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John Williams returns for Indiana Jones 5


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I somehow always feel both elated and exasperated whenever John Williams gets announced for a new project. God willing, he will be 90 years old by the time he scores this. I'm happy he's still writing

Just to know JWFan has been given another Williams score to look forward to and to anticipate together is immensely exciting. I'm so thrilled.    If you'd told me that in the span of 10 year

53 minutes ago, crumbs said:

JW has said time and time again that he hates reading scripts in advance of seeing the film proper.

 

He does make exceptions, though.

 

Williams read the script to the original Star Wars in advance, for instance.

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20 minutes ago, crumbs said:

Hopefully the script inspired him to get back in the "mode" of writing Indy scores.

 

I hope the mode isn’t “Every action cue should sound like ‘Basket Games’”

 

Don’t know if that was Spielberg’s request on Indy 4. But save for Jungle chase (and I suppose Warehouse escape) a lot of the action material seemed a tad too light and a little too breezy to have any dire stakes.

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And interestingly, the far more aggressive and dramatic version of the Jungle Chase was revised into something lighter in the final cut, presumably at Spielberg's direction. 

 

I know what you mean though. The action music in that film is a bit too "cute," for lack of a better term. I think if the new film is a bit more grounded and less stylised, Williams will respond accordingly. 

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The "Shia as Tarzan" scene of Indy 4 was absolutely horrendous, specially with those terrible CGI monkeys.

 

But yeah, the jungle chase is the best action scene in that movie... and it doesn't hold a candle to the other chase scenes in the previous three movies.

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I’m looking forward to Indy 5 as much as the next guy, but I’m going to miss the Spielberg touches. The way he moves the camera to reveal things, the trademark light & fog, and all the other tricks he uses to make a movie fun to watch. Even KOTCS had a ton of those kinds of moments.


Edit: this comment belongs in a different thread. Carry on, nothing to see here. 

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He is truly a master.

 

I’m sure he’ll lend some terrific insight/inspiration to Mangold here and there. I can’t imagine Mangold having so much ego on this as to not recognize a great idea for a shot or gag if Steven points one out to him.

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I can't imagine how the action in this movie will be good or even borderline believeable with 70+ year old Ford taking punches from Nazis or whoever the bad guys are this time.

 

But I sure hope the action scenes lead to some awesome action music from the even older JW!

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9 hours ago, artguy360 said:

I can't imagine how the action in this movie will be good or even borderline believeable with 70+ year old Ford taking punches from Nazis or whoever the bad guys are this time.

 

But I sure hope the action scenes lead to some awesome action music from the even older JW!

It will be believable because Williams will take an Andante approach to the action scenes. 

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32 minutes ago, Tom said:

Mangold seems genuinely thrilled to have Williams on board--that bodes well.  My main hope is for a near-final edit for Williams to score. 

 

I wouldn't be surprised if he scored Indy this year, then did the Spielberg film early next year, then did pickups for Indy next May/June.

 

But I trust Mangold is a far less revisionist director than JJ Abrams was. He seems a helluva lot more like Rian Johnson.

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2 hours ago, crumbs said:

I wouldn't be surprised if he scored Indy this year, then did the Spielberg film early next year, then did pickups for Indy next May/June.


Hmm, the principal photography for each of the Star Wars sequels was at least six months, which would mean (assuming a similar schedule) Indy 5 won’t wrap until December or later. JW started working on TFA and TROS shortly after principal photography wrapped: November 2014 and March 2019 respectively. TLJ wrapped much earlier than the others (July 2016), so there was a gap before he started on that score, in late 2016.
 

So, I think there’s a pretty good chance he’ll start on Indy 5 this year, but the bulk of it is likely to be composed next year.

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What do we know about this James Mangold? Do his past movies had great scores? I saw he worked with Marco Beltrami...

 

Will his collaboration with John Williams will be fructuous? Is he the kind of director who give "space" to his composer?

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18 minutes ago, BrotherSound said:


Hmm, the principal photography for each of the Star Wars sequels was at least six months, which would mean (assuming a similar schedule) Indy 5 won’t wrap until December or later. JW started working on TFA and TROS shortly after principal photography wrapped: November 2014 and March 2019 respectively. TLJ wrapped much earlier than the others (July 2016), so there was a gap before he started on that score, in late 2016.
 

So, I think there’s a pretty good chance he’ll start on Indy 5 this year, but the bulk of it is likely to be composed next year.

It depends on the shooting schedule.  I would not use SW as the reference.  My guess is Indy is a couple months shorter. 

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12 minutes ago, Tom said:

It depends on the shooting schedule.  I would not use SW as the reference.  My guess is Indy is a couple months shorter.

