Discuss the upcoming movie to be released in 2020 and directed by Jason Reitman.
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By One time
#4919815
Kingpin wrote: June 24th, 2019, 1:53 pm Unfortunately it suffers from the modern trend of the remix taking far too long to build up to the actual meat of the song.
Agreed. Though I dig it. I'd be happy to play that at house parties when I dj.


I wonder if there are more "modern flavoured" remixes of the originals or possibly hybrids or maybe even new songs with 80's flavouring (Retrowave, Synthwave, etc).

The only other one I know is not a remix but a remaster of the original Ray Parker Jr. - Ghostbusters theme with the bass and treble levels cleaned up and maximized. Not what I mean with this thread, but still definitely worth a listen. I tend to think it's the definitive digital copy of the Ghostbusters theme:

https://drive.google.com/file/d/1MK7PEp ... sp=sharing
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By Kingpin
#4922542
guitar1036 wrote: August 14th, 2019, 3:40 pm Jim Latham writing some music for it would be awesome. He's the guy that did a bunch, if not all of the music for Extreme Ghostbusters. You can here some of his stuff here https://www.theraffon.net/~spookcentral/egb_score.htm.
While there were a number of memorable cues, a lot of Latham's work on XGB were mournful dirges, not really what I'd want in the next Ghostbusters movie.
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By GBforever84
#4923260
One time, there is a sick Synthwave track titled "Ghostbusters." It's a track by the artist MAGNAVOX. I added it to my MP3 player on my pack. Definitely give it a listen if you haven't yet.

Danzrboy77, I agree The Midnight would be cool. Maybe even Gunship, Le Matos, or Mitch Murder.

I think Retrowave would be cool, because of it's 80's vibe, but a score would be good too. Just not Zimmer please. He is good, but overrated imo.
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By RichardLess
#4923319
GBforever84 wrote: August 26th, 2019, 2:37 pm One time, there is a sick Synthwave track titled "Ghostbusters." It's a track by the artist MAGNAVOX. I added it to my MP3 player on my pack. Definitely give it a listen if you haven't yet.

Danzrboy77, I agree The Midnight would be cool. Maybe even Gunship, Le Matos, or Mitch Murder.

I think Retrowave would be cool, because of it's 80's vibe, but a score would be good too. Just not Zimmer please. He is good, but overrated imo.
I second the no Zimmer notion. No Hans Zimmer or any of his army of ghost writing acolytes. Except maybe John Powell. He's cool.

This needs to be a full orchestral score with minimal synth. My pie in the sky pick would be Howard Shore.

But it will probably end up a Michael Giachinno score or maybe Jason hires a B-lister like Feig did with Shapiro. Hopefully not.
By BatDan
#4923326
Im kind of an 'get off my lawn' old man when it comes to 'new' music. the 80s and 90s was a much different era for soundtrack contribution. With the style and trends back then, it was easier to capture the 'camp' style of something like Ghostbusters. The music biz wasn't completely over thrown with manufactured crap just yet..maybe just a little..it was 'good natured' and somewhat silly manufactured crap like Duran Duran (view to kill) and Vanilla Ice (ninja ninja rap!)..you could get away with tongue-in-cheek songs back then.. "ghostbusters are back and all brand new! cmon!" and it fit the tone of Ghostbusters.

I just remember when a summer was based around the song of a movie, i remember when "kiss from a rose" complimented Batman Forever in an awesome way.

nowadays, people take things too seriously, theres a watered down, disposable, spiritless nature in modern pop music. it literally is completely geared for the starbucks sipping, ugg boot wearing crowd.

i can barely leave the Top40 radio on for 30 seconds before putting Spotify on, it all sounds like the same garbage. I think we already tried to put in 2010's stuff into a GB soundtrack, and it was all trash aside from the Walk the Moon cover.

I heard someone mention Bruno Mars, I'm okay with that, he knows how to write upbeat R&B numbers...he's got something that has that Bobby Brown/Ray Parker JR flare.

As far as score, my pick would be Alan Silvestri..he's done everything from Tales from the Crypt, Forrest Gump, Back to the Future and Predator..his score for Super Mario Bros is underrated. He knows how to balance/capture action, drama, horror, sci fi, and comedy (every element needed for GB) and make it sound big. I hope jason doesnt hire 'just some guy' and goes for someone with a good background.

