestra and sci-
0:11:26 0:13:01 Non-diegetic Through-composed
Fasten Seatbelt fi-like organ
Sign sounds to evoke a
feeling of worry
and danger
Strings play
mysteriously and
with a slight sense
of foreboding then
Quite a Warm a tuba and an
0:14:40 0:16:10 Non-diegetic Through-composed
Welcome electric guitar
enter once the girls
clock Barbarella
with an ice-
snowball
Light music plays,
led by the brass
0:16:10 0:16:54 Mush! Non-diegetic Through-composed
section, while the
girls and
Barbarella hitch a
sled ride
Mysterious
piano/xylophone
0:17:48 0:19:22 Playing with Dolls Non-diegetic Through-composed
leads into creepy
orchestral music
Small band led by
0:22:51 0:23:09 Let There Be Wind Non-diegetic Through-composed brass plays a
happy tune
Vocalist
accompanies a
band as happy
0:25:15 0:25:57 Doing it His Way Non-diegetic Song
music plays,
emphasizing a
connection
Vocalists sing a
seductive-ish song
Post-Pleasure Pelt with a band, which
0:26:26 0:28:29 Non-diegetic Song
Perusing turns into
background music
when dialect starts
Electric guitar and
bass accompany
an orchestra or
0:29:34 0:31:01 Failed to Get Up Non-diegetic Through-composed band as
Barbarella tries to
resurface after
crashing again
Electric guitar,
piano, and an
Angel Man Getting
0:31:25 0:31:39 Non-diegetic Through-composed orchestra create a
Touchy
mood of suspense
and creepiness
Smooth jazz music
Getting is played by a
0:31:41 0:32:45 Non-diegetic Through-composed
Accustomed small jazz
ensemble of sorts
Electric guitar,
piano, and an
Through the
0:33:29 0:35:57 Non-diegetic Through-composed orchestra create a
Labyrinth
mood of suspense
and creepiness
Band led by brass
plays happy music
0:40:19 0:42:15 Interesting Therapy Non-diegetic Through-composed
as Pygar regains
his will to fly
Orchestra
featuring trumpets
0:43:09 0:45:11 Dogfight Non-diegetic Through-composed
gives a sense of
action and conflict
Orchestra
featuring a
metallic-sounding
0:45:50 0:47:47 Landing in Soho Non-diegetic Through-composed electric guitar
provides a sense
of mystery and
foreboding
Band plays music
0:47:55 0:48:58 Hello, Pretty Pretty Non-diegetic Through-composed suggesting mystery
and darkness
Good Many
Band plays with an
Dramatic Situations
0:49:08 0:50:08 Non-diegetic Through-composed odd feeling of
Begin with
adventure
Screaming
Electric guitar
plays, sometimes
His Timing is
0:52:16 0:54:01 Non-diegetic Through-composed accompanied by a
Impeccable
band, and gives a
sense of mystery
Electric guitar and
band play lightly,
Meeting the Great
0:54:16 0:57:17 Non-diegetic Through-composed giving the
Tyrant
impression of
safety
Creepy music
0:57:17 0:58:00 Crucifying Pygar Non-diegetic Through-composed plays, highlighting
a sense of danger
Upbeat music
plays, as mood of
0:58:00 0:58:38 Not the Face! Non-diegetic Through-composed action and
adventure
heightens
Upbeat and
0:59:39 1:00:13 Seducing an Angel Non-diegetic Through-composed seductive music
plays
Strange, upbeat
Doing it the Earth
1:05:03 1:05:22 Non-diegetic Through-composed music plays in
Way
anticipation
Mysterious, almost
spy-like, music
1:14:17 1:16:25 Not the Tube Type Non-diegetic Through-composed
creates mysterious
atmosphere
Orchestral music
intensifies
throughout and
crescendos to the
Killing Her Softly
1:16:33 1:20:05 Diegetic Through-composed end until a rapid
with His Song
deceleration,
hinting to an
orgasmic
experience
Odd music plays,
1:20:56 1:21:15 It's Him! Non-diegetic Through-composed suggesting an
eerie epiphany
Mysterious and
Trip to the
1:23:59 1:24:36 Non-diegetic Through-composed eerie music plays,
Chamber
suggesting danger
Happy, upbeat
music plays as
The Stuff Dreams
1:25:51 1:27:59 Non-diegetic Through-composed Barbarella
are Made Of
wanders around
the chamber
Action music plays,
1:28:30 1:30:00 Time to Rebel Non-diegetic Through-composed providing a
rebellious mood
Say Hello to My Quick music
1:30:30 1:33:59 Little Friend / Non-diegetic Through-composed suggests action
Apocalypse Now and danger
Upbeat music is
Come Fly with Me
1:34:49 1:38:01 Non-diegetic Song played by a band
/ End Credits
with vocalists

The Fifth Element


Timing Cue Name Texture Form Effect
Starts off with
deep, strange
0:00:27 0:02:40 Intro/Space Non-diegetic Through-composed
tones, then strings
come in at end
Strings bring a hint
of danger and
mystery; low
strings play
0:02:40 0:06:23 Egypt Non-diegetic Through-composed extended pedal
tones while higher
strings climb up
sporadically for
added suspense
and intensity
Continuation of
previous cue, but
added vocals and
0:06:23 0:07:57 They're Here Non-diegetic Through-composed
some electric-
sounding and
futuristic elements
Low pedal tones
accompany
Aliens Taking
0:07:57 0:10:06 Non-diegetic Through-composed dialogue; vocals,
Charge
strings added to
intensify
Double-reed
instrument plays
The middle eastern-
0:10:30 0:12:11 Non-diegetic Through-composed
Mission/Takeoff sounding music
accompanied by
an orchestra
Strings and vocals
0:13:20 0:13:32 The Priest Arrives Non-diegetic Through-composed play ominously
and mysteriously
Strings play as
The Priest's
0:13:59 0:15:07 Non-diegetic Through-composed background to
Warning
conversation
Continuation of
previous cue; snare
Shoot First and Ask
0:15:07 0:16:47 Non-diegetic Through-composed drums come in to
Questions Later
suggest militaristic
action
Upbeat drums and
0:17:05 0:18:47 Time to Wake Up Non-diegetic Through-composed bass introduce
Corbin Dallas
I'll Take That/Taxi Upbeat drums and
0:19:54 0:21:01 Non-diegetic Through-composed
Driver bass come in again
Orchestra and
vocals come in then
There Goes Our
0:21:24 0:23:18 Non-diegetic Through-composed increase in volume
Last Hope
and intensity to a
low brass blast
Can't Wait to Orchestra plays
0:24:05 0:25:34 Non-diegetic Through-composed
Meet Him with anticipation
Orchestra plays
Let's Make a
0:25:44 0:27:00 Non-diegetic Through-composed lightly, accented
Person
with pizzicato
The Perfect Orchestra plays
0:27:03 0:32:25 Non-diegetic Through-composed
Person/ with a sense of
discovery mixed
Welcome to New with mystery, then
York dangerous
adventure
Calming, almost
romantic piano
0:32:58 0:34:05 Big Bada Boom Non-diegetic Through-composed music plays with
some other
instruments
Upbeat, light music
Thank You for Your
0:34:25 0:36:16 Non-diegetic Through-composed plays with
Cooperation
orchestra
