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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

Looking forward to Scherzo for Tuk-Tuk and Orchestra

I Iove Limited Editions, both old and new A rare Gerhardt, an older expansion and the obligatory (for me at least) CPPO anthology

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.

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…

"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."

I hope it isn't pushed out of theaters after a week like with WSS (god I fucking hate marvel)

As the voice of Guybrush Threepwood put it:

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!

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.

A look at concept art for the new film that is on display this weekend as Disney's D23 convention. source other source

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.

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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!

Oh crap, right Though there's a chance she wouldn't be his genetic offspring (either from adoption or using the other partner for artificial insemination). How are we supposed to know how she got strong and smart if she's not related by blood to a pre-established character?

Right, cause gay people can't have children...

Excuse me while I yawn at your laugh

Trailer for Secret Invasion!

Here's a video of Ford taking at the event... His voice sounds really shaky?

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

I'm just asking you to elaborate your thoughts on the film instead of just recapping the premise and cast. Forget it

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.

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.

I enjoyed her score to Captain Marvel (not exactly challenging, but enjoyable and fun), is this worth exploring? Guessing it's in the same ballpark, style wise?

This recording was recorded and released in 1981. This is not the soundtrack to the 1975 original theatrical play.

I already knew of this analysis, but yes, it's of essential reading to any fan of the soundtrack and the game. Such a detailed breakdown, and with a lot of thought put into it

I assume it's Orb and Sceptre (another "not available in my country" YouTube...)? I have some follow up comments and queries but I'll move those to the classical thread! Still, RIP Ma'am (as another one of the many "I'm not really a royalist but I quite liked the Queen" types who now seem to be everywhere, poor Charles...).

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.

Whoa! That's a fantastic collection, @JTWfan77! You are going to love THE HINDENBURG.

Apparently I put this in the Truffaut thread only, but since I already have the photo, why not post it here as well:

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.

from Reddit: And he forgot Sauron I guess?

This episode was great fun! I loved Númenor, and the emotional beats of the Harfoot storyline, and I really liked the reveals and mysteries with Arondir's capture in the trenches. I think Adar is going to be the main antagonist of the show, and McCreary did him justice properly establishing the theme from Nampat, giving it a meaning. I further analyze this and other thematic connections in my analysis for this week episode at my blog, so feel free to check it out and leave whatever thoughts you might have. My Analysis of The Rings of Power - 1x03: Adar

At last!

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)

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:

Honestly, she must be feeling so weird. I wonder what state the Queen was in when she saw Truss.

We played at Ozawa Hall. Maestro Williams was there. It was a great moment. He stood and accepted the warm applause from everyone there.

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

No, but I would haved liked him to to create some basic web of musical ideas a-la Williams for the show's composer to use; and I think to have the show's composer built on the Shore motivic ideas himself, too, would have been extraordinary. Bear did try, but in the most superficial way possible: as just the basic colours of "Dwarves get grunting men, Elves get women, Hobbits get Celtic vibes." It ends up being neither fish nor fowl for me.

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.

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.

Edith Bowman just interviewed Shore for the latest episode of her podcast. They mainly discuss his recent score for Cronenberg's 'Crimes of the Future' and some other films from throughout his career. At the end Bowman brings up 'Rings of Power' and Shore responds with "Well, I think that's been covered very well in the press, so I don't really need to comment too much." Read into that what you will. Bowman asks at 42:23 in the episode.

Memoirs did it for me.

First poster is here And that promo pic we only saw in a booklet is officially released too

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!