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Chen G.

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Everything posted by Chen G.

  1. Johnson said he gave free reign to Williams to compose, but we don't know how he reacted upon hearing the music on the stage, and since the scoring process was spread-out over a long period of time, that still leaves the option for major changes being requested by Johnson, to bring the music closer to his temp track choice. Its also evident from stuff like Johnson's discarding of the new recording of the opening title in favor of The Force Awakens opening. Whatever the reason, the score suffers for it.
  2. I dunno who he is, but whoever he is doesn't change the fact that he has a point.
  3. True. That's something that's at the heart of the film's pacing issues: you can't have a feature film, much less a two-and-a-half-hour one, feel so constantly urgent. The audience will either become exhausted of it, or saturated in it, or both. Sadly, that affects the score although I'd say it wagers much better than the visuals in this regard.
  4. I also seem to recall a near-quote of Anakin's Betrayal; and the return of the SATB choir and chu-daiko also shows the footprints of Revenge of the Sith, as well. I would have been more okay with it if it were based on some other, more closely related scores in the Star Wars narrative. Sadly, Revenge of the Sith and these themes have nothing to do with this film.
  5. AND THAT'S THE PROBLEM. I don't for a second believe that Williams meant to quote Battle of the Heroes. Its wholly inappropriate, especially within the narrative of the episodes. It was just temp-track-love.
  6. Technically, Luke is the protagonist of this film: he has the biggest arc, and his accompanies the story from the beginning (minus the opening action sequence) to the end, and the title refers to him.
  7. I wouldn't say that. The thing I like about The Last Jedi is that the music is actually a presence in the film. Its all well to have nice themes, but if they aren't unnoticeable they don't become informed by the story and the visuals, which is the whole point of leitmotives. Also, I really like Rose's theme. But than, so much of the score is just flat-out regurgitated from other scores, namely The Force Awakens, but also Yoda's theme straight out of the concert arrangement, the Force theme out of the Binary Sunset, The emperor's theme, as well as near-quotes (from Revenge of the Sith of all scores!) that are generated purely out of temp-track love. Come on!
  8. Thinking about it you're right. Her believing that she could turn Kylo and not putting two and two together when he kills Snoke comes off as very naive. Also, her arc is complete by the midpoint so the actual climax almost doesn't feature her at all. All she does is lift some rocks at the end.
  9. Rose's theme doesn't define the identity of the score in the way that Battle of the Heroes or even Anakin's Lament does, simply because it's a theme for a secondary character. So much of the score is a rehash of existing themes in existing arrangements that it doesn't work for me the way Revenge of the Sith does. Sorry.
  10. I think it's just the novelty of The Last Jedi talking. I sure like Revenge of the Sith infinitely more.
  11. Wow, THREE thematic ideas! Williams previous scores boasted twice that, or more.
  12. Well, in a way it's not too out of place to compare films and franchises. Film criticism is, by its very nature, comparative.
  13. Williams of the early 2000s would never write a new score which: is so thin on new thematic material. recycles familiar themes in familiar settings. uses said themes to excess and to little narrative purpose (e.g. The Force). sticks so close to the temp-track and even lifts material from other compositions (e.g. the long goodbye) Previously, I assumed this was Johnson's fault, but if his remarks on letting Williams do his own thing are to be believed, than we can't help but infer that Williams just wasn't as "into it" as before, which is understandable after 40 years and seven films. I like the score, but its not one of his best efforts in the series, or in his career in general. That it is unfortunate, doesn't make it any less true, and no amount of wishful thinking will undo that.
  14. It is by no means the worst Star Wars movie (one would have to sink low indeed to surpass Attack of the Clones for that title) or even a bad movie. Its also by no means whatsoever a masterpiece. Just a decent, but flawed, movie.
  15. If Luke had dropped the lightsaber before his feet rather than behind his back - the scene would have been totally different.
  16. Well, its not a good comparison in terms of how both albums were constructed, but I like Shore's one better. Everyone in a creative process occasionally need to be reined-in or pushed-forward.
  17. Again, you could see their telepathic connection as an ability related to this astral projection, but it certainly isn't clear. When Luke is doing it - everyone can see him, not just the individual he is connecting to or someone else who is using The Force.
  18. We are all talking about his reunion with Leia, right? Easily the best emotional "beat" in the film. Aided greatly by a welcome cameo of the Luke and Leia theme. Its also a nice inter-textual moment given Fisher's passing.
  19. I didn't mind that so much. The Force always had a strong effect on plot holes. When something is used more than once in a film, the audience comes to accept it: It feels like its planted and payed-off, even if it technically isn't. I'm more bothered by the astral projection. I guess we are supposed to see it as an extension of that telepathy thing, but its far from clear, and as a result it feels like there's no planting.
  20. That's a very good point, although I wouldn't say its the biggest gulf: I think that people see the subversive nature of The Last Jedi as either subversive for the sake of being subversive, or as irreverent to the Star Wars saga, or both. There are also pacing issues, and issues to do with the implementation of humor. I do see merit in good continuity because it allows to reap the biggest benefit of the multi-film narrative: this idea of building one film off of another, and creating deeper characters and a deeper conflict. If the continuity isn't as good, it mires that. The problem nowadays is that we are seeing film series based off of pre-existing source material, so the filmmakers either have a story outline in the form of the source material itself, or the studio allows them to write and shot the whole bloody thing simultaneously. Whereas Star Wars never did that, and coming back to it when our concept of continuity has changed so radically, is very jarring indeed.
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