Nick Parker

According to Tom Kane, man of 1000 voices (all of which sounds the same), Lucasfilm currently has 9 Star Wars films in the works.

One of the coolest soundtrack album covers ever!

Yes, a true beauty! 

It was 83 when he posted that. 

Yeah, I never got it 'cause it was always really expensive. 

*this flies out of fingertips*
 
 
 
Oh snap, yeah! 

Oh snap, yeah! Lincoln is pretty good, too.

I might have posted it before, but any Peter Lierberson fans in the house? What I really like about him is he has a very unlabored feeling style: there's a certain spontaneity, a sense of free flow that sometimes elude even the "greats" of our time. In this sense, I detect a good kinship with Williams' concert work.
 
 
Also, I think some here might be a fan of Takashi Yoshimatsu. He gets criticized for writing stuff that "sounds like film music", but he's got a flow, and I'm a sucker for these kinds of harmonies:
 
 

I might have posted it before, but any Peter Lierberson fans in the house? What I really like about him is he has a very unlabored feeling style: there's a certain spontaneity, a sense of free flow that sometimes elude even the "greats" of our time. In this sense, I detect a good kinship with Williams' concert work.
 
 
Also, I think some here might be a fan of Takashi Yoshimatsu. He gets criticized for writing stuff that "sounds like film music", but he's got a flow, and I'm a sucker for these kinds of harmonies:
 
 

I don't know if it's been stated in this thread over two hundred times, but I genuinely want to know people's problem with Luke in this movie. Yeah he's a bitter old man at the start, but he actually has a progression back into an optimistic hero that everyone laments was missing. The first time watching, I was nervous that when Kylo asks, "Are you here to say sorry?" or whatever the line was, that Luke was gonna say something like, "No. I'm here to kick your ass," but thankfully, and importantly, Luke makes no aggressive action in the whole film, maintaining his integrity from the originals.

I don't know if it's been stated in this thread over two hundred times, but I genuinely want to know people's problem with Luke in this movie. Yeah he's a bitter old man at the start, but he actually has a progression back into an optimistic hero that everyone laments was missing. The first time watching, I was nervous that when Kylo asks, "Are you here to say sorry?" or whatever the line was, that Luke was gonna say something like, "No. I'm here to kick your ass," but thankfully, and importantly, Luke makes no aggressive action in the whole film, maintaining his integrity from the originals.

I know he was at the premiere for Grendel, but that's about it.  I'd be very surprised if he wasn't a fan.
 
 
"Newty baby, you did a wonderful job on that score you did for the Harrison Ford piece!"
 
"You mean The Fugitive, John? That was over twenty years ago!"
 
"Oh no, not that one, the one where Harrison is on the plane."
 
"Air Force One?"
 
"That's it! Excellent work, weren't you on a tight schedule?"

I know he was at the premiere for Grendel, but that's about it.  I'd be very surprised if he wasn't a fan.
 
 
"Newty baby, you did a wonderful job on that score you did for the Harrison Ford piece!"
 
"You mean The Fugitive, John? That was over twenty years ago!"
 
"Oh no, not that one, the one where Harrison is on the plane."
 
"Air Force One?"
 
"That's it! Excellent work, weren't you on a tight schedule?"

Funny, I was thinking Mario is to music history what an aphid is to the history of World War 2.

I know he was at the premiere for Grendel, but that's about it.  I'd be very surprised if he wasn't a fan.
 
 
"Newty baby, you did a wonderful job on that score you did for the Harrison Ford piece!"
 
"You mean The Fugitive, John? That was over twenty years ago!"
 
"Oh no, not that one, the one where Harrison is on the plane."
 
"Air Force One?"
 
"That's it! Excellent work, weren't you on a tight schedule?"

I know he was at the premiere for Grendel, but that's about it.  I'd be very surprised if he wasn't a fan.
 
 
"Newty baby, you did a wonderful job on that score you did for the Harrison Ford piece!"
 
"You mean The Fugitive, John? That was over twenty years ago!"
 
"Oh no, not that one, the one where Harrison is on the plane."
 
"Air Force One?"
 
"That's it! Excellent work, weren't you on a tight schedule?"

(Yes, that's a pre-Star Wars Kelly Marie Tran)

I, too, am a subtitles man. Every language has its own distinct rhythm and musicality, and while of course subtitles still are going to alter/influence your perception of the original writing, there are at least the original performances to give you an idea of how those ideas are conveyed in the language.

Who amongst us does not belong? Someone here does not belong, a stranger amongst the loyal. We will weed you out!

If I'm not mistaken, it was the very first proper movie adaption of Spider-Man ever (those hokey 70 movies aside), and its genius isn't in staying as close to the comic books as possible, but in taking what's the essence of Spider-Man, making it accessible to all audiences, bringing it to the 21st century, and treating it as a proper story of real people with fantasy elements, instead of treating it as an outlandish comic book movie, making comic book movies socially relevant and accepted among non-comic book lovers, prompting the era of superhero movies.
 
Its genius is in its deceptive simplicity.

No, just composers who write with depth, layers, and nuance. 

No, just composers who write with depth, layers, and nuance. 

If I heard Barnstorming live, I'd cry. I'm getting teary-eyed just thinking about it.

Giacchino: Ditch the masters, let's start over! Prepare the Deverb vacuum suctions! These session players have been playin' my music for years, maybe a little oxygen deprivation will actually give 'em some pleasure playin' this crap!

Reading another wave of SWD criticism, I think a lot of confusion and debate that surrounds all of this stuff about Rey being a Mary Sue and all that stems from a weird sort of dissonance between the character and the plot. She knows how to do everything that's needed to progress the plot and push things forward, with little setup: ace pilot, ace mechanic, ace Force user, ace combatant, and so on. And it is annoying that she's hobknobbin' with all of these classic, legendary characters who immediately embrace her with open arms, giving a lot of The Force Awakens a "Gee whiz!" feeling. Like a museum, or, if you want be really on the nose, a Disneyland attraction. 
 
However, divorced from the plot, Rey is a vulnerable character with interesting depth that's portrayed very economically, thoroughly, and sensitively. She's a person who trudges through her dull present, looking to the past as a means of coping. She wants a solid sense of belonging, something she's had to forage an approximation of for most of her life. What's really impressive is how much of this is conveyed to us visually, with no dialogue (I'm gonna give Kasdan a lot of credit on that one).
 
Wisely, Rian Johnson took her character and integrated it with the plot in a much more cohesive, rich, and meaningful way. She keeps looking for a sense of belonging from other people, like Luke: as she says, "I want somebody to show me my place in all this." The cave scene is effective for that reason, because when she tries to find a truth to be given to her, all she sees is herself. And of course, all of the hot stuff she pulls off in the last movie gives her a certain sureheadedness that lands her into deep trouble.
 
And going on what I said earlier, her refusal to let go of the past is a great foil to Luke's constant gazing out on the horizon, as Yoda reminds him throughout the course of his life. No wonder they clash. However, Luke is also stuck on the past, which does provide a slight common ground for them to relate with each other, and both of them throughout the course of The Last Jedi learn to acknowledge the past and move forward. 
 
And what I appreciate about all of this is how little you have to reach for it. Fans and even George Lucas talk about all kinds of themes and dramatic devices in the Prequels that sound cool in idea (like Grievous being a foreshadowing of what Anakin will become), but when you watch the movie(s)...is that communicated at all? With The Last Jedi (and The Force Awakens to a lesser extent, in regards to aforementioned character shadings), their themes and larger ideas are communicated clearly through both dialogue, visual cues, and character/plot events.
 
Y'know, I like The Last Jedi.