I'm confused why people on THIS board of all places would assume The Imperial March wouldn't be used in this film considering its in every Star Wars film save the '77 one.
Okay, and the Ewok movies.
I think a lot of us are simply curious if the composer would recognize the original Imperial/Stormtrooper theme used in ANH. Since this movie directly ties into that film and is trying to capture the spirit of the original, it makes some sense that people might expect the Death Star/Imperial/Stormtrooper theme to be used in this film.
I guess some people are thinking if this film stays true to the timeline chronologically from a technical standpoint, the Imperial March/Vader's theme would not be present.
Me personally? I think I would like to hear both. I'd rather the original Death Star/Stormtrooper theme be used as the main them for the Empire's scenes and Vader's Theme only be used sparingly in any scenes he is in or referenced in. Also, the new Director baddie for this movie should.have his own theme as well. So maybe we'll hear 3 themes used?
I kind of get why some think it shouldn't be, or might think it wouldn't be, in this film if we want to pretend this somehow was released pre-1977. But it also makes more sense that Vader's theme be used since it has become so iconic and synonymous with the Empire in the films and other media since TESB was released.
I get that, but as stated earlier, Bruce Broughton scored LOST IN SPACE in 2 1/2 weeks and that had a truckload of music, same for JN Howard on KING KONG, Danny Elfman on 2003's HULK and even Horner on TROY. I still don't see any reason for anyone here to descend into a panic.
Broughton had a little help, J.N.H. had a lot of help.
How much time did Max Steiner have with his wall to wall score for Gone With The Wind?
From Wiki Remember Gone with the Wind is 4 hours long.
Steiner was given only 3 months to complete the score, despite composing more film scores that year - twelve - than he would in any other year of his career. When the film was released, it was the longest film score ever composed, nearly three hours. The composition consisted of 16 main themes and almost 300 musical segments.[5] To meet the deadline, Steiner sometimes worked for 20-hours straight, taking Benzedrine pills to stay awake.
He may have had that, but he squandered it, that's why he struggled. There's actually more to this story. From my currenyly offline Rejected Film Scores site, from the Supposedly section:
GONE WITH THE WIND -- Herbert Stothart. Not beliving Steiner could complete the score in time, as it wasn't going very quickly, he asked Stothart to do a score just in case; while I have no idea if Stothart recorded anything, he did write score. He appearently gloated about the assignment around town, and word of that got to Steiner, and that effectively ended Herbert's employ. [Franz Waxman.]
GONE WITH THE WIND -- Franz Waxman. Still worried about Steiner, he then asked Waxman to do it. Now this is where it gets confusing, because normally I would say I have no idea if he recorded anything, but he's credited for additional music on the film -- did he or was that stock from some other score he did? Steiner finally got it together, realizing he needed to get the score done, and cranked it out; several other composers, according to IMDb, as listed as "additional". In a 1975 interview with Jerome Moross, conducted by book author Noah Andre Trudeau, Trudeau states while talking about tossed scores, that Waxman did a complete score for the film. [Max Steiner; IMDb credited "additional" folk: Adolph Deutsch, Hugo Friedhofer, Heinz Roemheld, and of course Waxman (inspite of IMDb listing it as "stock"); William Axt (stock music).]
As I recall, Steiner wasn't getting it done, it was kind of sherking off and as you may well imagine, this worried the director.[/
Well on a docu...I remember David Selznick getting pissed off and truly worried Steiner couldn't get the job done..I believe it was Selznick who tried to light a fire under Steiner ass..by evoking that Herbert Stothart, , Waxman, or some other European Composer in Hollywood could get the job done. I believe it was even Stothart ran into Steiner and said he was asked to compose some cues of Gone With the Wind, by Selznick...Steiner was not a happy composer after that...lol.
I truly never liked Gone With the Wind..even today, it is a pile of dribble and with happy slaves..lol. And the music is also a wall to wall bore fest of nothingness....but I truly love the back story on how they all made Gone With the Wind. It is truly fascinating.
Whether Herbert Stothart did or not score any pasrts to Gone With the Wind..he beat out Steiner at the Oscars with his great score to Wizard of Oz.
everyone still not convinced that this might be his best film score should listen to the third movieclip in which jyn gives her speech to the rebels.i got chills from the score.medal of honor chills.
Well I thought I could be annoying and revive the Desplat thread since someone "rescored" Rogue One's trailer with other Desplat music. It might not be the greatest selection ever but it's a start:
We'll never know what Desplat would have brought to the film (what appears to have been a rather different film at the first go-round). Did I read that he mentioned not wanting to use much of the JW stuff or lean on the original score? Anyway, while I never cared for the film other than technically, I have grown to admire what Giacchino eventually gave the film. Some of it sounded clunky at first, but his themes have won me over and his integration of the SW/JW stuff and style really are quite well done. I hear something new everytime I listen to the CD or FYC. Impressive...most impressive
I've been listening to Giacchino's score nonstop, particularly since I got the For Your Consideration tracks. It's one of the most enjoyable things I've heard in years. And particularly for a film that leans so heavily on the original Star Wars, down to reviving characters right from the original footage, the fact that Giacchino's work fits in so well with Williams' original scores is more than a plus--I would say it's downright essential. Had the score been some radical reinvention of the SW aesthetic I think it would have felt jarring and out of place in the movie. The dirty little secret of the "new" Star Wars films so far is that they have yet to step out of the shadows of the originals and really work as (highly enjoyable, at least to me) addendums. When we truly see a "standalone" Star Wars movie, maybe then it'll be time for a musical reinvention. Until then I happily look forward to more from Williams and Giacchino.
