So..the first Star Wars music switch. We hoped Disney might bring us different tastes of the world for SW, but we may end up dining on McDonalds and KFC meals. December 16 should be interesting.
Daniel Hart was not supposed to score Pete's Dragon, but I've heard raves about the score. Maybe it's better than what Shore would have done (I've not listened to it yet, that's just based on other comments). Horner's Troy is not bad either.
An 11th hour stand-in is not always a strike-out. You're correct, though, that the cookie-cutter vision that is being used to design Rogue One is not very heartening.
I agree with what you're saying Sampo in regard to the classic 11th hour scores that have been delivered down the years. Some truly magnificent film scores have come from re-scores and last minute replacements. And Giacchino has a decent amount of time to work on this project. One just wonders how much freedom he will have to maneuver.
Kev McGann: So..the first Star Wars music switch. We hoped Disney might bring us different tastes of the world for SW, but we may end up dining on McDonalds and KFC meals. December 16 should be interesting.
Believe me Kev, Disney is more interested in whether the Chinese box-office buys into this than what the music sounds like, hence bringing in Giacchino to give us a normalized sci-fi/action score.
I'm sure Desplat put too much invention into his ideas for Disney's taste. Disney's ideas about invention, radically successful when it comes to musical animation spectacles and girl musicals in general, aren't translating well to Star Wars.
It's of course a soundtrack fan's urge to speculate as we all have in light of the news. Some are dismayed by the switch, some are delighted. And some are concerned that this is symptomatic of larger issues with the production. We will never really know probably. All we can do is hope for the best. Truth be told, I was among the few who wasn't blown away by the last Rogue One trailer. The music was largely to thank- just the standard overblown trailer fodder dialled up to "11" on the proverbial amp. Not that this is too relevant but check out what this guy wrote for a trailer for Orchestral Tools' upcoming brass library. I think it has a bit of a Star Wars vibe to it and it's all brass...samples. Stunning.
Can't stand Desplat and his endless strings that go in circles forever. How people could get excited over him doing Star Wars after his deadly dull Harry Potter crap is beyond me.
Giacchino returning to Medal Of Honor style is what we need
Can't stand Desplat and his endless strings that go in circles forever. How people could get excited over him doing Star Wars after his deadly dull Harry Potter crap is beyond me.
Giacchino returning to Medal Of Honor style is what we need
Exactly! Finally a voice of some reason. Thank you LeHah for this comment.
Can't stand Desplat and his endless strings that go in circles forever. How people could get excited over him doing Star Wars after his deadly dull Harry Potter crap is beyond me.
Giacchino returning to Medal Of Honor style is what we need
I see you have great perspective comparing a score at the end of the Harry Potter cycle, when it got it's darkest and looked the least like the tale it started from, to a score at the beginning of Giacchino's career (when he was on his own) and his most inspired.
I think I will bring back Jon Broxton's eloquent response about Desplat's action music from the other thread. I am sure this will bring nothing but bewilderment from many since they have not heard any of it except a couple of the big overblown American productions:
But to say Desplat knows how to write interesting action music, um, well, that's kinda... incorrect wink
No it's not. NID DE GUEPES, INNOCENT LIES, HOSTAGE, FIREWALL, LARGO WINCH, THE GOLDEN COMPASS, RISE OF THE GUARDIANS, two HARRY POTTER films, parts of THE GHOST WRITER, and freakin' GODZILLA show that Desplat composes some of the most interesting action music from any composer working today.
I don't especially like Desplat either, but one big plus for him is that he's generally an interesting composer who has a voice. I don't think he was right for HARRY POTTER (although several cues in DEATHLY HALLOWS 1 were delightful) and I don't believe he would have been a great fit for STAR WARS either...
...BUT that said, I would always, always, always rather spend time with an interesting failure than with something that plays it safe and is just kinda "okay."
I mostly dislike Giacchino, but he's been at his best when - once in a very occasional while - he takes on a rare film project that DOESN'T require him to deal with some preexisting themes or an established musical style.
Can't stand Desplat and his endless strings that go in circles forever. How people could get excited over him doing Star Wars after his deadly dull Harry Potter crap is beyond me.
Giacchino returning to Medal Of Honor style is what we need
I see you have great perspective comparing a score at the end of the Harry Potter cycle, when it got it's darkest and looked the least like the tale it started from, to a score at the beginning of Giacchino's career (when he was on his own) and his most inspired.
