WampaRat

Yea the mixing in this is fantastic. For as loud as this score can get you can pick out every instrumental detail. A tribute to Nicholas Dodds orchestrations. sooo…what are they odds they’ll bring back Arnold to reboot the new bond? Or will they get someone more popular like Goransson? (I could see the later that being a pretty likely scenario)

Always think of this clip every time someone says the title! This is also a good one when there’s an excessive amount of opening studio logos😆

Hey! This is pretty cool. Made me want to both listen to this release and watch the film again. Mission accomplished! @TownerFan Did LaLa Land ask you to put this together? Or was it just out of our passion for the man and his music? Fingers crossed you get to make one for the inevitable Indy score expansions 😉.

Listened to it today. Haunting. Melancholy. Lovely. A great little score. And yes there’s a few action bursts that sound like they could be taking place in Middle Earth. 45 minutes well spent.

Is it supposed to go into the song by The Weekend?

I’d say the action music skews closer to some of the more contemporary action sound Horner was toying with in The Amazing Spider-Man (“Subway Rumble” comes to mind.) Horner’s take on the RCP sound. Also Franglen ran with that sound in a lot of the action tracks of Magnificent Seven. Not sure if that was part of Horner’s original sketches/suite for that score before he died. It can seem a bit abrasive and a tad simplistic at times. But other times it really sounds like a contemporary Horner wrote it (“Navi Attack” is a ball-buster cue on par with “War” from the first film)I don’t believe Horner would have scored this film that much differently in all honesty. Perhaps his themes would have been a tad more pronounced. The action a biiit more refined and mixed a bit clearer so it’s not so “wall of sound-y”. But I’d be lying if I said I wasn’t moved a handful of times while listening to this. It took a tad to get going for me. A little “nature documentary-y” at first. But it really starts to cook after the first third or so. It’s a great tribute at best and a decent standalone score at worst. I’m sure I’ll appreciate it more when I see the film. PS- “Songcord” is a really lovely take on the new theme (family theme?) for this film. Sung beautifully by Zoe Saldana. Maybe start with that first and then you can hear it develop throughout the score. Lots of great iterations of it.

I kinda want to think it’s a line taken out of context. Or they spliced some dialogue together just for the trailer (not unheard of).

Hence “potentially” 😉 Im sure he’d have been tempted if only to revisit and expand on a work that he was proud of. Or maybe just out of pride/vanity lol.

To think Horner could have potentially scored both of those projects 😢

Looking forward to giving this a listen. Episode 4 also had the appearance of a particularly famous Horner motif 😊 I’ve become reconciled that the show, as mstrox just described is indeed intended for an edge-y tween/teen demographic. Like Disney’s “Descendants” with a bigger budget. And written about that same level. Ah well.

Oops! I Should have double checked. It doesn’t. Fixed post.

Huh. I kinda like that image. I do wish whoever markets Nolan’s movies would switch up the title treatments a bit. Although I guess it’s his visual “brand” now. The Prestige, Inception, Dark Knight Trilogy, Dunkirk. All sans-serifs, kerned out super wide. I think Interstellar is the only film title of his to use serifs. 😆 K. Typography nitpick over.

Listened to The Perfect Storm for the first time in a while. There’s some terrific terrific music in that one. I’ve forgotten how much soaring action it contained (and how sad I am that he isn’t around to do Avatar 2). While it’s still written in his unmistakable voice, it doesn’t seem to directly lift from his prior scores. At least nothing really jumped out at me. High time for an expansion (along with Mask of Zorro!)

