Alex

I have just released that 2.15-2.24 of Indy Driver is is basically 3.21-3.31 of Anderton’s Great Escape. Johnny must have been studying his Minority Report score.

“I have the time I need to finish this concerto, and I will begin to have some free time later this year. If there’s an opportunity there that I think I can fill and enjoy doing with people I will enjoy, I see no reason not to do it.” Well, I hope there are some directors reading this.

I assume Homelander will get away with everything… again 😅

The snapping snare drum and the rendition of the new Nazi motif on trumpet in “Combat Training” sounds like something JW would put in a concert arrangement.

Yeah sorry I was thinking of something else

Does “The Hunt” count as a fugue?

Should have asked him if Bill Ross wrote the second part of the chase 😅

Always good to hear an JW interview with some stimulating questions. The part regarding the Tuk Tuk chase was interesting.

I already have that on my forehead

I’ve been wanting a JW related one for a while but I’ve never been able to find a design, nor am I creative enough to design one myself.

That is awesome. Question: Do you have your original design for this in a digital format?

Fucking hell, imagine being one of the session musicians blowing your lungs out trying to nail that piece and then you sit down and watch the film and you discover it’s been cut. 😅

For Helena’s Theme

Something random I came across very recently. I was reading Alan Rickman’s diaries and it appears he was a friend of Michael Kamen’s, as he’s mentioned various times. It appears they socialised a lot. I won’t spoil it for anyone who wants to read the diaries but there is an amusing description of Kamen a month before his death. Incidentally, Rickman seems to have also socialised with Gabriel Yared and Patrick Doyle.

Would love to see the set of the chamber itself in a Del Toro directed CoS.

People saying Pemberton has been hard done by, fair enough. Across the Spider-Verse is much more listenable than than the first one. But in my opinion, that’s all it is. It’s like Barbie in a way. It’s fine, but should it be in an awards conversation? No way. Incidentally I think his work on Enola Holmes is much more interesting. It is quite difficult to compare DoD to the other nominations because simply put, there is nothing in the other scores that even comes close to the complexities of structure and orchestration of DoD. JW is just simply from another era and his process is just so different. To semi-quote Alan Partridge: “Give him another Oscar you shits!”

Thanks, Jay.

I think Del Toro would have been a good choice for GOF as well. They should have broken the bank to bring back Cuáron back for HBP.

Came across this on Twitter/X: https://x.com/pureevilbich/status/1750168797065941049?s=46&t=qD_26VYTJS4cdEm47c4eUg Apparently McQuarrie told this story on a podcast (not sure if this was recently or when they were promoting Rogue Nation). EDIT: Not sure how to embed the tweet, so I’ve attached the picture from the original post.

Karpman or JW for me. It will be Goransson though.

Went back to listen to POA for the first time in a while. I’ve got to say, the part of the album that goes from Chasing Scabbers to Lupin’s Transformation contains what I’d say to be some of the best action music JW has ever written. Some absolutely incredible brass writing in there.

Ken Huy Quan went back to acting too late. If he’d only gone back a few years earlier, we could have potentially had a very different DoD.

People can save this post and remind me about it when he completes a two hour score for the Rey movie, but I very much doubt JW scores another movie again. (I probably said this after TROS as well)

Jonathon Heyward is listed as conductor. No mention of JW’s presence at all.

I saw it. It is very well acted (Carey Mulligan is incredible), but it is rather hollow. Also, if you had no idea who Bernstein was before seeing it, I imagine you would be a bit lost at some points.