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TSMefford

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TSMefford last won the day on February 28 2022

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    Long-Winded Aspect Ratio Snob

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  1. Some people do indeed feel that way it seems. Lol.
  2. I suppose, but I still think it could've flowed a bit more - that goes for both the visuals and the music (which I'm sure you're right, is influenced by the visuals). It's just hard to get into the Main Title with the abrupt changes. I would've preferred if they had tried to work the guitar in throughout at least. Sure, it's not a phenomenal score from a certain standpoint. None of the movies really are if you compare them to things like Williams and what not, but I sure do love these. Even this one. I suppose they're kind of guilty pleasure-eqsue, but I don't even feel guilty about it at this point in my life. I think they're great. This motivated me to do a listen of some of my playlists for the first two and yep - I just love jamming out to these. They're so much fun! It's definitely a tough sell. I'd say it's getting better as it goes. My big hope is that this will get a true National Treasure 3 going.
  3. Oh you mean a suite / concert arrangement I see.
  4. Okay, probably not a full alternate, but it's not a demo. Seems the guitar solo was just edited out in the show, but this does have a different ending. Other than that the waveforms match.
  5. So. Finally sitting down to listen to this. I gotta say, I wasn't expecting the Album to start with an Alt Version of the Main Title. It's got a nice guitar solo and a less jarring ending. Why didn't they use this one?!
  6. LOL. The really couldn't use a square version of the Spider-Man cover for this?
  7. Agreed. Wild that this got him back out of the wood work. I'm eager for him to also do National Treasure 3 if that ever gets off the ground.
  8. It is wild how much of a time capsule this score is. It immediately took me straight back to that era. I was worried an OST wasn't going to happen so I'm glad to hear it has! I'll be honest - I'm disappointed in the Main Title, it feels a bit like a hodge podge. Almost like he has written something cohesive and someone asked, last minute to include the latin influence in there. It just doesn't flow for me, kind of starts and stops. Really love the first two scores - they're so fun, so I'm happy to have some more in that collection. The show is certainly fun to watch, although it has some moments that are an insane stretch even for the world of National Treasure.
  9. They're still experimenting with the aspect ratio. Trying to choose between 2.35:1 or 2.40:1. Huge difference between those two.
  10. Oh yeah of course. I mean he discussed arranging the themes on Alpine Horn as well as the end credits piece. Desplat certainly did the composing, since Graham mentions listening to mockups. The score is heavily edited and remixed in the film itself though. Luckily the remixes are what appear (for the most part) on the OST. With more of the original versions of the FYC. I would imagine it evolved and changed a lot from the initial mock-ups as they played in the sandbox and tried different things. EDIT: Thanks to the Amazing Alphorn website (mentioned by Graham in that linked video) we do know that the Alphorns were recorded by 'Alphorn Harmony' on September 7th, 2013 in Air Lyndhurst Studios, Hampstead, London.
  11. Not entirely sure. I wish I knew more, for sure, as well. I hesitate to imply that Graham did most of the work and Desplat did very little. That's likely not the case. We only have footage and photos of the Balalaika Ensemble and a single photos of the Organ being recorded and Alpine Horns being recorded. The vibe that I get is that all the different groups of instruments were recorded at different times and different locations. So it's unrealistic to expect Desplat to be attending in person for all of them I would think. The Balalaika's were recorded in France at Studio Guillaume Tell. Air Studios, Abbey Road, and St. Jude-on-the-Hill (a church) were also used to record in. Graham does mention a "brass session", we know there were Balalaika sessions, the Alpine Horn session, the organ in there somewhere. Desplat was definitely at some kind of session as he is one of the whistlers. I'm only assuming this is the case of how it was done, as I haven't yet seen any group comprising of more than one type of instrument pictured together. They also drop in and out certain things in the film mixes (present on the OST, the FYC seems to use what was originally intended by Desplat) so it would make sense that they recorded so separately. Really not sure myself though, just guessing. I'd love to know more about the process. I'd also add it does seem there was a lot of creativity and ideas thrown around late in the game and while they were recording.
  12. I will start by saying I absolutely disagree with you (please read on after my opinion though). Here's my opinion: HOWEVER... Like I said - the only way to mitigate this issue whether purposefully malicious or not would be to require the film be entirely complete before starting the marketing process. It does happen - don't films get bought by studios/distributors from festivals all the time in a complete or nearly complete form? I know sometimes the distributors request changes (like a new ending being added to the U.S. version of What If? (aka The F Word)) Personally, I wouldn't mind this necessarily. I think the entire film industry needs to slow the heck down and quit pumping so much crap out as fast as they can. I know they do it to maximize how much money they make in a year, but it would be far more beneficial to the filmmakers and the crew to take their time. They can still have a deadline - but it can be private and more related to when the marketing needs to start. Plus, if VFX need more time then they can continue to improve as the marketing begins (I feel like this would've helped out Cats as far as VFX touch ups are concerned. But no amount of amazing VFX could save that film entirely.) as long as, of course the film doesn't change substantially. Despite whatever analytics and research they rely on - you don't have to release Avatar 2 on December 16th in 2022, for example. But good luck getting Hollywood to change what they think works - It's clearly better to overwork film crews, rush out final products before they're realistically ready, and open as many films as possible in any given year. I'm aware that filmmaking is a business, but it should be a bit more of a balance between business and art, in my opinion, and it's primarily business these days. *Gets down off soapbox*
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