Unless they can find some good 'indie' artists that strike the feel for GB or even go Edgar Wright/Tarantino route and just grab from different eras to create the OST, i say stick with score and the original RPJ theme.
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By Kid Chameleon
#4925647
This thread poses a very important question. The soundtracks for the first two films were very different and were representative of very different periods in 80s music trends - it's going to be a tough call to bring the 80s dinosaurs we know and love into the 21st century. I'll be very interested to see how it pans out.

One thing we need to remember is that the old Ghostbusters are going to be in a mentoring capacity and are therefore not going to be the central focus of the film - the new Ghostbusters will be of the 21st century and will need their own music which will also be of the 21st century.

A couple of films that spring to mind that do a similar thing are The Next Karate Kid and The Intern; both of those films are about older people passing on their wisdom to younger people who belong to very different worlds and they both do it very well. The older characters get a new lease of life by being brought into the new generation. If Jason can get this right, the music should come naturally.

And Annie Potts is certainly no dinosaur. She's doing very well in Young Sheldon and her character in Toy Story 4 certainly got plenty of action. She seems to be doing a lot better as an older actress and I would say that she is the most 21st century ready of the old cast members.
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By robbritton
#4925648
I reckon, as the Alien series has done with Jerry Goldsmith’s original 1979 score since Prometheus, that this one is likely to lean heavily on variations of Elmer Bernstein themes. It’s a very effective way of creating a shorthand connection to the first movie but also leaves room for new themes for the new characters.
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By Troy
#4925653
Crossing my fingers that Peter Bernstein gets the nod, as I know he did a lot of work on the original film and its orchestrations and is familiar with all the thematic elements and instrumentation. Also recently rewatched Canadian Bacon, which he co-scored with his father, and he has similar sensibilities and style as his father. EDIT: And how poetic and nostalgic would it be to have another son stepping into his father's iconic shoes?

As for all the needledrop cues in the movie? I'm hoping Jason has a surprise in store and he goes a little more Morning Becomes Eclectic than Top 40 with it all. The "Up In the Air" soundtrack is on heavy rotation still for me and, as I understand, Jason was really personally selective of all that music for the film. Betting/hoping he does something similar here.
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By RealGhostbusterJay
#4932197
Nice to know they've announced that. I'm not familiar with his work but from what I saw in the GB news post the sample he provides…seems somewhat...plain. Obviously that's not a sample from the film score but both the score from GB2 and ATC in most opinions are somewhat lack luster. I'd hate a less then connecting score for this film. If you like the ATC and GB2 scores however, great, I do like some of the GB2 score. Elmer just hit the mark with a feel of fun, funny or scary and you need someone who can nail that again. While Jason is making a story of a family in the GB world that might be why he makes the choice he makes. He might not be looking to capture the same feeling Elmer did but a composer that can highlight the scenes for the family which is the prime story element here.

While it would have been great to see Elmer's son do it...he may not have wanted to. There are composers out there who can really pay tribute to famous composers while making their own mark. I've said before Michael Giacchino who did the Rogue One score. He really nails early John Williams and yet adds his own themes and it worked for me. While Elmer has some classic scores he's in most cases not a name most think of like John Williams, Hans Zimmer, Harry-Gregson Williams, Howard Shore, James Horner etc. So choosing this guy Jason did might be the right move because you want someone who can tell a story when there is no words and also add to the scene when there is. Hans Zimmer did two Batman scores for two different Batman universes. Why? First off why even try to make a new theme...Danny Elfman put how own theme back into Justice League along with Williams themes for Superman because he said "Why would you change that? Bond's theme is always the same even if the film scores around it change." I

If this new composer can touch the emotional family aspects of Afterlife because we all got feels from the trailer alone AND add notes of scary and also some fun but throw Elmer's themes in there because frankly put they should be there as much as proton packs. Randy made the mistake of not using Dana's theme or the main theme and I think that hurt him. If this guy can do that we may end up loving this score as much as the original or close.

