Sure, but the thing is a lot of people criticised the score’s reliance on nostalgia rather than genuine emotion… like using the main theme usually reserved for the crawl when the civilian fleet shows up doesn’t elicit emotion, but rather an eye roll.
Hey, don’t speak for me, that moment was great. Whether or not a musical theme “works” in context is entirely subjective, and certainly not the fault of the composer.
The previous eight films had really impactful scores, and some of the new pieces of music made for TROS are great… but the way they’re used in the film (or rather, the way they’re not used in the film) is the issue.
That I can agree with, although it’s mainly the fault of the editor. There are so many great tracks on the OST for the new movie that were partially unused in the movie, being tracked over with soundbites from the previous movies. That’s what gave the soundtrack it’s overly nostalgic feel.
I didn’t speak for you, I spoke for myself and mentioned how a lot of other people agreed. If you like it, you like it.
But you made it sound like almost everyone thinks the music in that scene was dumb, when a lot of people (including me) really liked it. Of course you can speak for yourself, but don’t assume your opinions represent the majority.
It wasn’t the editor, the editor doesn’t move the score around. An editor will work with a temp score, and then the composer will write music for the scenes. The director may have things changed, but it would still go back to the composer (or, more likely, someone on Williams’ team) to be finalised and then mixed at Skysound. Editors don’t deal with final audio.
Sorry, that’s what I meant. A lot of the music was shuffled around in post, so I referred to the editor directly, but it is a multi-step process.