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No it wasn't that bit. It was 3:18 here

Funny enough film composers generally isn’t a topic at parties. That’s why I come here to talk about it instead.

Just cancel the movie for maximum safety.

BALFID-20

That's right. Twice is enough, once is not enough (that sounds like a Bond title, btw). Note that theme and leitmotif can be two different things. A theme can appear once in a film and still be a theme. A leitmotif is also a theme, but must appear at least twice to qualify as a leitmotif. It's the 'leit' part that is important, meaning 'lead'. A theme of this kind is ascribed to a person, object, place or concept and "leads" you through the story. It can be confusing, though. Wagner himself used the word 'Grundthemen' initially, untill the music critic Hans von Wollzogen coined the phrase 'leitmotif' when talking about the composer's work.

The Double Life of Veronique It's easy to dismiss this kind of thing. Barebones "plot", meandering characters and subplots and vague flirtations with the "esoteric". And yet, when you arrive at the end, it all works. It might not have the staggering confidence of Tarkovsky in how it handles sensation, but there is a great deal of feeling nonetheless. Largely in part to Kieslowski's excellent subject, the gorgeous Irene Jacob and the beautifully evocative colours that are captured on lens. Everything feels so utterly delicate and otherworldly. As an Americanized audience, one might be scratching one's head at a narrative through-line, or poke "holes" in its plot, but even then, you can't deny the film's images work over you as you follow Jacobs' antics. I would still argue that other filmmakers have fared better in tackling this kind of idea of "spiritual" interconnectedness, but I'll take this over another Cloud Atlas. Preisner's score, in typical Polish operatic-galore, is another great asset to the film.

I disagree, and I also don't know why Balfe used it for a bad guy, when it was always used for the good guys before Overall I think it's funny that the one thing you found to praise about Balfe's effort was actually written by somebody else

Christ, what is with producers' obsession with Balfe? So pissed he's doing this. Desplat would've been so much better.

Here's Schifrin's original from the 60s Here's Elfman playing with it in the opening of MI1 (0:45) Here's Giacchino using it in the opening of MI3 (0:07 and 1:39) And in MI4 (1:14): MI4 again (0:00) Here's Kraemer working it into the opening of MI5 (1:43 and 2:15) And Kraemer giving it a sinister sounding variation (3:03) and a fun one (4:38) And Kraemer giving it a martial variation (0:29) and a nice determined variation with a fun twist (1:12) and an even more determined variation (2:36) And Kraemer giving it an elongated breakdown with an awesome Middle-Eastern flair (2:20)

@Mattris I will not quote whatever essay you tried to write there ("An Essay about Delusions in Contemporary Film History" probably). Your personal predictions mean fuck all for an objective necessity to do an additional trilogy. There is none. They are self contained movies with self contained stories, not based on any source material, therefore, the fact that there are some cash grabbing irrelevant comic and novel spinoffs means squat. Maybe you aren't familiar with the box office numbers, interest in these plastic, artificially bred Star Wars bastardizations is going under like a bag of shite. You still pretending they set out to achieve any big picture things in this trilogy, instead of it being a clusterfuck of scattered ideas, and falling for the Disney propaganda hook line and sinker, is high comedy. The only thing it halfway wanted to achieve, is close the original trilogy, which didn't need closing in the first place.

This brilliant track, contrary to popular belief, is not by either Powell or Zimmer, but by Balfe I'd give the guy a chance but it's not like the Black Widow movie is gonna give him much room to stretch his legs....

Film scoring, social isolation style.

I saw Schwabenkinder on TV at some point in the early 2000s. I liked the score then and put it on my Amazon wish list - it's been one of my earliest items on the list since then. I didn't remember much except that it featured a choir, but it had a series of price drops recently, so I picked it up. It's got some lovely melodies, rather Morricone style (think Legend of 1900), but it's all rather simple. Mostly melodies and string chords, with some sound effects in some tracks. For something that takes its choir hints and lyrics from liturgy (it has Benedictus, Agnus Dei, Sanctus, and Kyrie - in that order, curiously), the vocal writing is surprisingly homophonic (again, melodies with chords), and the notable vibrato of the choir and soloists is somewhat at odds with the etheral atmosphere the score generally goes for. And as a choir singer, I'm seriously annoyed by how Schneider changes the rhythm of the Latin word "pecata" to make it fit his melody. In his liner notes Schneider mentions that the film was temp tracked with Angela's Ashes plus Albinoni and Gounoud, and that they made a conscious decision to go for a distinct Morricone sound. He mentions being influenced by Bach, which seems at odds with the homophonic character, but he then adds that they subsequently reduced and simplified the music, and that the simple themes were deliberate. Still, while I suppose the whole things sounds nice enough, it doesn't really seem to hold much interested when divorced from the film.

But these are different times. No one in their right mind would release these movies direct to ttreaming in normal times.

The Land Race is just soooooo good.

Still better than Giacchino's kindergarten JW impersonations.

Home Alone (Expanded) Star of Bethlehem Carol of the Bells Setting the Trap I know, I know, John didn't actually write Carol of the Bells.

Lana Del Rey is fine, but The Bangles are better.

Yes, I went through a period of ultra-fandom (as opposed to a 'huge' fan now) a few years ago when I listened to her more than scores.

Looks like Jaws was temp-tracked by "Bergsma: Gold and the Señor Commandante - Ballet Suite - 4. Furious Dance of the Bearded Russians":

Blue! Water is blue Like White is the one that’s all in winter.

Hey those are too good scores, well Dances With Wolves is a masterpiece.