Now that the score has been chosen there's the actual vocal soundtracks because obviously those reflect the times they're released so will they follow suit and do modern artists for the soundtrack which they did for ATC or will they do a mix of some retro 80's tie in songs with covers of the Ray song. Or maybe Ray does an updated version? I simply hope in a world of streaming that they release both score and soundtrack to CD still.
By RichardLess
#4939462
mrmichaelt wrote: September 20th, 2020, 11:51 pm Ray Parker, Jr. revealed no one from Afterlife reached out to him to use the "Ghostbusters" song. (But holy moley, they tried Lindsay Buckingham and Kenny Loggins before Ray got the call in the 80s).
https://www.slashfilm.com/who-you-gonna ... interview/
They reached out to Huey Lewis instead. He said “Sure, you can use my song”.

Honestly? I don’t think they have to reach out to him. Ghostbusters the song probably belongs to Sony’s music division. Ray Parker Jr isn’t exactly the type of artist that has the kind of clout required to ask or inform him of the intended use of his song in a TV show/movie. Would it be courteous? Sure. Then again he did plagiarize another song. I’m sure Ivan, Sony & company weren’t thrilled when they heard “I Want a New Drug” for the first time, Especially AFTER asking Huey to write the theme song originally.
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By d_osborn
#4939465
RichardLess wrote: September 21st, 2020, 7:53 amHonestly? I don’t think they have to reach out to him. Ghostbusters the song probably belongs to Sony’s music division. Ray Parker Jr isn’t exactly the type of artist that has the kind of clout required to ask or inform him of the intended use of his song in a TV show/movie. Would it be courteous? Sure.
Clout doesn't matter when you still own the song, as Mr. Parker does in this case.
RichardLess wrote: September 21st, 2020, 7:53 am I’m sure Ivan, Sony & company weren’t thrilled when they heard “I Want a New Drug” for the first time, Especially AFTER asking Huey to write the theme song originally.
Shelly Kahn and Ivan used "I Want a New Drug" as a placeholder song during editing.
By RichardLess
#4939482
d_osborn wrote: September 21st, 2020, 9:20 am
RichardLess wrote: September 21st, 2020, 7:53 amHonestly? I don’t think they have to reach out to him. Ghostbusters the song probably belongs to Sony’s music division. Ray Parker Jr isn’t exactly the type of artist that has the kind of clout required to ask or inform him of the intended use of his song in a TV show/movie. Would it be courteous? Sure.
Clout doesn't matter when you still own the song, as Mr. Parker does in this case.
RichardLess wrote: September 21st, 2020, 7:53 am I’m sure Ivan, Sony & company weren’t thrilled when they heard “I Want a New Drug” for the first time, Especially AFTER asking Huey to write the theme song originally.
Shelly Kahn and Ivan used "I Want a New Drug" as a placeholder song during editing.
Whhhhaaaaaaatttt??? Are you for real? Where did you hear that from? The plagiarism was *that* overt? I knew they had wanted Huey Lewis but they actually used that song as a placeholder?? I’ve never heard that story before. I’ve always thought the plagiarism was unintentional or coincidence but if that you say is true, they 100% knew what they were doing. That’s crazy. Very upsetting too that Ivan, Sheldon & Ray would resort to that kind of unprofessional & illegal chicanery. Shame on them. I wonder how much $$$ Huey Lewis got from his lawsuit. I mean, how does he not have a co-writing credit on the song or partial ownership??

How does Ray Parker Jr own the rights? He owns the master? If he wrote the song for a label, chances are they own the rights, no? Unless Parker Jr was adamant in his contract negotiations that he own the master & publishing rights. I figured Sony would own the rights since it was a “work for hire” gig. Or was it? I guess there were multiple songs written and his won out. So how did he come to know that they wanted the “I Want a New Drug” riff?
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By Dr.D
#4939483
All I know about the rights is I remember that RPJ was paid very handsomely for the use of the song in GB: TVG.

So it is VERY alarming to me that he hasn't been contacted by anyone about the song. Now maybe the rights are a different story in terms of film use, but I'd still imagine he'd be contacted.
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By d_osborn
#4939491
RichardLess wrote: September 21st, 2020, 2:53 pm Whhhhaaaaaaatttt??? Are you for real? Where did you hear that from? The plagiarism was *that* overt? I knew they had wanted Huey Lewis but they actually used that song as a placeholder?? I’ve never heard that story before.
"Of Marshmallow and Men", Premiere Magazine, June 04.

REITMAN: We kept looking for a song for the montage in the middle of the movie. I was a big Huey Lewis fan, and I put in "I Want a New Drug," as a temp score for screenings. And it seemed to be a perfect tempo, and we cut the montage to that tempo. When it was time to mix the movie, someone introduced me to Ray Parker Jr., and he comes back with a song called "Ghostbusters" that has basically the same kind of riff in it. But it was a totally original song, original lyrics, original everything.

