crumbs

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crumbs last won the day on April 9

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  1. We're on a unity ticket with this opinion, Chen. I know we don't always see eye to eye, but you're spot on here. The mere concept that Marvel are "risk-taking" is laughable. As you rightly point out, their films are so bland and safe, it's nauseating. While the Disney SW films might be hit and miss under Kennedy, they're taking some pretty significant risks and allowing a surprising degree of independence to their filmmakers. Last Jedi, love it or hate it, was NOT what the fanbase expected. And the first standalone resulted in the main characters all dying at the end. Of the major dramas Kennedy has dealt with: Josh Trank was quite clearly unfit to helm a major motion picture of this scale Gareth Edwards quite clearly delivered a film filled with thoroughly generic and uninteresting characters (just as he did with Godzilla) and they decided to add some levity to the precedings so audiences might actually give a flying fuck about their sacrifice at the end The original Solo directors? Well, who knows, but it seems like they were totally out of their depth as well, if not taking the piss Marvel is practically the definition of risk-averse.
  2. That's a fascinating insight into Williams' mindset, really. That he was more interested in a younger, contemporary composer not being slavish to the style of the original scores, but finding ways to integrate his thematic material using more contemporary techniques, makes perfect sense. Doubly so if you believe the rumours about his frustration with Giacchino's Rogue One, which ultimately comes across as a modern composer imitating the style of a classically-trained composer by imitating a classically-written Star Wars score, resulting in an amateurish pastiche. It clearly didn't work. This score, on the other hand, fully retains Powell's voice as a composer, modernizes it with techniques Williams generally eschews, while rooting itself firmly within the Star Wars musical tapestry. He's achieved quite the feat, if I do say so myself.
  3. So Luke's Theme starts the end credits again, just like the other 9 SW films?
  4. Has it occurred to some people that if Williams knew how to use electronics and synthetic instruments the way that Powell does, he would do the same thing himself? He's regularly shown a willingness to dabble in the world of synth, just never to an extent that it overtakes the voice of a live orchestra. He's certainly never spoken ill of such techniques. In fact, he seems almost intrigued by the way composers like Powell have these additional tools at their disposal (but doesn't have the willingness to learn at his age, which is fair enough).
  5. If I'm thinking of the right track, it's some very zany source music featuring two female soloists. A little out of the box but the series has always been filled with bizarre source music (looking at you, Lapti Nek). It's actually a fun listen IMO, like something you'd hear in an offbeat Japanese karaoke jazz bar, filtered with a hint of the Blues, Star Wars style.
  6. Believe me, it delivers! Williams' new theme(s) are all over the score with both tender and soaring action mode renditions. Many of them more impressive than Williams' own arrangement here.
  7. Both Williams ideas get a fantastic action-mode workout in Break Out, as well.
  8. If it helps your decision, the score is apparently very poorly mixed in the film (almost inaudible at times). So, listening in advance may aid your ability to recognize the new themes when seeing the film.
  9. It's just so hard not to have a smile on your face listening to this. Even the weirder, non-Williamsy stuff is fun and unique in its own way (with plenty of flute flourishes and exotic orchestration that would make Williams proud for the sheer experimentation). Certainly better than grimacing throughout the listen, at moments like this: Amazing how amateurish everything sounds in that score now, right after listening to Powell's SW music.
  10. Powell really took the trumpet writing in Williams' arrangement and didn't just run with it, he sprinted! The brass section gets one hell of a workout in this score.
  11. I only listened to the track once and I could hear it all over the score proper. It's just instantly memorable and very noticeable throughout the complete score, with plenty of glorious, soaring renditions.
  12. Yes, that's my first reaction. You can go to literally any track and there isn't a dull moment here. So fear not for everyone who disliked Rogue One; this is the Star Wars spinoff score you were looking for! WOW! Gone is the shithouse dry mixing, replaced by the virtuosity of a symphonic orchestra all doing their own thing yet working together brilliantly. Han's Theme @ 1:35 in Flying With Chewie! Both the Powell appointment and Williams writing the main theme (for Powell to thread through the score) have proven very wise and inspired decisions.
  13. Just came here to say: HOLY SHIT @ Reminiscence Therapy. What a mindblowing, bonkers track, like a remix of the OT scores on steroids! Absolutely mops the floor with Rogue One in 6 minutes flat! Who'd have Star Wars scores would sound vastly superior with layered orchestration and a mix that resembles a virtuosic orchestra in a symphony hall, rather than sounding submerged underwater! Williams and Powell work gloriously together and all the reinterpretations of Han's Theme threaded through the score are fantastic. It's actually quite fun hearing Williams reinterpreted through the lens of modern writing by a composer who understands symphonic writing and clearly understands Williams' classical sensibilities. The orchestrations are absolutely top-notch, very worthy of a Williams Star Wars score IMO.
  14. Oh hey, the entire soundtrack just popped up on Apple Music for me. Delightful surprise right before bed!