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  1. Not sure if this warrants its own thread, so feel free to combine it with another! During the Kennedy Center pre-concert talk, Williams just revealed that Indy 5 will begin recording this coming Tuesday morning, at 10 AM to be precise. So exciting!
    24 points
  2. Roger says "Coming June 28th... It could be this 2-CD set coming your way next Tuesday. And nothing in July. We're exhausted and taking a break. Will see you back in August. " http://www.intrada.net/phpBB2/viewtopic.php?p=85204#p85204 Doug says " Next week’s new release is a tour-de-force of orchestral splendor. This is one to have. It’s a riveting score! " http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8936
    22 points
  3. Holt's The Planets
    22 points
  4. http://filmmusicreporter.com/2022/06/22/obi-wan-kenobi-soundtrack-album-details/ Release 27th of June. Obi-Wan - John Williams (4:07) Order 66 - Nataltie Holt (1:41) Inquistors' Hunt - Natalie Holt (3:10) Young Leia - Natalie Holt (1:05) Days Of Alderaan - Natalie Holt (1:38) The Journey Begins - William Ross (2:58) Bail And Leia - Natalie Holt (2:20) Nari's Shadow - Natalie Holt (1:14) Ready To Go - Natalie Holt (2:27) Daiyu - Natalie Holt (2:25) Cat And Mouse - Natalie Holt (3:11) Spice Den - Natalie Holt (1:10) First Rescue - Williams Ross (3:11) Mapuzo - Natalie Holt (1:18) The Path - Natalie Holt (1:35) Sensing Vader - Natalie Holt (2:50) Parallel Lines - Natalie Holt (2:13) Some Things Can't Be Forgotton - William Ross (4:47) Stormtrooper Patrol - Natalie Holt (2:34) Hangar Escape - Natalie Holt (2:33) Hold Hands - Natalie Holt (1:40) Empire Arrival - Natalie Holt (2:04) Dark Side Assault - Natalie Holt (2:38) I Will Do What I Must - William Ross (2:49) Sacrifice - Natalie Holt (1:41) No Further Use - Natalie Holt (3:40) Overcoming The Past - William Ross (4:29) Tatooine Desert Chase - Natalie Holt (2:20) Who You Become - Natalie Holt (3:36) Saying Goodbye - William Ross (5:27) End Credit - William Ross (4:03 It looks like a well curated album with the Holt & Williams/Ross material nicely put together. Excited about a listen apart from the show. It does indeed look like some of the battle music in the episodes was replaced with music by Ross for a bit more of a 'Star Wars' sound. Some Things Can't Be Forgotton looks like duel from Ep. 3 I Will Do What I Must, 1st part of duel in ep. 6 Overcoming The Past. Either 2nd part of duel or the Reva scene on Tatooine.
    20 points
  5. https://www.washingtonpost.com/national/john-williams-90-steps-away-from-film-but-not-music/2022/06/23/26b97ac2-f2f2-11ec-ac16-8fbf7194cd78_story.html Lots of stuff here.
    19 points
  6. Hello there! Whew. There's a lot goin' on there. Maybe it's the garbage audio quality, but from here it's like "Scherzo for X-Wings" had a mutant baby with "In the Moonlight." This one's definitely a grower for me. Maybe he'll revise it.
    18 points
  7. My spouse Edwin Wendler and I had a great time last night. We even met a poster from this board. At the post concert birthday dinner we talked to many and got several photos. Here are two of Daisy & Anne. John was 9 seats away to our left. The “Superman” match set to photos/video of JW was the highlife for us. “Dear Basketball” had me in tears as some of the voice over from Kobe talked about good-bye and other words which hit us harder since he’s no longer here. Also John’s beautiful score brought out more tears. Had Anne sign my 2CD Vienna concert CD. Edwin and her chatted in German for a moment. We sat right in front of Alan Silvestri and Thomas Newman and Mike post was next to us. Wow! A perfect evening!
