Latest / Aggressive Negotiations: A Star Wars Podcast / The Music of Mandalorian and Grogu

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The Music of Mandalorian and Grogu · Aggressive Negotiations: A Star Wars Podcast

• 0:00
  Speaker 1: Careful what you google.
• 0:02
  Speaker 2: Welcome to the nerd party.
• 0:06
  Speaker 1: Hi this is nick anastasio lead editor and writer on
• 0:09
  Speaker 1: mall shadow lord and you're listening to aggressive negotiations.
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  Speaker 2: Well, hello and welcome to Aggressive Negotiations, that slice of
• 0:22
  Speaker 2: Star Wars heaven that you just can't get anywhere else.
• 0:24
  Speaker 1: And we're so.
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  Speaker 2: Excited to be coming at you live from Shikari. That's right,
• 0:27
  Speaker 2: we're here at the Rotofight. Oh my gosh, I can't,
• 0:30
  Speaker 2: I'm so excited. And with me, as he is every
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  Speaker 2: single week, the Jedi Master who loves WWH better than
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  Speaker 2: anyone else, John Mills.
• 0:43
  Speaker 3: Well, wait a minute here. I got to say that
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  Speaker 3: I got a little money riding on this, but I
• 0:49
  Speaker 3: didn't know I was betting on a Djeric match. So
• 0:52
  Speaker 3: I don't know that I can pull the Qui-Gon die
• 0:54
  Speaker 3: roll thing. So I got to get back to the
• 0:56
  Speaker 3: betting window before this is over. So I got to
• 1:00
  Speaker 3: figure this out, man, because I kind of mortgaged your Starfighter.
• 1:04
  Speaker 3: So I don't know how you're getting home if I
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  Speaker 3: lose this match.
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  Speaker 4: Again?
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  Speaker 3: Sorry. Look, I do what I can. I'm not even
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  Speaker 3: sure why we're Jedi with star fighters. It's confusing too.
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  Speaker 1: Let's, let's, okay.
• 1:16
  Speaker 3: All right.
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  Speaker 4: Well, we're going to talk about something else, folks. So
• 1:19
  Speaker 4: you don't have to hear our fight about this another time.
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  Speaker 4: But anyway, we're excited to be here. We're going to
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  Speaker 4: be talking about the Mandalorian and Grogu soundtrack. You know,
• 1:31
  Speaker 4: we love getting to talk through all the nitty gritty
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  Speaker 4: with this film and It'll be coming out in physical
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  Speaker 4: media soon.
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  Speaker 1: So we'll get to talk about the extras as well here.
• 1:39
  Speaker 4: It's one of the things we love doing is kind
• 1:41
  Speaker 4: of dissecting the things that go along with these movies.
• 1:44
  Speaker 4: But before we do that, you can find us everywhere.
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• 2:09
  Speaker 4: We're over on xTwitter at the Jedi Masters. We're also
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  Speaker 4: on Instagram at The Nerd Party. You can find us
• 2:17
  Speaker 4: online at thenerdparty.com and see all of the shows we're doing. And,
• 2:20
  Speaker 4: of course, we're on Facebook at facebook.com slash thenerdparty. So, first,
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  Speaker 4: this is a question I wanted to ask you, John.
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  Speaker 4: Because obviously we've gotten two other films, and I'm not
• 2:35
  Speaker 4: discounting the Clone Wars movie, but we got two other
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  Speaker 4: live action films where there is somebody different behind the soundtrack.
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  Speaker 4: But the interesting thing about Mandalorian and Grogu coming in
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  Speaker 4: is that This is the same person who created the
• 2:54
  Speaker 4: soundscape with music on the show. And this is the
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  Speaker 4: first time that's happened in Star Wars. And so I
• 3:03
  Speaker 4: was wondering for you, even just before we start kind
• 3:05
  Speaker 4: of talking through what Goranson does, what were you expecting
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  Speaker 4: from the soundtrack.
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  Speaker 1: When we watched the movie? What did you think Goranson
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  Speaker 1: would do?