Upbeat Latin music
plays as a man
0:36:47 0:39:04 The Chase Non-diegetic Through-composed
sings in the
background
Wake Her with a
0:41:37 0:42:06 Non-diegetic Through-composed Gentle music plays
Kiss
Calming, romantic
piano music plays
0:45:00 0:45:51 Too Big to Resist Non-diegetic Through-composed as orchestra
accompanies softly
in background
0:55:16 0:55:30 Choking Non-diegetic Through-composed Strings play lightly
1:02:03 1:02:53 Visitors Non-diegetic Through-composed Strings play lightly
Sexy saxophone
music plays with
1:05:35 1:06:23 Auto-Wash Non-diegetic Through-composed
electric piano
accompanying
Triumphant,
majestic-type music
1:06:56 1:07:16 I'll Take the Mission Non-diegetic Through-composed
featuring brass
plays
Upbeat, fun music
Welcome to the
1:07:16 1:07:30 Non-diegetic Through-composed featuring bass and
Airport
trumpets plays
1:11:45 1:13:23 Talk Show Frizz Non-diegetic Through-composed Funky beat
Preparing for
1:15:51 1:18:35 Non-diegetic Through-composed Reggae-like beat
Liftoff
Creepy, low
rumblings
1:19:07 1:21:14 Mr. Shadow's Call Non-diegetic Through-composed enhancing feeling
of darkness and
evil
Welcome to
1:21:55 1:22:51 Diegetic Through-composed Tropical music
Paradise
1:25:39 1:26:51 Radio Coverage Non-diegetic Through-composed Funky beat
Vocals with
orchestral
accompaniment;
1:27:33 1:32:11 The Diva's Song Diegetic Through-composed
crescendos as the
scene gets more
intense
Intense orchestral
The Final Battle:
1:33:11 1:35:06 Non-diegetic Through-composed music plays as
Part 1
scene intensifies
Sad, gentle
orchestral music;
1:35:20 1:37:52 The Stones Non-diegetic Through-composed
turns dark after
Diva's death
Orchestral music
The Final Battle: starts dark but soft,
1:37:52 1:41:55 Non-diegetic Through-composed
Part 2 then intensifies as
battle goes on
Dark orchestral
1:42:21 1:43:33 The Control Room Non-diegetic Through-composed
background music
Gentle, romantic,
1:44:28 1:44:58 Saving Lelu Non-diegetic Through-composed sad background
music
Suspenseful
orchestral music
1:45:03 1:47:33 Bomb's Away! Non-diegetic Through-composed promotes feeling
of panic and
danger
Calm, almost
1:48:44 1:49:59 Almost Saved Non-diegetic Through-composed romantic orchestral
music
Innocence and Somber orchestral
1:51:16 1:52:20 Non-diegetic Through-composed
War music
Mysterious and
Puzzle at the
1:52:26 1:56:44 Non-diegetic Through-composed intense orchestral
Temple
music
Beautiful, sad
orchestral music
1:57:09 1:59:38 Amor Vincit Omnia Non-diegetic Through-composed
with vibraphone
solo
Upbeat song with
2:01:02 2:05:51 End Credits Non-diegetic Song male and female
vocalists
Total Recall
Timing Cue Name Texture Form Effect
Sets the mood as
Orchestra (Non-
0:00:59 0:03:29 Opening Credits Through-Composed intense, action
Diegetic)
packed
Somewhat carries
the same feel as
the Opening
Mars Introduction
Orchestra (Non- Credits
0:03:29 0:04:19 (Walking on Mars Through-Composed
Diegetic) (continuation), but
in dream)
with added
mystery and
intrigue
I Fell Down and I
Music reflects the
Can't Get Up (Fell
bad situation he
off the cliff on Orchestra (Non-
0:04:19 0:04:35 Through-Composed got himself into
Mars and smashed Diegetic)
and crescendos
his glass shield for
until he wakes up
his face)
Change of Scenery Calming music
(Lori turns off news reflects the calming
and changes the background,
Woodwinds, Birds
background to nice especially
0:07:24 0:08:10 Chirping (Non- Through-Composed
mountain lake compared to the
Diegetic)
scenery as they violence that was
talk about going to previously on the
Mars) news
Welcome to Rekall
Music is light and
(Quaid goes into
Orchestra (Non- soft, with a slight
0:12:02 0:13:05 Rekall and looks Through-Composed
Diegetic) sense of mystery
around, waiting for
and the unknown
his appointment)
Mars It Is (Rekall
Light music
guy selects the
Orchestra (Non- accompanying
0:13:38 0:14:03 Mars package and Through-Composed
Diegetic) images of a Mars
explains what it
memory implant
includes)
Secret Agent Music reflects
Mission (Rekall guy Orchestra (Non- McQuaid's interest
0:15:49 0:16:29 Through-Composed
explains the secret Diegetic) in the secret agent
agent option) option
Choosing the Light music reflects
Perfect Woman his increasing
Orchestra (Non-
0:17:52 0:18:51 (Quaid chooses the Through-Composed sleepiness as well
Diegetic)
woman he wants to as his desires as he
meet on Mars as dreams of the
he slips into woman of his
dreaming) dreams
Schizoid Embolism
Music is intense
(Quaid is freaking
and action-packed,
out in the chair as Orchestra (Non-
0:18:55 0:20:22 Through-Composed up until he drifts
the scientists and Diegetic)
off again when it
the Rekall guy try
calms down
to stop him)
Music is almost an
After the Fight
echo of the fight
(Quaid looks
that just happened;
confused and Orchestra (Non-
0:23:30 0:23:52 Through-Composed it reflects his
dazed after the Diegetic)
confusion with his
fight and he runs
own secret agent
away)
skills
Shots Fired (Quaid
tells Lori that he
Music is intense as
killed people and
a fight scene
she shoots at him Orchestra (Non-
0:25:02 0:27:51 Through-Composed should be, but also
and a fight ensues Diegetic)
gets quiet when
and then she starts
there is dialogue
explaining the
situation)
Music is intense like
The Chase (Quaid
a chase scene
is chased by the Orchestra (Non-
0:28:23 0:32:38 Through-Composed often is, with a lot
guys from the Diegetic)
of brass
agency)
exclamations
The Call (Mystery
Music starts off
man talks to Quaid
light during the
and gives him a Orchestra (Non-
0:34:37 0:37:45 Through-Composed call, then intensifies
suitcase, as another Diegetic)
into another chase
chase scene
scene
unfolds)
Music is lightly
The Mission
intense when
(Howzer introduces
Howzer is talking
himself to Quaid Orchestra (Non-
0:40:07 0:43:46 Through-Composed to McQuaid and
as the agency guys Diegetic)
loudly intense when
go to find him
the guys go
again)
chasing after him
Get Your Ass to
Mars (introduction Euphonic music
Orchestra (Non- reflects a sense of
0:43:46 0:44:21 to Mars; shows the Through-Composed
Diegetic) both mystery and
planet behind a
discovery
spaceship then the
surface before it
goes to the
airport)
Disguise (Quaid
disguises as a Odd, frantic music
Orchestra (Non-
0:45:38 0:47:02 woman to get on Through-Composed displays the
Diegetic)
Mars then he takes chaotic situation
