Unlucky Bastard

I've been listening to the score all week, and it's easily the best score of the year!

The opening few cues blur the lines between music and sound effects. I don't like it when scores do this, but what Sato is doing is more musical than trying to completely mimic a sound effect. I can hear basses sounding like air raid sirens and/or Godzilla's roar/growl. A there's something electronic as well that sounds like an atomic charge before Godzilla breathes hell's fire over everything!  

The score is perfectly mixed with the rest of the atmospherics so that Sato isn't confusing sound effects/sound design and music. The "bending" of certain sounds is cool to hear as well. This is shit lesser composers try to do and fail at miserably.

The cue "Divine" is Goldenthalesque goodness!  Again, the low end in this recording is beautiful!!!! Clean, deep and powerful! I can't recall anyone else but Zimmer who uses basses this prominently in a film score. I love hearing them at the beginning of "Elegy" as well. 

There's also stuff in here that reminds me of the unsettling and conflicting emotions of calm and horror in Bobby Krlic's brilliant score to MIDSOMMAR. The cue "Pain" is heartbreaking in it's simplicity. And John Adams' influences are felt in the brilliant cue "Resolution". Actually, nothing can really prepare your emotions for the one/two punch of "Pain" and "Resolution."  Holy F__k was all that came to mind while I was listening to them, so hold tight. It's a wallop! 

The only downside are the irresponsibly placed Godzilla suites, which absolutely kills the tone of the rest of the score. They are completely unnecessary and should really be deleted from the play list. If you want a true and proper first experience with this score, skip those suites.  Actually, never listen to them. They aren't needed! They are far too jaunty and whimsical for this score. This score is dark, bleak, foreboding, and deeply emotional.  It's a serious, dramatic score unlike anything you've ever heard in the Godzilla film. If you come to this score expecting to hear an Ifukube clone, then you'll be greatly disappointed!

Naoki Sato has always been one of my favorites (BATTLESHIP YAMATO, HEROIC AGE, MASQURADE HOTEL. MORIBITO: GUARDIAN OF THE SPIRIT,PRICELESS, etc) and his quality hasn't diminished. This is easily one of his best scores, and that's saying a lot because he has so many incredible, timeless scores attached to his name. I hope you all enjoy this score as much as I do and I cannot wait to hear this score in context when the film comes out!
 
-Erik-

It seems we've reached peak "spoiler" hysteria, where people break out into a frenzy if someone reveals not only plot points of a movie or show, but even minute and inconsequential details. It's almost become some kind of creepy weirdo cult-like phenomenon where people's enjoyment of media hinges on the element of surprise, as if they think every movie could potentially feature some ESB-type revelation, and if that surprise is no longer there, they don't want to watch it anymore. Isn't the experience of a movie more than just critical story points and turns?
 
This is perplexing to me because I find that my enjoyment levels significantly increase if I know more about the movie before seeing it. Much of the time I find movies difficult to follow, especially modern movies with their unnecessarily complex and convoluted narratives and technobabble exposition. So so-called spoilers help me follow it better. And if I find out someone dies, well I'm even more excited to see how it unfolds! But other people seem to go suicidal if they somehow find this out before seeing it - maybe I'm just out of touch with the fundamentals of geek culture!
 
And what even constitutes a "spoiler" these days? My narrow definition of the term is limited to things with big revelations like The Sixth Sense, where the whole intention was to trick the audience. But other people's definition seems so broad you'd think even the title was a spoiler! I'll never forget the the lead up to the relesse of TFA, a set photo of Mark Hamill in costume leaked online, leading a lot of people who saw it to cry in melodramatic despair because they thought seeing him in costume before they saw the movie destroyed the movie for them! How could something like this distress people so much? Isn't that what you'd expect Luke to be wearing anyway?
 
And another incident I recall on another forum back in 2000 was when some fan was in a state of panic because they read the cast list for AotC and saw the name of some inconsequential background character and was begging for reassurance that the movie hadn't been ruined for them. I ribbed this fella a bit and said he should calm down, but then a moderator scolded me saying "People getting spoiled is not funny, Drax."
 
It's getting a bit ridiculous that we can't talk about movies before other people see them. Loosen up! If you don't let it bother you, you might even become immune to this rigid spoiler cult.

Beautiful.

Watched the new release of Cutthroat Island last night. I've only seen the second half of it before on TV many years ago. I remember not minding it then and, to be honest, I didn't think it was terrible this time either. To be quite frank, it is a better movie than something like Independence Day. Cheesy, over the top, but quite charming for the most part. I see nothing really wrong with it. It looks and sounds really good too on the 4K disc. And has a bunch of interesting extras.
 
John Debney gets a 30-minute featurette in which he talks about his experiences. There's no archival footage of recording or anything like that but still quite interesting. 
 
Quality release actually.
 
Karol

Well sure, but they were contractually obligated to put that asshole’s face on the cover

Well, this is where using words for abstract concepts like music can come up short, so forgive me if I don't articulate it clearly.
 
