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Showing content with the highest reputation on 09/10/22 in all areas

  1. Indy V teaser just screened at D23. All the other trailers from that event have been posted on twitter right after. Wonder if this one will? Apparently the title STILL hasn’t been shared yet 😆 from our friends at the Raven forum: ”Well, we still have to call it “Indiana Jones 5.” Today at the D23 Expo, Disney and Lucasfilm did not revealthe title of the upcoming film, but we did see a ton of amazing footage. “This one is fantastic,” a very emotional Harrison Ford said on stage. “We have a very human story and a movie that will kick your ass.” He also said it would be his last time. “I will not fall down for you again,” he said. What does that mean? Well, in an exclusive sizzle reel show only at the convention, we got a brief glimpse. It was very fast paced, but among the images we saw carts racing in the street, divers going under the water, and a skeleton popping out. Indy is still teaching, and he walks around in a very busy closet. There are scenes of people fighting on top of a train and eventually we realize that his old friend Sallah is back, and he needs Indy to help him one last time. There’s definitely a big set piece on horseback, in what appeared to be a flashback, because Indy looked a little de-aged. Boyd Holbrook’s character fires a gun and a big celebration of people in New York City all duck. He and Indy ride horseback through the scene. We see Indy on a horse in the subway. Phoebe Waller-Bridge’s character was along for some of this. At some point, the two of them are in a bar and people ask how they’re related and Indy says, jokingly, he’s her godfather. The footage - which also had some plane action scenes and tomb raiding - ended with Indy unleashing his whip in a bar. He just cracks it a bunch of times and tell everyone to back up. They then all take out guns and shoot at him as he jumps out the window. Action packed, very beautifully shot, it looked excellent. I just wish we knew what it was called. Indy 5 is out June 30.” https://gizmodo.com/indiana-jones-5-footage-d23-expo-lucasfilm-d23-expo-1849521230 http://raven.theraider.net/threads/indy-5-set-reports-photos.24385/page-258
    6 points
  2. Looking forward to Scherzo for Tuk-Tuk and Orchestra
    5 points
  3. I Iove Limited Editions, both old and new A rare Gerhardt, an older expansion and the obligatory (for me at least) CPPO anthology
    3 points
  4. What I find fascinating (and, if I'm honest, quite irritating at times ... not all of us are grief-stricken by the news, after all) is how television and radio here in the UK handle a Royal death; a fear of being seen as disrespectful leads to comedy programmes mostly being abandoned by the 'terrestrial' channels. For example, due to BBC1 having now switched to 24-hour news coverage since the announcement there was no Have I Got News For You last night but on Thursday night, the 'Dave' channel's satirical show Late Night Mash went out but with only a channel logo showing in the ad breaks. And my usual Saturday morning listen (the brilliant Frank Skinner Show on Absolute Radio) was replaced this morning.
    3 points
  5. Is this a trick question? I was going to suggest Christopher Gordon. As an English-bron Australian, I suppose he qualifies, but then I noticed this in his Wikipedia entry: "In 2017, he was elected as councillor on the East Ward of the City of Ryde for the Greens and was chosen as deputy mayor, serving a single term in 2017-2018". So… probably not. Well, Henry V said "Let there be sung 'Non nobis' and 'Te Deum'", but Doyle only composed the former for the film. He could catch up and maybe end up being the last Scottish composer to write a Te Deum for a coronation…
    2 points
  6. "Best Spielberg movie in a long time. I loved it. The only weak part was the score. I don't need to be told how to feel."
    2 points
  7. I hope it isn't pushed out of theaters after a week like with WSS (god I fucking hate marvel)
    2 points
  8. As the voice of Guybrush Threepwood put it:
    2 points
  9. Oh my god, that's it! Until your post I hadn't realized why the Nampat track sounded familiar, and it's Evil Flowey's theme! That's crazy (btw, I love both the undertale game and its soundtrack so much) Yeah, I agree that the album per episodes contain perhaps a bit too much music, but how it works in context it's really great. I love how the music elevates many of the scenes and manages to stand out during many sequences, especially when we are introduced to a new area, such as Númenor in last episode!
    2 points
