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  1. Inon Zur could be a very cool choice for this too. He is a game composer so chances are very slim but having just listened to a suite of his upcoming work for a video game called Starfield performed by the LSO, I think this guy knows how to handle the genre very well. That piece is a recommended listen whether anyone thinks he should land a SW gig or not. A great throwback to the days of StarGate and Star Wars. Quite refreshing from the stuff that's landing on the film music scene these days.
  2. Director previously worked with Grigorov and Goransson so these two are probably the top contenders. Since the director is a lady, I am guessing a female composer wouldn't be out of mind either. There have been some very talented and promising newcomers to the scene like Natalie Holt, Germaine Franco, Sunna Wehrmeijer, Pinar Toprak, or Hildur Gudnadottir. Holt and Toprak in particular have already done some good scores for Marvel. That might be a bonus.
  3. Why so? I think it will very likely be him. It was only Toy Story 3 where things kind of went awry between him and a Pixar director. If it is not him, or Pixar's other usuals (like Giacchino or Thomas Newman), then it could be the perfect time to bring David Newman to the scene. Or maybe McNeely, or even Debney. These guys know how to handle animation, these guys have done great space adventure scores before, and I'd be very, very surprised if their schedules were too busy right about now.
  4. I am yet to meet an individual in real life who doesn't think that listening to film music is... odd (to put it mildly). I tried to use film music to spice things up once back in mid 2000's and I recall that things kind of went awry. The kind of embarrassment that was ensued still haunts me today!
  5. The song at the end is very, very good - it is my most favorite track on the album. I am not sure if I should even call it a song because it's sounds like the same vocals that's heard throughout the score - but more refined and polished here. The melody that opens that song (and used throughout), however, reminds me a great deal of Debney's "Bearing the Cross" from Passion. I wonder if that score was used in the temps.
  6. He is probably after easy, stress-free projects only. I can see no other logic behind this. Films like this remake here are for rookie composers who are learning the ropes, not a well-seasoned, academy award nominee.
  7. It saddens me a great deal that all Debney chooses to work on are z-movies like this one here.
  8. Thanks for the info, Jay. Though -- just like how Edmilson reacted when I resurrected the thread for Williams' "The Patriot" just to muse about how I like to revisit the score in early autumn -- I have to say, when I saw this thread popped up after all this time, it had me assume I was going to read something about... something else!
  9. I was surprised how it turned out too. I don't think that score was something Gregson-Williams was going to deliver on an ordinary day. I feel there must have been a lot going on behind the scenes with this one. Good thing he survived it though. Leaves some hope that he might be given other opportunities at the house of the mouse. I like what I am hearing from the clip Wampa posted above. I tip my hat to Gregson-Williams for being able to write music for that scene. The bleak "weather" in the clip alone brought me done fast.
  10. Ludwig Göransson's career is pretty much "up and running on all cylinders" now. He has now joined the ranks of Giacchino, Balfe, and alike - i.e. people whose association with high-profile gigs no longer surprise or excite. I wonder if David Julyan was even approached at all for either of these two -- post "Hans Zimmer era" -- Nolan films. Same for James Newton Howard, even if I am sure he wouldn't have said yes to that out of "respect" for Hans Zimmer - if not for the "experience" that had him drop out of the third Nolan batman film in the first place.
  11. I am beginning to think that the actual new release date for this one is much further in the future than what's being communicated. But for marketing purposes - i.e. to keep the product on customers' minds - they keep on revising the date they "announce" to the public by a few days/weeks at a time until the actual date is reached.
  12. Not sure about Bond, but I won't be surprised if it turned out that in general David Arnold is avoiding Hollywood, blockbusters and alike on purpose.
  13. For me this one falls in the same category as most of his Nolan gigs - stuff that work remarkably well against the visuals but cannot be appreciated (by me) on album. Still, there are some very cool ideas scattered across both albums they released for Dune. I love those that give a sense of standing in a desert landscape, where everywhere I look is just miles and miles of sand dunes: e.g. the first 2:30 of "I See You In My Dreams"; the ephemeral, ethereal whisper/percussion-combo effect starting at 2:34 in "Visions of Chani", the final 1:30 of "Sandstorm". Also love the score's only uplifting moment starting at the 3:30 mark in "Stillsuits".
  14. The only surprising part of the score is the general organic orchestral sound - an approach that has become extremely rare in team HZ's outputs for this kind of movies. In fact, I wonder... to what extent was Hans involved with this to begin with? Temp tracks aside, there really isn't anything here that reminds me of his style. It is not like him to go crazy on other people's themes and ideas like this either. Even his Mission Impossible 2 only briefly quoted the signature theme.
  15. I'd reserve a description like that for Caribbean reggae tones, even if I can't quite listen to them as music.
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