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

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Of course.;)

 

No seriously, it was just the piano-only passage of the end credits track. The part that is then repeated by strings is basically the same passage that I already knew, before the soundtrack was released - basically.

 

As I always wanted to be a film composer and thus composed a lot since I was around 11, there is maybe a minimal chance that this will happen again?:D

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ONLY ONE thing is great about this s*** of the movie is music. 

This is the one StarWars picture that I will not watch again in my life. 

 

Soundtrack I LOVE! :)

 

Peace. :) 

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21 minutes ago, MAG-SI said:

ONLY ONE thing is great about this s*** of the movie is music. 

This is the one StarWars picture that I will not watch again in my life. 

 

Soundtrack I LOVE! :)

 

Peace. :) 

Still haven't seen the film but I think it's the first SW film that I read so many exactly opposite opinions!

Others call it a masterpiece, and others regard it as the worst SW film (i see there is a petition too to remove it from the SW canon)

 

And i see such opinions not only by random people. I read it from people working in the industry etc, in my facebook feed.

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37 minutes ago, MAG-SI said:

ONLY ONE thing is great about this s*** of the movie is music. 

This is the one StarWars picture that I will not watch again in my life. 

 

Soundtrack I LOVE! :)

 

Peace. :) 

 

What was wrong with it?

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2 hours ago, filmmusic said:

Others call it a masterpiece, and others regard it as the worst SW film.

 

It is by no means the worst Star Wars movie (one would have to sink low indeed to surpass Attack of the Clones for that title) or even a bad movie.

 

Its also by no means whatsoever a masterpiece. Just a decent, but flawed, movie.

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This motif at 0:25 is from "Inside Starkiller Base" from TFA:

 

I think it informs the action motif (The Quidditch Match reference) in a few moments in the score. It either represents Kylo or the Resistance...

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I gave the album a second listen, that's not a bad score, it's pretty much a good one.

 

At least it represent the "frenetic" montage of the movie. But I think that it's better to give temp tracks to John Williams than let him record longer pieces which finally will be cut, edited and looped in the final montage of the movie.

 

I always loved quiet tracks that are quiet from the beginning to the end, and action cues that are the same.

 

On the Last Jedi, each tracks seems a fest of themes using different tempis, colors, moods... 

 

I don't say it doesn't work, it's rather the contrary. What I'm saying, it's that score destabilize me.

 

But John Williams suceeded in delivering a very good score to the rather strange "Star Wars meets Marvel" movie of Rian Johnson.

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11 minutes ago, Jurassic Shark said:

I have yet to see the movie, but Star Wars meets Marvel doesn't sound promising...

It's nowhere near that drastic of a change. There's a few strange moments, but it's a "Star Wars" film through and through.

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There are new themes in this score.

 

The Luke Island theme and Rose's Thteme are both great

 

there's also that Holdo desperation motif that's awesome

 

maybe it because the score is so long and were missing most of the music that they don;t stand out on the album

 

 

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8 hours ago, king mark said:

There are new themes in this score.

 

The Luke Island theme and Rose's Thteme are both great

 

there's also that Holdo desperation motif that's awesome

 

maybe it because the score is so long and were missing most of the music that they don;t stand out on the album

 

 

 

They don't stand out on the album because save for Rose, they're extremely average.

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11 hours ago, Bespin said:

I gave the album a second listen, that's not a bad score, it's pretty much a good one.

 

At least it represent the "frenetic" montage of the movie. But I think that it's better to give temp tracks to John Williams than let him record longer pieces which finally will be cut, edited and looped in the final montage of the movie.

 

I always loved quiet tracks that are quiet from the beginning to the end, and action cues that are the same.

 

On the Last Jedi, each tracks seems a fest of themes using different tempis, colors, moods... 

 

I don't say it doesn't work, it's rather the contrary. What I'm saying, it's that score destabilize me.

 

But John Williams suceeded in delivering a very good score to the rather strange "Star Wars meets Marvel" movie of Rian Johnson.

