Oh woa, snatched up the good Lionsgate and WB bundles there. I just happened to have some Apple funbucks on my account I'd been itching to use!
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KetarCome on upstairswe're having a partyRegistered Userregular
Production is beginning in Berlin on Duncan Jones' passion project, Mute, which he's been wanting to do since before he even debuted with Moon. He's described it as a science fiction film noir ala Blade Runner, or a futuristic Casablanca set in urban Berlin. Alexander Skarsgard and Paul Rudd are confirmed to be starring, and there's talk of Sam Rockwell appearing briefly as the Sam Bell character from Moon. The latter seems to go back to interviews from 7 years ago though, so I'm not sure if it's still happening or not.
He's working with his DP from Moon again. The score will be done by Clint Mansell, who provided the score for Moon.
“I’ve been working towards making MUTE for 12 years now. I cannot tell you how thrilled I am that we’re finally going to shoot this utterly unique film. The fact that I get to make it with Alexander Skarsgard and Paul Rudd makes it all the more exciting! MUTE is a film that will last. It is unlike any other science fiction being made today.”
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
... no?
I mean, yes, those themes are used at the beginning of each film, but especially in the cases of SW and HP, those themes are reused and remixed and restated throughout the films in varying emotional tones.
Calling them "the stuff with the opening credits" is extremely reductionist.
TexiKenDammit!That fish really got me!Registered Userregular
edited September 2016
Waffle Street (Netflix), one of those odd titled movies that seem to be low budget made with the intention of being sold to a streaming service, and has Danny Glover, one of those actors who will do anything for a paycheck these days, but it's surprisingly well put together and sincere in the story being told. It's one of those times where the Netflix algorithm seemed to actually recommend something I would like based on other movies (in this case Margin Call, Chef, The Confirmation, and Wolf of Wall Street)
In 2008, the other brother from One Tree Hill, the basketball one, the other basketball one, you know, the one from the movie Occulus? Well, he worked for a financial firm deliberately selling crappy bonds, but after making a big sell the company fires him and places the blame on him. He's been middle class and hard working financial guy his whole life, now he's basically blacklisted in the financial world despite doing what he was told to do, and looks to atone a bit by getting a blue collar job and get his mind straight. Being overqualified for a lot of jobs with no work experience in any type of manual labor field, he starts working at a Not Waffle House with the intention of buying a franchise after he logs 1,000 hours as per the company rules. So he goes from novice to learning the ropes all the while his wife (the cheerleader Justin Long pined for in Dodgeball and I think was in the Dallas reboot) is pregnant.
It's a film that is edited extremely well, with camerawork that looks much, much more expensive than the budget would appear, to the point where anyone interested in cinematography should watch it to see how to frame standard shots without being so static (the film basically goes steadicam a lot while shifting focus on the speaker in clever ways by use of perspective and foreground/background), and some after effects with onscreen text that also amp up the polish on the film with solid voice over the entire time like it's copying a Marty Score movie. I think what sells the film so well is how it's very honest about the Not Waffle House and the people there. They're not all blue collar shining beacons of can do attitude, and not everyone who has money is evil. It does have very obvious themes and you can the ending coming because it's puffing up the autobiography this was based on (and trying to be a counter to Wolf of Wall Street), but it always seems to know when to back off, the main theme always being find what you love, and until then let honest work clear your head. It's just...it's a very Hank Hill theme in the movie throughout and something I've always been raised with and that's why I appreciated it so much since I did that work in high school and college.
Think of that movie Detention and how it seemed like a labor of love by everyone involved, and while it might have missed in some places you admire it for sticking to its guns and showing how much earnest can make up for budgetary limitations. It's a solid good movie that is a tight 90 minutes and if you give it a chance I think you'll find it worthwhile, especially in comparison to Wolf of Wall Street.
I think having opening credits where the audience is introduced to leitmotifs for the film without much else to distract them from absorbing the music would lead to the music being more memorable.
But having more memorable music to begin with would also help.
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
... no?
I mean, yes, those themes are used at the beginning of each film, but especially in the cases of SW and HP, those themes are reused and remixed and restated throughout the films in varying emotional tones.
Calling them "the stuff with the opening credits" is extremely reductionist.
