Mr. Who

I don’t think he is referring to GOT here. He’s more talking in general terms and while I think a good adaptation often requires changes to be made, it is a big problem these days that adaptations change things just for the sake of it.
 
In GOT for instance, the Meereen scene in Daznak’s pit in S5E9 I think is an incredible adaptation change which makes the scene better for the television medium. The book scene is incredible in the book but for TV they elevated it a lot by making said changes (locusts vs harpies). LOTR is another great example of a good adaptation and there are more changes made to the material than many believe.
 
 

Here's a quick breakdown of the main themes of the movie. They're not reprised as much as I would like, but fortunately, the three themes for the heroes are presented in a sort of suite-like arrangement in at least one track. They are the following:
 
Discovery
 
It's a fairly simple theme, built around a repeating 4-note motif, that represents the human side of the story, particularly Mae and her relationship with Noa. It's presented in a suite arrangement in the track above, and only shines again like that in the final track, We Will Rebuild, but it appears a couple of times more:
 
-Discovery - 0:08 (fragments), 1:39, 2:19, 4:14, 5:24 (fragments)
-I Am Raka - 4:07
-She Is Different - 0:10 (barely heard, almost reduced to just the base chords)
-They Are Like You - 0:09 (similar to track above)
-New Weapon - 0:23
-Very Clever Apes - 1:04
-We Will Rebuild - 0:00 (fragments), 2:26
 
Eagle Clan
 
This is my favorite idea in the whole score, and it represents Noa's home, his tribe and his people. During the second half of the movie is almost completely absent until the final action cue, Ape Aquatics, where it really shines! The track linked above, Memories of Home, is a suite presentation of the theme according to the composer himself.
 
-The Climb - 2:38
-Eagle Clan - 0:23, 1:21 (B Section)
-Noa's Purpose - 1:18
-Memories of Home - 0:28, 1:26, 2:04 (B Section), 2:33 (plays A and B section together), 3:07
-Ape Aquatics - 1:26
 
Noa
 
This noble theme is heard even less than the previous two ideas, but makes a huge impact on the film in a scene that I won't spoil, covered by the track linked above, that acts as a sort of suite presentation of the idea.
 
-Eagle Clan - 3:09
-Noa's Purpose - 2:58 (plays A and B section together)
-Together Strong - 0:16, 0:52, 1:21 (B Section), 2:06 (plays A and B section together), 2:49
-It Was Ours - 0:41, 1:31
 
Proximus Caesar
 
And then we have the material for the antagonist ape, which honestly was a bit underutilized, making his material quite hard to grasp because of the little time it has to shine. It's a descending three-note motif, sometimes surrounded by tribal percussion. There might be a secondary motif for him and his tribe, but I haven't placed it yet.
 
-A Kingdom for Apes - 2:02
-What A Wonderful Day - 1:55, 2:58
-Apes Will Learn, I Will Learn - 0:18, 1:59
-Cannot Trust a Human - 0:38, 2:09
 
So these are the main themes present in the score, and I hope that this little guide helps you better appreciate it. Any theme or iteration I've missed?

I'm in the process of watching Dunkirk for a second time, and again, in my opinion, this is Nolan's best pic to date. It's also his only 'Feel-O-Rama' movie where the director really takes his time (too much time for the average Nolan apostle, I'm sure) to make you feel like you are there actually living it. And no, I don't need to love the characters to pieces before that to happen. It's all in the direction and storytelling.
 

How much time is supposed to have passed between the first and the second game? Based on the images IMO they don’t really look older than in S1, especially Ellie.

I need to start my season 1 rewatch soon.

Exactly the same. It featured all the 8 episode albums plus the 2-CD compilation album. 
 
Karol

"Good-a-night, a ding-ding-ding-ding-ding-ding-ding!"

Well, at least the $1 billion Amazon paid appear to be on the screen.
 
Also, Amazon was smart this time to date this after House of the Dragon ends its season 2. If I'm not wrong, the season 2 finale of the HBO show will air on August 4, almost a whole month before TROP begins.
 
Last time they were humiliated by HotD.

I was planning to make a whole Moore as Bond series but work is making it hard to finish it, so here are those I've manage to finish so far.

The white series first:

Live and Let Die
 

 
Octopussy
 

 
Moonraker
 

 
A view to a Kill
 

 
and the Color variations:
 
Live and Let Die
 

 
Octopussy
 

 
Moonraker
 

 
A view to a Kill
 

 
 

If the composer knows how to compose music, the actual written score will have its musical logic and they know how to fit their ideas to picture in a satisfying way. I don't know why that doesn't translate into an ability to not butcher that logic in OSTs which often can have many edits and reorderings that make less musical sense.

