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Everything posted by aviazn

  1. I heard JW saying "It's fake!" which to me is even funnier.
  2. "A love theme in Star Wars? No. I have never done that, and how do you do it?"
  3. 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.
  4. 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.
  5. 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 about it and was always apologizing to Carrie Fisher for it.
  6. 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.
  7. 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:
  8. 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.
  9. 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.
  10. 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."
  11. 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.
  12. Love the Homeward Bound main theme. It's all very 90s Disney, but very well constructed. The chords in that descending figure (like 2:36) kinda feels like something JW would do, (e.g. Somewhere in My Memory). I've always been curious to hear what Bruce Broughton would have done for Home Alone.
  13. Yeah, that one chord though in TROS at 1:27 does sound like something Giacchino would do. None of the rest of it does to me, though. Dejah’s theme doesn’t sound like Williams at all to me, either. It sounds directly pulled from his endless well of LOST love themes.
  14. I have not seen the film (errr I guess spoilers are fair game now in all threads not labeled spoiler free?). But my first thought was that the ROS theme (the first one in the cue) is a loose development of Rey’s chimes, representing her growth as a character. The way it modulates upward reminds me of how the chimes modulate up in the development section of Rey’s theme. And the placement of this theme at the end of The Rise of Skywalker cue directly echoes the very-similarly orchestrated finales of TFA and TLJ that feature Rey’s chimes. The similarities are not as one-to-one as in, say, the Imperial March and Anakin’s theme, so you could argue it’s just a coincidence. But it’s the only thing that makes sense to me right now. The trio theme also makes sense to me as the “trio theme” because it sounds so much like a synthesis of Rey’s theme (the main melody) and Poe/Finn’s theme. Williams has that uncanny ability to write themes that have the effect of evoking other themes without cribbing them entirely, and this one definitely does that for me.
  15. Haven't seen the film yet, but that really stuck out at me on the album. Almost Thomas Newman-y. Are there any other times that solo piano appears in a Star Wars film, carrying the melody like that? (There's that piano riff when the walkers appear on Hoth, but that was cut from the film.) Only other time I can think of is Leia's theme on piano in TLJ credits, but that's a pretty meta statement.
  16. Yeah, I get that. There are times when it crosses into that sickly sweet territory that doesn't do much for me. (BFG was pretty much that all the way through for me.) It's certainly the kind of thing that's well within JW. There's certainly much more interesting material throughout the sequel trilogy. And maybe I'll feel differently about this once I see the film, but…for being the material that sends off the entire series, it's a bit of an emotional wash. It doesn't approach the bittersweet, lump-in-your-throat finales of E.T. or, say, the Journey to the Grey Havens. Or even War Horse, or Attack of the Clones. (That may just be because Abrams didn't give JW much to work with…) Still, I think it's a beautiful addition to the Star Wars canon of soaring string concert suites, alongside Leia's theme, Han Solo and the Princess, and Luke and Leia. By the way, does anyone else hear something that sounds like static or a something crinkly at 3:49?
  17. Nice, I will. For now, I’ve programmed Anthem of Evil and The Rise of Skywalker in the middle of @Jay’s chronological playlist—after Destiny of a Jedi and before Battle of the Resistance. That way they serve as a sort of Intermission/Entr’act, like the concert suites in the ‘97 special edition releases. It’s a similar effect, with RoS fading out and then then the blast of Battle of the Resistance. And I like the narrative effect, with BotR serving as an act 2 (or disc 2) opener. if you like that sort of thing, I also have The Rebellion is Reborn in between The Sacred Jedi Texts and right before Rey’s Journey in my TLJ playlist, and for TFA, Rey’s Theme and MotR after The Abduction and before Han and Leia.
  18. I still think most Gia’s best-crafted themes are from his MOH days. I adore stuff like the Allied Assault theme or Fjords of Norway. I quite liked Jyn’s theme, too, though. The Imperial Suite and the Hope theme make me cringe.
  19. I think this is where I have to stop reading this thread. I can't wait to come back to it when the film comes out in Korea…in two and a half weeks.
  20. My favorite JW imitation comes from Kyle Newmaster's contributions to the Kinect: Star Wars soundtrack. He's not only able to mimic the sound and the mannerisms, but also how JW would develop ideas throughout cues in the OT and PT eras in a far more convincing manner than some of the other imitators. https://soundcloud.com/gordyhaab/15-cleggs-swan-song?in=gordyhaab/sets/kinect-star-wars-soundtrack
  21. I think Williams did write that soft ending but decided to put it at the end of The Rise of Skywalker instead. It's a complete match to the TFA/TLJ endings in terms of instrumentation, with the fading strings and the harp arpeggio and all. In my playlist, I've edited out the Main Titles/Throne Room from Finale and replaced it with the ending of The Rise of Skywalker. I wouldn't be surprised if the signature edition included it as an alternate ending, like the TFA suite.
  22. Not that I've seen, but these two themes are definitely more congruent—musically and narratively—than Luke's Exile and Rose's themes. Rebellion is Reborn never really gelled for me for that reason. Yeah, it sounds to me like a cousin of Luke and Leia, or Han Solo and the Princess. (Actually I always expect it to break into the big ESB finale after that chord at 3:31!) Although to be honest, I can see why it doesn't seem that Star Warsy because Luke and Leia never seemed that Star Warsy to me either.
  23. It's the least of the sequels for me, but that's not a knock on TROS—I just like TFA and TLJ that much. It's an easy 5-star score for me based on the quality of the writing. But it's true there's not much in the way of major set pieces like The Resistance, The Spark or Holdo's Sacrifice. I'd give TLJ the edge in terms of thematic material too, especially if you consider The Rise of Skywalker theme to be an Anakin's theme–esque development of Rey's theme. Based on the early reviews of the film, though, I'd expect that this is more a reflection of the limitations of the film's approach. But I'm one of those people whose least favorite Star Wars score is A New Hope.
  24. So John Williams… Did we know this?? I read about it first in Jon Burlingame's story in Variety. Also from Jon's story: Guess that funky Falcon Flight motif is just a general action theme, similar to the TFA Falcon action motif. And the rising/falling motif, that would be Kylo's then? I'm also guessing Jon is counting the trio theme as essentially The Rise of Skywalker's B theme? Which I suppose strengthens the case for it being a direct descendent of Rey's theme's main melody…
  25. I think Finale is really a perfectly okay credits suite if you edit out the Main Title and tack on the end of The Rise of Skywalker. I really think that's how it's meant to be, and the Main Titles/Throne Room is only there so he doesn't have to play the entire Main Titles/Throne Room suite at concerts from now on. Then you have: Binary Sunset — End Credits/Rolling Thunder — Trio theme — Anthem of Evil — Imperial March — Rey's theme — The Rise of Skywalker. That's a pretty good encapsulation of the sequel trilogy to me.
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