off the disguise)
Trains (Quaid is
Orchestra (Non- Orchestral music
0:48:19 0:49:38 riding a train and Through-Composed
Diegetic) plays euphonically
sees the mine)
Light classical
orchestral music
Into the Hotel
Orchestra (Non- plays in the
(Quaid walks into
0:51:31 0:52:01 Through-Composed background to
the hotel area and Diegetic)
suggest elegance
asks for a room)
and
lightheartedness
Safe-Deposit
Mysterious, but
(Quaid gets the
Orchestra (Non- light music plays
0:52:15 0:53:10 Last Resort flyer Through-Composed with a low pedal
out from the safe Diegetic)
tone beneath the
deposit box at the
melody
hotel)
The Last Resort
(Quaid goes into Band (Non-
0:55:42 0:58:45 Through-Composed Funky beat plays
the Last Resort Diegetic)
and meets Melina)
Melina is Angry
(Melina kicks
Orchestra (Non- Dark orchestral
Quaid out because
0:59:19 1:00:12 Through-Composed music emphasizes
she thinks he's Diegetic)
Melina's distrust
working for
Cohagen)
The Last Resort
Part II (Quaid Band (Non- Funky beat plays
1:00:12 1:00:45 Through-Composed
leaves the Last Diegetic) again
Resort)
Convincing Quaid
Mysterious music
(a Rekall guy and Orchestra (Non- plays, emphasizing
1:01:46 1:05:39 Lori try to Through-Composed
Diegetic) the confusion of
convince Quaid
the conversation
he's dreaming)
Another Fight Intense fight music
Scene (Quaid Orchestra (Non- plays as the scene
1:05:49 1:08:51 Through-Composed
doesn't take the Diegetic) gets more and
pill and everyone more intense
goes after him;
Melina shows up
and shoots all of
them except for
Lori, who Quaid
takes out)
Running Away
Fast chase music
(Quaid and Melina Orchestra (Non-
1:09:10 1:13:26 Through-Composed increases the
escape from the
Diegetic) intensity of the
guys trying to kill
scene
them)
Shutting off the
Air (the bad guys Dark, somber
retreat, the sector Orchestra (Non- music suggests
1:14:51 1:16:02 Through-Composed
is closed down, Diegetic) that hope is
and the oxygen is getting lost
shut off)
Through the
Tunnels (Melina,
Orchestra (Non- Soft, but dark
Quaid, and Benny
1:16:03 1:17:51 Through-Composed music plays
go through the Diegetic)
mysteriously
tunnels to get to
Kuato)
Meeting Kuato
Orchestra (Non- Almost majestic
(Quaid meets and
1:19:14 1:22:25 Through-Composed music plays with a
interacts with Diegetic)
sense of discovery
Kuato)
Infiltration (large
machines break
through the walls Reflects the panic
and the place is Orchestra (Non- and danger
1:22:41 1:23:51 Through-Composed
destroyed; Quaid, Diegetic) present in the
Melina, Kuato, and scene
Benny escape the
fighting)
Talking to Howzer
Starts off light but
/ Losing Your Mind
dark, then
(the Howzer video Orchestra (Non- intensifies as
1:27:01 1:28:26 plays; Quaid and Through-Composed
Diegetic) they're getting
Melina are forced
dragged to get
into the mind
their minds erased
machines)
Breaking Free Some more fight
(Quaid and Melina Orchestra (Non- music increases
1:30:07 1:31:45 Through-Composed
fight their way out Diegetic) the intensity of
of amnesia) the scene
1:31:45 1:33:01 Almost Out of Air Orchestra (Non- Through-Composed Dark, intense, and
(Cohagen tells Diegetic) somber sets the
Richter to kill mood
Quaid; people in
Venustown are
almost dead)
Going to the Fast-paced music
Reactor (Quaid Orchestra (Non- goes with frantic
1:33:01 1:33:28 Through-Composed
and Melina try to Diegetic) running to save
go to the reactor) people
Benny's Off His
Rocker (Benny
Orchestra (Non- Ominous music
tries to kill Quaid
1:33:42 1:35:30 Through-Composed signifies evil and a
and Melina with Diegetic)
fighting spirit
some heavy
machinery)
The Reactor
(Quaid and Melina Orchestra (Non- Music of discovery
1:35:41 1:36:44 Through-Composed
get to the reactor Diegetic) and hope
area)
Ambush (Quaid Music suggests
and Melina fight Orchestra (Non- danger, then
1:36:44 1:40:25 Through-Composed
Richter and his Diegetic) intensifies as the
crew) fight goes on
Finding the Button
Happy, almost
(Quaid gets off the
victorious music
elevator and Orchestra (Non-
1:40:30 1:41:13 Through-Composed starts playing as
approaches the Diegetic)
Quaid approaches
button to turn on
the button
the reactor)
Melina Adds to
the Conversation
(big fight ensues
Orchestra (Non- Music intensifies
1:41:55 1:43:54 and Cohagen flies Through-Composed into fight music,
outside and starts Diegetic)
hinting at danger
dying in that weird
way; Quaid turns
on the reactor)
Nice Change of
Scenery (after the
Orchestra (Non- Music is now
mine blows its top,
1:47:49 1:50:06 Through-Composed peaceful and
everyone can Diegetic)
happy
breathe and go
out to explore)
Ends the movie
Orchestra (Non- just as intense as it
1:50:06 1:54:01 End Credits Through-Composed
Diegetic) started (similar to
opening credits)
Snowpiercer
Timing Cue Name Texture Form Effect
Fast-paced music
The Attack (the
prepares for
revolution begins
0:25:55 0:29:35 Full orchestra Through-Composed action, then
and the first attack
intensifies as action
ensues)
ensues
Woodwinds start
Still Cold (the off softly, then
people from the strings and choral
Woodwinds,
0:35:47 0:36:58 back see outside Through-Composed come in, also
strings, chorus
for the first time in softly; mysterious,
years) but with a sense of
intrigue
Electric guitar
He's Running (the
features with a
revolution gets into
Small, jazzy-pop small band to
0:37:42 0:38:03 the protein block Through-Composed
style band lighten the mood;
manufacturing
feels almost out of
room)
place
The Protein in the
Protein Blocks
Dark, low
(Curtis and the
rumblings reflect
0:38:03 0:39:01 artist see the Full orchestra Through-Composed
the feeling of
insects that go into
terror and disgust
making the protein
blocks)
Water (Curtis finds
a red letter saying Mysterious music
'water' and they plays in the
0:38:29 0:39:26 plan to take the Strings, percussion Through-Composed background as the
water supply revolution plots its
section to take the next move
upper hand)
The Masked
Dark and
Murderers (Curtis
forboding music
and group open Bass, strings,
0:41:13 0:43:27 Through-Composed plays,
door to car full of percussion, metallic
crescendoing into
masked men with
to a big fight scene
axes)
Slow-Mo Epic Peaceful piano
Fighting (Curtis music plays, then is
Piano, full
0:44:05 0:45:47 goes on a Through-Composed joined by strings
orchestra
rampage with his and an orchestra;
little axe) softly intense
We Need Fire!
