What the fuck happened to the music? Did the lack of George Lucas stunt John Williams' creative spark or something?

What the fuck happened to the music? Did the lack of George Lucas stunt John Williams' creative spark or something?

The OT and prequels have amazing music and this just sounds like shit.

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youtube.com/watch?v=RPyucZFmhzM
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youtube.com/watch?v=o--bLEobBFY
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Everything was so soulless there was nothing to draw inspiration from.

It's marvelized just like everything else in this flick.

When you get older the Devil wants his part of the bargain. John Williams is a pedophile who is friends with Bill Clinton

John Williams isn't the same composer he was during the original six. The difference between the OT scores and PT scores are huge if you pay attention to the styles. The stuff he wrote for TFA is good music but not as charged as his earlier work, he's trying in his old age to do different types of musical writing.

>prequels
>amazing music
>amazing anything

I'd honestly argue that fairly often the prequels come out ahead of the OT in music imo.

John Williams can only really do so much. After the OT, he still had some creative magic (most notably, Home Alone). By the time he was called up for TFA, scoring SW must have been a draining experience. Not necessarily because it was a bad film, but mostly because SW themes have been expanded upon for nearly a decade after the release of TPM. How many times can you play the same melodies in different timbres, scales, tempos, etc?
tl;dr SW isn't magical anymore and will never be again.

Oh boy, there goes the thread. Good job asshole.

I agree, Williams's writing around the turn of the century was especially wonderful. The OT's was directly inspired by Korngold and all those Golden Age musical aesthetics, and of course the movies were defined by their big themes, but the music for the prequels felt like it had its own, unique sound which you'll never hear in any other film.
youtube.com/watch?v=RPyucZFmhzM

>Game of Thrones theme at 2:49

nigga wat

Music requires inspiration, and TFA inspires nothing.

I thought he did a fine job on TFA. Rey's theme is a little simplistic and not very memorable, but a lot of the non-thematic stuff is fine. The Rogue One score is a cringe-worthy mess compared to TFA.

youtube.com/watch?v=ixjd_GvNRu8

On par with the escape from the Asteroids in ESB.

I agree

>The Rogue One score is a cringe-worthy mess compared to TFA.
I think the worst was whenever one of Williams's themes was quoted and immediately butchered.
youtube.com/watch?v=lAttuezmWKs&t=4m
Just listen to that gay little crescendo at the end, after messing up the structure of the Imperial March.

Honestly, nothing is good anymore. I can't remember the last time I watched a new film, listened to a new album, or read a new book where I wasn't just desperately trying to convince myself it was better than 6/10.

Television is the only place I'm seeing real quality work, and it's rare there too. But The Young Pope was legitimately great, Twin Peaks: The Return was legitimately interesting. That's about it, for at least the last 5 years or so.

>Just listen to that gay little crescendo at the end, after messing up the structure of the Imperial March.
Seriously, both sound tracks were terrible. They just need to pass this off to Michael Gianfucko already so it can be bland an generic through and through.

Very true. Since the holy triumvirate of prime Williams, Barry and Goldsmith ended there have been very few memorable or even listenable scores. Some of the best stuff in the past decade has been the work Bear McCreary did for BSG. Newman's work on the last 2 Bond movies was good too.

what's there to argue? It's a fact user.

THIS.
Even Williams couldn't rescue this turd and I don't blame him. How could anyone be inspired by such a diarrhea of a flick is beyond me

youtube.com/watch?v=o--bLEobBFY
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How do you go from this to whatever was in TFA? I literally couldn't remember a tune from that movie to save my life

Please. There's more nuance and beauty in just the second side of ESB than the entire prequels scores combined.

I thought it was pretty solid actually. Pretty underrated.

He better not fucking let me down. Literally the only blockbuster I'm remotely looking forward to

Brian Tyler had some sort of dispute with Disney during Avengers 2 and it looks like he isn't interested/allowed to work with them again. Otherwise I think he'd be doing Star Wars instead of Giacchino, Christ that'd be awful.
I know you're not talking about film music specifically but this is entirely true for that field. Giacchino is probably the most popular orchestral composer in Hollywood and he is subpar at best. Meanwhile everyone else plugs in a synthesizer and has no clue how to write well for orchestra because demos have gotten so good, and are trying to ape Zimmer, who meanwhile has become a parody of himself.
There are still some good, honestly talented composers in Hollywood like the Newmans, Bruce Broughton, Williams, Beltrami (sometimes), and maybe a few others. Animation in particular has good music because there's more leeway to be expressive. But no one today is as prolific and talented as the three guys said, with Goldsmith in particular churning out awesome shit seemingly every weekend.
If anyone's looking for great modern orchestral music, at this point just turn to Japan. They're in love with it, and I'm trying to find as many new names from there as I can because there's seemingly no shortage of great music being produced from trained and talented composers.

Most everything cinematic now is just some variation on Zimmer's "chicka chicka chicka chicka BRRRRRRRRMMMM".

Unironically this. It's the only one that has potential. Keyword being potential.

Any suggestions from japan?

The best music is in ESB, but the prequel music is great too.

2 reasons the new films have sucky music:
this.
And secondly if I'm not mistaken they got another composer to basically write a lot of it.

What would you say is William's most recent great music? Williams probably wasn't inspired because they didn't give him much to go on, because they didn't know Rey's background, etc, themselves. Who's Rey? Um, a desert orphan who's gentle but powerful. Well, you get that in her theme, I guess. Kylo? A brooding bad guy...that comes across in his theme, too.

fucking 6 captchas.

I don't really know as much as I wish I did, but Michiru Oshima is a great place to start with. She's got decades of music under her belt now. This is something she recently did that I enjoy a lot.
youtube.com/watch?v=N80R-ogEiBg
This was written for some tower defense phone app. That is how wide the berth is between musical appreciation in the west and in Japan. A theme of this prominence is unthinkable for a blockbuster in America, let alone a shitty game.
Another one I like is Wataru Hokoyama, who only has one big title under his belt as far as I know.
youtube.com/watch?v=xktwIBrwkAo