Muad'Dib

We may critizice our Johnny from time to time but we love him, TLJ is really warming up to me! So many good passages -so far I have a more personal attachment with TFA (the score, the movie I dig but not as much as the music) -but we'll see what happens when I see TLJ in a couple of days....

He's been reading all this? I feel kinda embarassed....

He's been reading all this? I feel kinda embarassed....

He's joking, of course.
 
In reality it was much worse. Williams almost stabbed Rian.

Disney executive: “sir shouldn’t we upload the FYC tracks to website?
 
 
Williams: “No, thats just what they’re expecting us to do.....”

He's joking, of course.
 
In reality it was much worse. Williams almost stabbed Rian.

My guess is that Rian was so overflodded with post-production stuff that they basically decided to omit the spotting session and go for the temp-track route.

"When we were editing, we had a very talented music editor, Joe Bond, who cut a temp score out of John's previous scores and we basically temped using John Williams music. And then basically we gave that temp score to John and that was our spotting session. You know, a spotting session is usually when you sit down with the composer and talk through what you want. I didn't do that with John, just gave him our temp score and said this is generally the shape. And then John took that and sometimes he went with it, sometimes he deviated from it but he just did his thing; and the first time I heard any of the music John had written was when we were on the scoring stage."

"When we were editing, we had a very talented music editor, Joe Bond, who cut a temp score out of John's previous scores and we basically temped using John Williams music. And then basically we gave that temp score to John and that was our spotting session. You know, a spotting session is usually when you sit down with the composer and talk through what you want. I didn't do that with John, just gave him our temp score and said this is generally the shape. And then John took that and sometimes he went with it, sometimes he deviated from it but he just did his thing; and the first time I heard any of the music John had written was when we were on the scoring stage."

He's joking, of course.
 
In reality it was much worse. Williams almost stabbed Rian.

Yup. The whole scene in Akator is supposed to be a homage to Sierra Madre.

He's joking, of course.
 
In reality it was much worse. Williams almost stabbed Rian.

That bit appears more complete in the last section of the first track. Great stuff!

He's joking, of course.
 
In reality it was much worse. Williams almost stabbed Rian.

https://audioboom.com/posts/6550481-preview-rian-johnson-on-how-john-williams-works
 

So I've completed my first film viewing, two OST listens and have been listening to isolated tracks all night. I was a little negative last night focusing on the things I didn't like about the score, as I was still digesting the film itself (which I consider flawed but ultimately an excellent and daring addition to the series).
 
The score, overall, is sublime. This has to be the most thematically dense score in the entire series, and surely the most slavish JW has been to existing thematic material. For months we've speculated what TFA themes would be jettisoned prequel-style (considering his disinterest in developing his prequel themes across that trilogy) but instead we find a score rich with development of almost every theme from TFA. I'm sure we'll debate the merits of this OST presentation for years to come, lamenting that so and so wasn't included (and yeah, why on earth they recorded Main Titles fresh but reused the TFA recording), but this is an almighty OST with nary a dull moment. An earlier poster put it brilliantly when they said JW was clearly shaking the dust off with TFA and took a while to get back in the swing of things, but TLJ feels like no time has passed at all since he finished with ROTS. I often comment that parts of TFA don't sound particularly Star Wars-y, especially the thin underscore, as if JW was going through the motions and still recapturing that 'mode' of writing style. As if the further along he went the more Star Wars-y his cues felt. This score is just effortless, a gob-smacking triumph for a man at 85, writing music with such complexity it puts most other film composers to shame.
 
Bravo to the mixing department (Murphy and Sullivan) for their sublime mix. It retains the clarity of TFA's recording but we've returned to a fuller orchestral sound. Far less heavy on the brass, it's a wetter recording that feels right at home with the LSO's prequel scores. Amazing how two scores by the same orchestra on the same stage with the same recording setup can have such a radically different sound! Really makes you question why they went so dry and brass-focused with TFA (a recording which, after hearing live with a full orchestra, was a real disservice to the score as performed).
 
And although the film seems light on new material upon first listen, there's at least 4 significant new ideas that I've picked up on:
Rose's Theme Luke's Island Life Theme New First Order Motif/Fanfare (first heard in Escape and reprised throughout the complete score) Admiral Holdo's Theme (mostly unreleased) I'm only at page 7 of this thread but these are just my initial thoughts.

Apparently they are 'pen pals' (the look on the interviewer's face when she says that )
 
 

Morricone has done the same thing all the freaking time.

https://open.spotify.com/album/5pbJNdnKQwvfaHCFAmqUi8
 

Great, I'm uploading it on YouTube and when it's done I'll put the link  
 
There you go guys! Sorry for it being badly cropped... I was trying to be discreet lol

@karelm posted them on Faceook!
 

 

I'm stuck on track 9 It's so catchy

Canto Bight is amazing