Intense, fast-paced
(Chen brings fire
0:51:27 0:54:11 Percussion, strings Through-Composed music characterizes
and Curtis betrays
the fight scene
Edgar)
Starts off slow
with piano, then
strings, then a
The Aftermath lone guitar is
Piano, guitar,
0:54:46 0:57:03 (Curtis makes them Through-Composed added, then
orchestra
surrender) strings come back
in with full
orchestra; somber
and reflective
Nighttime Chats
(Curtis and Gilliam
Strings start slowly
talk in bed about
and softly, then
the future of the
1:01:13 1:03:03 Strings, piano Through-Composed solo piano comes
revolution, and
in softly;
Curtis is told that
mysterious feel
he is the real
leader)
Off They Go
(Curtis and a small Strings play softly,
1:03:03 1:03:49 gang get ready to Strings Through-Composed but more
go into the front hopefully now
section)
Classical guitar or
perhaps a lute or
The Greenhouse
other guitar-like
(the gang goes Guitars or lutes or instrument plays
1:03:55 1:05:21 through the Through-Composed
something classical music,
greenhouse and
showing the
into the fish tank)
elegance of the
front section
Sushi (the gang Classic piano
1:05:59 1:07:06 eats sushi and the Piano comes in, showing
Through-Composed
crazy lady eats a the elegance of
protein block) the front section
The teacher plays
Crazy Wilford Song an organ while she
(the crazy teacher and the children
1:10:08 1:10:36 lady sings a crazy, Organ, vocals Song (Diegetic) sing the Wilford
brain-numbing song; kind of
song) creepy and
brainwashing
The Frozen Seven Strings come in to
1:11:24 1:12:15 Strings Through-Composed
(the children and evoke sadness
the gang watch
the frozen seven)
An Egg-cellent
Solo violin is
Plan (bald dude
1:12:42 1:13:35 Violin playing classical
comes around Song (Diegetic)
music with a sense
with baskets of
of foreboding
eggs)
Piano starts off at
Through First Class
a moderate pace,
(Curtis and the
then strings,
gang leave the Piano, full percussion, and
1:15:35 1:17:04 school and go into Through-Composed
orchestra the rest of the
first class as
orchestra come in;
Franco starts
purposeful and
shooting)
driven
Shootout (Curtis Dark, low strings
1:17:09 1:19:17 and Franco shoot Strings, percussion Through-Composed play with
at each other) percussion
Starts off dark,
The Front Section
then turns into
(the gang walks Percussion, funky electronic
1:24:05 1:26:25 right through the Through-Composed
synthesizer dance music, then
front section of
goes back to
the train)
pulsing percussion
Strings,
Edgar (Curtis tells percussion, and
the story of the some other noises
1:29:24 1:31:05 beginning of the Full orchestra Through-Composed come in to show
train and the story how dark and
of Edgar) terribly somber
the scene is
Failed Sacrifice
Soft percussion
(Curtis tells the
and strings play in
story of how he
1:31:52 1:33:18 Percussion, strings background as
tried to cut his Through-Composed
Curtis tells his
arm off, then he
story; dark,
tells why he wants
mysterious, sad
to open the door)
Soft percussion,
The Other Gate
Percussion, strings, strings, and piano
(Namgoong tells
1:33:50 1:36:16 Through-Composed play in background
Curtis of the piano
as Namgoong tells
melting outside)
his story
The Plot (William Percussion and
talks about how Percussion, strings, strings play softly
1:39:58 1:41:51 Through-Composed
he and Gilliam piano and mysteriously
cooperated as the men talk,
through the years) piano comes in to
add to the mystery
Woodwinds play
Crazy Person Woodwinds, softly, then strings
1:42:30 1:43:06 (Curtis is getting Through-Composed are added and
strings
upset) crescendos
ominously
First-Class Riot
Odd-sounding,
1:43:53 1:44:55 (Namgoong fights Full orchestra Through-Composed unordered,
fighting the first-
chaotic
class revolution)
Eternity Itself
Metallic sounds
(Curtis
start it off, then
experiences the
when Curtis is
eternal engine,
1:45:11 1:50:59 Full orchestra Through-Composed alone, more of the
and breaks down
orchestra comes in
crying; Wilford
and intensifies
tells Curtis the
softly and sadly
responsibility)
True Sacrifice
Starts off sad and
(Curtis stops the
slow, then
engine and
1:52:09 1:55:20 Full orchestra Through-Composed intensifies and
Namgoong blows
gets hopeful and
up the outside
almost majestic
gate)
So We Did Save
Starts off soft and
the Polar Bears
slow with piano
(Yona and Timmy
1:59:54 2:00:46 Piano, strings Through-Composed and strings, then
as the only
crescendos with
humans left on
hope
Earth, go outside)
Intense, but not
overpowering,
2:00:46 2:06:11 Full orchestra orchestral piece
End Credits Through-Composed
finishes off the
movie; transitions
to somber piece
Starship Troopers
Timing Cue Name Texture Form Effect
Percussion plays
militaristically in
Join the Mobile background; brass
Infantry (precredits comes in with a
Percussion, brass, Through-Composed fanfare; other
0:00:11 0:01:00 play; transitions to
marching band (Non-Diegetic) members of the
commercial for the
orchestra come in
mobile infantry)
with a march feel;
crescendos to a
brass ending
Brass have the
melody; other
members of
orchestra play
softly but
ominously in
Planetary background,
Defenses (same provoking a sense
type of news of evil; brass
program style Through-Composed crescendos to an
0:01:00 0:01:32 thing talking about Brass, orchestra accented phrase
(Non-Diegetic)
the improved to emphasize the
defenses in case of explosion of the
a bug meteor meteor; strings
strike) and brass hold low
pedal notes to
articulate the
antagonists in the
film; oboe and
other woodwinds
play a soft melody
Starts with
Invasion! militaristic
(announcement of trumpet blasts
the invasion of Through-Composed (reminds me of
0:01:32 0:01:35 Brass, strings the beginning of
Klendathu; (Non-Diegetic)
Star Wars); strings
starships are shown
play very eerily
flying together)
and low in
background
War Zone Report Low strings play
(a reporter reports Through-Composed repeated pedal
0:02:14 0:02:42 from the war zone Full orchestra notes under
(Non-Diegetic)
on Klendathu and woodwinds, brass,
a bug attacks him and higher strings,
and a few other accenting the
soldiers until Rico danger and terror;
is left writhing on orchestra
the ground and it (especially
goes to static) trumpets)
crescendos and
ends loudly,
highlighting the
intensity of the
scene
Strings tremolo
and come in softly,
Psychic Powers Strings, gradually getting
Through-Composed louder and adding
0:08:21 0:08:36 (Carl tries to have woodwinds,
(Non-Diegetic) woodwinds and a
Rico guess a card) percussion
little percussion,
emphasizing the
suspense
High strings come
in uneasily, getting
Sirano (Carl talks Through-Composed
0:09:07 0:09:26 Strings, woodwinds a little louder as
to his ferret) (Non-Diegetic)
flutes and other
woodwinds join in
Pep band comes in
playing pep-
bandish music as
The Game (pep
Through-Composed would be
0:10:06 0:10:28 band plays as Rico Pep band
(Non-Diegetic) expected from a
plays football)
pep band,
emphasizing the
light attitude
Upbeat, pop song
plays in
The School Dance
background as
0:14:10 0:16:12 (Rico and the gang
people dance at
go to the dance;
the prom-like get-
Rico talks to his Band Song (Diegetic)
together
teacher, people
The song changes,
dance and have a
but the style and
0:16:12 0:18:15 good time)
mood stays pretty
much the same
Orchestra plays
The Vow (Rico,
happy, warm
Carmen, and Carl Through-Composed
0:19:42 0:19:56 Full orchestra music, emphasizing
promise to stay (Non-Diegetic)
the happy nature
friends forever)
of the scene
The strings and
Time to Say woodwinds play
Goodbye (Rico sadly as Rico and
Through-Composed
0:21:16 0:22:15 says goodbye to Strings, woodwinds Carmen say their
(Non-Diegetic)
Carmen at the goodbyes; ends
airport) suspensefully with
a single held note
Very similar to
Giving Fire to earlier to the "Join
Kittens (commercial the Mobile
showing soldiers Infantry" cue;
Through-Composed
0:22:21 0:22:42 giving guns to Brass, percussion brass and
(Non-Diegetic)
children to try to percussion make it
increase military feel very
favor) militaristic and
march-like
Execution (news
Low brass and
program
strings come in as
announces the
the murderer's
scheduled
Woodwinds, Through-Composed execution is
execution of a
0:22:42 0:22:55 announced;
convicted percussion, brass (Non-Diegetic)
woodwinds come
murderer and
in softly as the
makes it sound
newscast
like a public
continues
viewing event)
Strings and synth
Are You Psychic?
