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Huh, some of these productions could be fun and interesting, but they should have announced that they're handing over their entire music vault to Mike Matessino for him to have his way with to really get people excited.

"I don't care"

Exactly this. In fact, one of the more recent updates to my own catalogue, I merged what I had been calling the First Order Motif and Kylo Ren's C theme (Menacing) into one overall leitmotif, with different guises in TFA and largely dropped after that point. It also reminds me of this ancient post I made long ago where I anticipated the existence of the "1st Order Theme." Must have known something secret about the future of Star Wars /

Not that thrilled, to be honest. As previously noted, I had hoped for Zimmer to go old-school synth (given the timeframe of the movie) with some cool analogue tech. More in synthwave territory, alternatively some great 90s power anthems. But this is more the kind of contemporary superhero stuff we've heard from him. I can't hear any "Battle of Pride Rock" in this at all -- that cue has actual dynamics; this feels very dense.

Roger says https://filmscoremonthly.com/board/posts.cfm?threadID=142299&forumID=1&archive=0&pageID=1&r=675#bottom

What about Silvestri? That's a possibility.

My god, 1:05 and 2:00 onwards are fucking obnoxious. This is why I can't stand to listen to Zimmer, among many other things. How can you produce shit that sounds like a monkey is hitting the same 3 buttons with brute force over and over? It's still the sound of the first PotC movie, which was 20 years ago. Pathetic.

I think it's too soon for them to do a Frog Lady series

I don't think Williams would decline.

Yes, but LOGAN was great. I have hopes for this movie, even if Spielberg will no longer direct. And I find the endless jokes surrounding Ford's age very tiresome. He's very fit for his age, and it's up to the screenwriters to write his character in a way that takes his age into consideration.

Don't mess with The Broxton! 😎

Set in the "near future" on Earth. Hard pass. The least they could do is finish off David's story and tie everything back to the original film.

Hayden doesn't have the build, the height, the walk nor the voice to play Darth Vader. Does this even make any sense?

Saw Alien TV series, interest piqued. Noticed Ridley Scott's name, interest tempered.

I heard this will be his final crusade.

You can´t go wrong with his older Medal of Honor Score´s. they are so much fun and full of life.

I recently bought Varese's stereo album of Spartacus. I really should listen to it!

This is my favorite new score of the year (for film or game). Just stunning from start to finish.

Loved the first track and gave me high hopes for the score. Newly released track is pure garbage.

You infected me, you bastard!

I mean, in those sequels it is not the situation that the producers say, we still have a great story to tell, so how can we do this? It is more like, we have a successful prominent franchise with characters that people love having acted in scenes that people like to remember and rewatch again and again, but we don't earn money from people watching their old DVDs at home. So, how can we make more money from that? Create another movie with this character filled with variations of these beloved scenes so that people again go to cinema and pay for being reminded to the old film without us investing any new idea. David Lynch once said in his master class trailer. Everything is about ideas. Of you have collected about 75 good ideas, you can create a feature film from it. I think, these sequels from the big franchises meanwhile, Star Wars included, contain probably 10 to 20 ideas at max and not all of them are good.

With a CGI Indy for the stunts, and noobody will notice the difference.

I bet they’ll do some Kylo/Rey thing where they talk through the Force and so it’s Vader but in Anakin form, through Obi-Wan’s eyes. Or maybe a dream device so it’s one-sided and technically doesn’t mess with the canon. We all knew Force Awakens was the last time a Star Wars movie would have that aura. I remember all the hype at the time and thinking, this is it, enjoy this. I’m not even eulogizing. Star Wars and the faint of heart will survive. These things will either be fine or crappy or whatever, somebody will eventually stumble on some great take and that’ll be a good show or movie. But obviously there’s nothing particularly unique about it when it’s one of many in a conglomerate. Now we’re so used to going “Uh huh, yeah, Disney, Marvel, Star Wars, Pixar, Pirates” it doesn’t register. Lucas’s independence was the magical and inscrutable thing about it even though it wavered between transcending or stooping to commercialization like any other franchise. The only difference is now it just sits at the same table as everything else (and these days it’s kind of the runner-up.)

Yeah, you're talking about a totally different film to the Indiana Jones adventure I wanted to see. John Wayne got away with playing an old cowboy geezer in The Shootist because it didn't come after a series of swashbuckling genre defining films in a beloved action adventure franchise. Otherwise, it'd just would have been a bit sad. Space Cowboys is another one where old egos got together and tried to act like they still had it. It was a bit sad. But at least those guys were about as old as Ford was in 2008!

Maybe it's me. Maybe I have "moved on", but it feels somehow right to say that I have no interest in this film, whatsoever. I've no wish to denigrate people's efforts, but, imo, the Indiana Jones story came to a satisfactory end, in 1989, and I have no plans to revisit it, beyond that date.

Some fellas in their 80s and 90s are fit for their age. Although, they don't play action heroes in movies. Because it'd be absurd.

I think they want to be able to say, "every WB movie will be on HBO Max the SAME DAY it's in theaters!" for their marketing so more people will subscribe. If the rules were different for all the individual movies it would be less of a draw and more confusing for consumers. Shit, that might not be so bad. Maybe they'd get some young fresh artistic talent to compensate for the lower budgets. New Hollywood part 2!

That's probably what they were thinking.

Well, they went ahead with Rogue One without him knowing anything about it.

