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Courtney Sees Ghosts

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Posts posted by Courtney Sees Ghosts

  1. 1 hour ago, Datameister said:

     

    Press the like/unlike button 21 times. ;)

     

    For someone who has only heard the score in the film … how much of the album is material lifted from previous scores? There's so much in the film, but I'm hoping the OST at least manages to focus on new material?

    Most of the score lifts occur in the track Germany, 1944. The rest of the album tries to focus primarily on new themes.

  2. 13 hours ago, Vince said:

     

    Right there with you! Luke's exile theme is my favourite element in the score to The Last Jedi and Archimedes' theme is quickly becoming a highlight for me.

     

    How dissapointing that so many 'regular' fans tend to dismiss Williams' later work. His current musical styles is far more understated than before but I think it has a lot more going on emotionally. But this is very hard to express to the layman who desires so-called memorable themes. (If Rey's theme isn't memorable, I don't know what is.) 

    How do I like a post 10 times?

  3. 6 minutes ago, Edmilson said:

    Yeah, Disney did Powell extremely dirty. I don't think it would've received a nomination either way that year, but still, what they did to JP and JW was so uncool, especially when you think that these days even scores for stuff like Fast and Furious receive "for your consideration" promotion by their studios.

    As the resident Brian Tyler fan, his Fast scores have been on serious autopilot these past few installments. Think bro just wants to go home.

  4. 4 hours ago, Trope said:

    I found this comment under a YouTube video which mentioned JW's score for Dial as being relatively simplistic and forgettable. Is there any evidence to support this claim that JW no longer orchestrates his own scores and relies on other composers to realise his piano sketches?IMG_2456.jpg

    All these lies and work arounds instead of just accepting that Williams can't recapture all the magic from his peak eras in the 70's, 80's, and 90's. 

    If someone else was doing all the work for him, why bother doing the work? Could've just written themes and handed the score to William Ross or John Powell. Hell, isn't that what Mangold thought was gonna happen? Like, where's the logic?

  5. 41 minutes ago, igger6 said:


    In my John-Williams-score-release-week content frenzy, I ended up back at the Filmtracks review of TLJ, and I understood for the first time why people say that “Peace and Purpose” contained the seeds of a full-on Kylie Ren concert suite.  That third phrase that appears after the usual two sounds so inevitable once you notice it, and if you just tack on a second playing of the second phrase, you’ve got a nice little four-line stanza. Now add a nice B theme and presto! (I don’t think the existing mournful B theme is enough, though.)

    Gonna be thinking about this forever.

  6. 5 minutes ago, Edmilson said:

    Pretty much that, yeah. Her music worked great with the movie and the album is not so awful to listen to after all. Among the latest Oscar wins, this is one I happen to agree with, unlike Dune or All Quiet.

    As a Zimmer fan who had been constantly let down by his non-Nolan outputs in the latter half of the last decade, I enjoyed Dune (though I've spinned the score for Wonder Woman 1984 more often). Wish Encanto won the Oscar tho.

    All Quiet is, in my opinion, the worst Best Original Score win in the last 15 years. Haven't been this upset over a win since Slumdog Millionaire won over Wall-E.

     

  7. Pros:
    The score has been highlighted by many critics, so I think music critics will dig it too which always helps a blockbuster score.

    It's Williams' swan song for the second most iconic franchise he's worked on, so it'll be another closed book nomination.

    The Academy loves Mangold movie scores. 3:10 to Yuma got a nom while Logan and Ford v Ferrari got shortlisted.

    Speaking strictly about the first half of the year, Williams' only competition is Thomas Newman's score for Elemental which I think is the most likely lock of the year. 

    Cons:
    The Academy's rules of sequels needing 80% new music to qualify could affect Williams and Zimmer's chances of getting in.

    The Academy likes to pull out the most random ass nominees from time to time, especially scores from Oscar bait season.

    Lot of big time early predictions don't have Dial of Destiny as a contender. That could change I suppose.

    The snobbery of the voters. "Oh it's just another Indiana Jones movie, why should we nominate this?" Granted the Star Wars sequels all got nominations so idk.

    Think it's too early to tell. Film scores have been oddly muted this year (I can personally only think of 4 I've found great this year). Maybe it'll change when we get to Oscar bait season. If Disney pushes the score hard enough and the FYC pulls a TROS and only includes older themes where they simply couldn't take it out, he'll probably get in. I hope he does.

  8. 2 minutes ago, Bellosh said:

     

    speaking of which....I could genuinely see the academy liking Helena's Theme so much that DoD wins best score.

     

    What a trip that would be!  I mean shit, if ALL the sequel trilogy movies can be nominated, then DoD can too!

    Because it's a summer release, it's a lot easier to spread awareness for throughout the campaign trail instead of coming near the end like the Sequel scores.

    If all else fails, John will probably get another Best Instrumental Composition Grammy.

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