Also, there is a hell of a lot more to Star Wars music than just the main title theme. In the first movie alone, we have the music that plays during the boarding of Leia's ship; the Jawas' theme; the classic "Binary Sunset", full of adolescent yearning and also a variation on the "Force Theme" that will appear again and again through the rest of the saga; the blaring trumpet fanfare accompanying our first view of Mos Eisley, "wretched hive" though it is; the cantina band's famous tunes; Leia's theme, and the cue for the destruction of her world while she watches; "Inner City", the theme of the first Death Star; the tense music as the walls of the trash compactor close in relentlessly; the quiet background to Kenobi's stealthy sabotage, and the bold action theme when the shooting starts (which will show up again at the end, wait for it); the mournful tune for Ben's sacrifice that jumps into "TIE Fighter Attack"; the whole of the Battle of Yavin (there it is, like I said); and the throne room. Then you get to the second, and the bombastic awesome that is the Imperial March... the Battle of Hoth, "Asteroid Field", Yoda's Theme, the Emperor's, "Sail Barge Assault", "Into the Trap"...
And many (most?) fans of the saga can hum any of these from memory. Say what you will about John Williams, accuse him of swiping half his best stuff from Holst, but the man writes memorable scores.
I could fill another couple of posts with the Indiana Jones movies, or the first Superman, just off the top of my head, but I trust my point's been made. And that's just one (favorite) composer. James Horner, Alan Silvestri, Michael Giacchino, Howard freakin' Shore...
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
... no?
I mean, yes, those themes are used at the beginning of each film, but especially in the cases of SW and HP, those themes are reused and remixed and restated throughout the films in varying emotional tones.
Calling them "the stuff with the opening credits" is extremely reductionist.
I kinda have a tin ear, so for me, that is the most memorable time the music plays. Point being, the MCU does not have one piece of music that is the theme for the entire franchise like the other examples in the video.
It also helps when you weave themes into the story. You hear the force theme every dramatic moment. You here Luke's theme every time he enters a scene so on and so forth.
But if you're doing only scene music and then songs you don't have themes. I think this is OK. Certain movies or characters don't need themes, it certainly works a lot better in movies which are less ensemble and more thematic.
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ZampanovYou May Not Go HomeUntil Tonight Has Been MagicalRegistered Userregular
Also, Sony and Eon are saying the reports about Daniel Craig being offered $150 mil for two more Bond flick are, as I expected, complete bullshit
how much you wanna bet they put the rumor out themselves to bring someone else's price down
Why would that bring someone else's price down, unless they were already asking for more than $150 million for two films?
if I said I'd like 100m for two films and then a rumor started spreading that they'd rather have more Craig for 150 mil for two films I might think about bringing mine down to get in there because Bond status is worth more than just cash
American Ultra is... a movie you put on because you have two friends over and you ask "Hey what movie do you want to watch?" and one says "The Truman Show" while the other says "Bourne Identity" and then they look at each other like the other is nuts and you say "Well do I ever have the movie for the two of you."
It isn't bad. It's pleasant, which is odd because the violence is pretty excessive. And it isn't that funny, but that honestly makes it better. If it had gone the Pineapple Express route, it would've just been a Pineapple Express derivative. Just slotted in with the rest of the stoner comedies. Instead it plays it pretty straight, and laughs come from the absurdity of situations. John Leguizamo and Walter Goggins almost gleefully chew through all of the scenes they're in. I'm sure some analogy could be drawn between realizing you have to grow up and be an adult and make a relationship you're in work, and finding out you're a brainwashed government murder machine, but it's not necessary. You can just enjoy the low budget action aesthetic and watch things unfold.
+5
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ElJeffeRoaming the streets, waving his mod gun around.Moderator, ClubPAMod Emeritus
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
I also have an issue with the idea that Star Wars, et al, succeed because they're daring and take risks with the music. I mean, John Williams is great, the Star Wars score is great, but it's not like Williams was all, "Okay, I have this crazy idea, let's score our dramatic space epic with soaring, exciting music," and Lucas was like, "Whoa there, you fucking loon, we'll have none of your wild risky nonsense, we're going the safe route and scoring this thing to Yakety Sax."
The music isn't memorable in these cases because it's risky and unexpected, it's memorable because it's really fucking good at being exciting when you need it to be exciting.
ElJeffe on
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
I also have an issue with the idea that Star Wars, et al, succeed because they're daring and take risks with the music. I mean, John Williams is great, the Star Wars score is great, but it's not like Williams was all, "Okay, I have this crazy idea, let's score our dramatic space epic with soaring, exciting music," and Lucas was like, "Whoa there, you fucking loon, we'll have none of your wild risky nonsense, we're going the safe route and scoring this thing to Yakety Sax."