JW will get first refusal, and if he doesn't want to do it outright, I hope he recommends Powell. Beltrami would do a fine job, but Powell's proven he's the right choice with Solo.

Yes, that I forgot;, would also be nice, but not necessary. On the whole the experience diminished for me with the reduced newness factor, and I started noticing annoying aspects like too loud dialogue and sound effects, detracting from the music experience. I would prefer a pure music experience, without dialogue or noise, just subtitles for orientation and full concentration on the music. Otherwise it is not that much different from a cinema with good sound system.

Powel, Göransson or Giacchino would come with their awful techno percussion, that I don't want to hear in an Indy movie. They probably could hire Desplat and fire him two month before go live and then James Newton Howard will create... something. I also don't want that Pirates of the Caribean sound in an Indy movie. To be honest, I don't want the movie at all, I just want the soundtrack from John Williams.

Not at all. The film is obviously somewhat of a clunker. Inspired by the seminal BLACKBOARD JUNGLE (1955), there were all kinds of 'rebellious youth' films in the late 50s and early 60s, and this falls neatly in line with that. Nothing original about it, and the intrigue and social commentary are both fairly vacant. But there's a lot of cool music in it. It sounds much more like Williams than, say, I PASSED FOR WHITE. In addition the chase cue mentioned earlier, I also remember a rather lovely, pastoral cue for the domestic scenes. And - as previously noted - Williams' nice arrangements of the title song melody. There's nothing here that "sounds terrible" -- unless you were talking about the sound quality. We wouldn't know that unless someone released it and cleaned up the audio.

That celebratory cue!

Kill this movie!

This is released today?

The Nest by Richard Reed Perry Funny Boy by Howard Shore Mank by Trent Reznor and Atticus Ross Meh.

Villeneuve's essay on the HBO deal: https://variety.com/2020/film/news/dune-denis-villeneuve-blasts-warner-bros-1234851270/?fbclid=IwAR2kDHHPeBRqaFPFf44P9IvX3rllKboVxjgFqjcY7tVC0uIaBUjU_cZ_zKc Of course it will. Why would anyone want to take their family out to the theaters and pay 5 x $15 to watch a film on the big screen when they can settle for their family room screens for their regular monthly streaming fee? No real "additional money" is being made here, except that Warner Bros' parent company (AT&T) wants to find a way to both consolidate the lacklustre HBO Max market performance and WB's growing debt crisis with a single power move. I mean, Disney charged an extra fee for Mulan, and they still didn't end up making nearly as much as they would have with a proper theatrical release. Because a case-by-case scenario, as Disney is taking, is driven by necessity. This unilateral "one size fits all" solution from WB sets an incredibly dangerous precedent for the industry. WB should taken it case by case, rather than putting their whole roster on the line. That wasn't my point. Just think about Netflix's production model. They only ever pour out massive $100 million budgets to recruit the big league directors/actors onto their catalogue (Scorsese, Fincher, Russo Brothers, etc) and then make a million other films for nothing to just generate content to be consumed. They're temporarily in debt for brand investment. But if this WB deal sets a precedent for other studios to just start throwing all their films onto streaming sites, why should the Netflix types continue to dump all that money? I mean there's only so much return with a fixed price model. No more gargauntan budgets pictures like Dune or Nolan epics. The thinking of the past was that those films would guarantee a minimum billion dollar return in the box office. That's obviously not how streaming works, so it's natural that traditional budgets are just going to get slashed across the board. It's not a comment on Netflix quality so much as it is practicality. And independent films are going to have a harder time than ever in finding an audience. This, of course, all depends on whether this WB deal pays off. If it is successful, then it's only going to encourage more of this kind of thinking in the industry for the future.

I can't see any reason Williams would decline, barring health issues. He would be desperate to get back in front of the studio orchestra right now (and probably keen to help the struggling LA musicians who haven't been able to work on large symphonic scores this year).

This is from their annual investor call today. This is usually when they announce their new projects every year.

This is weirdly the Lucasfilm series I’m most excited about. A fairy tale type classical fantasy world isn’t something we get a lot of these days.

Awful, awful stuff. À propos (good) stuff: The Right Stuff for me today...

@Gurkensalat How about 'Superman'?

I grew up with this movie. I love it, warts and all.

Wow a new JW Compilation just arrived! 🤣

Thank you Jay !! Horner sure wrote some incredible (and quite challenging !) parts for the horns in this one And here's something different ^^

Not to be argumentative, but that's not what I said at all. I said that the score is really good, occasionally great, and that - quote - "the way they adopted both the compositional stylistics and dramatic impetus of Bernard Herrmann, and did it so convincingly, is impressive indeed, while the big band jazz and swing tracks are just remarkable, faithfully rendered and wonderfully arranged and performed." I mention Conrad Pope and Dan Higgins as being involved in the score, but I specifically went out of my way to say "in the end, the score for Mank has Reznor and Ross’s names on the credits, and so I’m going to give them the benefit of the doubt, and the majority of the plaudits. While I’m sure that Pope and Higgins and everyone else played their part and made significant contributions, this is a Reznor and Ross score".

I'd be thrilled if we saw any of those three in the next few years; all are richly deserving of Mike's expertise, for different reasons. 2 to rectify flawed past expansions (and sound issues), the other for the wealth of unreleased material in Sony's vault!

I HATE THIS WALRUS!!!!!

I like the positive sound of the WW track. I just wish Zimmer would use a less ostinato-led approach - it feels like it's holding back the sound of the track.