artguy360

I think it would be quite interesting for JW to score this film now. It might be the Azkaban of the Indy series thanks to a new director.

This thread has motivated me to revisit the score. I love the color in the orchestrations and the light-footed whimsy of the music. It is a very fun score and yet lacks those standout cues that are present in the best JW scores.

Listening to a mix of the OST and FYC, I am struck by how the most impactful musical moments are rather intimate rather than epic. The latter half of The Last Duel, Advice, Reunion, the many renditions of the friendship theme, Farewell, and many more stand out more than the big action cues and really define the score for me.

I would love for JW to score a small film with a new director like Randy Newman did for Marriage Story. But I also recall that in an interview once, replying to the question "Why don't we hear more JW-esque scores in films these days?" Conrad Pope said that is isn't because composers can't write like JW but rather because directors aren't asking for JW-like scores these days.

Star Trek newbie here. I've enjoyed all 3 episodes of Picard so far and have begun watching TNG based on various online lists of best episodes and episodes referenced in Picard so far. I've also watched a couple episodes of the original series and others here and there. Just started watching Enterprise and what the hell were they thinking with that opening title song choice? It feels completely off-brand. I really wonder what marketing insight or creative spark led the showrunners to think that song was a good choice for a Star Trek show?

Awesome work! While I appreciate this score for its energy and how closely knitted to the movie the music is, it isn't a soundtrack I return to often. It gives me the impression of a lighter Indiana Jones score.

Mine Mission sounds like Powell trying to work with JW's fugue style, not like an actual JW fugue piece. There is a roughness and simplicity in progression that you don't get with a JW fugue piece.

Episode 1 is solid. I like the mystery and Picard being Picard. I thought the show moved a little too fast in some places. The ending shot was pretty sweet though!

Sweet interview. I like how Previn pushed Williams out of his humble zone.

Night Window, A Bit of Tin, and Come Back to Us are highlights of the OST for me. Sixteen Hundred Men is good too and the rest is good underscore.

There is some lovely music in this score, especially the final track on the FYC album.

Interesting that so much of the tracked music was already in the film before recording the score.

Fun! Thanks for sharing and good luck with the whole project. The 1st cue is solid.

I'm a little annoyed with how Battle of the Resistance begins with what sounds like an embryo of a fun action motif in a similar vein to the action motifs of TPM but doesn't really develop or feature enough in the 2:51 track to standout. It kind of reminds me of Scherzo for X-Wings except that OST track is much more coherent. Feels like a big missed opportunity. Although I am generally not a fan of reprising set piece music in SW scores as it is terribly overdone at this point, I think a reprise of Scherzo for X-Wings in the final battle in TROS would have been a lot of fun and call to mind the reprise of Here They Come in ROTJ.

If selection was based on the FYC album alone, I wouldn't even vote for TROS. Thankfully the music is better in the film (despite the edits) and much better on the OST.

Approaching the Throne (OST), Parents (FYC), Coming Together (FYC), The Force is with You (OST), and Farewell (OST) make for a very satisfying climatic listening experience that is rooted in drama rather than spectacle. Probably my favorite stretch of music combining both albums.

To me Anthem of Evil is like a darkside temptation theme, often played when a character is feeling the pull of the darkside. This is a different purpose than the Emperor's theme or other people existing major themes. Listening to its occurrence in Join Me and Destiny of a Jedi among others, I think it works very well and serves a unique purpose.

I like the idea that the chimes expressing loneliness in the opening of Rey's Theme evolve into the warm, familial melody that opens TROS theme. It's a clear contrast and a comforting musical bookend.

The action music, use of motifs, and sweeping dramatic music in Escape is far more coherent (especially the OST version) and developed than pretty much all the action music in TROS. My impression is that JW was writing music to mostly finished edits in TLJ whereas TROS kept changing right to the very end and so the music is heavily chopped up as a result, including the action music.

Due to the poor editing of the film itself, there really aren't any set piece sequences therefore no set piece cues. The Speeder Chase is the closest thing and both the film and music are chopped into a mess. Just compare New Alliances from TLJ to Rey fighting the guards and Kylo fighting the Rens in TROS. The former is a distinct action scene where the camera shows off the choreography and the music has the opportunity to stand apart as an action cue. I honestly don't remember what music plays in the latter but the visuals definitely did not highlight the action or choreography. The film tries to emphasize the drama but I remember it to be visually messy.

I can't decide between Homecoming from War Horse, The Peterson House and Finale from Lincoln, and Rey's Theme from TFA. Plus, we don't have an official, studio quality release of Dear Basketball and I want to understand that piece better. It could be a masterpiece but I'm not sure from just watching the short film.

What are the noticeable differences between the performance of the Main Title in TFA vs TROS? I haven't spent enough time with TROS Fanfare yet to discern any major differences.

It is unfortunate how choppy the music in the film is and with so much tracking. An iso score would probably be an awful listening experience.

The historical background is interesting (I imagine not new to most members of this forum) but the most prominent "evil" themes in the Star Wars films are the Imperial March, Kylo Ren's themes, and the Emperor's Theme and all 3 are scored the the European tradition. I don't think the western = good, eastern = bad distinction is as clear as the writer argues. Nonetheless, the Star Wars scores are rooted in the classic Hollywood orchestral sound which does tend to treat things that are familiar to us in American and European orchestral language and more eastern sounds for things that are unusual, alien, mystical, and exotic. But the good vs evil = western vs eastern argument, I do not buy. Anthem of Evil and the Knights of Ren motif are two brand new examples that prove this argument to be heavily selective at best, plainly wrong at worst.

Join Me is the highlight for The Anthem of Evil on the OST. We're all just waiting for a high quality complete release...