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Any music by JW you wish he had done differently?


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Low energy effort? The score to The Last Jedi would give many a great composer a run for their money!

I thought the recent message board update was supposed to get rid of this bug.

Any Star Wars (or any other for that matter) music by JW you wish he had done differently?  For me, I wished the final seconds of TROS would have wrapped up more themes since that is the final seconds

On 9/28/2020 at 8:20 AM, Arpy said:

I wish The Last Jedi had a stronger thematic core that pulled that score together the way the Trio theme and Rey's Theme did for the other two films. I just felt like TLJ was a bit all over the place.

 

The tonal shifts of The Rebellion is Reborn represent the overall experience of watching the film though.  

 

Actually, I'm not sure what a more prevalent thematic core for TLJ would even sound like.  There are so many different side plots with differing messages that it's hard to imagine one theme applying to all of them.

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9 hours ago, Not Mr. Big said:

The tonal shifts of The Rebellion is Reborn represent the overall experience of watching the film though.  

 

Actually, I'm not sure what a more prevalent thematic core for TLJ would even sound like.  There are so many different side plots with differing messages that it's hard to imagine one theme applying to all of them.

Listening to the complete score is a total drag, it's directionless and maybe that's because of the multiple plot threads that are conflicting, but Rise of Skywalker is a mess and that score manages to have a more distinctive narrative throughline.

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2 minutes ago, Arpy said:

Listening to the complete score is a total drag, it's directionless and maybe that's because of the multiple plot threads that are conflicting, but Rise of Skywalker is a mess and that score manages to have a more distinctive narrative throughline.

The plot of ROS is messy but the underlying narrative themes are easier to translate into music (friendship, bad guys).  Abrams' film is also more colorful and punchy than Johnson's, which lends it to a more colorful and punchy score.  It also benefits from being the last SW film.

 

 

 

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From the last JEDI I prefered to hear the FYC-version. It contained much less of the old themes. If there is a musical identity of the score then I rather heard it there than in the OST album. No Yoda's Theme in the finale for example. Anyway, the end of the album, The Spark, The Last Jedi, Peace and Purpose are really great. I still look forward to a publication of the complete score for the sequels anyway.

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2 hours ago, Albus Percival Wulfric said:

Low energy effort? The score to The Last Jedi would give many a great composer a run for their money!

I'll amend my statement: by Williams' standards, not the lesser composers.

 

Also, I love pieces from the score, I just find it doesn't have a cohesive narrative structure that I find makes the other scores more interesting when you can hear the progression and evolution of certain themes.

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On 10/1/2020 at 8:41 PM, artguy360 said:

Low energy is not how I would describe the score to TLJ at all. The music is full of propulsive energy and surprising, strong musical moments than neither TFA or ROS produced. 

Nah

Even TLJ's "singular moments" don't compare with the best of TFA and TROS

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  • 2 weeks later...

I wish the Star Wars sequel trilogy also had brief trumpet solos like the first 6 scores did. I also really missed the airy synth textures that he used to such great effect in the prequel trilogy. 

 

The main Schindler's List theme doesn't sit well with me. It draws too much attention to itself and verges on melodrama. I think the material developed in Remembrances would have been a better defining identity for the score.

22 minutes ago, Nick Parker said:

To answer the thread title, all the Mickey Mousing and cutesiness in The Last Jedi.

I get what you're saying, but I was really impressed with how closely he was able to follow the cuts and shifting action in the film. The Last Jedi was definitely a grower for me and I think it might be my favorite score of the sequel trilogy (though I'm not sure how much of that is the merits of the music and how much is the fact that it's actually audible in the mix and reasonably intact.)

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On 9/22/2020 at 6:52 PM, bruce marshall said:

I always wished he had saved the "flying " music from SUPE and used it in E.T.

 

This is actually not a bad idea when it comes to the form of the piece, but the issue lies in Superman's Flight following some clear romantic/relational harmonic theory, while E.T. Flight has an extremely unyielding, expansive harmonic structure, best capturing the sensation of pure 'astonishment' like the sensation of your brain exploding. I don't know if Elliott and E.T's relationship was mature and romanticized enough, but still these are good ideas for reinterpreting the underlying current of the plot.

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5 minutes ago, Oomoog the Ecstatic said:

 

This is actually not a bad idea when it comes to the form of the piece, but the issue lies in Superman's Flight following some clear romantic/relational harmonic theory, while E.T. Flight has an extremely expansive harmonic structure, best capturing the sensation of pure 'astonishment' like the sensation of your brain exploding. I don't think Elliott and E.T's relationship was deep and romantic enough to be captured by the former piece. Still, these are good ideas for reinterpreting the underlying current of the plot.

For me, it's the melody.

