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Chen G.

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Everything posted by Chen G.

  1. Yea, that's one way to go about it. I guess it will depend on her dynamic with Finn. From what I can gather she will adore him, he will try to act according to whatever rose-tinted image she has of him, they'll have a short breakdown when she realized he wasn't the hero she thought he was at all, and than they'll reconcile.
  2. I've always said that to properly critique a film, two viewing are required.
  3. The second time I watched the film was on a plane so the audience was quite docile.
  4. And those moments are very unlike JJ's oeuvre. While its not shot like the original Star Wars, I do appreciate that JJ slowed his camera-work enough for us to take-in more of the world.
  5. That's great. For me, when I think about a character building moment for Rey, its that quiet moment of her wearing the helmet, and looking wistfully at the sky. Also great. But not everything in the movie is like that.
  6. Yeah, but it happens more than once and for me its just a tad too much. Again, not something that really hurts my enjoyment of the film, but a small flaw nonetheless. No, but subtlety is an important element of film language.
  7. Unless she is treated as a romantic interest of Finn, she will probably get a theme that is informed by Williams' grandfather outlook, like Rey's theme is. I wonder if he will also write a proper theme for Finn (not that recurring action motif) or just use Rose's theme as the musical representation of their storyline.
  8. On the one hand, what matters is that Rey herself as a character is filled with doubts and incredulity at her own abilities, which she certainly is. On the other hand, if you make a character too gifted at too many things it can lead not only to problems of relating with the character (first time watching, I didn't react too much to Rey) and it can remove a lot of tension because nothing too bad can happen to a character like that. So it is an issue that I have with the film, but not so much that it really hampers my enjoyment of it. She also has a couple, just a couple, of "in-your-face-strong-independent-woman-character" moments like her insistence of not letting Finn grabbing her hand when he is clearly trying to help. The fact that she also comments on it out loud rather than just shake his hand off - tells us that JJ was trying to emphasize her independence. It doesn't happen terribly often, so its not a big issue, but its still there.
  9. So, can we come up with a list of themes that we think Williams will have written for this film? I say a porg theme, a theme for that Rose character, a theme for Del Toro's character, maybe a theme for one of the unusual planets on display, and possibly a new theme for the First Order itself. Seems about right.
  10. He always tries to write a new catalog of themes for each film which includes a heroic theme, a romantic or youthful one, a menacing one, etc...
  11. That first statement is just Williams taking the opportunity to introduce the main themes of the work as early as he possibly can. In the Asteroid field its clearly used to show the princess becoming impressed with Han's "wizardry of the controls". Besides, it's used with the princess just as often: think about the shotouts in Cloud City, or indeed the finale of the film. When Lucas and Williams talk about "Across the Stars" as the first love theme, they are referring to a very specific, "classic" idiom of love themes and love stories, more like Romeo and Juliet than Han and Leia.
  12. Nah. Adams was just toying with the idea, I believe. I think he was just voicing the bemoaning of fans that, seeing as how Han is the only main character without a theme, are willing to do whatever intellectual blackflips necessary to find a theme for Han in the love theme. Musically, the theme clearly belongs to the princess and it's clearly a love theme. Since Its used to represent the pair and, even more generally, their entire storyline throughout the film, it is sometimes applied to Han himself, but it's certainly not his theme, per se. Take for instance the first statement: Williams clearly just really wanted to introduce this theme as early as possible in the film, so he didn't wait until the Princess showed up on screen but settled for Han. Matessino also called it the Han Solo theme once or twice, but it strikes me just as trying not to repeat the term "love theme" too much, rather than putting forward an argument that the theme is for Han first. Williams did once refer (in an FSM interview twenty years removed from Return of the Jedi, mind you) to music for Han but that still doesn't mean that it's his personal theme. He also said that the interviewe was testing his memory as far as the thematic material goes.
  13. That statement had been thrown around quite a bit, by Lucas, by Williams, etc. I think what they mean by that is that its more of a love story and a love theme in the classical Hollywood tradition, whereas the Han and Leia love story was forged as they were on the run from the Empire.
  14. Neat! A very interesting read, especially for the prequel scores, since they didn't get the Doug Adams' treatment. Thanks for that.
  15. It won't. Williams like to write new thematic material for each film and base the overwhelming majority of the score on this new material. He also doesn't compose with sequels in mind, so I don't think that he wrote the Jedi Steps with the intention of making it the theme of the sequel. As it is, its just a one-time melody.
