Mr. Who

Yeah, I hope Zimmer can tap into the lighthearted style he has shown in comedy and some animated film scores. He can be good at that when he's allowed. I think earlier books also allow for this, and starting with Goblet of Fire the story begins to turn darker so the music will as well but I think the first couple of books need that kind of whimsical fantasy and innocence to make the tone work.
 
I think at most they will quote Hedwig's Theme and I could even see the Nimbus Theme also appearing, but most of the other Williams themes were dropped by the third film so I don't see them bringing them back here.

Here before everyone begins to complain, but I'm really excited about this. I really hope this allows for proper thematic continuity through the whole series which the films didn't have. Williams' scores will always be masterpieces and will always be there to listen again (as well as the other Potter scores) but I'm really curious about this.
 
Zimmer will probably only do the main theme/s and the actual underscore will be handled by the composers at Bledding Fingers though but still interested!

New show Ponies starring Emilia Clarke and Haley Lu Richardson
 
 

I truly hope Cameron doesn't bring Scoreseby back somehow haha. I mean Cameron of all people knows that he'd be crushed by the depth after about 10 seconds. 
 
 
 
I am more impressed daily by Franglen's talent. His thematic genius in these scores is wonderful. I'm desperate to hear another two scores from him for Avatar. It'll be an all-time 4 film (5 overall) musical masterpiece.
 
Listen to what he says about 4 and 5. I think Cameron is really going to go in a direction that no one can imagine. Cameron has said 2 and 3 were the set-up for going forward. THE SET-UP! haha I mean good lord, what has he got for us - 
 
 
 

The Tulkun Attack motif plays at 0:10 in Marshalling Forces and at 0:48 in A Farewell to Arm.  
 
Yes this seems correct. The last part definitively plays when he’s in the ocean looking for Payakan in the storm.
I love this motif, I have noted it as Battle Climax in my analysis. The moment in way of water when this part of the cue plays while the ship crashes is one of the most impactful moments in the movie and it’s just epic! The music accompanies and intensifies the scene so well. It was great to hear it being used again in fire and ash, although in a slightly less epic variation than in a2. I a3 it plays when Scoreseby is surrounded and attacked by Payakan and the blind tulkun (living victims of his hunting) and it kind of fades as he is pulled deeper and deeper into the ocean. 
 
The orchestral panache and power of Franglen’s action music for these movies is truly spectacular and I can’t wait to hear what he will do for the next 2 movies, if they get made (fingers crossed).
 
 

That was me. I may not have it exactly right but the first chunk plays early in the film when Lo’ak is considering shooting himself, then a part later when Lo’ak is talking to Neytiri(it is slightly different from what’s in the film, but I believe it’s the same cue), then the last chunk plays a bit past the halfway point when Lo’ak is searching for Payakan and quoting the way of water mantra in the storming waves. 

Indeed and the Tulkun Attack motif (a two note sliding bass motif accompanied by a specific ostinato) is even used when you see all the Tulkun under the water approaching the RDA ships in the beginning of the cue. This is also used in Way of Water right before Payakan attacks.
 
 

Broxton is wrong. The piece accompanies the start of the big battle. 

"James Newton Howard, great composer, good friend. Right, James? Right?" --Alan Silvestri (Source: Instagram Post)

Some quotes from Dan Erickson in this new article
 
“I can tell you that the feeling I had when we wrote the end of season 2, where we wrote it and I was like, ‘Oh, my God, people are gonna freak out about this. They’re gonna be mad, they’re gonna be yelling at the TV, but they’re gonna be excited.’ And then a couple of other key moments in season 2, I got that same feeling. I’ve had that feeling more writing season 3 than in any previous season,”
 
“I think there are going to be a ton of moments that surprise people and rile people up, and I think it’s going to be weird and funny, and all of the things that hopefully people continue to love about the show,”

Based on interviews, 4 and 5 will be quite different than 2 and 3. 2 and 3 were written as one story which is why they’re very linked. 4 and 5 are a new story though and we will definitively see earth in one of those movies.

Christopher Nolan’s ‘Odyssey’ Trailer Earns 121.4 Million Views In First 24 Hours—Doubles ‘Oppenheimer’

Both the Zimmer rescore and the Williams rescore are miles better than the score in the actual movie.
 
Its still weird how they couldn’t manage to get a good score for the new superman movie, very odd.

Who knows. I wouldn't rule that out.

We should ask Franglen about a deluxe edition (though it’s probably unlikely at this point).

We should ask Franglen about a deluxe edition (though it’s probably unlikely at this point).

I wish they released the film version of "Leave my mother alone" with the danger motif.
Also the film version of the Windtraders is incredible.