The music isn't memorable in these cases because it's risky and unexpected, it's memorable because it's really fucking good at being exciting when you need it to be exciting.
It's more then that though. It's memorable because it's prominent. The movie makes sure you know the score is happening.
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AstaerethIn the belly of the beastRegistered Userregular
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
I also have an issue with the idea that Star Wars, et al, succeed because they're daring and take risks with the music. I mean, John Williams is great, the Star Wars score is great, but it's not like Williams was all, "Okay, I have this crazy idea, let's score our dramatic space epic with soaring, exciting music," and Lucas was like, "Whoa there, you fucking loon, we'll have none of your wild risky nonsense, we're going the safe route and scoring this thing to Yakety Sax."
The music isn't memorable in these cases because it's risky and unexpected, it's memorable because it's really fucking good at being exciting when you need it to be exciting.
Compared to Marvel, though, that is risky and unexpected.
Honestly, though, I think it's less that the music is generic and more that it's fucking buried. There's so little time in the Marvel movies for moments that are just music and visuals. Star Wars music is memorable in part because there are parts of the movie where you're just watching the sun set and listening to a mournful theme, or you're reading the opening crawl while trumpets blare, or you're listening to the Imperial March while Vader, uh, marches over to whoever he's talking to next. Marvel movies almost never have that kind of contemplative moment or whatever; they're wall to wall dialogue and sound FX (or it's an action sequence, and action music is almost never memorable).
It's kinda odd, because super hero movies often have really strong, memorable music--the original Superman theme, for instance, or the Elfman Batman theme, or the memorable (if too complex to really hum) score from the Nolan movies, or the excellent theme from Unbreakable, or the powerful climactic music in X-Men... the list goes on. You'd think a studio so obsessed with their protagonists would be sure to give each of their heroes a strong theme, but other than Iron Man (who uses the Black Sabbath song), they really didn't.
But maybe it's just because Marvel makes the same decisions with composers that they do with directors, looking mostly for journeymen that will give them a reasonable, generic score time and again. I just looked through the resumes of the eight or nine composers who have worked on Marvel films so far, and in all of their work combined there's probably less than five really good or memorable scores. (Watchmen, Pacific Rim, one or two others.) When you hire interesting people and give them room to be creative, you get interesting, exciting work out of them. But when you treat your cinematic universe like one big television show, and score it accordingly with off-the-shelf, forgettable background shit, you're going to get exactly the problem that Every Frame a Painting pointed out.
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
I also have an issue with the idea that Star Wars, et al, succeed because they're daring and take risks with the music. I mean, John Williams is great, the Star Wars score is great, but it's not like Williams was all, "Okay, I have this crazy idea, let's score our dramatic space epic with soaring, exciting music," and Lucas was like, "Whoa there, you fucking loon, we'll have none of your wild risky nonsense, we're going the safe route and scoring this thing to Yakety Sax."
The music isn't memorable in these cases because it's risky and unexpected, it's memorable because it's really fucking good at being exciting when you need it to be exciting.
I kind of need a version of the trilogy where all the music is replaced by Yakety Sax now.....
ZampanovYou May Not Go HomeUntil Tonight Has Been MagicalRegistered Userregular
while I do agree that the marvel movies have largely missed a solid opportunity to give each character a strong theme, (especially in the Avengers movies where it could potentially really shine) I don't really think they need a particularly strong opening theme type of thing
The accompanying video of temp tracks and the music they eventually used is hilarious. They're barely even trying!
I like using temp tracks, they help set a tempo, so if an early edit of a scene uses a temp track they can time the visuals to the beat and you know whatever you end up creating will also fit because it has been timed to existing music, great!
The problem arises if you gotta create something with the same specific elements as the temp track. Not just 'try and create the same tone and feeling as this' but 'use the same dun dun synth noise and that anvil hit'
Cause then your final piece is at the same speed, with the same tone and same elements as the temp track. And you have just created... a remix of the temp track.
while I do agree that the marvel movies have largely missed a solid opportunity to give each character a strong theme, (especially in the Avengers movies where it could potentially really shine) I don't really think they need a particularly strong opening theme type of thing
Didn't every solo film have one? Including Loki? IIRC Avengers recycled those scores for the characters, which is why the score seems so diluted.
Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
While there has been some continuity from Phase 2 onwards, Avengers movie threw most of them up til that point out. Cap's was still there, IIRC it's the thing that plays in the museum in Winter Soldier that was his theme in First Avenger and Assemble. Black Widow and Hawkeye didn't get anything in their earlier appearances, Iron Man's was gone in favour of AC/DC heralding his appearance, never noticed Thor having one and Hulk's earlier movie is the closest thing to retcon'd there is.
While there has been some continuity from Phase 2 onwards, Avengers movie threw most of them up til that point out. Cap's was still there, IIRC it's the thing that plays in the museum in Winter Soldier that was his theme in First Avenger and Assemble. Black Widow and Hawkeye didn't get anything in their earlier appearances, Iron Man's was gone in favour of AC/DC heralding his appearance, never noticed Thor having one and Hulk's earlier movie is the closest thing to retcon'd there is.
How has it been retconned? Only thing I noticed was that it was ignored, since they didn't bring back any characters aside from Banner and that he broke Harlem. There's absolutely nothing stopping them mining that film and the Hulk itself if they felt like it and they don't have to retcon anything to do it.
Watched No Country for Old Men since it popped up on Netflix, and I'd never seen it before. I liked it a lot! It was really tense, and kinda felt like a Tarantino film. I don't really like the ending though... It felt like it just kinda went "poof" and ended.
Everyone has a price. Throw enough gold around and someone will risk disintegration.
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
While there has been some continuity from Phase 2 onwards, Avengers movie threw most of them up til that point out. Cap's was still there, IIRC it's the thing that plays in the museum in Winter Soldier that was his theme in First Avenger and Assemble. Black Widow and Hawkeye didn't get anything in their earlier appearances, Iron Man's was gone in favour of AC/DC heralding his appearance, never noticed Thor having one and Hulk's earlier movie is the closest thing to retcon'd there is.
How has it been retconned? Only thing I noticed was that it was ignored, since they didn't bring back any characters aside from Banner and that he broke Harlem. There's absolutely nothing stopping them mining that film and the Hulk itself if they felt like it and they don't have to retcon anything to do it.
Hence 'close' - cause it doesn't matter. So any audio cues from it would be low down the list of things they reprise from it. ;P
Also, there is a hell of a lot more to Star Wars music than just the main title theme. In the first movie alone, we have the music that plays during the boarding of Leia's ship; the Jawas' theme; the classic "Binary Sunset", full of adolescent yearning and also a variation on the "Force Theme" that will appear again and again through the rest of the saga; the blaring trumpet fanfare accompanying our first view of Mos Eisley, "wretched hive" though it is; the cantina band's famous tunes; Leia's theme, and the cue for the destruction of her world while she watches; "Inner City", the theme of the first Death Star; the tense music as the walls of the trash compactor close in relentlessly; the quiet background to Kenobi's stealthy sabotage, and the bold action theme when the shooting starts (which will show up again at the end, wait for it); the mournful tune for Ben's sacrifice that jumps into "TIE Fighter Attack"; the whole of the Battle of Yavin (there it is, like I said); and the throne room. Then you get to the second, and the bombastic awesome that is the Imperial March... the Battle of Hoth, "Asteroid Field", Yoda's Theme, the Emperor's, "Sail Barge Assault", "Into the Trap"...
And many (most?) fans of the saga can hum any of these from memory. Say what you will about John Williams, accuse him of swiping half his best stuff from Holst, but the man writes memorable scores.
I could fill another couple of posts with the Indiana Jones movies, or the first Superman, just off the top of my head, but I trust my point's been made. And that's just one (favorite) composer. James Horner, Alan Silvestri, Michael Giacchino, Howard freakin' Shore...
I'm trying to imagine the Dollars Trilogy without any of the Morricone score. Wouldn't even be the same movie. You really notice the music in those, too, since there's long sections of them that are comfortable with silence, or just background noise.
In other words, somebody needs to come and pull New Jersey’s favorite mutant son from the toxic waste dump of his own franchise, and Conrad Vernon is here to attempt just that. Deadline reports that the Sausage Party co-director, who previously directed the more family-friendly animated films Shrek 2, Monsters Vs. Aliens, and Madagascar 3: Europe’s Most Wanted, has been hired to helm a remake of the 1984 original.
