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IT CAME EARLY

Maybe Disney pressed only 10 discs for the first batch...

Nobody is claiming Karpman is as great a composer as John Williams, Jerry Goldsmith, or Shirley Walker for that matter. But tokenism? NO. She's a solid composer and a longtime veteran of the industry who's certainly got more experience and awards under her belt than say Joel P. West did when he got the gig for Shang-Chi (and did a good job with it). I find her music for Ms. Marvel much more interesting and memorable than her music for The Marvels (which itself isn't bad by any means), and I suspect that's because she had more creative freedom on the former than the latter. There's always more scrutiny and producer control on big budget feature films. It's the smaller projects like TV miniseries where composers tend to be allowed to spread their wings and experiment more these days, in Hollywood. Karpman's Ms. Marvel isn't as great as Williams's Superman or Elfman's Batman (or Walker's Superman OR Batman) but it absolutely DOES have better and more interesting music than the majority of MCU theatrical films have had... and I include Elfman's Doctor Strange and the Multiverse of Madness in that. Patrick Doyle is a GREAT composer with a distinctive style... and most of his Thor score for the MCU was generic RPC temp-tracked mediocrity IMO. With a few notable exceptions such as Giacchino's original Dr. Strange or Beck's Ant-Man, the MCU doesn't tend to encourage uniqueness or memorability from its composers, which have been almost entirely white guys. So yeah, when one or two female film composers get an MCU gig, suddenly "tokenism" is blamed? Utter nonsense. You know, Natalie Holt's work on LOKI has been utterly fantastic, unique, and memorable, specific to that show and not confusable with any other MCU scoring. But if you only knew her work from Obi-Wan I think it would be a big surprise. Composers do the best they can within the parameters and directions they are given. Yavar

But what do you think of my fucked up cuticles?

The Blu-Ray back cover has been updated:

I haven’t read through it, but the entire lengthy 20+ page booklet (minus credits) is the new Powell interview.

@bigjimwilson Can you generate a photo of Indy, shirtless, with his hat and his wip... just send it in my Inbox thanks!

I don't agree on those statements, I think The Marvels theme is great and very catchy. I've heard it a few times now and it's stuck in my head ever since. It has shades of Dilvestri's Avengers theme, Toprak's Captain Marvel theme and Karpman's own Ms. Marvel theme. All 3 of which are fantastic imo. Of course it's not as good as William's Superman theme, but if you're expecting everything to be, you will always be disappointed. I also don't agree in the fact that Karpman was just hired because she is a woman. She has been in the industry for decades, has won awards and written scores for big projects. Her experience on 2 Marvel series makes her perfect to score this film and she has done a wonderful job.

I would suggest the following tracks for each score so have explore the scores a bit. This are most of my personal favorite cues, so others might disagree. The Hunger Games The Train Rue's Farewell Searching For Peeta Tenuous Winner / Returning Home Catching Fire Just Friends The Tour Katniss Is Chosen Bow And Arrow We're A Team Let's Start Treetops The Fog I Need You Arena Crumbles Mockingjay, Pt. 1 The Mockingjay Incoming Bombers The Hanging Tree Air Raid Drill District 8 Hospital Put Me On The Air Victory Mockingjay, Pt. 2 Send Me To District 2 Your Favorite Color Is Green Sewer Attack Rebels Attack Snow's Execution Primrose There Are Worse Games To Play / The Hunger Games Suite

Well, I've just seen ALIEN, and I'm safely (?) tucked up, in bed. Superlatives fail me. @JTW is right, but, like all truly great films, it's much more than that. It drew me in. It affected me. It gripped my attention, my emotions, my thoughts, and my imagination, and it didn't let go until the end credits had rolled. I was with the hapless crew of the Nostromo, every step of the way, as they tried, bravely, to blow the alien the fuck out into space. It also did something that surprised me: it revolted and disgusted me, but, you understand, in a very good, and very effective way. 44 1/2 years on, and if a film can do all of that, then it deserves to stand among the titans of the cinematic medium.

