Pieter Boelen

I consider it more in the genre of cat-and-mouse hunt, which is a favourite of mine.

But we already know everything, we're not going to be surprised I think, whatever they try. I'm much more interested in them filling gaps that the movies left. Re-reading the series and just started Half-Blood Prince. Man, they have stuff to rectify in that one. Such a cheery book and such a dull film.

I always thought the interior was a bit dull in comparison too, and too mechanical/logical in the one place they tried to be magical, the invented moving stairs. Same with Hogwarts Legacy.
Cuarón got it the most right with the portrait gallery and by making it busy and full of life! And with the rickety wooden bridge. In the book there are tapestries, secret passages behind them, suits of armor Peeves can hide in, tons of staircases, some of which lead somewhere different on a random day of the week, a step on a staircase you have to remember to skip or your foot will get stuck in it... they never had enough fun with it! Just go full British fairytale absurdist! Make it, you know, magical?

They should stick to the description of Hogwarts in the book I reckon - aesthetically the film castle is beautiful but I always imagined the real Hogwarts as a little more ramshackle. Not quite the Weasley's house, but still not as graceful as the film; kind of like a fortress with towers coming out of it in not-quite-right ways. It should look as if it was made with magic and not from human engineering. The book version of the castle is much smaller as well, as there's only around 850 students; realistically the film version would feel perpetually empty with that number of students spread over its enormous grounds.
 
The biggest challenge is giving the castle an iconic silhouette, which is something the film version did perfectly.

As much as I love Williams, Dial left me quite disappointed.
Oddly, for once, I like the movie better than the score.
 
Dial definitely deserved an Oscar nomination for Best Special Effects though!
That opening scene is really something else.
 
That said, I reckon Williams should continue doing movies for another six years.
He needs to outdo that embarrassing record of Walt Disney's.

A post-TRoS world, eh?
Now that DOES sound apocalyptic!! 

A post-TRoS world, eh?
Now that DOES sound apocalyptic!! 

Hot take:
…when you're indifferent to the music in most films released these days.

... when you prefer Indy music over indie music. 

Indies Feats?

The title "Binary Sunset" is like broken glass on your ears.

...you know who Segun Akinola is, but you don't give two shits about Chris Chibnall.

...you have to stop yourself air conducting Test Drive from HTTYD. In the office.

Pieter? More like Poeter

Exactly!
 
 
Yeah, I enjoyed the entire prologue a lot.

-Haiku by Pieter Boelen
 
 

Every film in any franchise is the last film.... until it isn't

Don't know... sound sketchy.
 
Star Wars: The Bad Batch Season 3 Release Schedule
 

If there's one thing Machine Games is good at it's making killing Nazis a lot of fun. From the glimpses of combat they seem to have captured the very stylised violence of Spielberg's films; those punches have real heft to them.
 
Remains to be seen how the game will go though. It's obvious they wanted to steer clear of Uncharted territory, specifically the climbing mechanics of that series. It makes sense, seeing as those games were direct homages to Indy and pretty much wrote the book on how you'd make a modern Indy game, but I'm not entirely convinced a FPS approach will work for Indy. For one, FPS games are not known for their intricate puzzle design, and I'd be extremely disappointed if that aspect of the game is lacking. But who knows, perhaps that's why there's 4(!) studios attached to the game - one of them are bound to make a good puzzle or two.
 
Here's an extended look at the game, and it's chock-full of what I assume is the new score. It's Gordy Haab doing what he does best; classic 80's Williams. I look forward to hearing it in full:
 
 
 

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

I don't like it any more than you do.
I love Indiana Jones.
I love John Williams.
But the final two scores don't come anywhere close to the first three.

Yes, glad to see the ID4 comparisons. While Debney's came first, Cutthroat Island is part of that massive orchestral turn in the mid-90s that I credit to Stargate. Best example - Silvestri going from often quite lean orchestrations in his pre-1995 work to the massive Symphony of London sound that Stargate brought in (including hiring the orchestra for Judge Dredd, a Danny Cannon film, by no obvious chance at all). It is clear to me that Arnold breaking out like he did in 1994 generated a level of industry apprehension that resulted in some reshifting of orchestra sizes and types that led to some of the greatest music known to humanity.
 
 
 

I agree on the long-linedness! That's what makes tracks like Carriage Chase so great. You don't get these frustrating breaks or cuts that you come across so often in action music. Or, at least, Debney camouflages them very well. (ID4 is a lot like that, too.)