Leia Sees Ghosts

Composer, Lesbian, Mother, Fencing Champion! She's got it all!

First YouTuber to make a suite compilation for Karpman's new Cap theme! Very proud!

Listened to the score last night twice before it got taken off Spotify and am listening to it again. Without seeing the film (seeing it on Saturday) it sounds incredible! I really really love the Conspiracy theme, it's just so thrilling and sinister. The action cues and the emotional cues are on point. What I'm still on the fence about is the Captain America theme. It's fine, but it doesn't pack the same punch as Henry Jackman's theme for Sam in The Falcon and the Winter Soldier nor is it as catchy as Laura's own theme for Captain Marvel. I also don't think it's used enough, which is also a problem I had with Benjamin Wallfisch's incredible score for The Flash. Overall, the score sounds great even if I prefer the scores for The First Avenger, The Winter Soldier, and The Marvels more.

John Murphy liked a comment I made on Insta about a Lex Luthor theme! 😍

Think this is a good move. If a filmmaker/composer want to use the John Williams theme, they should. I don't think anyone is obligated to use it. Love John Williams' score for Richard Donner's OG film and love Hans Zimmer's score for Man of Steel. Don't think Zimmer needed to use the theme. But happy to hear John Murphy is in addition to new themes. As long as a I get a new love theme for Clark & Lois.

They really are. If they ever do a Solo-esque deluxe edition for Wicked, those cues should be edited together.

Cause I'm me, I tend to hyperfixate on specific cues. I am absolutely in love with this little section (1:35-1:53 of Ozian Invitation). It's so fairy tale, Randy Newman-esque, I love it! I'd love for John Powell to make music like this for Star Wars one day. Video.Guru_20241206_132223751.mp4

Best film score cue I've heard all year.

I'm not gonna reveal how many times I've listened to this already... "It's high. It's very high."

The main theme is more James Horner than John Williams (At least to me). Sounds more like Willow than the Willow score for the TV series (which was awesome, love you JNH!). It's got that 80's adventure sound I was hoping it'd have! I've made it no secret I'm a massive fan of Michael Giacchino (look at my pfp lol) but I was hoping Mick would prove himself. Children/younger relatives of famous composers aren't new so I don't mind that at all. So far the music sounds really good, especially the action cues! I also wasn't expecting some music to sound so piratey. Like there's a jig in the end credits music of episode 2, that's icing. Between this and The Penguin, Mick seems to be doing well on big budget projects by himself. If he was asked to score Jurassic World: Rebirth next year if Giacchino Sr. is too busy or uninterested, I wouldn't mind. I wanna shout out one of my favorite Giacchinoisms; the march. There's a nice march cue when Wim and Neel are walking their bikes to the lost spaceship. I always like hearing those whether it's Star Wars or Jurassic World.

The more I listen to this score the more I want John Powell to score another Star Wars movie as if that desire could get any higher. Also, some cues for the third act wouldn't feel out of place in a Batman movie and I want that to happen so bad. No disrespect to Benjamin Wallfisch who would do a great job, but who do I have to pay to get Andy Muschietti to hire John Powell to score The Brave and the Bold?

Interview with Stephen Schwartz, Stephen Oremus, and John Powell! Featuring some previews of Powell's score! Powell starts speaking at 24:02!

I can't help but think to myself that if Michael Giacchino scored this movie, there would be track titles liked "Shiz Just Got Real", "Every Nessarose Has Its Thorns", "Hate To Burst Your Pink Bubble", "I Need a Fiyero", "Glinda's Such a Witch", "Boq to the Future" "Elphaba & Omega" "World's Worst Wonderful Wizard, and "Morrible Bosses". 😭

That train cue was something else.

Saw the movie yesterday and I'm still over the moon! Couldn't be happier with what I got! Jon M. Chu directs the shit out of it, the musical numbers are pitch perfect, and Cynthia Erivo and Ariana Grande are perfection! John Powell's score within the context of the movie was good. I don't know who said it first here, but they were right that Powell's score REALLY hits when we get to Oz. Or more accurately, the train scene onward. Some cues are hard to make out, but more often than not I was really impressed with the score. The first few acts there's a lot of instrumentals of songs from the musical. Some are very and nods to fans and are very obvious. Some are more subtle and I didn't catch them all. I love Dancing Through Life as a motif for Fiyero. The action cues my God! Powell was always great at that, but Solo was probably the best thing to happen to him cause his action work since then has only gotten more sophisticated and breathtaking. Can't wait to hear the score on its own.