Cerebral Cortex

Still can't believe that we're getting another one with Williams and Ford.

Someone posted the full issue on Reddit. "The year is 1969. A man named Henry Jones Jr, near the end of his professional life, is staring retirement in the face like it's a swaying cobra. After decades of quests mingled with academic lessons, in which he's dispensed mountains of textbooks and whipped his way through endless hair-raising scenarios, he's facing the grim truth: it's all over. Compounding matters, the country he loves is transforming around him. This old-fashioned hero is now a man out of time. He will not, it's safe to say, be going to see Zabriskie Point. But he has forgotten one thing. That if adventure has a name, it must be Indiana Jones. And adventure isn't done with him yet." "Since marrying Marion Ravenwood, Indiana Jones has embraced - or tried to embrace - domesticity. He's initially reluctant, then, when that mischief arrives, in the form of Helena, played by Phoebe Waller-Bridge." "If anyone in early meetings brought it up, I'd say, 'No Volumes, please!" says Mangold of rejecting the tech used by the likes of The Mandalorian to build worlds inside a studio. There are planes, trains, horses, trucks and - in a first for an Indy movie - helicopters. We will head to crypts, bazaars, even underwater (watch out for sea snakes!). "Every type of vehicle. Every country. We have scenes that are recreating really iconic, giant events," teases producer Simon Emanuel."

Wonder if Williams will write a theme for this character for the show to use.

Stuff like this just pisses me off because it reminds me of another thing it'd be INCREDIBLE to be able to ask Williams about while he's with us but most likely won't get his thoughts on because the only questions interviewers can ask him are the most insipid base interviewing questions imaginable.

I've tried my best to follow along but some of these may have already been answered. Congrats on the opportunity to interview him. Cool of you to ask the community for possible questions. Which of the themes, either for characters or places, was your favorite to develop? Much of the first season felt like a long introduction (or reintroduction) to Middle Earth and the Second Age. Can you comment on how how much the musical material reflects this introductory stage of the story, and have we actually heard any of these themes in their fullest yet? Howard Shore’s musical precedent for Middle Earth is famous for how it subtly draws connections between its leitmotifs, but music in TV often falls into a trap of playing the same motifs every time certain people or places are on screen, with little in the way of variation or connective tissue to develop the ways these motifs relate musically to one another. Can you describe how you’ve approached weaving together these new themes to create a new musical tapestry worthy of Middle Earth? Alternate version of the last question: Based on this first season, Rings of Power is a show about several seemingly disjointed plot lines eventually coming together to form the various catastrophes of Tolkien’s Second Age. With all this rapid jumping between characters, places, and plot beats, what has been your approach to developing a musical tapestry for the show that is as varied as what’s on screen, yet still ensures a connected, cohesive musical story is being told?

I love how tender and unassuming the theme is in nature despite having the potential to be (as heard in the album track) the most powerful and forceful theme in the entire show; characteristics that happen to perfectly mirror the character the theme is portraying.

Reports are conflicting but the forming consensus seems to be that

Honestly, kinda kicking myself for not picking this up now. Most of the tracks I REALLY like are on the Abrams/Williams Ultimate Collection, but the completionist in me wishes I'd gotten that 5 CD set too.

Something truly hits different seeing this footage knowing that Williams will be scoring it. Really just gives the whole film and air of legitimacy it wouldn't otherwise have. I'm for some reason reminded of the moment at Celebration when Williams started to play the Raiders March and after a single note the whole audience immediately knows what it is. Just the idea that it's the same guy adding to a musical legacy that has already been cemented in the history books and is recognized the world over is really compelling.

Dude scored for Hitchcock, scored Frank Sinatra's only directorial effort, and scored a John Wayne picture. That same dude is still working on the biggest films ever made. what the fuck haha I swear some people have to see that John Williams credit in Star Wars Episode 9 and think it's his son or something.

Why choose between fashion and protection when you can just wear a chainmail turtleneck!

Thanks so much! That was it. Didn't even know that was a thing. Must have somehow done it by mistake. I appreciate the help!

Has anyone else had any trouble playing Otto Trouble on Spotify here in the U.S.? It's been greyed out for me on the platform for at least the last 2 months.

Source: Gizmodo

Can't believe you guys are sleeping on what looks to be the defining cultural touchstone of the next decade:

Let's be honest, Williams missed the mark on this one. The writing is clearly on the walls. The fact it's nothing more than just a few piano sketches is enough to show that Williams really didn't have his heart in it. Didn't even put in the time or effort to use a full orchestra. I'm seeing lukewarm words like "amazing," "masterful," and "emotional" repeatedly online to describe the score, but these subjective terms are meaningless in the face of what we should have gotten. I'm literally shaking right now trying to hold back tears at the thought of what could have been.

Mother. Of. God. Looks like a Super Bowl commercial.

Mangold: Source: https://www.thewrap.com/indiana-jones-5-trailer-footage-description-d23/

Jerry is one of us, gang. Of course he's gonna stay during the credits.

Really bizarre (and really cool) seeing such a big Hollywood director responding to stuff like this haha.

How fantastic it is to have Williams attacking a piece of this nature that in some ways harkens back to some of his earlier works but with all the sensibilities and musical growth he has picked up along the way; writing with the confidence of an assured hand of mastery instead of a someone still finding their voice. Simply delightful.