I thought that as well. Except they really gave away the swing across the chasm scene. Otherwise,refreshingly vague.
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@howaboutthis
@Wisconsin_Platt
There is one distinct thing that trailer is missing â the score.
Itâs amazing how âvacantâ the scenes feel without it.
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The scores are some of my very least favorite things about Star Wars. Not unlike how I thought that sci-fi movies of the prior ten years were more sophisticated conceptually, the soundtracks were better also. Then again, as a child I very strongly disliked most music, until I discovered the avant garde and post-melody. I can listen to Goldsmithâs scores to Planet of the Apes and Loganâs Run, but Williamsâ scores for Star Wars and Superman pretty much epitomize everything I try to avoid in music.
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I did notice the distinct lack of John Williams
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which is surprising, because Williamsâ scores for Star Wars are considered modern classics, defining the genre. any composer would be thrilled to achieve what Williams has done for film scores, let alone Star Wars.
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Interesting. Iâm ambivalent about the music.
I generally like the Williams score because it fits the movie and helps it along. But Iâm also very disappointed with it because Williams largely lifted it from Holst.
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Iâm not sure thatâs fair. Williamsâ music is plainly very Holstian, and he was open about that influence. But I think his music holds up as distinct if related entries in that tradition, even beyond the way it fits the movie â very little of the prequels worked for me, but still liked much of the score. Why wouldnât I appreciate that someone has continued in Holstâs footsteps?
For music I think we might also distinguish some personal appeal from craftsmanship. We know different people have different taste in genres; plainly someone who prefers post-melody is not going to like the Romantic tradition, or vice versa, but hopefully we donât imagine stuff that isnât our thing is inherently without merit.
But I am a little curious, @Popo_Bawa, what you think of Williams when he isnât doing melodic stuff. There are things like Minority Report where heâs mostly just providing ambient mood. Are they any more to your taste?
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I thought Lucas hired him on because Williams played the type of music that Lucas wrote the script to, i.e. the score was also directed by Lucas. My source here was the interview Lucas did for the filmsâ re-release for home video in the mid-nineties.
It could be. Perhaps Lucas liked Williamâs ability to evoke the work of other composers.
And Iâm just going to say this â the main theme from Jaws is a combination of the 4th movement from DvoĹĂĄk"s Symphony No. 9 and the Rite of Spring.
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And in turn Symphony No. 9 was meant to evoke the music of black and Native Americans, though whether actual motifs made it in is has been debated to this day. Either way, I guess I just donât see why reworking things should be seen as so disappointing. There is after all a lot more of that sort of thing in Star Wars than just its music, right?
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thatâs more-or-less how I remember him explaining it.
I later noticed in the link @LockeCJ posted there is a thing on Williamsâ score, though I only just now briefly skimmed it. They want to make the case that Williams is synthesizing and moving beyond his obvious references rather than plagiarizing, but then again what else are they going to say?
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Yes, I looked at that article too. Lucus says he wrote the script to music. Perhaps he had guide pieces of music chosen that he wanted Williams to follow?
There was a similar situation with scoring 2001: A Space Odyssey. Kubrick initially had Alex North write a score for the film following various cues he had chosen. But in the end Kubrick decided to keep the original cues instead of the new score.
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I donât dislike the score. When I was young I thought it was great. In some ways it (and also various pieces by Spike Jones) was my introduction to orchestral music.
But as I grew and heard more music, I began to realize the score is quite a pastiche.
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It may nod to Holst and be inspired by it, but âliftedâ, no. No part of the Star Wars score was literally stolen from Holst. Big difference, as others have pointed out.
His score to the newest film was largely a continuation of what heâd done before, but Reyâs Theme is one of the prettiest melodies heâs come up with in a long time.
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itâs amazing how embedded Williams is to the feel of all things Star Wars. my only real disappointment in seeing Rogue One was that the music did nothing for me outside of the pointed nods to Williamsâ themes. walking out of the theater, i could barely remember any of the music outside of the classic themes. That doesnât happen when John Williams does SW music.
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Iâm often a fan of Michael Giacchinoâs scores, and like many people, assumed that one day heâd take over the reigns as composer for Star Wars, but I agree that his first defacto Star Wars score was surprisingly workmanlike. No memorable new themes, no stirring arrangements. It felt more like he was playing it very safe with sound-alike bits without really stepping up yet. The music for Star Wars Rebels does a better job of sounding like Star Wars while taking new detours.
yes, i hope thatâs the case. i love Williamsâ work, but i know he wonât be around forever. it would be great if another talented conductor picked up where he left off and took us all forward. maybe Giacchino will do it.
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I agree. I noticed the music was not as exciting, too.
Those storm troopers always look so inhumanly clean and soulless in the movies. But when you see the helmet up close, you can see itâs an individual work of art.
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