Pagan and Dan have a catch up and nerd out about Kena: Bridge of Spirits and John DiMaggio’s appearance on Retro Replay this week. All of which comes from a massive tangent about The Snyder Cut and Godzilla VS Kong.
We finally entered Phase 4 of the MCU after having a one-year hiatus on any content. WandaVision just ended and we are stepping into the world of more TV adaptations and movies. What does this all mean for the future of the MCU?
We got to sit down and have an amazing chat with Retro Replay sound engineer and Mixer, Paul Both. Paul has been a musician and sound engineer for over 20 years and has been working on Retro Replay for the past 2 years.
Mike Drucker is a writer and comedian living in New York City where he works as the co-head writer and co-executive producer of Full Frontal with Samantha Bee and recently published a book about Silent Hill 2. Lily K sits down with Mike for an interview about his career, his favorite video games, and the book itself!
March is the month for Monsters. Not only are we getting a new Monster Hunter game exclusive to the Switch, but we’re also getting several Monster Truck games. I wonder if someone had a meeting about this?
Meet Katelyn Johnson, a talented video game environmental artist who rose to the challenge and overcame doubt and fear to make her dreams come true and is currently working with Santa Monica Studio on the highly anticipated God of War game.
Imagine a time before streaming videos when movie rental stores had not only the latest and greatest movie, also unknown B movies you hear about from family and friends. The Trancers sci-fi film series we such B movies, and, in spite of some unusual plot choices and lower-budget productions, they’re worth checking out.
The title shall speak for itself, but in case it doesn’t: I am Chloe Frazer, I played Little Hope and now I’ll tell you my thoughts on it. Do I approve or not? You’ll find out if you read this article, because this is what I do now, while the lockdown lasts at least or maybe… a bit longer.
Escape to a world where you can be the main character and live out a life that you actually have control of. Or maybe you just wet yourself? Brandy shares some of her hilarious adventures playing The Sims 4.
Star Wars is a story that binds us together, flowing through our imaginations, keeping the human spirit bound to the determination to make the galaxy a better place. Whatever story, timeline or character you are drawn to keep the imagination alive for the next generations.
Vader is Luke’s bad guy. Rosebud was the name of a 2-hour long question. From the beginning, Bruce Willis was in the movie the WHOLE time.
We live in a time of SPOILERS everywhere. One of the big questions about it, if you haven’t heard, is “Does knowing the twist of a movie or video game actually ruin the whole story for you? Or was the whole thing only hanging on the twist alone, making the story weak by comparison.” Well, much like buttholes, everyone has an opinion. And I have a butthole because I’m one of those “everyones.” So, let’s explore my… “opinion” in this article, which I’m certain no one asked for.
Here’s a short story for you to set up the discussion:
A woman walks into a room with a glass of wine, sits next to her husband, and says, “I love you so much. I just want you to know that I couldn’t make it without you.” The husband says, “Is that you talking, or the wine?” The woman says, “Neither. It’s me talking to the wine.” (pause for laughter)
This is an example of subverting expectations, otherwise called “the twist.” This twist is what can be “spoiled” for an audience if they know about it before experiencing it.
Let’s science this bitch.
Expectation subversion a commonly-used tool in telling jokes. You set up the story and tell it in a way that forces the audience to logically think of how it’s going to end. By the end of it, you have presented a “twist,” forcing the audience to rethink the story and see it in a new way with new information. In joke-telling, you have to make this new information work without the need to think too long about it. It needs to hit quickly, register fast, and invite the audience to laugh at the jab. The audience laughs not because they were tricked but because they feel rewarded for deciphering the information correctly.
And that’s the word I want you to focus on when it comes to the twist: the REWARD.
Ok, lesson over.
Now my big question: Is giving key information about a story actually spoiling that rewarding experience?
