Jul 2, 2021
The Praetorian Guards aren't messing around, and neither is John
Williams! Joining me today is Kyle Katarn. Together, we attempt to
break down the sensational combat scoring, sound design, and
awkward aftermath in minutes 106-110 of The Last Jedi.
- The music feels suspended in air before the first lightsaber
- John Williams's music is just as well choreographed as the
- Rey's theme is stated in a steady, declarative rhythm.
- DJ's line "they blow you up today, you blow them up tomorrow"
might be a Battlefront II reference (specifically an attack
scenario from Starfighter Assault map called Unknown Regions).
- Proficiency of lightsaber fighting and how the Force is
- Praetorian guards! Their weapons, levels of articulation in the
armor, family relationships.
- John Williams's exciting combat scoring. Rather than an
"aggressive dance," it sounds more disorienting, like a "horn
section falling down the stairs." Comparisons to Hans Zimmer,
Howard Shore, etc.
- The sound of Kylo Ren's lightsaber when he impales a guard and
the crackling is going through his body.
- Kyle Katarn's favorite lightsaber sound in the saga is Luke
Skywalker's green lightsaber in Return of the Jedi (specifically
the sharp, piercing snap-hiss of the ignition)
- Awkward aftermath and "the talk."
- The musical silence while Rey and Kylo are talking heightens
the intimacy of the scene.
- Kylo Ren's insecure, vulnerable, desperate manipulation.
- Kylo's "hesitant," meandering theme.
- How the music underscores Kylo and Rey's discordant aims.
They're a dyad moving in opposite directions.
- Determined, purposeful music when Holdo gears up to take
- Possible reasons why Rey calls Kylo "Ben" so consistently.
Themes Referenced (in order of appearance,
named according to Frank Lehman's Complete Catalogue of the Themes
of Star Wars): Rey 1, Kylo Ren 2 (Hesitant), Desperation
Where we are in the soundtrack: "A New
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