MICJAEL GIACCHINO ROGUE ONE SOUNDTRACK MOVIE
If the score has a weakness, is that it's not enough thematically based, but franky all the rest (mood, orchestrations, ecc) I found on the spot.Īlso, there's quite some cleverness at work: I found incredibly appropriate, and even moving, that the only time when the Williams themes are in embryonal form during the movie, and stated in their full glory only in the end titles, because that's when "Star Wars" actually begins.įor me, the biggest achievement of this movie is that I will watch "a New Hope" forever with different eyes: now we know of all the human sacrifice that led into securing those plans that Princess Leia was smuggling. Great job from Giacchino, who IMHO has pulled the trick: creating a sound world different from the main canon, but strong in its own right, and still relatable. Very impressed and even moved by it.and by the score too. General Discussion: ROGUE ONE - A STAR WARS STORY (Michael Giacchino)įinally (I'm probably the last one, but it's a long story.) saw the movie last night. Right now, the only reason being cited for Desplat’s removal is that his schedule couldn’t accommodate the reshoots for Rogue One.FSM Board: ROGUE ONE - A STAR WARS STORY (Michael Giacchino) It’s unclear at this point if Desplat turned in a partial score for Rogue One that may or may not be replaced by Giacchino’s.
True, both composers have previously worked with material originally composed John Williams, but Giacchino seems like the safer, more traditional choice of the two. Giacchino, on the other hand, is probably most famous for creating the stirring, bring-you-to-the-edge-of-your-seat music for the new Star Trek films, the re-worked John Williams score for Jurassic World, and the bombastic sounds of the Incredibles. Desplat has produced dark music for Zero Dark Thirty and complex music for Wes Anderson films. For the most part, the scores in the Star Wars movies have always been a significant part of how people relate to the story.Īlexandre Desplat’s scoring of Godzilla and the final Harry Potter film proves he’s no stranger to creating music for epic tales, but his resume scans a little more artsy and intricate than his replacement, Michael Giacchino. The music in Star Wars tells as much of the story as the dialogue and the lightsabers.
MICJAEL GIACCHINO ROGUE ONE SOUNDTRACK PLUS
There’s a lot to unpack, but the bottom line is this: Williams created leitmotifs for individual characters (like the Jawas or the Ewoks) plus several motifs and themes for larger story arcs (like Luke becoming a Jedi, Han and Leia falling in love, Darth Vader marching around, etc.). John Williams’s wonderful music for the preexisting Star Wars movies is so integral to how most audiences understand the characters and motivations in the various storylines. Though Alexandre Desplat was originally hired to score the new Star Wars film, he’s now been replaced with Michael Giacchino, most famous for scoring the last three Star Trek films, including this summer’s Star Trek Beyond. Star Wars films have historically been defined by their iconic music, and a change of composers for the upcoming standalone Rogue One shows that the film may trade dark and gritty themes for sunnier, more heroic tunes.
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