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  1. Well now I look silly, but in fairness it was a long post and missed that there was a link.
  2. Someone needs to post that March of the Resistance quote, I missed it!
  3. Decent theory but I don't know if I buy it. On paper using Yoda for Lando makes sense (ESB connection and Yoda's theme was used in Cloud City), but the way it plays during Reunion wouldn't really fit the scene with Lando. No I think Williams was kinda just doing a greatest hits roundup and wanted to throw in two of his favorites (Yoda and Luke and Leia). Watching how the scene plays out you can sort of imagine the reasoning behind them too. Yoda's theme starts up when we see Klaud (the big alien creature) and then plays through the scene of Chewie getting his medal from Maz - so maybe the connection is "puppet creatures." And then Lando and Jannah were originally implied to be related so I think the Luke and Leia theme usage is supposed to work with that familial connection.
  4. A great cue (so good they used it throughout the movie), but I can't help imagine how it could have been even better if the sequence had more time to breathe.
  5. Even if the films had incorporated prequel elements more directly, there's not much that there would have been to quote. Even if you look at ROTS the only theme from TPM or AOTC that gets major usage is DOTF. Hard to imagine much crossover regardless.
  6. Couldn't make it through the whole video. Seems like there's a lot of basic facts about the music he doesn't understand.
  7. I do think TFA at least has its moments (The Scavenger, I Can Fly Anything, The Resistance, The Abduction, Farewell and The Trip, Jedi Steps), but with TROS there really isn't much. Farewell is pretty much the only great music moment in the film. Reunion gets its day but it's just a greatest hits montage, and A New Home is pretty nice but subdued (part of the final scene isn't even scored). I've often wondered if they scored all that in the beginning of the movie initially because they were worried film's first act was too slow and quiet after Star Wars's big bombastic opening sequence.
  8. Absolutely right. And I think Escape is excellent, that moment and others within that sequence are such good cinema, but I know people here complain about the edits made to that cue in the film. But it's nothing like what JJ did, and the music still shines, even if things have been shuffled.
  9. I will say about TLJ, even if it is the least of the trilogy in terms of new themes, I’d argue in every other way it is the best score of the three. The cleaner editing certainly helps, but in general it is a more fully realized and coherent work. Nearly all the best cues from the trilogy come from that film, in my opinion, because they are ones that are so closely linked with the film’s sequences. The Supremacy, Holdo’s Resolve, The Battle of Crait, The Spark, etc. As a film score, rather than a soundtrack in isolation, it excels.
  10. I'd agree, but really TROS doesn't do its new themes any favors when it comes to highlighting them
  11. Yeah that stood out to me in particular. Are there any other clips you're planning on re-scoring? I imagine The Speeder Chase is a given.
  12. Gotcha. That's my go to method as well for things like this but I'm always on the lookout for a new solution. Guess the music bleed is just better in some spots than others.
  13. These are really fun, keep em coming. Just as a technical question, what are you using to edit, and how are you attempting to isolate the voices (anything beyond just isolating the center channel)? Some parts are pretty decent.
  14. 1. SW 2. TFA 3. TLJ 4. AOTC 5. ROTS 6. TESB (mess) 7. TROS 8. TPM 9. ROTJ (practically nonexistent)
  15. I think you're all overthinking it. Like all Oscar categories, it's not really "Best Score," it's "Most Score." They give it to the score that's most prominent. There are many moments in Joker where the score is basically the only thing you hear in the mix. It carries a lot of scenes. I personally don't think the score is very good, but it is incredibly prominent. I'd almost even call it obnoxious in its use. But they love that stuff. It's super sad music for the sad clown movie. It'll win for that reason alone. I'd wager the majority of voters have no idea it was composed by a woman, and that won't factor much into their voting at all. The politics of Oscar choices are incredibly overstated. Year after year we end up with majority white and male nominees and winners. Most of the voters are old white dudes who don't care about diversity. It's a misconception that they're always trying to be progressive.
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