I've been playing these ones for so long that I didn't really closely follow the John Williams versions, but I attached them for future comparison.
Sor 1
Its hard to take your time with this one because its so relentless with its activity. This one I aimed for absolutely no missed notes and consciously trying to spread out the changes in volume as evenly as possibly across a rise or fall in the music. Like Sor 5, I tried to eliminate unintended notes caused by lifting your fingers from the fretted strings. Its the worst especially at quiet parts, but the trick I use is sliding slightly up or down the string to kinda make the lifting motion more horizontal instead of lifting directly from the string. But if you do it too hard on a bass string you can make a "zippery" kind of sound because of the wound / coiled nature of the bass strings - its easier on the treble strings because they're solid plastic.
Sor 5
This one is pretty melodically uncomplicated and the chords are pretty easy, but because its so slow and there are so many barre chords throughout you're often exposed if your nail grazes a string causing a buzz or click or if you lift up a fret too suddenly and activate the string accidentally just by lifting off it. Recording is tough because as your LH gets fatigued from practicing the barre chords you become even more exposed! Then as you get more and more frustrated your hands get cold which for some reasons make the strings more sticky so lifting away has a higher chance of creating a wrong note!
Ishida