artguy360

I loved Tom Hanks in Far and Away.

TROS is such a difficult score to talk about. My appreciation for the score is marred by how poorly treated it is in the film, the sound mix, the micro-edits, the tracking, and the lack of opportunities for standout musical moments in the film and sound edit in stark contrast to TLJ which had so many made for awesome music moments that JW made the most of.

Congratulations @Ravendor Studios on finishing this gargantuan project! I loved listening to each cue as you released them. I wish I had given more feedback along the way but know that I was listening and appreciating your work.

I didn't realize JW chose specific music to share during this program. That's an insight we rarely get from JW.

Finally! I've been waiting ages for JW to talk about how computer illiterate he is and how he is a slave to old fashion pencil and paper composing! Classic anecdotes here we come!

Hearing these different versions of The Scavenger remind me of HP3 and how several scenes were re-scored until they found their way to A Window to the Past. Sounds like a similar thing happened with this scene and Rey's theme.

I love the theremin! Cool performance.

Plowing is such an amazing track! It has many dramatic turns and a wonderful climax. It's one of my favorite JW industrious/labor/process music cues.

I was so looking forward to another retelling of that classic Schindler's List anecdote! And about how he wrote a torrid love theme for Princess Leia!!!

I think the 2018 London performance of the Imperial March, while very bright, is way too fast. The music is too staccato and sprinting all the way to the end. This is Darth Vader's theme, and Darth Vader does not sprint! The Vienna performance is perfect to me. Very punchy, fast but not a sprint, and appropriately declamatory.

My appreciation for the piece The Rise of Skywalker, like so much JW music before it, has grown immeasurably since I first listened to it the day before the accompanying movie released. In it I hear not only two unique motifs suited to the ideas of friendship and victory in the movie, but also a meta-narrative farewell from JW to the entire SW saga that has so dominated his career and legacy. The piece opens with quiet, successive renditions of the victory theme here sounding almost as if meant to play over images of an old man slowly turning through the pages of a treasured photo album while sitting alone in his study, bathed in gentle sunlight. As the friendship theme unveils itself we hear strains of bittersweet reminiscence and familial bonds rising and falling with comfort, almost as if this theme had always been with us. In the swells of the friendship motif I hear JW reflecting back on his lifetime with Star Wars, with the characters, the stories, and the people, old and new, he worked along side over the course of 3 trilogies. The musical development that follows has a bit more tension and movement, perhaps suggesting that the journey has not always been easy or fun, but nonetheless endlessly compelling. The development continues until we are treated with the grandest, most heroic renditions of the victory theme. The motif that begins the piece with quiet intimacy now booms with a voice meant to fill theaters and halls of movie and concert goers. Finally the grand scale fades and we return to an old man sitting in his study, JW fondly looking over the pages of his SW scores as he bids them all a final farewell. I love The Rise of Skywalker concert arrangement. *Though the movie with the same title is quite bad.

Fun but I don't have high hopes for this. Their last conversation was very platitude heavy and light on insights or specifics.

Loved the new episode, especially the discussion of TROS theme itself.

Pretty sure JW played the tiny bit of Rey's theme on piano during the climax of TROS.

I thought Mike M. confirmed that The Hunt scored an earlier cut of the hunting down dinosaurs sequence but when the sequence was re-edited the cue no longer worked?