    17 points
  8. NASA Tweet NASA is thanking John Williams, Mike Matessino and Intrada for SpaceCamp!
    16 points
  9. One of the things that irks me the most is the bait-and-switch its marketing perpetuated with Prequel era music. How many of us allowed ourselves to build expectations for hearing DotF, BotH, and friends after that first trailer--despite knowing full well that trailer music is rarely a reflection of the actual film/show score. For a program that was supposedly a love letter to those who cherished the long-maligned Episodes 1-3, you'd think there'd be a willingness to draw from one of the few aspects of those movies that people unequivocally hold in high regard. But as it stands, we perversely got more Ep 1-3 musical references in Sequel Trilogy, which was at times insultingly blatant in its antipathy to the PT ("this will begin to make things right" -- ugh!), than in a show literally about the characters, themes, and unfinished business of TPM/AOTC/ROTS. What are we left with?: some repeated minor trumpet chords and goddawful choral sample that maybe was intended to evoke Battle of the Heroes, and a variant of the Obi Wan theme that, by sheer virtue of the consistency of Williams's melodic language, kind of resembles Qui Gon's motif if you really want it to. I've said it before, but how profound would a tiny hint of Across the Stars have been when Obi Wan was circumlocuting about Padme? This is what leitmotifs are for, stating in emotional terms what characters cannot in words, connecting events of the past to developments in the present, deepening a scene rather than simply underscoring it. How many other such opportunities for musical commentary, resonance, storytelling were missed? If there's one thing that's slightly reassuring, it's that it's not just film score obsessives like us that feel like something was off musically. I've seen a heartening, if simultaneously depressing, awareness of the issue in the broader conversation around the show as well. None of this, by the way, is to disparage Holt's music, much of which is fine scoring indeed, and a welcome addition to the SW musical canon (especially Young Leia's theme, the Mapuzo arrival, and Tala's death). She was dealt a difficult hand, moreso than I think many of us fully appreciate.
    16 points
  10. Good job using the three legacy themes (maybe four? I buy the Qui-Gon quote) when you did, but it redeems nothing. This score was a train wreck for which Williams and Ross tried to lay across the tracks in the final two weeks, but even they couldn't save it in that timeframe. Chow (and maybe Holt) grossly misread the needs of the project, and if I had to guess, I'd guess Kathleen Kennedy saw the writing on the wall and got Williams involved. Think about it. Powell says Williams was on board Solo before he himself was. If his arrival on this show was anything other than a rescue mission, they would have been hyping it for months. That his theme was used so liberally testifies to what a snot bowl the existing score must have been. But back to the sudden reveal of the 3.5 themes. (I don't count the "Hyperspace" quote. That was just kind of odd, given the rest of the score—like someone's amnesia cleared up temporarily.) Saving lush and beloved melodies only for the final appearances of each character isn't intelligent and restrained; it's inane and self-defeating. The point of writing melodic leitmotifs is to enjoy the melody while it's playing and associate it with the characters and situations it describes, both as the story unfolds and when you hear it again outside the work—not to salivate over chords and note pairs that may or may not be leading somewhere familiar. (This can work, as in Rogue One's mid-movie Leia reference during Bail's dialogue, but noticing it shouldn't require Robert Langdon levels of scrutiny). If the score didn't touch any other themes but the Force, Vader, and Leia—heck, even if it reserved those themes for the biggest moments, and even if they were orchestrated in some simplistic Holty way—it still would have been better than what we've been doing for five weeks, basically licking traces of snot from the corner of the bowl and speculating that it tastes a little like Leia's theme. And yes, if the themes were present but poorly executed, we would be absolutely complaining about poor orchestrations of legacy themes, but only because in that corner of the multiverse, it would never even occur to us that someone could score a big moment for a legacy character with anything other than the character's theme. The complaints here aren't hypocrisy; they're a testament to the mind-bogglingly misbegotten approach that was taken on the first draft of this score. I have never been so eager for an immediate re-score of a project than I am for this. Sheesh, somebody start a Kickstarter. I have no idea how I might have reacted to it with music that was more in the Star Wars wheelhouse. It probably would have covered a multitude of sins of plotting and acting. After this mess, the whole of Star Wars fandom owes Michael Giacchino a gigantic apology.
    16 points
  11. I want to destroy these people who talk through the entire performance.
    16 points
  12. Everytime I go into this thread there’s a brand new update, completely and entirely different from the last, which then unfolds into a new story as to what’s going on. Everyday there’s a new story about how this music was written. It’s incredible. It’s the best mystery novel I’ve ever read.
