Alex

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.

I refuse to believe you can have any bad luck dating when you are surrounded by purely Brazilian women!

You rn:

They look like snakes…

I thought Boyd Holbrook offered very little to be honest

As I have commented in other threads, it is absolutely fine. Having watched it four times, I have come to appreciate it more. I think the ending was the only true let down for me. I was entertained enough throughout. I really did like the chase through Tangiers. I would have replaced the underwater scene with something on land, and cut Boyd Holbrook out altogether.

I am not particularly convinced by Mangold’s word-salady response to the “Indy still wanted for murder” issue. I personally think the Mouse and the producers got involved. It just seems incredible that the guy who wrote Logan could willingly choose that ending. Maybe the pressure got to him.

Now this I do agree with to some extent. I definitely think he stays in early cuts of the film.

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction).

What I meant is that there were actual set photos of PWB and Harrison Ford on that hill, but there were shots in that scene where they didn’t even look like they were outside, or even next to each other. Is she really that annoying though? I mean, really? She’s certainly not the most complex or interesting character, sure, but I didn’t find myself irritated by her. Maybe it’s because I was a fan of PWB before, I don’t know. Fleabag is great.

I have ended up seeing this film four times (not necessarily by choice), and I am satisfied that it’s absolutely fine. Harrison Ford is great and has plenty to do, PWB is no more annoying than Kate Capshaw in ToD and the de-aging is great in some cases (the inside of the train mainly) but is pretty jarring in others. Mads Mikkelsen, of course, is super as Classic Mads Mikkelsen Villain. The only real problem I had was the end of the Syracuse battle was clearly either shot on the two different days, in front of a green screen or completely reshot, because Harrison Ford and PWB are either not outside or not together for a lot of that scene (when they’re talking to __________) and it’s obvious.

I was always convinced that the tune of Childhood was based off a song where someone was singing something along the lines of Peeeeter... Peeeeeter. I am happy that has been cleared up now.

I think we’re just used to hearing those themes with JP’s more powerful orchestrations.

The part from 1.00-1.30 sounds like something that JW could have written in the 70s/80s.

Just an observation rather than a criticism, knowing what we know about how the original film was mainly JP.

HGW very much sticking to his own style and not even attempting to emulate JP.

Disc 3 explains so much about the score. A fascinating listening.

Maybe it was a variation he came up with in the early stages when he didn’t know if he was going to score the whole film, for Bill Ross to use in action sequences.

Yeah, I was watching the film on Disney+ on Friday, and the music does sound really good in it. It’s not horribly chopped up, it’s nicely mixed, it’s spotted really well. It’s the little things like an orchestral hit as someone jumps onto roof of a Tuk Tuk and stabs a knife through it that gets my blood flowing.

Let’s just make sure that in 20 years time we’re still having a debate about who wrote what, like with COS.

I think it was probably a Williams and Ross composition (I am not sure exactly what that would entail), rather than JW on his own. This might explain why much of the prologue is missing from the OST as well.

I think it might be a "Bill Ross was a bit too much involved in this" situation.

I watched DoD again on Disney+ and I enjoyed it a lot more.

The part after the Coruscant-like percussion stuff in Tuk Tuk Chase 2 is deliciously chaotic. There´s so much going on, I am picking up something new each time I listen. Voller and Helena's themes integrated into the On the Conveyer Belt stuff (I think they almost play off each other). Some absolutely mental harp playing going on before Indy's B theme plays as well.