come in very
(commercial Strings, brass, Through-Composed mysteriously; low
0:22:55 0:23:14 comes on
synthesizer (Non-Diegetic) brass makes the
promoting psychic
scene feel very
trials)
eerie
Snares rumbling
softly in
Poor Cow (an
Through-Composed background
arachnid destroys
0:23:25 0:23:41 Percussion, strings foreshadowing the
a cow on a (Non-Diegetic)
arachnid attack;
commercial)
strings come in
somberly
Violin plays
happily and
To Carmen (Rico
Through-Composed romantically,
0:30:39 0:31:28 makes a video for Violin, bugle increasing the
Carmen in his (Non-Diegetic)
bond between
barracks)
Rico and Carmen;
bugle plays taps
Strings and
woodwinds come
in lightly and
happily as Carmen
and the other pilot
Pilot Ibenez go to the ship to
(Carmen flies a Motivic (Non- fly; other
0:31:34 0:33:08 Full orchestra
small ship to a Diegetic) instruments join
larger space base) as the music gets
majestic as
Carmen starts
flying, adding to
the relaxing
adventure feeling
The majestic-style
music continues as
Carmen takes out
the big ship; it gets
tense and
apprehensive as
she makes some
Big Leagues Through-Composed close calls with the
0:34:24 0:36:10 (Carmen flies the Full orchestra
(Non-Diegetic) cords and the
big ship)
walls, but then it
loosened up, as
did the attitude of
the scene when
she flew it out of
port and into
hyperspace
Brass comes in
strongly at
beginning,
signifying an
important mission;
Fight Simulation percussion adds a
(Rico and the rest Brass, strings, Through-Composed militaristic feel to
0:36:47 0:37:30
of the troops play percussion (Non-Diegetic) the scene; strings
a laser simulation) come in and
crescendo to
intensify the scene
as Rico pulls the
moves and wins
the simulation
Promotion (Rico Percussion gives
gets a promotion the scene a
0:37:30 0:38:25 Percussion, vocals Song (Diegetic)
then gets a militaristic feel;
message from there is a song
Carmen) playing in the
background to
lighten the mood
Strings come in
Bad News softly as Carmen
(Carmen breaks up Through-Composed breaks up with
0:38:55 0:39:53 Strings, woodwinds
with Rico over a (Non-Diegetic) Rico, increasing
video message) the uneasiness in
the room
Starts off with a
drum roll,
immediately
making the scene
feel very
militaristic; strings
come in adding to
the suspense of
Going Live (fight
the scene; low
simulation with
brass adds an
live rounds; Rico
Percussion, brass, Through-Composed ominous feel to
0:40:49 0:41:43 takes off
the scene; strings
teammate's strings (Non-Diegetic)
and brass increase
helmet and the
in intensity; after
teammate gets
the guy gets shot,
shot and dies)
the strings play
very somberly and
hand the melody
off to the
trumpets,
emphasizing the
sadness of the
scene
Percussion is very
militaristic, while
low brass is sharp
and accented,
underscoring a
Administrative dark and
Punishment (Rico Brass, percussion, Motivic (Non- threatening
0:42:44 0:44:37
gets whipped as strings Diegetic) attitude; the music
punishment) intensifies as the
punishment is
carried out; strings
come in softly and
uneasily at the
end
Strings and
woodwinds play
lightly as the scene
Third Watch
Motivic (Non- remains calm and
0:44:37 0:46:40 (Carmen and Strings, woodwinds happy; strings
Xander are talking Diegetic)
keep repeating a
while on watch)
phrase as the
woodwinds play
lightly
Mood suddenly
gets dangerous as
Carmen and
Xander realize that
they are getting
pulled toward an
oncoming
asteroid;
percussion and
brass come in very
Incoming!
Through-Composed powerfully while
(Asteriod comes
0:46:40 0:48:06 Full orchestra strings play
toward Carmen's (Non-Diegetic)
frantically as the
ship)
situation
intensifies; when
the top of the ship
falls off, the
strings play very
uneasily; once the
danger is gone,
the music subsides
and becomes
much calmer
Percussion comes
in militaristically;
brass comes in
powerfully and
Going to War (the adds to the
troops find out uncertainty of the
about the attack Brass, strings, Motivic (Non- situation; strings
0:50:25 0:51:46
and the percussion Diegetic) play uneasily as
declaration of the news is being
war) told; the music
shifts to very dark
and somber when
they realize it was
Buenos Aires
Brass comes in
strongly at the
beginning, as in all
of the government
Devastation (news news
program shows Brass, strings, Through-Composed transmissions;
0:52:38 0:53:27
the destruction in percussion (Non-Diegetic) percussion plays
Buenos Aires) steadily in
background;
strings and horns
play somberly
then intensely
Music lightens the
mood after the
Helping the War
Through-Composed destruction scene;
0:53:50 0:54:05 Effort (kids crush Full orchestra woodwinds andn
bugs under their (Non-Diegetic)
strings play lightly
boots)
as the children
"play"
Low brass adds
ominous nature to
Countdown to scene, then
Victory (news Through-Composed transforms into a
0:54:05 0:54:22 Brass, percussion
program go to the (Non-Diegetic) sort of brass
big battle ship) fanfare as the
scene gets more
optimistic
Song is playing in
background as
Rico and Carmen
Seeing Carmen re-meet at the
(Rico sees Carmen station; percussion
0:54:50 0:57:44 Percussion, vocals Song (Diegetic)
before they go to accentuates
war) intensity in the
fight that ensues
between Rico and
Xander
Rock band sound
Tattoos (Rico and Electric guitar, Through-Composed adds the fun and
0:57:44 0:58:02 the gang get comraderie
percussion (Diegetic)
tattoos) between the guys
in the scene
Mobilization (the Strings come in
troops go on small Motivic (Non- uneasily;
0:58:02 1:00:23 transport ships on Full orchestra percussion and
Diegetic)
a shaky ride to the brass come in
bug planet) strongly as scene
intensifies

Strings come in
uneasily again;
Someone Made a woodwinds are
Big Mistake added, increasing
(Carmen uses Motivic (Non- suspense; horns
1:00:23 1:01:58 evasive Full orchestra and percussion
Diegetic)
maneuvers as the become
troops land on the prominent when
planet) they realize that
they are in serious
danger
Brass, percussion,
and strings add to
Big Bugs (Rico and Brass, percussion, Motivic (Non- the intensity of
1:01:58 1:02:42 the gang nuke the
strings Diegetic) battle, increasing
big bugs)
in volume and
tempo
Failed Mission Strings play lowly
(news program and very
shows carnage of Through-Composed somberly, adding
1:07:02 1:07:50 Strings, percussion
failed invasion; (Non-Diegetic) to the sadness of
new Sky Marshall the death and
introduced) devastation
Woodwinds and
strings play lightly
and playfully,
Brain Bugs (talk Through-Composed adding to the
1:07:50 1:07:58 show host talking Strings, woodwinds cluelessness of the
(Non-Diegetic)
about smart bugs) talk show host and
how different he is
to the people
actually at war
Strings come in
strongly and
bleakly as Carmen
Recovery (back on
sees the damage
main ship, Carmen
Brass, strings, Through-Composed that the attack
sees physical
1:08:12 1:10:10 had; the music
damage of percussion (Non-Diegetic)
gets very sad
soldiers; finds out
when she sees the
that Rico was KIA)
board that says
Rico has been
killed in action
Strings come in
Wake Up with a
passionately as Diz
Kiss (Diz kisses the Brass, strings, Through-Composed
1:10:37 1:11:05 kisses the glass;
glass where Rico
percussion (Non-Diegetic) brass and