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  Speaker 3: You know, honestly, I was unsure because there was a
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  Speaker 3: part of me that was thinking, well, I don't want
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  Speaker 3: them to do just the TV show music. I want
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  Speaker 3: to know that we're going to go a little bit
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  Speaker 3: larger than that. And I was stuck in a place
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  Speaker 3: where I knew that they weren't going to have a
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  Speaker 3: different theme. It's just not possible. The Mandalorian theme is
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  Speaker 3: so tied with the Mandalorian that it's it would be
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  Speaker 3: disorienting not to have it on there. I suppose though,
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  Speaker 3: I was open to the idea because having a Star
• 3:54
  Speaker 3: Wars movie without the Star Wars theme was disorienting with
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  Speaker 3: Rogue One, but I managed to cope on that one
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  Speaker 3: pretty well. But I was actually curious. I'd like to
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  Speaker 3: know your thought because did you think they were going
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  Speaker 3: to take it and adapt it and make it fully orchestral?
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  Speaker 3: Or did you think they'd keep it more in Goranson's style?
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  Speaker 3: That was sort of like where I was going back
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  Speaker 3: and forth.
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  Speaker 4: I figured that we would absolutely, of course, utilize the
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  Speaker 4: Mandalorian theme. And I figured that we would also kind
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  Speaker 4: of continue the soundscape that was created for the show.
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  Speaker 1: Because, you know, you want people.
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  Speaker 4: to feel like you're in the same world that you've
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  Speaker 4: created on the TV show, right? Obviously, you kind of
• 4:46
  Speaker 4: think of Star Trek coming in, and you don't actually
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  Speaker 4: utilize the original series theme. You utilize some bits and
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  Speaker 4: pieces from Alexander Courage, but you don't actually use the
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  Speaker 4: main theme when you get to the motion picture and beyond.
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  Speaker 4: But here, I just didn't expect them to do anything
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  Speaker 4: different from, I did want– I was like you. Is
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  Speaker 4: he going to add more orchestral elements than maybe we
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  Speaker 4: had seen previously? And part of that is just because
• 5:21
  Speaker 4: you have the budget on a major film to be
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  Speaker 4: able to work with an entire symphony, whereas on television
• 5:28
  Speaker 4: for most productions these days– you're not doing that. Like,
• 5:34
  Speaker 4: you know, Star Trek was one of the very few
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  Speaker 4: shows through Enterprise where you had a full orchestra recording
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  Speaker 4: a soundtrack every week.
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  Speaker 1: Insane, right?
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  Speaker 4: And so, but, you know, I think the other thing
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  Speaker 4: I was wondering for you is like, then kind of
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  Speaker 4: thinking through that process of wondering what he would do,
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  Speaker 4: what surprised you maybe the most then about the soundtrack,
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  Speaker 4: especially now that we've not only seen the film multiple times,
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  Speaker 4: but we've gotten to sit with it and listen to
• 6:07
  Speaker 4: it while we're at work or, you know, doing other things,
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  Speaker 4: or maybe we've just got an opportunity to kind of
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  Speaker 4: sit down and kind of digest it fully.
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  Speaker 3: Honestly, I think that the courage of Lucasfilm to fully
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  Speaker 3: embrace that style and lean into it. I would say
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  Speaker 3: that there are other studios that would have tried to
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  Speaker 3: make it fit more with the star Wars cinema sound
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  Speaker 3: and force it in a more Williams esque sort of thing. Um,
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  Speaker 3: and so I think that probably surprised me most, like
• 6:40
  Speaker 3: one of the things that surprised me immensely was, uh,
• 6:46
  Speaker 3: And I always want to say Shaqari because that's how
• 6:49
  Speaker 3: it's spelled. And it's almost pronounced that way. Sorry, Star
• 6:52
  Speaker 3: Trek fans. That's just the way that it is. But
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  Speaker 3: when he goes to Shaqari, like that was really, I
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  Speaker 3: love the opening music. I thought that was amazing. But
• 7:03
  Speaker 3: when he showed up to Shaqari and he goes out
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  Speaker 3: in his jet pack and shows up, that was sort
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  Speaker 3: of the moment where I really settled into the soundscape
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  Speaker 3: of the movie and went, oh, oh, okay, this is really,
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  Speaker 3: like I could groove to this. What's surprising about the
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  Speaker 3: soundtrack to me is as much as I liked the
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  Speaker 3: Mandalorian score for the three seasons, this is the first
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  Speaker 3: one where there are tracks where I would lift them
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  Speaker 3: out and I would love like 12-inch dance mixes of Shikari,
• 7:38
  Speaker 3: of Radha. of the, you know, the, the, the Jarek
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  Speaker 3: match stuff. I'm like, I want 12 inch mixes so
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  Speaker 3: I can go jogging to this. Like this is, or
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  Speaker 3: like go to the gym. Like this is really, you know,
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  Speaker 3: it reminds me, I'd love to get your take on this.
