Koray Savas

I haven’t watched this one yet because I’m afraid of how terrible of an adaption it will be, like The Giver. I wish Darabont got to make his version before Bradbury passed away.

Midsommar Director’s Cut Not sure why, but both this and Aster’s Hereditary got hyped up as these really disturbing, nearly unwatchable horror films. Maybe I’m just jaded but nothing of the sort really happens here that I found particularly shocking. With that being said, it is an otherwise fantastic thriller. At nearly three hours long, I found it well paced and properly unsettling in its first half. Aster builds great tension with his camerawork and framing, and the production and costume design is where the film really shines. Both technically impressive and in how the environment tells the story. He shows and doesn’t tell, which I appreciated and made the film feel cinematic. In the end, I found it to be not that dissimilar to The Wicker Man, sans unintentional humor. It’s extremely predictable but that’s due to the great production design. Worth a watch, but opt for the theatrical if you are strapped for time.

Cleared Battlefront II from my backlog. What a crappy single player campaign, eh? I’ll give the multiplayer a try since it apparently has more concurrent players since launch.

I’ll just leave it at this, since the conversation is getting redundant. Composers have publicists, managers, social media teams, etc. They don’t personally choose what interviews to do, in some cases what to even say, or how credits are often listed. Producers want Zimmer, whether he wants to score their films or not. He has publicly said that he has to fight to give his team the credits that they already get. Most of this stuff is handled by studios and rights holders. Cue sheet credits are how composers get paid. People will hate whether everyone is credited or not so I guess nothing really matters. It’s always “minions, factory, lackeys,” which is hugely disrespectful to the musicians that put in a lot of hard work, and indicative that most here don’t really understand how the film industry works behind the scenes. But yeah, just blame it all on Zimmer alone, of course he’s making all these decisions personally just to piss off orchestral diehards. Good day!

John Wick: Chapter 2 This was cool.

If you actually flip the CD over or bother to watch the film’s credits you would see the track-by-track breakdown. See above. You’re wrong as usual.

Zimmer is not the solely credited composer on any of the Madagascar films. Zimmer, like all composers, has a publicist. Doing interviews and round tables are part of every film industry career. Do you blame actors for going on press junkets and talk shows? They are there to promote a movie to make money. Composers as successful as Zimmer are no different. And I think people in general don’t understand just how much Zimmer works. Dude practically lives out of his studio.

Oh definitely. I enjoyed it very much. Malick on the big screen is a rarity, so I’m glad I didn’t wait until blu-ray. An amusing anecdote: While waiting for the film to start, an old couple were conversing with another old couple, and said that the movie is long and will probably leave halfway through. When questioned why you would only watch half a movie, they said that they could probably figure out the rest from the first hour. Must have had no idea who Malick was!

A Hidden Life This was on its way out with one showing available at my local theater. Glad I was finally able to catch it. It’s certainly Malick’s best film since 2011, with a return to more traditional story structure. Even so, it doesn’t really nail that sweet combination of nature, philosophy, and human condition, that his earlier films executed so well. Howard’s score was great, but I kept thinking it would lead into a passage from The Village. I wouldn’t have minded if Malick just straight reused that score, since the melodies are so similar. Cinematography is excellent, as expected, and the wide shots are breathtaking.

Marriage Story will never have an “expanded score” release.

Howard, Powell, and H. Gregson-Williams consistently use additional music composers.

Karol will hate it confirmed!

It also moves it out of that overcrowded April slot.

Hey if you actually bought one of the CDs or saw one of the films you’d know all the names. He credits his collaborators... hence, no ghost writers! Sad!

Y’all are mad that Zimmer brought on one of his favorite guitarists to perform on the score? Who he has collaborated with several times in the past? Pssst, expect to see other names pop up.