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Mephariel

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  1. Man I am trying very hard to avoid spoilers from people who listened to the whole thing. But I love "Matera" and "Shouldn't We Get To Know Each Other First." It is so much more Bondish than what Newman came up with.
  2. Powell has roots in RCP too...And even though Desplat may be the only composer who can make a Bond score more boring than Newman's, I absolutely would love to hear what he comes up with as well. But I think there are a lot more interesting names out there than the ones you listed: George Kallis, Debbie Wiseman, Thomas Clay, Bear McCreary, Ludwig Göransson, Daniel Hart, Nicholas Britell, etc.
  3. Hans Zimmer himself said on the podcast that loved the passion and respect David Arnold brought to Bond and he needed to pay respect as well and stay true to the spirit of Bond and kept that timeless style but make it more modern. He specific mentioned that he was not trying to turn this into Interstellar. And I love David Arnold's Bond scores, but the last thing they need to do is to bring him back already. What makes Bond interesting is that it is a one of those franchises where we can debate which Bond is the best and which Bond composer is the best. They should switch the composer for every Bond film, or at least, every couple.
  4. Agreed, especially since I grew up in the 90s and I love the Batman: Animated Series and Mask of the Phantasm. Hans Zimmer - "Everybody goes, 'Oh Jaws,' it's just these two notes, it's not. There's this amazing orchestral symphonic piece that takes place and it's just being triggered by these two notes."
  5. Glad to see this doing alright at the box office. Can't wait to watch this in the US. We need more epic serious sci-fi like this.
  6. No, have you listen to WW84 or Aquaman? Those main themes are far more sophisticated than the Giacchino video here.
  7. I mean, why not just release an expanded edition.
  8. Yeah exactly like that. I immediately thought of "Beautiful Lie" opening.
  9. For sure. But where is her voice on the album? They started the trailer out with her voice and it is not even on the album. Is it in the movie?
  10. Yeah I ended up loving the sketchbook a lot more than this. This album frankly is quite slow and boring. It also feels like it is missing tons of cues. Like 90% of the trailer themes and 70% of the stuff in the sketchbook aren't even on the album. Like where are the House Atreides cues? The bagpipes only appeared for like 5 seconds in "Armada." If you look at the booklet, the Scottish pipers were credited. Where are the Lisa Gerrard vocals? Even the female war cry just appeared for like 10 seconds. It has been confirmed the complete album has 60 cues and this album only has 22. Is that just an attempt to get people to buy all 3 albums or wait for an extended edition? The strange thing is, even, I don't hear much battle cues either. I am still extremely excited to see the movie and hear the score in the movie but this album doesn't do much more me. I actually like much of the sketchbook. All the themes and ideas are not always coherent but there is a clear, ethereal quality to them. "Moon Over Caladan" is much better than anything on the actual album. This is a strange release. It will be interesting to hear from people who watched the film to confirm how much music is actually missing.
  11. Absolutely. One of my favorite films last decade. Really touch me with the theme about the sting of ambition.
  12. I always put the movie name in front, then with a dash and then the track name.
  13. I like Westworld alot. But the 3rd season definitely is the weakest.
  14. The only one that is awful is Arnold not being back for ID42. That score was such a iconic one for him, he should be ask to do another one. Bond should a franchise that switches composer. To me that is what makes the Bond franchise interesting. It is kind of like how over the years, so many different actors have played him. It allows for endless comparisons. Besides, that is how you give other composers a chance. I am not a huge fan of Pemberton, but imagine him getting Bond and knock it out of the ballpark. The film music world needs stories like that. Kraemer's MI was ok, and like Bond, I like the idea of a revolving group of composers. Potter not finishing with Williams is unfortunate, but really only because his replacement was Desplat and not someone more exciting for that type of effort. At the end of the day, William had 3 Potter scores. And his absence gave us the spectacular Doyle score. The Matrix is another franchise that I don't mind a fresh start. I feel like there are numerous ways you can musically interpret that world. I hope not. I mean I am fine if they did, but what is the point of getting new composers if they have to reused the other composer's themes? I get it if it is like Bond or Star Wars, but Matrix's theme is nowhere near that iconic.
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