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  Speaker 3: Kind of reminds me of some of the work that
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  Speaker 3: Goranson did with Creed and how he updated Rocky's themes
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  Speaker 3: with that. So I get a little bit of a
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  Speaker 3: vibe with that. Yeah.
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  Speaker 4: I can totally, uh, Like I'm on the same wavelength
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  Speaker 4: as to what you're thinking on how he worked with
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  Speaker 4: kind of the thematic elements he created for the show,
• 8:19
  Speaker 4: but then kind of upping the game and kind of
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  Speaker 4: really playing with it. Like, you know, I remember seeing
• 8:26
  Speaker 4: funny videos on Instagram and stuff of people being like
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  Speaker 4: the summer hit of the year, Shikari and Rhoda, you know,
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  Speaker 4: because it's just it really has a groove to it that.
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  Speaker 4: Is reminiscent, which I think is kind of fun, of
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  Speaker 4: like that Daft Punk kind of feel. Like that you
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  Speaker 4: would see in Blade, not Blade Runner, Tron Legacy, right? Yes.
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  Speaker 1: Which I love that we went there.
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  Speaker 4: And it made sense on this planet where, you know,
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  Speaker 4: these type of fights are really popular. I have to say, though,
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  Speaker 4: I think the thing that surprised me the most was
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  Speaker 4: the whole sequence on now Huda with Grogu. Oh. And
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  Speaker 4: the music choice there, which is so reminiscent of the
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  Speaker 4: Force theme elements from Lucas and yet creates an incredible–
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  Speaker 4: soundscape for Grogu because it feels like a wonderful silent
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  Speaker 4: film that is encapsulating this character who's kind of having
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  Speaker 4: this coming of age. So there's a, there's this melodic
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  Speaker 4: beauty to it. There's this, I hate to say it
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  Speaker 4: cause it sounds like I'm being derogatory.
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  Speaker 1: I'm absolutely not.
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  Speaker 4: There's a cutesy element to it that completely fits because
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  Speaker 4: of who Grogu is. and yet just the way in which, um,
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  Speaker 4: The music mirrors all the action too that's happening on screen.
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  Speaker 4: There's a technical term for that that I can't remember,
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  Speaker 4: but it's what they would use in cartoons.
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  Speaker 2: Right.
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  Speaker 4: And that happens, you know, when he's like batting away
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  Speaker 4: the fireflies and stuff like that. And so I think
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  Speaker 4: to me, that was actually the place where I was.
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  Speaker 2: It's like.
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  Speaker 4: I almost feel like Goranson did something I don't feel
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  Speaker 4: like I've really heard him do, which is create this
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  Speaker 4: actual beautiful melodic music because that's not normally his like wheelhouse.
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  Speaker 3: He loves- Right, it's not normally his bag. Yeah, yeah.
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  Speaker 4: So to see that he had that in the tool
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  Speaker 4: bag and pulled that out, like I was astounded because
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  Speaker 4: I think it just added so much to the movie,
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  Speaker 4: to the character, to that sequence. And it made it
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  Speaker 4: incredibly special to have, in some ways, like a more
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  Speaker 4: Star Wars sounding sound, but at the same time feeling
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  Speaker 4: completely new, if that makes any sense.
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  Speaker 3: Yeah, I mean, what I heard was a blending, and
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  Speaker 3: the track you're talking about on the soundtrack is Grogu's World. Yes.
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  Speaker 3: And what I hear is a blending of some of
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  Speaker 3: the more traditional... in Star Wars, including Jar Jar and
• 11:11
  Speaker 3: the Ewoks, right? There's a willingness finally from Star Wars
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  Speaker 3: again to relax a little bit and just sort of
• 11:20
  Speaker 3: be cute. And I miss that about Star Wars. And
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  Speaker 3: that's what I, like that little short film with Grogu
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  Speaker 3: in the movie, like it's a little contained short film,
• 11:30
  Speaker 3: feels like the best Disney movie I've gotten in ages.