Moments after MM revealed to the audience he had on his hard drives the master files for every SW and Indy project known to man:

Development of a Live-Action Film of The Legend of Zelda to Start Nintendo Co., Ltd. (HQ: Kyoto Minami-ku; Representative Director and President: Shuntaro Furukawa, "Nintendo" hereafter) today announced that it will develop a live-action film of The Legend of Zelda. The film will be produced by Shigeru Miyamoto, Representative Director and Fellow of Nintendo and Avi Arad, Chairman of Arad Productions Inc., who has produced many mega hit films. The film will be produced by Nintendo and Arad Productions Inc., and directed by Wes Ball. The film will be co-financed by Nintendo and Sony Pictures Entertainment Inc., with more than 50% financed by Nintendo. The theatrical distribution of the film will be done worldwide by Sony Pictures Entertainment Inc. 　 By producing visual contents of Nintendo IP by itself, Nintendo is creating new opportunities to have people from around the world to access the world of entertainment which Nintendo has built, through different means apart from its dedicated game consoles. By getting deeply involved in the movie production with the aim to put smiles on everyone’s faces through entertainment, Nintendo will continue its efforts to produce unique entertainment and deliver it to as many people as possible. https://www.nintendo.co.jp/corporate/release/en/2023/231108.html This is Miyamoto. I have been working on the live-action film of The Legend of Zelda for many years now with Avi Arad-san, who has produced many mega hit films. [1] https://twitter.com/Nintendo/status/1722011980129779795 I have asked Avi-san to produce this film with me, and we have now officially started the development of the film with Nintendo itself heavily involved in the production. It will take time until its completion, but I hope you look forward to seeing it. [2] https://twitter.com/Nintendo/status/1722011981669130459

That's a nice playlist, but I'd include They're Back. It's one of the best emotional cues in the entire franchise. Also, I'm quite fond of Katniss' Nightmare, which has my favorite arrangement of the Katniss/Peeta love theme.

Case someone who likes the first score a lot, I think the following 3 scores are definitively better. Catching Fire really introduces so much of the sound and thematic material that is used in the next 2 scores, while retaining the DNA of the first score. My favourite is Mockingjay Part 1 but it’s closely followed by CF and MJ2. My only gripe with the last score is that there was only one appearance of the Hanging Tree theme. I still think that the Hanging Tree part in the third film is the best sequence in the entire film series, where JNH’s music really takes centre stage. Especially when the choir and the orchestra comes in.

A fellow nailbiter?

Cliffhanger

There have been 2, MAYBE 3 good MCU scores total. Let's not act like it's some prestigious line of great scores being tainted by "tokenism". It's McDonalds

This is "Charisma" by Terje Rypdal from the 1977 album "Waves" This is "Where Are We Going" by Adrian Wagner from the 1977 album "Instincts" This one doesn't seem to be in Shazam's database

Indiana Jones eventually found out that the Dial of Destiny was a CD.

Some returning themes! Lovely to hear. 5:05 - Like you say, emotional mystery is such a good description of JNH, specifically his string writing. It always has feeling behind it, but sounds otherworldly.

Most of the thematic material I've heard from the latest Marvels has been uninspiring - can't remember a thing from a quick skim. The studios generally aren't asking for big, bold, hummable themes. We're not going to remember 90% of Marvel's thematic output a decade from now. This score is nothing new. And as you can see, someone else really likes this theme. It's astonishing how much negative, critical mileage you get out of one person's initial opinion.

Giacchino is scoring another MCU logo https://www.independent.co.uk/arts-entertainment/tv/news/marvel-studios-in-crisis-echo-spotlight-b2442174.html

Zelda's Lullaby = Zelda's Theme Main Theme/Overworld Theme = Link's Theme?

Air Raid Drill remains one of my favourite action cues from the series! The way he uses the emotional theme in the action is brilliant! President Snow’s theme is also great, really hope that it gets used in the new score!

