Romão

I have a baby on the way and he could possibly be born on those very same dates, so no chance I can make it this time

I have a baby on the way and he could possibly be born on those very same dates, so no chance I can make it this time

I have a baby on the way and he could possibly be born on those very same dates, so no chance I can make it this time

True, but this forum would not exist if that is all what film scores aspired to.
Food has to be nourishing. But it's preferable if on top of that it also tastes good.

Not only that, but he has that whole lugubrious, laid-back style, and, also, a great way of not answering questions.
"I'm not interested in movies now, actually" .
For someone whose not interested in movies, he's sure made some great ones.

I was watching this John Ford interview and his speech pattern and voice sound are really, really similar to Lynch's:
 
 

I was watching this John Ford interview and his speech pattern and voice sound are really, really similar to Lynch's:
 
 

I was watching this John Ford interview and his speech pattern and voice sound are really, really similar to Lynch's:
 
 

I was watching this John Ford interview and his speech pattern and voice sound are really, really similar to Lynch's:
 
 

It's the ultimate, self-righteous "Hollywood patting itself on the back" bs. So the industry is trying to lift it up as some "misunderstood prophetic warning" that the ignorant masses don't want to listen to...even though everyone knows it's really just a dud.
 
There is nothing clever, witty or insightful that film has to offer.

Don't Look Up
 
Absolutely insufferable. A movie that thinks it's smart for an audience it thinks is stupid.
 
Horrible. It's beyond me how this is getting nominations for anything other than the Razzies
 
 

Don't Look Up
 
Absolutely insufferable. A movie that thinks it's smart for an audience it thinks is stupid.
 
Horrible. It's beyond me how this is getting nominations for anything other than the Razzies
 
 

Giacchino is becoming a really uninteresting composer. He was fun when doing tongue-in-cheek pastiche.
 
This, not so much. It's so simplistic, and not in a good way

I miss Goldenthal:
 
 

Since Lawrence of Arabia in the theater a few years ago was the greatest moviegoing experience of my life

The two Batman scores Goldenthal wrote are, IMHO, the best super hero music ever written. I would buy this in a heartbeat

The two Batman scores Goldenthal wrote are, IMHO, the best super hero music ever written. I would buy this in a heartbeat

The movie looks fantastic visually. But I've only seen the trailer, not the new scene.
 
The new Giacchino cue sounds like we're getting the most painfully pedestrian Batman theme yet...
 

Current trends align with Giacchino's abilities, then. 

Without having seen the new film, nothing in it suggests that a theme like Elfman's or Walker's would feel out of place. In fact, the Animated Series used both, and they both worked very well.
 
And even though Batman is probably the most versatile of all superheroes, with a myriad of different aproaches to the material, I still feel the themes by Elfman, Walker and Goldenthal captured the broad strokes of what the character has always been (with the exception of the really campy aproach), and really elevate and add to the believability of a really far fetched concept.
 
This theme is just non descript. It has no character. It's not a theme that captures a certain version of Batman. It's a theme that really does not capture anything at all. No identity. Just a very general mood

Without having seen the new film, nothing in it suggests that a theme like Elfman's or Walker's would feel out of place. In fact, the Animated Series used both, and they both worked very well.
 
And even though Batman is probably the most versatile of all superheroes, with a myriad of different aproaches to the material, I still feel the themes by Elfman, Walker and Goldenthal captured the broad strokes of what the character has always been (with the exception of the really campy aproach), and really elevate and add to the believability of a really far fetched concept.
 
This theme is just non descript. It has no character. It's not a theme that captures a certain version of Batman. It's a theme that really does not capture anything at all. No identity. Just a very general mood

It's not good theme.
 
Batman had at least three absolutely great and fitting themes composed between 1989 and 1995.
 
The character has sadly suffered from continuous musical decline
 

It's a piece that introduces all the major thematic ideas for the film. It works wonderfully in the trailer, doesn't really have a place in the movie per se. It's a brilliant overture and perfect encapsulation of the score. Being used in the movie or not does not diminish it in any way. It's like saying overtures or main titles are disappointingly only used over text and not dramatic scenes

Sorry for dragging out the other discussion again - but I've long thought that by far the biggest influence Orff's Carmina Burana had on Williams is his annoying tendency to duplicate the end credits/concert suite as the album's title track. It makes sense for Orff's work because of the wheel of fortune metaphor, but in Williams's case it doesn't. I suspect it's partly a remnant from the LP era where an "album" was typically comprised of two short suites (though mainly for music that was created *for* the album presentation, obviously not for "classical" works of independent length that were released on LP, and that's why I also dispute its validity for film scores), and partly a result of Williams disregarding the quality/integrity of his own underscore and wanting to give the spotlight to the "proper" concert suite. Even then I find the duplication of the track pointless and a waste of either space (in case other cues were dropped to make room for the duplicate track) or time (if it wasn't), and generally harmful to the listening experience. Especially with scores that have strong thematic development (i.e. most of Williams's longer narrative scores), where the "score proper" carefully balances when and how to present its theme(s) in the dramatic (and musical) narrative. You wouldn't open an album of Beethoven's 9th with the full Freude chorus - you wouldn't even open the final movement that way, because Beethoven gradually introduces and develops the theme before presenting the first "full" statement.
 
And it's not about me refusing to let the music stand alone without the film - I'm very much for that, but I also maintain that with narrative scores, the musical narrative is usually based on the film's narrative, so even though you can divorce the music (or most of it) from the film, you should retain its overall structure so as to preserve its inherent dramatic arc. And that goes both ways - hurting the musical narrative in the film can hurt the film. I'm still ambivalent about Shore playing each film's significant "main" theme over the LOTR EE titles when he originally carefully introduced each of them much later in the narrative.

Ghostbusters: Afterlife (2021).
 
My God, what an insipid movie, with no story at all, it's basically the same plot as the first old movie.
 
One of the useless movies I saw in my life!