Some Highlights from “The Music of Rogue One” Panel at SWCO17 (aka the panel that blew my mind)
So since I can’t find any filmed version of the “Music of Rogue One” panel with David W. Collins I’ll post some of the highlights here. I’m a music theory nerd myself but I was surrounded by people who have never paid attention to music analysis and were still moved to tears so I encourage everyone to check this out (and watch the panel please if it’s ever made available.)
the Panel began with Collins discussing the legacy of John Williams and the Star Wars main theme specifically. He discussed how it was originally meant to be Luke Skywalker’s theme, and how that interpretation can still hold true considering Star Wars is the Skywalker Saga
The coolest thing pointed out re the main theme is thatit’s musical construction mirrors the structure of the Hero’s Journey, the monomyth structure that all of Star Wars revolves around. It rises suddenly with the call to adventure, then builds with the journey, drops during the abyss, is reborn with another musical rise, then returns to the beginning. Collins emphasized that Williams is without a doubt a musical genius and that Michael Giacchino had a big challenge in making a score that lived up to William’s legacy while standing on it’s own. This was a challenge he more than met, as this panel made clear.
Now moving on to Rogue One, Collin’s discussed the title theme “Hope.” This theme is clearly heard over the title of the film, during Jyn’s big speech to the Rebellion, and throughout the film.
Collins pointed out that, like the main Star Wars theme, “Hope” echos the structure of the film itself. There are heroic major key moments in the theme, but it ends in a melancholy way that almost sounds unfinished. It represents the sacrifice at the center of the film. This is a story of incredible heroism that merely paves the way for others to finish the journey.
Collins moved on to discuss the musical themes for each character in Rogue One, with a lot of focus on Jyn’s theme. Jyn’s theme is the most frequently heard piece along with “Hope” in the film. In fact, we hear it three times in the film’s prologue alone.
The fascinating thing Collins pointed out is Giacchino’s use of Dies Iraethroughout the score. Dies Irae, or Day of Wrath, is the medieval hym describing the end of the world. It is sung during funeral masses and musically is quoted widely to represent death
EVERY CHARACTER THEME IN ROGUE ONE IS STRUCTURED AROUND DIES IRAE. Jyn, Chirrut, Baze, even Krennic, ALL OF THEM
Giacchino was signaling from the beginning that this is a story about death. He wrote the sacrifice of these characters right into their themes.
A notable use of Dies Irae beyond character themes is it’s repetition as Cassian and Jyn begin to climb the tower in the archive during the climax. The first two notes of Dies Irae are repeated as they do so. When Krennic walks down the hallway with his Death Troopers, all three notes play (death literally chasing them). And when Jyn almost drops, than catches the data tapes, Dies Irae is replaced by “Hope”
Jyn’s theme in particular is a melancholy theme centered on Dies Irae, but with a lovely, lullaby like feeling. It tells you from the beginning that Jyn’s is a story of hope and inspiration but also death and sacrifice.
An interesting use of Jyn’s theme and “Hope” together is during Jyn’s speech to the Rebellion. First we here “Hope” swell as Jyn speaks to the Rebels. Then when her speech is shot down, the theme drops, replaced by Jyn’s theme. This represents that it is Jyn herself who inspires the sacrifice that will eventually bring on the Hope. Jyn is the hope.
Another mind blowing moment was a musical parallel that Collins pointed out with the character of Bodhi Rook. In the scene where he recalls his mission, repeating “I’m the pilot, I brought the message,” listen for the flutes. That exact same flute theme plays in A New Hope when Luke discovers Leia’s message hidden in R2. By doing this,
Giacchino is directly mapping the journey of “the message.” Bodhi receives the message of the Death Star and how it can be destroyed from Galen, he brings it to Jyn, who with Rogue One, transmit the message, which ends up in the hands of Leia, then to R2, then to Luke, who must return it to the Rebellion. Those flutes represent the origin of the message with Bodhi through to A New Hope.
This panel was full of mind blowing moments, but the most mind blowing moment by far was another musical connection to A New Hope. After we had become very familiar with Jyn’s theme over the course of the panel, Collin’s played a scene from A New Hope for us. It was the moment when Obi-Wan asks Luke to come with him to Alderaan and Luke resists. When Obi-Wan says he’s getting too old for this sort of thing, Jyn’s theme plays clearly under Luke’s hesitation. In the original context, a hint of Dies Irae was WIlliam’s way of foreshadowing Obi-Wan’s death, butafter Giacchino used that musical queue to build Jyn’s theme, it suddenly has deeper meaning. It’s Jyn’s sacrifice calling to Luke, compelling him to be the hope she fought for. And it is connecting Obi-Wan’s eventual sacrifice with that of Jyn and her comrades.
