Category Archives: Film

The television equivalent of the novel

Wonderland by Steven Johnson

Art is the aftershock of technological plates shifting. Sometimes the aftershock is slow in arriving. It took the novel about three hundred years to evolve into its modern form after the invention of the printing press. The television equivalent of the novel—the complex serialized drama of The Wire or Breaking Bad—took as long as seventy years to develop, depending on where you date its origins.

I’ve often thought about today’s serialized, bingeable, Golden Age of Television as the visual equivalent of the novel. Rich worlds. Deep investment in characters. Time to marinate with relationships and stakes.

Before the Golden Age of Television, I was captivated by trilogies — hell, I still am — namely Peter Jackson’s The Lord of the Rings (Extended Editions!) I hadn’t read the books, but I felt an attachment to the characters. Its cohesive production, year-over-year release schedule, and follow-through of Tolkien’s parallel stories and stakes built a world I was able to immerse myself in.

Peter Jackson’s Lord of the Rings runs 9 hours in total, the extended editions running 11 hours — not dissimilar from a Golden Age television series.

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Edwards: ‘The wipes are the cheesiest thing in the world’

Regarding differences between Star Wars story and saga films, I failed to notice the omission of the iconic Star Wars ‘wipe’ in Rogue One.

Rogue One director Gareth Edwards, in an interview with Empire:

4. The famous ‘wipes’ do exist in other cuts

We did have versions of the film [with] wipes, and then it just felt like we were doing it because we could. The wipes are the cheesiest thing in the world. The only time you can ever do it and not be cheesy’s in Star Wars. There’s part of me that wanted the wipes and things like that, but the film is supposed to be different. We were given a license by the studio to be unique from the others, and we just took that license and ran with it as an excuse to try and be a bit more out there.

While I won’t disagree with Edwards, I think “cheesy” is the wrong word. Whimsical, perhaps?

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Rogue One: The Sound of a Story

Michael Giacchino (Lost, Star Trek, Up) is the first Star Wars film composer to step foot in John Williams’ shadow.

Giacchino in an interview with Anthony Breznican, Entertainment Weekly:

Entertainment Weekly: So you were a late addition to the Rogue One crew…

Michael Giacchino: 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, the long time J.J. Abrams collaborator, had replaced Alexandre Desplat (Harry Potter and the Deathly Hallows, The Grand Budapest Hotel).

EW: What inspirations will we hear in the music?

MG: It does borrow from traditions that both John [Williams] and George Lucas borrowed from when they made the original Star Wars, you know. George was looking at Flash Gordon, the old serials, and John was looking at [Gustav] Holst and different composers along the way to get a baseline for what he wanted to communicate. There is a wonderful musical language that John put together for the original films. I wanted to honor that vernacular but still do something new with it, something that was still me in a way.

My great friend Scott Kawai often makes the case that Michael Giacchino is the next John Williams, with a style heavy of colorful and memorable themes. Without reading too much about Rogue One, I assumed he had been the first choice for the film. The revelation that Desplat was the first choice was a shock to me. Desplat’s music is certainly incredible with an air of moody atmosphere, but does not strike me as “Star Wars”. I’d kill to hear his take on Rogue One.

There are inclinings of the saga’s legacy in Giacchino’s score— curious woodwinds and dancing percussion at the opening of “He’s Here For Us”— but there is a drive in the timber that strikes less fantastic and more brooding. It is immediately clear that the “stories” have room for exploration and departure from the “saga”. There are ties back to the episodic series, but at their core, Giacchino’s pieces are something new and derivative; they are always less memorable, iconic, or sure of themselves. Nonetheless, there are many times when the presence of brass brightens and lifts what is ultimately a grittier film to something more familiar and nostalgic— something more reminiscent of Star Wars.

As for the touches of William’s throughout Giacchino’s score, The Force Theme is heard when Bail Organa enters the frame. Likewise, The Imperial March is heard during Darth Vader’s appearance. During the film’s finale, both themes are heard as two iconic characters make stunning (re-)appearances, which can be heard in “Hope” on the film’s soundtrack.

However, the one that struck me the most was the piece backing Rogue One‘s title card, the finale of “A Long Ride Ahead” on the soundtrack. Briefly teasing Williams’ Main Title sequence, it kicks off the iconic C-G half-notes but branches into something new and less confident.

Kathleen Kennedy says they’re trying to break from some of the traditional Star Wars tropes, like doing away with the opening crawl. Sounds like that applies to the music as well?

Kathy said that to me, too — “No one is asking you to do what was done before.” I feel it’s important to be me, but in this universe, we’re working within. That was sort of the challenge. It was never sort of, “Oh, you have to do this, this, and this.” It was always just: “Here are the emotions that we need to cover.”

As a story outside of the saga, Giacchino’s freedom is extremely evident, for better or worse. My question is whether or not Giacchino’s score will be the audible language of all Star Wars stories to come, or just specifically Rogue One? Even more specifically, is Rogue One‘s title card sequence strictly Rogue One‘s title theme, or has Giacchino defined the theme for all Star Wars stories?

The other changes—the omission of the opening crawl, lower-left location queues, a lone title card— are so heavy-handed that it leads me to assume the themes Giacchino has established for Rogue One will permeate future Star Wars stories.

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