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  Speaker 3: Like it's the most purely Disney movie I think I've
• 11:36
  Speaker 3: seen in a while. And I think that might be
• 11:39
  Speaker 3: one of the reasons I respond so well to the
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  Speaker 3: movie overall is I respond very, very well to what
• 11:46
  Speaker 3: you're saying, the cutesy stuff. It's my dad in my brain,
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  Speaker 3: in my heart. That's where he comes out. That's why
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  Speaker 3: I always love Jar Jar. That's why Grogu's world works
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  Speaker 3: so well for me. That's why the Anzellans delight me.
• 12:02
  Speaker 3: I'm like, when I see the Anzellans on screen, it's
• 12:07
  Speaker 3: like my dad is sitting next to me and I
• 12:09
  Speaker 3: can hear him chuckling because that was his bag, man,
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  Speaker 3: like right there. Anyway, in terms of the music though,
• 12:16
  Speaker 3: I think Goranson's also able to do some stuff that's
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  Speaker 3: beautifully dramatic because the music from the track would be
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  Speaker 3: called go kid where Mandalorian, the way the movie is
• 12:32
  Speaker 3: structured is basically like, Oh yeah, go. And he's buying
• 12:36
  Speaker 3: them time to escape. It's that, that sweet heroic thing,
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  Speaker 3: but it's not played as like a heroic theme. It's
• 12:45
  Speaker 3: not a, I'm fighting my way out. It's I'm just
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  Speaker 3: fighting for as long as I can to give the
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  Speaker 3: kid time to get away. He doesn't know Grogu has
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  Speaker 3: stayed behind of course, but like, That music, I think,
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  Speaker 3: is another beautiful aspect of the soundtrack because you can
• 13:01
  Speaker 3: hear that sad acceptance. It's not maudlin. It's a mature
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  Speaker 3: acceptance of, oh, okay, I know I'm going to die
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  Speaker 3: at some point. This is the moment. Okay, this is
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  Speaker 3: a little sooner than I expected. You can hear that
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  Speaker 3: in the music for that scene.
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  Speaker 4: When you were mentioning just about the Grogu's world, I
• 13:21
  Speaker 4: thought that came to mind is it sounded akin to
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  Speaker 4: what Williams did with Ray's theme. You know, it has
• 13:30
  Speaker 4: some of those same types of just feelings and beauty
• 13:36
  Speaker 4: to it and all that kind of stuff. And then,
• 13:38
  Speaker 4: like you said, there's a real dramatic nature to that track,
• 13:43
  Speaker 4: Go Kid, and the way in which it works perfectly
• 13:49
  Speaker 4: for that moment on screen to give you what's going
• 13:52
  Speaker 4: on inside of Mando as he basically does all he
• 13:57
  Speaker 4: can to save, for all intents and purposes, his son
• 14:02
  Speaker 4: by drawing away all of these fighters. I just think
• 14:06
  Speaker 4: it's so great. And so there's a propulsiveness to the
• 14:10
  Speaker 4: soundtrack and to the music, especially the action beats. And, um,
• 14:14
  Speaker 4: you know, obviously music defining the action is a hundred
• 14:20
  Speaker 4: percent what star Wars did from start, you know, to
• 14:24
  Speaker 4: at least finish with the Lucas films, right. What he
• 14:27
  Speaker 4: did with the interplaying of, you know, Williams writing the
• 14:32
  Speaker 4: music and everything and, and how he would insert it
• 14:35
  Speaker 4: into the film. And, um, So I wanted to ask
• 14:39
  Speaker 4: you how you felt then that Goranson does with that because,
• 14:43
  Speaker 4: I mean, obviously the movie just starts off with a
• 14:45
  Speaker 4: bang and so does the soundtrack.
• 14:47
  Speaker 3: The opening track probably will always remain my favorite simply
• 14:51
  Speaker 3: because I think that it builds so nicely. I love
• 14:55
  Speaker 3: the fact that the soundtrack has the alarm sound in it.
• 14:58
  Speaker 4: Yes, yes.
