This morning I dialed up Michael Kamen's Opus, a collection of, well, Michael Kamen.
I just can't imagine any recent movies that these scores would go to. I suppose I could say the same of many composers. (I can still imagine Goldsmith getting regular work for some reason.) I wonder what he would have sounded like now?
I guess this is a cranky way of saying I miss him.
This morning I dialed up Michael Kamen's Opus, a collection of, well, Michael Kamen.
I just can't imagine any recent movies that these scores would go to. I suppose I could say the same of many composers. (I can still imagine Goldsmith getting regular work for some reason.) I wonder what he would have sounded like now?
I guess this is a cranky way of saying I miss him.
He wouldn't be working that much in the USA. Too much talent for the crap Hollywood has been producing for the last 10 years.
He would be scoring UK films, and he would have become such a cult figure everyone in the UK pop scene would have asked to work with him.
I suppose he'd become Pixar's go-to guy among other things, which means he'd have scored pretty much all those flicks Giacchino had been scoring for Brad Bird, Pixar and Disney. I like Giacchino and his music but that doesn't stop me from wondering how Kamen was going to handle John Carter, Mission Impossible 4 or Tomorrowland.
Well, at 60, I really doubt Gibson would even want to do it. And where's Danny Glover these days?
I think more likely the franchise would be rebooted with two new guys, but I don't see that even happening.
Warner Bros just rebooted it as a television pilot (with Damon Wayans), which is in contention for fall in the US.
Network television? If so, nothing to get excited about. If for HBO or some equivalent, then perhaps an R-rated sensibility could make it interesting, especially if they stick to an LA milieu, something that makes Amazon's BOSCH worth watching.
