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JASON REITMAN'S GHOSTBUSTERS Pre-Release Thread
The sequel's score never quite got to the level of Bernstein's stuff, but I was always a fan of Edelman's triumphant fanfare in two, like when they tackle the Scoleri brothers, and the slime on the museum.  Not overused, just a nice, quick fist bump.
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The real imperative for the new movie's score is this:  score it like a film, not like a comedy.

Same thing with the cinematography.  Treat this like a straight, serious movie, visually.  One of 2016's biggest failings is that it just looks like every other bland 2010's studio comedy.

(05-16-2019, 12:34 AM)scottieferguson Wrote: The sequel's score never quite got to the level of Bernstein's stuff, but I was always a fan of Edelman's triumphant fanfare in two, like when they tackle the Scoleri brothers, and the slime on the museum.  Not overused, just a nice, quick fist bump.

I'm a fan of GB2's score (and soundtrack album!), but I think the fact that the score has never really gotten a proper release has kept it from being appreciated.
If we can dream it, then we can do it.
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Yeah, I think the GB2 score gets a bad wrap. It essentially does similar things, it's just a different type of horror score. The Bernstein one had an old school feel, while the Edelman had a more current one (for the time).
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That moment you realize GB1 and GB2 had different composers.
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Bradito if you hate GB2 I'm going to jump off a bridge.
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I like GB2. Classic sequel/remake.
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NOT TODAY bridge!
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Fuck you, bridge!

I saved a life today.
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(05-16-2019, 01:09 AM)Belloq87 Wrote: I'm a fan of GB2's score (and soundtrack album!), but I think the fact that the score has never really gotten a proper release has kept it from being appreciated.

From what I gather, the original score's master tapes have been lost, which is one major reason it's never been reissued.  I can't say I like Edelman's GB2 score at all though, myself...  I have a fan boot and for me the only track that works is the one for the cold opening with the runaway baby carriage.





I'm not sure if this is from the same source as my fan boot.
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Didn't know that about the masters. Unfortunate.

Then again, everybody thought the John Williams DRACULA masters were lost, too, and those eventually turned up.
If we can dream it, then we can do it.
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Imagine being the guy responsible for losing them.
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It was me.
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Mystery solved, gang.
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Dracarys.
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Joblo reporting on Dan Ackroyd saying they are going back to “mechanics and puppets”. Says the budget will be from 40-50 million.
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That seems awfully low to pull off much of anything, effects-wise, even if they're going with some practical stuff. We'll see!
If we can dream it, then we can do it.
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Akroyd, god love him, is often full of shit.
If you're happy, you're not paying attention.

Originally Posted by JacknifeJohnny: 
Glad that you guys worked that out amongst yourselves.

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(05-22-2019, 09:19 PM)Neil Spurn Wrote: Akroyd, god love him, is often full of shit.

Is he not producing?
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Maybe he just meant "the effects budget?" Still seems low, but these days maybe foam rubber's cheaper than ones and zeros.

As long as there's an actual script, they'll already be a few steps ahead of GB2016.
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(05-23-2019, 03:12 AM)engineer Wrote: As long as there's an actual script, they'll already be a few steps ahead of GB2016.

That's an excellent point.

Jason Reitman doesn't seem like the sort of director who's just going to start rolling and demand that his performers riff for 10 minutes and hope they get something that can be used in the editing room.

Everyone loves to talk about how the original film featured a lot of improvisation (particularly by Murray), but improvisation within the guidelines of a written scene is MUCH different than the Apatow/Feig-style comedy featured in GB'16.
If we can dream it, then we can do it.
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Right? Designing characters, narrative and settings ahead of time...?

"How old-fashioned!!"
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(05-23-2019, 10:44 AM)Belloq87 Wrote: That's an excellent point.

Jason Reitman doesn't seem like the sort of director who's just going to start rolling and demand that his performers riff for 10 minutes and hope they get something that can be used in the editing room.

Everyone loves to talk about how the original film featured a lot of improvisation (particularly by Murray), but improvisation within the guidelines of a written scene is MUCH different than the Apatow/Feig-style comedy featured in GB'16.

We used to call movies that do full on improv "skits". They're cute for a couple of minutes but past that, overstay their youtube welcome.

This movie is doing wonders if it's not written on a napkin.
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