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Rogue One: A Star Wars Story (Gareth Edwards 2016)


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Zimmer, Powell, JNH.

JNH was never a composer that impressed me with his action writing (it's not bad, but it rarely makes me go "Wow"). His strenghts lie elsewhere.

Ever seriously listened to Treasure Planet?

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Though to be fair i don't consider most of Zimmer's stuff 'action' music, it's often just very fast, overprocessed electronic rock/pop hybrids like this 160BPM from ANGELS & DEMONS. He has long ventured past THE ROCK & Co., and even with more recent scores like AWE i suspect the slaves were responsible for most of the loud stuff.

JNH has shown on occasion - HIDALGO, LADY IN THE WATER, LAST AIRBENDER - that he is the heir apparent of Goldsmith though he never gets beyond the 40% mark. A lot of his electronic action stuff (GREEN LANTERN, SNOW WHITE) is truly terrible.

Powell is the most distinctive of the lot, for sure - and stuff like KNIGHT AND DAY show he's a stylish, witty fellow but when he writes outright action stuff it often is hyperkinetic and obnoxious. Just too much and too loud.

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Though to be fair i don't consider most of Zimmer's stuff 'action' music, it's often just very fast, overprocessed electronic rock/pop hybrids like this 160BPM from ANGELS & DEMONS. He has long ventured past THE ROCK & Co., and even with more recent scores like AWE i suspect the slaves were responsible for most of the loud stuff.

JNH has shown on occasion - HIDALGO, LADY IN THE WATER, LAST AIRBENDER - that he is the heir apparent of Goldsmith though he never gets beyond the 40% mark. A lot of his electronic action stuff (GREEN LANTERN, SNOW WHITE) is truly terrible.

Powell is the most distinctive of the lot, for sure - and stuff like KNIGHT AND DAY show he's a stylish, witty fellow but when he writes outright action stuff it often is hyperkinetic and obnoxious. Just too much and too loud.

Thor? Is that you?

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Who would be your pick as best (living) action composer, pub?

Hard to say, there are so many mutually exclusive ways to score action these days, the old-style Silvestri/sometime JNH-style of TREASURE PLANET, the purely electronic style (hear CHAPPIE & Co.), the Marvel/Tyler stuff that is an outrage of its own, the melodramatic Horner style and so on.

Forced with a shotgun i'd choose Powell for exactly the kind of cues TGP posted - also a lot of Bourne, and even the ripoffs like NOW YOU SEE ME etc. Though i always turn of when he goes into battle armed with cacophonic artillery (say those later action cues from HTTYD).

But hates noisy music

Just for you i throw in a solemn gaze at THE RELIGIOUS SOUND and profess my utter dismay that Alexandre Desplat is alive.

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An extract of the interview of Alexandre Desplats (French pronunciation: ​[a.lɛk.'sɑ̃dʁ dɛs.'pla]) given to Radio-Classique, March 15, 2015.

Mr. Desplats is asked when his passion for film music began.

« Ça se dessine à mesure que je me passionne pour le cinéma, à partir de 14-15 ans et

où je vois beaucoup de films chaque semaine. Et où je me rend compte que la musique dans
ces films est de la vraie musique, ce n'est pas seulement un accompagnement. Et donc je
peux citer bien sûr tous ces merveilleux musiciens que j'adorais : Maurice Jarre, Delerue,
Nino Rota, Alex North ou Jerry Goldsmith et John Williams. Et puis, je crois
que la partition de Star Wars de John Williams c'est un peu la clé. Parce
que dans cette partition, il y a toute l'histoire de la musique du 20e siècle qui est
réunie et qui m'attire vraiment. J'ai toujours aimé la musique du 20e siècle plus que
les autres. » - Alexandre Desplats

My own personal translation:

"It has emerged where I became passionate for cinema, when I was 14-15 years old

and where I saw a lot of movies each week. And when I realized that the music in
these films is real music, not only an accompaniment. And so I can of course
cite all these wonderful musicians that I loved: Maurice Jarre, Delerue,
Nino Rota, Alex North or Jerry Goldsmith and John Williams. And then I think
that the score of Star Wars by John Williams is a key. Because
in this partition, there is the history of all the 20th century music reunited and
that really attracts me. I've always loved the music of the 20th century more than

the others." - Alexandre Desplats

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Sorry, totally missed it. What I mean is that there are too many moments where he relies on those cloying familiar harmonic schemes. I guess he could just *like* that and won't ever stop.

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Examples? (GOLDEN COMPAS, since it's your most recent trip to Desplat land).

This sort of thing.

That slip from B6 to BbM7 is quite lovely. Very Delerue.

I thought your complaints were directed at Desplat's action writing?

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There are parts of MONUMENTS MAN (Finale) that indicate Desplat can do a huge beefy Hollywood-type of sound but action music is a different requirement altogether. Even technical pros like him often overwrite terribly there, lots of shenanigans, clusters etc. but there's almost never a convincing throughline, for lack of better words, a musical concept.

I would love to be proven wrong, of course.

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So, i been thinking.. (maybe you already discussed this..but i didnt read it)

In the spin off movies, if they are set like this one in the rebellion era, with musical themes so engrained in our brains... they will have to stick with the rebel fanfare, the imperial motif and marches, right?

I mean how can they show an imperial star destroyer without the imperial march...

If a jedi is involved the force theme should be used some time. Same if the emperor of darth vader appear (with their respective themes).

If they make the Yoda spin off, they have to use his theme...

etc etc.

What about the opening crawl, do you think they will ditch it altogether? Almost all the videogames prior to disney went really well with the opening crawl (even some comics) for 30 years.... Only the "Episode XX" thing was missing. Lucas couldnt even change the music in the prequels (it is Luke's theme and doesnt make much sense)

What do you think?

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My hope would be that they'll lose the opening crawl. The crawl is good to catch us up for the "Episodes," and I think it should be continued there for tradition, but I don't think it's needed for the spin-offs. Viewers have enough of a shorthand with the Star Wars universe now, about the main conflicts, etc, that I think a movie can begin in media res and the viewer will be able to catch up. Also, personally, I want to hear some new Main Titles music in the SW vein, so I guess selfishly I want it to go away for the spin-offs.

I'm beginning to fear that we'll get an opening crawl for every movie, though. So far every Marvel issue of Star Wars, Darth Vader, and Princess Leia has opened with a crawl. Every canon novel as well, I believe.

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This is a film that I am extremely interested in. Since it is called Rogue One, I would assume that it will be focused on Wedge. If it is anything like the X-wing novels, then it should be fun.

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Maybe. Look what I just found on wikipedia:

Denis Lawson confirmed in May 2014 that he was asked to reprise the role of Wedge in the upcoming Star Wars: The Force Awakens; however, he turned it down, saying that it would have "bored him".[5]
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I'm sure this has been suggested already, but what if they kept the opening crawl but changed the music to be the theme of whoever/whatever the main character/group is? Like if we got a Yoda spin-off, it could be the opening crawl version of Yoda's theme, or if we got a Han Solo spin-off, it could be silence. ;)

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Ok the crawl can go..maybe... but what you do think about using Williams music for characters or factions he has composed music for.

Do you think they should use his themes or not?

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