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Independence Day: Resurgence (Film and Score)


MSM

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  • 1 month later...

Surprised the score is recording this early.

 

Only a snippet but sounds like a generic, indiscernible outtake from Alien Vs Predator. I'd challenge you to find a dull 10 second excerpt from Arnold's ID4 score! :P

 

I'll wait for a meatier clip before shitcanning Kloser too much, but I'm resigned to the likelihood this'll be a dust-collector. Arnold's score was lightning in a bottle and his themes are iconic; nothing new Kloser writes will come close to Arnold's themes. I'm expecting something like Giacchino's Jurassic World; a 110 minute score where the only memorable thing is the previous composer's music.

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On 28/01/2016 at 11:42 PM, crumbs said:

I'd challenge you to find a dull 10 second excerpt from Arnold's ID4 score! :P

 

I don't think Emmerich even really liked Arnold's music anyway. I've never heard him comment about it.

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22 minutes ago, Drax said:

I don't think Emmerich even really liked Arnold's music anyway. I've never heard him comment about it.

 

Says much about his taste in music then! 

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Disappointing. When I first heard that Independence Day 2 was going to happen for real, my first thought was how exciting to have David Arnold revisit this music. Too bad it will variations on AVP. 

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Well if he was smart he would have put their arguments of the past aside, and hire him, as his music was instrumental to the original movie's success.

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11 minutes ago, MSM said:

as his music was instrumental to the original movie's success.

 

Emmerich's ego prevents him from acknowledging that. He would rather believe his pictures, dialogue and sound effects can stand up on their own without Arnold's "league-of-its-own" music distracting the audience with the sheer overwhelming force of its undeniable, unparallelled god-like superiority.

 

Kloser's generic, 'inoffensive', unobtrusive drones fit his vision better. They've probably been having a laugh together amongst themselves at the scoring sessions with Emmerich telling Harald "I like it, so much better than David's".

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Kloser's Day After Tomorrow has some good parts and I think fits the movie. In fact, given the crap he's made lately, I'd rather Kloser provided his usual inoffensive scoring than Arnold having to go RCP on us.

 

That said, what's Arnold been doing lately, apart from Sherlock?

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The sad reality is that Arnold would be as hamstrung on this film as Desplat was on Potter. Tentpole films are made by studio committee these days and, unless you're John Williams, studios usually demand inoffensive wallpaper for the score.

 

None of those "distracting, annoying themes," which ignorant focus groups (in their target demographic of 15-35) would continually remind them.

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You don't think Hollywood focus groups are a thing?

 

If Emmerich wanted a bold, thematic sequel score from Arnold he was perfectly available. He hired Kloser instead, probably because he's just more comfortable giving the gig to his producing partner.

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20 hours ago, crumbs said:

You don't think Hollywood focus groups are a thing?

 

If Emmerich wanted a bold, thematic sequel score from Arnold he was perfectly available. He hired Kloser instead, probably because he's just more comfortable giving the gig to his producing partner.

His partner. That's where the bias comes from imo.

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I've liked just about all of Roland Emmerich's movies. All the ones I've seen anyway.

Stargate and Independence Day are pretty darn good. I even like Godzilla.

Day After Tomorrow and 10,000 BC are entertaining in their own way (and the latter serves as an almost-prequel to Stargate).

So there is a good chance that I'd like Independence Day 2 as well.

 

Except that I WON'T enjoy it like I should be able to.

Because here's another director wasting everybody's time by not making the movie he should in the way that he should.

Hire David Arnold already and make a WORTHY sequel to your original film, dagnabbit! :P

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On Sunday, January 31, 2016 at 1:40 PM, Richard Penna said:

Kloser's Day After Tomorrow has some good parts and I think fits the movie

 

I like the main theme in the opening sequence.  Quite infectious.

 

 

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Kloser replied to a comment about David Arnold on his Facebook:

 

"Yes that was a fantastic score.  His main theme will definitely be heard again.  Cheers, H"

 

I feel like saying "well if his score was so fantastic, why didn't you morons invite him back?!"

 

I know it'll just get deleted.