  10. Last Night in Soho I came late to the Edgar Wright party. For a long time, Scott Pilgrim on Blu-ray was the only film by him I'd seen (not counting Spielberg's Tintin, which I keep forgetting was co-written by Wright). I saw Shaun of the Dead and the rest of the Cornetto trilogy (of which I wasn't even aware until then) around the time Baby Driver came out, and therefore only saw that later on home video as well. Last Night in Soho was the first of his films (as a director/not counting Tintin) that I absolutely wanted to see in the theatre; I'd seen the trailer and was very much looking forward to it, but with the pandemic I ended up not bothering to go to the cinema for it. Rather lukewarm reviews dampened my excitement a bit, and only this week ended up finally getting the Blu-ray. I'm glad to say that I loved it, at least mostly. Unlike many people, I'm generally a fan of (good) exposition (and therefore end up liking lots of films that are much stronger in their first half), and I think Wright must be as well, because each of his films delights in quickly drawing the viewer into its world with cleverly done exposition. Soho is no different, with a strong lead performance by Thomasin McKenzie (who I didn't know before) that carries the entire film - hers is really the only lead character, the rest of the formidable cast (notably Matt Smith, Terence Stamp, Diana Rigg in a wonderful final role, and Anya Taylor-Joy as more or less the main character in the flashback story) really just have supporting roles, most of them making a lot of impact with a very limited amount of screen time. Another Wright trademark seems to be a focus on meta elements - the Cornetto films, although they certainly draw you into their world and characters, all a very conscious of being parodies; Scott Pilgrim strongly emphasises its comic and video game stylings, and Baby Driver has a strong focus on elaborate action sequences constructed to closely conform to their soundtrack. In all of them, I was very aware of the meta level when watching them, and in fact much of their enjoyment derives from it, but it also means I was never quite fully immersed. Soho seems to be the first of Wright's major films designed to be fully immersive, which was an aspect I was looking forward to very much, and it certainly contributed to my enjoyment. That's not to say that the film doesn't have its share of homages (some of them clearly intentionally obvious), and although the film (like the Cornettos) blends genres (or rather moves through a series of them), it certainly revels in exploiting their tropes, especially so in the last segment, when it finally settles on being a horror film more than anything else. But the narrative always stays within the confines of the film's world, and the meta elements are instead part of that, primarily the ways in which the primary and flashback story lines bleed into each other. That's not to say it's necessarily always entirely successful. It certainly feels a bit uneven, although it shares that with all of Wright's other films, which often seem very differently balanced to me on a second viewing. And like many films that put much emphasis on exposition, the later parts can feel a bit straightforward, or cliched - although Soho is really well constructed in that all the twists and revelations of later scenes are cleverly set up earlier, so I think a second viewing will feel more homogeneous than with the other films. True to the genre, it has its share of red herrings, but they are well integrated and don't feel like cheats. All of that is elevated by excellent cinematography (which clearly delights in all the tricks it employs to blend the two narrative levels together, mainly with lots of mirrors) and a spot on songtrack that seamlessly blends with the mostly very effective Steven Price score (given the genre, I'm sure a certain Donaggio similarity in parts of it is hardly accidental). Interestingly, when I first saw the trailer, my first association was Woody Allen's Midnight in Paris - because of the title (I wasn't aware that Soho's title is taken from a song) and the setting. The rest of the trailer made me expect something that is more or less a horror take on the Allen film, and it is in some ways - the concept of the outside main character yearning for an earlier era and being transported at night to a specific place in that era, without being sure at first if it's real or a dream, is surely similar. IMDb also lists a number of acknowledged influences, including Polanski's Repulsion - which is very clear in the film's take on this scene, although I couldn't place the influence while watching it: But what IMDb curiously doesn't list is what while watching I became quite convinced of must be a main influence: Robert Wise's 1963 The Haunting. The film is almost like (certainly not a remake, but) a reinvention of that film's premise: A woman with a history of seeing ghosts moves into a haunted house and is slowly drawn into the house's past, losing her grip on reality. The showdown even prominently involves a staircase (though not a spiral one in this case). Soho has a brief shot of wallpaper (or wall texture) in an early scene that seems so reminiscent to Haunting's supremely frightening scene consisting of nothing more than wallpaper and strange noises that I find it hard to believe it could be just an accidental similarity. In fact, with Soho's strong reliance on mirrors, I could well imagine the film's entire concept initially being inspired by this single scene: Surely not for everyone, but very much for me, and more successful in consistently bringing its ideas and elements together than most entries in the genre.
