Julius

The Star Wars Thread

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7 minutes ago, Ronnie said:

Couple more Emmy's last night

Great to see Goransson's work recognised, really well deserved. Love the overall score to each episode and the main theme was instantly memorable.

Yeah, the guy is craaaaaazy talented, well deserved. I mean, he's 36 years old, and off the top of my head he's done the Creed films, Black Panther, Tenet, Community (watching it through for the first time myself - for a sitcom, it's insane just how much variety there is, of course perfectly suiting the variety of antics on the show) and Mando. 

His work on Mando in particular is so distinct in that it kind of throws out all the old and starts fresh. It's such a unique and new soundscape for Star Wars. No Force theme, no Main/Luke's Theme, no Imperial March. The foundational influence from Williams is still distinctly present, purely in it still having memorable leitmotifs, but it changes things. Mando and this corner of the galaxy doesn't know about the Jedi? No Force Theme. Perfection. 

As much as I love John Williams, and the sequel trilogy still has some great tracks and themes (the leitmotifs for Kylo and Rey, I think, are the highlights) it just felt so derivative of the original trilogy, even more so when compared with his work on the prequels. The prequels had a similar soundscape but still had many wonderful tracks (Duel of the Fates, Across the Stars, and Battle of the Heroes of course being the Big Three) and felt like it was still fresh. Like the films themselves in the end, the scores for the sequel trilogy to me just didn't do enough new, and it got to the point where I could predict the Force Theme was coming up (which we were beaten over the head with by the way, and same goes for Rebel Fanfare). The Rise of Skywalker is particularly guilty of feeling like a greatest hits collection in this regard, but how about Into the Death Star bring used in the crystal maze on Crait in The Last Jedi? I still think the sequel trilogy's scores are superb, but it just wasn't exciting enough, and didn't feel like Star Wars for a new generation; it felt like Star Wars remixed for a new generation. 

And it's funny, because I loved Michael Giacchino's Rogue One score which was also very derivative (from A New Hope in particular), but it still felt fresh while being grounded in the old. John Powell's Solo score was also great, though again, too on the nose at times, such as with using The Asteroid Field for the Kessel Run. While Giacchino's and Powell's scores were still great in their own right, if felt like the methodology behind them was strictly to stick to Williams' template: Orchestra + Old Themes + Couple of New Themes + Choir = Star Wars score. 

But I think Mando is probably my favourite Star Wars soundtrack since the Disney takeover, purely because of how much it deviates from that formula (though it's worth mentioning that Rebels and The Clone Wars S7 scores also had some terrific stuff, and were honestly better than the Disney-produced films at times). It mixes the ideas of Williams with composers from Old Westerns and other Sci-Fi films, with Morricone in particular coming to mind for the former. Throw in the freshness of its modern sensibilities, and it's a fantastic melting pot of what influenced Star Wars, instead of being influenced by Star Wars, just like the show. 

I cannot wait to hear what he's got in store for us with this second season. I am still listening to the season one soundtrack on a regular basis, so I'm quite confident it will be great! :D

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10 minutes ago, Julius said:

Yeah, the guy is craaaaaazy talented, well deserved. I mean, he's 36 years old, and off the top of my head he's done the Creed films, Black Panther, Tenet, Community (watching it through for the first time myself - for a sitcom, it's insane just how much variety there is, of course perfectly suiting the variety of antics on the show) and Mando. 

His work on Mando in particular is so distinct in that it kind of throws out all the old and starts fresh. It's such a unique and new soundscape for Star Wars. No Force theme, no Main/Luke's Theme, no Imperial March. The foundational influence from Williams is still distinctly present, purely in it still having memorable leitmotifs, but it changes things. Mando and this corner of the galaxy doesn't know about the Jedi? No Force Theme. Perfection. 

As much as I love John Williams, and the sequel trilogy still has some great tracks and themes (the leitmotifs for Kylo and Rey, I think, are the highlights) it just felt so derivative of the original trilogy, even more so when compared with his work on the prequels. The prequels had a similar soundscape but still had many wonderful tracks (Duel of the Fates, Across the Stars, and Battle of the Heroes of course being the Big Three) and felt like it was still fresh. Like the films themselves in the end, the scores for the sequel trilogy to me just didn't do enough new, and it got to the point where I could predict the Force Theme was coming up (which we were beaten over the head with by the way, and same goes for Rebel Fanfare). The Rise of Skywalker is particularly guilty of feeling like a greatest hits collection in this regard, but how about Into the Death Star bring used in the crystal maze on Crait in The Last Jedi? I still think the sequel trilogy's scores are superb, but it just wasn't exciting enough, and didn't feel like Star Wars for a new generation; it felt like Star Wars remixed for a new generation. 

And it's funny, because I loved Michael Giacchino's Rogue One score which was also very derivative (from A New Hope in particular), but it still felt fresh while being grounded in the old. John Powell's Solo score was also great, though again, too on the nose at times, such as with using The Asteroid Field for the Kessel Run. While Giacchino's and Powell's scores were still great in their own right, if felt like the methodology behind them was strictly to stick to Williams' template: Orchestra + Old Themes + Couple of New Themes + Choir = Star Wars score. 

But I think Mando is probably my favourite Star Wars soundtrack since the Disney takeover, purely because of how much it deviates from that formula (though it's worth mentioning that Rebels and The Clone Wars S7 scores also had some terrific stuff, and were honestly better than the Disney-produced films at times). It mixes the ideas of Williams with composers from Old Westerns and other Sci-Fi films, with Morricone in particular coming to mind for the former. Throw in the freshness of its modern sensibilities, and it's a fantastic melting pot of what influenced Star Wars, instead of being influenced by Star Wars, just like the show. 

I cannot wait to hear what he's got in store for us with this second season. I am still listening to the season one soundtrack on a regular basis, so I'm quite confident it will be great! :D

I wish I had your ear for soundtracks, I'll happily admit that a lot of the intricacies of film score goes over my head (had to look up what leitmotifs are :laughing:). Having said that I pretty much agree with most of the above. A melting pot of what influenced Star Wars, instead of being influenced by Star Wars is perfectly put, and that extends to the whole show. *Spoilers* When Baby Yoda lifted the mudhorn in episode 2, it would have been so easy to use the Force theme but no, they gave us something more in-keeping with the show (and it was fantastic). Really excited to see what he does next year, not long to wait now.

Using the asteroid field theme for the Kessel Run or Into the Death Star for Crait wasn't an issue for me at all, I agree they're safe choices that play on nostalgia, but it's easy to just consider them part of the Falcon's theme ! I do agree the prequels were more ambitious soundtrack wise (and I suppose, in general) than the sequels though. That said Rey's theme is beautiful, and I can't go one week without putting March of the Resistance on.

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The music of Mandalorian was the best thing about the first season. I wasn't that wowed by the rest of it, but kept watching just for that.

I hope season 2 is a bit better.

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