Second Part to the Methods

Method 3, in a way, is the most interesting because I doubt it's very common. This is the method where a theme is shown throughout the movie, but it's played completely at the end, when the character or people or whatever has earned the theme. That implies to me that in order to use this method there has to be some degree of 'earning', either of something physical, mental, visual or even just imagined. I don't think it would be strictly necessary to have this storyline, but it does put a limit on this method.

In the same interview with Steve Jablonsky, where I became aware of this process of shaping the theme, in the same example, Michael Giacchino's Star Trek (2009) was mentioned, as being a soundtrack where the characters have to earn the theme. This is true to that soundtrack, where the original star trek music is only played at the end (I'm not even sure if it's hinted at throughout, sense I've only listened to that music once or twice). This brings up the question for me, is it possible that Method 3 was used in Star Wars, sense several of the characters in both trilogies were setting out to earn something. Normally I'd be tempted to say that John Williams used Method 1 for Stars Wars- that's what it seems on the surface, but there might be a hint of the characters winning their goals, as with Method 3.

This method can be similar to Method 2. It's as flexible, it can be used in the same way and in the same movies- assuming I'm right, especially when there is some storyline of earning something involved. The two methods are so similar I'd be tempted to say they were the same, but there are distinct differences. Method 2 is a little more established. 

Using Captain America: Winter Soldier again as an example for Method 2, the soundtrack belongs to a movie that's basically telling a story involving characters that have been together and worked together for a while, they're roles, what they do, has been established. They've already earned their theme. On the other hand, in Star Trek, they have only just started their adventures, they need to figure out where they stand, what they're doing and where they're going- sometimes literally. They're young and they haven't earned their theme- they don't even know what key to play it in!

I don't really have anything to say against this method, except perhaps that it seems limited, but I don't like to say anything too definite like that when I'm still learning. And there's nothing wrong with limited- it makes finding the soundtracks that use Method 3 all the more interesting.

And that's all of the methods, that I know of so far. Of course if there are official methods, besides Method 3, that have already been established, I'd love to know about it. But I think I can get by with these for now.

And now, hopefully, on to reviewing soundtracks. Unless of course I feel like bringing up the subject of different types of composers..... but I think that can wait