    2 points
  11. A look at concept art for the new film that is on display this weekend as Disney's D23 convention. source other source
    2 points
  12. I’m late to the party. In the middle of Season 2 now, and kicking myself for not buying the CDs when LLL had them at $5 each.
    2 points
  13. Hello, thanks for your interest in this thread. The original excel sheet is very outdated and no longer accurate. I've put this together recently for sommeone else who asked about this exact thing, so I hope it will help you as well: The cue numbers and titles marked in BOLD are from pictures on Powell's Instagram, so that's as official as you can get. The rest are pulled from hans-zimmer.com, which was updated recently. However it is a fan-site (although run by Zimmer lackeys) so it's probably 100% correct, but since it wasn't posted by Powell himself or someone associated with him, I can't confirm if they are correct. That being said, it is pretty easy to guess the slates between 4m17 and 5m24. It should also be noted than on Powell's Instagram, and in the score books, he does not use zeros in the single digit cues numbers (1m01 -> 1m1), etc. This is purely a stylistic choice I think. So you can do whatever you want with that. But personally I would not use them to remain consistent! The artist credits are from ASCAP and correspond to what's posted on the Zimmer site so I'd say they're fine as well. I've also marked which cues we do not have clean audio for (partial/film only cues) 1m01 v2I Rescue Mission (4:09) John Powell, Paul Mounsey 1m02AB v1O Busy Busy Berk (3:22) [[ <-- Partial ]] John Powell 1m02C-03 v2J Marry Her - Grimmel Terms (3:56) John Powell, Batu Sener 1m04 v1I Legend Has It (4:32) John Powell, Batu Sener 2m05 v1M Mysterious Creature (2:20) John Powell, Batu Sener 2m06AB v2M Toothless In Love - Dart Trap (3:50) John Powell, Batu Sener 2m07AB v4F Grimmel's Visit - First Fight (3:38) John Powell, Batu Sener, Paul Mounsey 2m08AB v1O Town Hall Speech - Exodus (4:40) John Powell, Anthony Willis 2m09AB v1D Setting Up Camp - Valka's Warning (2:08) [[ <-- Missing ]] John Powell, Anthony Willis 3m10 v1N Forbidden Courtship (6:47) (Alt. title from session sheets: Toothless Goes a' Courtin') John Powell 3m11 v2D Toothless Flies Alone (1:25) John Powell, Anthony Willis 3m12A v1F Near Miss Valka (0:43) John Powell, Anthony Willis 3m12B v2J Romance In The Clouds (3:02) John Powell 3m13S Feast Source (1:22) (New Berk Feast Source on the Zimmer site) [[ <-- Missing ]] John Powell 3m14AB v1P Ambush / Cage Fight (5:04) John Powell, Batu Sener 4m15A v1E Stronger Together (1:03) John Powell 4m15B-16A v1E Stronger Together (Part 2) / Into The Hole (1:46) (15B is "New Island" on the Zimmer site) [[ <-- Partial ]] John Powell 4m16B v1N The Hidden World (5:20) John Powell, Paul Mounsey, Jónsi 4m17 v1K With Love Comes Loss (1:05) John Powell 4m18 v3I Grimmel's Surprise (3:39) [[ <-- Missing ]] John Powell 5m19-20A v1I The Hiccup I Know - Intro To Battle (2:52) John Powell, Anthony Willis 5m20B v2K Armada Battle Pt 1 (3:58) John Powell, Anthony Willis 5m20C v2N Armada Battle Pt 2 (2:43) John Powell, Batu Sener 5m21 v1P Ultimate Sacrifice (2:46) John Powell 5m22 v2K Freedom (3:46) John Powell 5m23 v3H Viking Wedding (1:53) John Powell 5m24A v2F Boat Epilogue (2:20) John Powell 5m24B v1K Finale (1:40) John Powell 6m25 v2E End Credits Suite (6:37) John Powell EC Song - Together From Afar (3:17) Jónsi
    1 point
  14. Woo!! We have a track listing (Jay you beat me to it :P) I’m so glad to see they really put an emphasis on the score rather than overkill on demos and work tapes. Some of that is readily available in other releases. Can't wait to hear it!
    1 point
  15. Right, cause gay people can't have children...
    1 point
  16. Excuse me while I yawn at your laugh
    1 point
  17. That'd be the second best choice, behind the "one album per episode". And that would be the worst. The problem with these "one big album for the whole season" is that inevitably too many highlights will be lost.
    1 point
  18. Here's a video of Ford taking at the event... His voice sounds really shaky?
    1 point
  19. The characters (and Goldsmith) are definitely what makes the film - to me not just watchable, but actually dear. Because in that regard (if nothing else) it's one of the best in the series.
    1 point
  20. Watched Star Trek V: The Final Frontier in 4K last night. It is definitely not good - confused and incoherent. And cheesy. But you still cannot hate it completely, there is something very watchable about it despite all its follies. But this is probably mostly due to the charm of Kirk/Spock/McCoy trio to which the film, wisely, dedicates a big chunk of its running time. That, and Goldsmith. Karol
    1 point
  21. I'm just asking you to elaborate your thoughts on the film instead of just recapping the premise and cast. Forget it
    1 point
  22. Tom Guernsey