Lol I honestly thought this was a joke...

That's not a Balfe composition, that's "The Plot" written by Lalo Schifrin for the original TV series. Five of the six M:I films use it throughout their scores (Zimmer is the only composer who didn't bring it in)

I’m just hoping Balfe is in a Kung Fu Panda mood and not a Ghost in the Shell mood

Well, both involve shit.

What's his real occupation? A plummer?

I really like that bit where Henry Cavill is in the helicopter in Mission: Impossible - Fallout. It's a really cool bad guy motif.

Well said, @KK. I, also, like this film.

I tried reading Heir to the Empire, but it was such a dry prose style, I gave up.

Kritzerland had also gotten into Sony before this happened, but I think their reissue of Jerome Moross's The Cardinal (first time on CD from the original tapes, and in great sound) last year was the final Sony title from them. Bruce Kimmel mentioned he had others on his to-do list, but I don't think he'd actually licensed them in time. As it was, he apparently had to fight tooth and nail to make The Cardinal still happen. And I don't remember making that claim about Mainstream owning all of their original catalogue again, but I am fairly certain it is true. Intrada has been releasing bunches of their albums from the original tapes for the first time. Yavar

That's interesting, and a bit confusing. The back cover only mentions Mainstream: And of course I can't find Yavar's comment about Mainstream purchasing back their catalogue anywhere. *facepalm* Edit: actually, the press release only makes mention of the prior CD release on Sony Legacy, it does not indicate which entity currently has ownership of the title. So there are presumably still four possible chances for Hook to be released, unless another label got access before the door closed (Varese is the only one that I think could have potentially).

Mainstream owns King Rat, they purchased their catalogue back from Sony. So Intrada has two SM titles still due, along with LLLs two.

But what you'll get is the definitive Stepmom. Welcome to the depressing 20s.

ahem

I don't know if it has already been pointed out, but now that it can be heard more clearly, in the track "The Training Course" is possible to hear a reference to "Anakin Vs Obi-Wan" from RotS (which is also a reference to "The Clash of the Lightsaber" from TESB), specifically the part that play at the beginning of the duel between Yoda and Sidiuos. Compare this: To this:

About him being fired or not from R1, this is what is on Hollywood Reporter: https://www.hollywoodreporter.com/heat-vision/star-wars-rogue-one-replaces-929387 Here's Jon Broxton's review of Gia's score, and he is familiar with people working on the film score world: https://moviemusicuk.us/2016/12/20/rogue-one-michael-giacchino/ I don't think I've ever heard someone saying Alex was fired, or that he even wrote something for the movie, despite rumours saying that Valerian includes some unused Rogue One material. But if anyone has any evidence, please come forward. (reposting it because I idiotically posted it on one of TROS' threads ) Marco Beltrami and Blake Neely are the first that comes through my mind, these two have their own studios with their own set of composers.

For one, I think the simple answer is the right one. The various reshoot and schedule changes made it impossible for him to do R1 AND Valerian.

Journalitht. Bloo chekk mahhhk

:00-:20 Absolute chills every time.

Whoever tagged Balfe is an asshole but Balfe himself comes across as a bit indignant at the fact that somebody doesn't like his score (yes, that type of score is what Balfe was asked to do but that doesn't make the score or general approach above criticism)

I would say that Balfe was the initial aggressor in the conversation. His first reply showed that he misread the poll question (what the listeners heard even though we all knew it was a real orchestra). He then dodged my points by claiming that my headphones were not sufficient and that some listeners had wax in our ears. You guys are misinterpreting me as being nasty, but he evidently kept not understanding my questions, and thus I kept having to rephrase them repeatedly... Also, 36.4 people is not the same as 36.4 percent... 😛 Then, I tested the waters with another score that surely wouldn't still make people go crazy (and legitimately sounds like it is performed on dated samples)... And look who brought Balfe back for another round: I'm just trying to have a conversation about the way these scores are mixed and everyone is losing their minds.

I loved the previous two (and a half if you include the middle segment of the third) because they were fun and lighthearted heist films. The new one is more pure action-oriented. It is very well done, as you say, but not as interesting. People say they develop Ethan Hunt's character a little bit but the experience tells us these films get worse as soon as you go there. He's just... Tom Cruise. What more is there to say? And in this type of a genre talking about friendships and relationships almost comes off as disingenuous and phony. I mean, who cares? To be honest, I have nothing against this film. It's solid and reliable filmmaking. What it sets out to do, it does well. But it's not my Mission: Impossible. And it goes on forever! Karol

I bought Solo twice so John Powell could feed his dogs! ❤️

^ Interesting thread, @Drew. Some commentators are definitely hard on Balfe, but they're pretty respectful about it and I'd say they do have pretty legitimate concerns. Ultimately, the sense I get is that Balfe treated this as an ordinary film scoring assignment. He has a lot of big projects and this was just one among many. Kraemer, by contrast, seems to have taken a lot more time, and had a lot more fun, with the pure musical experience, and gone over-the-top, far beyond what the film needed, to make a personal piece of art. So a normal effort like Balfe's will pale in comparison if you're looking for thematic and orchestral complexity. Add in the fact that many here hate Balfe's style and it's not surprising that some would be very frustrated. I'm enjoying parts of Balfe's score more after additional listens (e.g. the Paris escape cue), but I agree that it seems like he didn't put the kind of fine-tuned effort in that Kraemer did. I could be wrong, though. "Simple" music could sometimes have taken much time and thought to produce, as posters like TGP repeatedly remind us.