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People are going to hate me for saying this, but I'm less than enthusiastic. There have been three such films in the talkie era so far, DeMille's 'Ten Commandments', De Bosio's long 'Moses the Lawgiver', and the more recent Ben Kingsley incarnation. Now DeMille's was fun, gaudy, over the top, spectacular, epic, as absurd as it was compelling, with all that Midrash legendary stuff from Josephus etc. included to fill out the early soap opera in Egypt. It was a child of the '50s, with 'freedom' as its tagline. De Bosio's had a wonderful Anthony Burgess script that was right for the people who take that story seriously, an amazing tract on how you pull a new civilisation out of a rigid cosmological system like that of Egypt, and it was very authentic, and filmed on location, and long enough to include all the more obscure narratives, and of course Burt Lancaster. The Kingsley thing was okay, a serious endeavour. So what would Scott bring to it? I hope I'm wrong, but, as with his other epics, probably lots of 'hommage' to the earlier films, and lots of 'It were a hard life among them Israelites, and I'm Geordi macho for all my style'. And a post-80s 'mythic' script of course. He managed to expunge all the wit and charm from the Robin Hood story, and thought himself 'doing it right'. He lost the trickster, the woodwoe, and even the real political underlayers. But 'Bah Gum, he were hard like.' Probably also some sort of tip of the hat to Middle Eastern peace notions will be on the plate. If Russell Crowe plays Mo, then wail for Israel. Whoever scores it will probably be ravaged by music editors and stock cues in the night. And there'll be wailing women of course, and them Egyptians'll be reet hard, man, and listen to the drums on them chariots gan doon to the Red Sea.
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Plus I hate the idea that in future, someone will ask, 'Do you have the score for Exodus?' and they won't mean Earnest Gold. Or anything near as good.
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Wow, not a Remote Control composer! This is the most interesting composer choice by Ridley since... well, since he first used a young whippersnapper named Hans Zimmer on BLACK RAIN.
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So what would Scott bring to it? I hope I'm wrong, but, as with his other epics, probably lots of 'hommage' to the earlier films, and lots of 'It were a hard life among them Israelites, and I'm Geordi macho for all my style'. And a post-80s 'mythic' script of course. He managed to expunge all the wit and charm from the Robin Hood story, and thought himself 'doing it right'. He lost the trickster, the woodwoe, and even the real political underlayers. But 'Bah Gum, he were hard I can read the words, but what the Hell do they mean?
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It's a very interesting and surprising choice, but Scott's movies are always a musical mess, he has this habit of rejecting cues at last minute in favor of temp tracks and other dumb things. Good luck for Mr Iglesias, he'll need it.
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Disappointing choice. Would have loved to see Scott and Vangelis team up one final time.
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Impressed with his work on Tinker Tailor Soldier Spy, but unfamiliar with anything beyond that. Anyone more familiar with him willing to point me to his stronger work? Che is great. Constant Gardner as well. Maybe it's just me, but Kite Runner is great.
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