gkgyver

There are always people dumb enough to believe the fake media bullshit. 
 
A large portion of the American people (not all, mind, but too many) are just that... Too dumb and brainwashed to see through all the bullshit.
 
Give me a break!
 
Not all, not at all.
 
Just the US mainstream media is fake news. The whole world knows this, except like I said, a large portion of the American people too ignorant (maybe purposefully ignorant) or uneducated to see through all the bullshit propaganda lies.
____________
I seriously wonder when some people will understand how the US government in collusion with the corrupt US fake media (mainstream media) is f***Ing the American people over and over and over again... Just because they can and they are greedy! And nowadays it's worse than ever, not necessarily because of Trump, but it's been that way for the past 50 years! I guess that's just too much for some people to wrap their weak minds around.
 
Newsflash:

 
Who told you that? CNN? Fox News? 
 
Yeah, you have your chuckle. The whole world is laughing at the US media and those dumb enough to believe it.

And Prisoner of Azkaban has 4, The Lost World 3 ... I don't give a shit.

Adding to this my experience of watching The Last Jedi.
 
To sum up a major major portion of this film in one sentence: it feels like watching a 2-part episode of Star Trek Next Generation, until the last 20 minutes on Crait.
Holdo is such a Star Trek character, and Finn and Rose leading a mission on a planet, trying to find the new Lando, and Poe playing Ryker ... And the situation with the two opposing fleets. I know the First Order just needs to wait until the Rebellion runs out of fuel, but can't they just, you know, chase the Rebellion and destroy them? As it is, the whole premise of the film relies on the fact that Hux and Kylo Ren just let the Rebellion stay out of firing range for no reason whatsoever, aka stupidity.
 
2.5/5

And VIII proved that it is possible to not really be Star Wars even with Williams.  

I haven't tried it in an orchestral situation, but one thing that springs immediately to mind is experimenting with a transient shaper. The transient is how fast a sound takes to reach its peak volume-- a piano has a very quick transient for example (this could also be  likened to the Attack or A of an ADSR envelope). As the name implies, a transient shaper manipulates this element, even without altering the actual decibel level of a given sound. Generally speaking, the quicker the transient, the more "forward" it is in a mix, and of course you can imagine the opposite. 
 
So if I had a tambourine playing, and I wanted it to have less presence, without adjusting the volume of the track, I could use a transient shaper to reduce its transient and create a more "distant"  sound. 
 
As mentioned, I haven't tried it with a fully orchestral pallette! Reverb can also play a big role: generally less reverb=more upfront, more reverb=more distant. Here's a track I wrote last year to demonstrate:

https://soundcloud.com/mcrengech/murder-in-green-meadows-entracte
 
I was just learning production when writing thisn so there's a lot of boos boos in terms of aural presence. Some things are more in focus when I think they would be better more "off camera",  and vice versa. If I were to redo this track, I would probably put reverb on the piano to make it less in your face, and reduce reverb on instruments like the bass to make it "punch through" more, as an example. I hope this helps!

This reminds me of another thing I prefer about Shore's work.  It is far more bespoke and organic to the story.  You can hear the "limited" harmonic vocabulary, the earthy, granite like orchestration, and immediately identify Middle Earth in any isolated passage.  Take a similarly isolated and non thematic moment from Star Wars, and it's just... John Williams.  The only things that make it a Star Wars score are the themes.  There are certain little Star Wars isms, but ultimately they're few and far between, not something that defines the sound world.  
 
I've been a musician for decades now.  At no point has anything been more determining of my enjoyment of music, especially film music, than its spiritual, emotional impact.  I have little interest in music created to exemplify complexity or theory for its own sake.  The best art provides something more for us.   Obviously Star Wars as a story does that for some, but not me, and when it comes to more esoteric and purely musical concerns, I'm left similarly cold, as there's only well crafted but unrooted and at times generic (within the composer's output) music on offer.  
 
Star Wars, music and film, can't ever be more than light entertainment for me. 