    Fit for a King?

    Walton and Elgar were so steeped in that kind of writing that it kinda came naturally to them, in the same way that the American version comes so naturally to JW when he does the Olympics. I would think that British composers would be more or less a prerequisite. I know some Thomas Ades but his music doesn't strike me as a natural fit for a coronation. I don't know any Judith Weir (although perhaps I should), but I just can't think of a contemporary British classical composer for whom a ceremonial could come naturally, although I think there's scope for a striking choral work, although don't know if anyone would be desperate for something to avant garde. Is it totally improbable to think that David Arnold could write something? He's British, has a decent crossover presence and has (on occasion) written music that's in the right kind of ballpark for a coronation... but Patrick Doyle would definitely be a fine choice. It might even inspire him in a way that some of his recent film assignments haven't.
    1 point
  23. Well, it's fun, but not as high-octane as Captain Marvel. And it's annoying the series doesn't really let the main theme let loose (at least so far). Listen it on a streaming service before flinging down your hardearned.
    1 point
  24. This recording was recorded and released in 1981. This is not the soundtrack to the 1975 original theatrical play.
    1 point
  25. Naïve Old Fart

    Fit for a King?

    Off the top of my head: Nicholas Maw, Thomas Àdes, or Nigel Clarke. The current Master Of The King's Music, is Judith Weir, so I guess that the task will fall to her. An outside choice, would be Patrick Doyle, with Anne Dudley being second.
    1 point
  26. Listening to the third episode's album. It continues to be enjoyable, not exactly outstanding, but competent and fairly consistent. I ansolutely adore just about everything to do with The Stranger theme. And while I do like Nori's theme it sounds bit too close to James Horner’s Avatar. Karol
    1 point
  27. Whoa! That's a fantastic collection, @JTWfan77! You are going to love THE HINDENBURG.
    1 point
  28. Apparently I put this in the Truffaut thread only, but since I already have the photo, why not post it here as well:
    1 point
  29. See How They Run - droll, knowing comedy thriller set in Fifties London in which a planned film version of Agatha Christie's The Mousetrap is hindered by the murder of the director. With Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo and Reece Shearsmith.
    1 point
  30. The music continues to be a real highlight of the show. The music works better with the show than standalone.
    1 point
  31. I keep praying for an album arrangement similar to The Force Awakens (pretty great representation of the score) than Crystal Skull (lacking large chunks of set pieces and focused more on “sneaking around” music.) We can hope there may be an academy Promo too to rectify any omissions from the OST. That is, IF Disney sees fit to campaign for it!
    1 point
  32. It's been 2.5 years since the last "proper" Powell score! I respect that he wanted to scale back his film work, but it's interesting to compare Powell in his late 50s to Williams in his late 50s, when the latter was leading the Boston Pops, writing concertos, and writing scores like Last Crusade, Always, Presumed Innocent, Home Alone, Hook, etc. (yes, obviously, covid is a mitigating circumstance here)
    1 point
  33. "Oh, no! Not another fucking Tory PM. I just hope she's better than the last fuck-up?". Was that over the top? I can never tell.
    1 point
  34. Honestly, she must be feeling so weird. That's what I thought long *before* she was appointed… As for Elizabeth, regardless of my views on monarchy (which I expect most who know me can guess), and while acknowledging that there are many different angles and reasons for reservations, as far as monarchs go, much (if surely not all) of her track record seems largely positive, and her unwavering dedication to her job (deserved or not) and country for 70+ years certainly leaves an impressive legacy. RIP. Here's the piece Walton wrote for her coronation:
    1 point
  35. We played at Ozawa Hall. Maestro Williams was there. It was a great moment. He stood and accepted the warm applause from everyone there.
    1 point
  36. AC1

    The Pixar Thread

    Exactly, that's why I like it.
    1 point
  37. I find it odd that the people who want the CGI scenes included in this movie are the same ones that decry the Star Wars SE's
    1 point
  38. This 100%. Some listeners might not realize at first listen (I see this on youtube specially where people were lukewarm on Shore's main title) but his main title as a track is 100% superior to any single track that Bear has written. Bear's music is good but it doesn't have the sophistication, the nuance and artistry that Shore is able to pack even just in 90 seconds.
    1 point
  39. He doesn't have any director credits at all (just writer/producer) so he hasn't personally worked with any composers. < In that case I also assume he won't be directing any Star Wars projects, so really the composer could be literally anyone. I'll throw Gia's hat in the ring just to piss people off.
    1 point
  40. Memoirs did it for me.
    1 point
  41. First poster is here And that promo pic we only saw in a booklet is officially released too
    1 point
  42. The optimist in me thinks that it would be a far too niche/obscure thing to brag about if it weren't true... really hope it is!
    1 point
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