publicist

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  • Location Berlin, Germany

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  1. John Williams' The BFG (2016)

    It takes for a variety of reasons much more time to finance, market and distribute small 'indie-ish' kind of movies. That's just not Spielberg's style who probably would be happiest getting a new assignment every three months in Louis B. Mayer's or Jack Warner's office just churning them out like in the old days.
  2. I was actually suprised by the mild Cannes reception. It probably is more enjoyable than i right now think it is/could be.
  3. John Williams' The BFG (2016)

    Word was that he got burned on 'Munich' - at least in North America (a bad 'Time' cover story and such things) and with the ongoing troubles with Dreamworks and its future he lost whatever interest he may have harbored in current hot topics.
  4. John Williams' The BFG (2016)

    Who's going to argue with a Mujahideen freedom warrior?
  5. John Williams' The BFG (2016)

    If your idea of exchanging differing viewpoints is repeatedly accusing someone else as 'angry' and in need of lithium when he a) disagrees with you and b) mentions perfectly valid objections to the tone and reasoning you did present in your posts, i do know i'm deep in Ford Thaxton-territory that i am not about to enter further.
  6. Ghostbusters (2016 reboot)

    People also remember 'BMX Bandits'.
  7. WatchMojo's Top 10 Movie Sci-Fi Scores

    Less a definition of science is needed than a more diverse committee of people selecting the titles. Maybe then it would include more than the expected fanboy choices from guys who grew up in the 80's.
  8. John Williams' The BFG (2016)

    You can lol and rofl that all you want now, it was your initial wording that seemed very 'angry fanboy'-like. Again, instead of reading stuff i wrote (twice now) you project whatever is on your mind on my words and come up with an irrelevant answer that wasn't ever my point (hate Williams? How can you get THAT from my post??) : the composers on such projects don't make these choices - for what we know they probably would have been happy to oblige to use more Williams stuff (less work for them, too). It is almost a certainty that at some point Doyle, Hooper and Desplat had a talk with the producers (and saw the movie with the tt) and it is highly unlikely that the usage of the prior themes never came up. For whatever reason, it was decided to abandon all but the main theme - and even that was obviously only shoehorned in at very specific points from 4-7, leading me to the conclusion that what you request wasn't what they wanted.
  9. John Williams' The BFG (2016)

    You basically accused at least two perfectly capable composers of being lazy incompetents (paraphrased) as if they wrote this stuff just for fun. That's nonsense and has nothing to do with the task at hand, namely giving WB and the director something along the line of the temp track, which we know in Desplat's case included mostly stuff like '28 Days Later'. A bit far left from 'Fawkes the Phoenix', really.
  10. Clips: https://www.cede.de/de/music/?view=detail&branch_sub=0&id=1326325&branch=1
  11. I skipped the second time. The old release was already more than sufficient.
  12. John Williams' The BFG (2016)

    I think the fan in you just totally doesn't get how blockbuster films today are made in regards to scoring. The least of the problem these guys faced was the incorporation of some themes for the prior movies. It was writing 120 minutes of something that didn't clash with the millions of sound effects and didn't make Yates nervous who probably would have needed a John Williams score on his movies like he needed a second asshole. The scores you hear now in the movies proper are exactly what Yates ordered and Desplat probably smuggled some more depth into them than actually required of him.
  13. John Williams' The BFG (2016)

    Not every composer wants to be a showman (Hooper obviously didn't) and your rant ignores the obvious requirement of the production team - a wild guess might be that a Patrick Doyle or even Desplat aren't 500 pound gorillas like Williams, with whom studios probably wouldn't fuck around for a variety of reasons. Bottom line: the movies changed very much in tone and what you suggest might only have worked in a negligible handful of scenes and the new tasks at hand made it easier to make up a new tune like 'Obliviate' instead of noodling around with long-lined Williams themes just to make a handful of fans happy.
  14. It happens not very frequently with Williams, who tries to be a popular composer at least in his film works, but there are pieces or parts of them that linger longer than i initially thought they had any right to, i. e. from the recent Star Wars'es 'Battle of the Heroes' or 'Jedi Steps' or that long piece from 'Lincoln'. What TWR describes is a well-established pattern here, less so in accepting off-putting stuff after the xth listen but more in elevating perfectly serviceable or idiomatically boring retreads into musical gold touched only by the most precious gods...if you just listen often enough, it will come! Because of this i try never to forget first impressions when writing a review etc.