Edmilson

I wish they included more animated shows from the 90s, like Buzz Lightyear from Star Command

The Sixth Sense
The Village
Red Sparrow
Fantastic Beasts and Where to Find Them
 
Karol

He probably declined to score any blockbuster on 2020 because he knows he will have a very busy 2021: Doctor Strange 2, Jurassic World 3, The Batman, Spider-Man 3, Avatar 2, etc.

Aren't millenials those people that were born on the early 1990s that today just spent their days arguing about Game of Thrones, MCU movies and Netflix series on Twitter, complaining about adulthood, buying Funkos and remembering their Harry Potter-tinged childhoods? 
 
I was born in 1993, but I sometimes feel very embarassed with my generation's behaviour.

Sounds excellent. Like most everyone else, I wish Arnold gets back to scoring -- not only Bond, but feature films in general.

Perfect length I reckon! Thought JJ would be aiming for something shorter, in line with the OT, but I'm cool with a longer runtime. There's lots to wrap up and I'd rather they didn't rush it, and it allows for extended action and battle scenes which will please the fanboys. 
 
Plus it means more music from Johnny, seeing as he scores the whole film nowadays. Not hard to see why he's still writing after seeing the film 7 months ago. 

Return of the Jedi is good. A rousing finale with some of the trilogy's most memorable scenes and exchanges. The teddies don't ruin the whole thing for me like they do for others. I'm just not emotionally attached enough to the whole thing to really be bothered.
 
Had this exact discussion on here a million times.
 

I've been wanting an expanded Potter 3 since 2004, but I never cared or thought about the Shawm cue.
 
it's like if an expanded AotC was released and people declared the released ruined because it didn't have Dex Diner's
 
Williams question:
Did you dislike the Han Solo and the Princess theme and is that why you re-wrote it  in 2018?
 
 
And have you ever re-wrote a theme because of what "King Mark" said?

It's like I said on the other thread:. I don't know if this is Arnold who is not invited to score the big blockbusters, or is it because he personally prefers to score British TV series these days. He and Don Davis would elevate considerably the quality of film scores being delivered for hollywood blockbusters. 
 
Well, on Davis case, at least they're making The Matrix 4, so they may rescue him from low budget movie no one cares and orchestrating Randy Newman's Pixar sequels.

It's a crime against humanity that this guy isn't getting big studio work. To echo @SteveMc's thoughts, it's obvious this guy is itching for another mainstream film like Bond.
 
So very disappointing he didn't come back when Newman departed. It's nearly the same level of disappointment I had when Hooper finally departed Potter, thinking it would bring Williams back into the fold, only for someone totally different to get the gig.

The commercial is pretty incomprehensible (as usual on these commercials for luxury perfumes, jewelry, fine clothing, and stuff), but it reminded me a bit of Skyfall. So, in a way, this is the David Arnold Skyfall score we never had.

The commercial is pretty incomprehensible (as usual on these commercials for luxury perfumes, jewelry, fine clothing, and stuff), but it reminded me a bit of Skyfall. So, in a way, this is the David Arnold Skyfall score we never had.

The commercial is pretty incomprehensible (as usual on these commercials for luxury perfumes, jewelry, fine clothing, and stuff), but it reminded me a bit of Skyfall. So, in a way, this is the David Arnold Skyfall score we never had.

Well, it had great direction, great production values, the battle scenes were expertly filmed by Miguel Sapochinik, the score was not bad...
 
It's just the writing that was horrible.
 
In a way, it's like a pretty bad Hollywood blockbuster movie: come for the spectacle, try not to think too much about the screenwriting.
 
 
I remember when Lost was a huge success, so TV networks thought that people were interested in serialized sci-fi with lots of intriguing misteries and enigmas. So a lot of Lost-like TV shows premiered on American TV back then, some were good (I loved Fringe), some started good and then became terrible (Heroes), and most of them were awful and got cancelled without an ending (FlashForward, the V remake, The Event, the Spielberg-produced Terra Nova). I can easily see the same happening with GOT, these streaming services will get so anxious to have their own epic fantasy series that most of them will flop - like Netflix's The Witcher, which seems a dumpster fire.

Nice cue!

Dumb commercial

Also, here's something I actually liked about the movie:
 
 

I love everything about the battle with Snoke's Elite Praetorian Guards: the build-up to it (our heroes are in such a dire situation, with no clear way of getting out of it), then Kylo slaying Snoke, giving Rey the lightsaber and both of them battling the guards with some excellent fight choreography, neat camera work and great score. 
 
I don't care about the haters, TLJ was one of the best experiences I had on a movie theater this decade.

He probably declined to score any blockbuster on 2020 because he knows he will have a very busy 2021: Doctor Strange 2, Jurassic World 3, The Batman, Spider-Man 3, Avatar 2, etc.

Joaquin Phoenix pitched to Todd Phillips a very cool (albeit wrong for this movie) idea for a post credits scene:
 
 
https://www.comicbookmovie.com/joker/joker-star-joaquin-phoenix-pitched-a-very-unique-idea-to-todd-phillips-for-some-post-credits-scenes-a170988

Since 2008, Williams does basically only Star Wars and Spielberg movies - The Book Thief is an exception, and only because he actually sought out the job after he read the book and knew they were making a movie about it.
 
Powell for the most part does basically animated kids movies. Until the beginning of this decade he also would do action movies like Green Zone or Knight and Day, but these days (2016's Jason Bourne excluded), he sticks with the cartoons. There's Solo, of course, but that was an exception.
 
JNH, of course, does a lot of stuff, from action thrillers to fantasy blockbusters, but even so he is having to compete with much more modern composers, like for Maleficent 2, when, despite his critically aclaimed score for the first movie, they still gave the job to Geoff Zanelli.
 
And that's not even mentioning people like Elfman, who seems more interested on his concert work than on film music these days, and Silvestri, who was rescued from scoring only crappy action flicks and the ocasional Zemeckis drama by Marvel and Spielberg.

To be honest, when I was a child/teen, I prefered the later books to the earlier ones, specially from 4 to 7. I have fond memories of reading Order of the Phoenix when I was 10. I was so entraced by the book and its dark tone that I was on a dilemma: I didn't want the book to end, because Lord knows how many years I would have to wait for the next one, but I also couldn't stop reading it.

The sad truth is...
 

He probably declined to score any blockbuster on 2020 because he knows he will have a very busy 2021: Doctor Strange 2, Jurassic World 3, The Batman, Spider-Man 3, Avatar 2, etc.