I've been listening to Giacchino's score nonstop, particularly since I got the For Your Consideration tracks. It's one of the most enjoyable things I've heard in years. And particularly for a film that leans so heavily on the original Star Wars, down to reviving characters right from the original footage, the fact that Giacchino's work fits in so well with Williams' original scores is more than a plus--I would say it's downright essential. Had the score been some radical reinvention of the SW aesthetic I think it would have felt jarring and out of place in the movie. The dirty little secret of the "new" Star Wars films so far is that they have yet to step out of the shadows of the originals and really work as (highly enjoyable, at least to me) addendums. When we truly see a "standalone" Star Wars movie, maybe then it'll be time for a musical reinvention. Until then I happily look forward to more from Williams and Giacchino.
I agree, Jeff... this score with the FYC tracks keeps revealing itself with new layers on each listen. I think the biggest eye opener for me was when David W. Collins (on the Star Wars Oxygen podcast) pointed out that Giacchino's Jyn Erso theme is actually a quiet, short string melody that we've all been hearing for 40 years from the original Star Wars!
Cue up "Obi Wan / The Force" and go to 3:30... it's the scene where Luke tells Obi Wan "Listen, I can't get involved – I've got work to do..." Brilliant! Only a true fan like Giacchino would dig back into the DNA of Star Wars to wrap one of his main themes around something so subtle in the original movie. Thank god he was the composer over Desplat!
Cue up "Obi Wan / The Force" and go to 3:30... it's the scene where Luke tells Obi Wan "Listen, I can't get involved – I've got work to do..." Brilliant! Only a true fan like Giacchino would dig back into the DNA of Star Wars to wrap one of his main themes around something so subtle in the original movie. Thank god he was the composer over Desplat!
I got that one! I always loved that bit, probably because it doesn't appear anywhere else.
The one I didn't get was that at the end of the Darth Vader scene at the end that the Imperial March segues into the Death Star motif.
I've been listening to this a lot since I saw the film in Sunday. I like it a lot. I like whatever sound he gets on that opening note when Jeddha is introduced. There's just an awkward extra note in Trust Goes Both Ways, on about 47secs just before that cool sound, that throws me. I'd buy an expanded release of this for sure. I like his Imperial theme a lot. Next time give him an extra two weeks, too, I say.
In the film I thought the music worked really well when into ducking or leaving scenes, like Williams' stuff always did. I just have to get into all the proper meat of the score.
I've been playing this a lot, too, but I'm sorry to say that's because I've been trying to figure out what people I respect are hearing in it. Don't get me wrong – I think it's fine, mostly, and I appreciate the small Williams touches that Giacchino incorporates throughout the score – but most of the time it seems busy to me instead of exciting, and the Imperial theme is in such well-worn territory by now that it feels almost like a parody.
I'll give it another few tries. And not that anybody cares, but the "Star Wars" scores I truly love are IV, V, and VII.
I've been playing this a lot, too, but I'm sorry to say that's because I've been trying to figure out what people I respect are hearing in it. Don't get me wrong – I think it's fine, mostly, and I appreciate the small Williams touches that Giacchino incorporates throughout the score – but most of the time it seems busy to me instead of exciting, and the Imperial theme is in such well-worn territory by now that it feels almost like a parody.
I agree with this respected poster's opinion here. I really wanted to like it. How much time would have been enough time for him, I wonder. It seems like he had way more time than professional composers tend to get to write the score, but maybe it's just that he didn't have much ADVANCED notice.
I was surprised to see Herbert Spencer's name in the closing credits, they must have used his arrangement for the end titles. Then I got to thinking about how all my favorite Williams' scores were orchestrated by this man. I wonder how much he was responsible for the classic JW sound?
I hope they release more music from this. There's a bit missing from both versions that I really liked - the first appearance of the AT-ATs as they emerge from the smoke. There's a jaunty piece played on xylophone that reminds me of the Hoth music. Would love to have that. It really stood out in the film and sounded very Williams-Esque
I've been playing this a lot, too, but I'm sorry to say that's because I've been trying to figure out what people I respect are hearing in it. Don't get me wrong – I think it's fine, mostly, and I appreciate the small Williams touches that Giacchino incorporates throughout the score – but most of the time it seems busy to me instead of exciting, and the Imperial theme is in such well-worn territory by now that it feels almost like a parody.
I'll give it another few tries. And not that anybody cares, but the "Star Wars" scores I truly love are IV, V, and VII.
I love the score. But we needed another Imperial theme about as much as Episode VIII should have another planet killer.
(VII? You surprise me, sir. And not in a bad way.)
Coco314, I gave the Desplat temp tracked trailer a look and the final musical segment uses The Imitation Game music, which, surprisingly kind of works with the imagery for Rogue One. At least in the limited context presented.
Coco314, I gave the Desplat temp tracked trailer a look and the final musical segment uses The Imitation Game music, which, surprisingly kind of works with the imagery for Rogue One. At least in the limited context presented.
I thought it was mostly bad, but once it started showing the new characters fighting back (in vain), The Imitation Game music did add some sort of emotion to the proceedings that Giacchino's score totally lacks (for me).
I always loved that bit, probably because it doesn't appear anywhere else.