The film is being billed as a “re-imagining” of the franchise from a more “grounded and mainstream” perspective, which presumably means it’ll go lighter on the deliberately offensive ethnic and sexual humor compared to the Troma versions. The words “iconoclastic” and “subversive” are being thrown around though, so it’ll still be gross. “The opportunity to re-imagine a favorite cult-classic from my high school years is an honor. Toxie is an underground icon. My favorite kind,” Vernon says.
"Grounded and Mainstream" aren't going to do Toxic Avenger any favors. This gives me little faith in the remake being as good as the original, let alone good in general
Everyone has a price. Throw enough gold around and someone will risk disintegration.
"Grounded and Mainstream" aren't going to do Toxic Avenger any favors. This gives me little faith in the remake being as good as the original, let alone good in general
Yeah, too bad James Gunn is busy he'd be perfect for a zany remake.
edit: A director who might be able to make a grounded take work is Fede Alvarez, who directed Evil Dead and Don't Breathe.
I've been rewatching Brontosaurus AvalancheKing Kong, Peter Jackson's 2005 version. Some things are standing out to me more now: the play-acting edge that many of the cast are doing to evoke the era of 1930s movies; the slightly oversaturated blues and reds, certainly in the first third of the film, that also evoke the era and early attempts at colorization; stuff like that. Even some of the ropier effects sequences, and shots that are framed like old back-projections would have been, seem to fit with all this.
It's a shame the Blu-ray is relatively bare-bones compared to the 2- and 3-disc DVDs, but on the flipside it looks brilliant, especially for such an early HD release. Yeah, it's a flawed movie and it's too long, but it's just dripping with sheer love and passion for the project (especially, but not only, from Jackson) and I still love it.
If only all the remakes we got today were driven by the same passion and not just money and lack of ideas.
"Grounded and Mainstream" aren't going to do Toxic Avenger any favors. This gives me little faith in the remake being as good as the original, let alone good in general
Yeah, too bad James Gunn is busy he'd be perfect for a zany remake.
edit: A director who might be able to make a grounded take work is Fede Alvarez, who directed Evil Dead and Don't Breathe.
Only if Jane Levy plays the lead.
This post was sponsored by Tom Cruise.
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jefe414"My Other Drill Hole is a Teleporter"Mechagodzilla is Best GodzillaRegistered Userregular
"Grounded and Mainstream" aren't going to do Toxic Avenger any favors. This gives me little faith in the remake being as good as the original, let alone good in general
That EFAP has encouraged me to listen to some great movie scores today.
His work is always good, but I really appreciate that he showed how the MCU could actually promote their existing themes better by not stepping all over them.
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He's working with his DP from Moon again. The score will be done by Clint Mansell, who provided the score for Moon.
“I’ve been working towards making MUTE for 12 years now. I cannot tell you how thrilled I am that we’re finally going to shoot this utterly unique film. The fact that I get to make it with Alexander Skarsgard and Paul Rudd makes it all the more exciting! MUTE is a film that will last. It is unlike any other science fiction being made today.”
...and, yeah, I'm pretty much all in.
The major issue I have with this is that the Star Wars, Bond, and Potter themes are they are music that is played before the actual movie plays, and it's the same for each film. The MCU does not have anything similar to that.
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Also The first Captain America.
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... no?
I mean, yes, those themes are used at the beginning of each film, but especially in the cases of SW and HP, those themes are reused and remixed and restated throughout the films in varying emotional tones.
Calling them "the stuff with the opening credits" is extremely reductionist.
Steam: Elvenshae // PSN: Elvenshae // WotC: Elvenshae
Wilds of Aladrion: [https://forums.penny-arcade.com/discussion/comment/43159014/#Comment_43159014]Ellandryn[/url]
In 2008, the other brother from One Tree Hill, the basketball one, the other basketball one, you know, the one from the movie Occulus? Well, he worked for a financial firm deliberately selling crappy bonds, but after making a big sell the company fires him and places the blame on him. He's been middle class and hard working financial guy his whole life, now he's basically blacklisted in the financial world despite doing what he was told to do, and looks to atone a bit by getting a blue collar job and get his mind straight. Being overqualified for a lot of jobs with no work experience in any type of manual labor field, he starts working at a Not Waffle House with the intention of buying a franchise after he logs 1,000 hours as per the company rules. So he goes from novice to learning the ropes all the while his wife (the cheerleader Justin Long pined for in Dodgeball and I think was in the Dallas reboot) is pregnant.
