DominicCobb

Well now I look silly, but in fairness it was a long post and missed that there was a link.

Someone needs to post that March of the Resistance quote, I missed it!

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.

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.

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.

Couldn't make it through the whole video. Seems like there's a lot of basic facts about the music he doesn't understand.

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.

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.

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.

I'd agree, but really TROS doesn't do its new themes any favors when it comes to highlighting them

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.

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.

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.

1. SW 2. TFA 3. TLJ 4. AOTC 5. ROTS 6. TESB (mess) 7. TROS 8. TPM 9. ROTJ (practically nonexistent)

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.

You could probably add that to the top post. Shouldn't be too hard to do. As is, the way you worded it in that post just makes it seem like it's the same info posted in the thread but in a different format for those who can't see it.

Oh ha, I totally missed that post. Have you been trying to match cue titles to all the OST/FYC tracks?

I think "Prologue" on the OST must be 1M02 "The Ninth Beginning" and 1M08 "Approaching the Nursery." In the spreadsheet, 1M02 is :40 and has :06 of Kylo's theme. If you look at 1:26 in the OST prologue, there seems to be a potential edit point around 40 seconds later (2:06), right after a 6 second rendition of Kylo's theme (1:56-2:02). The next cue on the spreadsheet is 2:02 of 1M08 Approaching the Nursery. It seems possible JW edited these two cues together on the OST because of their placement in the November cut. This 2:02 does not include any old thematic material, but the track does have about 20 seconds of the Emperor's theme here This can be found on the spreadsheet on number 93, which is marked as 1M08 Approaching the Nursery, where they note :18 of the Emperor's theme. After the Emperor's theme on the track, you can hear a string part that ended up getting used when Rey tells Finn about her vision, after Chewie's "death": Again this is noted on the spreadsheet (37) as 1M08 Approaching the Nursery.

Probably tracked though. Only plays for :47, :11 of which are Rey's theme. Hard to imagine we'd get a 47 second scene of Kylo meeting the Emperor right before he attacks Rey on Pasaana.

Where are we getting the idea that Kylo doesn't meet the Emperor until later in the film in this cut? I'm not seeing that on the spreadsheet.

Here's a question, how much was changed between the making of this list and the final film? For example, the list says there duration of total music in the film is 2:03:56. I'm I'm not mistaken, the final film has about 117 minutes. I wonder where those 7 minutes went.

Interesting. I ask because I read an interview with the editor of the film who mentioned that the scene of Rey meditating was added in reshoots. So just wondering if that might have affected its cue numbering.

Well sure but I meant more like maybe some of it was originally written for reel one while some of it was originally written for reel six or whatever, as opposed to it being say three different cues that were all originally scored for Rey's trip to Exegol or something.

Oh duh. What a mess. Regarding Journey to Exegol, is it possible the track on the OST is actually more than one cue edited together? I have a dumb person question about cues. I know the first number is the reel, but is there a strict rhyme or reason to the second number? Like, is it always the case that something like 1m08 is the scene right before 1m09? What happens if a scene is inserted into the first reel and Williams writes a new cue for it, what sort of number does it get? I wonder because I know some of these scenes were added in reshoots.

Is it possible though that cues were being used for things other than what they were originally scored (and titled) for? That could confuse things.