is; shows outside
percussion add to
of ship)
optimistic tone
Brass comes in
strongly,
suggesting that
Familiar Face Brass, strings, Through-Composed this guy is a big
1:12:09 1:12:59 (lieutenant arrives deal; strings and
percussion (Non-Diegetic)
on deck) percussion
emphasize the
powerful nature of
the lieutenant
Low brass comes
in powerfully,
making the scene
more intense and
Another Invasion suspenseful;
(Roughnecks Brass, percussion, Motivic (Non- percussion and
1:13:31 1:15:39 arrive on the strings come in to
strings Diegetic)
planet to take out add intensity as
bugs) they get louder
and faster; builds
up to a peak when
the bug hole is
nuked
All instruments
playing loudly and
intensely, adding
to the victorious
feel of the scene;
Backup (Rico and
gets very dark
his small group
when the big bug
join the rest of the Motivic (Non- appears, while the
1:15:48 1:18:07 Roughnecks to Full orchestra
Diegetic) intensity increases
provide backup;
yet again, but
Rico destroys big
more mysteriously
bug)
and frantically;
after Rico blows
up the bug, the
music resolves
peacefully
Celebration Ace plays the
(Roughnecks Through-Composed violin happily as
1:19:25 1:20:43 Violin
celebrate after the (Diegetic) everyone
victory) celebrates the
victory

Ace plays the


Getting Romantic Through-Composed violin more
1:20:43 1:21:12 (Rico and Diz Violin romantically as
(Diegetic)
dance) Rico and Diz dance
together
Strings and
woodwinds come
Getting Frisky
Through-Composed in very
1:21:12 1:22:33 (Rico and Diz fool Strings, woodwinds romantically and
around after the (Non-Diegetic)
peacefully with a
dance)
beautiful moving
melody
Low brass comes
The Outpost
in ominously; full
(soldier gets
orchestra comes in
carried away by a
frantically,
bug, then gets
Through-Composed growing in
1:23:06 1:25:48 shot by the Full orchestra intensity;
lieutenant; (Non-Diegetic)
woodwinds and
Roughnecks get to
upper-range
the outpost and
instruments give
see all of the dead
music to the wings
bodies)
of the bugs
Low brass gives an
ominous feel to
the scene;
percussion in the
background
provides the
Checking the militaristic feel;
Building (Rico, the Through-Composed flutes come in
1:26:11 1: 27:33 lieutenant, and a Full orchestra eerily; upper
(Non-Diegetic)
small group check strings add
out the building) suspense; brass
and percussion
intensify as they
look into the
closet thing where
the officer is
hiding
Bug Attack Low brass and
(Roughnecks fight Brass, strings, Through-Composed high strings play
1:28:08 1:31:09
against the bugs percussion (Non-Diegetic) together, creating
attacking the a very eerie and
compound) foreboding tone;
percussion and
brass come in
intensely as the
bugs are spotted;
brass ascends and
crescendos as the
bugs approach the
compound
Brass is blaring;
percussion is
pulsing steadily;
music becomes
Fall Back heroic and feels
(Roughnecks fall like it's a final
back into the Brass, strings, Motivic (Non- stand and fight to
1:31:55 1:34:21
compound as the percussion Diegetic) the death; strings
extraction ship is get very frantic
on its way) when the
lieutenant falls
into the hole and
get sad when he is
shot
Low brass blares
ominously as the
big bug appears;
upper strings play
Dizzy's Rise and
suspensefully;
Fall (Diz kills big Brass, strings, Through-Composed
1:34:21 1:35:38 brass plays
bug, then gets
percussion (Non-Diegetic) victorious fanfares
fatally wounded
as Diz kills the bug;
by another bug)
immediately gets
suspenseful and
foreboding as the
bug attacks Diz;
Brass, percussion,
and strings play
loudly and
intensely as they
Getting the Heck try to get the last
out of There (guys Through-Composed few people to
1:35:38 1:36:08 at the tower don't Full orchestra retreat;
(Non-Diegetic)
make it and the woodwinds play
ship lifts off) quickly and high to
add suspense;
brass comes in
strongly as the
ship lifts off
Low brass comes
adds a layer of
darkness;
percussion
maintains a
militaristic feel;
strings play
Diz Dies (Diz dies
somberly as Diz is
in Rico's arms;
dying; stays soft
Xander tells
Through-Composed and hopeful when
Carmen that Rico's
1:36:08 1:38:30 Full orchestra Carmen finds out
aboard; Rico (Non-Diegetic)
that Rico is alive;
wants to bomb the
brass and
planet, but gets
percussion come
rejected)
in powerfully as
Rico demands that
they bomb the
planet, and
continue when
they see the ships
mobilizing
Percussion plays
Burial Ceremony very
(Diz gets military Brass, strings, Through-Composed militaristically;
1:38:56 1:40:08 honors as her strings play sadly
percussion (Non-Diegetic)
casket is shot out as Rico talks about
into space) Diz; brass comes in
as a tribute to Diz
Brass and
percussion
dominate the
scene when Rico is
meeting the new
Reinforcements recruits and go to
(Rico meets fight; strings play
reinforcements when Carmen is
and they go to shown; when the
battle; Roger Motivic (Non- Roger Young gets
1:41:27 1:47:19 Full orchestra
Young is Diegetic) hit, it becomes
destroyed, and very frantic and
Carmen and conveys the
Xander crash on danger and panic
the planet) of the situation;
strings and
woodwinds play
softly when Rico
learns that the
ship burned up;
brass, percussion,
and strings
intensify as
Carmen and
Xander crash into
the cave
Low brass comes
in ominously;
strings come in
Situation is
strongly when the
Extremely Hostile
bugs begin to
(Carmen and
swarm around
Xander are Motivic (Non- Carmen and
1:47:19 1:50:56 trapped by bugs; Full orchestra
Diegetic) Xander;
Rico and crew
woodwinds come
abandon a rescue
in when the little
mission, then un-
bugs show up;
abandon it)
entire orchestra
plays
suspensefully
Strings start with a
feeling of
suspense;
percussion
increases as the
brain bug gets
closer to Carmen
and Xander; brass
gets really intense
when the brain
bug attacks
The Brain Bug (we
Xander; low brass
are introduced to
comes in
the brain bug; Brass, strings, Through-Composed prominently after
1:51:04 1:54:55 Rico, Ace, and
percussion (Non-Diegetic) Xander dies;
Watkins come to
Carmen cuts off
the rescue and
the bug's brain-
nuke the place)
sucker thing and
the brass comes in
very strongly;
strings come in
suspensefully as
Rico walks in;
brass and
percussion add
intensity as the
fight ensues;
music gets very
heroic once
Watkins sacrifices
himself
Strings come in
sadly and softly,
then other
instruments come
in and the music
gets happier as
they see the
people cheering;
then it becomes
heroic and
Victory! (they
Brass, strings, Motivic (Non- victorious as they
capture the brain
1:55:23 1:59:17 realize that they
bug and it's a percussion Diegetic)
captured the brain
happy ending)
bug; overall, it is
very upbeat; the
music becomes
apprehensive
when Carl goes to
see what the bug
is thinking, then it
goes right back to
the victorious feel
to end the movie
Ending music is
very victorious and
heroic for the
most part; it
encompasses most
Motivic (Non- if not all of the
1:59:20 2:09:28 End Credits Full orchestra
Diegetic) types of music
from the rest of
the score as
almost a recap;
eventually fades
out
Metropolis Restored
Timing Cue Name Texture Form Effect
Orchestra plays
lightly, then
intensifies; brass
Through-Composed
0:02:16-0:03:16 Opening Credits Full Orchestra builds up, adding