    15 points
  13. Review and photos from El País: Full Happy Birthday and Imperial March performance:
    15 points
  14. Daisy Ridley made an appearance and sang John a sultry rendition of “Happy Birthday”
    15 points
  15. Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.
    15 points
  16. 2 episodes in a 6-episode show (and it's a limited series, meaning there are no more seasons planned) is a third of the show. I don't see why we shouldn't judge what we've heard, because even if there end up being some decent moments in the course of the next four episodes, that still doesn't excuse what we got in these first two: The show opens with a lengthy recap of the prequel films, and yet the music that accompanies those classic scenes sounds nothing like JW's Star Wars. Then (if I recall correctly), the very first actual scene of the show is an Order 66 action scene in the Jedi Temple (therefore, it is set during ROTS)... and yet the music sounds like typical modern action scoring, with cheesy rhythmic percussion and electronic elements—nothing like JW's Star Wars. There's really just no excuse for it. This isn't just some other show like Mando or Boba Fett; this is basically Episode 3.5. If any show should sound as close to the traditional JW sound as possible, it's this one. It's pretty depressing to think that Gordy Haab's upcoming Fallen Order 2 video game score is going to sound closer to John Williams' Star Wars (both in its composition, and the fact that it's with the London musicians just like the PT and OT), than the show that features the return of Ewan McGregor, Hayden Christensen, Jimmy Smitts, etc.
    15 points
  17. Everyone is so focused on themes, themes, themes. I'd be happy if there was just some appealing textures or motifs. I'm not hearing the seeds others are, and perhaps it's because I'm invested in the show and not trying to listen through the sound design. But I am not getting those goosebumps when you have the perfect marriage of little accents and melodies that accompany the big moments. A simple example is the Rise of Skywalker scene of Finn and Poe blasting through the hallways to rescue Chewbacca. There's a lively and appealing brass march that is not overbaked, but perfectly orchestrated to complement the visuals and sound effects. That's Star Wars music. Everything here sounds just smeared like a finger-painting. I love when film music sizzles just enough so that you get that accent on the visuals, but doesn't dominate nor disappear. That perfect balance. If we're going to get music that is just slathered in, I'd rather have none at all, and let the sound designers provoke our ears with silence and crystal clear effects that crackle. Speederbike Chase. Bespin Duel. Podrace. Battle of Yavin (middle section). Sometimes less is more, and conservative spotting is the way to go. Maybe we wouldn't need all these ghost writers if everything wasn't scored top to bottom.
    14 points
  18. It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen. But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.
    14 points
  19. I can understand the argument for different music styles when there are new characters, locations and stories (The Mandolarian etc) but JW defined the sound for THESE characters and locations (Obi-Wan, Leia, Tatooine) and in my opinion that must be respected. As someone has already mentioned, this is effectively Episode 3.5, and follows characters with various themes and motifs connected to them as well as an established orchestral palette. I don’t care about Holt’s gender or her previous work, I care about the music she produces for a franchise I care about, and quite frankly I find her and her co-composers’ handling of this unacceptable. Sure, it might not be a big deal to some people, but it is to me. Film and TV music is dying a slow death and Star Wars was one of the few things I thought was sacred in terms of its sound. To hear RCP-style action music and the abandonment of previously established themes in a Star Wars production is yet another nail in the coffin. Of course, maybe it is not her fault, maybe she was just following the orders of the director, but still, it really bothers me.
    14 points
  20. You’re not going to find an official source for the Rogue One stuff. I will say that the three people who I’ve heard talk about it have been well sourced, industry workers, and completely legitimate (one of whom was a 20-year user here who recently deleted their account; another an unrelated industry source at FSM; and third, Doug Adams who would not be telling these tales out of school). If that’s what James Southall is on about, I’d trust all three of those sources over him. If he’s talking about the Holt situation, I’d probably trust Southall over a JWFan user picked at random, but who knows. I noticed and liked plenty of score by both Holt and Ross in the series and I look forward to hearing it, regardless of how the sausage was made.