Another bit of leitmotif I just noticed: in Flux Devil, at 2:27, when the climactic statement of the family theme plays, you can hear the Quaritch theme play counterpoint to it on the low brass (not to be confused with the statement of Quaritch’s theme that plays right before that). Incredible way to score the “coming together” of these character threads

Yeah, Zimmer turned down Tenet. Being busy with Dune was the official reason but Zimmer basically said a few years later that he needed a break from Nolan after Dunkirk, which was very stressful. Like another poster said the score was basically rewritten multiple times and overlapped with his tour.
 
He could definitively have scored both Dune and Tenet or Oppenheimer and Dune Part Two if he wanted to.
 
I think Nolan doesn’t usually go back to a collaborator once they part ways (cinematographer, DOP, editor as examples) and I think Zimmer just doesn’t want to work with Nolan at the moment. Ludwig seems to work well with Nolan so I think he’ll end up scoring his next couple of films.
 
Personally I don’t think Ludwig’s scores are that great and they lack quite a bit in emotion, something which Zimmer always brought to the table even in the more experimental Nolan scores. Both Tenet and Oppenheimer weirdly feel a bit like Ludwig going “how would Zimmer score this?” and then doing that but with his sound. The cue 747 comes to mind as something which actually took me out of the movie while watching Tenet (great film) in the cinema. This is probably what Nolan asks for though and the music usually works quite well in the films so their collaboration is definitively successful so far.

Yeah, Zimmer turned down Tenet. Being busy with Dune was the official reason but Zimmer basically said a few years later that he needed a break from Nolan after Dunkirk, which was very stressful. Like another poster said the score was basically rewritten multiple times and overlapped with his tour.
 
He could definitively have scored both Dune and Tenet or Oppenheimer and Dune Part Two if he wanted to.
 
I think Nolan doesn’t usually go back to a collaborator once they part ways (cinematographer, DOP, editor as examples) and I think Zimmer just doesn’t want to work with Nolan at the moment. Ludwig seems to work well with Nolan so I think he’ll end up scoring his next couple of films.
 
Personally I don’t think Ludwig’s scores are that great and they lack quite a bit in emotion, something which Zimmer always brought to the table even in the more experimental Nolan scores. Both Tenet and Oppenheimer weirdly feel a bit like Ludwig going “how would Zimmer score this?” and then doing that but with his sound. The cue 747 comes to mind as something which actually took me out of the movie while watching Tenet (great film) in the cinema. This is probably what Nolan asks for though and the music usually works quite well in the films so their collaboration is definitively successful so far.

Yeah, Zimmer turned down Tenet. Being busy with Dune was the official reason but Zimmer basically said a few years later that he needed a break from Nolan after Dunkirk, which was very stressful. Like another poster said the score was basically rewritten multiple times and overlapped with his tour.
 
He could definitively have scored both Dune and Tenet or Oppenheimer and Dune Part Two if he wanted to.
 
I think Nolan doesn’t usually go back to a collaborator once they part ways (cinematographer, DOP, editor as examples) and I think Zimmer just doesn’t want to work with Nolan at the moment. Ludwig seems to work well with Nolan so I think he’ll end up scoring his next couple of films.
 
Personally I don’t think Ludwig’s scores are that great and they lack quite a bit in emotion, something which Zimmer always brought to the table even in the more experimental Nolan scores. Both Tenet and Oppenheimer weirdly feel a bit like Ludwig going “how would Zimmer score this?” and then doing that but with his sound. The cue 747 comes to mind as something which actually took me out of the movie while watching Tenet (great film) in the cinema. This is probably what Nolan asks for though and the music usually works quite well in the films so their collaboration is definitively successful so far.

Yeah, Zimmer turned down Tenet. Being busy with Dune was the official reason but Zimmer basically said a few years later that he needed a break from Nolan after Dunkirk, which was very stressful. Like another poster said the score was basically rewritten multiple times and overlapped with his tour.
 
He could definitively have scored both Dune and Tenet or Oppenheimer and Dune Part Two if he wanted to.
 
I think Nolan doesn’t usually go back to a collaborator once they part ways (cinematographer, DOP, editor as examples) and I think Zimmer just doesn’t want to work with Nolan at the moment. Ludwig seems to work well with Nolan so I think he’ll end up scoring his next couple of films.
 
Personally I don’t think Ludwig’s scores are that great and they lack quite a bit in emotion, something which Zimmer always brought to the table even in the more experimental Nolan scores. Both Tenet and Oppenheimer weirdly feel a bit like Ludwig going “how would Zimmer score this?” and then doing that but with his sound. The cue 747 comes to mind as something which actually took me out of the movie while watching Tenet (great film) in the cinema. This is probably what Nolan asks for though and the music usually works quite well in the films so their collaboration is definitively successful so far.

Both the Zimmer rescore and the Williams rescore are miles better than the score in the actual movie.
 
Its still weird how they couldn’t manage to get a good score for the new superman movie, very odd.

Yes they’ve outgrown each other as collaborators it seems. I don’t think they parted on bad terms personally though, just professionally they seem to be done.