By far the most disappointing is Snoke's theme
. Which just pilfers The Tragedy of Darth Plagueis the Wise
from ROTS despite the fact (if Lucasfilm is to believed) they're entirely unrelated characters.
Yeah, both Rey's theme and Kylo Ren Arrives at the Battle have some okay moments to them, but for the most part they aren't really doing anything for me.
Then again, I'm comparing them to stuff like Into the Trap and the Trade Federation March in my head, so that's probably not exactly fair. Eh. I've been spoiled.
but HOW?TFA's score goes for a quieter, more mysterious tone that makes me wish the movie itself followed suit more, rather than following the framework of ANH so closely. Rey's theme in particular has a piping, curious quality to it, putting me in mind of forest sprites and Princess Mononoke. Compare that with the more wistful sounds and swelling strings of Binary Sunset, and I just think it could've been interesting to emphasize that while Luke was a farmboy and in a way a very ordinary everyman sort of character, Rey grew up on her own, an orphan and a scavenger. She should be more of an outsider, an eccentric, but I don't feel like we get to see as much of that as I'd have liked.
There's also the thing where Abrams gave John Williams virtually no time to work on it unlike the rest of the films.
PSN ID: FateSeraph | Switch friendcode: SW-0145-8835-0610 Congratulations! She/TheyI got the impression that what they were doing was deemphasizing the score and musical direction, so that it was accompaniment that was subservient to the plot/visuals rather than sharing the viewer's attention.
That's the norm for modern movies, especially action movies, where the modern idea is that the music should be there but the audience shouldn't focus on it or let it slow down the experience in any way.
But it's the opposite of how music works in Star Wars, where the leitmotifs and themes are as prominent in directing the scenes as the visuals - sometimes moreso. So what we got was something standard in a movie where people expect exceptional. And, quite rightly, people disliked that.
I think Michael Giacchino's Rogue One soundtrack felt more like classic Star Wars music than The Force Awakens did. Krennic's leitmotif fit right in alongside all the classic motifs, even if it didn't stick in my head quite as well. And apparently Giacchino was a last-minute replacement composer, so he was working under a similar time crunch.
Rogue One's soundtrack used pretty much the same tones and instruments that the original trilogy did. Just listening to the scrambling of the rebel fleet
made it feel like a cut song from ANH.
VII really didn't do anything like it, many of the themes sounded more out of the prequel trilogy than anything. compare the march of the resistance
.
edited 19th Jun '17 1:27:13 PM by Memers
I liked the score though, some of it reminded me of William's Harry Potter scores, which I grew up learning to play. It could have been more bombastic, but I know a lot of people were expecting something like the score for the prequel trilogy, which wouldn't have fit at all.
Oh God help
I still maintain that this is the coolest villain in the Sequel Trilogy.
I love these comments:
This guy might be to most honorable guy in the entire franchise.
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UGH what?
PSN ID: FateSeraph | Switch friendcode: SW-0145-8835-0610 Congratulations! She/They