    13 points
  21. Been trying to familiarize myself more with the works of Lalo Schifrin here lately. Certainly some parallels to Williams. Started out with a background rooted in being a jazz pianist, worked in TV before mostly switching to larger films, born in 1932. His last big scoring effort, however, was in 2007 with the third Rush Hour movie. And it's easy for me to forget how easily that could have been the case with Williams. Music is so ingrained into his DNA that, indeed, I think it unlikely that he would ever truly step away from the music creation process. Say he'd stepped away from film scores back in 2007. For one thing, he's already cemented himself as one of the greats, with that title being secured even going back a considerable number of years prior. But also think of how much career-defining music he has put out since then. I think of his work on Lincoln, another entire film trilogy of Star Wars films, all of his concert pieces, etc. It all feels a little surreal. Other users, including myself, have waxed poetic on this strain of conversation before, so I realize I'm not making light of anything new. I think more than anything I'm trying to speak to myself trying to rationalize how bizarre it is that we're here on this forum still discussing, debating, and analyzing the continued film scoring efforts of John Williams, and that many think that some of these such efforts are among the best he's ever contributed to the musical form. He wrote Rey's theme at 83. Imagine living a life such that you are able to say that, perhaps, your best work was in your 80s. That's insane. Goldsmith. Bernstein. Hermann. Steiner. Mancini. Morricone. Titans of the industry that we look to as being emblematic of the old guard. Williams met, worked with, or was active alongside all of them at some point in their lives. He's that singular bridge tethering us in the here and now to old Hollywood. And somehow here we are getting ready to see him record a score to another one of the biggest movies ever made. To have a man be so prolific for so long at such a level of quality is a gift. To have a place like these forums for the 3+ generations of fans that have grown up and been inspired by his work is another. We could be in a timeline where Williams closed up shop in 2007 and we're all here in a dark cave driving ourselves mad with what could have been. But we're not. He's scoring another fucking Indiana Jones movie. And I still can't believe it.
    13 points
  22. I very strongly feel that Ludwig's music in general does not sound like cookie cutter RCP. Using synthetic sounds does not automatically = RCP. He has his own voice and approach that sounds nothing like Balfe & co.
    13 points
  23. I'd say it's the writers who are struggling.
    13 points
  24. THIS You all realise he's freaking 90 right. We're all happy he's working on Indy 5 right now , but we could also visit this site tomorrow and find out he passed away. ObiWan is a perfectly good theme that has it's place in any SW theme compilation.
    13 points
  25. JW at 90 years old decides to use 2 weeks of his time to write a Star Wars theme and people at JWfan wish he’d spent his time differently. It’s incredible.
    13 points
  26. It's kind of nuts how many people in various groups I'm seeing complaining about the score all over the internet. Reddit, Facebook, YouTube, Twitter. No matter where you go it's all people saying how disappointed they were with the score overall, but often bringing up how Ross' music was the only saving grace. I was expecting this score to be more divisive than anything, but it's not. Everyone just seems so disappointed, particularly with Holt's music. It's interesting because I've seen several very small but vocal subgroups saying how much they'd want a Zimmer/RCP Star Wars score... well, here it is, and almost nobody is defending it. And even the tiny amount of people defending it still speak of disappointment in many areas of the score. The music isn't terrible, it's just not Star Wars. I know JWFan gets a fair amount of attention, and we have a lot of industry insiders here, well IF ANYONE FROM LUCASFILM/DISNEY IS READING THIS: just know that this score is definitive proof that a Hans Zimmer / RCP / contemporary / modern-styled score WILL NOT WORK for Star Wars. We've been saying it from the beginning, and here is your evidence. Star Wars' music was never meant to be "modern". That is the entire reason George Lucas wanted a classical score from the very beginning, even when the studios were pressuring him to do otherwise.
    12 points
  27. Coming June 30 at The Legacy of John Williams, an exclusive video event. BOSTON CALLING — Legendary Musicians of the Boston Symphony Orchestra and the Boston Pops Reunite to Celebrate John Williams With Special Guests Ann Hobson Pilot, Tim Morrison, Gus Sebring and Keisuke Wakao Featuring Author and Writer Emilio Audissino Hosted by Maurizio Caschetto and Tim Burden More info here: https://thelegacyofjohnwilliams.com/2022/06/27/announcing-boston-calling-video-event/
    12 points
  28. Poor John Williams, there's so much better stuff he could've done with these six hours, like writing another concert, scoring Indy V or just playing golf.
