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Cerebral Cortex

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Everything posted by Cerebral Cortex

  1. Man, nobody really does those sweeping string lines quite like Johnny. They just whisk you away on a blanket of warmth.
  2. Given how much of a musical junction this film has the potential to be, I really can't think of anyone else I would rather have at the helm of this film's score than Giacchino. You can say what you will about the guy, but he definitely seems to have a respect for musical continuity and throwback that goes largely unrivaled in the industry, and I really hope he capitalizes on the opportunity before him.
  3. While I feel both excel quite well in this category, Williams does seem to be a cat that always manages to gracefully land on its feet. Few instances highlight this to greater effect in my mind than in the end credits to ROTJ, where Williams has tasked himself with somehow transitioning out of the endearingly wonky Ewok theme and into the exact musical polar opposite: Luke and Leia's theme. And yet the end result is somehow seamless, not jarring at all and, dare I say, elegant.
  4. In addition to some of the ones already mentioned, I really enjoyed the score to Enola Holmes.
  5. I would imagine they resorted to such a technique on Mando to save time, save money, and use less resources to ultimately help keep it a secret. This last part is supported further in how those scenes were tweaked and improved after the episode was released. I would be very surprised if they use that same technique on Indy. I think it's more likely that they'll be resorting to what ILM has continued to perfect with their work on stuff like The Irishman and the Marvel films (and more aptly perhaps what ImageEngine did with Mangold's Logan) in that there will be an active CG model imposed over the actor/stand-in because of both how much better the achievable results are and how much more flexibility you have over the end result. They might already even have a current Harrison Ford model bopping around their servers for when they worked on TFA.
  6. "Since we barely got to hear it" would have been better wording on my part. At least in the mixing of the version I watched, I had difficulty actually being able to hear it except for in a handful of moments. It was a bad joke on my part regardless.
  7. Indy is wearing a wedding ring from some of the pics we've seen of Ford in costume so, at the very least, they're not gonna ignore the fact that he's married I don't think.
  8. I'm with you, Crumbs. Some theme that plays into a more grandiose reflection on a farewell to adventure, one's place in history, or perhaps the passage of time in general would be most welcome. A couple days ago I came across this very soft piano rendition of the Raiders March: At first I kinda cracked up just because of how overtly subdued it was, but, honestly, I really kinda like it. If we had to close the movie on a soft piano rendition of the theme, in contrast to how all the other films have ended, perhaps on a shot of Indy in a museum of things he has uncovered over the years that slowly fades to modern day with huge crowds of people looking at those same artifacts, I wouldn't be disappointed. What I'm ultimately speaking to is an overall hope that ideally I don't want Williams to feel boxed into having to do another big and brassy score for the film, at least not all the time. I think the ST scores strike a really good balance of providing moments of large orchestral splendor alongside quieter, more "thoughful" moments, something I found to be lacking in Indy 4 and that I would love for Williams to bring to this fifth installment.
  9. The fact that Williams somehow ended up scoring for legendary Japansese actor Toshiro Mifune of Kurosawa fame not once, but twice (1941 and Midway) tickles me so.
  10. And with a great sound mix that allowed that score to shine within the film! I almost wonder if such a sound mix was almost born out of the score being the new exciting element to his film soundscape, and, as such, wasn't really given the opportunity to be treated as agnostically as just another usual track that blended in with the others that he had to deal with in mixing. I'll be very intrigued to see how Mangold handles the score, as I feel that in the larger score moments in his films you are usually able to make it out quite well. Throughout all of this scene from Ford v Ferrari, for example, you have what are very loud race cars zipping around but all those noises play softer than you would be accustomed to hear in a film of this nature so that the music can still quite discernably be made out:
  11. Mangold says Williams has read the script and is ready to go.
  12. In all seriousness, I'd love for Williams to have an excuse to have more piano creep into this film, whether that's in the action stuff or otherwise. Would be a fun flavor to bring to the proceedings, I feel.
  13. It would have allowed Williams to get away with reusing Anthem of Evil since he barely got to use it in TROS.
  14. Mangold has experience with de-age tech and with digital doubles from his work on Logan, which I think were pulled off incredibly well. I have faith he'll be able to pull off the de-aging required for Ford with similar success.
  15. Maybe on June 12th to coincide with the 40th anniversary of Raiders being released?
  16. Some spoilers here for what is I assume to be the start of the movie.
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