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  Speaker 3: And immediately that dance hall beat to it, it really–
• 15:06
  Speaker 3: Demonstrates exactly what you're talking about, where the music is
• 15:08
  Speaker 3: giving me the rhythm of the scene. I know what's
• 15:12
  Speaker 3: happening and I know something's coming. And the moment when
• 15:17
  Speaker 3: he walks in after he's shot the four stormtroopers and
• 15:21
  Speaker 3: everybody drops their guns and some of the people point
• 15:24
  Speaker 3: to the elevator and that swell of music of his theme,
• 15:28
  Speaker 3: when he doesn't say anything, he just nods to them
• 15:31
  Speaker 3: as like, thank you, folks. That swell right there is great.
• 15:35
  Speaker 3: The swell when Grogu does his thing with the mouse droid.
• 15:39
  Speaker 3: And then the way the music builds as he goes in.
• 15:44
  Speaker 3: And that music and the way it crescendos right as
• 15:49
  Speaker 3: he breaks into the back of the AT-AT and starts
• 15:51
  Speaker 3: killing everybody inside. So great. So great. So fantastic. And
• 15:57
  Speaker 3: I think that's the best example of what you're talking about,
• 16:00
  Speaker 3: about how the music can inform your reaction to a scene.
• 16:05
  Speaker 3: My question to you is, my theory is that going
• 16:10
  Speaker 3: this way was one of the smartest things they could
• 16:12
  Speaker 3: do because this is a durably re-listenable soundtrack. It's not
• 16:19
  Speaker 3: trying to be anything but this soundtrack. So I think
• 16:23
  Speaker 3: that it actually opens itself up to a lot of replay,
• 16:28
  Speaker 3: but It is weird to be listening to a Star
• 16:30
  Speaker 3: Wars score that feels so much more modern. And that's
• 16:33
  Speaker 3: the wrong word for it. But it feels like it's
• 16:37
  Speaker 3: really embraced that times have changed. Does that make sense?
• 16:41
  Speaker 1: No, I 100% agree.
• 16:44
  Speaker 4: And honestly, you know, as I was thinking about this
• 16:47
  Speaker 4: score and the fact that we're going to talk about
• 16:49
  Speaker 4: it and everything, you know, I think that change started
• 16:54
  Speaker 4: with the moment in episode two. where Williams cracked open
• 17:01
  Speaker 4: the door for electric guitar in Star Wars. And then,
• 17:05
  Speaker 4: of course, Kiner played with that in the Clone Wars
• 17:09
  Speaker 4: soundtrack for the movie. And then the Clone Wars series
• 17:15
  Speaker 4: continued to push what the soundscape sounded like. And then
• 17:19
  Speaker 4: I think the Mandalorian and Grogu, this show... also did that, right?
• 17:26
  Speaker 4: It had this wonderful combination of sounding like an old
• 17:33
  Speaker 4: West Western, you know, with John Wayne with this like
• 17:37
  Speaker 4: modern vibe with the synths and everything. And he combined
• 17:41
  Speaker 4: that all together. And I think to me, the beauty,
• 17:46
  Speaker 4: like that, I agree with you, the soundtrack is incredibly
• 17:50
  Speaker 4: listenable just on its own. It doesn't need the, the
• 17:53
  Speaker 4: film and, Like most great Star Wars soundtracks, right? The
• 17:57
  Speaker 4: ones that I listen to all the time.
• 18:00
  Speaker 1: I don't need the movie.
• 18:01
  Speaker 4: I can just enjoy the soundtrack on its own. But
• 18:06
  Speaker 4: I think the thing that also helps is that it
• 18:12
  Speaker 4: embraces what the film needs at the same time. And
• 18:17
  Speaker 4: I think that's the same type of care that we
• 18:19
  Speaker 4: got with William's. in every single Star Wars movie. I
• 18:23
  Speaker 4: think John Powell did it great in Solo. I think
• 18:26
  Speaker 4: Michael Giacchino did it really.
• 18:28
  Speaker 1: Well in Rogue One.