    12 points
  29. That still doesn't explain why her remaining music for the show is so bad.
    12 points
  30. This is not a 90 year old man. This is an ageless and timeless wizard!
    12 points
  31. Something tells me Kathleen Kennedy wasn´t as hands on with Kenobi as she normally is with Star Wars projects (what with Mando, Ahsoka, Andor in production etc) and so she let Chow just get on with it. Then, maybe, she came to have a look at what was going on, heard the score, went "What the f*** is this?", panicked, called JW, JW goes, "Yeah, no thanks, I´ll give you a theme, but that´s it", then they get Bill Ross involved to adapt the theme and write additional music. What a mess.
    12 points
  32. Yes, it's a new arrangement for cello and violin. Mutter said on her Facebook page that she was practicing it during breaks between gigs in the last few weeks. My guess is that Dear Basketball will be performed live to picture, as the program notes are saying clips will be shown during the concerts.
    12 points
  33. I watched Episodes 1 & 2 so far and it baffles me how Holt not uses Williams' Themes... so I rescored the Rooftop Fight / Leia's Rescue scene (more or less in JW's style) with Obi's Theme, Leia's Theme and the Force Theme. I kept what I think is Reva's Theme because I quite liked it.
    12 points
  34. Solo was positively chockablock with Williams themes used in both original and new contexts by Powell. I believe Powell said Williams initially raised an eyebrow at the major-key Imperial March but eventually came to love it. But you also had soft, menacing "Duel of the Fates," you had the main theme, you had all of "Reminiscence Therapy"...heck, you had my one true love, the friggin' Droid Motif, hidden in a menacing action scene. I wouldn't be surprised to discover years from now that he somehow slipped Jabba's theme into "Dice and Roll." All this to say that Williams has not been possessive about letting other composers play in his thematic sandbox (see also Mando/Boba, Rebels, and the queue music for Star Tours). I think this is a directorial decision that Holt is either being forced to defend for self-preservation or actively agreed with. (I could be all wet, but I seemed to sense, between the lines, that Holt was a little miffed Williams horned in on a show she'd already scored or begun to score. That's understandable, but at the same time, the man is a walking miracle at this point, and you're gardening on his property. If he says he wants to dig up one of your tulips and plant one of his special breed of carnations, you scoot the heck over and give him your trowel.)
    12 points
  35. This show is testing my patience, musically.
    12 points
  36. I'll bash the shit out of scores I don't like on here but engaging with the composers directly to tell them you don't like their work is unthinkable to me. Though never underestimate SW fans when it comes to crossing social boundaries.
    12 points
  37. I should start by saying that on Last Fm, I have more plays on the theme than anyone else in the world and it's only been 2 days. Obi-Wan is my favorite character in all of fiction so I've been waiting for him to get a proper theme for years. When I heard John was gonna do it, I nearly teared up. My expectations were high. I'm the kind of girl who vibes with music rather easily, but this was something else. I first heard it from a leaked video of the live performance from Celebration. But hearing the official recording, my heart flew a thousand miles per hour after listening to it. With film music, this has only happened to me 3 times; The first two being when I heard Rey's Theme and The Adventures of Han for the first time. Everything about Obi-Wan's Theme just clicks for me and I haven't gotten tired of it at all despite the obscene amount of times I've heard it already. I learned on Friday that John Williams said he intends to retire from film scoring after he finishes The Fabelmans and Indiana Jones. If he follows through, this theme is his official good bye to the franchise. And it's one hell of a good bye at that. My favorite piece of Star Wars TV music by far. Fr. I don't see any problem with him writing this quickly. It's not like he's scoring the entire show. Plus he just started working on The Fabelmans and is STILL working on Indiana Jones. We're lucky he made this at all.