Let’s take that concept of reward and try to contextualize it to a shared experience. Given the subject matter, I believe many people familiar with this website and its contents have completed a little unknown Indie video game called Uncharted 2: Among Thieves. If not, get the hell off the internet and go play this masterpiece of a game and have your life changed forever. NOW! If you prefer to trudge on, please be forewarned: MAJOR ACTUAL SPOILERS AHEAD! Let’s do this.
So after Nathan Drake dies… ok, just kidding (always wanted to do that).
Zoran Lazarević: A mug only a mother can love… after a whole bottle.
The entirety of Uncharted 2 tells you the story of Nathan Drake and company trying to blah blah blah. If you made it to this part, you know the story. The point is that the focus of the story always sustained itself to one primary objective: finding the Cintamani stone. The only character that actually knew what was going on was the antagonist, Zoran Lazarebitch (great joke, and I don’t know how to do the accented c on my keyboard). When you finally realize what all the cryptic information about the stone actually meant and what it did, it was a proverbial “kick to the nuts.”
I’ll never forget what I felt when Drake said, “You gotta be shittin’ me,” after realizing the stone’s true purpose. When he knew something was up, I knew something was up. When he received the new info, I figured it out with him. Granted, he was quicker than me to grasp the concept, and then he told me, but I was there for the ride every step of the way. WE earned this together. And everything in my soul felt that reward. This is subversion done correctly.
So, for Uncharted 2, is knowing this key information spoiling the rewarding experience?
Well… EVERYTHING about the information gained in your first playthrough affects how you experience the story on the second playthrough. Noticing the twist being foreshadowed throughout the game and putting the information together actually AMPLIFIES the reward felt each time you play it. That’s why so many people play the game multiple times a year even to this day.
That’s why I’d refer to this as “good” subversion.
Now for an example of bad subversion (dun dun duuuuuun). For this one, I’m going to exploit my headache-inducing memory at the expense of making my article work: Game of Thrones’ series ending. (Sorry, Michelle!) Obviously, SPOILERS AHEAD.
Honestly, this would have been an improvement.
Unlike Uncharted 2, the Game of Thrones series is all over the place. There are characters making decisions on things everywhere for different reasons all the time. When they eventually act on those decisions, their actions are arbitrary at best. If you think about their actions for more than half a nanosecond, you’ll notice toward the end of the series that all the characters started acting in different ways (like complete dumbasses) than we recognize because they needed to get to the predetermined (bad) ending the show-runners created. The result was that every character’s decision was forced to trigger that “twist effect.
When the subversion itself is done well, as in Uncharted 2, the media in question gets noticed and elevated to artistic ranks. It’s no wonder why everyone is trying to capitalize on this “expectation subversion” mechanic. But when you continue to do the “expectations” part for years and then “subvert” only in the final minutes, it has an opposite effect on the people taking in the information: they feel no reward and, instead, feel cheated.
So how does knowing Game of Thrones’ key information affecting that rewarding experience?
The setups were cheap thrills that kept me watching through the end of the series but then left me feeling punished for retaining all that info by the end, making me a sad, sad boy. Many current shows are actually guilty of this same tactic. And that’s by design. Not the sucking part, but trying to keep people guessing and then forcing the twist at the end. Bad subversion.
By the way, if you’re loving this topic, dive into it more in this video from Overly Sarcastic Productions, which inspired my article: Trope Talk: Plot Twists.
So, knowing the twist in a story will absolutely change the experience. That said, it can either hurt or enhance your experience. If I spoiled the punch line of the joke at the beginning for you, it wouldn’t have had the same impact. It would have weakened your experience and cheated you out of a laugh. Knowing the end of Uncharted 2 won’t lessen the impact of such an incredible story because you need the whole story for the impact to matter. In contrast, knowing the end to Game of Thronesdoes spoil the ending because you know that the cheap thrills they give you aren’t leading to a rewarding payoff.
