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Michael Giacchino's Rogue One: A Star Wars Story (2016) - 2022 Expanded Edition now available


mrbellamy

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3 hours ago, Blumenkohl said:

 

It's a classier trope than some of John Williams' recurring dittys! 

Impossible.  The "emotional piano chords" method Giacchino constantly falls back upon is probably the most trite way to score emotion for film.  

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Giacchino talks about being inspired by our Johhny and mentions a new theme:
 

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Giacchino further reveals that he is most excited for fans to hear the theme for main character Jyn (Felicity Jones), saying, “I love the main character. I love Jyn and what they have done with her.”

 

http://www.hypable.com/rogue-one-star-wars-michael-giacchino-john-williams/

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Giacchino further reveals that he is most excited for fans to hear the theme for main character Jyn (Felicity Jones), saying, “I love the main character. I love Jyn and what they have done with her.”

 

He's even ripping off JW's infatuation with Rey!

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16 minutes ago, mrbellamy said:

 

He's even ripping off JW's infatuation with Rey!

John Williams, the International Man of Musical Mystery! Women want him and men want to be him! Especially Giacchino!

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Glad that he's happy with his work for the main character because I'm guessing her theme will drive the story much like Rey's did.

 

I don't know any of the characters, but from the trailers I'm expecting the main themes to be for; 

 

- Felicity Jones.

- The key group that form to go on the mission.

- The new Tarkin guy whoever he is.

 

And the secondary themes to be pretty much reused Williams;

 

- Rebel theme

- Death Star motif

- Vader's theme (hopefully his A New Hope theme and not the Imperial March)

 

And who knows about the Main Theme/Luke's. I'm sure he'll be forced to use it either way.

 

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You can hope, but if anyone is actually expecting to see Darth Vader on screen in this and not hear the Imperial March you're fooling yourself.

 

I hope that I'll be able to quote this post after release and admit I was wrong.

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1 minute ago, Gistech said:

There's also the second theme at 6:18, and unlike the first Imperial theme, it also appears in Return of the Jedi.

 

That's the Death Star motif, right?

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Indeed it is, though John Williams chose to use it in "TIE Fighter Attack" too (where there were no shots of the Death Star) and it also appears in "The Last Battle" concert suite (and thus in the "Space Battle" piece in ROTJ, as that quotes both "TIE Fighter Attack" and "The Last Battle"). I'd expect to be hearing that theme in the score for sure.

 

I look forward to see how this score comes out, actually. Giacchino ought to lay off some of the synths and big toms for this.

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Excuse me while I go listen to every recording "Here They Come" I have on a loop.

 

Which turns out is only two. There needs to be about 100x more recording of this amazing concert arrangement.

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1 hour ago, Gistech said:

Indeed it is, though John Williams chose to use it in "TIE Fighter Attack" too (where there were no shots of the Death Star) and it also appears in "The Last Battle" concert suite (and thus in the "Space Battle" piece in ROTJ, as that quotes both "TIE Fighter Attack" and "The Last Battle"). I'd expect to be hearing that theme in the score for sure.

 

In ROTJ the Death star motif is finely used by Williams to score the executor's crash on the Death Star Surface. ;)

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Fred Steiner actually 'composed' that piece in ROTJ. That was confirmed, right? I think John Morgan confirmed that. The Death Star motif was just a coincidence (more-than-likely) because it was just a re-recording of "Tie Fighter Attack".

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9 hours ago, Luke Skywalker said:

Yeah, with giacchino on board it's pretty possible the neglected imperial motif could make an appearance.

 

Maybe for the stormtroopers.

I like that idea.

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14 hours ago, Gistech said:

Indeed it is, though John Williams chose to use it in "TIE Fighter Attack" too (where there were no shots of the Death Star)

 

It ends the Death Star escape part of the movie and leads to the Death Star battle part, so it doesn't exactly seem out of place. Interestingly though, it's removed from the concert version of the cue, while The Little People retains its little statement of the Imperial motif at the end.

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4 minutes ago, Marian Schedenig said:

 

It ends the Death Star escape part of the movie and leads to the Death Star battle part, so it doesn't exactly seem out of place. Interestingly though, it's removed from the concert version of the cue, while The Little People retains its little statement of the Imperial motif at the end.

 

If we're talking about that four-note motif (which is what I was talking about), it's in "Here They Come", they just changed what came after it:

 

 

In the film it ends with a timpani roll.

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I'm very curious how Rogue One will sound stylistically, and in its overall recording. Like what Shore did with The Hobbit; in slowly bringing the BOTFA back towards the sound of the FOTR as it neared its end, so the two trilogies connect. Will Giacchino do the same by matching his sound to that of A New Hope, perhaps as the film goes on, or from beginning to end, or not at all, and just do his own sound.

 

Each time I listen to something from A New Hope, my fear and worry for Giacchino, both personally and professionally, increases. It's just seemingly untouchable for any other composer to effectively inhabit, other than Johnny. 

 

My biggest helping of luck, and the will to succeed, and enthusiastic support is being sent to Giacchino telepathically as we speak. COME ON MY SON!

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12 minutes ago, Stefancos said:

Didn't JW write TESB, widely considered to be his best score, in 4 or 5 weeks?

 

Sure, but he knew he'd be writing it long before that, so could have kicked around ideas at the piano countless times before he began work on final cues.  Giacchino just got the gig.

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Oh God! Gia fans are gonna use it as an excuse if the score is a dud! 

 

"He only had 3 months to write it!" - Jason LeBlanc/LeeAllen

5 minutes ago, Jay said:

 

Sure, but he knew he'd be writing it long before that, so could have kicked around ideas at the piano countless times before he began work on final cues.  Giacchino just got the gig.

 

Just? He got it quite a few weeks ago, actually. 

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Some very good scores were written as replacements in virtually no time at all.

And some not-so-good ones were written with all the time in the world to spare.

So the amount of time doesn't seem particularly relevant.

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And JNH did King Kong in 5 weeks. It's enough time if you have great basic musical instincts to fall back on, and immediately know what you want so you can dive in and write quickly. 

 

He wrote great stuff very quickly for LOST, and his musical instincts growing up, came from Williams. He has the right tools, just a different brand.

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