Jack

I just came to express my absolute adoration for this album! Such wonderful new arrangements and performance. Sublime! ❤ The use of articulations in Hedwig's Theme are brilliant; the voicings in Luke and Leia. The cadenzas. 😍

It's a Bond (David Arnold / John Barry) meets Goldsmith mashup! Probably due to the temp track. As for the notes played by the horns, it could really be any generic, octatonic, spy-film motif. (I don't think it is a motif).

Given the sloppy performance, and that Powell basically needed it to do the score, I'd say no. It's a courtesy work done in an afternoon. Next.

You haven't heard his Trumpet concerto. Separately, The playing in "Adventures of Han" is horrible. Brass, especially. They sound seriously bad compared to the London players.

The whole thing's a mish-mash. Including Alan Silvestri (Marauders Arrive and others), David Arnold (Train Heist), Randy Newman, Don Davis (Into The Maw), Zimmer (Corellia Chase), Powell (imitating Chicken Run, HTTYD), and Williams (obvious). A whole load of 'chicken in the pot', there. Why do some of Powell's harmonic cadences just sound... wrong? Can anyone explain what the fuck 1:30 [cadence at 1:35] in Flying with Chewie is? This is basic shit. I mean, at least Powell does a better job than Gia. But really this is just a poor state of things from a compositional perspective.

I figured that Williams included the adapted Crait-like passage in the "Adventures of Han" demo as a way of providing Powell with an action-oriented motif to allow for aesthetic continuity. The impression Powell gave from the interviews was that he was keen to take any material that Williams could provide. Separately, on the action music - I don't share the view that the score is particularly 'RCP-esque' (save for the PotC harmonic bullshit in Corellia Chase at around 2:00). I think it just lacks restraint and sophistication. It's basically a "child in a sweet shop" s

U ok hun?

I just did a thought experiment... If, say, Giacchino were as self-deprecating as Williams, then that would be totally fair and acceptable, as he most certainly could do a better job the next time...? Therefore, this invalidates my initial theory, as I wouldn't believe Giacchino's self-deprecation to be due to 'vulnerable narcissism', but rather an accurate reflection of reality! This leads me to the irrevocable conclusion that Williams must indeed be a victim of his own success! I will send the flowers to his agent. *brain fart*

Suffering is common to everyone! That's why this thread is so silly

If only that were enough for poor Johnny boy! Yes, he could be both gay and narcissistic! That might have caused him the requisite amount of suffering that could have lead to him becoming as great as Beethoven or Mozart! The therapy robbed him of all those valuable years of suffering, you see. If not for all this calm, he could've created a serious work by now!

Is being self-deprecating being balanced? It is more balanced to say "I am good at A & B, but not so good at C", than it is to say "I'm not terribly good at this. I just hope I do a better job next time!". The latter is what Williams says. Here he is revealing his buried feelings of inadequacy through micro-resentful self-deprecation! He can't integrate not having reached the grandiose heights of other, more serious composers whom he idolises (e.g. the ones he mentioned could do a proper job with Schindler's List to Spielberg). Oh, how he must lament! Well

I think it's just that years and $$$ worth of contemporary psychotherapy have enabled him to manage his... *glances at DSM*... giant narcissistic ego in ways that were previously impossible for serious composers to achieve!

Damn it's already sold out !!!!!!!!!!!!!!!!!!!!!!!!! ☹️

Any love for Sense8?

So unless Williams suffered some temporary loss of agency while writing, it follows that he intended to reference BotH.