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Everything posted by Nomad

  1. Nomad


    Just had to do a quick drive-by to say that Tom is FANTASTIC in Hung!
  2. Tropic Thunder was the best movie of the year. Forget those art house things. Tropic Thunder was genius...pure genius. I know nobody gives Tom Cruise any love these days (except maybe Katie) but the man deserves an Oscar for his performance...and for his nerve for doing it! I'm listening to Michael Wandmacher's PWZ score. He and Ray were really in sync...just that the rest of it...well, it's too, too sad. Anyway, Happy New Year to you all, and many thanks to those of you who chose not to rub it in too hard. Nomad
  3. I think those numbers are essentially correct. And it's very likely, because of the film's poor performance at the box office here in North America, that it will not see a theatrical release in many of the countries listed. Sony pulled the theatrical release in Australia and now says it will be out there on DVD in August, 2009. Nomad
  4. I couldn't find just the right place to put this, so it's here! These are my holiday "gifts" to my fellow (and sister?) Punisher fans. I hope at least ONE of them makes you laugh! http://www.youtube.com/watch?v=ulwy7E0S7a8 And to those of you who would like something a bit more traditional, there's this! Woof! Happy Holidays to you all! xo, Nomad
  5. I just bought the Kindle version of El Borak from Amazon. Not ONE bloody piece of art is included! Well, what can I expect for $.80? I'm so incredibly spoiled by the MAX Punisher compilations. I want quality, satiney paper that my fingers glide over sensously, not too many panels per page so I can thoroughly enjoy the artistic detail of each one, and the glorious colors! Oof! Nomad
  6. Nomad


