Yavar Moradi

Are we watching the same trailer? That moment at the beginning of the interview where he shifts into Superman-mode and says "Ms. Lane" you think he sounds boyish??
 
And are you all forgetting what Christopher Reeve sounded like, as Clark Kent?
 
"Actually she's silver haired."
 
Yavar

Are we watching the same trailer? That moment at the beginning of the interview where he shifts into Superman-mode and says "Ms. Lane" you think he sounds boyish??
 
And are you all forgetting what Christopher Reeve sounded like, as Clark Kent?
 
"Actually she's silver haired."
 
Yavar

Are we watching the same trailer? That moment at the beginning of the interview where he shifts into Superman-mode and says "Ms. Lane" you think he sounds boyish??
 
And are you all forgetting what Christopher Reeve sounded like, as Clark Kent?
 
"Actually she's silver haired."
 
Yavar

Yup. Screenwriter(s) hadn't seen WandaVision when they wrote the script.
 
Yavar

The end title music in this show is kinda cool.

Ralph Fiennes cast as President Snow in the new film.
 
Lot's of people wanted Kiefer Sutherland to play him, but apparently he has said he doesn't want to play a role his father has played before. Which is understandable.
 
I'm always looking forward to new Fiennes performances, so I'm happy with this news.
 
 
 

I already said it in this thread, but I'd love it if people actually watch a movie (all of it) before making conclusions.  I get that's not how the internet works and that we all have to declare something definitively as either the best ever OR utter garbage based on set photos, 2 minute trailers, and posters but holy hell is it frustrating.
 
 

Superman seems stoic in the Reeve movies.

Where's the stoicism???  I take it your sole point of reference is Zack Snyder.  Please read some comics or watch Donner movies, Superman & Lois, animated series from 90s, etc. 
 
If I had to list character traits of Superman, "stoic" would not crack top 20.  I am not interested in watching another movie with Supes silently brooding and looking grim.  That's Batman's role in DC.  
 
 

Black Panther
 
The main story is pretty similar to Thor Ragnarok. Both featuring a previously unknown, and evil, heir to the throne seizing power and....
 
Well Hela wanted to conquer the Universe. Killmonger wants to liberate 2 billion black people.
 
There's a version of this film where Killmonger isn't actually the villain. He's certainly just about the most wronged character in the MCU.
Though I don't think Marvel would ever dream of making that.
The film somewhat hedges its bets by making Killmonger violent and irredeemable in almost every scene he's in.
Michael B. Jordan does a great job though 
 
Wakanda is an interesting place. An extremely technologically advanced and prosperous modern African nation. Which sadly makes it about as make believe as Asgard.
 
The CGI isn't always believable. But once again the art direction is vibrant and colourful. 
 
The action scenes in this film are sadly the weakest part. There's a rather nice car chase, i guess.
 
Chadwick Boseman makes for an excellent lead in a large ensemble cast. Who are all good. Though they're accents aren't always. Serkis' Afrikaner accent is hilarious though.
 
Ludwig Göranssons score, unusually for the MCU, has a real presence in the film.
 
The film has several flash backs to 1992 featuring T'Chaka and Zuri. Unusually for Marvel they used younger actors for these rather than de-aging Forest Whitaker.
 
 

Are they beautiful?

You should Watch Loki Season 1 and 2, they're great and pretty Bold 

Considering @Stéphane Humez also produces Hans Zimmer releases for Intrada (and they seem to trust and leave most details/decisions up to him, as album producer), I'm pretty sure it would have been exactly the same.  
 
Yavar

Sure @Naïve Old Fart — I’ve passed along your compliment to Leigh. He only did one other similar Goldsmith all-synth-to-orchestral-mockup, as far as I know. Several years earlier he tackled a brief bit of action from the much-maligned Criminal Law. I think I might like it even better than the Runaway one!
https://www.facebook.com/share/v/16HZXTuJrS/?mibextid=wwXIfr
 
Yavar

The Lois & Clark theme is interesting for me because that show was my first introduction to Superman as a child. I used to watch it on TV before I even knew about the Reeve movies or who John Williams is. So that theme was the only music I ever associated with Superman for a long time. Once I became aware of film soundtracks, it actually took me a while to appreciate the Williams theme as the more important musical identity for the character over the TV show theme. 

Yeah, it was really good. Have you?
 