I told you that you would start liking it one day :)

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One thing that does bother me with the OST and the score itself is how busy each track is. Outside of the concert track, no piece of music begins a musical idea and sticks with it to the end of the track. Instead we gets lots of ideas jammed together in short order with no room for development or for the music to breath. It reminds me of ROTS but even worse in TLJ. 

 

TFA felt more evenly paced than TLJ, where a track like The Scavenger can introduce and develop Rey's Theme while I Can Fly Anything is a pretty coherent, self-contained action piece. TLJ is more a mismatch of many different musical ideas but also a genuine reflection of the film.

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38 minutes ago, artguy360 said:

One thing that does bother me with the OST and the score itself is how busy each track is. Outside of the concert track, no piece of music begins a musical idea and sticks with it to the end of the track. Instead we gets lots of ideas jammed together in short order with no room for development or for the music to breath. It reminds me of ROTS but even worse in TLJ. 

 

TFA felt more evenly paced than TLJ, where a track like The Scavenger can introduce and develop Rey's Theme while I Can Fly Anything is a pretty coherent, self-contained action piece. TLJ is more a mismatch of many different musical ideas but also a genuine reflection of the film.

 

A function of the film. TLJ is much more cut-ty - relentlessly jumping from character to character, plot line to plot line, all over the galaxy and all over the place. The score is just following suite.

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19 minutes ago, TheUlyssesian said:

 

A function of the film. TLJ is much more cut-ty - relentlessly jumping from character to character, plot line to plot line, all over the galaxy and all over the place. The score is just following suite.

I agree and that's really too bad. This movie has too many storylines. TESB managed to juggle 2 separate threads while still finding time to breath but this film is in a constant rush. Some of the best music JW wrote for the PT were for the quieter moments and TLJ even moreso than TFA is missing those opportunities.

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True. That's something that's at the heart of the film's pacing issues: you can't have a feature film, much less a two-and-a-half-hour one, feel so constantly urgent. The audience will either become exhausted of it, or saturated in it, or both.

 

Sadly, that affects the score although I'd say it wagers much better than the visuals in this regard.

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I absolutely LOVE this score on so many levels. It perfectly highlights every scene of the movie and honestly, how many new themes do we really need? Think about it. I love that he used so many themes from previous movies because this is a continuation of those characters and situations. I don't need any more new themes unless it really calls for them. As for "Austin Wintery Autumnface", what's he talking about? How many new themes are in Episodes 2 and 3? If a character requires a theme or motif and the director asks for it and Williams thinks it calls for one, he'll write one. Since when can he not write a theme? We got at least 5 new ideas here didn't we?

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I love that someone has an opinion of the score that differs from the average JW or SW fanboy, and despite him saying he enjoys it, he gets instantly insulted.

 

It's like throwing a small stone into a chicken coop. The noise and severity of the stone is insignificant compared to the triggered panic of the chicken.

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Can anyone tell me what scene the last minute of "Who Are You?" scores? I've seen the movie twice, and have no memory at all of such unique (and loud) variations of Luke's theme (2:25-2:29) and the Rebel Fanfare (2:09-2:13)...

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7 minutes ago, armorb said:

Can anyone tell me what scene the last minute of "Who Are You?" scores? I've seen the movie twice, and have no memory at all of such unique (and loud) variations of Luke's theme (2:25-2:29) and the Rebel Fanfare (2:09-2:13)...

 

I think this is the sequence where BB8 breaks Finn/Rose/Benecio Del Toro out of prison. Note the Canto Bight motif (yep, another new idea for those keeping count) at 2:41.

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Having now time on Christmas weekend, I listened to both Phantom Menace and Attack Of The Clones again (Soundtrack presentations). I don't know how you can say TLJ fits right in with those. Especially Phantom Menace is sparkling with originality and is so vibrant, it stands far and above anything in both Episodes VII and VIII. And it's not even close. Same with Epsiode II. Less vibrant, but still another league.

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