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

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14 minutes ago, Pellaeon said:

I’m 100% convinced that “The Adventures of Han” should be listened to at the end. When I’m listening to Solo I always want to begin with “Meet Han.”

 

I absolutely 100% agree with you!

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1 hour ago, ChrisAfonso said:

On the other hand, this way it functions as an overture, before the score proper begins.

 

I 100% see it as an overture.

 

I would've wanted the full end credits in the album as well, even if it is mostly recycled from previous tracks in the album. It's very underwhelming the way it is now.

 

But, 79:59 and all that...

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I totally agree!  I think the end credits of the spinoff films should be more like MCU film end credits, where you get fun splash art for a while set to the main theme of the score, and then the rolling credits start after set to a medley of score cues (obviously a full end credit suite would be better but neither Giacchino nor Powell really do those)

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It's a lost art, much like concert arrangements in general.  Very perplexing too.  You'd think they'd relish an opportunity to present their material without regards to film edits.

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They'd probably rather spend all their time working on making all the film cues be as good as possible I guess.


I am so glad Williams is still doing it, his TFA end credits is still amazing to me.  Horner never stopped either.

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28 minutes ago, Not Mr. Big said:

The movie should have ended on a stylish end credits animation set to Williams new theme.  The blue text against star field doesn't fit the spin-offs very well without the opening crawl at the film's opening.

I heard they couldn't use Williams concert arrangement due to legal reasons.

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6 minutes ago, Fal said:

I heard they couldn't use Williams concert arrangement due to legal reasons.

Ahh, that makes sense.  I'm guessing it has to do with the use of a different orchestra or something?

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Powell and Giacchino do it sometimes (Ice Age 2 and 3, Mars Needs Moms, Doctor Strange, Spider-Man Homecoming, Star Trek), but they seem to be the only ones doing it. I kind of like Giacchino's end credit suite in Rogue One, even if it is edited. But John Williams also did that for some of his scores (Harry Potter 3, The Last Jedi)

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6 hours ago, Fal said:

I heard they couldn't use Williams concert arrangement due to legal reasons.

 

What legal reasons? All they had to do was pay the ASCAP fee. Simple.

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I tried the search function for this thread and don't want to go through 40 pages of posts so forgive me if it's been brought up before.

 

I took my sons to see Solo (their 1st viewing, my 2nd), and I believe I detected the Imperial Suite from Rogue One in the scene where Han and Qira are attempting to escape in the space port at the beginning of the film.  Not the Imperial March source music that is playing over the "PA" system there but in the soundtrack.  Was I smoking crack again or did I hear a faint bit of it?

Chad

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And with semantic nuggets like these i still would recommend a  basic 'avoid babbling bloat' writing course. And this is just a random example

It's fascinating to hear Powell channel his lifelong passion for the "Star Wars" concept into his own methodology without losing the key tenants of the franchise's music. 

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He means 'tenets', not tenants. I feel like writing a relevant corrective email to Mr. Bloatpiece, but I cannot be bothered.

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Am I crazy, or does Val (Thandie Newton's character) have a motif in "Train Heist"?  It appears twice in a row beginning at 2:18, and I'm sure I heard it in the theater several times during that sequence.  To my ear, it sounds a lot like Paul Smith's main theme to 20,000 Leagues Under the Sea (a.k.a. "Deep is the mighty ocean," which also works as lyrics to both themes).

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26 minutes ago, igger6 said:

does Val (Thandie Newton's character) have a motif in "Train Heist"?  It appears twice in a row beginning at 2:18,

 

That's it?

 

A recurring motif needs to recur in two discrete cues. Twice in one piece of music doesn't really count, now does it?

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36 minutes ago, igger6 said:

Am I crazy, or does Val (Thandie Newton's character) have a motif in "Train Heist"?  It appears twice in a row beginning at 2:18, and I'm sure I heard it in the theater several times during that sequence.  To my ear, it sounds a lot like Paul Smith's main theme to 20,000 Leagues Under the Sea (a.k.a. "Deep is the mighty ocean," which also works as lyrics to both themes).

 

I think it's based on this:

 

 

It's probably an example of what Powell calls composing via "poor memory".

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On 6/15/2018 at 4:46 AM, kaseykockroach said:

Phew! I'm relieved it's not the usual three stars he throws at Powell. Very well then.

 

It might be less contentious if reviewers explained their opinion on the score but didn't actually give a star rating. If you're massively into electronic/ambient music you could be fascinated by some of the stuff he gives a frisbee to.

 

I'd personally give Solo 4 1/2 stars. It's not perfect, but it's hard to imagine how anyone would've done a much better job.

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CC can only buy into symphonic leitmotif scores, or anything that has that as its core. Anything else has little chance of impressing him.

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