The ‘Rogue One’ Easter Egg You Might Have Missed

(SPOILERS OF COURSE)

If you’ve seen the new Star Wars spin-off Rogue One: A Star Wars Story you know the film has some pretty deep cuts as far as easter eggs go. There was one in particular that made me feel like I was ten years old again. In the climactic space battle over Scarif, Michael Giachinno laid a very familiar cue into the track titled “The Imperial Suite” that sounds extremely similar to the main title from the Nintendo 64 game Rogue Squadron.

Two Snippets From ‘Rogue One’ Score Hit The Web

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Two snippets from Michael Giacchino’s score to the upcoming Rogue One: A Star Wars Story can be heard in a new video from Entertainment Weekly taking fans behind the scenes at a scoring session from the Star Wars spin-off. Giacchino is the first ever composer to provide music for a Star Wars film who isn’t legendary composer John Williams. Unfortunately, you can tell. But no one should ever expect anyone to measure up to the compositions by Williams. He has provided the world with some of the greatest symphonic music of all time.

Personally, I have never been a fan of  Giacchino’s work as I find it doesn’t usually add up to anything. That being said, the snippets heard in the video from EW aren’t bad. But be the judge for yourself.

Head on over to EW to watch the video.

The tracklist for the soundtrack has also been revealed.

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  1. He’s Here For Us (From “Rogue One: A Star Wars Story”/Score)
  2. A Long Ride Ahead (From “Rogue One: A Star Wars Story”/Score)
  3. Wobani Imperial Labor Camp (From “Rogue One: A Star Wars Story”/Score)
  4. Trust Goes Both Ways (From “Rogue One: A Star Wars Story”/Score)
  5. When Has Become Now (From “Rogue One: A Star Wars Story”/Score)
  6. Jedha Arrival (From “Rogue One: A Star Wars Story”/Score)
  7. Jedha City Ambush (From “Rogue One: A Star Wars Story”/Score)
  8. Star-Dust (From “Rogue One: A Star Wars Story”/Score)
  9. Confrontation on Eadu (From “Rogue One: A Star Wars Story”/Score)
  10. Krennic’s Aspirations (From “Rogue One: A Star Wars Story”/Score)
  11. Rebellions Are Built on Hope (From “Rogue One: A Star Wars Story”/Score)
  12. Rogue One (From “Rogue One: A Star Wars Story”/Score)
  13. Cargo Shuttle SW-0608 (From “Rogue One: A Star Wars Story”/Score)
  14. Scrambling the Rebel Fleet (From “Rogue One: A Star Wars Story”/Score)
  15. AT-ACT Assault (From “Rogue One: A Star Wars Story”/Score)
  16. The Master Switch (From “Rogue One: A Star Wars Story”/Score)
  17. Your Father Would Be Proud (From “Rogue One: A Star Wars Story”/Score)
  18. Hope (From “Rogue One: A Star Wars Story”/Score)
  19. Jyn Erso & Hope Suite (From “Rogue One: A Star Wars Story”/Score)
  20. The Imperial Suite (From “Rogue One: A Star Wars Story”/Score)
  21. Guardians of the Whills Suite (From “Rogue One: A Star Wars Story”/Score)

Tracklist for Michael Giacchino’s ‘Rogue One’ Score Revealed

The tracklist for the soundtrack to the upcoming Star Wars spin-off has hit the web. The score was composed by Michael Giacchino after he was added last minute to the project upon the exit of composer Alexandre Desplat due to scheduling conflicts. Giacchino, a long time Star Wars fan, will be the first ever composer to score a Star Wars film other than John Williams.

The soundtrack released for Episode I: The Phantom Menace is notorious for revealing the death of Qui-Gon Jinn via the track title “Qui-Gon’s Noble End”, but don’t worry, the tracklist is descriptive, however. It does not contain any spoilers.

