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Sure, JNH wrote some great music for those movies... but they were terrible movies!
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Yeah, I'm not on the Shyamalan-hate bandwagon, sorry.
I really liked Sixth Sense (not sure about rewatch value),
LOVED Unbreakable,
found Signs engrossing and filmically brilliant despite some silly plot elements regarding water,
LOVED The Village (don't comprehend the hate towards it at all, honestly...the twist worked brilliantly for me),
and found Lady in the Water so completely nonsensical that Shyamalan's talents as a director were not enough to save his apparent inability to write a coherent story/script for this film. 
Didn't ever bother seeing Last Airbender, and from what I've heard of the film, even from Shyamalan fans, I'm not missing much but should check out the animated TV series it's based on. 
And now for my shocking confession...I (and my wife) actually really loved the much-derided The Happening upon seeing it in theater. I know it was endlessly mocked, but I honestly thought it was clear enough that it was a dark comedy (with some terribly disturbing elements and clearly genuine environmental messaging, of course) and I'm kinda mystified that most people don't seem to realize Shyamalan was in on the joke. I mean, stuff with people making fun of Mark Wahlberg talking to the plants...clearly people didn't get that scene was supposed to be funny in the first place??
Also, the score for that was absolutely brilliant and one of my favorites of the entire collaboration. Amazing cello writing.
I never saw their final collaboration, After Earth, because honestly that score was pretty underwhelming and I have little love of Will Smith (beyond MiB) or especially his son Jaden...
Yavar
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Posted: |
Apr 4, 2018 - 9:58 PM
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By: |
Khan
(Member)
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However, Blumhouse is cheap as hell and keeps those budgets as threadbare as possible. The music budgets are probably especially laughable.
Yes, I hadn't seen that this was Blumhouse. Their entire modus operandi (and it's been enormously profitable for them) is to produce movies for just a few million dollars (never above $10 million, and rarely approaching that). For comparison, a movie like "Fantastic Beasts and Where to Find Them" cost $180 million. Not that that went to Howard, of course, but he was certainly compensated well above what Blumhouse would be willing to pay.
And since Shyamalan won't be given the reigns of a big budget anymore, he and Howard may simply not be destined to work together anytime soon.
I'm sure that being reigned in, budget wise, has helped with the quality - The Visit and Split are both on the positive side on Rotten Tomatoes, and both are very profitable (not that profit is always a sign of quality).
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Take it for what it's worth, but a poster at FilmMusicReporter.com said:
I have heard it from JNH himself, at a composer talk, that he is working on Glass. He said it wont be as full composer, but that he will be doing something on the film.
IF true, I would assume J.N.H. is handling the Unbreakable stuff and the other guy is handling the Split villain stuff.
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No J.N.H. for this.
No Silvestri for the new Predator film.
Anything else? Geez.
well, No Joe Kraemer for the new Mission: Impossible film...
Not quite the same though.
J.N.J. has a history of working with Shyamalan.
Silvestri scored both of the Predator films.
Meanwhile the M: I films have a history of composer switching.
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Not quite the same though.
J.N.J. has a history of working with Shyamalan.
Silvestri scored both of the Predator films.
Meanwhile the M: I films have a history of composer switching.
If anything it's actually Silvestri that's the odd one out, having only scored the first two Predators but not, um...Predators...or the AvP films either if you count them. It isn't as if the Predator "franchise" doesn't also have "a history of composer switching" just because Silvestri scored two.
On the other hand, as pointed out, Joe Kraemer has scored not only the previous M:I film but also every Christopher McQuarrie movie since the year 2000. Now McQuarrie hasn't been as prolific a director as Shyamalan, granted.
Yavar
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Silvestri[/bn] score the original two films, which is two out of three if you count that crappy ones from a few years ago.
AvP is a spin-off combo film and not strictly a Predator film.
No odd man out here.
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Scoring two films, to me, does not *quite* a trend make. (And he didn't score the latest one, even if you don't count the AvP films.) If it did, you wouldn't have said what you did about the M:I series because as was pointed out already, Michael Giacchino scored the exact same number of M:I films as Silvestri scored Predator films.
On the other hand, Kraemer scored *three* McQuarrie films -- all of them, besides -- over a 15 year period.
But I'm bored with this now...
Yavar
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JNH almost exclusively does "prestige" projects these days and probably doesn't need or want to lower himself to the standard of a Blumhouse-quality film...
Yes, true, no composer would want to be associated with films like *squints* Academy Award Winning, Golden Globe-nominated, BAFTA-nominated, WGA Award Winning, multiple other critics circles and awards nominations and wins, $255 million grosser Get Out.
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Oh MAN do I hope Michael Abels gets more work because of that excellent debut score. I worry because it was ignored by various awards shows unlike other aspects of the film...
Yavar
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