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DominicCobb

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About DominicCobb

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  1. I don't like the music for that logo but I'm pretty sure it hints at the Force theme.
  2. Almost have to wonder if they use DOTF if they end up throwing a bit of BOTH in too. I'm not musically inclined enough to say, but it sounds to me like the BOTH melody shares some DNA with Kylo's theme.
  3. And Scherzo for X-Wings. Although I don't believe the credits include those who worked on the home video release.
  4. The TFA end credits are an interesting question indeed, because there are essentially three different suites: the one Williams wrote that made the soundtrack, the edited one that made it into the theatrical film, and the edited one that made it onto the blu-ray. I definitely wonder what happened there. TLJ is another one, but I figure the difference between what's on the soundtrack and what's in the film is more just a case of editing for the album.
  5. Well, it's hard to make a clear comparison because there's so much misinformation going around with TROS, it's hard to know what's true and what's being blown out of proportion. I don't know exactly when TFA stopped doing reshoots, but I remember there were some well into August of that year at least. In Abrams's commentary for the film he mentions many little shots here and there there were added in reshoots, things that could have been added who knows how late. For TROS, maybe the really late reshoots are little things like that, but even that sort of thing would of course affect the score, but maybe not enough to require new recordings? It's all guesswork, really. One thing I always wonder when a movie like this isn't exactly finished yet, how much tinkering can be done at this point? The runtime has been locked in for weeks, and the film has a rating (both necessary for tickets to go on sale). Any more tinkering I'd imagine would have to be minor things. I wonder if the end credits are ever reduced or lengthened to account for different cut that needed to fit an already established runtime.
  6. Yes it's certainly less noticeable in TLJ than TFA, which is a mess we can't quite quantify given how much of that score is unreleased. Escape is really the only cue from TLJ I can think of that sounds hacked up, but I guess a lot of the the other changes aren't as noticeable? Either way I'd still argue TLJ is better off than the PT, or at least AOTC and ROTS. Maybe it comes down to how you define "hacked up." For me the extensive tracking in the latter two prequels means there's no comparison. But I'm sure for some people the "hacking" only refers to the treatment of new material.
  7. Perhaps I haven't listened to them all enough, but TLJ doesn't seem to me nearly as hacked up as any of the prequel scores.
  8. The one that I always remember first is when Finn tells Poe he's breaking him out, probably because it's the first time we hear it. Not a bombastic rendition by any means but I wouldn't call it hymn-like.
  9. I thought the TLJ trailer music in particular did a really good job of working Williams music into the type of track one expects from a trailer these days without going too far into over processed nonsense. The usage of themes in those trailers is honestly pretty impressive, and really goes to show how strong and untouchable Williams's work is that the trailers use his melodies, which is practically unheard of these days for any film to not just straight up use library trailer music (the Avengers trailers using Silvestri's theme is a notable exception and even then it's just minimally used as an add on to a preexisting library track). I think that first TLJ teaser in particular was very well written, and honestly I really enjoy the horn counterpoint to the Force theme here And the parallel Rey and Force themes near the beginning is done pretty well
  10. Wow, three pieces from TLJ were in there and practically no one realized. As for the current topic, definitely going to say no, just sounds a lot like a good piece of library music too me, and I doubt whoever put this together (likely the Total Film team) was given access to Williams's score.
  11. I tend to think that the score is pretty great as is. But the glaring omission in my mind is a big new theme that is central to the movie. The new themes here are relatively minor and secondary. The obvious subject matter in my head would be a Reylo/connection/balance sort of theme. Considering how Rey and Kylo's complicated and developing relationship is central to not just this film but the trilogy as a whole, it seems like a real missed opportunity, especially when there's a sequence that could have featured a really show stopping rendition of it (the throne room), and it could have ported over to TROS as well.
  12. I think you two might be referring to different pieces, crumbs seems to be talking about the main cue heard during the opera scene, not the short snippet that's heard while Anakin is entering the opera house.
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