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La-La Land releasing David Arnold's Independence Day


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It's so frustrating that Home Alone 2, The Fury, and Black Sunday were released exactly as us collectors would want them to be, but ET, Indy1-3, and The Phantom Menace were not

I agree.

The music for ID-4 is one of David Arnold's top notch works and a lot of people like it as #1, I know I do. gkyver, I highly recommend you pick up La-La Land's 2-CD set release, same goes for you crocodile, you two will not regret it if you pick up the set.

It can be a bombastic score with the action cues but there's other soft cues in between. Over all it's simply awesome, please for yours and everyone's sake, GET IT.

I wouldn't recommend it to persons who never really liked it anyway. Let the label save copies for those who do really want it.

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In that sense it's quite surprising HA:2 got a 2-disc, especially since it's Williams who must've lost an arm wrestle to let the entire score come out.

I think I remember reading somewhere that Williams actually supported the idea of complete HA 2 to come out? ;) Why would he be against it anyway?

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In that sense it's quite surprising HA:2 got a 2-disc, especially since it's Williams who must've lost an arm wrestle to let the entire score come out.

I think I remember reading somewhere that Williams actually supported the idea of complete HA 2 to come out? ;) Why would he be against it anyway?

You know, temperaments of artists. I think he has way too much capricious modesty when it comes to releasing his greatest scores in complete form.

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I think he has way too much capricious modesty when it comes to releasing his greatest scores in complete form.

Oh, to hell with false modesty, I know the guy must be one of the most humble and modest people on the planet but I'm damn sure he knows extremely well how outstanding music he writes, so why not let it come out to his most rabid fans in its complete form?! :music:;)

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The Patriot was a strange situation. I remember an interview with Arnold (it was on Music from the Movies or Soundtrack!, can't remember well, sorry) where he told that he wrote demos for The Patriot and Emmerich & Devlin were happy with his music. Arnold was already writing the score to the point the orchestra and the recording stage were fully booked, but he then received a phone call from Devlin who told him that Williams accepted to write the score for their movie and that his services were no longer needed, thank you. He didn't add any explanations other than that.

It appears that Williams - who's one of the very few who can cherry-pick projects to work on - probably expressed the desire to score this new Mel Gibson action epic and that his agents realized his desire. I think a similar situation happened on Stepmom too, which had Patrick Doyle already on board writing the score and he was fired with no apparent reason.

Arnold however doesn't have any resentment for that and he recently expressed on an interview for FSM (conducted by our own Tim) he would be happy to work again with Roland Emmerich.

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I hope the stepmom story is explained someday, and Williams does not end like a soulless being. which is what it does look right now. I feel a little dissapointed by him.

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I hope the stepmom story is explained someday, and Williams does not end like a soulless being. which is what it does look right now. I feel a little dissapointed by him.

I think you're taking it a little too personal. Remember this is also a business, especially in Hollywood, which isn't exactly the place with the fairest people in the world.

I don't think Williams "robbed" Arnold or Doyle of their job. He probably expressed his interest for these projects and offered his services through his agents, who probably happen to be very persuasive with filmmakers and producers.

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I've heard varying things about Stepmom, one thing in common being that Williams decided he wanted to score it and used some influence to do so.

Given the result, I'd rather have heard Doyle's approach.

Arnold was sacked and Williams came, delivering a score that by the least is better than anything Arnold could have written ;)

I find The Patriot one of his less eventful scores outside of the thematic material.

And there have been several Williams scored movies that I thought were more suited to someone else. He's an outstanding composer, but he's not right/superior for every film ever made.

Imagine a Williams score for Revolutionary Road for example. I think Newman's score is the best it could've hoped for, and I wouldn't want a Williams score for something like that.

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Man, I never would have pictured Williams to be the kind of people who sends someone to leave a horse's head in the producers bed to get a gig.

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I always thought that part of the thinking on The Patriot too was that Emmerich and Devlin were trying to turn it into Oscar bait and thought they had a better chance with Williams on board.

