Mr. Who
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Posts posted by Mr. Who
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3 hours ago, A. A. Ron said:
No, it's just the modern Hans Zimmer approach of making a 90-100 minute album.
Most zimmer scores are about 75 mins and some are 90 mins.
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Just listened to the score for the first time and I enjoyed it a lot! Helena's theme is great and even Indy's theme gets some very nice variations. To Morocco is my favorite cue of the year so far!
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I just read this article where it states that Marion had a bigger part in the movie before Spielberg left and Mangold took over directing duties. I haven't followed the production of this movie but do we know other details of changes after Spielberg left?
I really wish that Salla and Marion had been in the movie more. Marion was great in KOTKS so it felt natural that she'd be in this one properly. I wonder what Spielberg's movie would have been like.
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26 minutes ago, Edmilson said:
Pretty much what I think about Mutt in this movie. Killing him is needlesly cruel to poor Indy (and him).
They could even have recast Mutt for the movie if they wanted to have him in the movie.
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I saw the movie tonight and while I enjoyed it, there are some things that were very disappointing. The off screen death of Indy’s son and his divorce felt so unnecesary and really put a damper on the whole movie. Indy can be a bit grumpy without this heavy baggage and they could just say that Mutt is living his own life instead of having him killed off off screen.
Helena’s motivation also is wasn’t great IMO as the movie would have benefitted from her having a closer or at least better relationship with Indy.
I also wanted to see Marion and Salla more as there wasn’t really any reason they couldn’t join on the adventure.
However the movie on an overall story level is very well done. I like the Dial as a concept and the villains were pretty good. The train sequence was cool and so were many of the action scenes. The movie overall gives me a more negative feeling though because of the underlying sadness of Indy’s character throughout.
JW’s score is great though and as someone who thinks Tintin is among JW’s best works, it was nice to hear some duel i spired music. Helena’s theme is beautiful and I can’t wait to listen to the CD!
I will be seeing the movie again in a couple of weeks and hope that is have a more fun time with it on second viewing.
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6 hours ago, iamleyeti said:
On Kingdom? He replaced Hans Zimmer, but I don't think he recorded anything…
The first cue on the complete score is actually Zimmer but he quit very soon into the scoring process. He changed scoring appointments with HGW who was originally doing Madagascar.
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19 hours ago, May the Force be with You said:
- The Hateful Eight as mentionned before
- Knives Out and Glass Onion both by Nathan Johnson
- Death on the Nile and Murder on the Orient Express by Patrick Doyle
- Sicario
I’d also recommend Death on the Nile by Doyle. I like Orient but think Nile is better.
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3 hours ago, Knight of Ren said:
Yeah, I guess it's Desplat's tendency when working with Wes Anderson, as French Dispatch and Moonrise Kingdom as well as parts of the other scores are similar in that aspect. It usually fits the film's visuals like a glove, but on a listening experience, it can be a bit repetitive.
I wish Desplat could go back to doing a piece as exciting and intense as this one for a Wes Anderson film!
I love this cue and the theme! This is peak Wes Anderson Desplat. The whole score is good.
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Great news! Media Vale Studios has been saved after being in limbo since the BBC put it up for sale. I was afraid it might become flats or offices or something like that so this is great news!
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I still wish that Zimmer was scoring this but anyway, here is my cover set for Christopher Nolan's Oppenheimer:
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6 hours ago, Thor said:
good for what it is. It's just so different. I would say they're very even, but for very different reasons. Some good things in one that the other doesn't have, and vice versa.
11 hours ago, Dr. Rick said:Of all the reviewers I watch on YT this guy IMO is one of the better ones. It's spoiler-free and he dishes out high praise for JW!
Used to watch his reviews more than 10 years ago and sometimes recently. He’s good! Really brings back memories from his rants about twilight and other crap movies back in the day haha
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This looks incredible! Really looking forward to this show. I hope that they do weekly episode drops instead of single day release.
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I just started listening to the Flash OST and the track Baby Shower is a blast! I hope that the thematic ideas in this cue return later in the score!
Update:
The Flash theme plays in Run and also in Want Some Help (on piano at 0:48). Another theme I noticed was the Emotional theme for Barry and his Family which plays in Want Some Help and Nora (where I also think there's a slow variation of the Flash theme on Piano.
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The movie is pretty enjoyable. I have issues with it, some of which have been discussed, but overall it’s a fun movie. The central story is solid and I liked the portrayal of Barry. The final act with Zod is messy though and the movie is quite incoherent. The personal story of Flash with his family and Iris and his Jon etc was more interesting to me than the multiverse stuff so I wish they had just made a flash movie a few years ago before doing Flashpoint that was just about Barry.
