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artguy360 last won the day on March 4 2016

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  1. That's not correct. William Ross composed very little music for HP2 and the adaptation credit he got is appropriate for the work he did on that score, along with conducting.
  2. I'm not blaming anybody. I like this score and I think the use of old themes is largely really well done aside from the over-use of the Force Theme and Rebel Fanfare. I do think that Rian Johnson's direction both for the film and for the music determined some aspects of the final score such as the use of binary sunset to end the film, the Canto Bight source music, and generally the lack of major opportunities for new thematic material.
  3. This is just me assuming shit, but I think Rian was more responsible for the quotes of old themes and material than JW and temped the movie with a lot of JW Star Wars music. The Canto Bight music for example sounds like it was temped with Cantina Band and Rian asked JW to write music like that.
  4. To me that is bad storytelling that should have been caught and changed in the scripting phase.
  5. Right now, my feeling is that I didn't like the movie very much. My major criticisms are: Rey gets lost in the 3rd act and the movie seems to focus on developing Kylo Ren more than her. I feel her charm and personality get lost in the film. Her conflict is also not as central to the film as I think it should be. Ultimately her only growth is that she is now a Jedi but I don't think she was tested in the way Luke was tested in ESB. Finn's arc is useless. I don't think he grew as a character. The Canto Bight stuff felt like prequel retread territory with heavy handed messaging about war profiteering and bad cg animal action. BB8 action was also over the top and delved into R2D2 prequel territory. Leia should have replaced Holdo. That would have made her sacrifice an emotional high point of the entire film. I don't like Rian Johnson's decision to mirror so many previous Star Wars set pieces such as the throne room sequence, the salt mine chase, the battle of Hoth, etc. On the other hand I liked certain aspects of the film and I am eager to see it again to see if my opinion on the film settles.
  6. Maybe he's not very happy with it and doesn't want to do a lot of publicity for it.
  7. I was just going to say the same thing but I don't actually recall how that motif is used in the film. I can't remember when it was used. Did it play in the lead up to Holdo's big scene?
  8. The same podcast has an episode interviewing the producer of the Harry Potter franchise films. He talks about working with John Williams on the 3 films and specifically how Alfonso Cuaron had the courage to challenge JW to write music for HP3 that was different from the kind of music JW had written in for the first 2 and how much JW enjoyed the process and worked without ego, which is something we've heard about him before. Interesting insight into one of JW's best and most unique scores. I wonder if Rian Johnson "challenged JW in any way." In the pre-film score featurette JW described Johnson as very hands on.
  9. My playlist for TLJ ended up including 11 out of 20 tracks from the OST. I basically cut out the middle of the film. I hope the FYC album includes some exciting music not on the OST.
  10. Too many brass flourishes for me. I consider that one of the score's issues and it reminded me of aspects of the prequel scores that I dislike.
  11. Yeah I don't think many are arguing that TLJ is a bad score.
  12. Even John Williams at his worst is still distinctly John Williams and better than 99% of all film composers out there. TLJ is far from JW at his worst. I think people having hugely negative reactions need some time to listen and sit with this music and discover that, at minimum, it has JW's standard level of orchestral mastery and musical depth.
  13. Stuff like this doesn't move me at all. It's typical JW action music that wouldn't stand out in any JW score.
  14. Understanding the OST is gonna be a mystery in a number of ways. The Main Titles, the concert cue, what's on the OST vs what's not. I'd love to understand all of this better.
  15. I think the use of binary sunset as the ending music is totally a director driven decision. Prior to TFA, binary sunset was only used once to end a Star Wars film, ROTS in an obvious "it rhymes" Lucas parallel. That was also s director driven decision. No other music made sense there. But in the case of TFA and TLJ other music could have made plenty of sense and JW has always written original music leading into the end credits, excepting ROTS. I think Johnson temped with it and asked for it.