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Posts posted by TheUlyssesian
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Last track seems to be the concert suite. No song this time.
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13 hours ago, badbu said:
just in this cue
How disappointing. I think this is the best way to render this theme.
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Reviews out - decent notices.
Good notices for Doyle's score too.
Quotea low-key and dark score from longtime collaborator Patrick Doyle
https://www.slashfilm.com/757191/death-on-the-nile-review-a-mystery-that-floats-adrift-quickly/
Quotethe music by Patrick Doyle is right up to the usual standards of this exceptional composer
https://deadline.com/video/death-on-the-nile-review-gal-gadot-kenneth-branagh/
QuotePatrick Doyle’s score is sensational, doing a lot of the heavy lifting mood-wise
https://theplaylist.net/death-on-the-nile-review-kenneth-branagh-gal-gadot-20220207/
QuoteFocus on the score by Patrick Doyle, perhaps the master of turn-of-the-century English sounds, having shown us what those tea rooms probably sounded like in Gosford Park and on Orient Express as well. His score is both playful yet classic, tense yet jocular when Green’s amusing jokes creep subtly to the surface.
https://www.btlnews.com/featured/death-on-the-nile-review-kenneth-branagh-gal-gadot/
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Someone familiar with the score - can you point out to me all the instances/tracks in the score where the following motif appears on solo voice -
I am just interested in the solo voice rendering like the one which begins 70 seconds into the track above.
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5 hours ago, Tom said:
I guess my issue is with the reporting--these are respected news outlets. They should simply be accurate and say "Lynch joined the cast," or "Lynch is part of the cast." The present tense "joins" in such a case is misleading and/or false. I suppose it doesn't matter in the grand scheme of things, but I still find it annoying.
It is not a news article. It is a PR piece so it is whatever the studio wants to say.
And as per convention, it will always be present tense.
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On 04/02/2022 at 4:58 PM, Tom said:
A bit odd for someone to join the cast when the film is in post production.
Casting announcements often lag 6 months to even a year after filming.
Have you noticed how on the first day of filming they suddenly announce this this and this have joined the cast? Well they couldn't have joined the cast on the first day of shooting right. They obviously joined months ago.
There is a weird PR logic to it all. Cast can't confirm they are in a movie unless it is in Deadline or Vareity or THR.
These days stuff leaks a lot so you know pretty early on. And actors give away the game on SM too.
But yes Lynch was probably cast a year ago. Before marketing begins a movie has no way to generate news - so they stagger our casting PR.
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On 12/11/2021 at 7:13 AM, filmmusic said:
Spencer by Jonny Greenwood.
Wow! Very sophisticated! I Love it!
Literally the exact word I used when I heard it.
The main theme - you could EASILY fool someone telling that this is a piece of classical music from the 1600-1800s. It sounds very refined and very well composed. Has a great presence in the film too.
The film is scored with intelligence too. When we first see Diana - the theme is on solo piano.
When there is a dramatic church scene - it is played on organs to bring an appropriately portentous feel.
As someone said this is a cousin to Phantom Thread and this is indeed very good work.
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5 hours ago, Bayesian said:
Still no word on a soundtrack album for this film, digital or otherwise. There was no release either for Elfman's Woman in the Window. It's one thing if the studios don't want to spring for pressing CDs, but to not even bother with digitally releasing an organized sequence of cues or suites is a worrisome trend.
It's dumb. Honestly streaming or digital music does not take effort. Even if they don't want to produce an album, like you said just dump what you recorded on streaming. Even minimal money made off those is some money.
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29 minutes ago, Falstaft said:
I miss Goldenthal:
I fear we will never hear something like this in a big mainstream movie ever again. The suits might say the music is too prominent, too distracting and calls too much attention to itself.
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9 minutes ago, Disco Stu said:
It's why his music has always been so well-suited for childrens' films.
In fact he wrote infinitely more complex music when he wrote for supposedly simple films. See how this scene is scored -
It is as textured, exuberant and complex as anything Williams wrote. This too -
Where is this Gia?
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The entire track is just one melody repeated over and over again. Even the middle part is the same melody just with additional accompaniment.
This is the Riddler theme -
a
g# a C
a# a
g# a D#
9 notes. That's it. Repeated over and over and over again. He adds and subtracts accompaniment - but this is the theme.
Maybe Reeve placed a limit on the number of notes per theme? Like it can only be extremely short, and extremely simple.
Now mind you, simple can work.
