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idir_hh

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26-Jun-2019
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29-Jun-2025
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Post
#1572996
Topic
'The Mandalorian & Grogu' (Upcoming Movie) - General Discussion Thread
Time

I think this is their logical best bet for a successful film debut after a long hiatus. Hopefully they will rely more on practical affects and traditional film making over the volume this time around (fingers crossed they film in Pinewood). I see this story heavily involving the New Republic/ Emperial Remnant putting into place the pieces for Filoni’s film, possibly even re introducing the OT cast.

Post
#1571615
Topic
The Rise of Skywalker: Ascendant (Released)
Time

TheDimitrios said:

Another shot. Tried to make things more blatant. Also tried to work in a more clear separation between the Dyad and the connection Snoke initially made.

“Rey… wherever you are… you are hard to find.”

“You are hard to get rid of.”

“I pushed you in the desert because I needed to see it… I needed you to see it… who you are. I know the darkness that lives in you, Rey…”

“You’re lying.”

“You were right… your parents were no one. But they did not start out as junk traders.”

“Don’t!”

“As loyal subjects of the Sith, they were first assigned with raising you…"

“I don’t want this!”

“…and then killing you."

“No!”

“But they’d grown to care for you, so they hid you from Palpatine.”

(Rey sees the vision of her parents and her abandonment.)
“Rey, my love… be brave.”
“You’ll be safe here… I promise.”
“Come back! Nooo!”

“They paid for your protection… in more than one way.”

“Stop talking.”

“Rey… I learned what happened to them.”

(Cutaway to heroes capture)

“Your parents sought Luke’s protection, searching the Jakku desert for his allies… but Palpatine’s assassins tracked them down. They resisted fiercely, only to be forgotten by the sands of time."

(Rey sees her parents get killed.)

“So that’s where you are.”

“You know why the Emperor’s always wanted you dead. I’ll come tell you.”

…etc

“Why did the Emperor come for me? Why did he want to kill a child? Tell me.”

“Because you were one of many experiments, Rey… Modeled after the Emperor’s genetic code, meant to host his lingering essence… Which chose another vessel,…”

“To them, you are nothing more than a leftover liability. But what Palpatine cannot see is that we’ve become a Dyad in the Force, linked by Snoke, but grown beyond that. We can end him and the Sith, and create something new, together…”

(Removes his helmet)

“You know what you need to do. You know.”

“I do.”

Very nice…it fits really well with pre TROS continuity, making the Palpatine connection much easier to swallow.

Post
#1562751
Topic
The New Republic Movie Series EPIV: A Threat From Beyond (An Ahsoka Series Edit) [RELEASED]
Time

What do you think of leaving out the scenes that have ashoka fighting her way back to paridea, that way you keep the suspense and anticipation of her return, maybe only keeping the shot of her calling to Sabine with the force as confirmation that she has arrived. So you would cut from her jumping to light speed until she comes to save the day pretty much. Which shaves a good bit for faster pacing.

Post
#1562042
Topic
Asokha Radical Redux Ideas thread
Time

For those struggling to keep their edits at the 2h30 range I don’t see why not cut the rather inconsequential and redundant scenes in which Ashoka makes her way to Paridia. I suggest leaving her after the " long time ago " scene with Huyang only to return to her either at round 2 with Baylan or Ashoka saving the crew from Shin. That way you cut a bunch of fluff and create suspense and anticipation.

Post
#1554307
Topic
<strong>Ahsoka</strong> (live action series) - general discussion thread
Time

I love the subtle messaging in this episode. Filoni really shows respect to the fans by not spoon feeding everything to them - leaving it open to interpretation.

“Live or die”

I see this as a sort of call to defiance against the absurd , ala Albert Camus.

Live life to the fullest regardless of the tragedies, the apparent meaninglessness, the darkness and cyclical nature of life.

Live in defiance.

Choose life no matter what.

Live, or die…

Post
#1551207
Topic
Unusual <strong>Sequel Trilogy</strong> Radical Redux Ideas Thread
Time

https://youtu.be/dAqdjk41AkI?list=TLPQMjAwODIwMjNMfxFt8qTo_g
This one change would really elevate TROS and the trilogy as a whole.

When Rey first enters upon Sidious’ lair, she is not greeted with a zombie like Sith lord in a dark and hellish throne room, rather, she enters upon an ornately beautiful garden spectacle with a friendly looking Sheev Palpatine sitting on a bench (whether it is a vision or deception is beside the point - think Rebels S4) harkening back to Palpatine’s seductions of Anakin Skywalker. He plays on her family heart strings, and insecurities - alas for her to finally succumb to the dark side of the force. She is the one that unleashes the lightning on the fleet, until of course Ben Solo returns. A knight of the light - ultimately sacrificing himself in a demonstration of selflessness - in the spirit of his uncle before him. Rey is awoken by this heroic act and is inspired by the phantom of Anakin Skywalker to bring balance to the force - destroying
the Sith once and for all…

Post
#1488394
Topic
The Kenobi <s>Movie</s> Show (Spoilers)
Time

Another Redditor has an interesting theory on what happened behind of the scenes in relation to the underwhelming soundtrack.