According to the Indiana Jones Wiki: ”The boy known as Short Round was born Wan Li on February 8, 1926. Orphaned during the Japanese bombing of Shanghai in 1932, Li picked up his alias as a pickpocket on the streets of his home town and attempted to rob the man he would later refer to as Dr. Jones.” https://indianajones.fandom.com/wiki/Short_Round

One can hope! I won’t be crushed if he doesn’t show. But it would be icing on the cake for sure. Regarding the skepticism this movie may earn from some before seeing it, I’m of a similar mind with the thoughts shared by one of the guys on “The Weekly Planet” podcast: “I get why people are skeptical. Because of Kingdom of the Crystal Skull. Because of some of the things that happened with Star Wars. I get why people look at this and see the ‘floating head’ on the horse and go, ‘ I hate this.’ But I reserve the right to go into this with absolute blind optimism. And that is what I’m going to do.” (They’re not industry insiders or anything. Just two Aussie pop culture geeks.I enjoy their stuff)

Agreed @Edmilson. He’s Professional. But not afraid to call out complete lunacy. sidenote: Watched his remake of 3:10 to Yuma the other night for the first time. What a great film! He has this knack for making these really character centric action films. Just what Dr. Jones final adventure needs!

That’s a toughy. But between the two you mentioned… I think I would listen to “Long Road To Justice” before I would listen to anything from SPR. It’s a bit lighter. Just really pleasing slice of Americana. I adore the little trumpet phrase at the end that calls back to the “Dry Your Tears..” Could just be my recency bias. If you were to pit Lincoln against the Americana portions of Amistad…that might be tougher. I love “Freedom’s Call” a lot.

It's exactly what happened on a german Facebook soundtrack group recently: Goldsmith's Ghost and The Darkness was labeled 'racist' by a guy and lo and behold, the whole cultural appropriation thing was burning. It was a hoot, but i think it's exactly right that a composer in the 2020's will be held to another standard and that's also why so many scores for movies and tv shows sound like undigested source music. Dang. By that same logic it’s a slippery slope. Theres so many other fantastic scores that could potentially get canceled just because they were composed by white guys who combined non-western European ethnic colors with a traditional symphony orchestra. Lawrence of Arabia The Mask of Zorro Memoirs of a Geisha Dances With Wolves Under Fire That would be so sad.

I’ve always enjoyed this score. It was my go-to when I needed a Bond fix. But with this release, it’s quickly becoming one of my personal favorite top 10 scores of all time.

Just watching this scene of Adam’s Address and Adam’s Summation. It’s a scene with an amazing monologue by the brilliant Sir Anthony Hopkins. It’s also a scene that, without Williams score, could go on a tad too long. Perhaps even a bit awkward despite how wonderfully acted it is. But the music can’t be too prominent as to overshadow what’s being said. Neither can it be so subdued as to fail to underscore how important the scene is. It’s such a tricky tightrope that Williams is walking here. Moments ebb and flow, occasionally quoting his “Long Road To Justice” theme or Cinques theme during the Summation portion of the scene. But I’m realizing how impressive his non-thematic moments are in this scene. It never feels like he’s just marketing time until he can come back in with a big thematic statement. He is so damn good at giving each measure of music a specific reason to be there. To uplift here, reflect there, warn here, council there. Listen to how Williams shifts the mood with the eerie synths as Adam’s recounts all the Biblical “justifications” for slavery. Does it right under our nose when he could have just continued on doing some nice horn solos. It’s this quilt work of emotions that Williams is so skilled at. He can pull you through so many specific feelings in just a few measures. Lesser composers would be tempted to score the scene as “inspirational” (or lesser directors ask for one blanket emotion). Sorry for the appreciation ramble. It’s a 10 minute dialogue heavy finale. And Williams is able to play us all like a harp!

Re-listening to this episode in which the Art of the Score guys go through all of Arnold’s Bond work. Man I miss these guys. I know they pop up in this forum periodically. Please come back! ”You gotta remind people of the past but make it better than the past.” A bold statement. But I believe Arnold truly did that with Tomorrow Never Dies. https://open.spotify.com/episode/6df2sB8DzI4ysDEHyVx1zA?si=77rN3TIOSimIBwhgYEZ_Qw

This is so perplexing to me. Why is he so stilted? He’s so much more natural in the original and in other stuff. So odd.

Oh ya. See: Paycheck 😊

Or actor. Or director… (Maybe Crystal Skull 😜)