DominicCobb

I suppose I'm missing an inside joke or something.

On TFA, though, how much did we actually get from the Blu-ray that didn't have sound effects? You Need a Pilot is the only completely clean one I can think of. A couple of my favorite cues are still in rough shape - the first half of The Plan is perfect but then that siren comes in and kills it, Landing at Lightspeed is ruined too. I can't really get past the SFX.

Am I crazy or wasn't that actually the case in the credits?

After listening to the OST, this is definitely a great score, though some things have cemented in my mind about it. I feel pretty confident saying it's lesser than TFA, if for no other reason than it's so light on new themes (each film has had at least one new BIG theme, I guess for this it's Rose's but if that's the case it's the least of them, and a weird oversight on Williams's part considering the film itself). Still, I wonder if that's looking at it the wrong way. It's really TFA Part II and in that regard it is absolutely fabulous. The reuse of the TFA main title is really annoying, though. And the end titles are undoubtedly a let down after TFA, definitely all over the place. One thing I am worried about is the rest of the score. Will we ever actually get it? Considering how this film was spotted (nearly wall to wall), the OST is probably only a little more than half of it. The FYC is a dice roll, and then what? We only got a couple missing TFA cues from the home video release/video game.

There's also a moment where part of it blends with the march of the Resistance in "Main Title and Escape" at 3:09.

The other little motif I thought I heard when I saw the film (and can now confirm, listening to the OST) was the TFA motif heard in the On the Inside and the unused march bit from the Jakku village attack. Very prominent in "Supremacy."

That, and there is precedent for Emperor's theme as a generic Dark Side theme, if I'm not mistaken.

Well the TFA FYC had the entire finale on it so...

Very interested to hear the OST after seeing the film. Obviously the score is great, as we should expect. There were some definite highlights, but as usual it's hard to keep track of the score when the first time you hear it is when you're watching the film. It definitely seemed like this score was heavily reliant on past material (though not necessarily in a bad way). In terms of new stuff, Rose's theme was obvious, and there was something new for Luke/island training and maybe also something else? You guys have probably figured this all out. There were a lot of moments that sounded like direct quotes of previous scores, though not tracked? (have we come to a conclusion on this?) One thing that was odd (though cool) was that basically everything from TFA is back (except the Finn/Falcon motif), even some of the smaller stuff like that First Order motif from the Daniel Craig scene and the finale and of course Poe's theme which I thought I heard a couple times. I was surprised he didn't come up with anything new for the First Order though there was one rendition of Kylo Ren's theme towards the end that seemed like an expansion of sorts. Ultimately I feel like overall it wasn't as strong as TFA but of course that's just my first impression.

Oh shit, missed that. Still, an odd choice.

Why would you include Almost Human?

Rush is really good though, at least.

I have and wish I had not.

Listening to the score in film, while it obviously lacked that Vangelis spark, I thought it was a fine successor score, and didn't really mind the heavier, more modern sound. Listening to the album (couple times now), it's hard not to call this a disappointment. I don't mind the heavy bass and odd percussions (in the film they mostly blend into the sound design), but there really isn't enough melodic stuff. Vangelis had some really beautiful compositions throughout the original, and that definitely feels lacking here. Oddly enough I feel like Dunkirk has moments that sound more like Vangelis than parts of this. I don't think these were necessarily the wrong people for the job, I just don't think they did as good a job as they could have.

It has shitty everything.

Really? Do you think they weren't happy with the recording used for the original film (probably the most perfect one there's been) and that's why they did a new one for Empire and Jedi? I always thought reusing the TPM recording for AOTC and ROTS was just saving time and/or being lazy. Either way, a disappointing aspect of both scores.

This has been a thing since the 1960s, at the least.

I completely agree. Though I don't know if that comes from being exhausted of the TPM recording (used in all the prequels and every video game, audiobook, you name it from 1999-present).

I'm not sure the timing really makes sense there. Hypothetically, he'd have been planning his next film as soon as TFA was finished. Trevorrow being ousted probably didn't seem like a possibility until a few months ago. And even if JJ magically predicted he'd have that opening, he still could have made another film in the time between TFA and IX. Most likely he just wanted some time off.

No. No.

It is kinda weird that JJ didn't take on anything directing-wise after TFA, but it isn't really that big a deal that he's grabbed IX if his deal expires early next year anyway. And it's not like he hasn't been making movies for Paramount, he just hasn't been directing them. Calling JJ a dick for this is absurd. The only person who should give a shit are Paramount execs.

Easily.

Flip those around, that's me.

Beyonce doesn't need the attention, though I'm sure she'd appreciate the Oscar.

She'd do a fine theme, and though this is a plausible rumor, any word about who will do the song for a Bond film two years before it's out is pretty much BS.