deleted account

I take back what I said, then...sorry.

But Steef, we must argue about something! ;-)

I can't find the exact quote, but when Balfe was confirmed, McQuarrie made a big deal on twitter posts about the fact that he didn't bring Kraemer back because every MI film had a different director up to that point and every MI film felt different stylistically, and he wanted to maintain that - and that was the only reason he changed composers. So yes, if he brings back Balfe for another film, that means his excuse for not bringing back Kraemer was not true. Because everyone knows Kraemer AND Balfe could change styles as needed from film to film - it's part of the job of being a film composer. Koray, I know you love Balfe and I know you love McQuarrie and you don't like Kraemer, so I fully expect you to come up with another reason why what I'm saying is somehow not true...

well if he brings back Balfe we know all his talk about each film having a different style is bullshit

Yes, the night scene of TPM where Qui-Gon tests Anakin's blood was shot with digital cameras (not even HD, I don't think, just digital) but Lucas kept it quiet for a long time to see if anyone would notice. AOTC was shot entirely digitally, as was ROTS. I remember when ROTS came out, the Arclight in Hollywood made a big deal about it screening with new 2k projectors.

I love the score - it reminds of the scores to TOS episodes like "The Trouble With Tribbles" and "Shore Leave" (as does the movie)

Rogue Nation got one what too?

6 months from now will anybody care?

I spotted this on Twitter

I didn't know JNH worked at RCP? Good point - look at the OST for ALIEN vs the music in the film, or Phantom Menace....

Fair enough that you don't like the score. I apologize for misquoting you one that But a major part of fan forums like this is that it gives people a forum to talk about their opinions on scores, positive AND negative, without being accused of "complaining" or being "childish and stupid".

hahah, that's one way to put it!

As a relative outsider (and less frequent poster) looking in, there is something very interesting going in this thread. Koray really seems to be personally, emotionally involved in what people say, and how people feel, about the director McQuarrie and composer Balfe, as much, or even more than, the movie itself. It seems like anyone who makes a negative comment about the film or its score gets treated as if they've personally insulted not only the director and composer, but also Koray himself, to a degree. I honestly, and with the utmost respect, wonder why that is.... I think it's funny that Dan Goldwasser (Scoringsessions.com) got all annoyed when Drew asked about the "Pirates" score on Twitter, too. A funny commonality between the two (as many here may know) is that Koray's brother runs FILM.MUSIC.MEDIA and Dan runs SCORING SESSIONS. Both of these websites rely on positive personal relationships with composers, in the latter case, to get permission to come photograph recording sessions, and in the prior case, to get inside access to composers for their in-depth video interviews. Not that anyone asked, but personally, I think the current trend in film music tends to favor scores that sound more like recordings/sound design and less like live orchestral performances. I liken it to the trend in the 90's when MTV-style quick-cutting was all the rage in filmmaking, or when digital color-grading came in and made everything look super saturated (like Oh Brother Where Art Though or Ultraviolet) or when Bullet-time was everywhere. I think Drew asked a relevant question when he asked about samples vs. live. Does anyone here really think that RCP scores sound the same as JW scores? Honestly, I think we all agree RCP has a sound that is not really anything like JW's. There are people on this board who dismiss the current sound (myself included, if I'm honest), and there are people who like it. The people who seem to like it, such as Mr. Who, seem to take any criticism of it as a pointless exercise in "bashing" music they like. Some even seem to feel like certain people here take JW too seriously, which strikes me as funny considering this IS a John Williams fan site. One thing that has emerged seems to be that the community here could be sorted into two very general camps - 1 camp likes to listen to film music primarily for it's musical value and the other camp likes to listen to film music primarily because of its association with a film. Camp 1 has been critical of the score to Fallout, while camp 2 has argued that camp 1 is disregarding what it's association to the film adds to it. For what it's worth, I fall into camp 1, again, not that anybody asked. thoughts?

I, for one, appreciate your efforts to call out the current wave of composers, such as RCP and their drones, on their mediocrity, whether it be in composition, orchestration, or mixing...it's a thankless job, but I'm glad you're here to do it.... ;-)

Fine, maybe it’s a brilliant score, but by all accounts, it’s boring MUSIC. Who cares if it’s a good score in the movie if it’s a chore to listen to on its own?

It’s getting some nice reviews, according to his twitter page, but I also saw one that called it “loud” and “intrusive”...hmmmm....

how do you define library music? https://www.audionetwork.com/track/searchkeyword?keyword=Joe Kraemer

David Arnold wrote music for Big Finish Doctor Who as well.

I recommend these Big Finish stories ;-) https://www.bigfinish.com/search_results?txtSearch=Joe+Kraemer+&x=0&y=0

Stay classy, Wayne Manor

Amy Pond, imho

Watch out TGP or you'll be next >:-)

I wish, but no, not really. I came really close on one thing, but it didn't work out.