People will experience things differently, that much is known. People also want to have control over how they consume those experiences. When someone changes that organic experience for someone else by forcing information on them about a story, it can rob them of the intended emotions created by the storyteller. Everyone has the right to choose what information they want going into a story, and that’s always fine. But please keep in mind not everyone thinks like you.
As a writer, I create stories that I hope will “wow” the audience. I want the reader to enjoy the journey, and I hope they’ll want to return to that journey and experience a new kind of joy each time. Even if knowing the big “twist” doesn’t ruin their reward, it would deny them that FULL experience I initially intended. It robs them of that gut punch from the reveal, something that storytellers usually work very diligently to create. So, to all the people that get a rise out of spoiling things for others, I say this:
Don’t be asshats… um… please?
You made it to the end! This is for those of you that didn’t TLDR.
What stories have you had spoiled for you? Or what are some great, or terrible, twists that you’d like to praise or vent about? Let’s chat in the comments, but let’s try to keep things spoiler-free. (You know, like I didn’t.)
2021, and still in quarantine. COVID-19 brought us a completely new way of life. We have had to learn how to adapt our home-life to accept our work-life, school-life, and gym-life. Companies have had to adjust to working from home, even if they were reluctant to at first. We have spent more time bathing in hand sanitizer, abiding (hopefully) by new state regulations, keeping our distance, and yet becoming more connected to people we never would have been able to before this. (YAY THIS WONDERFUL COMMUNITY!)
Wonder Woman 1984 is the first of big titles slated to open at home.
In order to appease our new way of life, companies have also had to adjust how they do business. This has resulted in many small businesses unfortunately closing, and large businesses completely re-doing their business plan. Movie theatres, among so many others, have been hit extremely hard. This has caused closures of theatres (in some cases permanently), large movie releases have been delayed, and the largest business that we never thought could be held back, the film business, was basically placed on hold. Due to this, one company has decided to release all their 2021 film line-ups directly to a TV near you! That’s right…Warner Brothers is releasing their entire 2021 lineup on HBO Max (you know, just like the title says). But why does this matter? We’re going to break this question down and see how this does matter, both from a consumer and a business point of view.
Live-action film Mulan, which was released at home on Disney+ for $30
First, we’re going to look at the business side. Currently, the release date that has been set for the movie will be the same date that the movie will simultaneously be released onto HBO Max for one-month access. This allows studios to maintain the relationship with movie theatre distributors while adjusting for the at-home streaming needs. Those who do not have access to HBO Max, since it is localized, will have the ability to “safely” see the movie in theatres if they so desire. Warner Brothers are considering this an experiment. They released the hit, Tenet, in theatres during the pandemic, and ultimately lost hundreds of millions of dollars. Releasing their line-up to an in-home streaming service is keeping them in the game with the likes of Disney +, who released Mulan earlier this year, as well as attempting to catch-up on lost revenue from the year that is 2020.
Historically, studios have viewed streaming services as the enemy, as they were taking away an integral part of the experience, i.e., going to the theatre. Because streaming services are their own companies, if studios were to give their movies to them, the studios would then lose control of the distribution of the film, as well as lose the box office statistics. Studios viewed the theatre as the only feasible way to make money, as it is considered a 1:1 profit relationship. However, that is also because there has simply never been another option to finance box office film budgets. It could be the whole “old school” thought process getting in the way, and resistance to change. Now, though, especially due to the pandemic, studios have had to begin looking at releasing their films to streaming services. With this new option, it is thought that the only way to be profitable is by releasing it to a streaming service they own, i.e. Warner Brothers and HBO Max. This is not only an experiment but also a gesture of goodwill pointing towards the potential future, and Warner Brothers are willing to be the guinea pig. With 35 million subscribers, they will be giving audience members the chance to see hit movies, on either platform they desire (movie theatre or streaming at home), ultimately and potentially, increasing the viewer numbers.
