By now, you saw it or are ready to see it, know someone that saw it, or know someone that is planning to see it.

I’m talking about “Star Wars: Episode IX — The Rise Of Skywalker.”

It’s not just any old film score either. The score is composed by the maestro. In my opinion he is one of the best composers.

Ever.

I’m talking about John Williams. His music has graced silver screens since a long time ago…

When I think of Star Wars, I also think of Williams because his music makes any Star Wars film enjoyable.

How can one resist the music? The music is majestic, elegant, bold and soothing all at once. I remember seeing Star Wars in 1977. It was at the Chautauqua Mall, and I had been seeing and hearing all the ballyhoo about Star Wars (In 1977 “Episode IV — A New Hope” wasn’t part of the title). I thought what could it be, and finally when I saw it, I was hooked forever. I loved the story, but I also loved the music, and at 12, I wasn’t a classical music buff, nor did I think I would like classical music. I was in the band at Lincoln Junior High School where we were exposed to classical pieces.

Williams, though, made me appreciate classical music more, and I saw and heard how the music complemented a movie.

When watching the opening scroll, how could you not like the accompaniment? It is powerful. But the scene that sold it for me, was the binary sunset scene in Episode IV. It is where Luke Skywalker stares at the two-sun sky that set in the distance. He had just talked with his Uncle Owen and Aunt Beru about wanting to transmit his application to the academy. When he arrives topside, you hear the strings, harp and French horn. As the French horn ends its phrase, you hear the whole symphony sweep in. That’s where you feel for Luke and understand his plight.

Recently Williams talked with CBS News “Sunday Morning” Correspondent Tracy Smith about his music and how it can be improved.

“It’s very hard for me to take complete pleasure in anything in anything that I’ve made. You can love it and you can love it all, but you can you can always see things that can be improved. I wish I had the kind of personality in which I could say ‘Ah this is fantastic.’ But in the art of music I don’t think there is a place for that kind of vanity. Who could feel that way given the shoulders owe stand on.”

In all his genius, he told Smith that he doesn’t listen to his film scores when coupled with films. He said he doesn’t have time to listen because he is writing other music.

And he said that composing music is a great privilege, but the process is so intense that he may neglect things in his life.

But the Star Wars saga is not the only films to which he lends his magic touch. He has a long list which includes “Fiddler On The Roof,” “The Poseidon Adventure,” “Jaws,” “Close Encounters of The Third Kind,” “Superman,” “Raiders of The Lost Ark,” “E.T. The Extra-Terrestrial,” “Indian Jones and the Temple of Doom,” “Born on the Fourth of July,” “Indiana Jones and the Last Crusade,” “Home Alone,” “JFK,” “Schindler’s List,” “Saving Private Ryan,” “Harry Potter and the Sorcerer’s Stone,” “Harry Potter and the Prisoner of Azkaban,” and “Lincoln.” He won five Academy Awards for “Fiddler,” “Jaws,” “Star Wars (IV: A New Hope)” and “Schindler’s List.”

If you have seen the trailers for Star Wars: Episode IX –The Rise Of Skywalker, and did not pay attention to the music, I suggest that you do.

To me, one word describes his music — excellent.