DarthDementous

Shin Godzilla's OST was a real banger. My favorite Godzilla score in years. This sounds interesting so far but not sure it can match Sagisu's level of operatic epicness.

I read that the issue was that rather that re-record them outright they tried to 'remaster into stereo' the original cues from their subsequent films, and they clearly weren't successful with that (except maybe Godzilla Appears from Godzilla Vs Mechagodzilla). The film itself just used the original recordings untouched. So, yeah: it's really nice that they appeared, but as a listening experience it is a bit jarring to transition from the more modern stereo recordings to those old mono recordings and back again.

There's something very wholesome about such a faithful new arrangement of the classic themes. It was neat that Shin Godzilla used the exact tracks but it was also a bit jarring with the mixing of the other pieces of the score

I enjoy the apocalyptic and gloomy feel of the soundtrack excerpts, Pray in particular reminded me of a Shiro Sagisu track from Thrice Upon A Time

This came up to me on Reddit. How accurate is it?
 
Source

I'm rather disappointed by that second season
 
Episode 1 was a complete filler. The two only really good thing are the introduction of Ke Huy Quan and Holt's music. The cinematography is pretty ugly, there's a lot of awful shots, a couple of messed up CGI leading in pretty bad directed episode IMO. The plot is very thin, only delaying the beginning of the actual story of one episode. You don't really get Hiddleston and Wilson together which was one of the best thing of the first season
 
Episode 2 was a bit the same (slightly better) with no awful shots this time. The cinematography is still ugly (I know it will stay the same for the rest of the show but I can't stand it). The plot was poorly paced, not really starting at the end of episode 1 with a giant ellipse that should have been covered in an actual first episode. Sylvie becomes quite annoying which is a bit sad IMO. The end of the episode comes a bit out of nowhere with a poorly staged action scene, ruining once more the pace of the episode. Holt's music is still great though and it was nice to have some fun interactions between Mobius and Loki.
 
Episode 3. Another not really interesting episode, even though the main idea was terrific, the writing of the dialogue was quite redundant and poor. Sylvie's becoming even more annoying. Mobius and Loki almost do nothing together again (a shame). Majors performance is okay but the stuttering gets a little irritating when you're viewing the same dialogues second time. On the good side we have still Holt's music, great sets and costumes (but still the awful cinematography ruining them)

No, I don't think that's right.
 
As with everything in life - but particularly with art - you don't look at what the artist say, you look at what they do. So, rather than using what George Lucas said about Star Wars, you look at the films themselves for what they are.
 
Lucas is hardly the first filmmaker to try and present his work in a light that's incongruent with the way it plays to audiences, but he's probably the most tendentious.

I think retroactively my favorite era of Star Wars is probably like 1993-2013. 
 
All the best videogames, The Clone Wars, awesome behind the scenes content and documentaries, Star Wars Hyperspace, the DVD and Blu-ray releases, the beginnings of LEGO Star Wars

Yup. 10th Anniversary of Star Wars. Rick Overton was the opening act. Threepio, Artoo, and Darth Vader (voiced by Jones) introduced Lucas. (No idea if Daniels wore the suit.) The photo with The Great Bird gets all the press, but it's also when Lucas, Kershner, and Marquand shared the stage!
 
I got to meet Peter Mayhew, Anthony Daniels, and Billy Dee Williams. Which means I didn't go see Ralph McQuarrie, John Alvin, or any of the ILM guys that were there. I was young and stupid.
 
I REALLY need to scan my photos.
 
Oh, and there was a ginormous birthday card that was signed by everyone at the convention. It was reproduced in the Star Wars Vault book. Good news: My signature is there, and near the top! (Tall.) Bad news: I wrote how much I was looking forward to Episode I.

You haven't been watching Disney Wars then.

Filoni has officially lost me.  
 
He is deified by his fan base, as he was Lucas’ official protégée, but he really is overrated.  
 
There’s a wonderful drinking game to be made from Rebels episodes. You’d be drunk just on every time they steal a helmet and disguise themselves to infiltrate an imperial stronghold. 

It makes sense, on one level, that consuming Star Wars is not the key to creating good Star Wars. A good writer or director (of anything, really) should have a breadth of influences and a breadth of life experience. They should consume voraciously—film and literature and music and non-fiction (history and mythology and anthropology and popular science and mechanics)—and live voraciously—enjoying many kinds of activities in many kinds of outdoor environments, and in many countries, sampling the architecture and the cuisine and the social scene, etc.
 
But the corollary of that is that if your creative well is such a deep well, such a colorful kaleidoscope, that’s much different than consuming five ingredients and vomiting them right back up onto the Star Wars canvas to where the audience can pinpoint your exact five influences and feel smug that they “got it”—and that’s the whole exercise. Especially if those five things are all just nerd culture things.
 