However, will it bring box-office smash numbers? The initial thought is no, not likely. There is so much money spent on the movie theatre business that many of you may be asking how will releasing on a streaming service increase revenue? Let’s look. If there are 4 people in a party going to a theatre, and tickets are ~$8 each. That would be $32 for the box office, as food sales do not go into box office numbers. If there are 4 people in a party at home, let’s estimate that the movies will be $30 (as that was the cost of Mulan) on top of the subscription fee. That is an approximate ~$2 loss at the box office, for 4 people. The trick here is the company is ‘assuming’ that everyone will be following the pandemic rules, and not going to other people’s houses. What if a group of friends gets together, or 3 families sit in on one purchase of the movie? That will actually result in a major profit loss. If the 3 families are of 4 people, to make math easy, that would have been $96 which is now dropping to $30, resulting in a $66 profit loss. We are obviously not in the board rooms to hear the meetings; however, this potential streaming option doesn’t look to be as profitable at first glance. Will this mean the quality of movies has to drop? Has this pandemic really shaken up foundations to that extent?
Are we destined to have to say goodbye to the deliciousness that is movie popcorn?
Now from the consumer side. If you, like me, are thinking, “But what about the movie-going experience?! The popcorn?! The butter?! The surround sound?! The giant screen?! THE BUTTER?!,” it may be time to begin mourning the loss of that delicious popcorn and it’s butter. However, we can now think about the convenience; the comfort of our couch, home-made snacks, family movie time, and not having to put on pants or a bra to see a hit movie! It can also result in savings for a family because, as stated above, we were only discussing box office revenue. The movie theatre does its part for a family by providing the food and drinks, so a trip to a theatre for a family of 4 could easily be up to the $70 range, depending on what extra snacks and drinks are purchased (a key contributor to theatre profits).
The other side of this is, what if you don’t have that subscription service? The way it seems Warner Brothers will be looking at it is if they release a hit movie they have already spent millions on that has people sign up for the service they didn’t already have, that would be more than the price of the film. Those people would then continue the subscription service to watch some of the shows provided exclusively on that service (oh, hey Game of Thrones). Once the movies that have been made prior to 2020 are released, it could be that film production budgets reduce, TV production budgets increase, making the two more similar in production values, and the subscription service more attractive for retaining customers.
So, does it really matter that all hit films from Warner Brothers will be released on HBO Max in 2021? My thoughts are – I am stoked to see Wonder Woman 1984 at home with no bra on! What do you think? Leave a comment below!
Star Wars became a pop culture phenomenon the moment it hit the scene. The sweeping, adventurous science fiction space opera, filled with intense family drama, discovery of self, and inner strength has won the hearts of millions worldwide. Despite its ongoing success and ever-growing, deepening fan base I have yet to meet someone who loves every single film, animated series, video game, book, and graphic novel. The scope of the Star Wars universe is so vast and diverse that it has attracted just as a diverse audience who can’t seem to agree on what makes this universe so magical. George Lucas revolutionized the film industry with his determination to bring his abstract ideas to life. Who would have thought an ongoing space drama would ignite the imagination of the whole world?
Safe Space: The Original Trilogy
If someone told you they never watched Star Wars before, where would you make them start the story? The way George Lucas intended it? Episode IV, A New Hope? Or would you suggest starting at the beginning with Episode I, the Phantom Menace? I have heard of parents introducing their children to the saga in the sacrilegious way of starting with Episode I. Those poor misguided younglings…
There is something sacred about the original trilogy. The saga started out as an underdog, with everyone involved having minimal expectations of its outcome. The success it saw overnight upon its release astounded it’s creators, paving the way for the next two installments. Out of the three original movies of the trilogy, everyone has their personal favorite, but everyone agrees the original trilogy is the best trilogy. It doesn’t matter which of the three movies you love: A New Hope as it is the introduction into the universe we’ve all grown to love; The Empire Strikes Back is where we see new and diverse landscapes, learn more about the mysterious Force and see a budding romance between two very opposite beloved characters; or The Return of the Jedi where we see the rebellion finally claim victor over the evil Empire and a final resolution to the complex family issues that span two generations.
