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p0llux last won the day on March 4 2013

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  1. In the basketball world in the late 90s, a teenage Kobe Bryant came onto the scene and was hailed the "next MJ" because he played the same position as Michael Jordan. Kobe ended up imitating MJ a lot. His moves, his mannerisms, and to a degree, his successes. Ultimately however, Kobe was most definitely NOT the next MJ. He was the first Kobe Bryant that borrowed heavily from MJ. In the basketball world, to even be mentioned in the same sentence as MJ is a great compliment. To be hailed as the next MJ is an even greater compliment, because it means you potentially have all the gifts and talent of the GOAT but none of the successes...yet. So to proclaim Cameron Moody as the next JW isn't an insult to JW. It is simply a great compliment for a young composer. However, it's important to know your audience. In a JWfan forum, proclaiming anybody as the next JW is near sacrilegious because that is the culture in here. We are all hardcore fans. We don't like the idea there's someone else out there that could replace JW. Some would even say we worship JW like a god, which is extreme but not out of the realm of possibility. That said, I really enjoyed Moody's music so far. In some of what I've heard, he's nailed the Williams mannerisms quite well, intentional or not. He is quite a talent. I hope he becomes the first Cameron Moody that borrowed from JW.
  2. I like Bear McCreary. He's slightly above the RCP people. He writes decently well for orchestra and I enjoyed his scores for Godzilla: KOTM and God of War. I'm confident this score will not follow in the disastrous footsteps of Obi-Wan. That said, it doesn't mean this will be a Howard Shore level score or anywhere near it. It just means it'll probably be better than the average RCP treatment.
  3. Another unreleased climatic cue/track/remix/mashup/one/henry/vecna...
  4. I just started listening to the Obi-Wan Album. Track 1 is Williams' Obi-Wan theme. Track 2 is the opening Order 66 action music from ep1. I'm still cringing from the sharp contrast in styles. From beautiful sweeping orchestral to modern RCP banging drums and brass. Just like when I first heard it, hearing that opening action cue just sets the precedent for the rest of score and it's a harsh reminder of what modern film scoring has become.
  5. Ep6 is upon us. The series is finally over. Good riddance. Did we get delivered to the promised land? And the answer is: Narratively? I don't care. Musically? Too little too late. Imperial March inserted there did next to nothing for me. Interestingly, Leia's theme was the most impactful for me being inserted in that moment because it was like a rite of passage moment. The Force theme following it was alright. The rest of the score was just saturated with Obi Wan's theme to the brim without much variation. I felt they were milking it too hard. After all this, all I can say is: "Move along. Show's over folks. Nothing to see here."
  6. Themes and motifs are the bread and butter of the Star Wars musical universe, but you didn't need me to tell you that. It is not a stretch to be focused on those things in a series that's a direct sequel to the prequel trilogy and with a main theme by Williams himself. Honestly, I would also be happy if there were just appealing textures, but those are the kind of expectations I'd have for modern generic action flicks like Marvel films... You didn't hear the seeds because there really weren't any until ep5. The ones that were pointed out to me that appeared in earlier eps were very weak, trivial, and may as well not exist. You're not getting goosebumps because many of these "big" moments involved legacy characters and there were no legacy themes heard, which robbed the score of its goosebumps inducing effectiveness.
  7. We talk of "hints" and "seeds" in here and there weren't any real strong ones heard so far in this series...until now. Five full eps later and nearly the end of the series. The obvious Imperial March rhythm accompanying Vader in this ep was the level of "seeding" that should've been implemented since ep1 for the other themes. Minimal sherlocking was needed to identify that and the main melody wasn't even played. It's the perfect balance between seeding and sherlocking. So you see, Natalie Holt, you can hide themes without it requiring an absurd amount of digging, searching, and theorizing. Why you didn't do it sooner is beyond me.
  8. Oh I missed these hints. The first one was a big giveaway, but I only watched the ep once and I wasn't as hyper focused as I normally would at that point in the series. In my opinion, the 2nd and 3rd ones were far more trivial. The casual listener isn't gonna hear anything, especially the 2nd one in that kind of an arrangement. So I was wrong, she did leave hints. I don't claim to be a sherlock, even if I've been on this board for awhile. However, it seems like quite a bit of sherlocking was needed to identify at least 2 of those. If only we were all music sherlocks...
  9. The problem is I can't say it's been well done. I've heard no "seeds" of any kind so far. What does it mean to "seed"? Is she partially stating a few notes of a character theme? Is she using the same chords? Where are these "seeds" she's referring to? Am I deaf? Maybe she's so technically gifted, she hid them behind loads of musical grammar that few can decipher. I just don't know. We've had multiple episodes of major legacy characters on screen. We should've heard something obvious by now. If ep6 contains everything I wanted, I'd go with it. Better late than never, I said. However, it could've been super effective if she better prepared the audience for the full statement of the themes. I'm not a composer, so I can't comment on exactly how she could do that. It's her job to figure that out.
  10. Based on what she said, we'll finally hear legacy themes in ep6? She uses the word "seeding". Did she mean hint the themes? I've heard no hints/seeds so far. If holding the legacy themes back until ep6 was the plan, then so be it. Better late than never. But this approach isn't really in the spirit of Star Wars. I hope she'll deliver in ep6. I still support Natalie Holt, whether she was the best choice for this job or not. Tinfoil hat moment: Also any body language Sherlocks here? There's something odd about her response when she answered the question about quoting motifs. I can't put my finger on it.
  11. I'm gonna say it. I was high off of nostalgia with Obi-Wan, but once it wears off I realized this is just a generic action series. Reva is a tryhard character. Leia was a great casting with well written zingers, but too many unrealistic scenes with her. I'm not sure about Vader either. I feel like the showrunners are torn between trying to be gritty or appealing to kids. Pick one and move on please.
  12. So Ep4 finally arrived. The bar was very low to begin with and I'd say this ep raised the bar slightly. This ep sounded more "orchestral" for some unknown internal reason. Is the music team out of the hole? Absolutely not. With just 2 eps left, there isn't much time to climb out, but maybe they can break even. Highlights include obviously the water hallway music and I liked the Holt/Ross imperial motif as Tala infiltrates.
  13. Ep4 is almost upon us. Can Holt dig herself out of this hole? The bar is pretty low at this point. An "orchestral" score is a lost cause. But will there be usage of any legacy themes? Is it even possible for her to still win? Taking predictions now.
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