Ahsoka Composers On Dave Filoni, Expanding The Music of Star Wars, And Thrawn

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The Ahsoka season finale drops October 3rd.

Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Ahsoka brings Star Wars animation into live action in the biggest and best way yet. The eight-episode series, written entirely by Star Wars Rebels and Star Wars: The Bad Batch creator Dave Filoni, is something of a culmination of Filoni’s nearly two-decade tenure as a Star Wars story shaper; Filoni even co-created the character of Ahsoka Tano for the 2008 animated film Star Wars: The Clone Wars.

What’s also crazy is that you have this wealth of music you’re able to pull from for the show, but there are so many viewers who have never seen an animated project. Does that affect how you approach bringing in old music versus composing new stuff? Sean Kiner: The needs of the scene were the prism through which we would push the themes and the melodies and things. So the theme and the melody weren't the priority--the story was.

Sean Kiner: As Dave always says, “That wasn’t written for our story.” It means something else for a different context, and he wants something that’s written for the story. He’s great about that. Deana Kiner: Technically speaking I grew up on Star Wars, too, or around Clone Wars as well. That came out when I was probably 14 years old or something, so I've grown up with these characters and these themes. I think I have to acknowledge that I have a nostalgia built into my job, and it's having to acknowledge it and be like, “Okay, but we need to grow these characters. We need to progress things. We’re in a different place.

Sean Kiner: That being said, George Lucas is the consummate experimenter, so I’m sure he would have been open to it. Sean Kiner: The hyperspace jump with the Purrgil--with the space whales--that actually grew organically out of a piece in the end credits. The end credits started off at half the length, I think, that it ended up being. It kept getting longer and longer, and we kept getting to add more and more to it. Then, when we finally got the graphics and things, we really liked the energy of this “traveling through the stars” aspect of how the end credits looked, so we wrote this kind of celestial motif.

He also sees himself as kind of a hero, though. He appreciates art and he appreciates culture. He's a complicated guy, so we didn't want it to be entirely [minor], so there are elements of major-ness wrapped up in his theme.

What would you say is the biggest difference in terms of composing for this versus composing for the animated series?

 

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