Karol

I'm not sure about the Jarre scores (probably written), but I am sure about the Goldmith all-synth scores. Here are his original written sketches for all three of them, held at the Academy's Margaret Herrick Library:
Runaway: https://academycollection.org/web/arena/search#/entity/academy/71303067/runaway---music
Criminal Law: https://academycollection.org/web/arena/search#/entity/academy/71302948/criminal-law---music-sketches
Alien Nation: https://academycollection.org/web/arena/search#/entity/academy/71302931/alien-nation---music-sketches
 
I recall Goldsmith saying in an interview about Runaway that at least in that case, he "orchestrated" the score for synth ensemble (the Herrick's note says, "Pencil sketches in the form of reduced photocopies for an electronic music score utilizing the Moog, Jupiter E-5, Yamaha DX-7, and other synthesizers.") much as he would for an orchestra. It's why I think that score in particular would lend itself well to an orchestral realization someday...which Leigh Phillips has expressed interest in tackling. Here's an orchestral mockup sample he made:
 
Yavar

I'm not sure about the Jarre scores (probably written), but I am sure about the Goldmith all-synth scores. Here are his original written sketches for all three of them, held at the Academy's Margaret Herrick Library:
Runaway: https://academycollection.org/web/arena/search#/entity/academy/71303067/runaway---music
Criminal Law: https://academycollection.org/web/arena/search#/entity/academy/71302948/criminal-law---music-sketches
Alien Nation: https://academycollection.org/web/arena/search#/entity/academy/71302931/alien-nation---music-sketches
 
I recall Goldsmith saying in an interview about Runaway that at least in that case, he "orchestrated" the score for synth ensemble (the Herrick's note says, "Pencil sketches in the form of reduced photocopies for an electronic music score utilizing the Moog, Jupiter E-5, Yamaha DX-7, and other synthesizers.") much as he would for an orchestra. It's why I think that score in particular would lend itself well to an orchestral realization someday...which Leigh Phillips has expressed interest in tackling. Here's an orchestral mockup sample he made:
 
Yavar

I saw a few sketches of Silvestri's early big scores (Back to the Future, Fandango) and the level of detail was certainly not in the league of a Williams or a Goldsmith sketch. Silvestri is a jazz guy and learned to notate mostly on two-staves, with just the main line and chord symbols (G, F#, D, etc.). What was very detailed however were the many sync points with the picture, which were all meticolously notated. Therefore, Silvestri always wrote himself how the music is shaped to the action and its dominant character, with his orchestrator dressing it up orchestrally providing ornamentations and filigree (I think a lot of those early Silvestri scores were written using the Synclavier, so there may have been some coloristic indications too from Silvestri to the orchestrator). That being said, Silvestri became more specific in his sketches as the years went by and did all the orchestrations himself - in pencil! - on a few projects (What Lies Beneath, Cast Away). He's definitely one of the few these days who does mostly all by himself... and this is one of the reasons he scaled down dramatically his film work. You just cannot do it like that anymore in current studio productions, where the film keeps changing every five minutes and you must demo every cue to a committee.
 
As for Bill Ross writing cues for Dial of Destiny, he was properly credited in the end credits for the sole original piece he actually composed ("Pulse of the City"), while the rest of his contribution was adapting and collaging together bits and pieces from the previous Indy scores, plus some more oddities like Minority Report, War of the Worlds and even a bit from 1941 (!). I don't know the specifics of how things were planned, but I seem to remember that originally JW agreed to write and record only a few themes, with Ross using them as template to score the entire film, but then JW ended up scoring several scenes himself, doing a lot more than what he planned (even at his age, the man remained a workaholic). My guess is that the scenes in which we hear those collage-type cues, i.e. the whole prologue, were probably temped by music editor Ramiro Belgardt and used as a guide track for Ross to conjoin cues and provide the occasional transitional bit here and there. I don't really think this can be called "ghostwriting" at all, but it's more of (a hell of an) arranging job--it says a lot that he ended up sharing with JW the credit "Music Orchestrated and Conducted by" in the end credit roll. Again, much different than the routine of contemporary composers who must have a whole staff of helpers in order to get out alive.
 
 
 
I believe Williams is one of the very few who still writes with pencil and paper these days, and not just among film composers, but in general. I only know of Bruce Broughton and Eric Whitacre who still prefer at least sketching on paper with a pencil. Anyway, it's not a matter of who uses old school tools vs. who uses the most recent software and hardware. I think the outcome is what matters. And these days the outcome is often depressing.
 
