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Jesus dude, chill out...

The Last Jedi FYC (192kbps) >> The BFG FYC (0kbps)

Treble and bass clefs in cut time, no?

I know. He should be making 5 million a movie.

These are solid observations actually. On paper these basic plot subversions are perfectly sound ideas for something as archetypically rigid as a Star Wars storyline, but in effect the nuts and bolts that are supposed to make these beats slot into place in a way which feels smooth and satisfying are all mangled and uneven. As a result the intended emotional impact of these mechanisms completely fails to connect, there is no resonance for the audience to really care about beyond the on-screen moment itself. It's all surface.

Yeah, that's what Star Wars needs, more callbacks.

This point has been raised several times and makes no sense to me You do understand that in a military context the leadership does not owe an explanation to the subordinates, right? During D Day, the troops were actually NOT told the risk they were going to take because if they understood the risk they might have backed out. Basically, what are you talking about? This was intentional to keep the troops in the dark. Your point makes no sense in real life historical context. If you are referring to fiction only, then it is equally a meaningless point since you are describing a fictional situation.

Buy a load of turtle necks.

Escape V2.1: Volume changes have been fixed up, cleaned up the remaining FYC edits and made some changes to the part with Poe's Theme. To my ears, it sounds like Williams intended for the gorgeous strings build-up (as BB8 fixes the X-Wing) to flow straight into the big statement of Poe's Theme (sadly cut to shreds in the FYC) but I've recreated what I think was his original intention. Edit: Refined the sections around Poe's Theme, which sounded a little clunky. Don't think I can get it much better than this due to the crappy overdubs they've slapped into the film mix (unless someone can find me a clean boom-tsh I could add over the top, which would smooth it out). At least all the tracked music from Battle of Crait is gone.

I felt the same way after listening the first few times, but have changed my mind thanks in part to following along with some of the analytical listeners here. There is much to appreciate in this score. Also, they think you've run off with your secretary, you might want to contact Universal Exports.

Really? It's quite simple. Star Wars IV is the first one. That was the Chiefs beat the Vikings. Empire was V. Colts beat the Cowboys. Finally in VI, Jedi, we see the Cowboys over the Dolphins. I don't see how you could make that any less difficult.

Calling is easy. You just tap the right bud twice to answer, and when the call ends it goes right back to what you were listening to.

First I saw Marnie - Live In Concert played by the Leipzig Gewandhaus Orchestra at the Northcott Theatre in Exeter, performed in period costume under candlelight and with a fantastic firework finale. More recently I had the privilege of watching The Trouble With Harry (In Concert) interpreted by the Vienna Philharmonic Orchestra under the assured direction of the ghost of Herbert von Karajan. They did a suite from It's Alive as an encore which brought the house down, that house being the Bath Halls in Scunthorpe. It will live long in my memory! No, you're right Richard.

- I know what you did last summer. - It wasn't the the last summer. There's another one coming up in June...

So when Jay says he went on vacation last summer, I hope he doesn't expect to DIE before next summer.

Hopefully not, there is a reason for these standards.

I figured Yoda's new look inspired Luke to get some quick work done, too.

Give us the hook!

Hopefully this fit the bill

Don't tell me there's going to be a romance between those two!

Ah, must be Justin.

Bernard Herrmann's OBSESSION is the only I know of. We have a Williams Tribute Celebration concert on on Blu ray video though.

Actually, so yes! So offence intended, Belgians are generally awful people, so I understand.

In Rian Johnson's head, there is an obvious reason: to surprise the audience! And he milks a series of surprises out of it: Turning her from antagonistic to Poe to being the character that performs the most heroic act of the film. Allowing for the surprise of Poe's mutiny attempt. On a meta level, to play with the audience's assumption that she will replace Leia. Again in a meta level, to play with the convention that the authority figure who acts like a jerk is the bad guy, and the young can-do contrarian is the good guy.

While watching, I'd initially assumed Dern's character was being lined up to take over from Leia come the time, and that she would possibly feature quite significantly in part 3. Otherwise, what was the point of introducing this character and famed actress? Turns out there really was no point at all.

The real story behind that "I know, but they're all dead" has a darker meaning. They're all dead for a reason...

There will be another excerpt this weekend where we will hear discussion on CE3K. The WHOLE interview will come out around Mid Jan 2018.

Make them SACDs with multi-channel audio. That's what I want.

They're both treble clefs. The bottom one has some additional marking overtop of it, but it's impossible to say what it is without a bit more context. And hey, I don't get a shout out? What am I, chopped liver?! Kidding. These things can be very hard to decipher. Jaws, anyone?

Ansel Egort looks more like a young Ford.

And Elfman winning a few coins for each time the opening theme of the Simpsons is played in the series for 27 years. http://www.classicfm.com/composers/elfman/news/the-simpsons-tim-burton/ It was a joke. He referred to the affection that John Williams demonstrated by Daisy Ridley and her character in "The Force Awakens."

Hamill is right to defend his point of view, but the people should care less about divisive reactions, especially with this kind of universe, reworked so many times.The reactions of the public are naturals. There are those who are being presented the franchise now, there are those who have known it with the prequels and veterans of the original trilogy. It's impossible to please everyone. And the new always finds resistance to be accepted because there is much material already made that can serve as a parameter for criticism.