The score is about as perfectly average that you can get with Williams. Really good themes (I love the concert piece), good action music, very bland underscore.

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It appears that Williams - who's one of the very few who can cherry-pick projects to work on - probably expressed the desire to score this new Mel Gibson action epic and that his agents realized his desire. I think a similar situation happened on Stepmom too, which had Patrick Doyle already on board writing the score and he was fired with no apparent reason.

You think he could have kicked off Hooper of Harry Potter if he wanted to?

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It appears that Williams - who's one of the very few who can cherry-pick projects to work on - probably expressed the desire to score this new Mel Gibson action epic and that his agents realized his desire. I think a similar situation happened on Stepmom too, which had Patrick Doyle already on board writing the score and he was fired with no apparent reason.

You think he could have kicked off Hooper of Harry Potter if he wanted to?

If he really wanted to score the subsequent Potter films, yes I think he could have.

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The patriot? Arnoldish?

So if the Patriot is Williams on autopilot... and it sound Arnold-like....

Then Arnold is the next Williams!!!!

Seriously, the Patriot got the best score it could have aspired to, and i'm glad Williams did it because there is some nice parts.

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I never understood why there is so much dismissal toward The Patriot, except for it being a score for Emmerich's film. It's nothing short of a masterpiece, but it's avery solid score with good theme and interesting dramatic underscore. I like it.

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The patriot? Arnoldish?

So if the Patriot is Williams on autopilot... and it sound Arnold-like....

Then Arnold is the next Williams!!!!

Seriously, the Patriot got the best score it could have aspired to, and i'm glad Williams did it because there is some nice parts.

The thematic parts are nice. I think some of the action parts and underscore could've been more interesting in the hands of a different composer.

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With the oscars it seems to be one rule on year, another rule the next. And all thrown out the window for Santaolalla.

Oh god. Why did you have to mention HIS name?

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  • 4 weeks later...

it's not the best movie in the world, but the score is excellent! And the film version final battle music is amazing. It's the most bombastic pieces in the whole score

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I was listening to the boot's broken up presentation of the final battle sequences and it was a real revelation. It's about as far from Zimmer as you can get and the thematic integration is quite remarkable.

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I know - the original version of the end battle is already perfectly fine in its own right. If that was all that was ever written, it'd already be a great ending to a great score.

The re-scored pieces just managed to be even better!

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I like the movie as well. I'll watch it every now and then, especially the Special Edition.

The original pieces for "The Virus" and "The Day We Fight Back" are pretty good yes, but as Jason said, the re-scored versions of those two cues are even better.

I can't wait to hear them outside the movie for once.

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No, ID4 is a fun popcorn flick that was done right.

Actually, I've always regarded ID4 as the point where it all went wrong! :down:

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It's certainly one of the last big blockbusters that we got a great proper 80s-type score from someone other than Williams, before the world became Zimmerfied.

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I like the movie as well. I'll watch it every now and then, especially the Special Edition.

I think the extended version adds a lot of redundant crap that was rightfully cut out in the first place. Troy's illness didn't add anything, the scene with David eating his lunch didn't tell us anything we didn't already know, Tiffany's gambling problem is meaningless since I want her to die anyway, David and Julius joking around in the Oval Office actually harms the pacing of the build-up to the evacuation, and the silly subplot with Alicia's boyfriend and not wanting to die a virgin had the lamest dialogue in the whole movie.

It's a shame the theatrical version isn't so readily available anymore. At least the 2000 DVD had seamless branching.

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That is sarcasm isnt it?

You didn't read between the lines.

No, ID4 is a fun popcorn flick that was done right.

Actually, I've always regarded ID4 as the point where it all went wrong! :down:

I think ID4 is one of the last great popcorn flicks. After Devlin and Emmerich's Godzilla it all went downhill, paving the way for summers by Bay.

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[it's a shame the theatrical version isn't so readily available anymore. At least the 2000 DVD had seamless branching.

Get the blu ray; it's the theatrical version. I don't miss the special edition either.

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