TheUlyssesian

Not the whole Spiderman scores but his main theme. It is extremely basic and simple.

So listening to it a few times, it is extremely basic, simple, and unimaginative. It will serve its purpose in the film I imagine. It is just rising notes. There is no real sense of a memorable theme. These are as simplistic structures and figures as the ones Zimmer used. I daresay Junkie XL showed greater facility with melody in Snyder Cut. First Spider Man and now this - both extremely simple (and simplistic) themes. Don't composers acquire more virtuosity with age - more refinement? Gia seems to be losing it. Listen to a score like Ratatouille for Gia starting out - bursting with melodies - complex, long-lined, nimble, many notes, fast tempi, counterpoint nuance, instrumental variety, imagination, wit, humor. Where is any of it today? He's like I have said, a heartbeat away from RCP power anthem level stuff. What happened?

The opening note also seems to anticipate the excellent Legend of Hercules themes -

Is it me or the first phrase of the theme sound like Wonderwoman?

So basically the stolen two note ostinato (from The Imperial March) is only the ostinato and the actual theme/melody is from 0:25 to 3:57 in the above track?

I guess the film being an ultra mega blockbuster bonanza encouraged them.

Is this legit or fake shit?

The Welcoming is sooooo lively. A barn burner for sure.

Think about this 1000 people saw MI5. 2 spoke about the music. 1000 people saw La La Land and 980 spoke about the music.

It's the same reason Williams works seldom these days. Hurwitz scores in his films definitely have a point of view and make their presence felt. He isn't going to do modern suite scoring - write some 8-10 minute sound scapes that the editor then edits in as needed. So there might be lesser demand for what his approach, more so than his product. Same thing with Williams. Working with a proper composer is a good 6-8 month exercise to get the desired results and most Hollywood directors do not have the ability or patience to even do that anymore.

Me too. A composer biopic is going to be scored with the composer's music through and through. There simply isn't place for a score. See Amadeus.

He kinda has a disappointingly awards-centric and box office centric view of his own oeuvre. What are his passion projects? Or does he only like stuff that got him accolades and money? And he's one of the few Hollywood composers working across the world. Yet has a Hollywood centric view of his own work.

What does Desplat think are his most notable works? https://www.awardsdaily.com/2022/01/10/alexandre-desplat-dispatch/ Girl with a Pearl Earring Read My Lips the two Harry Potter movies Grand Budapest Mr. Fox The Imitation Game

Desplat continues to be effusive in his praise of Williams any chance he gets. https://www.awardsdaily.com/2022/01/10/alexandre-desplat-dispatch/ What would you say are your quintessential works? If you had to create a Mount Rushmore for your career, which scores would you choose? ... two Harry Potter movies, the last ones because I learned a lot doing that and thanks to David Haymen, who gave me the opportunity to score the last two films. Also, my proximity to John Williams meant that I could get closer to him, he was my idol, and he is still my idol.

This trailer is absolutely hilarious. They are promoting it as a Gal Gadot vehicle when it is not. You wouldn't realize Hammer is in this movie from the trailer.