It's a FANTASTIC retrospective article if you haven't read it.
RichardLess wrote: September 21st, 2020, 2:53 pm How does Ray Parker Jr own the rights? He owns the master? If he wrote the song for a label, chances are they own the rights, no? Unless Parker Jr was adamant in his contract negotiations that he own the master & publishing rights.
Exactly that! From what I understand, the production commissioned a :20 track via Gary LaMel and Parker negotiated a smaller fee in exchange for all master/publishing rights. The track was expanded, tossed on the soundtrack, and the rest is history! There's a little blurb in the above article where Parker mentions the shot caller at Arista didn't even like the song when they were putting together the OST.

There's a fantastic book in the works by James Greene Jr. called "The Nearest Parallel Dimension" that goes much deeper into the Parker/Lewis plagiarism court case, amongst a wealth of other GB things.
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By mrmichaelt
#4939500
Dr.D wrote: September 21st, 2020, 2:55 pm All I know about the rights is I remember that RPJ was paid very handsomely for the use of the song in GB: TVG.

So it is VERY alarming to me that he hasn't been contacted by anyone about the song. Now maybe the rights are a different story in terms of film use, but I'd still imagine he'd be contacted.
I'm pretty sure Reitman gave RPJ the rights back then. It has been talked about somewhere, a special feature or an interview online.

Yes, it took three years for the crew to to convince RPJ to grant them license to use the song in GB:TVG and it cost $80,000.

During the TVG's Fan Fest panel, they said as much.
-"Getting the rights to that song took all three years."
-"But like he -- he was like really, "What's it going to be used for? If it's in a commercial, I want this much." He wouldn't just grant us the license. We -- everybody had to work hard to get that to work."
https://www.theraffon.net/~spookcentral ... gbvg-panel

https://web.archive.org/web/20160714105 ... ld-stories
By RichardLess
#4939513
d_osborn wrote: September 21st, 2020, 4:03 pm
RichardLess wrote: September 21st, 2020, 2:53 pm Whhhhaaaaaaatttt??? Are you for real? Where did you hear that from? The plagiarism was *that* overt? I knew they had wanted Huey Lewis but they actually used that song as a placeholder?? I’ve never heard that story before.
"Of Marshmallow and Men", Premiere Magazine, June 04.

REITMAN: We kept looking for a song for the montage in the middle of the movie. I was a big Huey Lewis fan, and I put in "I Want a New Drug," as a temp score for screenings. And it seemed to be a perfect tempo, and we cut the montage to that tempo. When it was time to mix the movie, someone introduced me to Ray Parker Jr., and he comes back with a song called "Ghostbusters" that has basically the same kind of riff in it. But it was a totally original song, original lyrics, original everything.

It's a FANTASTIC retrospective article if you haven't read it.
RichardLess wrote: September 21st, 2020, 2:53 pm How does Ray Parker Jr own the rights? He owns the master? If he wrote the song for a label, chances are they own the rights, no? Unless Parker Jr was adamant in his contract negotiations that he own the master & publishing rights.
Exactly that! From what I understand, the production commissioned a :20 track via Gary LaMel and Parker negotiated a smaller fee in exchange for all master/publishing rights. The track was expanded, tossed on the soundtrack, and the rest is history! There's a little blurb in the above article where Parker mentions the shot caller at Arista didn't even like the song when they were putting together the OST.

There's a fantastic book in the works by James Greene Jr. called "The Nearest Parallel Dimension" that goes much deeper into the Parker/Lewis plagiarism court case, amongst a wealth of other GB things.
Wow. That’s some serious bullshit on Reitman’s part. How can he say “original everything”. The song is a complete rip off. Amazing. I can’t believe Huey Lewis didn’t demand co writing credit and royalties. In no way do I believe that he didn’t tell Ray to match that song. There’s just no way. And I use to defend them lol.

Christ, The Verve licensed part of “Bittersweet Symphony” from the Rolling Stones and they still came back and sued them for using too much of the original song and won ALL royalties & co writing credits.
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By Sav C
#4939521
The whole copyright scandal happened right after the first film, right? Did they have trouble sorting things out so that they could use the song in GBII?

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