Edmilson

The LOTR movies are as great today as they were back when they were released.

Of course he loved OUATIH so much. That movie allowed him to pretty much fulfill his dream of traveling back in time to 60s Hollywood and work in a western TV show from that era, like those he saw as a kid. That movie was made more for himself, and especially for him to play make believe that he's actually living in the 60s and not the 2010s, than for anyone else.

Which is why we need Mike. Disney would listen to him, since he has connections in the industry, including John Williams himself. And he could explain them even better the value (financial or otherwise) of having a definitive presentation of 14 of the most beloved film scores of all time. Again: Disney won't listen to a two dozens of film music diehards. For them, we're even more insignificant than those guys petitioning Disney to remake The Last Jedi a few years ago. But they may listen someone with connections and contacts in the industry.

It's weird that Hollywood kept casting him in spy roles but never as Bond, even after Craig retired the role. It would be a better use of his talents than crap like Argylle. I'm not a fan of NTTD either. Honestly, I may like it even less than Spectre (which at least starts strong).

No Emile Mosseri then.

We should forward his Facebook profile to Matessino. "Hey Mike, we found on the internet a very interesting person for you to talk! Why don't you text him or something?"

Also, what they need to be a 20 CD ultra-expensive megabox? Why not just release, in Star Wars's case, three different boxes, one for each trilogy, during the course of three years or whatever? Although, considering this recent Indy box, it is more likely that Disney will want to release everything at once. As for Indy, I dunno... How many discs would be needed for the five movies? Anyway, also releasing it digitally would only make Mike's pitch better. A digital release would maximize the revenue without needing that many extra expenses. They'd just need to prepare the scores and then upload the 30 CDs or whatever to Spotify, YouTube, Apple Music, etc.

This is a Williams trend (that was more present in the late 90s/early 2000s, I think) for his OST albums that I really don't care about. Why literally repeat the same track all over again? Maybe he couldn't decide if HTTF would go in the beginning or the end of the OST album, so he just did both? A similar thing happened in The Patriot, which reprises the main theme (even though the second time it appears it has a coda not present in the first time). I think Williams should've started the OST with The Family Farm and ended with The Patriot theme.

Who?

I didn't care for neither Hateful Eight nor Once Upon a Time in Hollywood. I don't think Tarantino released a movie I actually liked since Django.

That petition failed because it was targeting Disney. Can you imagine how many fan petitions involving Disney properties people create every single day? The ONLY way it would gather any kind of attention from a Disney employee is if, like, dozens of millions of people signed it. And even then it's not guaranteed that they would listen. The way I see it, Disney and Lucasfilm won't listen to a few film score diehards on the internet. But they MAY listen to Matessino, because they already know him, they know he works in the industry and have contacts, he even (hopefully) has the blessing of John Williams himself. It's up to Matessino to pitch his vision to Disney and try to make it happen. I'm pretty confident he can get at least one meeting with higher ups at Lucasfilm and Disney Records. If he convinces them of how valuable those albums can be (and not only in financial terms), then we may have a chance. Anyone else knows what he thinks about Disney letting him work on SW and Indy scores? Because if he's waiting for Disney to call him, I'm sorry to break the bad news but that won't happen. It's HIM that has the power and leverage to convince them. And it's us, who consume his work, who can convince him to make a pitch at Disney.

Only when it's winter

I wonder how Spielberg calls his dick? "Bruce the one-eyed shark"? "Close Encounters of the Sexy Kind"? "Litle Indiana"? "Willie Scott"? "The Extraterrestrial"? "Jurassic Pork"?

Spielberg even named her character after his willie

About Species, I almost forgot to mention: the main theme is clearly modeled after Camille Saint-Saëns and his "The Carnival of the Animals", perhaps with a bit of Elfman whimsy. It's a little distracting how similar it is to Saint-Saëns's famous piece, even more so than Menken's Beauty and the Beast or Morricone's Days of Heaven. Also, it gives an impression that the score is much more "sweeter" than it actually is when actually most of it is dark suspense and action music.

"Difícil de Matar", or, in a literal translation, "Difficult to Kill" lol Of course our translators wouldn't miss the opportunity to make a similar title to the Bruce Willis movie, maybe in order to try to trick some people into thinking it was Die Hard in the pre-internet days

Every cameo from the trailer: https://comicbookmovie.com/deadpool/deadpool-wolverine/deadpool-wolverine-every-major-marvel-cameo-in-the-new-trailer---possible-spoilers-a210574 And 7 Easter Eggs and revelations: https://comicbookmovie.com/deadpool/deadpool-wolverine/deadpool-wolverine-7-biggest-easter-eggs-reveals-and-spoilers-in-the-new-trailer-a210575 Spoilers in both links, so be careful. Anyway...