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  1. He’s Here For Us (From “Rogue One: A Star Wars Story”/Score)
  2. A Long Ride Ahead (From “Rogue One: A Star Wars Story”/Score)
  3. Wobani Imperial Labor Camp (From “Rogue One: A Star Wars Story”/Score)
  4. Trust Goes Both Ways (From “Rogue One: A Star Wars Story”/Score)
  5. When Has Become Now (From “Rogue One: A Star Wars Story”/Score)
  6. Jedha Arrival (From “Rogue One: A Star Wars Story”/Score)
  7. Jedha City Ambush (From “Rogue One: A Star Wars Story”/Score)
  8. Star-Dust (From “Rogue One: A Star Wars Story”/Score)
  9. Confrontation on Eadu (From “Rogue One: A Star Wars Story”/Score)
  10. Krennic’s Aspirations (From “Rogue One: A Star Wars Story”/Score)
  11. Rebellions Are Built on Hope (From “Rogue One: A Star Wars Story”/Score)
  12. Rogue One (From “Rogue One: A Star Wars Story”/Score)
  13. Cargo Shuttle SW-0608 (From “Rogue One: A Star Wars Story”/Score)
  14. Scrambling the Rebel Fleet (From “Rogue One: A Star Wars Story”/Score)
  15. AT-ACT Assault (From “Rogue One: A Star Wars Story”/Score)
  16. The Master Switch (From “Rogue One: A Star Wars Story”/Score)
  17. Your Father Would Be Proud (From “Rogue One: A Star Wars Story”/Score)
  18. Hope (From “Rogue One: A Star Wars Story”/Score)
  19. Jyn Erso & Hope Suite (From “Rogue One: A Star Wars Story”/Score)
  20. The Imperial Suite (From “Rogue One: A Star Wars Story”/Score)
  21. Guardians of the Whills Suite (From “Rogue One: A Star Wars Story”/Score)

What’s remarkable about the tracklist is the final track titled “Guardians of the Whills”. For those who don’t know, George Lucas had originally written a journal that referenced the Jedi known as The Journal of the Whills. The Journal featured the first ever mention of Jedi Master Mace Windu. It was officially brought into canon in the novelization of Star Wars Episode VII: The Force Awakens.

The novel opened with a verse from the journal containing a poem about the light and dark sides of the force:

First comes the day
Then comes the night.
After the darkness
Shines through the light.
The difference, they say,
Is only made right
By the resolving of gray
Through refined Jedi sight.
―Journal of the Whills, 7:477

(via SWNN)

‘Rogue One’ Soundtrack Cover Revealed

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The cover for the soundtrack of the upcoming Star Wars spin-off Rogue One: A Star Wars Story has hit the web. The score for Rogue One has been composed by Academy Award-winner Michael Giacchino with brief moments featuring the original themes written by legendary composer John Williams. The soundtrack which will officially release on December 16th along with the film is now available for pre-order on Amazon. If you can’t wait to hear it like me, you can check out the two clips from the below which will give you a small taste of what to expect. Hint: it’s Star Wars music.

Produced by Lucasfilm, the film stars Felicity Jones, Diego Luna, Ben Mendelsohn, Mads Mikkelson, Donnie Yen, Alan Tudyk, Jiang Wen and Forest Whitaker. Written by Chris Weitz and Tony Gilroy. Directed by Gareth Edwards.

From Lucasfilm comes the first of the Star Wars standalone films, “Rogue One: A Star Wars Story,” an all-new epic adventure. In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves. In theaters December 2016.

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SOURCESWNN

Michael Giacchino On His Last Minute Addition to ‘Rogue One’

The music of Star Wars is some of the greatest and most iconic movie music in the history of cinema. The score itself is composed by the legend John Williams, one of the greatest composers of all time. When Lucasfilm announced a new trilogy continuing the Skywalker saga, as well as standalone films, John Williams assured Star Wars fans he would indeed be returning to the franchise, but only for the Skywalker Saga. Williams understands the story behind Star Wars more than you know. If you haven’t listened to the Star Wars Oxygen podcast on Rebel Force Radio you need to do yourself a favor and get on that. Voice actor David W. Collins takes you on a musical journey as he elegantly deconstructs Williams’ composition in a scholarly fashion. Collins provides insight that enriches the Star Wars experience, sending you back to both trilogies with a new set of ears, allowing you to emerge from the experience with a deeper understanding of the saga.

Finding a new composer to fill the shoes of Williams is an impossible task. We Star Wars fans have to accept that no one will ever be able to compare to Williams’ scores for the classic and prequel trilogies. It’s just not possible. But that doesn’t mean someone else can’t come in and deliver an incredible score for a new generation.

When it was first announced that Alexandre Desplat would be providing the score for the upcoming Star Wars spin-off Rogue One: A Star Wars Story, I was elated with relief. Not only did Desplat deliver a heart-pounding military-esque score with Zero Dark Thirty, he also crafted an extraordinary piece of work with the heart-soaring score to Ang Lee’s Lust, Caution. If you aren’t familiar with Lust, Caution or the score, I highly recommend watching the film. Or at the very least give a listen to “Wong Chia Chi’s theme”. Only then will you truly understand what a loss it was when Desplat exited Rogue One due to scheduling conflicts because of the reshoots for the film.

