antovolk

That's like saying he should have kept Elswit as DoP and not hired the guy who did Annihilation/Ex Machina. Or kept the same costume designer. Or same production designer. Or whoever else he changed between this and Rogue Nation. Come on, is it not clear what McQuarrie tried to do here, which he's been quite open about in interviews?

For this movie and the overall approach McQuarrie went for in this film, a 'Zimmer clone score' was appropriate. And it's not like Kraemer's or Giacchino's scores for RN and GP weren't praised by critics in their reviews of the film, were they? If you have an issue with them aping Nolan and Fury Road take it to McQuarrie who clearly wanted the film to be this way. Go on, he's incredibly active on Twitter.

it's not just in intent (otherwise Zack Snyder's DC films would be less divisive than they are), it's how insanely well McQ executes it. And to think that they only had an outline at the start of shooting and so much of the story/characters were figured out while shooting...in the case of RN it was only the last act that had this experimentation, with this it was approach for the whole film.

Precisely what I've been trying to say, having seen the film. It's *very* Nolan-esque with shades of Mad Max Fury Road, it's both more dramatically heavy and has more action momentum than Rogue Nation or GP, this sort of 'RCP/Zimmer' sound therefore is very fitting.

Fallout carries on a storyline which began in 4 (and quite heavily relies on Rogue Nation) as well as having clear thematic reference to 3 and easter egg link to 1

Ideally one should watch all of them beforehand but really, 5 and 3 are a must.

Yes, it's very Zimmer/RCP esque which is the whole point here. McQuarrie wanted this film to feel super different from Rogue Nation, more dramatic and emotional, more 'epic', more balls out - people weren't kidding with the Fury Road comparisons because it's absolutely relentless action wise. Within that context therefore, this more RCP take on the material works. at least did for me and reviewers it seems. Thoughts on the film itself - https://letterboxd.com/antovolk/film/mission-impossible-fallout/

If you want to call theremin traditional I'm betting this is like Interstellar where Zimmer went out there with the organ, between that and the whole IMAX aspect of it Chazelle really owes a debt to Nolan with this film if those comments are to go by the score is the one thing people at the test screenings didn't like as much because it was so out there. If true, it's kinda the perfect way for Chazelle/Hurwitz to incorporate jazz into this lol

The film test screened last night and of course people have taken to Reddit to discuss and... I guess I'll just leave this here

have asked RJ specifically about there being a separate hi-res track on the Blu...let's see if he responds

Seems like the CD (and download) is dropping tomorrow in the States - https://www.amazon.com/Sparrow-Original-Motion-Picture-Soundtrack/dp/B079VDDDWM/ref=sr_1_1?ie=UTF8&qid=1519895816&sr=8-1&keywords=red+sparrow+james+newton+howard Saw the film earlier this week and really really liked it. JNH does some very good work here, a combination of Hermann and classical Russian flourishes (especially in the opening and closing).

For those wondering how Vangelis would sound with 2049 footage...

Speaking of the IMAX preview...how realistic do you all think it would be to try recreate the score from that using the OST and film sound mix elements? Wanna do an HD recreation of the prologue using the Blu-ray, like I did with the Interstellar IMAX preview.

was just about to post it

Made this -

They do it for EVERY. SINGLE. FILM. So no, not a sign at all.

There's an interview floating around apparently where Elfman says he did NOT use Zimmer/Junkie's Batman theme from BvS. EDIT:

Sounds solid, but more of its own thing - unsurprising given it's Elfman

For those wondering how HZ/BW's opening would work against footage from the original. Obviously just an experiment.

That song is just the end credits for that 2022 Blackout anime. The 'Blade Runner' penultimate track is the end credits suite.

having seen the film, I cannot imagine that JJ would've necessarily done a *better* job. Would've been a lot more atmospheric and less Vangelis-esque than this is.

FYI - the film credits Wallfisch first then Zimmer. Anyway I haven't heard the score on the album but works very well here imo.

this isn't the film that the 'suits' had any impact on, they really gave DV carte blanche. If there's anyone aside from Villeneuve that kicked off JJ, especially as early as they have (they approached Zimmer/Wallfisch just before completing their first assembly cut), it's Scott. DV spoke in interviews about parting ways with JJ as he needed something a lot closer to Vangelis, but some may read that as PR fluff and it was Sony/Warner who kicked him off. But point is - it's an Alcon/Ridley Scott show through and through, WB have ZERO creative decisions because they invested zero money in the film, if anything Sony should have creative say as they gave 100m but clearly they didn't because otherwise, given Sony's track record, it wouldn't be as good as it apparently is.

Zimmer said in the Q&A that they were brought on board when Villeneuve just finished the first assembly cut, and the four of them (DV, editor Joe Walker,HZ and BW) watched it together all for the first time.