SUPE uses an upward, stepping  styled melody with wonderful chord changes ( major seventh iirc).

The E.T. theme uses the leap of a sixth , also present in the much warmer " E.T and Me " cue. But, it's a good, not great melody. It works better in quiet moments like when the flower comes back to life.

 

 

God, i love that film ( and score)😍!

 

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Wow I think you might be right. I see it more in the harmony than the melody. While the surprise lies in the fact that E.T. can fly, he could've come up with a Superman variation that worked perfectly for that or fade into the surprise, ie. after the first arpeggio of the melody when the 8th of the melody flutters a half step, is a little too thematic like a main theme / heroic march, compared to orchestrating a melody as a momentary atmosphere like E.T.'s. Easy fix.

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1 hour ago, Not Mr. Big said:

Hard to do when every beat in the story is a comedic beat.

 

There's no excuse for moments like this!

 

 

 

 

 

(not mentioning the mickey mouse moment like 15 seconds before this)

 

Get the hell outta here, John!

 

I've come to terms, after years of fighting it, that The Last Jedi is one of my least favorite John Williams scores, ever. All the Escapes and Canto Bights just can't redeem it in the end. The Post roasts this score alive like a porg......And after listening to BFG for the first time these past few days, it kicks Force Awakens' ass, too. What happened on these first two sequel scores?

 

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3 hours ago, bruce marshall said:

For me, it's the melody.

SUPE uses an upward, stepping  styled melody with wonderful chord changes ( major seventh iirc).

The E.T. theme uses the leap of a sixth , also present in the much warmer " E.T and Me " cue. But, it's a good, not great melody. It works better in quiet moments like when the flower comes back to life.

 

 

God, i love that film ( and score)😍!

 

The build up to the take off is so magnificent- I love that piano* figure- that I really can't ' complain' that  the flying music isn't from SUPERMAN.

Those two films and scores.....damn , they are....they are.....

How do you put into words , "magic"?

 

*sounds like two pianos playing simultaneously in octaves

 

 

 

 

 

R

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5 minutes ago, Nick Parker said:

 

I like Force Awakens, but compared to BFG it's so flat and monochrome. I'm shocked by how I slept on this one for four years.

BFG has colorful orchestrations and some very nice dramatic moments but overall, the "narrative" of the score is a bit underwhelming to the more tight and purposeful TFA.

 

And TFA has more bangers

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2 minutes ago, Not Mr. Big said:

BFG has colorful orchestrations and some very nice dramatic moments but overall, the "narrative" of the score is a bit underwhelming to the more tight and purposeful TFA.

 

And TFA has more bangers

 

Your point about the narrative elements throughout the score is valid, but I like the standalone quality a lot of BFG's tracks have, almost like a "normal" album.

 

As for bangers?

 

https://open.spotify.com/track/3DaR5SUVfmN9lLUl00Y16B?si=qrk1biWkRhq-fr78B0wajw

 

 

 

And this?

 

 

https://open.spotify.com/track/3kgBlHlZ3469aCYhSfc3QQ?si=fWGnc-yUTjGaevHRj0_5Tg

 

Holy @#$%.

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1 hour ago, Nick Parker said:

 

There's no excuse for moments like this!

 

 

 

 

 

(not mentioning the mickey mouse moment like 15 seconds before this)

 

Get the hell outta here, John!

 

I've come to terms, after years of fighting it, that The Last Jedi is one of my least favorite John Williams scores, ever. All the Escapes and Canto Bights just can't redeem it in the end. The Post roasts this score alive like a porg......And after listening to BFG for the first time these past few days, it kicks Force Awakens' ass, too. What happened on these first two sequel scores?

 

And you want MORE of this ....dreck?!

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4 hours ago, bruce marshall said:

As a one time SW fanatic, i just don't get the appeal of the latter films ( and scores).

 

After watching those clips, can you blame him if he wasn't particularly " inspired"?

 

Then phew, no one's forcing you to buy eventual expansions. Stop moaning about others wanting them.

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6 hours ago, Jurassic Shark said:

Now I get it! This "bruce marshall" must be Thor's additional account!

I could care less about expanded SW .

If people want to waste their lives pursuing mediocrity, be my guest

10 hours ago, Nick Parker said:

 

Don't deny us our Force Awakens and Rise of Skywalker alternate scores!

I wouldn't dare deprive DICK Penna of his life's dream.

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Bruce, you're in a desert, walking along in the sand, when all of a sudden you look down and see a Blu Ray disc of Prometheus. You reach down and flip the disc on its other side. The disc lays on this side, its cinematic mastery baking in the hot sun, trying to let the world know of its masterpiece status, but it can't. Not without your help. But you're not helping. Why is that, Bruce?

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