He did surprisingly good score to Shaft so if he can do something similar with Fletch, I`m in. What he did with Shaft was made it sound just like if it was done back in 70-s and yet he did something new and modern at the same time so I was really positive about what he had done with that score so if he`s hired to Fletch on that merit alone then I compltetely understand why they wanted him. I am now looking forward to that movie...or at least that score.
First of all, it's a pretty crazy enterprise to follow in the footsteps of the legendary Chevy Chase movies, but this might have a completely different twist on the source material, who knows?
Second, I'm delighted to hear that Arnold has a solo feature film assignment again (if it is indeed solo). Last solo feature film score was, if I'm not mistaken, PAUL way back in 2011.
Third, while one can certainly miss the prospect of hearing another brilliant Faltermeyer score -- especially now that he might be "on the radar" again after his TOP GUN: MAVERICK work -- Arnold is indeed good at pastiche. But I seriously doubt he's doing any Faltermeyer-like stuff for this, as the whole project seems to be a very different beast altogether.
Beyond delighted that Arnold is doing this. I have missed his style in the current scene. Falthermeyer’s scores were okay but not as good as some of his other projects from the era. Really excited to see how Arnold approaches this project.
I'm not 100% sold on the trailer, but I doubt either or the original films have a lot of nostalgia value these days ( although the first one was fun, I've seen the sequel and don't remember a second of it ). They're not talked about a lot when 80's films are the topic.
Same for the scores. Not to sound harsh, but I can't see Faltermeyer being tied in with Top Gun or Beverly Hills Cop. But not Fletch. I'm glad Arnold has the job.
This isn't a third film in the series, but a film based off the books and not directly related to the Chevy Chase ones; there's not only no reason why Faltermeyer should be hired, there's no reason to use his theme. Just like if a new Conan the Barbarian film unrelated to the Arnold films came out, there's no reason to use Poledouris' theme.
This Godawful looking thing is its own thing. I suspect, looking at this horrible trailer, they probably want a James Bond knock off score or something like that. David "fucking" Arnold is WAY too talented to be scoring shit like this.
This isn't a third film in the series, but a film based off the books and not directly related to the Chevy Chase ones; there's not only no reason why Faltermeyer should be hired, there's no reason to use his theme. Just like if a new Conan the Barbarian film unrelated to the Arnold films came out, there's no reason to use Poledouris' theme.
oh! but they use exactly chevy's movie font for the title
This isn't a third film in the series, but a film based off the books and not directly related to the Chevy Chase ones; there's not only no reason why Faltermeyer should be hired, there's no reason to use his theme. Just like if a new Conan the Barbarian film unrelated to the Arnold films came out, there's no reason to use Poledouris' theme.
oh! but they use exactly chevy's movie font for the title
That's actually the font from the original novel series cover art.
I dunno, looks pretty funny to me. Though I agree the cinematography is to dark. I recall liking the first Fletch film but I remember nothing about the second film. This is clearly a different beast.
This isn't a third film in the series, but a film based off the books and not directly related to the Chevy Chase ones; there's not only no reason why Faltermeyer should be hired, there's no reason to use his theme. Just like if a new Conan the Barbarian film unrelated to the Arnold films came out, there's no reason to use Poledouris' theme.
oh! but they use exactly chevy's movie font for the title
That's actually the font from the original novel series cover art.
I saw the film today and, as someone who’s never seen the previous Fletch movies or read the books, I quite enjoyed it. Not especially hilarious or memorable and it concludes somewhat messily, but it’s an amusing enough comedy mystery with a zippy pace, Hamm also suits the role very well.
Glad to see Arnold scoring a film again but I have to say I hardly noticed the score, some noir-ish jazz and low key mystery music, but it didn’t seem like there was a lot of it.
There's 3 Arnold tracks (totaling 5 minutes) on the soundtrack album, which is now out in any country where it's already Friday
1. Tunnel Escape – David Arnold (1:03) 2. Senor Blues – Horace Silver (7:01) 3. Portuguese Washerwoman – Astrud Gilberto and Walter Wanderley (1:30) 4. Goin’ Home (SACD Version) – Ike Quebec (5:41) 5. Let’s Get Lost – Chet Baker (3:44) 6. This I Dig of You – Hank Mobley (6:24) 7. Don’t Explain (Remastered 2015) – Dexter Gordon (6:04) 8. Stella By Starlight (2004 Digital Remaster) – Chet Baker (3:56) 9. Moanin’ – Art Blakey & The Jazz Messengers (9:35) 10. Dirty Water – Trombone Shorty (3:47) 11. Before the Tear Drops – Vintage Trouble (3:26) 12. Fletch in the Alley – David Arnold (0:59) 13. Chilled Room – Bluewerks & Zmeyev (2:30) 14. LATHI – Weird Genius & Sara Fajira (3:09) 15. Picasso – David Arnold (3:04)
