Jump to content
Jay

THE LAST JEDI - OST Album MUSIC Discussion (No Movie Spoilers)

Recommended Posts

How the HELL did this descend into a discussion about blue balled Jedi?

 

Taking this further, then the subtext would be that falling in love and taking a wife leads you to the dark side, validating the Jedi's call for celibacy.

I mean, in Chinese lore, sexuality is very much bound to the human life force, and you shouldn't spend it in vein because it's difficult to replenish, but we are talking about superficial dialogue in a freaking Star Wars movie!

Share this post


Link to post
Share on other sites

I know a good way to dismiss the midi-chlorian mess. Let's say it was a conspiracy of Qui-Gonn that he taught to Obi-Wan. They created they're own system and then took blood samples of the Jedi council in their sleep. 

9 hours ago, JohnSolo said:

 

But the only memorable bits from Rogue One's score are when Giacchino does just that.

Bloody horse. I love the Rogue One score. Every bit. Too bad Saw's awesome demise music wasn't in the soundtrack.

Share this post


Link to post
Share on other sites
1 hour ago, Cerebral Cortex said:

 

Once you have the Force to, erm, derive pleasure from, I would think seeking out the physical intimacy of another would suddenly become quite uninteresting. 

 

Is it possible to learn this power?

Share this post


Link to post
Share on other sites
3 hours ago, Jerry said:

I know a good way to dismiss the midi-chlorian mess. Let's say it was a conspiracy of Qui-Gonn that he taught to Obi-Wan. They created they're own system and then took blood samples of the Jedi council in their sleep. 

 

Midichlorians were actually concieved quite early on by George Lucas.

Share this post


Link to post
Share on other sites
5 hours ago, Chen G. said:

 

Midichlorians were actually concieved quite early on by George Lucas.

 

I'd like to see a source on that!

 

In Rinzler's book, "Making of Star Wars," it has some stuff about midichlorians dated from that time period.  However, Rinzler said in this article:

 

Quote

[Please note: While we were preparing the text for The Making of Star Wars, Lucas added a note to this passage about midi-chlorians, bringing his original words in line with his later thoughts and the events of the prequel trilogy.]

 

Share this post


Link to post
Share on other sites
1 hour ago, Obi said:

I suppose everyones see the list of bonus features on the Blu-Ray : http://www.starwars.com/news/star-wars-the-last-jedi-comes-home

There is no bonus focus on the music...

 

It's probably rolled into the feature length documentary but yeah, pretty shit. Looks like they couldn't even be bothered including the scoring featurette that screened in some cinemas before the movie?!

 

Rian also couldn't convince Disney on an isolated music track. Probably a Disney Records clash, that one.

Share this post


Link to post
Share on other sites

Yes, always has and always will - but in his defense, time is a flat circle.  In his mind, he really DID plan nine movies all along, and always knew that Vader was Luke's father, Leia was Luke's sister, and midichlorians were cellular Force receptors.

Share this post


Link to post
Share on other sites
1 hour ago, Philippe Roaché said:

The prequels seem to have all been planned out. They are still the most cohesive series of SW films.

 

They were only planned out in the most rudimentary sense. i.e. he knew Anakin would grow up to be Darth Vader because that's what was set-up in the first three; and he knew his downfall will involve losing his mother and falling in love with a woman against the will of the Jedi Order.

 

Well, that's planned but its very raw. What makes an actual script work are all the little details in between: the use of little planting-and-payoff mechanisms; the narrative structure of each of the three - that's what counts, and that wasn't planned out.

 

The only way to form a truly cohesive series is to script and film the whole thing simultaneously.

Share this post


Link to post
Share on other sites
12 hours ago, Jerry said:

Bloody horse. I love the Rogue One score. Every bit. Too bad Saw's awesome demise music wasn't in the soundtrack.

 

You may love it, but that doesn't make it a great score. Fact is, it's a last-minute replacement score with awkard and disjointed themes, dull underscore, and an irritating proclivity to overscore certain scenes where no music would've worked even better, in terms of dramatic effect.

 

It is a lackluster effort from an otherwise immensely talented composer.

Share this post


Link to post
Share on other sites
3 hours ago, someonefun124 said:

Supposedly JarJar was supposed to have a larger role in at least AOTC but Lucas bowed down to the haters and gave us romance instead.

 

There was a distinct change in tone between TPM and AOTC, with Jar Jar almost completely removed, and a lot of what Lucas must have hoped would be crowd-pleasing elements shoehorned in. Jango Fett, a shit ton of Jedi all onscreen at one time, etc. And the FORBIDDEN LOVE story, likely inspired by Titanic, and to facilitate this we got the idea that Jedi must never fall in love. Which is never explained, but just a contrived and convenient excuse to make their love FORBIDDEN.

Share this post


Link to post
Share on other sites
8 minutes ago, Smeltington said:

And the FORBIDDEN LOVE story, likely inspired by Titanic, and to facilitate this we got the idea that Jedi must never fall in love. 

 

Interesting idea. I never thought of it as being inspired by Titanic of all things. We're lucky Lucas didn't have Williams use the tin whistle for that one!

 

Anyhow, I do find that ideas of celibacy fit with the generally monastic character of the Jedi. But care should have been taken to make it palatable to a western audience, or to make the film a commentary on the Jedi's dogmatic practices.

Share this post


Link to post
Share on other sites

Well, it's a trope going back forever. Romeo and Juliet etc. But AoTC was only one year after Pearl Harbor, for example, in a time when Titanic's success was especially influential. The whole epic romance against the backdrop of large-scale action formula, in hopes of broad appeal. Interestingly, a lot of the blockbuster action/adventure movies these days seem to downplay romance, outside the notable love-triangle YA stuff. Marvel, Star Wars, and so on seem to have only occasional, incidental romantic subplots. So that formula grew stale at some point. I wonder if it'll return.

