Taikomochi

“Wands to the Earth” is a top-5 JNH cue. Haven’t yet listened to SoD, but if the same people disliking it here are those that disliked CoG, then I think I shall like it plenty.

I don’t remember the scene specifically as much as those sharp strings accompanying Selina Kyle hopping on her bike late in the film and thinking that it was a terrific combo of music and image.

Strong disagree on “Are You A Kenzie Or A Can’t-zie?” The final minute is one of the best parts of the score, even if the rest is more underscore. That moment absolutely rocked in the theater.

Matt Reeves actually knows how to direct action scenes in a coherent way, unlike Nolan, and that’s coming from someone who liked at least one of the Nolan films overall better than this one. That Batmobile chase scene slapped.

I think that’s kind of true of the film as well. It’s not really trying to do anything groundbreaking with Batman. I don’t necessarily think it’s a bad thing. Some things can be about themselves.

Ok, recent blockbusters that don’t have the greatest musical legacy and film composer of all time then.

I just got out of the film. I think the score works very well. Maybe the Batman motif is repetitive, but it’s effective on screen. More importantly, I think the softer material is given a lot of room in the film, dominant in the sound mix, the Bruce and Catwoman material specifically. I can’t think of a major blockbuster that just let it’s score (that isn’t overly loud bullshit) dominate the final scene the way this film does.

Got my set in the mail today. Reverb still seems quite strong, for those one the fence regarding that issue, but I’m not the most trained ear. I can’t hear much difference between this set and the last, but I missed out on that one, so it’s not a double dip for me.

Exactly! That statement of Rose’s theme is so sublime, I could never think of it as a minor theme. One of the best thematic variations in all nine scores

How expensive we talking? Asking for a friend…

I think Rose’s theme is terrific and has a great narrative arc across the film and score, culminating in that beautifully tragic statement that opens the FYC version of “The Spark”. It’s as substantial as any of the sequel themes, except Rey and the Resistance. Can’t really defend Luke’s material, though. It’s distinctive but used far too sparsely.

The quote system right now:

Anyone have an idea when individual tickets rather than the packages go on sale?

I am a Heartbeeps type and I love Dracula

1:54

Sounds the Bells opened both his Cleveland shows in 2002 and 2018, so this will be the third time I’ve seen him open with it. Not gonna lie, it’s pretty fucking hype when the strings come in as an opener for the concert

Louie have one of the all-time great TV performances in Baskets. RIP

They really fucked it up.

Scherzo for X Wing was not in the cinema credits. The soundtrack is accurate to the cinema version except that it shortens March of the resistance. The home video version replaced the statement of Rey’s theme with the concert recording (an awful choice) and then tacked on Scherzo. I remember all this well because I was very pissed about it at the time.

Ansel is not a good actor, but he’s an improvement over the lead from the original, the central romance of which I find intolerable. Practically everything else about this version I loved. Spielberg went all out, and it shows.

My friends who have very little interest in scoring and I still roast the Electro music regularly all these years later. It is uniquely bad film music.

At least that’s only like 3 minutes of the score as opposed to a third of it

It is pretty blatant but I feel like it’s a gesture that Williams uses a lot or things close to it. I’m not convinced it was directly lifted vs. Williams wrote it in a crunch.

Every time Ross’ involvement in CoS is brought up, people show up to conflate people being disappointed that Williams reused material from other films with people being disappointed that Ross wrote music for the film. Everyone knows and understands Ross did not write new music and only adapted older music. That’s not what’s at issue. Some people, even in this thread, seem to be deeply in denial about that fact. Like, no, Williams lifting entire chunks from AOTC and nearly note for note rehashing them in CoS is not the same as him writing similar music for Minority Report and CMIYC or whatever false equivalency people wanna make up is. CoS has plenty of excellent material, but it’s a half finished score.

“Across the Ocean of Time” is my cue of the year thus far. Judging by GoT and this, Djawadi is bizarrely talented with choral writing relative to his reliance on Zimmer-y cliche (which this score overall is not)