Collins also highlighted how Giacchino’s score for the final moments of the film, from Jyn’s confrontation with Krennic through the arrival of Vader and the death of Jyn and Cassian, is unconventional and incredibly effective. Jyn’s confrontation with Krennic is silent, no music, unexpected for such a key moment. Only when Cassian appears does the music return. And throughout the final sequence, as we witness horrifying destruction, death. the arrival of the Death Star and Vader’s Star Destroyer, the score stays distant, gentle, melancholy. It does not highlight the horror. It steps back and mourns over it, like the eyes of history or the Force itself, honoring the sacrifice.
So yeah Giacchino’s score for Rogue One is brilliant, Williams’ music for Star Wars is brilliant, this panel was brilliant, and I can never get enough of analyzing Star Wars scores.
doing research into minor star wars characters is the best because apparently mitaka graduated top of his class at the academy and all i can think of is what his valedictorian speech must have been like hahaha oh my god what a nerd
Haha shit I’m late?? I haven’t done comics in literal years soooo. Yeah, this is something I think about in terms of John quite a lot. I can’t help but think it might bug him a lot now and then, even if he fixed a timeline, and when confronted he might lash out. Also, bonus pic;
Hi! i really love your art! And you make me ship BBKO sooo hard! If i can request and if doesn't bother you how do you see the human version of Grimlock? I really love him and i think however you do it will be awesome!
Requested by Anon:
Since it seems Antoine loves to fight could you write an imagine where Antoine Roussel gets in a bad fight during a game because a player on the other team was making vulgar/rude comments about you. Afterword when you see him he’s all cut up and being adorable but still angry at what the other man had said.
*Here it is!! Aaah, thank you. I hope you like this one. Rouss is my favorite French man. <3 Enjoy!*
Word count: 808
Minou was nowhere in sight, which is weird because that cat
is with Antoine wherever he goes. How many times have you woken up in the
middle of the night just to find them cuddling on the couch? Countless times,
you couldn’t even remember the last time you cuddled on the couch without Minou
sitting by the foot, waiting for his turn.
Request - Reader is assigned to be Baron’s manager and neither one are happy about it. - Anon. Mostly Smutty, Kinda Fluffy. Took a little page out of Miz’s playbook for one scene, you’ll know which one. ;)
First of all, I really REALLY love your mafia AU! It litteraly gives me life. Second of all, I love how Victor is a mafia boss but still a cute and lovely cinnamon roll~ Usually in mafia au's he is pictured as a rapist, sadist and the most evil mafia boss that ever lived, but in your au he's still so cute and badass at the same time! Keep up with the great work, I really love it~!
Thank you OuO That’s so sweet of you to say!!! <3<3<3 And it seems I have a life bringer~ QUITE AN HONOR And, ah, yeah, I definitely wanted this Mafia AU to use the sweetness and awkwardness of canon Victor ^w^ I think the contrast and sweetness makes it kinda interesting? :D Happy that you seem to like it >u< Thanks for your kind words and support~<3
there are no weddings in the continuum but Q has researched earth-style weddings and he wants to do it. like, a huge party in grand style to show off that he fiiiiinally managed to win that stubborn man over?? um what’s not to like
he proposes in quite an offhand way, like they’re just in Picard’s bedroom cuddling one evening, talking about this and that, and Q just kinda remarks “i don’t suppose you’d marry me, if i asked” and Picard knows Q well enough by now that he realizes that asking is indeed what Q is doing right now, and he grows very still for a moment and then chokes out something like “i’m going to have to think about it” bc hey that is a monumental decision right there
they both want to organize everything about the wedding party, Q bc he wants to make sure everything goes exactly his way, and also planning a party is fun, Picard bc he doesn’t trust Q to not make some sort of explodey disaster out of it
in the end the ceremony isn’t quite as grand as Q envisioned it to be, given that it’s held on the enterprise between missions bc they really didn’t want to wait until some distant day on which Picard takes leave of absence (and knowing Picard, that day is never)
you know how it is usually the custom that the ship’s captain officiates the marriage. now what to do when the captain’s the one getting married? the honor passes to the first officer, of course. you read it here first, folks, Riker is marrying Picard to Q
Q keeps it tasteful and refrains from summoning any further mariachi bands at the reception. he’s much too busy giving soft kisses to his husband anyway