QMM

I love Magnolia (although I only really listen to four tracks on the soundtrack). Punch-Drunk Love and Eternal Sunshine would probably come after that. Synecdoche, New York and I Heart Huckabees aren't bad either. It's a shame that a lot of his work has gone unreleased though, as he scored a Miranda July movie this past year that was apparently great and he's scored some shorts for Disney. I never saw Step Brothers, but just watching this featurette makes me wish it had a proper release

The soundtrack is dropping tomorrow I believe but they're streaming the whole thing right here We need some more Brion discussion here. I feel he's sorely overlooked.

I've been staying out of any TDKR threads until I saw the movie. Was there ever an official explanation about why Newton Howard didn't come back?

Marc Webb has said that the lizard has a 4 note motif.

Got my set and like everyone else, I'm surprised by the quality.

Drew hit on a lot of my problems

I might get tickets to this if he doesn't do Chicago this year.

I was at the event and while they had some great discussions (didn't know David was so into preserving sheet music), I agree with alicebrallice that they ended when things were getting interesting. I really wanted to hear Randy and David expand on why they think the industry's gotten worse.

Don't know how that happened since Giacchino recorded Carter in September and October of last year.

I still haven't gotten my shipping notice from LLL

This is great!

It's way more of a fun adventure movie and not really as intense as 1 or 3.

I got to hear Mood India and Mumbai's the Word being recorded and they're both pretty fantastic, definitely my favorite cues from the day I was there.

Two clips are up The second clip was the last cue I heard. Some really great stuff in that sequence.

There was an article recently on Roger Deakins using the Arri Alexa for In Time. One of the reasons he ended up using it was because it could pick up more detail in low light, moreso than film, and he didn't need to use as many lighting setups.

I hope the guy doesn't announce all the track titles as he's playing them, otherwise I'll be holding off.

Incanus, you really need to hear Lennertz's score for Gun.

Newman.

And here's proof

I also want to say that it's probably the dream for a lot of us to attend a film scoring session and for me, it was a magical experience. The sound booth probably had the most amazing sound system I've ever heard, but hearing the orchestra in person was something else, and everyone was so incredibly nice. I got to meet a couple of the players, including Emil, the percussionist, who said that the first score he played on was The Diary of Anne Frank. Michael isn't kidding when he says that both the orchestra and the people he works with are like a family to him, because that's what it feels like when you're there. I've got mixed feelings about the third one: I like half of it very, very much, but some pieces I find a bit sterile and annoying (mainly some of the action cues - the loud ones with the same motif over and over without going anywhere). So I was hoping the new one would go into the musical direction of the heist sequence in Italy, the car chase in Shanghai, or the Hunting for Jules track, and less of the helicopter chase and the like. Again, I didn't hear enough to say either way, but I think you'll be happy. Yes.

I'm guessing that I only heard, at most, 20 minutes of the score so I don't know if I could really say if I thought this one is better or not (it sounded great!). I grew to really like his score to MI3 so I came in expecting that to like this one. If you liked 3, you'll like 4. Michael actually introduced us to Bird and we shook his hand. That, and receiving a poster signed by him and Michael, was the extent of our meeting with him but it was pretty clear that he had a lot more things on his mind and we didn't want to bother him. Michael, though, was great and we had a couple of cool conversations. I'll say that one thing I asked was about the similarity between the military's theme from Super 8 and the one from SWON (it was intentional.) He'd always liked that theme from SWON and wanted to use it in a film setting. This was followed by like two minutes of geeking out over the themes he sneaks into his scores. And yes, this thing easily dwarfed what I paid for that CD.

So last November there was a charity auction where the winner could go to one of the scoring sessions for M:I:4. My brother and I won that auction and I just got back from the session. Got to meet Giacchino and Brad Bird, as well as some of the sound crew and musicians, all of whom were lovely people. I'm not going to give any specifics about the score other than I was happy with what I heard The theme sounded good!

Are there recordings of these?

Probably sound editing and mixing. I've been to Park Road and met some of the people there, including one of the sound designers on King Kong. Incredible place.

M&C is one of the few films that I consider perfect.