The other corollary is that if your creative well is such a deep well, such a colorful kaleidoscope, then you have the capability to create something truly unique like George Lucas did in 1977—and in that case, doesn’t the Star Wars canvas really limit your creativity? The answer is yes. You should go forth and make something new.
 
But if you are tasked with making new Star Wars (for love or for money), your job is NOT to innovate just because George innovated. The point of an imaginary universe is that you can imagine it as a coherent whole, hopefully without compartmentalizing each component. The more seamless the better. And that obviously involves an element of the ouroboros—themes and scenes and lore which feel like reflections or inverses or outgrowths of themes and scenes and lore that we have seen before.

bold claim that the Filoni stuff worked, let alone "works best"

I think the world needs less stuff made in someone else's sandbox, and more original stories. Star Wars worked because it was new and exciting and a unique vision, however derivative of its sources. Same with Lord of the Rings and Harry Potter. The problem is, that is a hard thing to do, and only comes along every few years or decades, and the corporate money machine has no patience, so they slap it on a plastic lunch box, and they sell it. And because we require Input, Stephanie, and keep wanting that high from our first experience, we keep coming back. I'm going through the Clone Wars multi-media project right now for the very same reasons.
 
I love Star Wars. No piece of pop art has had a larger influence on my life, and I'd love to enjoy what is coming out right now, but yes, Disney Wars have become far to referential and insular and bland, and I think Filoni's track record has been decreasing in quality and originality since Clone Wars to the point where it makes me wonder just how much he had to do with the parts of that series I liked. This is a long way of saying I miss George, but I also believe that stories can and should end. Nothing needs to go on forever. 

Thoughts? 
 

Very fascinating interview with Gordy Haab about his SW scores:
The AIAS Game Maker's Notebook: Creating More Star Wars Music than John Williams with Composer Gordy Haab (libsyn.com)
 
Also, there are two major bombshells:
1. EA's music director originally wanted William Ross to score Battlefront
2. At least part of Alexander Desplat's score for Rogue One was finished and was still being used as temp within 8 months before release

No-one else has any thoughts about the new themes for Ruby and Fifteen? I'm dying to talk about them both, they're wonderful!
 
https://www.bbc.co.uk/sounds/play/m001r92n
 
1:32:28 is "The Life of Sunday", Ruby's theme. Romantic, lush and gorgeous, heavy on the piano and very Chopin-esque, which makes me wonder if Ruby has a background in or connection to classical music. Or perhaps it's just a beautiful nocturne that Gold thought fit her character.
1:41:14 is "Fifteen". I'm in love with this theme. I've been playing it on repeat for the past week. It's bonkers, over-the-top, heroic, a little bit silly, a little bit rockstar, and a lot of fun. Also the motif that dominates the second half is extremely memorable, and will give "I Am the Doctor" a run for its money in terms of recognisability - and actually it's rhythmically very similar to that theme but the melodic contour is reversed.
 
Also worth listening to Gold and RTD speak in the above link - very insightful and witty, though they're very coy about what to expect from the new episodes. Love RTD's line after the huge bombast of "Fifteen" - "as you can hear... we're coming back subtler than ever".
 
 

You know - and I really like the way stuff like the Gungan city looks, by the way - the great irony is Disney (and Lucas before them) often tap into unused pieces of McQuarrie/Cantwell/Johnston/Chiang art and repurpose it, which is not the worst idea by any means except they do it so much it sure doesn't help alleviate the feeling of "corporation picking through the bones of a dead movie."

"If it's amazing, they'll know." Some interesting thoughts on design and presentation in Star Wars. This is a major sticking point with me and the Disney era. It does not look and feel like Star Wars to me. Too modern. Too clean. Too Hollywood.
 
https://david-talks-sw.tumblr.com/post/717000769533034496/if-its-amazing-theyll-know
 
 

I listened through the whole concert, it was wonderful. I love the new material - Fifteen’s theme is something special IMO. Very influenced by “I Am The Doctor” - relentlessly pulsing, energetic and fun - but with a dangerous edge to it. It’s fresh and it’s very very interesting, shades of a mad marching band about it. Can’t wait to hear it in action.

Goosebumps and 'something in my eye' at that still spirit-soaring middle-eight, especially with the choral addition. 

It is SO good to have Gold back. 

You are correct, Spielberg came in to guest direct the fly-through pre-vis sequence of the battle over Coruscant as confirmed by The Making of Revenge of the Sith by J.W. Rinszler

You are correct, Spielberg came in to guest direct the fly-through pre-vis sequence of the battle over Coruscant as confirmed by The Making of Revenge of the Sith by J.W. Rinszler

You are correct, Spielberg came in to guest direct the fly-through pre-vis sequence of the battle over Coruscant as confirmed by The Making of Revenge of the Sith by J.W. Rinszler

I've watched him in interviews as well, he honestly captures quite a few of the mannerisms and enunciations of a young Mark Hamill as well

Don't worry, the Thrawn of Heir to the Empire is actually intelligent so they definitely won't be adapting those