WampaRat

I was wondering if someone was deciphering these already.Thanks for the work you’ve done! Is Weta involved in the production design for this series? (I don't visit this Tolkien thread that often so apologies if it’s already been mentioned a while back)

I made a tweak to the Elfman/Burton covers. While I love the showcase of Burton’s artwork on these, it drives me crazy how small the font and titles are. They dont lend themselves well to thumbnail artwork. So I tried split the difference and add the films logotype under the sketches. I also did an alternate Batman cover since that was the only one that stuck out. Used one of Burtons sketches of Joker instead. Used two different logotypes too (one used on the posters and another from the films title card) Did an alternate Beetlejuice too since I loved this Burton sketch:)

Sharing these in the custom cover thread. But I made a tweak to the Elfman/Burton covers. While I love the showcase of Burton’s artwork on these, it drives me crazy how small the font and titles are. They dont lend themselves well to thumbnail artwork. So I tried split the difference and add the films logotype under the sketches. I also did an alternate Batman cover since that was the only one that stuck out. Used one of Burtons sketches of Joker instead. Used two different logotypes too (one used on the posters and another from the films title card) Did an alternate Beetlejuice too since I loved this Burton sketch:)

Yep. Luke looked amazing in this episode. I noticed them trying to keep it a wide shot when he was taking (that’s still the giveaway with de-aging. There’s so many nuances and muscles when a person speaks. They don’t quiiite have it yet.) Be he looked great. I’d say his face seemed more animated (in a good way) than the vocal performance lol. But if this is what they can do on a series, it gives me hope for the de-aged scenes of Ford in Indy 5.

Listening to Elfmans two Spider-Man scores lately and I got to agree with you. The complexity his musical story telling is amazing in that cue. I had forgotten how darn good both those score are.

That would be fun. Especially since I don’t remember too many cues with that title. But I know there’s a bunch. I think I might do a “Finale” poll next. I predict it will come down to Edward Scissorhands and Big Fish (my personal favorite:) If only it didn’t sound so small compared to Batman ‘89. I wish I could love it as much. I sincerely wish we could get a re-recording of the whole BR score with the symphonia London!

When you see that track title, you know Elfman has some terrific music in store 😊 I went through iTunes and Spotify to see which albums had this trademark track title. Surprisingly, there are fewer than I thought. But if I’m missing a favorite of yours let me know! My only criteria is that the word “confrontation” had to be in the track title (and I’m only going off the OSTs since those were the fastest results on iTunes/spotify) What’s your favorite ?

I wish I had some valuable insight. But I would definitely purchase an expansion (and I sadly missed the Batman Forever expansion). Whats this “Grand Gothic Suite”? That sounds incredible!

Other hopeful candidates: Can you imagine a John Powell epic western drama?! Man o man. That would be something. Doubt he’d ever do it. (It’ll probably be too violent for his tastes now days.) But the prospect is mouth watering. How about a Howard Shore epic western score? I could see that being all kinds of wonderful. And that “breathing”-like quality to his writing kinda reminds me of John Barry at times. Something like the achingly-beautiful Minas Tirith theme for a Big Sky western. Man. I’m building myself up for disappointment 😩

News of the world I quite enjoyed. From a few interviews with JNH he said how excited he was to be doing a western (again) but was wary of needing to do a score full of “low tones” and drones for Greengrass. I think he tried to split the difference as best he could. Ultimately I’m surprised that any melody and folksy-ness made it into the final score at all. Costner is a different director than Greengrass. But who knows. He hasn’t directed a film in 20 years or so. So maybe modern scoring trends may hold sway. We’ll get a three hour contemporary western score that’s just a fiddle baaaarley scratching out two solemn notes backed by a single detuned saloon piano plunking out one note. But I’d like to remain optimistic.

VERY true haha. Hard to believe they were directed by the same guy. I musta blocked that one out. Open Range was good though. He seems to have good taste in music whether directing or producing (at least 20 years ago). Hope he doesn’t take the more “artsy” Johnny Greenwood mode- not that there’s a problem with his music. I just personally prefer a good ole’ fashion tune in my westerns.

https://www.thewrap.com/kevin-costner-horizon-western-director/ He (can be) a great director. And really excels in this genre. Wonder who he’ll get to score it? Shame John Barry, Poledouris, and Kamen are all gone now. Wonder if he’ll get James Newton Howard (my pick!) Although it could be Brian Tyler (works on “Yellowstone”).