The score is good and had some standout moments and I like the use of the Batman Elfman material. However the lack of Zod and Superman themes from Man of Steel and the Batman theme from BVS for Affleck is a big oversight which hurts the score. If you’re going to do these callback things then at least play the correct themes, like they did with Elfman. I still haven’t figured out what the Flash theme is but it’s probably Run (this theme returns towards the end of the movie) but the theme could also be the fast string runs so I don’t know yet as I haven’t had time to listen to the OST.
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5 hours ago, timelord327 said:
The track list on Wikipedia claims that a portion of Dark Phoenix was used, can't find any credit or reference for it anywhere else mind:
That’s interesting. I wonder if it’s credited in the end credits. Seems like someone wrote it because it sounded similar.
1 hour ago, MedigoScan said:Sounds even more random than Sunshine music appearing in ww84
Yeah the Sunshine cue was just terrible in WW84, very distracting. All you needed was a heroic variation of the WW theme or the hero theme (fireworks).
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1 hour ago, JNHFan2000 said:
I believe that's the one from Fallout, but I could be wrong
It’s definitively from MI7. The tempo is faster plus there are violins doubling one octave up. I saw Fallout the other day so could hear the difference quite clearly.
I really hope that MI7 has more cues like Stairs and Rooftops and has less DKR temp influence.
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2 hours ago, Naïve Old Fart said:
Interesting. Simon Pegg isn't in the poster.
He is on the poster but very small.
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5 minutes ago, a good little monkey said:
Would not call it a "bomb-out", but another composer I miss is Nicholas Hooper. I know his Harry Potter scores were somewhat divisive, but after the JW trio they're my favorites and I keep hoping for another score from him. Looks like he hasn't done a movie since 2016 and has moved on to writing books, so I imagine it will be a long wait, but I'm keeping my fingers crossed.
Just beautiful stuff...
Love Hooper's work. I can recommend his nature documentary scores. Sadly they're not narrative in the way that the HP scores are but there's beautiful music there.
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1 hour ago, Naïve Old Fart said:
No. I think that, after Newman took over for SKYFALL, Arnold was forgotten.
It was Arnold's Bond music that was pretty much keeping him afloat, in Hollywood. After 2012, Hollywood wasn't interested in him.
Their loss.
I don’t have a link to the twitter post but Arnold addresses this last year and I’m pretty sure he said it was his choice to work less And on smaller things. He has a lot of animals and seems to be enjoying life. I’m sure he could score a high profile movie if he wanted to.
26 minutes ago, Knight of Ren said:One of the examples that come to mind would be Joe Kraemer. He seemed like a really big promise in the action blockbusters, with Jack Reacher and his excellent Mission Impossible: Rogue Nation, but after that he has done only a couple of small projects. I think I read something about some disagreements between him and director Christopher McQuarrie, and it's a shame, because not only he got replaced in the following Mission Impossible films, but he has almost disappeared completely from Hollywood. Here's one of my favorite cues from Rogue Nation that shows how great he is.
It’s a shame that we never got to hear the full theme in the movie. Love this theme suite.
1 hour ago, karelm said:I don't know if I'd even agree with the list of who you are saying had sizzling careers then blew out. Just because they aren't scoring the blockbusters doesn't mean they blew out. The composers you mentioned are all in fact very successful. Honestly the answer comes down to a simple detail that to be scoring big blockbusters, you have to be a very good businessman and have that networking, socializing temperament. Many composers don't really care for that and would rather be selective and picky but do projects that resonate with them artistically and sacrifice some income to gain more creative freedom and some form of a life. Some of those you mentioned were former employers or teachers of mine and they are doing very well, just might not be in the sort of projects you care about or that catapult them to A list territory.
Good point. Not everybody wants to work on blockbuster films. Scoring smaller films with people you like to work with can be just as rewarding and can be less hectic.
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The subway chase cue sounds a lot like Dark Phoenix. I wonder if it was used as temp.
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Agreed. I loved S1 of Shrinking so I hope that S2 keeps the same vibe as S1. Apparently Bill Lawrence wasn’t as involved in Lasso S3 as he was in S1-2 so maybe the different vibe of S3 is due to his absence.
Still that anybody thought it was a good idea to resolve big storylines off screen is baffling. I wanted to see Nate coach West Ham, not just get glimpses and then an off screen quitting story while we get scene after Sean of Jade and Nate. Jade is fine but took up all of Nate’s screen time that should have been spent at West Ham.The Keeley storyline just want good IMO. She was like in a semi spin off show and didn’t interact with the main characters for a lot of the season which was a problem.
