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Mephariel

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Posts posted by Mephariel

  1. 20 hours ago, Brundlefly said:

    Göransson was better and Zimmer will be better probably.

     

    I agree. I definitely prefer Oppenheimer to DOD and probably will prefer Dune 2. 

     

    Comparing Oppenheimer to Dune, they both have their strengths and weaknesses. I think Dune did more to transport me to another world, has stronger themes, and more unique sounds. But Oppenheimer has more interesting texture, and is utilize a bit more effectively in the film in key moments. Like one of the poster above said, Dune focuses better on the big picture while Oppenheimer focuses better on the details. 

  2. 2 hours ago, Edmilson said:

    Exactly. Paramount idiotically dated their biggest movie for the weekend before Oppenheimer took away all their IMAX screens and Barbie stole their thunder. Why didn't they opened M: I in August or even October?

     

    But even the opening weekend was a disappointment. There was no competition then. It seems like people are giving Dead Reckoning the Fast X treatment or the Transformers treatment. They are just no longer that interested all of a sudden. 

     

    I predict this will happen to John Wick eventually as well. 

  3. Marketing wasn't the problem. People know what an Indiana Jones movie is. They got 4 other movies as references. A Barbie film on the other hand, can go 100 different directions and marketing was key to success. Spending $300 million on Indiana Jones just wasn't smart (with the pandemic, maybe there wasn't a choice) regardless of marketing. 

     

    I know this sounds off rails, but I wish Williams realized the sinking ship that DOD would become and asked to compose for Barbie instead. I would be 20 times more curious to see what a John Williams Barbie score would sound like than another Indiana Jones. 

  4. 12 hours ago, HunterTech said:


    Way to underplay it by not saying it's fucking Hans Zimmer himself (though the lack of embed is to blame). That arguably makes it more interesting than if it actually was just one of the lackeys.

    Bit of an unexpected pick, since I would've thought he'd have been too busy finishing up Dune to really give attention to another sci-fi thing. Which makes me think this is likely a vehicle for either Mazzaro or Fleming (maybe even Benyamin) to warrant having any involvement with this. Though if that is the case, at least I can hope he'll have more fun ideas for this, on account of not treating it like some life changing thing.

     

    The Creator finished filming in May 2022, before Dune Part Two even started filming. So I don't think time is an issue.

  5. On 23/06/2023 at 3:46 AM, Tom Guernsey said:

    Always a bit more surprising when someone with a strong reputation and a very distinctive style gets replaced, but a solid alternative - according to his Facebook, BM has already written the score. Just hope it's more JW/Kilar grand romantic Dracula than... well, most modern horror scoring.

     

    I watched the trailer a while back and I don't know about you, but I don't see where grand romantic Dracula fits in.

  6. 5 hours ago, Trope said:

    I must confess, as much as many have lamented the overblown and synth-driven sound of the Balfe scores for both Fallout and Dead Reckoning, I would still choose to listen to them over the Giacchino scores, whose poor performances and mixing render them virtually unlistenable for me personally. It's a shame, because I enjoy the musical content of the Gia scores, but they sound utterly abysmal. At the very least, Balfe's percussion (even if it is overused) feels impactful, and doesn't sound like it was recorded on a potato from the other side of the recording studio.

     

    I agree. I think both Balfe scores are good at best, and he sort of lean on the RCP tropes in the dumbest ways. But with Giacchino, I just don't feel anything. His action writing is neither pulse pounding exciting nor compositionally excellent like Williams. His music is just there. 

  7. On 10/07/2023 at 12:04 PM, TolkienSS said:

     

    Elfman's is still the best one. I like the minimalism.

     

    I agree. Elfman's score is still the best. Not really because of minimalism but because it is the only score in the franchise that really nails that suspense, noir thriller feel. 

     

    For me, Elfman's score is the best, Zimmer's score is the most fun, and I don't have any positive things to say about Giacchino's scores. Kramer's score has by far the best opening and ending cues though. Fallout is ok, but I thought the score got old very fast in the film. 

  8. 16 minutes ago, King Mark said:

     

    I think part of the reason it's  flopping because Disney's image took a hit in recent years as being a vehicle for "The Message" instead of focusing on quality entertainment and parts of the fan base are staying away because of it

     

    No Time to Die had the same "message" and it was able to managed $770 million (still below expectations). Bond sitting in the back of the motorcycle, tough black woman assisting/resisting him, badass Cuban girl kicking ass. He didn't even have sex with any of them. Guardians of the Galaxy made $800+ million just a month ago. I think there is a way Indiana Jones makes money. But the version as it is just has no broad appeal.

  9. 1 hour ago, Chen G. said:

    Its not a treasure hunt, but there's another movie about a globetrotting action hero that's expected to do big bucks, and that Mission: Impossible. So the idea of somebody galvinating around the world still has some appeal, provided its done with panache and plays credibly on the screen.

     

    You are right. But that is why it is hard to do Indiana Jones. Basically to succeed, reboot the franchise with a younger actor, make it take place in modern day, and turn the film into a fast and furious type with over-the-top action and global destruction implications. Basically like another version of Uncharted. I am ok with this. But I can see a lot if die hard fans asking: At this point, is it still an Indiana Jones film?

  10. 9 hours ago, Chen G. said:

     

    There's still some faint hope for the movie for a later turnout from older audiences, but its a fool's hope because of Mission: Impossible coming to scratch the same itch for the same audience.

     

    Its such an expensive movie, and it has all of these parties taking slices off of the back-end, that it will be hard to recoup that expenditure.

     

    I think Ford's age is absolutely acting as a repelent for many people. They don't want to see an old, miserable Indy not any more than they did in Kingdom of the Crystal Skull. They want him young, dashing and virile.

     

     

    I just don't think there is a universal audience for Indiana Jones anymore. How many people under 50 years old cares that much about Indiana Jones? I know I don't. Also, I think the internet and the globalism of today's world makes treasure hunting less appealing. Egypt, India, China, and exotic places are not mysteries anymore. 

  11. 5 hours ago, Edmilson said:

    My grandmother is a huge Tom Cruise fan, and today she was watching The Last Samurai, a movie that I forgot how great the Zimmer score is. It's a powerhouse filled with emotional themes and general sense of sadness and tragedy that is similar to his other masterpiece The Thin Red Line. Much like At World's End or WW1984, it shows that he can write genuinely touching, inspiring stuff when he wants.

     

    Give me TLS or TTRL any day over the overbearing synths and oppressive sound design of stuff like Dune or Dunkirk.

     

    I get what you are saying, but I don't consider Dune and Dunkirk to be in the same category. I revisit Dune often, but never Dunkirk. Dune actually has themes and hits the some of the familiar Zimmer comfort zones (female vocals, electric cello, power notes/anthems). But yes, Dune doesn't touch the quality of scores like TLS or At World's End. 

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