mrbellamy

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About mrbellamy

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    I Know But They're All Dead

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  1. I think that early TFA criticism is dying out as people are rallying around Rey's Theme, March of the Resistance, and Jedi Steps. But I still think he'd get some backlash if he won an Oscar for it and the haters would have an excuse to start calling it "OOOOOVVVVVEEEEERRRRAAATTTTTEEEEDDD" on top of a disappointment. Morricone has always been more of an underdog so I'd rather he get his first competing Oscar for his wonderfully odd score and everybody can just be happy. Don't need Quentin Tarantino pitching a big ol fit either if Morricone were to lose so Williams could pick up his 6th for another Star Wars.....   Meh, I mean of course it'd be lovely to see him up there and all but the Internet can spoil nice things. We know TFA's score bears scrutiny, it can withstand being a little underappreciated  I'm just excited for the summer with everybody generally loving on Johnny around the AFI lifetime tribute thing and writing retrospective articles and Twitter posting their favorite scores and shit like that. I want good vibes, not another reason to whine about Force Awakens and that he already has too many awards or whatever. 
  2. JW receives Lifetime Hollywood Music Award

    His expression in this picture.  
  3. To be fair, he had plenty of other things to worry about besides jumping through hoops to make John Williams happen.   My guess is he was excited about the idea of getting Williams but not in any special way. Yates never came across as a director with any particular interest in film music as a narrative device, his movies always tending to value it more as a "mood generator." Any attempts at continuity from he and his composers were pretty weak...all the tracked music in HBP and DH2, the Possession "theme" reappearing in HBP, Hooper's bizarre choice to reprise the four-note Quidditch motif from Azkaban of ALL things.    Umbridge's theme was alright, Desplat's attempts were okay....I like the Horcrux motif and the "Band of Brothers" theme as he called it, but still not that inspired. Lily's Theme got off to a good start but falls flat in the second half for me.
  4. Yep, I agree too. I would have been interested to get a new Williams fanfare, of course, but the silence was very effective.   I do think it would be cool if Kennedy could commission something from him, though, even if they never end up using it for Star Wars specifically.
  5. The most disheartening thing about Hooper is that according to the liner notes of OOTP he was working on that score over the course of the entire film, from preproduction to the end, a period of over 18 months. He wrote a draft of the Ministry entrance cue as an "audition" for Warner Bros, Yates talked about playing the little theme in the Sirius scenes for the cast during production. I assume it was a similar process for HBP. What on earth was he doing in all that time?   I do also remember an interview with Hooper where he praised his team of orchestrators who "transferred my MIDI files and turned them into music." I guess in a way it's kinda impressive he came up with the scores he did. I believe it when Yates said he was too exhausted to continue.....enough to make you feel bad for the guy. 
  6. The only thing I'm really sure of is that Phantom Menace is the best. They're all great but TPM's energy is pretty unreal to me.   Still not really sure how I'd rank the others. They all have their particular strengths and weaknesses, sorta depends on what I happen to enjoy more at the time. I guess I would put ROTS over AOTC most days. For now TFA's softer emotional colors and thematic development take the edge over ROTS' balls-to-the-wall highlights, but I think it'll always be close for me.
  7. Ranking JW's 21st century scores

    AI, HP 1 + 3, and Catch Me If You Can are my very favorites. Dramatically and musically, I just love these to bits.   The Star Wars scores and HP 2 I still listen to all the time. Endlessly entertaining. We'll see about Force Awakens' longevity but it's settling very well with me.   Only really listen to the highlights from Memoirs of a Geisha, War Horse, Lincoln, Munich, The Terminal, and Tintin anymore but I enjoy these too in roughly listed order. In terms of ranking I'd throw at least the first four in the mix with the second group.   I like The Book Thief and KOTCS but have no special feelings on either. Though I recently have really been getting into "Irina's Theme" for the first time. Never really paid it much attention before, but damn it's great.   Sadly don't own Minority Report, War of the Worlds, or The Patriot so have yet to really listen to these carefully away from the film, but I especially love the first two in context.     Everybody loves pointing out that 2000 is not technically the beginning of the 21st century, but I still am not sure why it matters...? It's splitting hairs. For casual historical/cultural discussions it's obviously easier to remember 2000s, 1900s, 1800s etc. Yeah it's a misnomer but does anybody really care that much about giving the 1st century the full 1000 years? 
  8. Room.    Man, this completely resonated with me. Best movie of last year, I think. Actually really want to see it again.
  9. The Official Future Films Thread

      The Search for More Money is such a perfect title that it almost wouldn't even matter if it was terrible.
  10. Dunno if I would say "obviously," but seems like something they'd do.
  11.   I was being tongue-in-cheek of course, but history shows we underestimate James Cameron at our own peril....
  12. As expected after the announcement about Episode 8, Avatar 2 won't be ready by December 2017; release date undetermined as of now.   James Cameron's process is one of the craziest things in Hollywood history. This thing will probably make like 5 billion.
  13. Star Wars Episode VIII (Rian Johnson 2017)

    Yeah, I think it was essentially both. He had only a brief window in which he would have written Bridge of Spies and that's what they were shooting for, then he had his surgery and after the 6 weeks of rest or whatever it was, it was too late.
  14. I could never take those first three away from him, but we know of course he shifted to an entirely different working method altogether.    I've always felt like he was never naturally as tenacious as his buddies Marty and Steven who have still shown signs of vitality in their old age. They thrive on having a movie always in production, it's who they are. Lucas on the other hand has often described himself as a lazy person, which I know is tongue-in-cheek and can't be completely true given his position, but he has always seemed a little on the lethargic side, personality-wise. In the 70s, circumstantially he had no choice but to push himself and give that 100%, no matter how exhausting. 20 years later, perhaps not so much.
  15.   Aesthetically, this is where his work as a director was always the strongest.