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  1. Got to see it last weekend in LA with friends and it was just amazing. We’re all 20-somethings trying to make it in the entertainment biz, having all moved away from home to pursue our passions. The film really spoke to us. I agree with @Molly Weasley that there’s a universality to the movie. It’s actually really incredible that something so personal and specific could be so relatable - Spielberg is so good at that.
  2. I wonder which show will be the straw that breaks the camels back. This one seems to have gotten a lot of criticism from people on the Internet (many comments on the music and shaky cam work that is reflective of the worst productions in audio-visual media today). I am curious what direction things will go in the next few years.
  3. Holt’s material reminds me a lot of Horner and Silvestri, as well as Giacchino and Kiner.
  4. I am glad that Vivienne Lee Blair is not getting anything like that. She did wonderful work and should not be thrown under the bus at all.
  5. Finished listening to it the other day, and yes the two approaches are in conflict with one another. You hear a subtle Imperial March statement in a Holt cue before hearing the Ross Nu-Vader theme later, and then the full statement of The Imperial March after the discussion with the Emperor. In my mind, the seeding should go in this order: the Holt two note to the Ross Nu-Vader to Imperial March/Holt Imperial motive? But it seems to me that it overall went to a more orchestral or classical Hollywood bent as it got closer to the end. Hangar Escape from Holt is a good example. But then you have that Ross cue that sounds like Zimmer when Obi and Vader fight. So it’s all over the place in terms of musical approach. The choir sounds so small or mixed poorly for that one, almost sounds synthesized. But you know overall that cue is good on Ross because it shows his versatility. Could hear more of the seeding that Holt was talking about. Perhaps though the fact that each episode is an hour long it makes all of that less obvious? I don’t know. Also, the Holt stuff isn’t terrible. As others are saying, it’s just not Star Wars. It was never meant to reflect modern trends at all. - this is great
  6. Been listening to some of it today - the last one I listened to was Some Things Can't Be Forgotten, so I'm about half-way I think. I am warming up to the Holt material. As some have already said, she does well with the more lyrical passages - I actually think they're pretty good. And overall, her music is Zimmer-like but not as terrible as perhaps I thought it was - while I don't like Zimmer usually, this wasn't as "one-note" as I originally thought. I think the lack of themes, production value and plot/story things really distracted me from this, however. It's like the Holt cues quote but don't quote them and the harmonies (same with Ross, but a little clearer due to orchestration perhaps) - it's like writing cryptic words that are vague enough to be interpreted in so many different ways that it can't be considered "wrong." It's not direct in what it's wanting to say, and that is perhaps more a function of the directors/producers than the composers. Tin foil hat time: there's a meandering theme I wanna say I keep hearing (maybe it's just the key) that makes me think this was the original Obi theme or the basis of it, and then perhaps Williams worked around that with the key or whatnot for what we now know as the Kenobi theme. Crazy theory but I dunno. I think it was in Daiyu that I picked up on this. Need to listen to it again though. I really like the Mapuzo cue with it's groove sensibility, and the nose flute + strings trading off that melody. I'm a sucker for world music like that which sets the stage for the new place/planet, and is just grand/sweeping like that. Cool harmonies too. The Ross material is certainly superior overall though. I actually really like the fact that it's a smaller ensemble and doesn't use a lot of the themes as it makes for a cool entry point to study Star Wars music/make some transcriptions for piano. Just my quick thoughts so far! Hope y'all are enjoying the music.
  7. Random but wanted to share this. Uses Across the Stars
  8. Appreciate it, thanks for your insight.
  9. Am taking some of what's said on here with interest, as I had no idea there was a situation with Rogue One. Anyone care to cite some sources for this? This is the first I'm hearing of it. But I do agree that there are some weird sentiments being expressed in these Obi-Wan interviews. Why not just check to see if the John Williams material can be used?
  10. Do you have links for Panu, or any pieces you like? I've not heard this name before and am curious to give the music a listen! Thanks for sharing.
  11. I tuned into a little bit of Rebel Force Radio’s latest episode to hear what they thought, and when Jimmy Mac said it was awesome and he’s seen it twice already, I literally yelled “What?!” It’s weird. There’s a level of accepting mediocrity that’s going on and it’s really sad. Watching this latest episode makes me want to watch the actual movies or just something I know is good to cleanse my palate!
  12. The score FINALLY used the Imperial March, Leia theme, and Force theme. Man that took forever. This is a funny video my friend made - it really distills down what I don't like about modern movies/TV shows. Also, the use of the music from the show during the fight is just the icing on the cake!
  13. I love it. This relieves so much of the tension/grandstanding I feel when I write here - we all need a laugh! This episode was awesome - best one yet! Music was markedly better as well. I think I'm starting to notice the new Inquisitor theme Am intrigued and excited to listen to the album once it comes out. Good stuff this week - can't wait for the next and last one!
  14. I don't know if that would necessarily be true, but it is true that Star Wars tends to be held to a really high standard among its fanbase (and rightfully so). Maybe you're right though. I'm pretty new to these forums though, so I don't know what the criticism of earlier, other composers that have worked in Star Wars looked like. I have seen a lot of people not like Kevin Kiner's work on here, though, which really did surprise me. I really like his stuff. I really appreciate the balance you're trying to bring to the discussion by bringing this up, though! What kind of ire do you think would have happened if she used the pre-existing material? That does make sense from a tempo, heavy-drum-beat type of deal that it would inspire them to get into the zone. If what you're saying is true, I'm willing to give them a bit of grace. They're professional stunt performers, not professional musicians. And as snobby as I could be about it, especially in a forum about music, that's the reality of the situation. Live and let live.
  15. For first video, it's the same harmonies/chord progression as the Imperial March with the new Vader theme as the melody. You hear in those low strings. For the second video, the two-note motif seems to borrow the notes from the Imperial motif in A New Hope. G G G G A# A#... G A# A#... G#/Ab, A# G#/Ab G. Whereas the two notes in the Kenobi score is just G... A#... For the young Leia theme, at 40:29 in Ep. 3 you'll hear two notes from the JW melody. @Falstaftpointed out that moment on his reduction of the themes on page 10 - his identification of the variation on the young Leia theme starts at 40:22. I don't think that's completely fair - I watched some of the stuff in this vid before that statement and I think he points out some good stuff going on in the score. His error is in assuming Holt was responsible for all the music he heard. @Tydirium's observations on the Despereaux score and the similarities in the music of this show make a good case for figuring out which cues Ross did and which ones Holt did. But I am curious as to who gets credit for each track once the OST comes out.
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