Do you remember the first time you watched these magnificent films? How did you feel then? How do you feel now when you revisit them?
There is tangible magic that breathes life into Star Wars. We can all feel it. We get excited about it. Even casual fans are passionate about it. It is unanimous: the original trilogy is the best trilogy.
What Happened: The Prequels
No one asked for it, but when we all first heard that the Star Wars universe would once again be gracing the silver screen we ALL were excited. Where would the story pick up? How would it be developed? How would George bridge the gap between the last generation to the next? How would Anakin Skywalker’s descent into darkness be brought to the fore and how would this all leave us feeling?
When Episode I, The Phantom Menace, was released I was young enough to “enjoy” it for what it was. I had become a huge fan by the time I was twelve years old, but even at that young age, I wondered what the heck George was thinking. Nothing about the sequels was close to what I had remotely imagined the story would be like. When “Old Ben” briefly reminisces about his good friend Anakin Skywalker the storyline played out very differently in my mind from what George delivered to us as cannon.
I will never forget the feeling of betrayal and utter disappointment as I watched, on premiere night Episode III. Unpopular opinion: Episode III, Revenge of the Sith is the worst of the prequels. Here is why: The first twenty minutes of the movie seemed like it was filmed by amateurs, in a silly, comedic blooper-like medley of insulting jibs and ridiculous puns as the fate of the Galactic Republic is at stake. Twenty minutes of film that should have hit the editing room floor and forgotten forever. Twenty minutes of on-screen time that could have been used to a sweeping portrayal of the downfall, the onslaught massacre of the Jedi. Instead, we get less than three full minutes to mourn the key figures of this endangered, almost extinct order, as Order 66 sweeps the galaxy.
By the end of that film, I wanted to rage, as “Annie” did. This Annie is NOT okay. George got lost in the details, forgetting what mattered most. He lost focus, and those closest to him, in his creative realm, let him wander in the madness. He had forgotten the big picture and got sidetracked too many times along the way. The story we were left with was cobbled and lacking. The key players felt like cardboard cutout marionettes dancing to an off-kilter haunting unmelodic tune.
I haven’t gone full dark side. Yet. There is some good that came from the prequels. Ewan McGregor was magnificent as Obi-Wan Kenobi. I am beyond excited to see him return. Duel of the Fates is one of the most memorable, intense pieces of classical music created in modern times. The lore of Darth Maul was so compelling that fans demanded he is resurrected from the dead and given a key role in the animated series the Clone Wars. We got introduced to Boba Fett’s back story.
For a clip of Duel of the Fates click below:
I have found in many discussions that younger people tend to like, even love the prequels. It’s what they grew up on. I can understand that, from a certain point of view.
What are some things that you enjoy about the prequels?
The Mouse Becomes Our New Hope: The Sequels
Would you believe I predicted Disney would acquire Star Wars? I was ten years old and, in mixed company, someone asked me who my favorite princess was? I took a moment and thought about it. I wanted to say Ariel, but the moral of her story was to change yourself to find your prince. I wasn’t okay with that. Then, I wanted to say Belle, but she too sacrificed her independence at the incessant demands of a beast-man. Jasmine was a bit cocky to be a role model, running away from home thinking that’s how she could escape her problems. None of these princesses would do.
Who is the best princess? Princess Leia: composed, diplomatic, strong-willed, can handle herself when things get tough, not afraid to stand up for what she believes in, unwilling to change herself for a dashing, rascal smuggler. She is a true role model.
I gave my answer: Princess Leia. I was told to pick a Disney princess. I refused and repeated my answer. “But she’s not a Disney princess!” “Yet,” I finished. The “yet” prompted a response from two grown men not even invested in the conversation. “That will never happen, little girl!” “You don’t know what you’re talking about,” were the unsolicited replies I received. What other Empire would have the resources to acquire Star Wars? There is only one answer: Disney.