FYC 15 Chrome Dome (2:03) OST equivalent: 15 "Chrome Dome" (2:03) This covers the aftermath of the explosion, Finn and Rose coming out of the rubble, and Finn fighting Phasma. The FYC and OST versions are about the same, though the FYC from 0:56-1:00 is a bit longer than the equivalent OST passage (0:53-0:55), the FYC has an edit that removes material at 1:09, the FYC from 1:12-1:18 is longer than the equivalent OST passage (1:15-1:19), and the FYC is longer from 1:27-1:32 compared the OST 1:28-1:30. Overall I'd say go with the OST version, because the bit in the OST the FYC skips past is actually unique material, while all the parts where the FYC is longer are basically just sustaining bits in between the action for longer.

Holdo.... is that character that just had her hair done and wears an evening dress... for commanding an entire fleet of spaceships when the resistance is about to fall into ruin?

Empire Strikes Back- the original release. Thinking about the scores this week, how when I was younger I preferred the action-y tracks to those like Princess Leia's Theme and yet now, find her theme quite stirring and always the Han Solo & The Princess. Hence liking the small use of Leia's Theme as the Falcon flees Cloud City ("Hyperspace"). The Duel/Clash of Lightsabers remains my favourite, still has this element of tension no matter how often I've listened to it.

NOT ENOUGH!

Thanks for the heads-up, @azahid!!

Yes, they do approach these films differently, I was just trying to make the point that despite Shore treating his trilogies as several parts of a big whole, his second pieces in said trilogies still set themselves apart more than TLJ sets itself apart from TFA. With the different approach Williams prides himself on, TLJ should set itself apart from TFA way clearer than TTT sets itself apart from FotR. Desolation Of Smaug I think is not a fair comparison because the whole writing/orchestration dynamic changed from AUJ, so naturally DoS feels different. See, I'm thinking the other way around. Yes, the primary function of a score is in the Film, and how it works with the images. But beyond that, I think I can attest pretty much every film composer a firm grasp on dramatic film scoring, so it's pretty much a given that 95% of all scores accompany their films just fine and how they should. I have heard so many film music in my life that I look for more than that, for a musical experience that can hold its own, without needing the cinematic images to amplify it, or to give it a reason to exist. I feel watching a movie before listening to the soundtrack on its own manipulates your initial impression of the music too much. From the perspective of a music lover, the movie should only add more meaning to the music, the music shouldn't entirely depend on it. Just like in opera, where the vocals and texts are certainly essential to tell a story in detail, and add to the music, but where the music doesn't depend on them to tell a story on its own. And there are certainly various degrees to which scores are operatic, and of course you don't need to listen to every score independently from the film, most scores neither need that, nor would it be greatly rewarding, but Star Wars is among the most operatic subjects you can get, so I think the question whether it works in the film shouldn't even be an issue. And there are scores that can convey a coherent sense of the subject, and be exciting, without needing the film at all. A fan of Spider-Man or Batman can probably listen to Danny Elfman's soundtracks without having seen the films even once in order to love it. Which ironically is the problem with TLJ, I really think you need to be a fan of Star Wars or Williams specifically in order to love it thoroughly. I can't see this one having nearly the same mainstream appeal as even the prequel scores.

You're just looking for reasons to disaprove of this score and "proof" that the reason you don't like it so much as the older ones is because John Williams' heart wasn't in it. Dude, i've been on this forum since 2000, i've seen this behavior hundreds of times.

Whoever placed that order for a Han Solo movie did not have the authorization of the Jedi council.

Back on the topic of the Force theme usage. My only complaint was that it was used very literally in this film. It appears almost every time when the force is being used or mentioned. And there's nothing wrong with that, but it got old after like the 4th time. I miss the times when it was inserted in places you wouldn't expect, because usually it's arranged in a different and interesting way than the Binary Sunset and solo horn rendition that we keep hearing in TFA and TLJ. The first example off the top my head would be its usage in ROTS during the Battle over Coruscant. That militaristic rendition of it was used more as an uplifting/dramatic purpose. That rendition alone was more enjoyable to me than any of renditions heard in TLJ.

So why do you assume the number of new themes is proportionate to the level of inspiration from the composer? Thats a very flawed method of trying to establish something like that.

No.

Pretty standard post from someone with that username. Carry on.

It's just complaining from entitled fanboys who value their own fan theories over the vision of the filmmaker!

The two scores play very well back to back.

I haven't bought a JW CD since ... (walks away)

Of course Spielberg and Abrams are also typically producers of their own films. A lot of auteurs usually end up starting their own production companies before too long. But I remember Scorsese for example has said that he's given up final cut a few times over the years in order to get his films financed. At this point, though, I doubt anyone going into business with him would be that interested in vetoing him, anyway, whether or not they had the contractual privilege to do so. I'm sure he's gotten good at winning those arguments by now. **** Anyway, wanted to throw this in here. Rian Johnson did a Q&A with the Writers' Guild, and around 43 minutes talked a bit more about Williams. A lot of the same stuff about giving JW the temp to work with instead of spotting, he writes with pencil/paper, no mockups etc. But a couple good extra comments:

Maybe this is why the studios prefer the cheap shit of the Zimmer clones. Pop that crap out at $10 a squat.