On one hand,I'm cautiously excited for this, as they proved they can do a good adaptation from the Nintendo videogames into a Hollywood movie, and the world of TLoZ is so big and full of possibilities. On the other hand, a live action doesn't seem like the best choice for this saga, and I always pictured it in a sort of Ghibli style of animation, so I guess we'll have to wait and see... As for the music, I hope whoever does it is allowed to do the same as Tyler, meaning he can incorporate dozens of references to classic themes from the videogames into his own themes. Kondo's themes for Link, Zelda and Ganon should be pretty much a given, as they've become quite recognizable and memorable over time!

So probably Paesano as the composer, unless they choose Tyler, or someone else for some reason.

What about that scene in Indiana Jones and the Temple of Doom where Indy is forced to drink the blood of Khali? And then of course there is this.

At first glance it looked to me like Nick Fury's head was a belt bucket and Captain Marvel had very tiny legs.

That cue does indeed sound rather promising. Definitely goes with my belief that when he and similar composers write modern, boring action music, it's because they've been instructed to.

The isolated score has been removed from the release.

That's natural and alright. But what comes up again and again in this situations is man A (liked by people) is accused of woman B (unknown to people) of sexual assault, and because people like A they immediately start blaming B. "Innocent until proven guilty" goes both ways. Also, it's an inaccurate phrase, because if A has indeed assaulted B, he's obviously guilty of it since the moment of the assault. He doesn't *become* guilty by being *proven* guilty, he should just not be strictly assumed to be guilty without evidence. Until then, the situation is unresolved (Schrödinger's cat, if you will). History has shown that this kinds of predatory behaviour is not uncommon, and has frequently been ignored because it's committed by powerful people against those not in power, who are then immediately further discredited (see partly above) by people who don't know one way or another. There have been plenty of well known cases (Weinstein, to name just a tip of the iceberg - or Levine, where even I as a non-insider was aware of his behaviour for years before it suddenly caused a scandal) where the accusations have been correct (and had been long ignored, although known to many people). As far as I know, there have been few cases where such accusations were levelled (especially by multiple people) without cause. That doesn't automatically make Elfman guilty - but it certainly doesn't automatically make his accusers guilty (or prove him guilt*less*).

A track from the new Hunger Games score has been released: Now that’s the JNH that I love. It’s not just emotional writing, but there is a hint of ‘fantasy/mystery’ quality in it. That two combination is what I think to be the JNH’s staple that we all fond of. Now I can’t wait for the score! —— Anyway, there is also an expanded version of last week’s action clip with more JNH action music: The action music sounds more organic than the previous entry. It sounds like King Kong. Can’t wait again

I certainly never interpreted the (in my opinion, perfectly reasonable) request not to record the proceedings or check in on Facebook - like I even know what that means! - as a command not to discuss the event with anyone afterwards. The only thing I was not sure about was whether details of the various clips which Mike played could be disclosed, but @mahler3 seems to have put that one to bed above. My favourite audio clip was a recording of Williams recording the 'wild takes' with the choir for Close Encounters of the Third Kind, with Spielberg in the booth requesting various different tempi and pitches. There were a few audience questions, most of which I cannot remember now, but I do remember the LSO musicians citing Revenge of the Sith and Monsignor as their respective personal favourites of the Williams scores on which they played. Eric Crees also said that John Williams was a better conductor than ninety percent of the career conductors he had worked with. It was nice to meet both Tim and Maurizio briefly when I arrived, both of them being instantly recognisable from the various video podcasts I had seen over the years. It is fair to say that most of the attendees were men (an observation which will come as no surprise to anyone here ), although amongst the few women there was composer Alexandra Harwood. I was chatting to another of the attendees, a bloke called Adam beforehand who had travelled down from Liverpool for the event, quite impressive when I had just a short Tube journey. I did not stay to watch the film as I had to see a man about a dog that evening, but it was a very enjoyable afternoon. To my great surprise I was also one of the lucky winners in the raffle / prize draw. I thought that maybe it would be one CD or a Legacy of John Williams keyring or something, but it was a mightily impressive bundle of Blu-Rays, CDs and other goodies which would have cost a small fortune to purchase new.