(Non-Diegetic)
suspense; timpani
ending continues
suspense
Flutes begin with
high trill; brass
plays melody as
flute comes in
with the second
hand of the clock;
Brass, woodwinds, Motivic (Non- music intensifies
0:03:18-0:04:07 The Factory and is chaotic;
percussion Diegetic)
tempo of music
and machinery are
the same; high
woodwinds and
low brass signify
danger; whistle
blows
Starts with
powerful brass,
then calms to
Brass, strings, Motivic (Non-
0:04:10-0:06:49 Changing Shifts strings and light
percussion Diegetic)
brass; music slowly
becomes more
ominous to the end
Trumpet fanfare
introduces a
happy section;
Brass, strings, Through-Composed upbeat music
0:06:50-0:07:39 The Upper World shows that the
percussion (Non-Diegetic)
rich live much
better and are
much happier than
the poor are
Brass and strings
Brass, strings, Through-Composed play a light waltz,
0:07:40-0:10:03 The Garden
percussion (Non-Diegetic) exuding playful
happiness
Woodwinds, Through-Composed Continuation of
0:10:04-0:13:32 Pretty Woman
strings, percussion (Non-Diegetic) the waltz, except
slower and more
thoughtful; regular
waltz returns after
Maria leaves; ends
with sense of
uncertainty and
wonder
Begins with brass
fanfare; when
Freder goes down
to the factory, the
music is similar to
that in the earlier
factory cues;
tempo and
Brass, woodwinds, Motivic (Non- intensity increase
0:13:34-0:17:33 Searching for Love as the orchestra
percussion Diegetic)
plays frantically as
the machine is
about to blow up,
then culminates
with a blast,
followed by sad
music when the
aftermath is
shown
Music reverts to
Realization of Brass, woodwinds, Motivic (Non- normal factory
0:17:36-0:19:06 settings; brass
Terror percussion Diegetic)
provide hope at
end
Dark, heavy brass
sound; ominous
hits from the
timpani; light
strings represent
Freder, adding
Looking for Brass, strings, Motivic (Non- suspense and a rift
0:19:08-0:25:32 from the other
Change percussion Diegetic)
music; Freder's
account of the
story warrants
dark music,
though he reaches
out to his father
with gentle music
Dark brass and
0:25:38-0:26:13 A Possible Revolt Brass, strings, Motivic (Non-
strings; steady
percussion Diegetic) percussion invites
suspense
Begins with brass
fanfare; volume
Through-Composed and tempo
0:26:14-0:28:18 Bringing the News Brass, strings
(Non-Diegetic) intensify as the
music and scene
gets more upset
Begins with soft
woodwinds, then
Through-Composed gets more
0:28:20-0:30:07 Firing Josaphat Full Orchestra
(Non-Diegetic) ominous with
brass and strings
as the cue goes on
Sad cue, with
strings and horns
bringing the
Brass, strings, Through-Composed intensity; Freder
0:30:08-0:32:24 Wait Josaphat!
percussion (Non-Diegetic) saves Josaphat,
and the music
reflects a changing
attitude
Disgruntled blares
by the brass, with
Motivic (Non-
0:32:26-0:32:53 The Spy Brass, strings pizzicato string,
Diegetic)
introduce the
creepy spy
Loud factory
music, with
intense trills and a
fast but somber
machine tempo;
Down the Rabbit Through-Composed Freder saves the
0:32:56-0:35:50 Full Orchestra
Hole (Non-Diegetic) worker from the
machine, and the
music becomes
happier, with a
flowing string
passage
Uneasy cue,
accented with
blaring brass;
Brass, strings, Through-Composed becomes happier
0:35:55-0:38:12 The Switch
percussion (Non-Diegetic) as he experiences
the upper world,
characterized by
the violin; remains
uneasy
Ominous and evil
feel; strings and
muted trumpets
build a sense of
doom; as the thing
behind the curtain
Brass, strings, Through-Composed is revealed, the
0:38:21-0:41:53 The Inventor music gets more
percussion (Non-Diegetic)
sad, which is
played by the
strings; when the
inventor enters,
the music is both
evil and still a bit
sad
Strings and
percussion provide
suspense; loud
Brass, strings, Through-Composed brass blasts on top
0:41:56-0:45:38 The Machine Man of this uneasy
percussion (Non-Diegetic)
passage provide a
sense of danger,
enhanced by a
timpani roll
Brass and
percussion play
Through-Composed intensely with
0:45:39-0:46:45 The Plan Full Orchestra
(Non-Diegetic) strings playing
ominously in the
background
Brass blares
jabbingly, as if
stabbing at Freder
as he works; the
The Struggle is Brass, woodwinds, Motivic (Non- flute stays with
0:46:47-0:48:18
Real percussion Diegetic) the clock, counting
down the time
until he is done,
crescendoing to
the whistle
Low strings are
juxtaposed by high
Brass, strings, Motivic (Non- brass as the father
0:48:20-0:50:57 Back in the City
percussion Diegetic) decides to go
down to the
workers to see
what they're up
to; timpani
increases
suspense
Strings and
woodwinds play
Through-Composed gently on top of a
0:50:58-0:52:44 Maria Full Orchestra
(Non-Diegetic) harp passage,
signifying
something good
Intense brass
music is accented
with a timpani,
increasing drama
in the scene;
workers concerns
The Tower of Brass, woodwinds, Motivic (Non- are characterized
0:52:47-0:57:04 by dark and
Babel percussion Diegetic)
disgruntled horns
punctuated with
woodwinds, but it
doesn't last long
as Maria brings
back the
happiness
Dark brass
reinforces upset
The Mediator has Motivic (Non- workers; music
0:57:05-0:59:42 Full Orchestra
Arrived Diegetic) becomes lighter
and hopeful when
Maria sees Freder
Dark brass blares
as Freder makes
the plan to make
the machine
woman look like
Brass, strings, Motivic (Non- Maria; when it
0:59:45-1:01:19 The Machine Plan
percussion Diegetic) changes to Maria
and Freder, it
becomes lighter,
but when it goes
back, it remains
dark
Woodwinds and
The Light in Woodwinds, Through-Composed strings play
1:01:20-1:03:00
Darkness strings, percussion (Non-Diegetic) passionately and
with hope
Muted trumpets
and other brass
lead the orchestra
Brass, woodwinds, Motivic (Non- in playing
1:03:02-1:06:20 Attempted Escape frantically,
percussion Diegetic)
increasing the
confusion and
hopelessness of
the scene
Starts with light
strings and an
organ, then
intensifies and
Through-Composed becomes more evil
1:06:29-1:07:48 The Cathedral Full Orchestra as the man talks
(Non-Diegetic)
about the
Apocalypse, with
the brass blaring
and the timpani
banging
Brass comes in
with danger and a
Motivic (Non- sense of
1:07:50-1:08:07 Foreboding Brass, percussion
Diegetic) foreboding about
the machine
woman
Heavy, somber
strings provide a
backdrop to the
Woodwinds, Through-Composed confused people
1:08:10-1:09:56 Bummed Out
strings, percussion (Non-Diegetic) leaving the
cathedral after the
Apocalypse
sermon
Antiphonic
melodies appear,
first in the brass
Through-Composed and strings, then
1:09:57-1:11:32 The Truth Full Orchestra in the woodwinds;
(Non-Diegetic)
full orchestra
comes in as music
intensifies, then
resolves nicely
Very intense, with
Going to Get Through-Composed brass and strings,
1:11:33-1:13:27 Full Orchestra
Georgy (Non-Diegetic) while also gentle
and light in
another part of
the scene;
juxtaposition
provides a feeling
of hope through
the darkness
Dramatic brass
Motivic (Non- turns into eerie,
1:13:29-1:18:00 The Creep Full Orchestra but calm music as
Diegetic)
the spy does his
work
Intense brass
keeps intensifying
with strings and
Through-Composed woodwinds in the
