I watched the original film and relistened to the score recently. The film had a bit of an identity crisis, it didn't seem to know wether it was a comedy or drama about a cop turned superhero. So not exactly a masterpiece. The music however was my first Safan score. I listened to the samples when it was released by Intrada, the Main Title sold me instantly. Good entertaining score.
One probably shouldn't get too excited about this reboot just quite yet. But if this comes to be, who do you think should score it?
How about somebody that nobody ever recommends yet is so very qualified for a gig like this? We've got Joe Kraemer, David Holmes, and Dave Porter. All people who should be working more than Brian Tyler.
John Scott Bruce Broughton Lee Holdridge Cliff Eidelman (not so old) David Newman Arthur B Rubinstein Frederic Talgorn (again, not so old) or how about... Craig Safan
Can we just NOT reboot it, or reboot anything else while we are at it?
Well, there is one positive thing about reboots/remakes and that is sometimes it takes a remake/reboot to make people discover the original one. Actually I confess that I would not see the original version behind Ocean`s Eleven if it were not for the remake.
Can we just NOT reboot it, or reboot anything else while we are at it?
Well, there is one positive thing about reboots/remakes and that is sometimes it takes a remake/reboot to make people discover the original one. Actually I confess that I would not see the original version behind Ocean`s Eleven if it were not for the remake.
agreed, and it COULD be made well, probably not though. My problem is that right now Hollywood can't pull an original idea out of anywhere.
Well, with Shane Black directing I would expect it to be either John Ottman or Brian Tyler.
That was my first thought too, though it'll be really interesting to see what direction he goes the first time he has carte blanche. I have a feeling the producers on KKBB (Joel Silver) and IM3 (Marvel) had some influence on those picks, to say nothing of the resulting scores. With this one, Black gets the run of the candy store. I wouldn't mind either of those guys but I hope Black gives a young composer a shot. Maybe Bear McCreary, who deserves a big movie break.
But they each have only worked with him once. Before a composer was announced on IRON MAN 3, people were going around this board smugly proclaiming that John Ottman would get the job (spoiler alert: WRONG!). What's with this bizarre assumption that directors only can and will work with people they've already worked with? Richard Donner hardly ever repeated a composer in his entire career, except on sequels. (With the exception of Kamen's ASSASSINS and Goldsmith's TIMELINE, neither of which made it to the final film).
I'd like to see someone like Bill Conti take it up - or have Craig Safan return! - but while I'm wishing, I'd also like to have several million dollars tax free and an Aston Martin DB9 while I'm at it.
I'm not a huge Bear McCreary fan, but it would be cool to see him get this gig. Brian Tyler has been doing enough super hero scores lately and with Avengers, he's going to be doing music for probably the biggest movie of the year, so I say give Bear a chance!
Selfishly, I would love to see David Arnold or John Powell get a chance to do this....
After his score for Jack Reacher, I'm not so sure about Joe Kraemer; and I find David Holmes to be massively overpraised. But that's only my view.
Well considering his score for Jack Reacher was very fitting and very good, I'm not sure I follow. And I also don't know where to find this overpraising of David Holmes but I would like to join in with his fans.
But they each have only worked with him once. Before a composer was announced on IRON MAN 3, people were going around this board smugly proclaiming that John Ottman would get the job (spoiler alert: WRONG!). What's with this bizarre assumption that directors only can and will work with people they've already worked with? Richard Donner hardly ever repeated a composer in his entire career, except on sequels. (With the exception of Kamen's ASSASSINS and Goldsmith's TIMELINE, neither of which made it to the final film).
Well if the director and composer hit it off with each other it can be that what makes the director wants to hire the composer of his previous film(s). If they like to collaborate then why not continue to do so. Unless the director wants to work with someone else or the producers/studio head have other ideas then I get it why they don`t work together on future projects.
