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Independence Day: Resurgence (Film and Score)

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Didn't realise Hirsch was returning. As said, the Hirsch-Goldblum partnership was one of the better parts of ID4.

Though nowhere on par with his other partnership.

20130624130306Danny_DeVito.jpg

maybe DeVito can feature in an ID4 as Goldblum's uncle or Bill Pullman's voice coach.

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I'm going to see David Arnold in concert tonight, where he will be performing Independence Day in the program. Hopefully he mentions at least something about the sequel if he knows anything. And if I get a chance to meet him again, then I'll make sure to ask him.

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I can deal with the fact that Will Smith opted out. He was only one character in an ensemble.

But the thought they they'll probably just casually chuck it over to Kloser because he's good mates with the director demonstrates how dismissive Emmerich and his team of sychophants have become towards high quality, dense, thematic film music in the last 15 years.

The same can be said of Hollywood in general.

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I'm confident it won't be. Sequels to twenty year old movies are tough to make with the spirit of the original. But you hold on to that boyish optimism.

It's not even that though. The movie could just as well come out to rave reviews yet I might not even get around to actually going to see it, because well, I might do something else instead that day. I could be busy picking my nose on the sofa or something. A blanket indifference policy is easier for lazy movie goers like me rather than being a proactive movie geek who spends time talking about how terrible a movie is before it comes out. If it's good, great. If it's bad, who cares. Life goes on.

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I can deal with the fact that Will Smith opted out. He was only one character in an ensemble.

But the thought they they'll probably just casually chuck it over to Kloser because he's good mates with the director demonstrates how dismissive Emmerich and his team of sychophants have become towards high quality, dense, thematic film music in the last 15 years.

The same can be said of Hollywood in general.

Devlin actually wrote some notes for Stargate saying that he loved what Arnold had written, was a major new talent had popped up, and how he hoped we would be hearing a lot more from him in the future.

Well the future is now, and if Devlin acknowledges what he has stated by hiring David, and convinces Emmerich to dismiss those 2 bozo's, we could have something here.

But in all likelihood it will not happen like that at all. :(

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Well in this case, that fact is way more believable then when Arnold was still listed as composer.

I don't get it, Devlin is the producer, he was the one that put Arnold on the forefront in 1994 with Stargate. He couldn't have been more impressed with Arnold's score and writing style. Now he wants generic mediocrity in his films? What a sellout !!!

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He just doesn't take on exciting projects as frequently as he used to.

Kloser obviously didn't have to push very hard for the gig since Emmerich has annointed him as his right-hand man. I've never heard of a film composer with such profound ambition to wield so much control and influence on the making of the films he works on, and completely missing the irony that his musical talent is miniscule.

Hollywood is full of egomaniacs, but Harald Kloser has the biggest head in film scoring.

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At this point I'd be pretty surprised if they even bothered to use any of the original themes. To do so possibly wouldn't sit well with the replacement composers whom might look at Arnold's work like the new woman who feels threatened by the attractive ex girlfriend.

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Indeed pretty depressing news. Can't stand people who score the best gigs, not for their talent, but purely for who they suck up to. Arnold deserved to write a sequel to his best score and Kloser's generic garbage is the garage band equivalent of the film music world.

So screw you, Emmerich. Go throw yourself another extravagent penthouse party and leave this sequel to someone who knows what they're doing.

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Indeed pretty depressing news. Can't stand people who score the best gigs, not for their talent, but purely for who they suck up to. Arnold deserved to write a sequel to his best score and Kloser's generic garbage is the garage band equivalent of the film music world.

So screw you, Emmerich. Go throw yourself another extravagent penthouse party and leave this sequel to someone who knows what they're doing.

Yep. It's too bad that people like Tyler Bates and Kloser/Wanker get high profile scoring gigs while far more talented composers are forced to pick up breadcrumbs.

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Indeed pretty depressing news. Can't stand people who score the best gigs, not for their talent, but purely for who they suck up to. Arnold deserved to write a sequel to his best score and Kloser's generic garbage is the garage band equivalent of the film music world.

So screw you, Emmerich. Go throw yourself another extravagent penthouse party and leave this sequel to someone who knows what they're doing.

Yep. It's too bad that people like Tyler Bates and Kloser/Wanker get high profile scoring gigs while far more talented composers are forced to pick up breadcrumbs.

Don't forget the never-ending MV clones that come off the conveyor belt of mediocrity.

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Very depressing if true. They're hack composers who only get work because they wank the director. What little interest I had in the film is gone.

What's weird is that the thread we posted in on IMDb about this was deleted hours later.

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Very depressing if true. They're hack composers who only get work because they wank the director. What little interest I had in the film is gone.

What's weird is that the thread we posted in on IMDb about this was deleted hours later.

Wanker must be an IMDB mod

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I've noticed Kloser and Emmerich's social media outlets are tightly controlled. Comments on posts that might have been a bit critical or asking hard questions have been conspicuously deleted. Of course this leaves only the monotonous "u guyz r gr8!" or "the movie will be awesum!" posts to be visible.

Even Lucasfilm isn't this bad.

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I think we all knew Arnold wasn't going to return. He seems open to it when I asked him at one of his concerts, and also he's never said no, just that he hasn't been asked yet. 'YET'so he is very open to it. So I ask the clueless idiots involved in Independence Day Insurgent, Divergent, Resurgence, Detergent or whatever B-Movie name it has; What the hell are you bloody doing? I have zero interest in this film without Arnold. And some cinema-goers will no doubt think 'where is that cool music from the last one?'

I.D.4.R. More like I.D.I.O.T.S.

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Unfortunately, whether we like it or not, filmmakers know that cinemagoers don't choose whether or not to see a movie based on who's writing the music.

Kloser and Wanker can make two lame references to the famous 6-note 'Alien fanfare' and cinemagoers will go "ohhhhhhhereeerrrrr!!!!1111!!1!!!1!"

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A possible scenario might be that two weeks prior to release, Kloswank files a score so wretched and insipid, Emmerich is forced to reject it and phones Arnold begging him to write a replacement score. But Arnold tells him to get lost. Then the movie's fucked.

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