Nick Parker

I feel guilty for using such an obvious choice, but it's hard for me to think of another movie in recent memory that was so earnest and fell as hard on its face as Rise of Skywalker. It was very hard for me to watch in the theater, because I was sitting next to a ten year old looking kid and his father, and I didn't want to spoil his experience by laughing at the movie right next to him. I mostly succeeded, but there were some moments where I wasn't strong enough.
 
 
The comic timing on this is impeccable. A masterclass. His build up of "decoding the intel", the long pause, then the hardest acted moment in Isaac's career, when he tries to make himself as grave as possible, and he utters the money shot..."Somehow, Palpatine has returned." The sheer matter of factness, while he's trying to do everything he can to hold back his choked tears...beautiful and powerful, like the opening blast of Williams' opening fanfare. Also like Williams' famous text crawl music, the rest continues the excellence. Poe proceeds to recite one of the most blatant exposition dumps I've ever heard, rivalling--nay, besting, this classic:
 
 
It's such a naked attempt to make the stakes as dire as possible in the most childish way possible, and tries to make us care.
 
To add on, it cuts away to this one scrawny-ass dude no has ever mentioned, we have never seen before, suddenly a part of the A List, and apparently replete with uncanny expository knowledge: "Dark science. Cloning. Secrets only the Sith knew." No one acknowledges this dude's point, and barely even his existence...it feels like they filmed his cutaways completely independent from everyone else then just editorially slapped his footage in.
 
The tone of the dialogue struck me so that I believe I unearthed a massive component of Abrams' and Terrio's creative process. Here's the proof:
 
https://tinyurl.com/ixroughdraft
 
 
 
 
 
 
 
 

I feel guilty for using such an obvious choice, but it's hard for me to think of another movie in recent memory that was so earnest and fell as hard on its face as Rise of Skywalker. It was very hard for me to watch in the theater, because I was sitting next to a ten year old looking kid and his father, and I didn't want to spoil his experience by laughing at the movie right next to him. I mostly succeeded, but there were some moments where I wasn't strong enough.
 
 
The comic timing on this is impeccable. A masterclass. His build up of "decoding the intel", the long pause, then the hardest acted moment in Isaac's career, when he tries to make himself as grave as possible, and he utters the money shot..."Somehow, Palpatine has returned." The sheer matter of factness, while he's trying to do everything he can to hold back his choked tears...beautiful and powerful, like the opening blast of Williams' opening fanfare. Also like Williams' famous text crawl music, the rest continues the excellence. Poe proceeds to recite one of the most blatant exposition dumps I've ever heard, rivalling--nay, besting, this classic:
 
 
It's such a naked attempt to make the stakes as dire as possible in the most childish way possible, and tries to make us care.
 
To add on, it cuts away to this one scrawny-ass dude no has ever mentioned, we have never seen before, suddenly a part of the A List, and apparently replete with uncanny expository knowledge: "Dark science. Cloning. Secrets only the Sith knew." No one acknowledges this dude's point, and barely even his existence...it feels like they filmed his cutaways completely independent from everyone else then just editorially slapped his footage in.
 
The tone of the dialogue struck me so that I believe I unearthed a massive component of Abrams' and Terrio's creative process. Here's the proof:
 
https://tinyurl.com/ixroughdraft
 
 
 
 
 
 
 
 

I feel guilty for using such an obvious choice, but it's hard for me to think of another movie in recent memory that was so earnest and fell as hard on its face as Rise of Skywalker. It was very hard for me to watch in the theater, because I was sitting next to a ten year old looking kid and his father, and I didn't want to spoil his experience by laughing at the movie right next to him. I mostly succeeded, but there were some moments where I wasn't strong enough.
 
 
The comic timing on this is impeccable. A masterclass. His build up of "decoding the intel", the long pause, then the hardest acted moment in Isaac's career, when he tries to make himself as grave as possible, and he utters the money shot..."Somehow, Palpatine has returned." The sheer matter of factness, while he's trying to do everything he can to hold back his choked tears...beautiful and powerful, like the opening blast of Williams' opening fanfare. Also like Williams' famous text crawl music, the rest continues the excellence. Poe proceeds to recite one of the most blatant exposition dumps I've ever heard, rivalling--nay, besting, this classic:
 
 
It's such a naked attempt to make the stakes as dire as possible in the most childish way possible, and tries to make us care.
 
To add on, it cuts away to this one scrawny-ass dude no has ever mentioned, we have never seen before, suddenly a part of the A List, and apparently replete with uncanny expository knowledge: "Dark science. Cloning. Secrets only the Sith knew." No one acknowledges this dude's point, and barely even his existence...it feels like they filmed his cutaways completely independent from everyone else then just editorially slapped his footage in.
 
The tone of the dialogue struck me so that I believe I unearthed a massive component of Abrams' and Terrio's creative process. Here's the proof:
 
https://tinyurl.com/ixroughdraft
 
 
 
 
 
 
 
 

There's a general continuity that works for me, though. Since Force Awakens, Rey wanted to feel a sense of belonging...she didn't have it in her parents, and briefly felt it with Han. In Last Jedi, she wanted it in Luke, too, but she couldn't find it there either. The mirror scene is crucial because it ultimately foreshadows her greatest fear: being alone without someone to give her a sense of purpose, direction, or belonging. This of course is later confirmed by Kylo: she has to forge her own place in life, her own sense of, yep, belonging.
 