It's a film that is edited extremely well, with camerawork that looks much, much more expensive than the budget would appear, to the point where anyone interested in cinematography should watch it to see how to frame standard shots without being so static (the film basically goes steadicam a lot while shifting focus on the speaker in clever ways by use of perspective and foreground/background), and some after effects with onscreen text that also amp up the polish on the film with solid voice over the entire time like it's copying a Marty Score movie. I think what sells the film so well is how it's very honest about the Not Waffle House and the people there. They're not all blue collar shining beacons of can do attitude, and not everyone who has money is evil. It does have very obvious themes and you can the ending coming because it's puffing up the autobiography this was based on (and trying to be a counter to Wolf of Wall Street), but it always seems to know when to back off, the main theme always being find what you love, and until then let honest work clear your head. It's just...it's a very Hank Hill theme in the movie throughout and something I've always been raised with and that's why I appreciated it so much since I did that work in high school and college.
Think of that movie Detention and how it seemed like a labor of love by everyone involved, and while it might have missed in some places you admire it for sticking to its guns and showing how much earnest can make up for budgetary limitations. It's a solid good movie that is a tight 90 minutes and if you give it a chance I think you'll find it worthwhile, especially in comparison to Wolf of Wall Street.
But having more memorable music to begin with would also help.
Rock Band DLC | GW:OttW - arrcd | WLD - Thortar
Also, there is a hell of a lot more to Star Wars music than just the main title theme. In the first movie alone, we have the music that plays during the boarding of Leia's ship; the Jawas' theme; the classic "Binary Sunset", full of adolescent yearning and also a variation on the "Force Theme" that will appear again and again through the rest of the saga; the blaring trumpet fanfare accompanying our first view of Mos Eisley, "wretched hive" though it is; the cantina band's famous tunes; Leia's theme, and the cue for the destruction of her world while she watches; "Inner City", the theme of the first Death Star; the tense music as the walls of the trash compactor close in relentlessly; the quiet background to Kenobi's stealthy sabotage, and the bold action theme when the shooting starts (which will show up again at the end, wait for it); the mournful tune for Ben's sacrifice that jumps into "TIE Fighter Attack"; the whole of the Battle of Yavin (there it is, like I said); and the throne room. Then you get to the second, and the bombastic awesome that is the Imperial March... the Battle of Hoth, "Asteroid Field", Yoda's Theme, the Emperor's, "Sail Barge Assault", "Into the Trap"...
And many (most?) fans of the saga can hum any of these from memory. Say what you will about John Williams, accuse him of swiping half his best stuff from Holst, but the man writes memorable scores.
I could fill another couple of posts with the Indiana Jones movies, or the first Superman, just off the top of my head, but I trust my point's been made. And that's just one (favorite) composer. James Horner, Alan Silvestri, Michael Giacchino, Howard freakin' Shore...
I kinda have a tin ear, so for me, that is the most memorable time the music plays. Point being, the MCU does not have one piece of music that is the theme for the entire franchise like the other examples in the video.
But if you're doing only scene music and then songs you don't have themes. I think this is OK. Certain movies or characters don't need themes, it certainly works a lot better in movies which are less ensemble and more thematic.
how much you wanna bet they put the rumor out themselves to bring someone else's price down
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Why would that bring someone else's price down, unless they were already asking for more than $150 million for two films?
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if I said I'd like 100m for two films and then a rumor started spreading that they'd rather have more Craig for 150 mil for two films I might think about bringing mine down to get in there because Bond status is worth more than just cash
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It isn't bad. It's pleasant, which is odd because the violence is pretty excessive. And it isn't that funny, but that honestly makes it better. If it had gone the Pineapple Express route, it would've just been a Pineapple Express derivative. Just slotted in with the rest of the stoner comedies. Instead it plays it pretty straight, and laughs come from the absurdity of situations. John Leguizamo and Walter Goggins almost gleefully chew through all of the scenes they're in. I'm sure some analogy could be drawn between realizing you have to grow up and be an adult and make a relationship you're in work, and finding out you're a brainwashed government murder machine, but it's not necessary. You can just enjoy the low budget action aesthetic and watch things unfold.