I feel with Goldsmith that he has large buttons he presses, with labels on them like Big, Happy, Sad, Love, Cute, Dark, Mysterious and Harsh. Western and Jazz get their own buttons. They feel broad, and can be applied to any situation where they feel appropriate.
 
Williams does this too, especially with action music, but when it gets time to get emotionally specific, like, my only friend in life is leaving in a spaceship, or, I'm finally meeting the jazz hero my father loved (just two examples), he can deliver music that both transcendentally pierces the heart, and is existential to the film. Despite all the examples that get shared, or scores I listen to, I never get this from Jerry. There's probably something wrong with me, but there it is.

Mr Baseball

Kiner was sort of Arnold-lite, so naturally he scored some early eps of Stargate SG-1.

We were all over the moon about the Rhino set back in the day.  The problem is, you never know how much better archival audio can get until somebody gives it to you!
 
The sound of the Superman OST on CD was dreadful, and Rhino was huge.

And where there is a young woman who looks like this and is fully aware of her sex appeal when approaching a famous, married film composer. 

If Zimmer is lurking here, there's far worse material for him to find than anything in this thread 
 
Although come to think of it, where's Koray when you need him to fly in and provide the defense of a composer being tweated howwibly....  I'd forgotten about the Fallout episode.

I listened to this score again and this time I liked it more than before. It still would need some reediting to do away with some of the more fragmented cues and rescue it from the movie's messy Koepp structure but I wouldn't lose any of it. If it was 2CDs, I'd buy it happily but as a 3disc set with the useless OST... jesus christ 53€ on MBR, 60€ on soundtrackcorner. No thanks, I'll live without it. It's nowhere near special or close to my heart enough like Sleepy Hollow to justify that.

I guess one day somebody will own everything and we'll be happy 

How is the general resonance of this movie on this forum?
 
I think that movie was nothing. There is simply nothing positive I can say about it: the mess of story that was leading nowhere, Ford's lukewarm performance, the naive and unfunny script, the generic and chopped-up score, the embarassing references to the older films. It was as much fun as riding a dead horse.
 
At the end, Indy gets punched in the face for preferring to stay in the past, and then gets dragged back to the present ... well, that punch in the face might be a metaphor for this pathetic movie.

Williams is a Democrat, that's one of the reasons he's a genius. 
 
Come on, someone write his religion and political views
https://hollowverse.com/~kg/kg%3A%2Fm%2F0146pg

The OST is all you need.

In 2008, film score newbies were hypnotised by Zimmer's trademark low register tones that'd kick their subwoofers into gear, because ultra low bass appeals to their machoism, and babes get wet over a bloke with big woofer cones thumping out Zimmer scores in their car.

That's a badge of honor.

Oh this is the time of night where that guy that left the forum in a tantrum puts the confused emoji on all my posts. 😂😂
 

yeah i'm by no means thinking everything she has done is perfect. because that would also be close to impossible.
 
they simply can't even answer basic questions as to why she is the sole problem besides she's the president.
 
they just cherry-pick what they think are the bad ones (even if they are) and disregard the good.  still not sure who else that happens to?
 
but lets not forget most people who cry her name are probably not far away from the type of people that harassed the actress who played Rose in TLJ

Like I haven't seen any shit towards Mangold yet?
 
He's an oscar-nominated director....shouldn't there be blame on him for not seeing if the script is shit or not???
 
KK is some peoples boogeyman.  As far as I'm concerned her career speaks for itself.  These were George's ideas, maybe, at the end of the day, they just don't work as well without him.  I for one would always rather have something from him then others.  Hence why I enjoy the prequels for all their flaws vs the disney trilogy.
 
"but but but but rogue one WAS AMAZING...."
 
and guess who was producer on that....... and yes, she was president at that time.
 
"but but but but but but she wasn't ExECUtIVE producer!!!"
 
And for anyone who wants to bring up The Last Jedi.....guess what....A SHIT LOAD OF PEOPLE LOVED THAT MOVIE.

"essentially the new George Lucas".....
 
Judge him or not, dude was a visionary.  There's no comparison.  President of Lucasfilm, yawn, just a title.
 
But you're on some 'wack shit' if you think she's in total control of all that makes any of these films 'bad'.
 
also my KOTCS point had nothing to do with 'who was in charge' but more so with how the outrage was handled.
 
It's simply possible that an Indiana Jones 5 with Indy being that age was never going to be critically acclaimed.  Same with Star Wars 187386123862, or however many there are.

The control of star wars and Indy is beyond diluted at this point that it's quite obvious people just need a scapegoat for their franchise being 'ruined' and to think otherwise is just extremely naive

😂😂😂 imagine thinking Kathleen Kennedy calls all the shots at Disney 
 
You can't even answer the question.
 
Again it's just weird that with these two franchises all the blame goes to the producer. Never seen that with any other franchise.
 
Blame Lucas for selling it to Disney.

Guarantee you never blamed her for KOTCS
 
Honest question for you...
 
Why is Kathleen Kennedy the boogieman to you guys?  I'm genuinely curious.