Share this post


Link to post
Share on other sites
53 minutes ago, Smeltington said:

 

There was a distinct change in tone between TPM and AOTC, with Jar Jar almost completely removed, and a lot of what Lucas must have hoped would be crowd-pleasing elements shoehorned in. Jango Fett, a shit ton of Jedi all onscreen at one time, etc. And the FORBIDDEN LOVE story, likely inspired by Titanic, and to facilitate this we got the idea that Jedi must never fall in love. Which is never explained, but just a contrived and convenient excuse to make their love FORBIDDEN.

I would have made more sense perhaps for the forbidden aspect to be based on Anakin's common blood/uncertain parentage.

4 hours ago, Philippe Roaché said:

The prequels seem to have all been planned out. They are still the most cohesive series of SW films.

You may be right about that.

Share this post


Link to post
Share on other sites
6 hours ago, JohnSolo said:

 

You may love it, but that doesn't make it a great score. Fact is, it's a last-minute replacement score with awkard and disjointed themes, dull underscore, and an irritating proclivity to overscore certain scenes where no music would've worked even better, in terms of dramatic effect.

 

It is a lackluster effort from an otherwise immensely talented composer.

 

Ehhh, save for not being a replacement score, and slightly less dull underscore, that's just about the same you can say about TLJ.

Share this post


Link to post
Share on other sites
7 hours ago, Jerry said:

That general ominous Bom bom  ba ba bom.

 

See, that's a prime example of overanalysis of leitmotifs. What you're describing is too generic to be considered a theme in any way. You said it yourself: its just an piece of ominous rumbling. A theme needs to have substance to it - otherwise, what's stopping us from classifying every two or three note combination (of which there are bound to be repititions) as a theme?

Share this post


Link to post
Share on other sites
4 hours ago, Chen G. said:

 

See, that's a prime example of overanalysis of leitmotifs. What you're describing is too generic to be considered a theme in any way. You said it yourself: its just an piece of ominous rumbling. A theme needs to have substance to it - otherwise, what's stopping us from classifying every two or three note combination (of which there are bound to be repititions) as a theme?

No, no I don't think so. This is a continual constant throughout the AOTC score, the soundtrack and the unreleased full soundtrack which you can here in the movie. Some people even consider this a bit of a Kamino theme. 

 

@Chen G. are you saying that this has no substance and its tiny, therefore it is not a theme. I disagree. Sometimes the most simplistic notes put together can still be suitable to be called a them, and for the length, that shouldn't matter. There is no full suite and it is never ascribed a name, but I believe it is a theme.

Share this post


Link to post
Share on other sites
16 hours ago, gkgyver said:

 

Ehhh, save for not being a replacement score, and slightly less dull underscore, that's just about the same you can say about TLJ.

 

Sadly... yes :( I like RO's score a lot. It is definitely noticeable that Giacchino was brought in at the very last minute, but he still pulled it off amazingly. I take months to write 10 minutes of music. Writing around an hour in about 4 weeks? That's insane. On the other hand, TLJ is impressive at times. I love the opening track, The Battle of Crait has quickly become my favourite and there are some other sparks here and there, but overall I think it is the weakest Star Wars soundtrack of them all. I have been wondering why I was not as blown away as before: maybe Williams is finally getting on? Was it Rian's fault? Who knows. I still like it, but not as much as I enjoyed TFA.

Share this post


Link to post
Share on other sites
17 hours ago, gkgyver said:

Ehhh, save for not being a replacement score, and slightly less dull underscore, that's just about the same you can say about TLJ.

 

It has gotten to the point where I honestly can't tell whether you're serious or joking anymore.

Share this post


Link to post
Share on other sites
1 hour ago, jpnaranjo said:

overall I think it is the weakest Star Wars soundtrack of them all. I have been wondering why I was not as blown away as before: maybe Williams is finally getting on? Was it Rian's fault? Who knows. I still like it, but not as much as I enjoyed TFA.

 

I think I still like it more than The Force Awakens, because its more extrovert. That "big" sound is an integral part to the music of Star Wars that The Force Awakens lacked. Add the film mix and its a deadly one-two punch to the score: its just about impercievable.

 

I think the issue with The Last Jedi is that Williams is getting fed up with all this Star Wars. He always comments that he first writes the themes, which takes up most of the time as far as composing goes. So its telling that there are only three new leitmotives here. It feels to me as if he went almost immediately into the actual scoring process, and due to the sparse thematic material, had to rely on pre-existing themes much more than he usually does.

 

But, hey, at least you can hear it when you watch the damn thing!

Share this post


Link to post
Share on other sites

I'm curious to see how Episode IX will compare originality-wise.  Will Abrams ask for multiple new themes and set-pieces as with TFA or will it largely be a reprise score as TLJ was?  There's also the fact that this is going to be Williams' last SW film and he'd probably want to end it with a bang.

Share this post


Link to post
Share on other sites

I feel like the next soundtrack will have less OT themes than TLJ throughout, but more will prevail at the end. If Williams can really get it going, I'm hopeful we could see Rey, Ren, the Resistance, and Rose be the head themes followed by newly introduced oners-music used once in the score but still good enough to be a suite.

Share this post


Link to post
Share on other sites
5 hours ago, someonefun124 said:

So long he doesn't end it with throne room or binary sunset again, I'm good.

 

IMO the biggest missed opportunity of the sequel scores is not ending the final shot of TFA with a huge sweeping statement of Rey's theme. That said, I don't hate the reprise of Binary Sunset in that score, but repeating it for TLJ has diluted its impact somewhat.

 

I wouldn't be surprised if JW ends Episode IX with The Throne Room. 

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...