So, old Kev is getting back into the directing saddle, his last time being the rather splendid OPEN RANGE, which featured a low-key, but worthy score by Michael Kamen. After DANCES WITH WOLVES, he had primary connections with James Newton Howard on subsequent projects and I wonder if he will tap his old pal to score this long gestating project. I'm actually quite excited to see and hear a new western pic from Costner, arguably the genre where he's been at his best and had his biggest success. Thoughts anyone?
I'm game for another JNH/Costner collab. If you expand the definition to also include his acting gigs, the roster is even greater. Brian Tyler -- who I normally have issues with -- did a splendid score for YELLOWSTONE, which Costner starred in. That had a definite western vibe, so maybe Tyler is on....uhm, Costner's horizon for his.
Based on their collaboration on The Postman, which is one of my favourite scores by JNH, he could definitely deliver a wonderful western score for a Costner movie.
Thoughts anyone? Very excited by Costner's return behind the camera after the wonderful OPEN RANGE, it was about time. JNH would be great, sure, although it depends also how big the budget of the movie will be. Why JNH didn't return for GLASS for example?
Thoughts anyone? Very excited by Costner's return behind the camera after the wonderful OPEN RANGE, it was about time. JNH would be great, sure, although it depends also how big the budget of the movie will be. Why JNH didn't return for GLASS for example?
I'm not, really. Had to playlist the crap out of NEWS OF THE WORLD to make it work as an "album". His score for this would probably be similar (although there's no telling, of course, JNH is bingo these days). Curious what Debney will do -- hopefullly it's more rewarding than HATFIELDS & MCCOYS.
Hmmmm, interesting. I'd much rather take a JNH in ANY mode score over something borrowed/generic from John Debney (I'm not saying Debney can't/won't knock it out of the park, but I'm sure I will have heard a lot of it already/before).
I get what you're saying about NEWS OF THE WORLD...it is overlong and somewhat drony/dreary at times on the CD, but I love the folk/hymnal aspects of it.
Here's my whittle of it (from the whittle thread)..
'News Of The World' (JNH).
1. Capt Jefferson 2. There Is No Time For Stories 3. Leaving Wichita 4. Arriving At Red River 7. The Road To Dallas 8. It's Hard Finding Your Way Home 10. What Else Can You Teach Me? 13. Johanna Returns Home 15. A Gift 16. Castroville 17. Kidd Visits Maria 18. Miss Johanna Kidd 19. End Titles
It runs around 40 minutes and eliminates most of the moody/drony atmospheric stuff and the 10 minute chase/shoot out sequence Dime Mountain (but worry not, it's not like the chase action stuff from WYATT EARP, even if it does work fine for the film sequence, modern scoring style).
1. Captain Jefferson Kidd 2. There Is No Time For Stories 3. Leaving Wichita 4. Arriving at Red River 5. Johanna's New Clothes 6. The Road to Dallas 7. Johanna Returns Home 8. A Gift 9. Castroville 10. Kidd Visits Maria 11. Miss Johanna Kidd 12. End Titles
Total running time: 36 minutes.
Sorry, going off-topic again, this should have been in the whittling thread. Back to Debney and AN AMERICAN SAGA.
Based on their collaboration on The Postman, which is one of my favourite scores by JNH, he could definitely deliver a wonderful western score for a Costner movie.
Postman is a terrific score and I liked the movie, as batty and indulgent as it is. It's watchable bad for sure. Has there ever been an expanded score??
This movie could do really well in a "Sound Of Freedom" type of way. Will they ask for extra money at the end?
No. This is a movie backed by a major studio for an aged movie star. And it aims to be like Westerns of the past. If it finds an audience, it will likely be for older people (over 30). As we have seen last year and this year, movies that can take this "old school" risk may be rewarded (thinking of Top Gun: Maverick for the movie star angle, and Oppenheimer for the Great American Epic angle). Sound of Freedom needed its crowdfunding and ticket donation angle because its subject matter is grim and somewhat taboo so the appeal needed to be specifically aimed at people already prone to tithing.