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lairdo

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  1. Like
    lairdo got a reaction from Brando in Indiana Jones and the Dial of Destiny (Disney Records Original Soundtrack Album) - NO FILM SPOILERS!   
    I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
     
    As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
     
    Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
     
    Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
     
     
    1. ASM version of Helena's theme
    2. Tracks 3-17 of the OST (until we have more)
    3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
    4. Helena's theme (concert version)
    5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
     
    Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
     
    If this is the last movie JW does, I am very pleased. 
  2. Like
    lairdo got a reaction from ThePenitentMan1 in Indiana Jones and the Dial of Destiny (Disney Records Original Soundtrack Album) - NO FILM SPOILERS!   
    I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
     
    As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
     
    Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
     
    Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
     
     
    1. ASM version of Helena's theme
    2. Tracks 3-17 of the OST (until we have more)
    3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
    4. Helena's theme (concert version)
    5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
     
    Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
     
    If this is the last movie JW does, I am very pleased. 
  3. Like
    lairdo got a reaction from Tydirium in Indiana Jones and the Dial of Destiny (Disney Records Original Soundtrack Album) - NO FILM SPOILERS!   
    I definitely agree with this statement. I guess the PR folks that Cannes would produce advance buzz in a way that I think has largely disappeared for a movie. I queued for hours ahead of Temple of Doom and Last Crusade (and even a little bit for Raiders although I went to a 10 am showing). Now, we all generally have assigned seats and going to the movies (if we even go) becomes just part of our overly scheduled lives thanks to cell phones and voice assistants. And before anyone types that I sound like Old Indy from the original cuts of The Young Indiana Jones Chronicles, I assure you I am not cranky about the movie or soundtrack.
     
    As I wrote on another thread after the Premiere, I very much liked the movie. I agree with @Archive Collection that the film fits very nicely within the 5 films and dozens of hours of TV stories. And for that I am grateful. I truly look forward to seeing it a second time Friday morning with my wife (who has not seen it yet as I was only offered 1 ticket to the Hollywood screening). 
     
    Having listened to the soundtrack through once uninterrupted, of course I would like more. I do miss the NY parade sequence because it is different and a nice counterpoint to the other uses of the score. I think that will be best experienced in a music track release on home video even more than a complete album will be able to handle it (due to the other music mixed in). In fact, I wonder if there is more to that cue than in the film and that is where a deluxe/complete score release will yield secrets.
     
    Like @Jay, I find the Anne-Sophie Mutter version of Helena's Theme in the wrong place. While I have not tried this yet, I think my order will be something like this:
     
     
    1. ASM version of Helena's theme
    2. Tracks 3-17 of the OST (until we have more)
    3. Prologue (since it is the end credits representation on the film) - but ultimately it will be easy to lift the end credits from the digital release.
    4. Helena's theme (concert version)
    5. Raiders March from Raiders of the Lost Ark (or maybe the version from the Berlin concert since Sarah Willis plays on that and on the OST)
     
    Overall, very happy with the OST even knowing of the longer sequences we will want. I have come to appreciate the 60 mins that JW gives us. (We only got 45 for Star Wars originally and even less for Raiders and ToD!)
     
    If this is the last movie JW does, I am very pleased. 
  4. Love
    lairdo got a reaction from Bayesian in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
     
    Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
     
     

  5. Like
    lairdo got a reaction from Pieter Boelen in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
     
     
  6. Love
    lairdo got a reaction from ThePenitentMan1 in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Again, putting this in spoilers.
     
     
  7. Like
    lairdo got a reaction from Will in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
     
     
    Thanks.
     
    Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
     
    Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
     
    In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
     
    As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
     
    There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
     
    Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
     
    Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
     
    A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
     
    Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
     
     
  8. Thanks
    lairdo got a reaction from rpvee in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
     
     
    Thanks.
     
    Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
     
    Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
     
    In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
     
    As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
     
    There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
     
    Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
     
    Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
     
    A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
     
    Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
     
     
  9. Love
    lairdo got a reaction from Edmilson in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Again, putting this in spoilers.
     
     
  10. Like
    lairdo got a reaction from mrbellamy in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Again, putting this in spoilers.
     
     
  11. Love
    lairdo got a reaction from Tom in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Again, putting this in spoilers.
     
     
  12. Love
    lairdo got a reaction from Cerebral Cortex in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Again, putting this in spoilers.
     
     
  13. Thanks
    lairdo got a reaction from Cerebral Cortex in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
     
     
    Thanks.
     
    Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
     
    Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
     
    In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
     
    As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
     
    There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
     
    Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
     
    Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
     
    A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
     
    Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
     
     
  14. Love
    lairdo got a reaction from Chewy in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
     
    Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
     
     

  15. Like
    lairdo got a reaction from Chewy in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
     
     
    Thanks.
     
    Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
     
    Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
     
    In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
     
    As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
     
    There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
     
    Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
     
    Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
     
    A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
     
    Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
     
     
  16. Love
    lairdo reacted to JohnnyD in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    This was so freaking awesome!
    What a spectacular way to commemorate the final film. Such a wonderful surprise and a joy.
  17. Like
    lairdo got a reaction from Damien F in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I'll put this in spoiler text just in case others do not wish to know the answer.
     
  18. Thanks
    lairdo got a reaction from Edmilson in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I'll put this in spoiler text just in case others do not wish to know the answer.
     
  19. Thanks
    lairdo got a reaction from Edmilson in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
     
     
  20. Like
    lairdo got a reaction from Damien F in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
     
     
  21. Love
    lairdo got a reaction from Not Mr. Big in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
     
     
  22. Love
    lairdo got a reaction from Courtney Sees Ghosts in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
     
    Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
     
     

  23. Sad
    lairdo got a reaction from Courtney Sees Ghosts in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    I saw him walk in with his wife, Melody Hobson, on the red carpet. He definitely looked frail. Melody was holding his hand (which was very sweet), and he almost tripped transitioning from the red carpet on Hollywood Blvd itself to the red carpet that goes on the curb up towards the Dolby theater (itself a pretty good walk because the theater is behind a number of retail stores.
     
    He is only slightly older younger (79) than Harrison (turning 81 in July), is way younger than Johnny (91), but he looked the oldest of anyone out there. Frank Marshall is 76, and he looked spry.
     
  24. Thanks
    lairdo got a reaction from Courtney Sees Ghosts in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
     
     
    Thanks.
     
    Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
     
    Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
     
    In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
     
    As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
     
    There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
     
    Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
     
    Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
     
    A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
     
    Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
     
     
  25. Like
    lairdo got a reaction from Courtney Sees Ghosts in Williams conducts at Indiana Jones and the Dial of Destiny US premiere   
    Just got back to the hotel after the premier of Dial of Destiny, and the John Williams moment was one I had predicted at breakfast would happen. But that takes nothing away from the moment when the screen rose to reveal the Maestro and the orchestra. Truly an amazing moment even from the back row of the mezzanine section. Hearing Helena's Theme live was truly wonderful. I think Adventures of Mutt was not as amazing as other live performances I heard. Raiders March was fantastic. 
     
    The place was hopping after the performance.
     
    And I very much enjoyed the film and cannot wait to see it again.
     
    On the soundtrack - ordered the LP and CD from Disney although hoping to get the CD sooner from Amazon. Really surprised at the August date for both. I do hope we'll get a digital release on June 30.
     
     
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