Trope

Reading through the thread, my theory is that what Mattris calls 'enlightenment' is the result of smoking some pretty strong stuff to cope with the incomprehension at why the ST was so bad.
 
Companies spend a fortune on anti-drug PSAs, hiring people like Michael Jordan, when they could save money and just link to this thread instead 😂

Oppenheimer doesn't work as the "awards scapegoat" because it's actually good.  

Because they’re the same character as will be revealed in Episode XII when “somehow” Malfoy will return…

Oh, I know you aren't. But I can offer you a bit of insight into the examples you noted.
 
In this story, the Force works through all things, including people like Anakin and Rose.
Finn's Confession & Talks of Podracing: "He was meant to help you."
March of the Resistance & March of the Trade Federation: Marches for groups certain they were doing the right thing. (They really weren't.)
 
These connections were intentional, though I do not share your specific theories.
 
 
Narratively, as well. What narrative elements do you think I perceive that weren't planned or are not present throughout the sequels or the Saga, in general?
 
 
It's not like others aren't being pompous, dismissive, and condescending toward me. Am I not allowed to respond in kind?
 
The facts and evidence support my position, theories, and overall assessment regarding the state of Star Wars. I was right before about some pretty major things. Logically, I'll continue to be proven right.
 
I think I'll stay and watch it all play out.

"Oh, I hate you."
 

Henry Jackman was a composer whose work from 2011-2017 I really enjoyed. Winnie the Pooh, Wreck-It Ralph, Kick-Ass 2, Captain America: The Winter Soldier, Kingsman: The Secret Service, Big Hero 6, Uncharted 4, Captain America: Civil War, Kong: Skull Island, and Kingsman: The Golden Circle are scores I particularly liked.
 
However, in more recent years, I've found it a little harder to get into his music. Whether it's because of the new music team he's collaborating with or because I'm not so interested in the films he's writing for, I'm not sure. I feel like whenever a Jackman score had additional music by Dominic Lewis or Matthew Margeson, it seemed to jump up a level in inventiveness and quality. 

I can hear the influence on later scores such as Attack of the Clones and Memoirs of a Geisha.

Yeah, so, what do the connections I mention represent?
 
I haven't gone on a years long journey of enlightenment, so I'm not smart enough to figure it out on my own 

For Helena’s Theme

Why does Rose's theme have connections with both Anakin's theme and the Force theme? And why is Finn's confession a direct lift of Talks of Podracing? Or the March of the Resistance having connections to the march of the trade federation?
 
The only possible explanation is that these connections are intentional. But what is the meaning of them? Will Rose turn out to be Anakin's long lost sister be revealed in Episode X? That would really tie the saga together. Was Anakin's podracer reincarnated as Finn? Will the Resistance turn out to be a front for Nute Gunray's latest taxation scheme? the "deliberate design" is obvious

Yes, I think it's intentional that many of the themes have similarities. It's part of how JW creates a distinct Star Wars sound.

She's not doing enough coke? 
 
She's not Emma Thompson but she seems a fairly normal person. 

God this woman is clueless. And I don’t know, but her expressions, her 1000 superwhitened teeth, and her huge eyes looking up searching for an answer, make her so unlikeable.
I remember Carrie Fisher’s interviews, she was always the most charming, funny, witty, adorable girl. Ridley on the other hand is an obnoxious, clueless woman.
 

"If money is all that you ask for, that's what you'll receive."  ― Princess Leia
"Persistence without insight will lead to the same outcome."  ― The Mandalorian Armorer 
 
@JTW, you do know by now that everything you've been saying in response to me is an assumption, right?  If Star Wars was made for money, then why did George Lucas take such a small fee for directing his film? He could have produced Star Wars films throughout the 16 years between ROTJ and TPM. The logical conclusion is that he was more concerned about the story  and the technology that would be innovated to present it in the way he wanted.
 
To back up your assessment of Star Wars, let's summarize:
 
- You've presented no real evidence.
- You've shared no intriguing insight.
- You've stated no facts.
- You've quoted nothing from the films, their screenplays, novelizations, or the rest of the official Star Wars canon.
- You think Star Wars was primarily made for money and still is.
- You've interpreted every installment of the story as a toddler would and think it's a lame, unoriginal story. (With magic powers, good intentions, and violence, the good guys beat the bad guys. The End.)
- You've dismissed two full trilogies as part of the core story, if not entirely.
- You haven't acknowledged any of my evidence as intriguing... or my theories that make better sense of the grander story, some theories of which were confirmed in TROS.
- You haven't admitted that my story progression logic is 100% sound, especially after the prequels confirmed that the Jedi and Republic were ignorant and powerless to prevent their downfall... even though we knew they fell in the opening act of the original film.
 
How can you think you're right or anywhere close to the truth?  I hope it's not because there are many people who think like you. Pride and ignorance are never a good thing, especially when combined. My final statement before I sign off with you:
 
As much as I think you've gotten wrong about Star Wars, you are among its primary intended audience.

I still love those 2. They were hugely important in my early years of film music fandom, and these days the two of them, alongside JNH, are about 70% of my personal playlist on Spotify.
 
One that comes to my mind is Michael Giacchino. He was also important in my formative years, especially as I was a HUGE Lost nerd when I was a teen. After Lost ended, I went exploring his other scores and really liked John Carter, Star Trek and ST Into Darkness, his Pixar scores, Super 8, Inside Out and Tomorrowland. I even enjoyed stuff like Dawn of the Apes and Jurassic World. In recent years, I loved his scores for the first two Spider-Holland movies, especially since they were personal favorites (they came out right when my best friend was celebrating his birthday, and we celebrated watching these two movies in theaters with a huge group of friends).
 
But then, in recent years (about 2020 from today) it's difficult to get me excited for a Giacchino score again. His scores nowadays sound so, I dunno, simplistic? Not refined enough? It's not like every score needs to be a Wagner symphony, but there's a somewhat unrefined blandness to his music that these days that is kinda grating for me. Even scores from him that I used to like I haven't heard them in years.
 
I'd like to give him another chance and binge his best scores to see if he will continue not "doing it" for me.

If I ever end up writing a book series or a TV show or any kind of long-term creative project, I hope I end up with an audience full of people just like you. I'll never be able to do anything wrong!
 
 
 
 
Mattris, it doesn't take a rocket scientist to see that most of the posters in this thread don't actually want you to concede/eventually see the light/whatever. People are just egging you on because they find your endless stream of insane theories hilarious. But don't take my word for it. Use your expert deducting skills on the evidence available to you, primarily, the literal words of the Disenchantment thread canon. And if that's not enough search your feelings. You know it to be true.

Everyone uses the word "minimalism" to describe this score, but I'm not musically literate enough to venture it myself.  I'd say expect something that starts out somewhat austere and reserved, takes detours into darkness and drama, and ultimately arrives at a place of warmth and beauty that somehow, in places, still retains a whiff of futuristic austerity—not in a way that diminishes the warmth, but in a way that keeps the sound rooted in science fiction.  Even when the score hits its emotional heights, you won't mistake it for E.T.—which is also science fiction, of course, but of a purely Spielberg variety, rather than the Kubrick-Spielberg alloy that is A.I.

I don’t know which one of you first started saying “contractions” instead of “contradictions,” but you’re all the worst!

i love this thread
 

Yes!
We must convince all these people happily enjoying their current Star Wars soundtrack albums, that they are wrong.

Academic establishments the world over give thanks to you…