God forbid someone makes a subject as dreary as music theory fun.
 
Gb and F# are the same note. How is that incorrect?
 
And people call me negative or obsessive.

IT'S THE SAME KEY ON THE FREAKING KEYBOARD, IT'S THE SAME

IT'S THE SAME KEY ON THE FREAKING KEYBOARD, IT'S THE SAME

That's a pity because it's a great video.

He didn't spend 10 months composing, they just spread out the recording sessions over that period of time. Williams, I believe, openly said that his output in terms of minutes of music per day has remained relatively consistent, in spite of his age. Its just attending recording sessions and conducting that is the issue.
 
And, I agree that its a superficial "dick-size" contest. That's what I'm trying to show: that you can't point to the superior of the two without resorting to debates on such trivialities, hence you cannot be so unequivocal in claiming that "STAR WARS IZ DU BEST FILM SKOR EVAR." The same is true of hailing Shore's work as just that.

True, but on the other hand, there is a lot of harmonic forethought in terms of creating a glossary of themes which, unlike Williams' but very much like Wagner's, are all harmonically tied together in sets and subsets of related themes. Pretty damn mind-blowing.
 
These are leitmotivic works. They should be assessed based on their leitmotivic variety and intricacy, first. Again, not trying to start what is bound to be a never-ending argument, but rather to show the error in such bold statements as "Star Wars is without peer" nonsense.

I see.
 
It should be said however that that reply was only one of a number in that vein, also from Score, igger6, and from Richard on the ranking of the Star Wars scores thread.
 
Like I said, I would like to have seen both receive an honorary oscar, and while only one of them may acquire such a title at this point (unless Shore ends up scoring more Middle Earth films, which I hope he does), I think its incorrect to claim, even indirectly, that only one of them should.
 
And I still think that unequivocally granting either of the two works the title of "achievement without peer" and "the single greatest achievement in motion picture scoring" as they have been called in these two threads, is much too bold a claim. 

If you wanna make the world a better place, take a look at yourself, then make a change.

Nope, stick with the whip angle.
 
Can't imagine how you accumulate much else in life other than accumulating posts when your count reaches that level...

Well that certainly told me didn't it? Right barrel of laughs aren't you, eh?!
 
In all seriousness though young Jedi, before you threw your toys out the pram you could've possibly considered the notion I posted this thread innocently and without ulterior motive, merely thinking fans of JW might enjoy a little puzzle/conundrum about his music....
 
Sheesh, anyone would think i was questioning people's manhood or summat!
 
 
Still not telling tho....
 
 
 

You could probably skip over AOTC and TLJ without missing much. 

That's the advantage of being exposed to them at an older age, like me. I watched them with some existing knowledge of what they were, but I had no idea what the critical consensus on any of them was when I watched them. I remember watching The Phantom Menace and thinking "well, that wasn't very good", a feeling only exacerbated by watching Attack of the Clones. Things improved significantly with Revenge of the Sith and - in most regards - even more so in the segue to the original Star Wars, and absolutely peaked with Empire Strikes Back. It was in a completely different zone. Than Return of the Jedi worked reasonably well on first viewing, as did The Force Awakens.
 
On subsequent viewings (I always watch a film twice to settle my opinion of it) the first two prequels became much worst, as did Return of the Jedi. I could even see the seams in the original Star Wars, particularly in terms of 70s wierdness and the level of the acting.

This is the first time I've never been anxious about missing music from a SW OST. I finally feel free.

“I would very much like to complete that” (surely hoping it's the last!)

Still a better love story than Twilight.

Williams SW Scores are usually poetry like this:
 
Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow--
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.
 
Last Jedi is poetry like this:
 
Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow--
You are not wrong, who deem
That my days have been a dream;
Yet take this kiss upon the brow,
In a night, let me avow--
In a vision, you deem 
Is it my days that have been a dream?
In parting from you now,
Take this kiss upon the brow.