Brer_Raptor
The music by Natalie Holt is very underwhelming, to put it mildly. If any Disney+ show deserved to be scored in the classic John Williams Star Wars style, it was this one. This show’s importance to the overall saga story, its place in the timeline (sandwiched halfway between ROTS and ANH), the long-awaited return of multiple legacy character actors (Hayden, Ewan, Jimmy Smitts, Joel Edgerton, etc.), means that this show is essentially Star Wars Episode 3.5, and deserved to be treated as such.

The absence so far of any legacy themes (Imperial March, Force theme, Leia’s theme, Qui-Gon’s theme, Mustafar theme, Battle of the Heroes) is pretty unforgivable.

And I say all this not as some sort of John Williams purist (though I am a big fan), but as someone who greatly enjoys Ludwig Goransson’s & Joseph Shirley’s work on Mando and BOBF; the Kiner family’s work on TCW, Rebels, Bad Batch (and I’m excited for Tales of the Jedi!); the various composers’ work on Star Wars Visions; etc. And I am also very much looking forward to Nicholas Britell’s Andor. So it’s not like I have a problem with other styles and sounds in Star Wars music, in general.

It’s worth noting though that even those other shows, which obviously do not strictly adhere to the John Williams style, still manage to reference the classic themes when appropriate. It blows my mind that such a major project as this has been released with such a lackluster and disjointed score.

It’s also just sad when you consider that Gordy Haab’s upcoming Jedi Survivor score is inevitably going to sound more “Star-Wars-y” than the score for what is basically Episode 3.5. What a massive missed opportunity this show has been, musically.

EDIT: It’s also worth mentioning that it appears there might have been some major behind-the-scenes drama with this score:

For those who didn’t notice/weren’t aware, they waited far longer than usual to announce Natalie Holt as the composer for this show. (They even announced Britell for Andor, before her.) Also, Holt has stated that she originally wrote a theme for Obi-Wan. At the last minute, John Williams was brought on board to write a theme in just two weeks, and her theme was replaced.

Not only that, but as the end credits have revealed, John Williams’ longtime arranger/orchestrator/collaborator William Ross (one of the guys that many fans thought would be perfect to score this show; he adapted and conducted the entire Harry Potter 2 score because JW was too busy, and he also conducted Williams’ Galaxy’s Edge theme and arranged the other music for the park) was brought on board to adapt JW’s new theme. So every time you hear the new Obi-Wan theme in the show and it sounds “Star-Wars-y,” that’s not Natalie Holt; that’s actually Williams’ guy Bill Ross.

Holt apparently hardly got to touch the new Williams theme, and she also confirmed that she in fact did not collaborate with him at all. Contrary to the media spin, this was not like the Solo situation with Williams and Powell. Furthermore, Bill Ross evidently did so much last-minute work on the show that he didn’t simply get credited along with the “additional music” guys later on in the credits; he got his own standalone listing right after Holt’s name. The credits make it seem like all he did was adapt the Obi-Wan theme, but this is likely just the “official” story, considering the fact that he evidently also scored the Obi-Wan/Vader duel in the third episode (again, one of the only “Star-Wars-y” moments). Think about it: why wouldn’t Holt, the main composer of the show, get to score such a major scene?

So here’s my best guess at what happened: Holt gets hired, writes and records much if not all of her score. Either test audiences or someone high up is not happy, and realizes they’ve got a problem on their hands. They don’t want to announce her and then have to later announce that she’s been replaced (partly because of the optics in 2022 of potentially replacing the first female Star Wars composer with an old white male), so they hold off and see what can be done about it.

Kathleen Kennedy reaches out to John Williams and asks if he can do it, but he responds “I only want to write a theme for Benny” (lol, part of me really does wonder if that was the context of that quote, but they spun it for their own PR purposes), but he suggests William Ross to help “fix” the score. JW writes his Obi-Wan theme in two weeks, effectively replacing Holt’s Obi-Wan theme. Ross takes JW’s theme and starts arranging and adapting it for various scenes in the show. He also tackles bigger moments like the Vader/Obi-Wan duel (and likely, more scenes in future episodes), that the higher ups feel absolutely do not work with Holt’s score.

Eventually, they do decide to announce Holt as the composer (likely because there’s simply not enough time for Ross to replace virtually everything), but Ross still gets a high-level listing in the end credits, purportedly just for adapting the Obi-Wan theme… even though in truth he obviously did much more than just that, and ended up replacing multiple other big cues that were originally written by Holt/her team.

What do you think? I don’t think it’s an unreasonable theory, given what we know.