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DarthDementous

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  1. if that's the main character I'm already pretty turned off. things are seeming pretty damn one dimensional and oh joy, another whiny teenager/young adult. its also barely recognisable as Star Wars which to the credit of Rebels did not have that problem. I have very low expectations for this, but we'll see when it comes out.
  2. DarthDementous

    John Powell's SOLO: A STAR WARS STORY (2018)

    I love this moment, recalls the Ewok Celebration track and the bouncy brass of the Prequels. pure Star Wars. I'm also growing exceptionally attached to Chewbacca's theme, humming it almost as much as Han's theme. both get some fantastic development and variations in the score.
  3. DarthDementous

    John Powell's SOLO: A STAR WARS STORY (2018)

    I'm incredibly impressed that each track doesn't feel like it drags at all, and holy shit I've never heard such fast-paced and intense action writing before that never lets up but also doesn't lose my interest. this is the Star Wars score I never knew I wanted, I'm getting more and more used to the 'un-Star Warsy' elements as I continue to listen because it just serves conveying the emotion and action of the scene so well. EDIT: the moments where Powell goes pure romantic Hollywood are fucking sublime and take me immediately back to the era of the Original Trilogy.
  4. I must say I really like the mixing of the score from that clip, that Asteroid Field rendition sounds like it's straight from ESB so very good job replicating the sound. also a brilliant way to evoke the feeling of the early Star Wars scores is to have nice lush romantic writing, and Powell has that here! its a very nice seamless transition that it still sounds undeniably Powell but also evokes the swashbuckling-ness of Star Wars. Giacchino's Rogue One score had some nice moments and I quite like the themes but the orchestration sounded pretty flat and inorganic, but here I feel the opposite so I'm cautiously optimistic for the final thing. I may just be in a Star Wars mood at the moment, but hearing Asteroid Field transition into something new and then followed by the rebel fanfare and then the main theme - although pretty damn fan-servicey, its just kind of really fun and I was digging the mood the whole time. I just hope there's some completely unique pieces that can stand on their own without the aid of pre-written themes.
  5. that commercial music sounds more like Kevin Kiner than John Powell or John Williams. the instruments are very obviously samples
  6. what boring and pointless complaining. thank you @Falstaft for actually meaningfully talking about the score, this is a very entertaining read so far and I am very much a fan of the dispersal of hyperlinks that prove the point you're making in the article. it was a real treat to hear back-to-back renditions of the March of the Resistance that evoked a very different emotional feel. would love to see more from you on TLJ!
  7. woah, what the hell?! that variation kicks so much ass! why the hell was it not used, that opening trumpet blast is glorious and every section of orchestra sounds so powerful. far superior to the TFA version used and more than worthy of the variations that came before.
  8. god I hope not, if they have one director and writer for every movie (Rian Johnson) then he better come up with a broad plan for things so they don't seem as contradictory or non-sequential like the sequel trilogy, where each movie is essentially a 'pick up from the other one's mess' rather than continuing a trilogy.
  9. I'm noticing a little rising string motif for Rey/variation on Rey's theme. it appears two times on the FYC: 1. Rey's Journey: 2. The Last Jedi (FYC) 0:44
  10. it's funny that you mention that because I felt the exact same way hearing 'The Rebellion is Reborn' for the first time. I always thought that cue was Williams and that kind of cements it in my mind. I could very easily see it being an alternate for some kind of BB8 or R2 scene.
  11. one thing TLJ has that I've missed in recent Star Wars scores is that wonderful musical dissonance! there were great eerie moments like that in ESB and it really set apart Williams writing from anything else, and TLJ has seen a return to that creative kind of underscore particularly in the aforementioned nightmare-like part in 'Old Friends' at 2:43.
  12. ooo that's a nice little exciting passage. I'm guessing that's misnamed though since I've never heard anything like that in TFA, so it must be from TLJ.
  13. what exactly is it about this score that makes it sound so much more like Star Wars to me than TFA? is it the mix? and I'm not talking about the returning material, the new stuff fits very snugly in the Star Wars lexicon in the way that still feels suprisingly flesh.
  14. while interesting, that is not a crutch for a film. what would be more reasonable is that the deleted scenes give greater context, explanation or depth to the events of the movie - or possibly new sequences entirely. and of course, confirmed new music, wooooo! I avoided the Nerd Crew Stuff because spoilers but I'd like to hear Mike's genuine reaction to the film based off him loving the Force Awakens.
  15. perhaps, I don't really care much for initial reactions as a good measure of a film's quality. 2 years later and most people's opinions on the Force Awakens were vastly transformed and settled, my gut feeling is that The Last Jedi will age much better ala Empire Strikes Back (obviously not as well), mostly because it's easy to have a knee-jerk reaction to things that strike out as unsettling or different.
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