NEW SCORES/SONG AVAILABLE: Amazon Studios Covenant, The (Christopher Benstead) [29 cues, 1:30:54] Creed III [Song - "Blood, Sweat & Tears" (Abbas Hamad, Udoma Peter Kelvin Amba, Mohammed Ismail Sharri, & Jarrett Goodly), 03:43] Good Person, A (Bryce Dessner) [18 cues, 27:24] Landscape with Invisible Hand (Michael Abels) [42 cues, 42:05]

Unless there were multiple versions back when they came out, I believe that's inaccurate - they're normal DVDs (the 3rd one double-sided) with stereo and 5.1 audio tracks, and animated menus showing arted-up images from the corresponding scenes during playback.

Well, it does look better in the wild

I think it looks great!! I loved Afterlife and this looks very promising! Also hoping that Rob Simonsen returns for the score. His did a fantastic job on Afterlife

I’d love to chuckle at this, but every time I see a gen AI image, the flame of hope for humanity’s soul I nurture inside me dims another lumen or three.😞

L'ORFANATO was 2007. Surely you've heard LO IMPOSSIBLE/THE IMPOSSIBLE from 2012? It was quite the hit at the time, about the Thailand tsunami. Fine film, lots of deserved praise heaped upon the score too, at the time. I consider that his masterpiece. I don't really hear any Desplat in him. Quite the opposite, I think Velazquez is (at least was) a far greater tunesmith than "cloppety-clop" rhytmical motif Desplat ever was.

Depends on at what point in their career you decide to pull them from, since I doubt they came out displaying their best material from their earliest projects. Especially with how much JW doesn't want his early work out there, and Elfman arguably only getting out Batman 89 because he got heavy help (Shirley Walker being one of the big guns there). Plus, haven't we agreed it's the studios that demand constant mediocrity at this point? I may like the new main theme Elfman came up with for Doctor Strange 2, but good luck trying to convince me if it actually would stand out from much of the MCU themes if you didn't tell me it was by him. Ultimately, you always have to consider the many factors that are at play here, since I think a lot of these newer composers are being stunted of their growth as a result of the machine increasingly demanding the most disposable media possible, which can't be a great environment for fostering creativity.

She got a damn review on Filmtracks long before her MCU gigs for goodness sake, which is something Pinar Toprak (apparently a former RCP employee btw) hadn't been able to manage. But that probably doesn't matter much to PT anyway, because she still ended up working under William Ross and Danny Elfman, which ideally would be a great source of learning and experience (assuming she experienced nothing weird with the latter).

Greta Gerwig's 'Chronicles of Narnia' Aims For 2024 Production Start at Netflix

If you’re talking about the mixing and amount of reverb then yes!

If you don't like The Boys, you don't like this. If you like Karl Urban as the nastiest cunt in the world, you will like this. If you don't like explicit scenes of exploding penis you don't like this. If you like satirical political commentary, you will like your GEN V as much as your Boys

Well, considering the title a song album seems appropriate... Yavar

Sadly these are missing the music that was included in the 5th disc that came with the Concord Box set. Raiders March (from Raiders of the Lost Ark) Interviews with John Williams, Steven Spielberg and George Lucas Uncovering the Ark (from Raiders of the Lost Ark) Indy and the Villagers (from the Temple of Doom) The Secret Passage (from the Temple of Doom) Father's Study (from the Last Crusade) Marcus is Captured/To Berlin (from the Last Crusade) To the Blimp (from the Last Crusade) The Blimp Turns Around (from the Last Crusade) Death of Kazim (from the Last Crusade) Wrong Choice, Right Choice (from the Last Crusade)

Tuba concerto.