1:18:02-1:23:20 Damsel in Distress Full Orchestra background;
(Non-Diegetic)
strings become
more hopeful
when Freder hears
Maria screaming
Light strings and
woodwinds with
pitched percussion
add suspense to
Creating the Through-Composed the scene;
1:23:22-1:26:08 Full Orchestra
Machine Woman (Non-Diegetic) suddenly it
becomes dark with
brass; it switches
back and forth,
providing anxiety
Brass and strings
play menacingly as
the robot Maria
begins her evil
mission,
Brass, strings, Motivic (Non- intensified and
1:26:11-1:29:18 The New Maria dramatized
percussion Diegetic)
throughout the
scene; when
Freder sees her,
he is confused and
the music
becomes frantic
Strings begin
Motivic (Non- choppy and
1:29:19-1:33:42 The Dance Full Orchestra
Diegetic) uneasy, leading
the orchestra to a
build up; once
revealed, the
strings become
mesmerizing as
the brass and
woodwinds dance
around; feels very
ominous, although
the people in the
scene do not see
the danger
Cue begins with an
Brass, woodwinds, Motivic (Non- eerie piccolo,
1:33:45-1:34:46 The Nightmare followed by
percussion Diegetic)
uneasy and
intensifying brass
Chaotic strings and
woodwinds
Woodwinds, Through-Composed introduce a panic,
1:34:53-1:35:40
Friend but then play
strings (Non-Diegetic)
more flowingly as
the situation
dissipates
Antiphonic brass
Through-Composed and pizzicato
1:35:41-1:36:08 Planning Brass, strings strings add
(Non-Diegetic)
uncertainty to the
scene
Very intense as
the Maria dance is
explained to
Through-Composed Freder; is a much
1:36:10-1:39:18 The Dance, Relived Full Orchestra
(Non-Diegetic) more frantic
version of that
already chaotic
cue
General sense of
Motivic (Non- darkness as the
1:39:19-1:39:34 Decisions Brass, strings low brass and
Diegetic)
strings play
ominously
Uneasy strings are
accented by
Motivic (Non- muted brass and
1:39:35-1:45:35 The Real Truth Full Orchestra
Diegetic) woodwinds; music
becomes evil
sounding as the
robot Maria
continues her
brainwashing
speech; becomes
heroic as they
agree with her;
Freder interjects,
but is not received
well by the other
guys, so is
attacked, and the
music reflects this
Sad strings and
music play as the
Woodwinds, Through-Composed dying man realizes
1:45:40-1:46:14 Faithful After All
strings (Non-Diegetic) that Freder had
been telling the
truth
Brass plays
intensely and
brashly, and
intensifies further
The Workers Brass, strings, Motivic (Non- as the scene
1:46:15-1:51:15 progresses; strings
Revolt percussion Diegetic)
and percussion
add to the
intensity as the
worker's revolt
begins
Brass, woodwinds,
Everybody is Motivic (Non- and percussion
1:51:18-1:52:38 Full Orchestra play especially
Confused! Diegetic)
dramatically as the
scene progresses
Begins with
Brass, strings, Motivic (Non- trumpet fanfare;
1:52:39-1:53:04 Open the Gates strings and
percussion Diegetic)
percussion come
in with intensity
Sense of calmness
in the midst of the
Motivic (Non- revolt, with
1:54:04-1:54:13 Down the Shaft Brass, woodwinds
Diegetic) woodwinds and
trumpets playing
gently and softly
The Revolt Motivic (Non- Returns back to
1:54:14-1:55:33 Full Orchestra
Continues Diegetic) the full orchestral
chaos, building up
to the demolition
of the machine
Big percussive hits
come when the
elevators crash;
Brass, strings, Motivic (Non- the entire
1:55:36-1:59:10 The Flood
percussion Diegetic) orchestra plays
intensely and
crescendos
through the scene
The workers are
very happy that
Motivic (Non- they're destroying
1:59:15-1:59:46 Dancing Workers Brass, percussion
Diegetic) something, the
music reflecting
their happiness
All instruments
become very
intense as the
power goes out;
Joh Fredersen
worries about his
son as the music
Motivic (Non- intensifies further;
1:59:48-2:06:14 Where is My Son? Full Orchestra
Diegetic) there is a brief
respite when
Freder and Maria
embrace, but the
frantic music soon
returns when they
have to get the
children to safety
Music is generally
sad, but is also
Through-Composed scored with hope
2:06:15-2:06:54 Getting Maria Strings and happiness,
(Non-Diegetic)
since the children
have made it to
safety
Brass plays
Brass, strings, Motivic (Non- uneasily, accented
2:06:55-2:07:48 Lights Out with strings
percussion Diegetic)
playing with a
similar feel
What Have We Motivic (Non- Parents worry
2:07:50-2:09:12 Brass, strings
Done? Diegetic) about their
children, as brass
and strings add a
layer of drama
Light brass and
percussion remind
The Witch Hunt Motivic (Non- the listener of
2:09:15-2:10:04 Brass, percussion
Begins Diegetic) Maria's dance as
the people look
for the "witch"
Vengeful brass
The Witch Hunt Motivic (Non- mirror the feeling
2:10:06-2:10:23 Brass of the workers,
Continues Diegetic)
who want the
robot Maria dead
Strings come in
gently, providing a
The Children are Through-Composed safety blanket,
2:10:26-2:10:48 Strings, percussion
Safe (Non-Diegetic) now that the
children are safe
in the upper city
Intense brass and
strings with
The Witch Hunt Motivic (Non- piercing
2:10:50-2:11:00 Full Orchestra woodwinds
Goes On Diegetic)
increase the
drama in the
scene
Through-Composed Flowing strings
2:11:01-2:11:36 Hel Strings, percussion play, slowly
(Non-Diegetic)
intensifying
Brass is blaring,
punctuated by
Motivic (Non- percussion, as
2:11:38-2:11:44 Woman on the Run Brass, percussion
Diegetic) Maria tries to
escape the angry
mob
Strings play very
Through-Composed eerily,
2:11:45-2:12:08 Down Below Strings, percussion
(Non-Diegetic) accompanied by a
bell
Intense brass and
strings, with
The Witch Hunt Still Brass, woodwinds, Through-Composed accented
2:12:10-2:14:40 percussion in the
Goes On percussion (Non-Diegetic)
background, adds
to the drama in
the scene
Music intensifies
with brass and
percussion as the
mob captures the
robot Maria and
begins to burn
her; woodwinds
Brass, woodwinds, Through-Composed play frantically as
2:14:42-2:19:34 Hide-and-Seek
percussion (Non-Diegetic) the real Maria
tries to find a
place to hide;
music increases in
eeriness once they
realized they
burned the robot
Maria
Brass important as
Maria tries to
escape from the
inventor and also
as Freder fights
Where is the Real Through-Composed the inventor;
2:19:35-2:21:40 Full Orchestra
Maria? (Non-Diegetic) strings become
more somber as
Joh Fredersen sees
his son fighting
and becomes
worried
The strings bring a
sense of happiness
Yes, Your Children Through-Composed and joy when the
2:21:42-2:21:59 Brass, strings workers / bad
are Fine (Non-Diegetic)
parents realize
that their children
are safe and well
Woodwinds play
intensely as Freder
is knocked out;
strings add
intensifying
Father-Son Motivic (Non- suspense; brass
2:22:01-2:23:47 Full Orchestra and strings get
Bonding Diegetic)
intense as Freder
and the inventor
fight on the roof,
then the
woodwinds go
crazy when they
slide down the
roof back to where
they were before;
full orchestra plays
when Freder
overpowers the
inventor and
pushes him off of
the balcony
Strings and brass
play happily, now
The Mediator Brass, strings, Through-Composed that everyone is
2:23:51-2:26:41 safe; the full
Mediates percussion (Non-Diegetic)
orchestra comes in
for a grand, happy
ending
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