Finally, it ends on the Binary Sunset theme. After that, we hear The Imperial March, making a short but bombastic return. The track after that, called Hope, starts of with a bombastic choir, which actually fills you with fear.
It’s quite different from the tracks before it. There’s a sense of loss, but there’s also a light at the end of the tunnel. The track Your Father Would Be Proud mixes those moods and the result is quite beautiful. However, near the end of the soundtrack, that hope is accompanied by a sense of tragedy. The track AT-ACT Assault also contains a very familiar theme: the Rebel Fanfare, which sounds great in between the urgent and chaotic vibes a lot of the tracks seem to have.Īs the score progresses, we get more and more of those glimmers of hope. Even though we only hear a short sample of it, it’s a very good one, one that fits the intimidating image of Vader slowly walking towards you, as we saw in one of the trailers. Instead, it has that same feeling of dread the other tracks have. It doesn’t sound as bombastic as the track in score to The Empire Stikes Back. However, we don’t know what sacrifices had to be made to retrieve these plans.īinary Sunset isn’t the only iconic Williams theme we get to hear, however. The track Krennic’s Aspirations gives us a snippet of The Imperial March, which is without a doubt one of the most iconic pieces of music in pop culture, if not ever.
ITUNES STAR WARS ROGUE ONE SOUNDTRACK MOVIE
After all, we know that (spoilers for A New Hope, a movie which you’ve probably seen anyway) they eventually succeed and the Rebellion gets to destroy the Death Star. The story of stealing the plans for the Death Star is without a doubt one of danger and cautious optimism. There’s no doubt that this fits this film, which has been described as a gritty war film which will directly tie into A New Hope. The iconic Binary Sunset, which has become the theme for hope in the Star Wars saga, is heard a few times throughout the soundtrack, giving us the feeling that despite all the horrors of war, there’s a light at the end of the tunnel. However, sometimes you can hear short hopeful or heroic themes. Most of the tracks on the first half of the album have either or even both of those moods. The album opens with the track He’s Here For Us, which sets a clear mood: a sense of danger and sometimes even urgency. Imagine what a daunting task that would have been: Giacchino not only had the challenge to compose the score to an entire film in such a short time, he also had to compose a score that would do the saga justice and wouldn’t stand in the shadows of all those iconic Williams scores, which have embedded themselves in pop culture for a very long time. Reportedly, Giacchino had only four and a half weeks to compose the score to the first Star Wars anthology film. Desplat however, who worked with Gareth Edwards before on Godzilla (2014), left the project because of scheduling issues, and Giacchino took his place. The result is a score that sounds both familiar and different.īefore Giacchino was assigned to the task of scoring Rogue One: A Star Wars Story, Alexandre Desplat was the one to give us the first non-Williams Star Wars score. Just like with Jurassic World, Giacchino takes some of Williams’ themes and gives them a new spin.
Now, with Rogue One: A Star Wars Story, that little dream has come true.
I have always thought that Giacchino would be perfect for a Star Wars film if Williams wasn’t going to do one for once.
I find myself listening to his scores for Up, Ratatouille and Tomorrowland from time to time. I personally really love some of Michael Giacchino’s scores.
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