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With the writers of the first film (Ed Neumeier and Michael Miner) based a script written back then as a sequel to the first film but not made, being re-written by a nobody suddenly thrust from short films and obscure projects to a franchise and an upcoming superhero film Justin Rhodes, the film is slated to be directed by Neill Blomkamp.
Sadly, Basil Poledouris is no longer with us. Not even Rosenman.
Basil's score was a special blend of his way of scoring and I can't name a composer new or old quite like him, so I'm having trouble finding a composer I'd think is a true fit.
I'm thinking a more old-school composer with some people Basil trusted mixed into get things sounding right.
Steven Scott Smalley, who orchestrated on the first film, is still alive. So, since he worked on a number of scores Basil did, I'd have him back as an orchestrator.
Some of the musicians on the original score are still working regularly. I'd have them back as well.
I have no idea if Basil did his own synth work on the score. Michael Boddicker is listed as a synthesizer musician on the third film.
My out of left-field choice is David Bell, based not only on his brass use and sometimes bold and emotions scores for various series, but also his other work like a TV mini series called "Dead Man's Walk".
I'm not certain any of my regular choices would pull off just the right Poledouris sound.
Certainly, since it's supposed to be a sequel to the original film, the theme needs to come back.
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That would be "nightmares".
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Didn't Brian Tyler once own the 4-track Les Miserables soundtrack? Maybe he should score Robocop.
But seriously, all these posts and not one person has said John Scott. Shame on you. Shame on you all.
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Posted: |
Jul 17, 2018 - 8:28 AM
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By: |
bobbengan
(Member)
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Aye, as well as conducting it bobb, (due to union rules or some such), he made some disparaging remarks about the music at the time, as though it was sub-par and below him.
Rumour has it he was later heard humming the theme repeatedly 
As someone who thinks ROBOCOP sounds pretty cheeky myself (sorry!) and thinks Blake is a pretty unheralded gem of a composer, I'm afraid to say I kinda-sort agree with this assessment.
For me, Poledouris never came remotely close to the one-two punch of BLUE LAGOON and CONAN ever again following those efforts. Those scores are genius works of their respective genre, full of interesting ideas, heart, creative harmonies and orchestrations (how much of that is thanks to Grieg McRitchie, who's to say) and amazing dramaturgy. They're moving, inspired works.
His more popular later-day stuff always struck me as wannabe-Goldsmith. Recently revisiting STARSHIP TROOPERS reaffirmed this for me.
Let the tomato-throwing commence!
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