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About mrbellamy

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  1. I don't think that's a very solid confirmation...just a vague skirting of the question. Two ways you can read it, could mean "We will find out about her parents in 8 next year" or "We'll just have to wait and see if it's revealed in 8 next year." But I agree with Pieter that I'm kinda hoping she's a nobody.
  2. Yeah, hopefully those end credits tracks are newly composed arrangements. Not familiar enough with JNH to know if that's typical for him or not. I think my biggest question mark is how he'll approach the (presumably) action climax with all the beasties running around causing destruction. Could be a real tour-de-force or it could just be loud and dumb. Same goes for the sequence itself, for that matter.
  3. I'm guessing we'll hear plenty more of both approaches, but hopefully the balance leans toward this stuff since it's clear he did get some room to really let loose. Or at least hopefully the dark material gets more interesting.
  4. I guess so. I've done the back-to-back thing just once when Part 2 came out on Bluray and found the earlier stuff more spirited (the Gringotts break-in and dragon escape really works nicely coming directly after the torture and death at Malfoy Manor, plus the trio's other setbacks and tensions in Part 1) but by the end of it all I was still a bit like On a positive note, I did go see Azkaban in the IMAX re-release last Tuesday and I think I love film and score even more than ever now.
  5. Ha yeah, I remember them saying that. I doubt they would have cut it entirely, but I think it would have been something like one scene in Dumbledore's office where you get all the major revelations at once.
  6. I don't disagree and I'm not saying great music would have made the scene a masterpiece, but I'm not totally convinced that was the most that could have been done with it. But I mean, it's fine, the problems with the scene aren't with Desplat. I just don't feel like his work does anything but add some adrenaline (which is how I feel about a disappointing amount of the score), whereas I think at least a little more emotional focus was possible. Actually the best possible version of the confrontation might have been unscored, but I don't think Yates's attempt would work without music. I guess pot meet kettle then, brother. We're going to have to agree to disagree on a lot of these points. Point blank, the film obviously succeeds because it connected with you. You find the face-merge and Voldemort's disintegration interesting to look at and haunting imagery, you find the battle on the staircase a human and powerful sequence and expressive of character. I do not.
  7. Yeah, but on the other hand, Heyman has always maintained that the Columbus films were in fact where the studio was most involved -- and even so is there any doubt that those two are Chris Columbus movies through and through? I mean, that's why they hired him! -- but that by around film 4, WB was pretty trusting of the property and the filmmakers' ability to deliver. They let Cuaron get away with quite a lot, and Yates said he had a great, relaxed relationship with WB on Potter. In his recent Q&A, he said that it was Tarzan where he started to receive more of the dreaded studio notes, though even then claims it wasn't bad as he's heard from others. So in the case of HP, I'm actually more willing to blame the filmmakers, which makes the creative setbacks all the more disappointing. Also I find WB very interesting because it's actually hard to think of another studio that has given directors more control over their choices. Think of their repeating relationships with Kubrick, Nolan, Cuaron, Spike Jonze, or the fact that in the last two years Inherent Vice and Mad Max: Fury Road were major studio releases. On the other hand it's garnering a reputation for being overly controlling in its franchise movies. One wonders if Alan Horn moving to Disney in 2012 and being replaced by Kevin Tsujihara has anything to do with it, which is odd because Disney is the biggest micro-manager in the business. Maybe over-exaggerated phrasing but I don't find that music expressive of anything going on between the characters other than the sparks they're shooting at each other, which is completely uninteresting to me.
  8. That's the weird contradiction of the later Potter movies is that they tried their damndest to make the threat dark, gritty, and real, and yet they were perfectly willing to trade a gruesome death scene for a notable character in exchange for a bit of slapstick. David Heyman claimed they thought it would look silly, so I guess they just decided to go even sillier? Maybe it was a studio note in reality, who knows. David Yates, Steve Kloves, and their biggest fans claim those later movies prize character above all but then you look at some of the stuff they invented for Part 2, the time spent on blowing a bridge up with really no insight into Neville's leadership in the process, or elaborate battle scenes with no palpable sense of fear (except comically, like Flitwick hopping around), or extending the Harry/Voldemort duel into several nonsensical action beats that for me aren't especially exciting and really dilute what should be the intense emotion and revelation of their final conflict. Bellatrix and Voldemort don't die, they explode into puffs of confetti. Oh, but it's grey, not multi-colored, how dark! Where's the humanity? When Molly says "Not my daughter, you bitch" you can barely even tell Bellatrix went after Ginny and you certainly don't see Molly take notice so the line has no power and just amounts to fan service. Then it's a bit of silly mickey-mousing action music, boom, pow, Molly wins in about 10 seconds and it's done. Where's the character? Where's the struggle?
  9. Probably risking looking like an over-eager ignoramus I doubt this is from the score but anybody know what this is? Not enough of an expert to know if it's something by one of the Russian masters or just pastiche.
  10. Do we have to take this to the snuggle thread?
  11. I'd be satisfied enough with a bunch of scattered full-bodied 30 second melodic statements like that. A lengthy thematic piece is almost too much to ask for these days...
  12. Yeah, we've heard this before but all I can say is that track was entertaining beginning to end and 0:49-1:10 gave me the tingles and jingles. Not like it's distinguishable from the X number of pieces like this that we've ever gotten from JNH, Williams, Horner etc but this is the kind of energy that I like. This sounds alive to me. It also assuages a lot of the pervasive ideas that Yates was inevitably going to smother JNH. Will be interesting to hear what the overall tone and sound of the score is.
  13. Yeah, agree. I really enjoyed Han's writing in Force Awakens so I think Kasdan's still got these characters in him. There are bound to be a few missteps but overall I'm expecting a fun and witty screenplay, dialogue-wise if not story.