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You're very welcome to post that in this thread of mine:
https://www.mi6community.com/discussion/18921/the-general-oddities-thread/p1?new=1
It was created for such topics. We've discussed David Icke so feel free to update the thread with your theories on Cicada 3301. I'll happily add it to the thread's title to show the change in subject.
Very true, but where would Indy be without archeology?
As a fellow aethist i completely enjoy the original trilogy always especially last crusade which is my favorite. Planning on watch this sunday.
:))
As an Hindu i am offended :P (kidding).
Kali isn't exactly hell or symbolism of hell.
>:)
All good guys go to heaven.
I’m actually very excited about
Mangold’s involvement; following Crystal Skull, the franchise need a fresh perspective. I loved Ford vs Ferrari; he did a great job of recreating the 60s era
A fun rumor, I think we can expect Karen Allen back honestly.
Doesn t this sound too similar to Last Crusade?
That would be lovely, although I shan't pin my hopes on it (he turned 89 today!). Even if he can contribute a theme or two I'd be happy.
Agreed
Well, I'm sure we've got that covered. They're sitting on four fabulous scores. Even if they simply "remix" those, they'll have great stuff. ;-)
All joking aside, Williams hasn't been working alone for some time. I think there's a team behind him already.
Heh! I guess it's possible, but I think every one of those movies has given us some brilliant stuff. It's like when folks say Crystal Skull shouldn't have happened I think 'no way! Then we wouldn't have that score'. Same with the Star Wars sequels: if they existed just only to give us Rey's Theme then that's enough! :)
I feel like not many big composers do, is that right? I'm sure it varies wildly, but I think often a big movie's score is a lot more collaborative than we perhaps think. I guess it's like a big famous architect firm: there's no way Norman Foster designed everything in those huge buildings! :)
Completely agree.
Either way, Williams has nothing to prove anymore. The man is a genius. Six decades of brilliant work!
With the collaboration thing I kind of can't help but think that we might not be getting premium Zimmer for No Time To Die: I don't know how long he had to make that score but it seems like it wasn't long, and we already know another composer did a fair chunk of it with him probably because his schedule is so packed. If he didn't get to give it his all I hope they get him for the next Bond so he can give that some proper love. I'm not a massive fan of his or anything but you can certainly tell he's good at what he does.
Supposedly, there are also some film composers who aren't very good from a technical standpoint, and thus need arrangers/orchestrators to write down and flesh out their ideas. For them, it's not just about meeting a deadline!
I remember John Barry used to orchestrate his early scores all by himself, but speaking of Bond, by the time of AVTAK, NIc Raine was working as an orchestrator for him. I also remember reading an interview with a fellow whose name escapes me, but he was an orchestrator in Dances with Wolves, and he submitted an arrangement for Barry to review. Barry decided much of the orchestration was unnecessary and had it removed.
Of course, with synth scores, most of this becomes irrelevant.
Interesting stuff!
The difference with Zimmer is that those orchestrators often end up writing most of the score.
It's a fairly open secret in the film scoring world that Zimmer tends to only write about 20 or so minutes of work and then hands it off to the 'collaborator' to expand into an actual 70-90 minute score.
An unspoken part of working at Remote Control Productions is that if you help fill out Zimmer's work, he'll get you gigs in return. Junkie XL, Henry Jackman, and Lorne Balfe all got their first solo Hollywood gigs from this.
That's not to say that this method can't produce good work, or that Zimmer has no talent. But he's become so much of a brand now, that producers are really paying much more for the name than the actual content.
I mean, I would doubt it. Especially given that for the last decade he's basically only been working on Spielberg's projects and now he's been dropping out of those, left and right.
I'm also not sure I would want to see him write the full score, because his work on the Star Wars sequels, The Post, and The BFG all kind of sounded the same.
I love his music and he's had a great career, but no one puts out their best work in the ninth decade of their life.
Definitely some fair points. I wouldn't be surprised if Michael Giacchino steps in; he seems to be the go-to replacement for Williams these days. Personally, I would not be upset by this at all.
I guess it depends whether they'd want a score which is aping Williams as much as possible, like Solo had, or to take it somewhere else slightly. I think Göransson has done some amazing scores which perhaps build on the work of others rather than just imitating them, he might be good.
I used to really dislike Zimmer for that reason alone. His work felt like factory output, not art. But I have since come to appreciate the music itself, regardless of how it was conceived. The brand 'Zimmer' has delivered some truly amazing music, and that's ultimately what counts.
I know that Williams tends to sometimes re-use his own material. Then again, the man's been in business for many decades, and he's got that particular style. It's no surprise that his music feels repeated after a while. I'm always telling myself that it's fine, that he's entitled to that, that more of a really good thing continues to be a good thing. And those who watch Hook and Harry Potter only once, are less likely to notice the similarities anyway.
Why I have confidence in a Williams' score for Indy 5, even if it's the "brand" Williams rather than the man himself doing most of the work, is because the Indy scores have amassed several amazing themes, and an overall great "sound", that can be repurposed, remixed, expanded on and more. I'm not saying the next film doesn't deserve better than just a recycled score, but at least there's a fruitful template for someone else to work with, if the Williams sound is indeed what they want, and if John Williams himself can't do it anymore, which I wouldn't hold against him at this point. The man has given us some of the most epic film scores in history and I will always admire and respect him.
The being an unapologetic nod to the early films of Stephen Spielberg. Giacchino Beautifully captures the spirit of Williams’ scores without simply aping his style.
I would be more than happy if Giacchino scored, or better yet collaborated With Williams, the upcoming adventure of Dr. Jones.