Quintus

There totally are, but a playlist of JW highlights split across multiple unrelated parts is nowhere near as memorable and as accessible as a single soundtrack album comprised of strong musical storytelling with a tuneful first, second and third act. In the classical world they call developing narrative suites "movements", but JW works best to a rigid three act filmic structure; hence why his later scores can be decidedly unsatisfying: the films are crap and generally very poorly put together, compared to what he's used to.

I strongly disagree with this. Ford was the best thing about the last movie, by far. He convinced as an older yet still proportionately capable Indy. He simply deserved a better script and a better Steven Spielberg.

Again, you seem to be referring to a film outside of the Indiana Jones series.

Whoever saves one Ian save the world entire.

Whatever the approach, they'll hack up John's score.

I'd take that over Harrison and Shia.

Watch Fleabag, it is outstanding.

Phoebe Waller Bridge is literally the only thing of interest there for me, she is fantastic. But meh overall I'm afraid. I have no doubt they'll waste her. Williams will provide a reliably serviceable but wholly unexciting score, possibly even his last.

It's the Queen I feel bad for, 75 years married is gonna be devastating and a massive gaping hole in her life. I'm no royalist and I honestly think they could be let go for redundancy purposes, but I like Liz for her style and fortitude nevertheless.

Phil was gonna be in the country and JW had some early Jurassic Park fanfare rejects he found a use for.

It is good, yeah. Very smartly put together, surprisingly snappy and light (it could easily have been an unwieldy and longwinded affair).

Literally my only concerns are the music, eye rolling titillation/gratuity and woke agenda.

Shore fluffed almost the entirety of the Shelob's Lair underscore, it sucks.

True.

Started Into the Badlands and The New Adventures of Monkey.

I particularly liked the part where he said newer filmmakers bring in the music too soon and "short circuit" the scene. I knew exactly what he meant.

These two scores are fantastic in the films, but I find them to have very limited mileage as standalones.

Didn't even read the interview.

Well, Abrams is a pretty terrible director.

This is a great bit of insight from Burtt. He knows his shit. I've also never took any notice of the popular and overzealous view that reckons Ben purposely drowns out the music in order to showcase his sound effects. His words in this interview more than rubbish that stupid notion.

I feel sorry for people working on this, like they thought it was a good idea. All that effort, because making games is hard.

Haven't seen Chevy Chase in much since.

I didn't get into Schitt's Creek, wasn't my humour. The first two Arrested Developments though are top tier.

Athough I could never stand the despairing 8 note "Lois in peril" motif in the same cue, parts of the plane rescue music are genuinely quite thrilling, I remember being pumped. It's obviously the standout sequence of the film. I remember that being my main complaint with the movie, that there wasn't enough action or that the action overall wasn't satisfying enough, wasn't showy enough. I wanted to see moar shots of Superman in the air, physically in the scene. The originals always showed plenty of Chris up in air, on wires. It was great! Remember the tag, "You'll believe a man can fly"? I think newer filmmakers forget or don't realise how key that was. CG flight is not in the slightest bit wondrous and it just looks boring. That, and Kate Bosworth was horrible as Lois Lane. Like, literally the extreme opposite of good casting. So my memories of Superman Returns are minimal, it's a forgotten movie.

They're the same person!