• 18:30
  Speaker 4: And putting a lot of thought process, if you've ever
• 18:33
  Speaker 4: heard him talk about, if you've ever heard David Collins
• 18:38
  Speaker 4: talk about the Rogue One soundtrack and the choices of
• 18:45
  Speaker 4: tempos and music and stuff that he intersperses into that,
• 18:50
  Speaker 4: that come from other places like opera and all this
• 18:54
  Speaker 4: other stuff. It's awesome, right? Like lots of thought goes
• 18:57
  Speaker 4: into this. And so, but I think the other important
• 19:02
  Speaker 4: aspect of this is that Mandalorian and Grogu should stand
• 19:08
  Speaker 4: apart from the other Star Wars soundscapes and soundtracks because
• 19:14
  Speaker 4: it's just a different part of the universe. It should
• 19:16
  Speaker 4: have its own sound. The same way I think, you know,
• 19:19
  Speaker 4: they did with, Kiner and his family doing the Ahsoka soundtrack, right?
• 19:24
  Speaker 4: That kind of has this wonderful Eastern vibe to it
• 19:30
  Speaker 4: that really embraces the Kurosawa nature of Ahsoka as a
• 19:34
  Speaker 4: story and, you know, what Filoni is pulling from while
• 19:38
  Speaker 4: at the same time intermixing then things that have to
• 19:42
  Speaker 4: do with her as a character and, you know, the
• 19:44
  Speaker 4: sounds that you pull from that.
• 19:46
  Speaker 1: And so I just think.
• 19:50
  Speaker 4: The more I've listened to the soundtrack the more I've
• 19:53
  Speaker 4: really just kind of fallen in love with it.
• 19:57
  Speaker 1: And I've.
• 20:00
  Speaker 4: I'm really glad that you know Shirley came in I
• 20:05
  Speaker 4: think it's John Shirley came in for the third season
• 20:07
  Speaker 4: of the Mando and Grogu yes Does a good job.
• 20:13
  Speaker 4: But I'm glad that they were able to pull Goranson
• 20:16
  Speaker 4: back because I think that he has a flair in
• 20:21
  Speaker 4: what he does and only he can be him.
• 20:24
  Speaker 2: Right.
• 20:24
  Speaker 4: You know, it's like we we know when people are
• 20:29
  Speaker 4: trying to pretend to be John Williams, but they're not
• 20:32
  Speaker 4: John Williams, you know. The same thing with like people
• 20:35
  Speaker 4: trying to pretend to be Goranson and they're not actually him.
• 20:38
  Speaker 1: And so– and I will say the other thing.
• 20:40
  Speaker 4: This is the best Goranson score of the year because
• 20:43
  Speaker 4: I did not enjoy the Odyssey score at all.
• 20:45
  Speaker 1: But this– Oh, no.
• 20:47
  Speaker 3: Shots fired. Shots fired. How dare you?
• 20:49
  Speaker 1: Fits perfectly with the film where that one just felt
• 20:51
  Speaker 1: like noise.
• 20:53
  Speaker 3: Well, my goodness. You know what? I just want to
• 20:56
  Speaker 3: say that Jedi Master Rushing, I'm going to stand at
• 21:00
  Speaker 3: least about 30 yards away from you because how dare you?
• 21:04
  Speaker 3: Everybody's going to come for you now because you just.
• 21:08
  Speaker 1: Come at me, guys. Come at me.
• 21:10
  Speaker 3: But I'm not saying I disagree with you.
• 21:12
  Speaker 4: Okay.
• 21:14
  Speaker 3: This is if i had the choice between the two
• 21:16
  Speaker 3: soundtracks this is the one i'm listening to now the
• 21:19
  Speaker 3: thing is there are people that are shouting back i
• 21:21
  Speaker 3: was like well of course it's a star wars thing
• 21:23
  Speaker 3: and so of course you choose that i'm like okay
• 21:25
  Speaker 3: fair enough but yeah just the odyssey soundtrack is never
• 21:29
  Speaker 3: going to be something where we're like you know what
• 21:31
  Speaker 3: i really want to listen to that to help me
• 21:32
  Speaker 3: get me through my day no i'm going to turn
• 21:35
  Speaker 3: on mandalorian and grogu because that's going to help me
• 21:37
  Speaker 3: get me through my day and i think a great
• 21:39
  Speaker 3: example of what you're talking about now It sounds very
• 21:43
  Speaker 3: pejorative to say somebody pretending to be Williams, but poor
• 21:48
  Speaker 3: Joel McNeely. I point back to a soundtrack I enjoy,
• 21:52
  Speaker 3: which is the Shadows of the Empire soundtrack, the soundtrack
• 21:55
  Speaker 3: for a movie without a movie. And I go back
• 21:59
  Speaker 3: to that, and that's one where I can hear somebody,
• 22:04
  Speaker 3: especially when he's made to do, or he chooses to do,
• 22:07
  Speaker 3: I should say, the Williams cues. You can tell it's
• 22:12
  Speaker 3: not Williams putting that together.