Oh wow! That’s why it’s oddly chopped up. It’s similar to Horton. There’s like 30 second tracks with choir. Those fees, man.

@JayGo in order:) 2,3, and 4 Start with the OSTs I’d say. Number 2 I think is Powell’s strongest in the series. The finale starting with “The Boat and the Geysers” on to the end is terrific Powell scoring. Lots of that fun syncopated waltz-like rhythm. It’s been a while since I’ve listened to 3. I’d say it’s about the same level as two with a handful of fun new themes. The end credit suite was one i listened to frequently on that one. I think I’ve only listened to 4 twice. It’s a bit more frenetic. But still fun. Also, If you haven’t heard it, Mars Needs Moms is another great JP score that came after the first HTTYD. Maintains a great narrative and isn’t quite as “cartoony” sounding as some of his other animation scores if that appeals to you. Powell just has a blast and is full of such joy in these scores.I’ve been listening to Horton Hears a Who the last couple days and I’m just blown away by the sheer inventiveness of that score.

I will be most interested to hear his own musical voice as he goes along. He’s clearly VERY adept at sounding like his mentor. Although I can’t complain if he continues to sound like this.If we have a couple dozen zimmer clones in the industry, why can’t we have at least one Powell clone? 😜

One track in and already my mood has improved Well done Batu!

Apologies!

Found it. It was a comment that @bruce marshallmade on the Official Intrada page last year in April. I hung my hopes on it 😆 Granted I think this is when everyone was speculating what their releases we’re going to be. Sorry for the silly thread! I’ll continue to pray this actually comes true

Just watched it. It’s funny that I’m already nostalgic for The Mandalorian 😆 Great fun. Again, I love them bridging all aspects of various Star Wars stories in this show. You got Clone Wars stuff, Fathiers from Last Jedi being mentioned, Ships from Phantom Menace, pieces of junk found in the trash compactor in A New Hope. Its all the same world in these shows. And I love that.

I seem to recall some comments from a couple forum members here who are in-the-know that Kamen’s Three Musketeers was coming soon (?)… Is the label stuck in a “Willow” situation (where the release seems to have been gestating forever)?

I surprised Williams didn’t tap more into that sound for bits of Catch Me If You Can. But maybe it would have undercut the drama a bit too much. Now that I mention it, in Highschool I was expecting the score to CMIYC to sound a lot like these. A modern swingin’ jazzy Williams score. And I was disappointed at the time when it wasn’t that fun. I love it now. But at the time I didn’t love it.

Went down the rabbit hole of some of Williams early swingin’ 60s/“bubbles and champagne” comedy scores. Bachelor in Paradise Not With My Wife You Don’t Penelope John Golfarb Please Come home. It’s a very fun sound …when used sparingly. But I could only listen to about 20 minutes of each before I felt like it was giving me a cavity lol. I had to listen to WotW afterwards to balance my humors

Circling back to the powerhouse finale cue from Big Fish, I rewatched that one on Netflix. What a stellar heart-tugging cue. I was actually wanting to due a poll of Elfman’s best “Grand Finale” cues. I have a feeling it would be a showdown between Edward Scissorhands and Big Fish… Two different sides of Elfman. Both tear jerking.

I listened to Charlotte’s Web yesterday while I was thinking about this poll. I listened to it right after Black Beauty actually and it blurred together for me a bit. But it’s really wonderful. It has a handful of themes, but nothing quite as sticky and long-lined as Black Beauty. But I love the opening track in particular. It’s a pretty joyous score from Elfman. Speaking of joyous- his score to “Epic” has some really wonderful folksy parts. Kinda feels like he was asked to emulate John Powell on that one a bit.

It’s a special kind of style that Elfman has dipped into periodically. And I adore his scores in this mode. Sommersby in particular was such a breakout score for him. He became much more than the wild card “Burton movie score” guy. Im sure I might have missed some peoples favorites in this area of Elfman’s career. (Does “Promised Land Count” for example?) In any case, I meant no disrespect. Whats your favorite?