Muad'Dib

Every now and then I come back to this specific track -such good stuff

I had a lot of fun watching it, like when I saw KOTCS in the cinemas (it was my first Indy movie) but I think the main problem is that it's like three or four movies crammed in one -and they're all fighting each other for the spotlight. As many have said, the prologue should have been shorter: For example, I don't know what the point was of Indy and that long sequence of him hanging by the neck -that should have been cut altogether. Start at the train and that's it -it should be like the opening from Last Crusade, 10 minutes tops and then get back to present day. Then there's the 60's part of the movie with all the space stuff, which is just kinda... there. The parade sequence is fun but they don't do much with it either. I found myself really enjoying the part at the caves, particularly when they discover Archimedes' tomb. The discovery of the strange drawings on the tomb and the clock felt chilling. And then when they get to ancient Greece. It was so stupid and so clever at the same time. I felt like that should have been the main focus of the movie: Indy trying to get back to the present and avoiding doing any major changes to history -with Archimedes help, perhaps; Voller changing his mind and instead of killing Hitler, deciding to conquer Greece! And Indy and Helena have to stop him. After that, when they get the chance to return, Indy wants to stay as there's nothing for him to go back to; until he realizes by his own means that he must get back to his real life. ---On a side note: Didn't Indy know how speak German? I seem to recall he did. That felt weird. Overall, like I said, I had a lot of fun -and the potential was there, all the right elements seem to be right there... But somehow the film didn't quite know what to do with them.

Saw the film yesterday with my partner -we both enjoyed it quite a bit. It's far from perfect, but I had a lot of fun. Surprised me how violent it was, sometimes it was fun and sometimes it felt like a little too much. Anyways, regarding the score what surprised me was the fact of the tiny bits they used from KOTCS -I expected them to avoid that one and stick to the original trilogy, but hey, I think I know KOTCS from start to finish so it was a welcome surprise for me. I heard some Jungle Chase in the prologue and they seemed to have really dug this bit as they used it at least two or three times: Sometimes it felt like they were throwing temp-track around without much thought, but all the re-recorded and re-written bits sounded great -in terms of the orchestra and room, not so much in the specific places they decided to use them. That felt like a mixed bag for me. I gotta say though, when the end credits started I was thinking: Wow, this might be the last new Williams' score I'll hear in theaters. And as I sat watching the credits roll, I really enjoyed myself listening to the music -even if it wasn't a traditional end credits suite, as we might have hoped and liked. Having heard the score before seeing the movie, I was humming along with all the cool melodies (old a new) the end credits suite had to offer -and I also thought: man, these are some great tunes! Listen to that orchestra! Those harmonies! Truly great stuff. Here's hoping the maestro's got one or two more under the bag, but if he doesn't feel the need to, I feel like this is a good closure to that stage of his career.

Nothing else for Shriking? Damn... Happy for all those Ted Lasso noms, tho

Awesome! I hope it gets more recognition, it's really good and the performances are fantastic. Really digging this stage of Harrison's carreer where he is taking some risks and doing more varied stuff. Haven't completed it yet, but I really dug his work on 1923.

Anyone else seen Shrinking? Didn't have much expectations but it has continued to keep surprising me episode after episode, and I'm almost done with the show now. Only one episode remains and I don't want it to end. It's got a Ted Lasso vibe but a little darker and not so wholesome, but it's not a bad thing. Also found myself getting emotional many times during the show. The only negative is that there are some cringy forced moments, but they are very far in between. Ford is excellent, as well as Segel and the supporting cast. The standout of the new faces, for me, is Jessica Williams. There are also some Scrubs familiar faces, with one particular great surprise performance of Christa Miller in an important supporting role. At first I thought she was kinda shoehorned in, but as time went on I started to really like her performance along with her character and the interactions she has with the rest of the cast. As I said, it feels like a sort of spiritual follow-up to Ted Lasso, but with a little bit more of drama.

I wonder if all the temp-track love was initially a thing of Williams' only doing some themes and handling the rest of the score to someone else... Until he decided to do it himself, and maybe they kept the temp-track? Hell, perhaps even Williams thought that will all the previously written music (or previous music that needed slight modifications) scoring the bloody thing would be a lot less work.

LOL where is that from?

The Russians theme from KOTCS, in all its jazzy glory

Which part?

Is the brass theme at 1:07 in Prologue a new theme or an old theme? I really dig it!

That was my first reaction as well, but on the other hand I thought it was kinda cool we got to hear more material in that style.

The brass sound really, really good! I'd dare say the best sounding brass in all the post-prequel trilogy era. Also, as the album says Conducted by JW, this might indicate that a good chunk of the unreleased material was perhaps conducted by Ross.

One of my favorite Silvestri themes and scores, it's a must!

"Paul" with Simon Pegg and Nick Frost could have been interesting. I know they really wanted Johnny for the gig, but ended up being too expensive. I don't know if he would have done it, though. But a sort of Close Encounters self-parody sounds like it could have been a lot of fun.

The Black Cauldron and/or Treasure Planet

You guys are crazy, it sounds absolutely lovely!

Both at the same time.

DAMMIT

Doesn't necessarily mean it'll be the final mix. Sometimes these clips have a temp mix thrown together quicky. But one can hope.

Nu-uh! She was clearly thinking about Jaws, duh.

Yeah, she seems to be playing first violin.

Some cool sounding bits in there!

I think it may also have to do with how stressful and complicated the film music business has become: endless rewrites up to the very last second, and some people can manage it, and some people prefer not to deal with that. If you can have an easier time on a lower profile gig and still get a good pay, why not do that? I'm guessing that's part of the reason Williams' started to semi-retire from the 2000's onwards (apart from age), but the film music business was changing radically back then. The fact that he has agreed to score blockbusters up to this decade is quite the miracle when you think about it, particularly with the stories we've heard about Rise of Skywalker and its extremly troubled production. I can't imagine the old-school guys wanting to deal with those changes in the industry unless they really want or need to. Another recent example that comes to mind is Shore's Hobbit trilogy scores -Jackson was editing until the very last second and that took its toll on the score as well, and they had to call Conrad Pope to help out. The digital age made it easier and quicker on many aspects, but it also allowed studios to ask for changes and changes with no end in sight until the film is released -sometimes the film keeps changing AFTER it's been released. All speculation on my part, of course, I've never been in the Hollywood business -but doesn't sound that far off to me.