Taikomochi

In my dreams, there is a version of the credits to TLJ that uses it instead of all the tracked in music. Not sure how that would all transition, but I’m sure Williams could make it work.

Can they even kill people? I mean, it’s a kids show. At best, none of the main kids can die. Kind of toothless...

“Luke and Leia” meets that emotional need, I think, but it’s so underused that’s it’s never really allowed to serve that purpose.

Wow, I’d never heard that arrangement except for the Wakao recording, which is lovely but doesn’t compare to this performance. That’s the definitive interpretation of that material. I can’t believe Williams never recorded it

I’ve never really been able to grapple with Morricone, but I’ve been making an effort to immerse myself in more of his work the last few days. The one work that stands out to me as particularly lovely and “fitting” for the occasion of his passing (whatever that means) is Marco Polo. I assume that is one of his better known works? Some atrocious sound quality hampers it, but it’s a great score otherwise.

Normally, I’d agree, but it would also be an interesting choice to bookend Rey’s journey with two mysterious, single-use themes, the other being Jedi Steps. I prefer what we got, but I could see that being Williams’ design. It’s not like he’s unused to bafflingly ignoring his own themes.

I could imagine this wasn’t intended as a theme for Rey but rather a mysterious stand-alone piece a la Jedi Steps. Hard to imagine this theme working for Rey for more than her mysterious opening.

I think it’s going to be cancelled, and that breaks my heart because this was probably my last chance to see Williams. But it’s for the best.

I stand corrected. Is that the only appearance that’s not tracked out of Falcon Flight?

Well, it definitely does sound like Poe’s theme or a new variation of it to me, but not in the sense that Ben’s theme is later in the film. It’s not a new, recurring idea, but a variation that, as far as we know, was only written to appear that one time. Just sound editors did their thing and mucked it up.

@crumbs, reading your takedown of JJ and TROS is cathartic. Thank you.

Similarly, I am skeptical of claims that the heroic melody from Falcon Flight is a new theme/motif as many including that review claim. As far as I can tell, Falcon Flight was just chopped up and pasted all over the movie. I didn’t hear anything that sounded like that idea used in different contexts by Williams

He definitely reads JWFan.

Doesn’t it play when Lando rescues Finn?

Seems like JJ, in all his fanboyism, thought it was enough for Williams just to be involved in the film, like his name was more important than his work. Johnson was more interested in actually collaborating with Williams. Of course, TFA is still a masterpiece to my ears and the best of the three in score, but it’s faults (low mixing, short/choppy cues) speak to that different approach. I think TLJ has more going on under the hood.