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Well credit to him for at least acknowledging the comment, even if he's only being diplomatic.

 

At least we know he's not ignoring Arnold's themes (unsurprising, as I recall him mentioning Fox owned the themes).

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I will be pleasantly surprised if Emmerich can pull this off. Say what you want about his filmography, but ID4 is one of the few instances where Emmerich actually handles the mix of global destruction, character development and comedic relief in a surprisingly balanced way. Especially considering how many different story threads he had working concurrently, before converging them for the third act in a fairly organic manner. 

 

I think the two main problems with the sequel are:

1. A huge reason the first film works is the build-up/countdown mechanic for the first hour of the film. There's a suspense, mystery and intrigue to the alien dropships silently waiting above so many cities (even though the marketing spoiled their intentions). It gives the film time to breathe as characters ponder what's to come; this mechanic is impossible in the sequel; as soon as they arrive there's only one outcome.

2. Hopefully it's just restrained marketing, but there seems a lack of the first film's warmth and humour. Everything is so dark and gritty, probably for in-universe logic reasons, but it was a key ingredient to the original's formula. Emmerich's also been incapable of portraying realistic characters ever since, and Liam Hemsworth has the screen presence of a rock.

 

I won't even get into the whole CGI matter, because that's just par the course nowadays. Nothing in this film will match the White House, Congress or other explosion scenes (mostly all done practically with miniatures and actual fire in the first film).

 

And nothing Kloser writes will come close to this:

 

 

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While we're on the subject of HOW FUCKING AWESOME Arnold's score is, can someone kindly explain how not only was he snubbed for the Oscar but he didn't even receive a nomination?! In a year with two separate Best Music categories, no less. Talk about blatant Academy elitist snobbery. :blink:

 

I'll cop flack for this, but most of these are Oscar-bait dust-collectors:

 

Best Music, Original Dramatic Score
The English Patient: Gabriel Yared (W)
Hamlet: Patrick Doyle
Michael Collins: Elliot Goldenthal
Shine: David Hirschfelder
Sleepers: John Williams


Best Music, Original Musical or Comedy Score
Emma: Rachel Portman (W)
The First Wives Club: Marc Shaiman
The Hunchback of Notre Dame: Alan Menken, Stephen Schwartz
James and the Giant Peach: Randy Newman
The Preacher's Wife: Hans Zimmer

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24 minutes ago, crumbs said:

While we're on the subject of HOW FUCKING AWESOME Arnold's score is, can someone kindly explain how not only was he snubbed for the Oscar but he didn't even receive a nomination?! In a year with two separate Best Music categories, no less. Talk about blatant Academy elitist snobbery. :blink:

 

I'll cop flack for this, but most of these are Oscar-bait dust-collectors:

 

It's not really an "Oscar" score though.  

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36 minutes ago, Drax said:

Anyone else reckon this shot looks the most fake? It's meant to be outdoors, but looks very studioish.

 

idr_shot_zpsiovnp3lb.jpg

 

The first 3 or 4 shots are probably Superbowl trailer-specific and not from the film itself. That's done pretty regularly.

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On 2/8/2016 at 4:11 AM, crumbs said:

While we're on the subject of HOW FUCKING AWESOME Arnold's score is, can someone kindly explain how not only was he snubbed for the Oscar but he didn't even receive a nomination?! In a year with two separate Best Music categories, no less. Talk about blatant Academy elitist snobbery. :blink:

 

I'll cop flack for this, but most of these are Oscar-bait dust-collectors:

 

Best Music, Original Dramatic Score
The English Patient: Gabriel Yared (W)
Hamlet: Patrick Doyle
Michael Collins: Elliot Goldenthal
Shine: David Hirschfelder
Sleepers: John Williams


Best Music, Original Musical or Comedy Score
Emma: Rachel Portman (W)
The First Wives Club: Marc Shaiman
The Hunchback of Notre Dame: Alan Menken, Stephen Schwartz
James and the Giant Peach: Randy Newman
The Preacher's Wife: Hans Zimmer

 

Goldenthal should have won that year, no question.

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