• 22:14
  Speaker 4: Yeah.
• 22:15
  Speaker 3: And that's not a slight. When I hear Giacchino's score,
• 22:19
  Speaker 3: and I enjoyed the score for Rogue One, please don't
• 22:21
  Speaker 3: get me wrong, but there are moments where I can
• 22:24
  Speaker 3: still hear that and I'm like, I wonder what Williams
• 22:27
  Speaker 3: would have done here. Powell, I think, for Solo, it
• 22:32
  Speaker 3: sounds like John Williams did it because John Williams did
• 22:35
  Speaker 3: the theme and he reuses the theme through.
• 22:37
  Speaker 1: The whole thing.
• 22:38
  Speaker 3: So it's like he had a little bit of help.
• 22:40
  Speaker 3: on that one. But I think that, you know, to
• 22:44
  Speaker 3: your point, I think that embracing Goranson at his best
• 22:50
  Speaker 3: lets you carve that new soundscape you need and make
• 22:54
  Speaker 3: something that's very, very re-listenable. I listen to it when
• 22:59
  Speaker 3: I'm trying to get through my inbox. And I can
• 23:01
  Speaker 3: tell you that since this movie came out, the Pantaloid
• 23:04
  Speaker 3: and Kroku soundtrack has been helping me with Outlook ever since.
• 23:08
  Speaker 1: I keep coming back to The incredible.
• 23:15
  Speaker 4: Techno rock that's utilized in this that is just so fun.
• 23:23
  Speaker 4: And I think that's the thing that really– when I
• 23:28
  Speaker 4: come away from listening to the soundtrack, it reminds me
• 23:32
  Speaker 4: of a movie that just embraced fun, that just embraced
• 23:37
  Speaker 4: enjoying– being a part of this universe and telling a
• 23:41
  Speaker 4: fun story that, you know, meant something for its characters. And,
• 23:45
  Speaker 4: and the reason that I think that really means something
• 23:49
  Speaker 4: to me is again, I come back to when we
• 23:52
  Speaker 4: tell Grogu's story and when we let this character have
• 23:56
  Speaker 4: his moment and we, when we finally let this character
• 24:00
  Speaker 4: progress as a character, right. To grow, to, to, to
• 24:05
  Speaker 4: have to do without, without, dad around. Um, and, and
• 24:12
  Speaker 4: the music accentuates this character doing that and doing it
• 24:17
  Speaker 4: in a way that feels incredibly him, you know? And
• 24:20
  Speaker 4: I think that's the thing I really love about it.
• 24:22
  Speaker 4: That's because the creation of that music feels like Grogu and,
• 24:28
  Speaker 4: and it feels like how we all feel about the character, right?
• 24:33
  Speaker 1: Which is like, you want one, right?
• 24:36
  Speaker 3: You know?
• 24:37
  Speaker 4: And the music makes you feel like that. And I
• 24:40
  Speaker 4: think that's the thing that I come away from this
• 24:43
  Speaker 4: soundtrack in all the different aspects of it is that
• 24:48
  Speaker 4: I think Goranson just did the right thing for each scene.
• 24:52
  Speaker 4: And it's somehow all cohesive and it all works. And
• 24:56
  Speaker 4: that's a crazy thing because there are lots of different
• 24:59
  Speaker 4: elements at play in this soundtrack. And to make that
• 25:02
  Speaker 4: all work, to me, is impressive. And that's what I
• 25:05
  Speaker 4: really come away from this with.
• 25:07
  Speaker 3: Completely agree. I think the soundtrack really flows. I know
• 25:12
  Speaker 3: that not everybody loved the movie as much as we did.
