Henry B

One motif that I haven't seen any discussion of is the film's treatment of technology. It's faithful to the technical imagination of the 1970s, which seems quaint now in many ways. (Why didn't Leia just immediately upload the Death Star plans to Rebel Alliance servers all across the galaxy? Why did Obi-Wan have to physically shut down the tractor beam instead of hacking the Death Star's wi-fi network and doing it remotely?) The clunkiness of the 1970s is constantly throwing obstacles in the heroes' path. Bodhi can't get in touch with the Rebel Fleet because the communication cable isn't long enough. Jyn and Cassian have to alert the Fleet to open a special channel because the schematics are too large to be sent through normal means. I think it was totally self aware. And I loved that the Master Switch is a big, goofy lever.

You are so full of yourself!
 
 
I don't think this film or its score will have much of an impact on anything in Hollywood.  Hollywood is as Hollywood does.  Scores all all different styles will continue to be requested, just like they always have an always will.

Williams could simply recycle Jabba's theme and be done with it.

If Rogue One was going to be yet another slow, joyless, self-important, "dark," blockbuster film, thank goodness they're doing reshoots. Yes, it seems anti-creative to bring the film closer in line with The Force Awakens, but what if the studio is saving us from the next "Man of Steel"? Or maybe the movie was amazing, and Disney wants to ruin it. I'm just saying we shouldn't assume the worst.

I loved it. The Boston Pops were every bit the equal of the often deified LSO, with the exception of just a single moment. When Indy climbs on top of the German submarine, the entrance of the trumpets playing the Raiders March sounded distant and dull, making the cue not quite as euphoric as it could have been. Ah well. The music came across prominently in the mix - probably louder than the theatrical mix - but never overwhelmed the dialogue and effects.
 
I'm pretty sure I heard a recorded choir during "Map Room," but it's possible my brain was just filling in the blanks. I don't remember at all whether there was a recorded choir in the other cues.
 
That new bit of music Williams wrote for the first confrontation with Belloq was not included. Everything was reproduced faithfully, although I do wish we could have gotten at least a full performance of the end credits without microedits.

If Rogue One was going to be yet another slow, joyless, self-important, "dark," blockbuster film, thank goodness they're doing reshoots. Yes, it seems anti-creative to bring the film closer in line with The Force Awakens, but what if the studio is saving us from the next "Man of Steel"? Or maybe the movie was amazing, and Disney wants to ruin it. I'm just saying we shouldn't assume the worst.

I loved it. The Boston Pops were every bit the equal of the often deified LSO, with the exception of just a single moment. When Indy climbs on top of the German submarine, the entrance of the trumpets playing the Raiders March sounded distant and dull, making the cue not quite as euphoric as it could have been. Ah well. The music came across prominently in the mix - probably louder than the theatrical mix - but never overwhelmed the dialogue and effects.
 
I'm pretty sure I heard a recorded choir during "Map Room," but it's possible my brain was just filling in the blanks. I don't remember at all whether there was a recorded choir in the other cues.
 
That new bit of music Williams wrote for the first confrontation with Belloq was not included. Everything was reproduced faithfully, although I do wish we could have gotten at least a full performance of the end credits without microedits.

Oh, really? I'm not so sure about that. I mean, I don't think TFU, with its Williams imitations, beats the incredible mood KOTOR2 establishes. But it's still awesome. Favorite track: "General Kota and the Control Room."

It's not necessarily this music vs. the Starkiller music. Assuming the music for Han's death starts at 1:25 in the clip, the music is about 40 seconds long. The film/album version takes about 30 seconds before going into the Starkiller Reprise. Doesn't quite match, but this clip seems to only cover the beginning of the moment, not Han's body falling away, Leia's reaction, and so forth.

http://www.jwfan.com/forums/index.php?/topic/25881-the-force-awakens-album-discussion-no-film-spoilers/&page=28#comment-1206096

The fanfare at the beginning of the FYC version of "Snoke" and the fanfare for the reveal of the star destroyer (Main Title and the Attack on the Jakku Village @ 1:35): pretty much the same, yeah? Some sort of First Order fanfare? It also seems like the low string figure at 4:12 in the end credits has something to do with this motif.

The fanfare at the beginning of the FYC version of "Snoke" and the fanfare for the reveal of the star destroyer (Main Title and the Attack on the Jakku Village @ 1:35): pretty much the same, yeah? Some sort of First Order fanfare? It also seems like the low string figure at 4:12 in the end credits has something to do with this motif.

Well, no, I'm serious though. That stuff is important! I think the ending sequence of the interview with Karen Allen cut with violent clips from the original trilogy summed up best of all what's wrong with KOTCS. And it's not just graphic violence. It's edginess, attitude, brutality. And most of all bravery: that's what KOTCS had little of.

Just wondering: are we positive that OST "Snoke" is a concert arrangement? I feel like it would fit Snoke's second scene pretty well in a chronological edit, even if the music doesn't quite match. Am I remembering correctly that that scene took place between "Han and Leia" and "The Bombing Run"? I know somebody (Jay?) posted a speculative complete cue list, but I can't find it

​Somewhat mystified by the lukewarm reactions to this one. It has all the strengths of modern Williams and few of the weaknesses. And I think the few nods to the original trilogy style are more credible than anything in the prequel scores. (I'm talking about stuff like breezy, optimistic passages of music with a biting "wrong note" underneath - he used to do that all the time.)
It corrects what was a very clunky transition in Revenge of the Sith.

Listening to Revenge of the Sith as I await the new score. What strikes me is how good the individual moments are - and how little cohesion there is. A lot of the blame certainly lies with Lucas. There's the fact that large sections of the film were not made available to Williams and ended up with tracked music from the previous films. The narrative and thematic framework of the score is filled with holes because of this; certain ideas could not be developed or brought to completion (probably the most egregious unscored scene is Vader's march on the Jedi Temple). Then there's Lucas's editing style in general - just terrible for a dramatic score. Quick wipe, transition, shot of a ship landing, two lines of dialogue, another shot of a ship landing... too fragmentary to satisfactorily score. But I also think Williams dropped the ball on a few occasions; two complete renditions of "Qui-Gon's Funeral" in a row? What on Earth? As wonderful as that piece was in the context of The Phantom Menace, we really didn't need to hear it twice. And why didn't we ever hear much of Anakin's Theme? So what we're left with (both on album and in the unreleased stuff) is a series of brilliant moments, but a whole that is less than the sum of its parts.
Abrams' editing style is totally different. I have high hopes that this score will feel complete and cohesive.

Is it possible that Williams was simply unavailable to score Trailer #3 because of his recent medical issues? We all seem to be assuming that it was a marketing decision not to hire him.

Jesus Christ. It's no wonder that women never post here.

Jesus Christ. It's no wonder that women never post here.

I'm sure there are some early suites and stuff that aren't directly from the film.

My favorite Williams score. It's a glimpse into eternity, as stupid as that might sound.

My favorite Williams score. It's a glimpse into eternity, as stupid as that might sound.

My favorite Williams score. It's a glimpse into eternity, as stupid as that might sound.

Max von Sydow!!

Why is it such a moral offense for posters not to fix their typos? We can understand them fine, and this is a discussion board, not a scholarly journal.