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aviazn last won the day on April 30 2016

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  1. I took it more to be Alex Ross' opinion. He's a critic, he's allowed to have them, and he's written a lot about Hermann in the past. Just want to add my congrats to Frank and Emilio!
  2. To me, those trumpet lines in the hyperspace cue always sounded too…busy, for lack of a better word, to be Williams. Seemed more like Powell to me—especially the second one, and the way it modulates. But the more pared down version from the Flying with Chewie cue that @crocodile posted sounds more like Williams to me—maybe the hyperspace version was Powell's variation on it.
  3. If we’re including clips of JW playing music that is not his own, at Tanglewood in 2013 (I think?) he accompanied Audra MacDonald, just the two of them, on As Time Goes By. This is the only YouTube clip I can find, and it’s not great quality, but it was electric live (I was there ).
  4. I love it and it's great, but at the same time, I can't help but think it's basically JW's response to JJ saying, "So we put Jedi Steps in the temp track…can you do that again, but different?"
  5. "A love theme in Star Wars? No. I have never done that, and how do you do it?"
  6. Okay, I'll bite. I would actually be curious (morbidly?) to hear a Giacchino Indy score. His MOH stuff was Indy-lite and still had some of his best-developed themes and one-off action motifs. It's not so much that I think he could recapture that—his voice has departed so much from that—but I would be interested to see if and how he might revisit or engage with that style from his early material.
  7. I love how JW brings back that little Desperation-related action ostinato from TLJ at 1:23 of They Will Come, right before that big statement of the Resistance march. Depending on how you look at it, this could count as the only bit of thematic material original to TLJ that reprises in TROS, no? EDIT: Just checked Frank's list and I see in the footnotes he counts it as an evolution of the Tension motif from TFA.
  8. Entirely fair! I didn't mean to call into question anyone's personal readings of it. In fact, I hardly find it romantic at all. All I meant was, JW's stated intent that it's a literal representation of sex is quite clear to me—complete with the "torrid climax" and post-coital descending triplets. And to be honest, for that reason, it's never roused much emotion in me. I always thought of it as essentially a concert-piece-length dirty joke, completely at odds with Leia as a character—an anachronistic theme that defined her primarily as a sex object. No wonder he says he felt bad abo
  9. To be honest, I don't know how you can listen to the concert arrangement of Leia's theme and not think it's a love theme—or at least, a sex theme. In a way, I think JW may have written Rey's theme with this in mind, wanting to make amends of sorts. I think he mentioned in that interview with Tavis Smiley that he specifically wrote it to not suggest a love theme in any way.
  10. IndieWire is posting their annual series of anonymous interviews with Oscar voters. The first one (reportedly from the directors branch) is probably representative of where most Academy members are:
  11. I think it’s true that people tend to overestimate their ability to distinguish low bitrate stuff relative to their equipment. But having said that, with all the Chi-fi audio gear these days, very transparent audiophile setups are more affordable and available to more people than ever. Even mainstream stuff like AirPods, Beats, and Sony are improving rapidly, and in turn, more people feel comfortable dropping several hundred bucks on a pair of cans. In that environment, 192 kbps does seem like a shabby way to release anything.
  12. Thanks for posting this! Wow, love the tempo. Fastest I can recall hearing Williams taking it in recent years! Interesting too to see where he and the orchestra are not quite in sync, like the rallentando at 0:49.
  13. Surely it is—likely not to the film, but the actual historical events, right? We know JW doesn't watch many films. Plus he would have been eight years old at the time of the actual events—maybe he even remembers them! I distinctly recall that line, "They're not a navy—they're just…people!" and rolling my eyes and saying out loud in the theater, "Oh Jesus, it's Dunkirk."
  14. Sorry to revive this old point but I’ve just seen the movie for the first time and this stuck out at me as one of my favorite moments of score. Temped or not, it is indeed an excellent fit, and makes it something of a “First Order confessions” theme—in TFA out of shame and fear of rejection, and in TROS from a place of soulful bonding and shared identity. The perfect music for a lovely moment.
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