I think I will bring back Jon Broxton's eloquent response about Desplat's action music from the other thread. I am sure this will bring nothing but bewilderment from many since they have not heard any of it except a couple of the big overblown American productions:
But to say Desplat knows how to write interesting action music, um, well, that's kinda... incorrect wink
No it's not. NID DE GUEPES, INNOCENT LIES, HOSTAGE, FIREWALL, LARGO WINCH, THE GOLDEN COMPASS, RISE OF THE GUARDIANS, two HARRY POTTER films, parts of THE GHOST WRITER, and freakin' GODZILLA show that Desplat composes some of the most interesting action music from any composer working today.
Okay, that's me he was responding to, and I stand by my opinion of Desplat's action music. Most of it, to me, is awful, boring and forgettable. Now, Largo Winch, that is an enjoyable score. Sure. The main theme from The Ghost Writer. "Freakin' Godzilla" is freaking dull.
I'm glad some love his music. And I won't do the Sith thing and speak in absolutes, it's just my take on his music ! I guess Jon didn't notice my wink in the original post, yeah, Desplat is not to my taste for the most part, but my wink indicated a lighthearted ( but heartfelt ) jab.
Still, for me, his action music - snoozefest time And yeah, your mileage may vary, just as some folks eat up Elfman's fantasy related scores, while they allllll sound exactly the same to me. Give me Midnight Run or Dolores Claiborne. But I've not listened to his Batman in 20 years or so.
And as I said before, Giacchino's action music in the last few years leaves me cold ( except the marvelous Jupiter Ascending ).
Now, you can go all "Oh my, those poor unfortunates only sample Horrid Hollywood fare and know no better" all you want. Look down your nose to your heart's content
Rise Of The Guardians is way overrated and overblown. His Hostage score, though, pretty good.
Enjoy all the Desplat you want. But he is not associated with Star Wars today. Our nation's long nightmare is over.
Can't stand Desplat and his endless strings that go in circles forever. How people could get excited over him doing Star Wars after his deadly dull Harry Potter crap is beyond me.
Is it allowed to say that I like both composers, was looking forward to Desplat´s take on Star Wars, and still am happy that of all composers who could have replaced Desplat Michael Giacchino was chosen?
Is it allowed to say that I like both composers, was looking forward to Desplat´s take on Star Wars, and still am happy that of all composers who could have replaced Desplat Michael Giacchino was chosen?
I see you have great perspective comparing a score at the end of the Harry Potter cycle, when it got it's darkest and looked the least like the tale it started from, to a score at the beginning of Giacchino's career (when he was on his own) and his most inspired.
You're missing the point: I've never once liked Desplat. It's not just one of his scores, but his entire career I find bewildering in their dullness and popularity.
I see you have great perspective comparing a score at the end of the Harry Potter cycle, when it got it's darkest and looked the least like the tale it started from, to a score at the beginning of Giacchino's career (when he was on his own) and his most inspired.
You're missing the point: I've never once liked Desplat. It's not just one of his scores, but his entire career I find bewildering in their dullness and popularity.
Different strokes as they say. Truthfully here? I'm disappointed that Desplat is off the project because there was a certain excitement from me about what he would bring to the table. I pretty much know what Giacchino will which is precisely why he was hired as a replacement. Studios don't want to take chances with the hundreds of millions of dollars they've invested in a film. They are concerned with ROI. I understand why they did what they did. But, if we are talking in theory who would have been the most exciting composer to take this on, my money is still on Don Davis- pity that he's just not getting these projects any longer. He would have married Williams' sensibilities with his own stylistic acumen and I think the result would have been a delight for film score fans.
Giacchino will no doubt come up with something very successful and will be received very well by many soundtrack lovers. I will remain cautiously realistic (as opposed to optimistic) but I can't dis the guy when he hasn't written a note of music for it thus far. That would be close minded and unfair.
I agree with what you're saying Sampo in regard to the classic 11th hour scores that have been delivered down the years. Some truly magnificent film scores have come from re-scores and last minute replacements.
Last night I caught "Air Force One" on BBC America. Still a great action flick. Knowing that there's a lot of hope for an expanded score, I paid close attention to the music, which is practically wall-to-wall. What Jerry Goldsmith accomplished after replacing Randy Newman at the 11th hour was Herculean. I'd love to see an expansion.
I'm pretty happy with Giacchino replacing Desplat. But out of basic respect for Williams he needs to lay off the pun-filled track titles. Don't cheapen the franchise, bub.
Now, Largo Winch, that is an enjoyable score. Sure. The main theme from The Ghost Writer. "Freakin' Godzilla" is freaking dull. 
And yeah, your mileage may vary, just as some folks eat up Elfman's fantasy related scores, while they allllll sound exactly the same to me. Give me Midnight Run or Dolores Claiborne. But I've not listened to his Batman in 20 years or so. 