Operation Skyscraper is a nice title for Die Hard. Here it was called "Duro de Matar", which literally means "Hard to Kill" (which I think it's kinda faithful to Die Hard). But yeah, a lot of movies here receive the "Operation" word in the Portuguese title. Skyfall for example became "007: Operação Skyfall" (literally "Operation Skyfall, which is rather funny because that isn't an operation at all) and Big Hero 6 became "Operação Big Hero".

At this point, I think the best option for us the fans is not to wait the idiots at Disney to do a proper Indy and Star Wars release. They won't, and if it's up to them they most likely will keep insisting in re-releasing older programs. The best strategy is to convince Matessino himself to pitch a new release for the higher ups at Disney Records, Lucasfilm, etc. He would bring his credentials ("I've been working with John Williams to create the best presentation possible for his music over the last 3 decades, etc"), his connections with JW and convince them that such project would be financially interesting for The Walt Disney Co. If he's able to bring a message from John Williams himself ("I've known Mike for the last 2/3 decades and he's the right man to produce the definitive presentation of my beloved Indy and Star Wars scores...") then his pitch would be even more significant. Also, it's not like he's a completely unknown at Lucasfilm. Didn't he work on the SEs from 97 and the recent James Horner Willow expansion? In other words: we can't keep waiting for Disney to do what's right, because they won't. One of "our team" should take the initiative and keep knocking at their door until they say yes.

Is this a giant Ant-Man helmet? If so, does that mean they went for an apocalyptic version of the main MCU universe in the future, where Ant-Man's giant armor is lying on the ground? Also, for a moment I thought this James McAvoy's version of Charles Xavier, but then re-watching it and this character is clearly a female. Maybe one of Doctor Strange's magicians? Since on the other scene they're going through a Dr Strange magic portal.

I like that Wolvie now has comic-accurate suit, but tbh I think older Jackman looks a bit ridiculous in it. I dunno. Movie looks fun though. This writer from Forbes has been revealing the massive budgets on many recent Hollywood movies over the last few months. Aside from the Quantumania I posted, there's another one from Indy 5 which I posted on the respective thread: Plus another one from Universal's Fast X: https://www.forbes.com/sites/carolinereid/2024/04/17/universal-reveals-over-budget-fast-x-cost-nearly-half-a-billion-dollars/ And just to say she isn't completely negative, here she calculates the humongous profits that Infinity War and Endgame made for Disney despite their monstrous budgets: https://www.forbes.com/sites/carolinereid/2023/09/01/revealed-the-two-avengers-movies-that-made-14-billion-of-profit-for-disney/ Either way, the fact is that, partially due to filming during the pandemic, movie costs have grown exponentially over the last few years. It's no wonder Bob Iger wants to cut costs on the Disney productions.

I just spent yesterday the whole day listening to this. It's wonderful! I loved how many of the tracks are small scale, just gorgeous folksy writing for flutes, harp, fiddle, voices, sometimes a string section... And Beyond the Journe's End is a wonderful cue for full choir. In fact, disc 1 is so good that 2 underwhelms a bit in comparison, especially when there's a long stretch of comedic tracks in the middle... Still, there are some excellent material on 2 as well. So far my favorite score of the year.

Listened to some really great stuff this week. Jerry Goldsmith - Bad Girls A nice western score for a movie that, since it was made in 1994, combined Jerry's trademark action music from the 80s/90s with his typical western sound from older movies. A pretty nice discovery! That's the great thing about Goldsmith: he did so many movies that are pretty much forgotten these days so new(ish, lol) fans like myself will always have some great discoveries to make. Christopher Young - Urban Legend The "Youngassaince" continues! As far as I know, this score wasn't officially released so it only exists in a few promos that you can find online. It's pretty great! Young's challenging and dissonant horror music is always engaging to listen to. A nice companion to Beltrami's Scream music. Anyone remember in the 90s, when slashers used to have nice dissonant scores that were also fun? Christopher Young - Species Another Young 90s classic. It does seem a bit derivative, particularly from Goldsmith's and Horner's Alien scores (the main theme really makes the temp track clear). But the action, suspense and horror music is, as usual, very engaging and entertaining.

Enemy at the Gates is far from Horner's most beloved score, but I personally love the doom-laden. gloomy melodrama and tragic choir in it, especially in the final three tracks.

According to Forbes, Disney spent $276 million on Ant-Man & the Wasp: Quantumania after some tax reimbursement from the UK government. Since studios only take approx. half of a movie's box office, this means they had a $38 million loss on Quantumania. https://www.forbes.com/sites/carolinereid/2024/04/19/ant-man-and-the-wasp-quantumania-set-to-blow-its-budget-as-costs-surge-to-nearly-330-million/