  16. You see, that is a method of storytelling I really don't like. To leave all these gaping plot holes ("oh, so I guessed Phasma did escape the trash compactor and Starkiller Base somehow") and than fill them in with novels is: betraying the narrative of the series: You should be able to watch just the movies and for it to make sense. paves the road to inconsistencies as these books are afterthoughts, at best. is a complete cash-grab.
  17. Its a long theme with several parts, yes. Many of Williams' longer themes (which are typically his main themes) have two or three distinctive parts in them: think about Luke's theme during the crawl: the A-phrase is very brassy but the B-phrase (after the Rebel Fanfare) is surprisingly lyrical. Across the Stars' A-Section is very romantic, but it than moves into the more angsty B-phrase and the even more portentous C-phrase/end-cap. Its not even a strictly a Williams' device, either. Think about the B-phrase of the Shire theme. Very different effect, right?
  18. Even assuming that he did guess correctly, the big question for me is whether he will write trailer music that reuses the existing thematic material or will he use the trailer to exhibit one or two new themes that will be at the forefront of this upcoming movie. That much is true. It's a very long-lined and multi-facet idea. Essentially it's like Williams writing Leia's theme, only now from the point of view of a grandfather. For me, its just too lilting and delicate compared to his larger more sweeping themes. It didn't leave an impression on me coming out of the theater, and to this day its not something you'd catch me humming, and I believe the same is true of the average moviegoer. The proof, than, is in the puddin'.
  19. Mine is probably the same, but with Braveheart on top, followed by Titanic. Braveheart sure does have a lot of filler (and synth filler, at that) and it's certainly not particularly leitmotivically intricate, but its certainly written to be incredibly affecting, and complements the film incredibly well. Its also got a couple of incredibly full and rich string performances from the London Symphony Orchestra. There are moments where it feels absoloutly huge. Titanic got knocked off of the top because it feels deriviative of Braveheart. I know both Horner and James Cameron really liked that score, and the Hymn for the Sea has a lineup just straight out of that score: Ulieann Pipes, tin Whistle and boy choir. Its also not as dynamic and varied. Maybe I just cannot divorce the music from the film. Braveheart is an absolute masterpiece, in my eyes. It has romance, action, amazing visuals and great drama and tragedy mixed up in measure. Even just on the level of the romance, it's just as believable in the forty minutes of screen time in Braveheart, as it is in the three hours of Titanic.
  20. Me neither, and here it is a film that comes up in every Holocaust Memorial Day.
  21. Williams just doesn't work like that. He just sees a film and scores it. He doesn't look ahead to the sequel and writes with that in mind. He doesn't introduce embryonic forms of themes that are to come in a later episode. If he did, we would have heard hints of Across the Stars in Phantom Menace, which we don't. Even if he wanted to, we know thanks to Rian Johnson that there really isn't such an overarching story planned in advance, as indeed is the case with most trilogies. You're making it sound like Rey's theme is the greatest thing since sliced bread. Personally, the only renditions I really like are the last few ones. I think he will use the existing themes, but maybe he'd introduce a new theme, for the First Order itself and use it often so he doesn't have to repeat the existing themes, which he doesn't like to do.
  22. Its a tough call. The Force Awakens has more polish than Revenge of the Sith: good acting, good effects (minus the occasional Rathtar), etc. But it isn't as dark and serious as Revenge of the Sith, which is what I like about it. No. I still like the film. True. It always was one of the motifs that Williams was playing loose with, e.g. Sail Barge Assault, but I'd argue that two wrongs don't make a right.
  23. Still not elegiac enough; too menacing. It again underscores Ren's ruthlessness more so than the tragedy of Han's death. It also adds up to an already too-long list of Williams' using leitmotifs from a purely romantic standpoint rather than a thematic one, something that this particular score is especially abundant in, as it was. I mean, using themes like that is as valid an approach as any, but only if used sparingly. I mean, that The Force permiates the entire Star Wars universe isn't enough to justify some of its musical applications, including this one. As it is, its just there to sound cool and ominous. Its Leia's theme for Ben's death all over again. Or maybe its Williams compensating for that forty years later by having Ben's theme for the death of his stand-in. Hey, now that I'm thinking about it, It's Ben's revenge on Leia for hijacking his musical moment, literally! Genius!
  24. Than it should have been staged differently from the outset to have more weight. Its not that its terrible or something like that, it just isn't what one would hope it would be, especially within the framework of the whole series. Hell, even the dramatically inept George Lucas found a way to put Qui Gon's death in the middle of an action finale and still give it time to "sink" into the audience's mind.
  25. Given the right film, I'd cry you a swimming pool's worth. The Force Awakens, as with most Star Wars films, just isn't aiming at that, from the outset.
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