 

I guess Kingdom of the Crystal Skull would be a better reference point: it also began shooting in June, and wrapped in mid-October. 

https://en.wikipedia.org/wiki/Indiana_Jones_and_the_Kingdom_of_the_Crystal_Skull#Filming

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8 minutes ago, BrotherSound said:

 

I guess Kingdom of the Crystal Skull would be a better reference point: it also began shooting in June, and wrapped in mid-October. 

https://en.wikipedia.org/wiki/Indiana_Jones_and_the_Kingdom_of_the_Crystal_Skull#Filming

 

Mangold is an efficient shooter. He managed to do Logan in just over 3 months and Ford v Ferrari in just over 2.

 

Even allowing for 5 months of shooting (which seems long for an Indiana Jones film, although COVID delays have to be considered), I'd be surprised if they weren't finished by October. I'd be very concerned if they were still shooting in December.

 

I'll just be glad if he's writing before the end of the year!

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Yeah, I think the Wolverine movies are the best reference. Logan shot from May to August, The Wolverine from July to November. So hopefully Williams be able to start on it this year. 

 

1 hour ago, Bespin said:

What do we know about this James Mangold? Do his past movies had great scores? I saw he worked with Marco Beltrami...

 

Will his collaboration with John Williams will be fructuous?

 

He has chosen other fine composers in the past including Howard Shore, Mychael Danna, Alan Silvestri, and John Powell, but I am not all that familiar with those scores. He's definitely not known for making particularly music-driven films, Johnny Cash aside. An adventure movie with a big splashy score is basically new territory for him so we'll see how much room there is in the film for music to shine. It'll sound like Indiana Jones, regardless.

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The kind of director who would want to fuck with the musical approach on Indiana Jones is probably not somebody who would ever pursue the job, anyway, and hardly somebody who'd get hired by Disney and Kathleen Kennedy.

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2 minutes ago, mrbellamy said:

The kind of director who would want to fuck with the musical approach on Indiana Jones is probably not somebody who would ever pursue the job, anyway, and hardly somebody who'd get hired by Disney and Kathleen Kennedy.

 

Right.

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3 hours ago, Edmilson said:

These directors (Abrams, Johnson, Mangold) either accept to collaborate with John Williams or they lose the job. 

 

It's what WB should've done with Yates in Harry Potter.

 

Possibly they might have if he had stuck around. I know Yates still had to audition Hooper who got the job based on a demo of "The Ministry of Magic."

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15 hours ago, mrbellamy said:

 

Possibly they might have if he had stuck around. I know Yates still had to audition Hooper who got the job based on a demo of "The Ministry of Magic."

 

Every "newcomer" has to go through an audition process when it comes to big studio films, even when there is an ongoing relationship between composer and director.

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22 hours ago, mrbellamy said:

 

Possibly they might have if he had stuck around. I know Yates still had to audition Hooper who got the job based on a demo of "The Ministry of Magic."

 

What?? That's not even one of the best cues. For the most part, just a 4-note ostinato.

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On 6/15/2021 at 12:22 PM, Bespin said:

What do we know about this James Mangold? Do his past movies had great scores? I saw he worked with Marco Beltrami...

 

Will his collaboration with John Williams will be fructuous? Is he the kind of director who give "space" to his composer?

Spielberg will oversee the scoring. John Williams will score the aged Indy just fine..

I heard the title is Indiana Jones and the Empire of Evil which sent Mangold into spasms.

Indiana Jones once said its the years not the milage. its definitely both.

 

 

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On 6/15/2021 at 2:01 PM, Jay said:

Rian Johnson never made a film with a big splashy orchestral score before Last Jedi, and we still got a great Williams score.

 

And with a great sound mix that allowed that score to shine within the film! I almost wonder if such a sound mix was almost born out of the score being the new exciting element to his film soundscape, and, as such, wasn't really given the opportunity to be treated as agnostically as just another usual track that blended in with the others that he had to deal with in mixing. 

 

I'll be very intrigued to see how Mangold handles the score, as I feel that in the larger score moments in his films you are usually able to make it out quite well.

 

Throughout all of this scene from Ford v Ferrari, for example, you have what are very loud race cars zipping around but all those noises play softer than you would be accustomed to hear in a film of this nature so that the music can still quite discernably be made out: 

 

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On 6/16/2021 at 5:34 PM, Cerebral Cortex said:

I'll be very intrigued to see how Mangold handles the score, as I feel that in the larger score moments in his films you are usually able to make it out quite well.

 

Throughout all of this scene from Ford v Ferrari, for example, you have what are very loud race cars zipping around but all those noises play softer than you would be accustomed to hear in a film of this nature so that the music can still quite discernably be made out: 

 

 

 

Here's another good example of the score standing out amidst action and gunshots and such in a Mangold film:
 


Yavar

 

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