As for surrounding yourself with helpers and arrangers in order to get out alive, it's common practice and nothing one should be scandalized about. It happened even back in the 1930s and '40s, where there was so much music to be produced. That being said, the work was mostly the product of one single creative mind, at least compositionally. Someone like Goldsmith, who ended up writing even 6 or 7 scores per year back in the 1970s, was truly an exception because a) he was a workaholic whose music literally spilled out of his hands and b) he was a genius. Same discourse apply to Morricone, who cranked like 20 scores per year (even though they were just one theme and a few variations in most cases).
 
What happens today instead is that film composers are businessmen who run their own companies and have many people on staff to work on multiple projects at the same time, because the industry scale ramped up dramatically, with all the streaming services and the likes. I won't name names because I don't want any trouble, but look at the resume of some of the most in-demand composers for film and television and tell me how it would be humanly possible to take care of everything just by one person. I mean, surely some of them are workaholics who burn the midnight oil all week long and don't take holidays, etc. in order to deliver all the cues, including reworks. But it's not a healthy choice of life in the long run, and if you're paid a million dollar per movie, you can definitely allow yourself to use some help from others. Yes, there are extremes of people literally not doing anything but just giving indications to staff and review their work later on, maybe filling in a few bars and then taking all the glory themselves. The industry is full of such tales and sometimes it's hard to sift truth from gossip... But it's a much less romantic job that many of us fans want to believe.
 
Composers who always did it all by himself for the most part don't work for Hollywood anymore these days. It's just not possible within the current system. And sure, for one John Powell who still is capable of writing memorable themes and sophisticated action cues (even within such paradigm and with help from others), there are dozens who compose anonymous stuff that just sits in the background "unobtrusively," as a lot of filmmakers like their soundtracks when they're not made by their needledrops.
 
 
I don't particularly like what's being shown here. Visually, it looks like every other superhero flick of the last 15 years. Perhaps a little more dashes of colour, but nothing particularly stimulating to my sense. Digital cinematography truly ruined what movies look like.
 
Story-wise, it seems another twist on the Donner/Mankiewicz approach, i.e. putting Kal-El as a God-like being among humans, trying to be accepted as one of them and struggling with the temptation of using his powers to right all the wrongs. I mean, it's basic Superman mythology which has been retreaded countless times in comic books, films and television shows (with incredibly varied results, of course). I was chatting about this with my brother @Poor_Man_S_HirschFeld earlier, as we share a common love for the character since our early childhood days--the issue of putting Superman on screen is that, despite you can amp up to 11th the scale of the threat he has to face, what will keep audiences engaged is his own vulnerability and how he manages to use his unlimited powers just for doing good and not becoming some kind of monster. Here, there seems to be at least a hint of something interesting that may have been explored, i.e. "I'm Superman, I can end wars without giving accounts to anyone." It's the old trope of "the end justifies the means," but on a superhero scale. We'll see how it will play out.
 
Also, there seems to be good chemistry between Corenswet and Broshanan.
 
The less is said about the trailerization of Williams' theme, the better.

Wow how did this thread die so hard here? It's shameful. In the time I posted about starting a new show I've now finished the whole thing and nobody else has used the thread since, not even once. What a sad failure!
 
Anyway, I finished The Eternaut. It was decent. Took some getting into to, but midway through the reveal comes as to why suddenly one summer's day the world started snowing and most life on Earth was wiped out. There's some novel sci-fi here, and it's just nice to have some apocalyptic scenery where zombies aren't involved for once.
 

This is news to me. All three young actors started out just okay, but by Prisoner of Azkaban they had come into their own IMO.
 
Yavar

Love what Im seeing in this new trailer. I like Supes' very human frustration at all the regulations and loopholes he has to jump through to do good on this planet. I suppose Snyder kind of touched on these themes, too. But I gravitate towards Gunn's less somber approach. Can't wait!
 

It's either one book, or six books. Published in three volumes against, as Nick says, only on the publisher's insistence.

These were children when they were cast. How many children are truly outstanding actors? And even if they can pull something off in one film (e.g. Haley Joel Osment), how many can keep it up over eight films, spread over what, a decade? With those scripts, multiple directors, and acting in front of a green screen. What do you guys want from child actors, Shakespeare?
 
Most actors, much less child actors, would have difficulty expressing the range of trauma and emotion those roles truly call for. There's an expression...by the time you're ready to play Hamlet, you're too old to play Hamlet.
 
They did fine, and HBO will be lucky if they find three leads who do as capable a job, and grow into the roles the way those three did.