Desplat’s exit doesn’t add up for me. Being that all major blockbusters have reshoots built into their productions schedule from the get go, Desplat’s schedule should have already had that factored in. Plus who the hell doesn’t clear their schedule for Star Wars? I understand having commitments but this is the holy grail of Hollywood we’re talking about.

Then came the news that JJ Abrams’ go-to composer Michael Giacchino would be coming on board. Many fans rejoiced but unfortunately I was not one of them. Besides his theme for Super 8, Giacchino’s music has never resonated with me. I’m no musician, but his music just doesn’t seem to amount to anything. Especially not in the way Williams’ work does.

Considering Desplat’s exit was last minute, it left little time for Giacchino to write the score for Rogue One. When asked by Entertainment Weekly about his surprise last-minute addition to the project, Giacchino revealed had only a mere four and a half weeks to think up the most important score of the year:

“Yes, literally the last thing I expected I’d be doing this month would be this. I mean we were literally planning a vacation when I got the call asking if I could come and talk to them about it. At the time, it left me with literally four and a half weeks to write. So it was one of those decisions where you’re like, okay, well… And I was talking to my brother about it. He goes, “Oh, come on. You’ve been writing this score since you were 10! You can do this.”

Giacchino’s brother’s words are encouraging. But four weeks doesn’t bode well for any project’s score, especially not the first Star Wars standalone feature. Giacchino added that he didn’t think it would be enough time but in the face of daunting pressure he managed to focus and persevere against the challenge:

“It’s not really. But you work with the time you have. And I’m not a person that has a bunch of other composers working for me, so it’s just me sitting up here in this room doing it. But I’m pretty good at focusing and getting down to business. I saw the film and I really, really, really enjoyed it, so there was no lack of ideas or inspiration, that’s for sure. The only worry the whole time for me was just the schedule. But I mapped it out and I thought, okay, if I do this much a day and I get this done that will leave me time to go back and improve if I need to before having to orchestrate.”

The one thing that has me keeping an open mind is that sometimes an artist’s best work comes from when they don’t have time to second guess themselves. Giacchino’s score is going to come from the heart and that’s exactly what a Star Wars film needs.

Giacchino was asked whether or not he would be implementing past themes composed by Williams to which the composer answered:

“I think absolutely there are a couple of times when you want to hit upon something that was from the past. For me, even as a fan, it was about going, “Oh, this particular idea would be great if we did it here. I would want to see that if I were watching a Star Wars movie.” As a kid who grew up with John’s music and who was catapulted in this direction because of what he did, I had a very specific idea of what I wanted to use and how I wanted to use it. That being said, I’d say the score is 95 percent original but with little moments [of Williams’ classic score] here or there to accent. If I were sitting in that seat and I heard that, it would totally raise the hairs on my neck.”

Everything Giacchino is saying sounds very promising. There’s been a lot of negative buzz surrounding Rogue One due to Tony Gilroy taking over for director Garreth Edwards on the reshoots but that news did nothing to damper my excitement for the film. The only thing that has me concerned in the score. But everything Giacchino is saying has gotten me excited to hear his music for the film.

To read the full interview including Giacchino’s impressions of the film head on over to EW.

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SOURCE: EW

Michael Giacchino Confirmed for ‘Spider-Man: Homecoming’

After a Reddit moderater started the rumor that Michael Giacchino would be scoring the upcoming Spider-Man: Homecoming, the composer himself took to twitter to confirm that he will indeed be scoring the web-slingers first feature in the MCU.

 

After a Reddit moderater started the rumor that Michael Giacchino would be scoring the upcoming Spider-Man: Homecoming, the composer himself took to twitter to confirm that he will indeed be scoring the web-slingers first feature in the MCU.

Marvel films have for the most part suffered when it comes to the music featuring some pretty forgettable scores except for Alan Silvestri’s fantastic theme composed for The Avengers. With Giacchino now in the Marvel sandbox, I was hoping he would help to elevate things to the next level, however. That was not the case for me with Doctor Strange. I recognize the talent is an oscar winning composer for 2009’s Up, but I don’t understand all the love for the guy. Other than his theme for JJ Abrams‘ rebooted Star Trek, as well as his main theme for Super 8, I have never once enjoyed his music. I find his music to be generic, uninspiring, and completely forgettable. Which is exactly the case that was Doctor Strange for me  in one ear and out the other. His music doesn’t ever manage to amount to anything. Maybe I’m just salty for the fact that talented composers such as Bear McCreary are still stuck in the trenches cranking out scores for television.

Giacchino is on a roll, though, as Doctor Strange was just released this weekend and he is currently composing for the score for Rogue One: A Star Wars Story set to release next month on December 16th.

Spider-Man: Homecoming hits theaters July 7, 2017.

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