I think while an OST might be well produced, the complete score is almost always a better presentation of the score, at least in cases where the composer properly tells the story through music using various themes and motifs. OST albums usually miss a lot of the thematic scoring and focuses on big set piece cues which kind of defeats the purpose in my view. Thematic scoring with lots of developments/variations of themes is my favorite aspect of film music so onece there's a complete version of a score, I tend to never go back to the OST again.

I think while an OST might be well produced, the complete score is almost always a better presentation of the score, at least in cases where the composer properly tells the story through music using various themes and motifs. OST albums usually miss a lot of the thematic scoring and focuses on big set piece cues which kind of defeats the purpose in my view. Thematic scoring with lots of developments/variations of themes is my favorite aspect of film music so onece there's a complete version of a score, I tend to never go back to the OST again.

I think while an OST might be well produced, the complete score is almost always a better presentation of the score, at least in cases where the composer properly tells the story through music using various themes and motifs. OST albums usually miss a lot of the thematic scoring and focuses on big set piece cues which kind of defeats the purpose in my view. Thematic scoring with lots of developments/variations of themes is my favorite aspect of film music so onece there's a complete version of a score, I tend to never go back to the OST again.

I think while an OST might be well produced, the complete score is almost always a better presentation of the score, at least in cases where the composer properly tells the story through music using various themes and motifs. OST albums usually miss a lot of the thematic scoring and focuses on big set piece cues which kind of defeats the purpose in my view. Thematic scoring with lots of developments/variations of themes is my favorite aspect of film music so onece there's a complete version of a score, I tend to never go back to the OST again.

He coming to Austria this month on the 20th.
May 20, 2024
The Vienna Symphony Orchestra
https://www.wienersymphoniker.at/konzert/cinemasound-james-newton-howard-concert-20-05-2025
 

None at all. The better question would be, what scores have been ruined for you due to a lack of expansion?

I agree completely with this. While I prefer a more serious tone for Thor, I think ragnarok was great for the reasons stated above. In Love and Thunder Thor is an idiot whose character development is completely removed and he acts more like in the first film before he became worthy, destroying a whole city (in the prologue) because he’s an idiot etc.

The humour in Ragnarok is almost always about character. 
 
In Ragnarok, there's a play depicting Loki's death. It's hilarious, but it tells you absolutely everything you need to know about Loki: he craves affection from his brother and father and has no idea how to go about it. Loki's arc and relationships are completely set up in that scene.
 
In Love and Thunder, there's a play scene depicting the events in Ragnarok because...people found the play scene funny in Ragnarok.
 
To me, the difference in those two scenes sums up the movies. Ragnarok is never laughing at Thor. He has a good story, learning to not make the same mistakes of his father while learning to lead. Loki, Valkyrie, Korg and Banner/Hulk's little arcs all revolve around Thor - he helps them all to become better people.
 
Love and Thunder laughs at Thor. He takes nothing seriously and is completely inept a lot of the time. The style of humour is similar in both movies, but the context is entirely different.

I’m reading book #1 right now, like it a lot. Won’t watch the series until I finish it. 

SEVERANCE SEASON 2 WRAPS FILMING!
 
Finally!

I haven't seen the Fallout TV show, but it's been renewed for season 2
 
 

Yeah, Fallout is more thematically complex than it seems on a first listen, and hearing it in context made me appreciate it a lot more. Same thing happened with Three Body Problem. Both are really good scores that are better appreciated in context first. And there are a couple of memorable themes in both of those scores!
 
 
Been meaning to listen to this, but the 9 hour presentation is a bit too much to get through. Will probably listen disc by disc when I have time, but if you manage to create a shorter presentation

I finished the first season of 3 Body Problem and I think it's a terrific sci-fi show, which deals with huge concepts, both in terms of science and in terms of morality. Many interesting concepts are explored, but the show is not just an info dump of cool concepts, the main focus is the characters which for the most part all play important roles, even though the roles aren't always apparent at first. The series deals mostly with the present time but pivotal scenes, especially in there earlier episodes take place in the past during the cultural revolution in china and these scenes are incredibly well done and feel authentic.
 
The opening scene is quite disturbing. The actors play their roles really well, with Liam Cunningam stealing every scene he is in. Jonathan Pryce also does some amazing work, especially in some scenes where he is practically alone (but I won't be more specific because of potential spoilers). The score also works well and creates an eerie tone for the show while introducing several themes, which grow throughout the season and culminate in some great renditions in later episodes. Especially Will's theme is very moving.
 
I do think that the season should have been released with weekly episodes rather than a typical Netflix binge release as the episodes benefit from having some breathing room between viewings. I hope this is something they do in season 2.