Fancyarcher

Also Lucas wanted a "non-union" director. BTW I wouldn't read too much into the acting coach thing, I'm sure they hired one because they thought his performance didn't fit Han Solo, or at least that's what I hope the reason was anyway.

I like parts of Tyler Bates's score to GOTG V2, and Samurai Jack, other then that I'm drawing a blank.

A Man Called Ove - 8 / 10

Well at least we know the main theme won't be replaced now.

Megaforce by Jerrold Immel - Once you get past the 80's ness synth / funk of it (which is fun), there are some really good orchestral cues in this score. A fun score, so happy someone uploaded it onto youtube in its entirety. One of my favorite bad movies to watch too. "Oh, I just wanted to say good-bye and remind you that the good guys always win, even in the eighties".

Underwhelmed by that cue. It's frenetic and all over the place.

Definitely the Zimmer score I'm the most interested in since Interstellar. Lets see how this one turns out. Looking forward to listening it. He dressed up as the Easter bunny during the recording sessions in order to appear "authentic".

Raising Cain by Pino Donaggio Cocoon By James Horner

Beginners - 7.5 / 10

Marie Ward by Elmer Bernstein - Beautiful though a bit typucal, Bernstein "Americana sweeping" sounding stuff. Of course the ondnes martenot is there, but this being made in the 80's, it's to be expected. Great stuff otherwise.

It has. Time sure does fly. Anyway I think I might give Cocoon a listen later today. RIP!

The film was okay, so I think I'll pass. Not that I would be able to attend this "music film" event anyway, given where I live. Sobs.

Much better.

Zimmer will score it and we get our bwam-bwam Star Wars theme. Julie Taymor to replace Ron Howard after he leaves over creative differences.

Blow Out by Pino Donaggio - Very, very, wacky suspense with some appealing "romantic parts". Fitting for the film though.

Ugh what a mess this whole thing. Howard is a safe predictable choice, not surprised to see him be considered.

Certainly their personalities are very similar, heh!

A Beautiful Mind - 8.5 / 10

He's said this before in the past as well you know. I'll believe it when I see it.

Ah yes the same golden raspberries that nominated Goldsmith for King Solomon Mines and Morricone for The Thing, and also gave Barry a win. Clearly they know their film music so well that they retired the worst original score category in 1986. Salute!

Monsignor would be another "WTF" one, since it was such a huge flop and regarded as a bad film, though it did produce a fine Williams scores, and I'm sure the subject matter and potential interested him.

Changing Lanes is a good score, yes.

That's different, and I like the score fine, but I'd like to see him try his hands at a really dramatic film, the closest I can think of is 50 / 50 (nice guitar music), and I don't think that score ever got a proper release (was there much of it in the film to begin with anyway?).

Maybe, it could also be that he's simply not seeking out those types of films as well. Some composers can be typecasted after all (the various composers who work on comedies would probably know a thing or two about that), but Gia just seems to have no ambitions to stretch out beyond "blockbuster sound". I enjoy a lot of his work, but he could try to vary things up once and a while, I think.

It's definitely not as strong as his earlier Emmerich work (he has yet to pass those three scores IMO), but I think it's better then Casino Royale because he manages to tone down the electronics. Shame Arnold doesn't work on films much these days. His work for Sherlock is fine, but he should be getting big assignments again. Oh well!