Docteur Qui

Fair enough. 
 
I view all of the new themes as a full stop on Williams’ Hollywood action scoring. There’s nothing as bold or in-your-face as The Imperial March or Duel of the Fates, nor is the romance as sweeping as Across the Stars or Han Solo and the Princess. But for me, it’s one last look at those moods through a mature, often restrained lens. The dominant theme of the final film is one last throwback to the Golden Age of film scores he started in, probably the last time we’ll ever hear it from someone who lived through it.
 
It makes me reflect, rather than feel intense emotions. That’s a great gift he has given me.
 
EDIT - this was in response to Steef’s last comment, can’t figure out how to quote properly on mobile, it’s always so hard

I can just hear a very prominent bassoon, but I could be wrong. I do like how much more the woodwinds seem to flourish in the mix of this score. Certainly the clearest the section has been in the sequels. Marvellous colours.

Uhh... not sure I even really understand the basic foundation of the idea. Marauders/Pettigrew is constructed from Nimbus 2000 and Platform 9 3/4 (no, not "mischief" and "Weasleys", the Weasleys got their own proper motif in Chamber playing off of Ron's throwaway sorting melody - so looking at the actual names and usage instead of just a surface knowledge of the movies already questions the grand theory) in.. what way exactly? Because he thinks they sound somewhat alike? Also a bit too much negative Williams/Ross speculation/ignorance.

Fair enough. 
 
I view all of the new themes as a full stop on Williams’ Hollywood action scoring. There’s nothing as bold or in-your-face as The Imperial March or Duel of the Fates, nor is the romance as sweeping as Across the Stars or Han Solo and the Princess. But for me, it’s one last look at those moods through a mature, often restrained lens. The dominant theme of the final film is one last throwback to the Golden Age of film scores he started in, probably the last time we’ll ever hear it from someone who lived through it.
 
It makes me reflect, rather than feel intense emotions. That’s a great gift he has given me.
 
EDIT - this was in response to Steef’s last comment, can’t figure out how to quote properly on mobile, it’s always so hard

It's probably my favourite of the 3 sequel scores, mix wise. It's interesting how all 3 sound completely different though, giving them each a different colour.

I can just hear a very prominent bassoon, but I could be wrong. I do like how much more the woodwinds seem to flourish in the mix of this score. Certainly the clearest the section has been in the sequels. Marvellous colours.

I can just hear a very prominent bassoon, but I could be wrong. I do like how much more the woodwinds seem to flourish in the mix of this score. Certainly the clearest the section has been in the sequels. Marvellous colours.

Here's my piano arrangement of the glorious track "The Rise of Skywalker":
 
 
I tried to respect the various orchestral subtleties, though listening back to it now I think I may have over-egged it in places!

I believe they may have composited her face into shots of a double who was wearing the new costume. It’s very well done all things considered.

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.

I believe they may have composited her face into shots of a double who was wearing the new costume. It’s very well done all things considered.

Yeah, it's too bad he didn't know Carrie Fisher was going to pass away before filming the next movie. 

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

I call bull on that! So is it TESB's fault that ROTJ recycled the Death Star plot from ANH and included teddy bears?
 
TLJ ended with loads to follow up on. A new Resistance that needs to be build, Kylo Ren, as Supreme Leader hunting for Rey.
 
Rian Johnson is not responsible for the mess of TROS.

So Rian Johnson, taking creative risks in a largely creatively bankrupt franchise is 'trolling the fans'? 
 
The more I watch The Last Jedi, the greater my appreciation grows for the film and Rian Johnson. 
 
The problem is this whole trilogy and saga is essentially trapped in a time capsule - by the filmmakers and the 'fans'. Try something different - you're fucked. Do more of the same shit - you're fucked. Don't read every Star Wars nerd's list of demands - you're doubly fucked. Thus Star Wars can't be new, it can't go anywhere at all.
 
Not only that, but Star Wars - the Original Trilogy has been elevated into the stratosphere, perched on some glorified pedestal when in fact they're films people nit-picked, critics hated, people were disappointed by - the only difference is audiences didn't have the internet back then. 
 
Now, everyone's screaming and shouting to have their opinions heard and it's not giving you clear data as to who's right, who's wrong, who's a troll, who's just an outrage-monger. It's a clusterfuck of opinions.
 
Rian Johnson, Kathleen Kennedy, Disney, none of them are directly responsible for the audience's  barbaric, slobbering, entitled, narcissistic, greedy reactions to these films. The 'fans' don't own Star Wars - they own a virtual replica of it in their minds informed by experiences, by nostalgia and by expectations that were never warranted.
 
Everyone wants to point a finger and lay the blame with such ferocity and misguided anger that we've all overlooked the real culprit. We can all agree that there's some of the stankiest bullshit you've ever smelled in this trilogy, awful dialogue, time wasting sequences and characters, all the usual flaws, however they're seriously not worth the vitriol. It's not worth it to pour hatred into something you can't control. 
 
I'm so sick and tired of the Star Sars fandom. I love something about all the films in the saga but I will never associate myself with the fandom ever again, not in today's outrage culture.

straight people are weird

IDK - I grew up with a burping sarlaac and came of age with Jar Jar stepping in Eopie crap.  The TLJ humor works much better for me.

Wait, was the Chewie porg scene really detested by people? Man.  Do you guys feel like it was a massive political statement or something?  I don't even think Rian Johnson is a vegetarian.  To me, it was just a gag that read like Chewie had his dinner ruined.

I reckon the books will have significant longevity as they’re written in a fairly timeless style and could appeal to an indefinite number of future generations. They’re certainly not as popular as they were 20 years ago in their heyday, but they’ll likely outlast their ancestors for the next few decades, namely the Enid Blyton mystery novels.
 
Kids today may not read them as the movies are still pretty recent in our cultural memory. But they’ll have a smaller but consistent audience in the same way Tolkien’s books did decades after their publication.

I reckon the books will have significant longevity as they’re written in a fairly timeless style and could appeal to an indefinite number of future generations. They’re certainly not as popular as they were 20 years ago in their heyday, but they’ll likely outlast their ancestors for the next few decades, namely the Enid Blyton mystery novels.
 
Kids today may not read them as the movies are still pretty recent in our cultural memory. But they’ll have a smaller but consistent audience in the same way Tolkien’s books did decades after their publication.

TLJ isn't perfect. It is however the only one of the sequel trilogy that tried to do something a little bit different, and interesting than just rehash the OT.
 
10 years from now it will be far better regarded.