• 25:16
  Speaker 3: And that, you know, mileage may vary. It's the way
• 25:18
  Speaker 3: that it is. but I think everybody could agree that
• 25:21
  Speaker 3: the music was amazing for it. Like it was exactly
• 25:25
  Speaker 3: what the movie asked for. And it would, and beyond that,
• 25:28
  Speaker 3: like that over on house lights, you know, that's the
• 25:32
  Speaker 3: thing we say is like, when we talk about the scores,
• 25:35
  Speaker 3: it's like, is this a score you would relisten to?
• 25:37
  Speaker 3: Or is this a score that just did its job?
• 25:40
  Speaker 3: That's not throwing shade. That's, that's the job of the composer.
• 25:44
  Speaker 3: But like, The truly great scores are the ones where
• 25:46
  Speaker 3: you're like, this isn't just the movie. This lets me
• 25:49
  Speaker 3: relive what I love about the movie when I can't
• 25:52
  Speaker 3: watch it. And I think that's a very large element
• 25:55
  Speaker 3: to this. But another large element to all of this
• 25:59
  Speaker 3: is where people can find you online so that they
• 26:02
  Speaker 3: can tell you what their favorite track is from the
• 26:06
  Speaker 3: Mandalorian and Grogu soundtrack.
• 26:08
  Speaker 4: Yeah, I can't wait to hear what people think about
• 26:10
  Speaker 4: this one, John. So I hope that they'll reach out
• 26:13
  Speaker 4: to us. Of course, you can find me all over
• 26:14
  Speaker 4: social media under the name MattRushing02. Here on the network,
• 26:18
  Speaker 4: we've got a completed show called Owl Post with Dre Kaufman.
• 26:21
  Speaker 4: And we talked through every single chapter of the Harry
• 26:23
  Speaker 4: Potter series, which, you know, hey, the movie series is
• 26:26
  Speaker 4: 25 years old now. So it's a great time to
• 26:29
  Speaker 4: just kind of jump in and enjoy that show. You
• 26:31
  Speaker 4: can also find me over on the TFM Network with
• 26:34
  Speaker 4: a bunch of shows. One is called The 602 Club,
• 26:36
  Speaker 4: and we talk about all of the franchises we love.
• 26:39
  Speaker 1: Have a great time doing that. John's a frequent guest.
• 26:42
  Speaker 1: And you can also find me with a lot of
• 26:44
  Speaker 1: great Star.
• 26:44
  Speaker 4: Trek talk with my good friend Chris Jones, especially as
• 26:47
  Speaker 4: we got Saddle Up back as we are diving into
• 26:51
  Speaker 4: Strange New Worlds Season 4.
• 26:54
  Speaker 1: But John.
• 26:55
  Speaker 4: You know, if people want to share what their favorite
• 26:57
  Speaker 4: moments from The Mandalorian Groom to Soundtrack are, or maybe
• 27:00
  Speaker 4: the movie, where do they find you?
• 27:03
  Speaker 3: Well, guys, you can find me online as Castle Junkie
• 27:06
  Speaker 3: on your social network of choice. But spoilers, I spend
• 27:09
  Speaker 3: most of my time over on Letterboxd and Goodreads because
• 27:14
  Speaker 3: I love movies. I love books. There you go. That's
• 27:16
  Speaker 3: where I'm going to spend the bulk of my time.
• 27:18
  Speaker 3: And you can find me right here on this podcast network.
• 27:22
  Speaker 3: co-hosting a show with Darren Moser and Tristan Riddell called
• 27:25
  Speaker 3: House Lights, where we talk about the works of different directors.
• 27:29
  Speaker 3: And we have fun with it, including asking the question,
• 27:33
  Speaker 3: were Joel Schumacher's Batman movies the best Batman movies ever made? Spoilers, no,
• 27:38
  Speaker 3: they're not. So that's where you can find me. But meanwhile,
• 27:41
  Speaker 3: Master Rushing, it turns out I did lose all of
• 27:43
  Speaker 3: those bets on the Djeric match. And unfortunately, I also
• 27:47
  Speaker 3: bet your Jedi robes. So we got to go down
• 27:50
  Speaker 3: and exchange those. So I think it's time to close
• 27:53
  Speaker 3: these negotiations.
• 27:56
  Speaker 1: John, negotiations are closed, but about to reopen.
• 28:02
  Speaker 3: And breezy.
• 28:04
  Speaker 1: Join the revolution. Join the nerd party.