Asinine as Palpatine's existence in Rise of Skywalker is, his tempting of Rey in the climactic stretch of the movie is far more compelling to me than his attempt at the same in Return of the Jedi. Over the trilogy, Rey essentially created her own family, her own purpose, her sense of fitting in the galaxy. Palpatine threatens to yank all of that away from her, unless she "sacrifices" herself by killing him in anger. 

There's a general continuity that works for me, though. Since Force Awakens, Rey wanted to feel a sense of belonging...she didn't have it in her parents, and briefly felt it with Han. In Last Jedi, she wanted it in Luke, too, but she couldn't find it there either. The mirror scene is crucial because it ultimately foreshadows her greatest fear: being alone without someone to give her a sense of purpose, direction, or belonging. This of course is later confirmed by Kylo: she has to forge her own place in life, her own sense of, yep, belonging.
 
Asinine as Palpatine's existence in Rise of Skywalker is, his tempting of Rey in the climactic stretch of the movie is far more compelling to me than his attempt at the same in Return of the Jedi. Over the trilogy, Rey essentially created her own family, her own purpose, her sense of fitting in the galaxy. Palpatine threatens to yank all of that away from her, unless she "sacrifices" herself by killing him in anger. 

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

Then Mattress crashes it.
 

Not sure where to throw this but I made a synth mockup of the unreleased "padme's funeral" cue because I didn't like the DVD rip of it. I wouldn't say it's any better or worse, but it is SFX free. I am not trying to advertise myself or anything, just wanted to share this beautiful cue with you all.
 

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

I can imagine Chen now, at a house party with booming music, dancing, and booze. He sees a girl by herself, puffs out his chest, and walks over, then shouts over the music, "Hey, babe! What's your favorite film? Mine is Lord of the Rings! See, they might seem to be three separate movies but their simultaneous filming and production actually make them one large film! And don't get me started on Braveheart! Yeah, go ahead and refill your cup, I'll wait here!"

I was actually tempted to post this in the favorite moments thread along with the other stuff in my Batman Forever post. I'm fascinated by sexiness in music, and the stuff starting at :27 is so sexy. I wish it went more of its own direction before slipping into the Batman theme.
 
I also love how Williams and Goldenthal share the dramatic instinct when confronted with weird cartoony characters to go into Prokofiev mode.
 
Thanks for the recommendation!
 
So the OST was assembled by Goldenthal but then ultimately unreleased? Don't score albums normally predate the film?

Like Pallaeon I'm a little confused by your question. In the key of C, the (major) 7 would be B... I'm not sure why you would want to refer it as a downward minor second (?), especially if it puts you at risk of thinking of the actual second scale degree by mistake (D in the case of C). Is there a certain organizational hurdle you're trying to get through? 
 
 
 
 
Oh we know where he got the D!

Return to Tatooine is one of my favorite Star Wars tracks, and I'm being totally serious.
 
Also, I find the complete score to Return of the Jedi more digestible than Empire Strikes Back, though there are definitely cues where they were designed to support the film foremost.

The Thing is my favorite, but it didn't seem very appropriate for the current occasion.
 
I've always had a soft spot for the tongue in cheekish but still kinda badass My Name is Nobody.
 
 
 
 
 

I always loved the Morricone inspired opening/chorus to "Clint Eastwood" by Gorillaz. His style permeated all genres and cultures.
 

The little low brass counter melody that ends up blatting that low C...ohhhhhh my god, it's so satisfying. This is what happens when you get a true blue composer to do a big cartoon type score!
 
Also love the little clarinet figure at :35, reminds me of the textures Walker would use for her Two Face theme, it's such a great and succinct depiction of the character. And the trademark Goldenthal brass growl around :58 is delicious, too.
 
 
 
 
On the subject of tiny satisying moments, the bari sax/trombone fall around 2:11 here gives me goosebumps almost every time.
 
 

The little low brass counter melody that ends up blatting that low C...ohhhhhh my god, it's so satisfying. This is what happens when you get a true blue composer to do a big cartoon type score!
 
Also love the little clarinet figure at :35, reminds me of the textures Walker would use for her Two Face theme, it's such a great and succinct depiction of the character. And the trademark Goldenthal brass growl around :58 is delicious, too.
 
 
 
 
On the subject of tiny satisying moments, the bari sax/trombone fall around 2:11 here gives me goosebumps almost every time.
 
 

It's a Nazi dog whistle!

What, do you mean this one?
 

Here you'll find, regardless of genre, at least two or three of EM's best belcanto melodies, though it's by no means comprehensive.
 

A reactionary late Belmondo thriller gets one of the most long-lined romantic themes: leave it to europeans - Morricone, in this case - to make the best out of a bad situation!

First you say it has a few good moments, then you say it's a good score...I don't understand. I've probably made my position on Batman Returns very clear, it's one of my absolute favorite films and scores. The complete score might be a little much to listen to, but there are nice stretches of unscored scenes, namely multiple conversation scenes throughout...the music feels very much like Herrmann in the way it's used only when a heightened sense of reality or subtext is needed--thinking of scenes in Psycho, for example, when Leigh's character is silently grappling with the temptation to steal the money.
 
As for the film itself, it has such a rich bevy of motifs and themes that run throughout, and are, ironically given much criticism for being over-the-top and fantastical, explored in a much more "filmic" way than practically all of Nolan's Batman movies. It's a lot of fun, too.