I think this track is similar in construction to The Stone by Williams for HP1. It is a simple short theme of repeated notes which is repeated through the track non stop.
Though I would argue Williams did more with it. And had more variety and truly built it up in dread and menace. And had more interesting accompaniment.
This might be a simpler track for Williams. But in the same score Williams also wrote some of his most complex music. And even this track in Williams version - is not simple.
But you see where I am going with this? Gia is in the extreme "simplistic" territory now. His music is simply not complex anymore. It is kiiiiiiinda just dumb and your regular extreme banal blockbuster sound.
I mean I have just heard it, so I don't want to have strong feelings about the track but I just wanted the highlight again the direction he's headed in.
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1 hour ago, Jay said:
I am guessing this is a practice session. No way they recorded it that way right?
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1 hour ago, Mr. Who said:
Can you still listen to this?
Sadly I can't find anything.
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7 minutes ago, ddddeeee said:
The Poirot theme will return. Perhaps the 'travelling' theme, too.
Doyle premiered a track on a British radio station two weeks ago and it was essentially the same new theme repeated over and over - a dark, passionate love theme, which I guess will form the heart of the score in the same way that the Armstrong theme did for the previous film.
Do you remember which show?
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The tracklist can't come soon enough! I would be interested to see what themes are carried over. It might clarify some theme associations from the first score.
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On 28/01/2022 at 1:31 PM, Disco Stu said:
The Miami music from Goldfinger has been stuck in my head for hours. No idea why, haven’t watched or listened to it any time recently.
Great piece. When I was younger I was obsessed with it. I was like wholy crap - such a doozy melody - how god like gifted is Barry that he would just toss this out for a stupid establishing shot.
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Columbus would get laughed out of the room if he pitched himself.
The fact is if a two-part Cursed Child adaptation is made, it would be outrageously expensive - a combined budget of 350-400 mil wouldn't surprise me, and the combined gross of both films could be expected to top 2 billion.
It isn't whether he has the skill - that's arguable.
But could any rational set of suits trust him with a project so valuable. I think not.
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20 minutes ago, Chen G. said:
He was never a very accomplished director. I mean, I like Home Alone, Mrs. Doubtfire and Philosopher's Stone as much as the next man. But is it due to their mise-en-scene? Not really, no.
He was never respected. This is how a top critic assessed his mis-en-scene for the first film -
Quoteit’s obvious that director Chris Columbus positions his camera very arbitrarily and has little idea how to stage action dramatically or visually build to climaxes, relying instead on special effects and John Williams
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5 hours ago, bollemanneke said:
Why not, though? He did start the whole thing with a fantastic entry and nobody is exactly eating up the FB movies.
His career has straight tanked since HP2 and that was like 2 decades ago. He's not getting near a 200 mil blockbuster anymore. He has made only 2 movies in the past decade, is not in demand, delivered bomb after bomb after Harry Potter and delivered a Razzie nominated film last time he worked with a big budget. He has been reduced to making things like The Christmas Chronicles: Part Two for Netflix.
He's toast.
1 hour ago, Chen G. said:The great Sir Michael Gambon (whom I otherwise love as Dumbeldore) is just in a state of hysteria almost all throughout the movie for no appearant reason.
This scene really shocked me in the theaters.
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Blockbuster film-making is very very very very different from a passion project film-making.
You need broad competence, reliability, pleasantness, collaborative nature, ability to work with execs and multiple people and capability to bring in the picture on time and on budget. It is not an unremarkable skill. Perhaps does not deliver great artistic masterworks - but does the needful, gets the job done, and provides a lot of the audiences with pleasure and lot of the stakeholders with profits.
Yates has all of that. So he stays.
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5 hours ago, mrbellamy said:
Eh, I kinda think that if Chris Columbus announced tomorrow that he was doing it, he might be able to rope in Williams.
There is no earthly possibility of Chris Columbus getting the directing job on Cursed Child. None whatsover. Nada. Nil.
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Williams scoring Cursed Child wouldn't make it any less terrible though sadly.
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1 hour ago, Edmilson said:
If they want to appeal to people's nostalgia so much, why not make a Cursed Child movie with the original cast instead of these Fantastic Beasts nonsense?
Oh it's coming. Just you wait. Let the cast age a bit more. It is guaranteed 100% going to happen.
94th Academy Awards (2022 ceremony for 2021 films)
in General Discussion
Posted
It is actually extremely entertaining, audience friendly and crowd-pleasing. It is also 90 minutes. I think most everyone who watches it will enjoy it.