When I heard the news that Disney had officially acquired Star Wars and there was to be a sequel trilogy I was ecstatic. This news gave me a new hope (pun intended) that everything I had hoped to see would come to fruition.
They did not disappoint. Love them or hate them, the sequels paved the way for our expanded view of the galaxy we love. As someone who has read every expanded universe novel, I have enjoyed watching the creators of the new stories pull influence and ideas from this lore and sculpt it into something new. New tales are being told within the universe, but the Galaxy still feels like home.
(Featured here is my personal Star Wars collection.)
Kylo Ren was everything his grandfather, Vader, should have been. I had been waiting to see a villain of his caliber since the original trilogy. I finally received him. The ongoing battle between dark & light, the return and departure of beloved old characters, and nostalgia re-lived was the cathartic experience we all were hoping for.
I do understand some of the gripes people have about the new trilogy, but overall I am willing to overlook some of their imperfections for what they have given us in return. Disney wants to give us fans what we want. They are listening.
Rogue One was a breath of fresh air for all of us tired of the Jedi/Sith drama. We got to see the story told from the point of view of the normal people of the galaxy fighting to make a difference. The execution of the film captured the Star Wars essence without trying too hard or making things feel forced. (No pun intended). I went to see it with some friends and afterward, I turned to them and said, “You ask me why I continue to read Star Wars books and keep up on the lore. THIS is why. These are the stories I keep tuning in for.”
Solo: A Star Wars Story was a fun ride. Alden Ehrenreich was an odd choice for me as a young Han, but I did my best to enjoy the story for what it was. There will only be one Han Solo: Harrison Ford.
When it’s Mando season, every Friday or Saturday you get asked, “Have you watched the Mandalorian yet?” Everyone wants to know if it’s “safe” to talk about the new episode. The hype for what is going to happen next is alive and well. The story is beautifully crafted and delivered and we are compelled to stick with our favorite characters as they brush shoulders with some key players for the galaxy at large.
Jon Favreau gets it. He understands the bigger picture. He is creating with all of us in mind. For this, I am thankful. I hope to see this mentality from creators in the future for the next Star Wars projects.
Star Wars is a story that binds us together, flowing through our imaginations, keeping the human spirit bound to the determination to make the galaxy a better place. Whatever story, timeline, or character you are drawn to keep the imagination alive for the next generations.
Why do you love Star Wars? Share with me in the comments so we can keep the lore alive.
What makes a movie memorable? Is it the writing of the script? Is it the performance of the actors? Is it the cinematography, CGI, or set design? In truth, every single one of these items contributes to the lasting impression a good movie or show can leave. The directing, camera shots, and acting all play an incredibly important role in how a movie is produced and finalized into a finished product. However, there is one role within a movie that often gets overlooked or doesn’t get as much credit as it deserves. I’m talking about the ever-important role of the movie score!
This invisible presence in a movie has more impact than most people realize. Imagine this scenario; during an action sequence of Die Hard, you hear a love melody. Insert confused meme here! It wouldn’t have the same effect as the fun, action-filled music sequence Michael Kamen was able to put together for it! The role of a movie soundtrack is more than just filling the theatre with sound and noise; movies can do enough of that on their own. No, the role of a movie score is to provide depth, adventure, sorrow, familiarity, and a sense of knowing as a movie progresses.
Have you ever heard a song and gotten goosebumps? Have you ever heard a song from a movie and it instantly transports you back to the scene you know it from? This is the magic of a well-incorporated score. I would like to open this to more than just movies. One of the scores that really sticks out to me is that of the world-renowned TV series Game of Thrones. If you are able to tear your eyes away from the handsome actors and beautiful actresses and listen to the music, you will hear familiar melodic choruses, moving and manipulating the emotion of the scene depending on what is happening, or about to happen, in the show.
