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Matt C

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Matt C last won the day on September 26 2013

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About Matt C

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  • Birthday 02/16/1987

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  1. I don't think so. Hell, if I was directing a comic book movie for either WB or Marvel -- Dynamic Music Partners would be my dream pick to score. They would be cheap and provide quality scores with chamber-sized ensembles.
  2. No. Paramount distributed Marvel's completed films for a 8-10% fee, which made it easier for Disney to buy them out. They did not co-finance them like they did with Titanic. (Otherwise Par would still be involved.) Yet Paramount still collects 8% of the profits from The Avengers and 9% on Iron Man 3, so their logo isn't going to be wiped from the early MCU films any time soon.
  3. Paramount has domestic distribution rights while Fox/Disney own international.
  4. Superman The Animated Series (Carter/Cohen/McCuistion/Ritmanis/Walker) Ah yes, back when kids cartoons weren't dumbed down and had good scores to boot. It's amazing how Walker and her team managed quality this good with only 30+ musicians for each episode. And while they stayed within her wheelhouse sonically, she gave the composers leeway to develop their own style too. I'm partial to Michael McCuistion for his work on "World's Finest" and "In Brightest Day" as well as Lolita Ritmanis' "Little Girl Lost", but this is a beautifully curated album release by LLL. Makes me wish an upcoming director would secure McCuistion/Ritmanis/Carter to score a live action comic book film...
  5. Disney bought most of 20th Century Fox's assets -- but not the whole thing. Fox corporation still owns their broadcast network, Fox News, Fox Business and regional sports networks. Everything else -- film and TV production, back catalogue, facilities like Fox Studios Australia -- are Disney's now.
  6. New episodes aren't going to be exclusive to Disney+. They'll air on Fox first. After Fox's two year renewal is up, Disney has the option to move future seasons to ABC or make it exclusive to Disney+.
  7. Nim's Island -- Patrick Doyle More relaxed and playful than, say, Harry Potter and the Goblet of Fire, it's something I could listen to in the background while working. The main theme is beautiful with a touch of whimsy. Honestly, there's a bit of mickey mousing here but it's well-written and orchestrated like "Lizard Attack." The score sounds bigger than it actually is, big props to Doyle's orchestration team.
  8. The next two seasons will air on Fox before going to Disney+. Ditto for Bob's Burgers and Seth McFarlane's two shows.
  9. Michael Goldenberg had a much better sense of what to throw out and it feels more faithful to the spirit of the novel. Steve Kloves was married to keeping certain stuff and giving other people's lines to Hermione.
  10. The Fox network renewed the show for two more seasons right before Disney finalized the purchase of the Fox TV and movie assets -- Disney is legally obligated to keep "The Simpsons" on the Fox network (which now pays a licensing fee) before they can move it to ABC or Disney+. Besides, they make more money off merchandising sales than anything else. That's why it's still going.
  11. The Lion King (2019) The most cynical cash-grab remake I've ever witnessed. Other than money, there was zero reason to remake the 1994 film from a storytelling perspective. The stunning photorealistic animation only goes so far (the "Circle of Life" sequence is shot-for-shot recreated from the original film) and after 30 minutes the novelty wears off. The film follows the SAME story beats and recreates many iconic scenes to lesser effect. JD McCrary and Donald Glover did an excellent job taking the reins as Simba, didn't like Chiwetl Ejiofor's take on Scar, hated Billy Eichner and Seth Rogen's Timon and Pumbaa. It's bewildering Jon Favreau bent over backwards to get Beyonce to voice Nala, she didn't make much of an impression at all. Zero reason to see this unless your kids absolutely insist. Stick with the 1994 film instead.
  12. Batman v. Superman: Dawn of Justice - Hans Zimmer & Junkie XL There are some decent highlights in this score, but no sense of dramatic storytelling, just mainly sonic wallpaper. "Is She With You?" introduces Zimmer's delightful war-cry motif for Wonder Woman, as well as an obnoxious Sherlock Holmes-styled motif for Lex Luthor running throughout. They manage to capture the sadness and loss of innocence for Bruce Wayne a second time (albeit regurgitating the choir boy vocal), but the composers never really pit the new Batman motif against Superman's musically. And why wasn't Zimmer's more optimistic anthem from MOS not brought back either? I pine for the glory days of Batman Begins... Justice League - Danny Elfman Elfman's style has changed and evolved over the decades, but his writing is unmistakable. I really dug what he (and Pinar Toprak) did with Zimmer's Wonder Woman theme, in "Wonder Woman Rescue". His Batman theme is arranged in ways that hearken back to his late '80s/early '90s writing but also his more modern style. But the way he places and pits themes against each other is masterful, especially in "Friends and Foes" and "The Final Battle." But his quieter cues like "Home" would be right home in, say, a Spider-Man film. I don't understand the hate for this score, I really don't.
  13. It really works due to editor Bob Murawski. Props to him keeping that unbroken take of Peter telling May before cutting to her reaction and her walking out. It works so well without music.
  14. Elfman's score was one of the saving graces of that movie. It's not Batman or Spider-Man 2 quality, but then those were 30 and 15 years ago. That exchange between Peter and MJ after the play is my favorite in that movie, aside from the apartment scene. It's just a wistful and hopeful scene.
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