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4 hours ago, Jay said:
Ted Lasso 3x12 So Long, Farewell
This was a disappointing final episode to a very disappointing final season. I wasn't really a fan of where more characters ended up, though I wasn't a fan of most of their journeys this season anyway.The biggest issue this season had, and this episode added onto it, was having major events occur off screen. The first time it happened it was really weird, but then they kept doing it so often I really began to question what the heck happened in the writer's room this year. We've got Nate quitting West Ham off screen, Bex and Rupert's assistant instigating some kind of lawsuit (?) against him off screen, Ted telling Rebecca he's quitting at the end of the season offscreen, and now a final episode "Rebecca is selling the team" storyline shoved in after her apparently deciding to do so offscreen? All so, so weird.
The beginning of this episode that had a fake-out where they make you think Ted slept with Rebecca was kind of clever. Another really good scene was the final Diamond Dogs scene, where Nate is back in and Roy finally joins too. Really funny! I liked Zava sending a giant avocado, and the long scene where they BELIEVE sign is put back together. And of course, Colin getting to kiss his fella after a match!
But many so many other things were disappointing. The biggest is probably Nate. I liked the villain role he played in the first half of the season, and was disappointed how quickly that petered out into him just quitting entirely. And then it was SO WEIRD to see him go from the HEAD COACH of a MAJOR football team to waiting tables and sweeping floors in a restaurant, then being the bottom of the ladder kit-man back at Richmond. Just unrealistic and weird and unsatisfying. Even the apology Nate gave to Ted this episode didn't feel very special. Just bummer by how all this turned out all together.
Bummed by Rebecca's trajectory too. I never liked the physic stuff they did with her early in the season, but at least it had potential for character growth. I LOVED the episode where she and the boat guy spent the night together. But then they gave her nothing to do for half a season until finally here in the last episode she decides (off screen) that Rupert being sued is enough of a win, the psychic stuff is sort-of brought back but not in a satisfying way... and she ends up with the boat guy, which was cool, EXCEPT that it was so lame that they only found each other because they randomly bumped into each other, and it was done as part of a montage so we don't get any dialogue or anything. MEH.
Keeley was another massive disappointment. Her relationship with Jack was interesting because they actually had great chemistry, even though it was disappointing that the show was doing another employer-employee relationship. But the way that just ended suddenly without a real conversation between them was lame, and then Jamie and Roy both wanting her back and showing up at her house together was really lame too. At least she kicked them both out and ends the show happy and single but jeez, this was all disappointing, especially when combined with the story of her PR firm, which was never handled in a realistic or interesting way. She just kept failing then getting bailed out anyway. Oh well
Ted deciding to go home was good of course, and the way his story absolutely should have ended. BUT, I find it so weird that the show threw in that storyline about Michelle dating their therapist. The whole show has been about taking the stigma out of therapy, and how important and good it is, right? So why, WHY IN THE WORLD would they do a storyline where their couples therapist grossly abuses his power and begins dating one of his patients like that, with no repercussions. It was weird when they introduced it, but even weirder that the show ended with them still together!? Again, what happened in the writer's room...
I did really like the positive weight the show gave Roy jut wanting to be better, and that he ends up talking to Dr. Sharon at the end. The final game had a lot of fun moments too, though the final outing of Rupert as the true villain he always was, publicly, was really dragged out and still not that satisfying. Also I'm not sure what to think of the fact that even though they won the game, they didn't elevate to that other league for reasons outside of their control.. I guess that's fine. And it's good Roy is their new head coach. Could easily do a spinoff focusing on that, with Ted appearing through Zoom twice a season, I guess.
Overall, I found this a show that started out as something special, got wobbly in its second season as they shifted to longer episodes, and more drama than comedy, and then a SUPER uneven third season with occasionally really good moments/episodes surrounded by baffling and unsatisfying ones. Can't imagine I'll be thinking about giving this one a rewatch some day, I don't think.
At this point, Shrinking is a much better use of your Apple TV+ comedy time.I mostly agree agree with this. The fact that almost all dug developments happened if screen is so weird when the episodes are so long. S3 should habe been great but it is a strange one which has great moments but is quite flawed overall. The ted and Rebecca scene was also a bit weird as he basically didn’t say antything.
Overall I still like the show a lot but S3 is definitively the least good season.
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JXL Brass is a sample library developed with Orchestral Tools.
Indiana Jones and the Dial of Destiny (Disney Records Original Soundtrack Album) - NO FILM SPOILERS!
in JOHN WILLIAMS
Posted
I felt in the cinema that the temp was slower and that it thus had a slightly heavier feeling than most versions of the theme.