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THE LAST JEDI - OST Album MUSIC Discussion (No Movie Spoilers)


Jay

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3 minutes ago, TheUlyssesian said:

 

Word. Nino Rota too.

 

 

Hmmmm...

I think it's most European composers.

it's the way film music is scored for European films that they have got used to, which is different from the American way (well, at least the older  - pre-2000s - American way)

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So New Alliance is basically John Williams aping Michael Giacchino aping John Williams. 

 

The circle is now complete. We have classy bombastic action music turned into mindless directionless bombastic action music with funky drums turned into classy mindless directionless bombastic action music with funky drums. 

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I don't really understand the Michael Giacchino reference but I agree with how you describe New Alliance. I posted earlier that that scene really called for something more dramatic, where the music comments on the turn of events and not follow so closely the action itself. A real missed opportunity there. However the percussion on the track is quite good, just not in the film.

 

Overall, I found much of the action in the movie kind of aimless and I think JW scores it similarly: loud, directionless, brassy action music with no real drama. 

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The Supremacy, The Spark, and the End Credits (but not the pre-credits music) are the 3 best tracks on the album. The 4th track might be 4th and Canto Bight minus the actual non-diegetic music in the beginning is just really fun. But is the new band music actually meant to be diegetic like the cantina band music or just an intentional stylistic shift?

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5 hours ago, hornist said:

 

You must have noticed it was sarcasm. Two posts above, KK, idiot.

 

You haven't noticed I noticed your sarcasm, and replied with another appropriate sarcasm, so, who's the idiot?

 

But keep your username, it's fitting, because you blow.

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35 minutes ago, Arpy said:

Sorry if I haven't been keeping up but is the theme in 'The Spark' what inspired the tv spot/ trailer music, or the other way around?

What? You have to be joking right? You think Williams wrote that after hearing the trailer? LOL, the score was done 6 months before the trailer came out. 

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On 12/15/2017 at 10:45 PM, ocelot said:

What? You have to be joking right? You think Williams wrote that after hearing the trailer? LOL, the score was done 6 months before the trailer came out. 

 

Hey, at this point I have no fucking clue. Such a fickle thing.

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13 minutes ago, Arpy said:

Hey, at this point I have no fucking clue. Such a fickle thing.

Haha, well, I always know nothing, but on this I know, any trailer is done way after scores of movies are in the can, well generally, unless a composer is fired and people are scrambling to finish shit last minute.

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Listened to the OST. Haven't seen the movie yet. Lacks some of the wow moments that TFA had. Falls back on repeating old tropes, and quotes older films almost verbatim. Seems to lack an identifying quality that characterises it, like TFA had Rey's theme, ROTS had Battle of the Heroes, AOTC had ATS, TPM had DotF and Anakin's Theme, etc. But what does TLJ have?

 

Overall, it's amazing orchestral music, but feels, I dunno, more like textured wallpaper than its more highlight-heavy predecessors? Maybe I shouldn't look forward to these scores so much in the future. And if reactions to the film are anything to go by, maybe Williams ought to hang it up and let someone else take on the next one. Maybe Hans Zimmer could have a turn.

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Lots to say about this, much of which has already been said, but I haven’t seen any references to 0:30-35 of “Peace and Purpose.” I swear this melody is in ANH, but I listened through “Tales of a Jedi Knight,” “Burning Homestead,” and “Binary Sunset” just now and can’t find it. I’m picturing it on low strings—celli or basses. Does anybody hear this? Is it just me? I swear I’m not making this up. 

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Although must add it does give me some satisfaction hearing Leia's theme performed on piano in the Finale track as it reminds me of someone posting on the TFN forums maybe 17 years ago declaring that he never wanted to hear a piano in a SW. Yeah, suck that one, mate.

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3 hours ago, Denise Bryson said:

if reactions to the film are anything to go by, maybe Williams ought to hang it up and let someone else take on the next one. Maybe Hans Zimmer could have a turn.

 

You must be joking :D

 

If not:

 

Ban her!

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9 hours ago, gkgyver said:

 

You haven't noticed I noticed your sarcasm, and replied with another appropriate sarcasm, so, who's the idiot?

 

But keep your username, it's fitting, because you blow.

 

Idiot was for KK

 

but it fits you also, idiot

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13 hours ago, Muad'Dib said:

I always thought it was a way to save time. Like got the theme, I'll plaster it over a scene, done. Next scene.

 

Obviously is more complicated than that, I'm exaggerating.

 

It is how Morricone could get 500+ scores in his career.

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For me, this minute or so has to be the most evocative music in the score. Certainly the closest he comes to the classy restraint of TFA, where he paints so much imagery with so few strokes of the brush, in a score otherwise filled with such energetic bombast:

 

As with all good Star Wars music, you only need to close your eyes and allow John to paint the images in your mind.

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So having seen the film, some general non-spoiler thoughts on the music from the new trilogy.

 

I think from the main 4 characters, only two have memorable themes.

 

Rey - Magnificent theme again used to great effect throughout the score

Kylo - Memorable themes reprised often again to great effect

Poe - I ultimately think this is a weak theme. Not particularly memorable.

Finn - I am correct to say he doesn't have a theme? I think what we branded as Finn's theme in TFA was not his theme at all. It always sounded like an action motif rather than a character theme.

 

Not a bad scorecard but the original trilogy fared better obviously with 3 of the 4 main characters getting great themes in Leia, Luke and Vader. Only Han didn't get a character theme.

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12 minutes ago, TheUlyssesian said:

 

It is how Morricone could get 500+ scores in his career.

Also I haven't listened to a Morricone score that has the intricate texture and orchestration of a Williams or a Goldsmith or a Horner etc. score.

This plays a part too, because these musical procedures take time to write.

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What, in a fleeting mention in that interview, 15 years removed from Return of the Jedi?

 

There is no thematic material for Han, as a character. The love theme belongs more to the princess, musically.

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