Take the Stark family theme, for example. The long, slow movements of the violin almost always incur tears of sorrow, due to their misfortune throughout most of the show. The only time it can be conceived as positive is when one family member meets up with another. It is a familiar tune we’ve become accustomed to hearing and are able to almost subconsciously know the direction the scene is going based on if we hear it or not.
For another example, listen to the Lannister theme. This is a some-what jovial tune that can be transitioned to incredibly sinister with the simple change of pace (and timing). Typically, it is heard once the Lannisters have been victorious, or carried out some evil scheme (*ahem*, Season 3 anyone?). Once again, it is a tune we became familiar with that almost provides us with a premonition of what is about to happen. The viewers themselves become the Three-eyed Crow, instinctively and subconsciously expecting what will happen next (see what I did there?).
All of this is to say that the importance of a seemingly simple instrumental collaboration is unequal to any other part of a production in portraying the director’s vision on-screen. Music has an amazing ability to turn a sad scene, into a tear-jerking scene. Or an action sequence, into a curse-word inducing fun time.
If you would like to hear a compilation of some of the best of Game of Thrones click the link below:
The other fun aspect of all of this is how you are able to tell who composed a specific movie without looking it up. Many of you may not know the name John Williams (am I aging myself yet?) but many of you will recognize the movies Star Wars, E.T. The Extra-terrestrial, Jaws, Jurassic Park, Indiana Jones, Superman, etc. If you listen to each of these individual soundtracks, you will hear raucous horns (trumpets) that mimic that of Gustav Holst’s’ The Planets. Each soundtrack, respectively, carries an impressive single melody, and builds from there, typically beginning with the trumpet. If you listen to Batman by Danny Elfman, you will hear a quieter approach to a single melody, with a build-up of several instruments instead of relying on one. *Fun fact about Danny Elfman, he was in a rock band called Oingo Boingo and had never composed a movie until Tim Burton asked him to write the music for The Nightmare Before Christmas, which he also sang as Jack Skellington! He has since composed over 100 feature film scores, including 16 Burton-directed films. (Wikipedia, “Danny Elfman,” n.d.)
Danny Elfman performing as Jack Skellington
The final example I would like to provide is that of the beautiful Marvel cinematic universe. Ramin Djawadi (who did Game of Thrones) opened us up with Iron Man. (I would love for anyone to spot the similarities in those soundtracks- they are there!) Only one composer did a total of 4 of those movies, which is the most done by one single composer in that entire universe! That composer is Alan Silvestri, who also composed one of the most hummable and enjoyable soundtracks in the 80s which is Back to the Future. Michael Giacchino even had a hand in the Marvel universe (he also did the new Star Trek films and Jurassic World.)All in all, there were 14 different composers, including Henry Jackman (UNCHARTED 4 THEME!!) that had a hand in the Marvel movies. However, there was always 1 Music Supervisor for them all, being Dave Jordan. This is the magic and marvel (HA) of movie scores. Not only is it a seemingly small world in TV and film making, but each one of these composers was able to reference the work of another MCU composer, to retain a similar sound throughout, all while properly providing an individual theme per the respective main character of that movie. How amazing is that?!
For a compilation of some of the many songs throughout the Marvel Universe check out the link below:
I hope this sparks a curiosity in someone to perk up when watching a new (or old!) TV show or movie to listen to the beauty behind the visuals. The magic in scores is emphasizing the meaning behind every scene and connecting a theme with a completely curated world. No other part of a movie or TV show allows you to connect so immediately to that world, than simply listening to a theme. Perhaps you are a person that doesn’t pay attention to that at all, which is completely common! I do, however, urge you to begin to listen even a little bit, to allow the world of a show or movie you love to open up that much more for you. I promise you won’t regret it.
What movie score transports you back to a particular movie? Feel free to leave your comments below.