    12 points
  38. Looking at this piece alongside all of his other Disney era contributions, I can very easily see where this might fall on the lesser end of that spectrum for many. Some users have made the point that this specific period in Obi-Wan’s life, and by extension this time in the Star Wars universe, doesn’t really quite lend itself to that classic Star Wars sound. The opportunities for those celebratory brass fanfares to shine through are decidedly a little more barren this time around. I posit that Williams could have written something that would have been more of a crowd pleaser but I think doing so would have betrayed what the theme needed to be for the story as he understood it. It ultimately comes down to, in my eyes, effectiveness versus accessibility. This theme I think is very effective at conjuring up, with startling accuracy and nuance, the multiple feelings as they would describe the character as the show finds him now. What cost that comes with I think is accessibility. A bittersweet theme without resolution meant to define one of the most iconic heroes ever created is a hard pill to swallow. The feelings it creates aren’t that accessible. It’s not something I think most people would want to let wash over them, and I totally get that. But it’s how well that emotional depth, for me, is realized that makes me want to keep coming back to it. Heroics, mysticism, tragedy, tinges of sadness, and a little bit of hope. It’s all in there. You get all those feelings in 4 minutes. None of them ever really dominate, they all kinda coexist in there. And you know what all those kinda sound like to me? That sounds like Star Wars, baby.
    12 points
  39. Promise me you won't call the insane asylum if I tell you that one of the chapters of the book lists the 1187 appearances of the motif, with timecode in the films and albums, and also a description of the scenes and orchestrations.
    11 points
  40. I don't know. I think if whole episodes are near entirely Ross for what's supposed to be a minor rescore/adaptation gig (especially when a lot of it doesn't involve the Obi-Wan theme), then I don't think it far fetched to believe there's more to the story. Especially with how quiet Lucasfilm/Disney has been about it, given they would have you believe Holt is the only person of importance (despite her admitting her own main theme got replaced, and had very little to do with the final one). And I say this as someone who's still fairly defensive of Holt, and would sooner blame everything on the higher ups than her specifically.
    11 points
  41. Ireland's National Symphony Orchestra included it at the JW 90th birthday concert: (1:59:07) They also included it as part of a May the Fourth concert which I believe was broadcast on the radio (RTÉ Lyric FM), but can't seem to find a record of it in an archive.
    11 points
  42. 11 points
  43. What do you mean? You don’t think it’s strange that they waited so abnormally long to announce her? (They even announced the Andor composer before her, and that show comes out even later.) You don’t think it’s strange that her Obi-Wan theme was replaced at the last minute with a theme by John Williams? You don’t think it’s strange that she wasn’t allowed to adapt JW’s theme in her score, and instead one of his decades-long collaborators Bill Ross was hired? You don’t think it’s strange that Bill Ross apparently ended up doing way more than simply integrating JW’s theme, to the point that he even scored big sequences like the Obi-Wan vs. Vader duel? You don’t think it’s strange that Ross gets a big listing all to himself in the credits, right after Holt’s name, rather than appearing later with the additional music composers? You don’t think it’s strange that this is a show full of legacy characters set between the PT and OT, and yet not a single JW legacy theme has shown up yet? Come on, there are way too many things out of the ordinary here. Frankly I find it ridiculous that you could think the desire to make sense of all this, is rooted in sexism. We would be just as curious (and upset at the problems with this score) if this were a male composer.
    11 points
  44. I'll just rephrase what I said before. I have absolutely nothing against Holt - I'm sure she'll make a decent name of herself eventually - but this was most definitely not the time to be experimenting with new talent. As a lot of you said, with The Mandalorian it made sense to go off-tradition and the results were mixed but worked well overall. This, however, when you're dealing with legacy characters in a gap between two massive legacy 'eras'... it should have been fucking obvious what the requirements are.
    11 points
  45. Just watched ep 3… I will preface this by saying I loved Loki's score and am by no mean a Nathalie Holt hater or anything. I will also say that I found Powell's score for Solo to be great so I'm not just shittalking because it's not Williams score. But wow… the music in that episode was so bad… the music itself was bored to death and so was I. How can you possibly end up with this! There's something fishy imho.
    11 points
  46. This is the worst thing star wars has ever done musically. I don’t want to hear any complaints about Ludwig Goransson, Shirley or Giacchino, this is sooo much worse
    11 points
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