I also have an issue with the idea that Star Wars, et al, succeed because they're daring and take risks with the music. I mean, John Williams is great, the Star Wars score is great, but it's not like Williams was all, "Okay, I have this crazy idea, let's score our dramatic space epic with soaring, exciting music," and Lucas was like, "Whoa there, you fucking loon, we'll have none of your wild risky nonsense, we're going the safe route and scoring this thing to Yakety Sax."
The music isn't memorable in these cases because it's risky and unexpected, it's memorable because it's really fucking good at being exciting when you need it to be exciting.
It's more then that though. It's memorable because it's prominent. The movie makes sure you know the score is happening.
Compared to Marvel, though, that is risky and unexpected.
Honestly, though, I think it's less that the music is generic and more that it's fucking buried. There's so little time in the Marvel movies for moments that are just music and visuals. Star Wars music is memorable in part because there are parts of the movie where you're just watching the sun set and listening to a mournful theme, or you're reading the opening crawl while trumpets blare, or you're listening to the Imperial March while Vader, uh, marches over to whoever he's talking to next. Marvel movies almost never have that kind of contemplative moment or whatever; they're wall to wall dialogue and sound FX (or it's an action sequence, and action music is almost never memorable).
It's kinda odd, because super hero movies often have really strong, memorable music--the original Superman theme, for instance, or the Elfman Batman theme, or the memorable (if too complex to really hum) score from the Nolan movies, or the excellent theme from Unbreakable, or the powerful climactic music in X-Men... the list goes on. You'd think a studio so obsessed with their protagonists would be sure to give each of their heroes a strong theme, but other than Iron Man (who uses the Black Sabbath song), they really didn't.
But maybe it's just because Marvel makes the same decisions with composers that they do with directors, looking mostly for journeymen that will give them a reasonable, generic score time and again. I just looked through the resumes of the eight or nine composers who have worked on Marvel films so far, and in all of their work combined there's probably less than five really good or memorable scores. (Watchmen, Pacific Rim, one or two others.) When you hire interesting people and give them room to be creative, you get interesting, exciting work out of them. But when you treat your cinematic universe like one big television show, and score it accordingly with off-the-shelf, forgettable background shit, you're going to get exactly the problem that Every Frame a Painting pointed out.
I kind of need a version of the trilogy where all the music is replaced by Yakety Sax now.....
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I like using temp tracks, they help set a tempo, so if an early edit of a scene uses a temp track they can time the visuals to the beat and you know whatever you end up creating will also fit because it has been timed to existing music, great!
The problem arises if you gotta create something with the same specific elements as the temp track. Not just 'try and create the same tone and feeling as this' but 'use the same dun dun synth noise and that anvil hit'
Cause then your final piece is at the same speed, with the same tone and same elements as the temp track. And you have just created... a remix of the temp track.
Didn't every solo film have one? Including Loki? IIRC Avengers recycled those scores for the characters, which is why the score seems so diluted.
How has it been retconned? Only thing I noticed was that it was ignored, since they didn't bring back any characters aside from Banner and that he broke Harlem. There's absolutely nothing stopping them mining that film and the Hulk itself if they felt like it and they don't have to retcon anything to do it.
Hence 'close' - cause it doesn't matter. So any audio cues from it would be low down the list of things they reprise from it. ;P
I'm trying to imagine the Dollars Trilogy without any of the Morricone score. Wouldn't even be the same movie. You really notice the music in those, too, since there's long sections of them that are comfortable with silence, or just background noise.
Posted because one hardly needs an excuse:
http://www.avclub.com/article/co-director-sausage-party-re-making-toxic-avenger-242470
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Yeah, too bad James Gunn is busy he'd be perfect for a zany remake.
edit: A director who might be able to make a grounded take work is Fede Alvarez, who directed Evil Dead and Don't Breathe.
It's a shame the Blu-ray is relatively bare-bones compared to the 2- and 3-disc DVDs, but on the flipside it looks brilliant, especially for such an early HD release. Yeah, it's a flawed movie and it's too long, but it's just dripping with sheer love and passion for the project (especially, but not only, from Jackson) and I still love it.
If only all the remakes we got today were driven by the same passion and not just money and lack of ideas.
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Only if Jane Levy plays the lead.
So it'll be like the late 80's cartoon.
Also, why is there a Cabin Fever remake? Why is this a thing people put money into?
His work is always good, but I really appreciate that he showed how the MCU could actually promote their existing themes better by not stepping all over them.