    Congratulations, Tom, on HBO picking up your series. It's every actor's dream...STEADY WORK! Now, about you and Nick Fury...? Nomad
  7. Hey, Tim! Where's that Michael Wandmacher thread? I didn't see a better place to post this article, so here it is: December 5, 2008 MICHAEL WANDMACHER SCORES 3D REMAKE OF 'MY BLOODY VALENTINE' (Los Angeles, CA) – Composer Michael Wandmacher writes a chilling score for My Bloody Valentine 3-D. The film, from Lionsgate, is a remake of the 1981 horror film about a Valentine’s Day massacre. Tom (Jensen Ackles) returns home on the ten year anniversary of the massacre, only to find himself suspected of the murders that keep occurring. Jaime King co-stars as his old flame and the only one who believes in his innocence. The film opens in theaters January 16, score album available from Lionsgate Records on January 13. Wandmacher has been a longtime fan of the horror and comic book genres. When asked about the score for My Bloody Valentine 3-D, he says, “The film is a rocket sled ride from start to finish. It starts on furious and accelerates to insane. The 3-D is amazing and the whole process has been an absolute blast. As for the score, it's about as big and brazen as a horror score can get. No mercy.” Michael Wandmacher began his musical career as a commercial composer in Minneapolis. Since his move to Los Angeles in 1998, Wandmacher has lent his talent to a diverse range of projects, including feature films, TV series and videogames. His film credits include Train, Never Back Down, The Killing Floor and Cry Wolf. In addition, he scored the videogames Over the Hedge and Madagascar. Wandmacher also records, produces and remixes electronic music under the name Khursor and wrote and mixed music for Kelly Clarkson for the film From Justin to Kelly. He most recently wrote the score for Punisher: War Zone, which opens in theaters December 5. http://scoretracknet.blogspot.com/2008/12/...-remake-of.html Nomad
  8. Oh those are flies! I thought they were pieces of crispy burnt flesh flying off the guy as he was being throttled! Nomad
  9. Well, don't shoot me, Tim, but I actually like them both, but for different reasons. It's rather a nice insight into your process. Nomad
  10. P.S. I pretty much agree with this: Anyway, on the off-chance that yet ANOTHER Punisher movie gets made, I have a simple recommendation: voiceover. Since the late 80’s, most Punisher comics have a running commentary in the form of the character’s “war journal,” which is often bleakly funny, as it reveals his two central tenets: 1) He hates criminals, which is why he kills them, and 2) he really does find a small bit of joy in killing them. And honestly, what’s the point of casting two large men with gravelly voices if you’re not going to have them say meanly funny things in a low decibel? To prove my point, I offer this panel from an early Ennis issue (drawn by Steve Dillon). Frank Castle is on an island full of depraved mercenaries, and observes that he now has the opportunity to kill, well, all of them: Nomad
  11. Okay! I'm going to give ALL you guys something to REALLY slam me about. But I have guts, if not good sense. HERE is my fantasy Punisher film: A military story, NOT Viet Nam but something more contemporay: Russia, Afghanistan, etc. Directed by and starring Ray Stevenson. Screenplay by Garth Ennis Keeping Steve Gainer (DP), Michael Wandmacher (composer) and Andrew Neskoromny (production designer) And..... Okay, okay! I already know I have few friends here so I can afford to say whatever the hell I want! I'm having a geekgasm! Nomad
  12. "poopnug the bloody?" :lol: *sniggers like a juvenile* Nomad
  13. Can't wait. I ordered it along with The Killing Floor" because I liked the track Michael posted on MySpace. Nomad
  14. Do you mean I shouldn't have said that? Then delete it! Nomad
  15. I don't think I would be speaking out of school either to mention that Michael told me the Powers That Be wanted to move the release date up because of the MANY hits his MySpace account received when he posted his music for Punisher War Zone. He mentioned that it MAY even be released before the end of this year. I think it's WONDERFUL that internet interest from fans is making this happen! *crossing fingers and toes* Nomad
  16. Thursday, December 11, 2008 SCORE REVIEW - PUNISHER: WAR ZONE Punisher: War Zone Music by Michael Wandmacher Costa Communications Promo 46 Tracks 64:52 mins The Marvel Comics character, The Punisher, has already enjoyed one cinematic outing, which was quite entertaining. Now, Frank Castle returns, this time in the guise of Ray Stevenson (so memorable in the Rome TV series); with a new composer in tow, in the person of Michael Wandmacher. The previous film was scored by Italian Carlo Siliotto, whose score actually received quite a bit of critical acclaim, but which I found did little for the film and sported a main theme far removed from the kind of thing I was expecting and hoping for. This is probably Wandmacher's biggest assignment to date and so what has he delivered? Well, the composer's publicists kindly sent me a promo disc of what could possibly be, at over an hour's running time, the complete score. Certainly, his main theme is much more suitable to the character, heard initially over the "Main Titles" as a thunderous, horns-lead, rhythmic affair, mixing electronics and much percussion with the orchestra, all elements found throughout the score; though at times the theme shows its versatility when it returns in more subtle, meaningful variations. Much of the action that follows relies quite heavily on a big bank of percussion to provide some pretty powerful and exciting passages; and, there are also suitably menacing moments of villainy, often characterised by cold electronic sounds, throughout. But it's not all action and menace by any means, and brief moments of sentiment, poignancy and tragedy can be found here and there, where delicate keyboards, strings and woodwinds have their say. Although a song album has been released by Lion's Gate, so far, regrettably, there is no news of a score album, so you'll have to see the film if you want to hear Wandmacher's music, though you can listen to a couple of tracks by visiting www.myspace.com/michaelwandmacher. http://screensounds.blogspot.com/2008/12/s...e-punisher.html Nomad
  17. Great idea! Can you move the interview above to that thread? I'll be REAL happy to get off THIS one! Nomad
  18. Great interview with Michael Wandmacher Composers aren’t normally thought of as tough guys. But just try knocking a Duracell battery off of Michael Wandmacher’s shoulder, and you’re likely to find yourself in a world of hurt with this martial arts belt-holding musician. And that’s not counting what happens to the villains who find themselves on the wrong end of Wandmacher’s action scores, especially the thugs who dare cross the orchestral bombast, hard-driving guitar chords and eerie electronica of PUNISHER: WAR ZONE, a score that’s likely to blast Wandmacher up another few rungs in Hollywood’s thrill-kill scoring scene. The Minnesota native already had a kick up in the genre when he got his start for the American re-scores of Jackie Chan’s ARMOR OF GOD, TWIN DRAGONS and DRUNKEN MASTER II before more-than-capably handling original genre material like MODERN VAMPIRES and ON THE BORDERLINE. However, it would be Disney’s far-more innocent MAX KEEBLE’S BIG ADVENTURE that would give Wandmacher his first major studio break. Since then, Wandmacher’s pulsing orchestral work has included TV’s NIGHT STALKER and SAMURAI GIRL, with such film soundtracks as TRAIN, THE KILLING FLOOR and NEVER BACK DOWN showing off Wandmacher’s geek love for horror and fisticuffs. But Michael Wandmacher’s work has rarely hit the psychopathically heroic heights of PUNISHER: WAR ZONE, a film and score that’s sure to put bloody honor back into a hero who was blasted in more ways than one on his last cinematic outing. WAR ZONE rectifies that defamation with the kind of musical blood, thunder and gunpowder that defines Marvel’s most merciless “superhero.” But then, perhaps only a composer who’s taken his action chops to a whole new level could give this iconic, skull-wearing vigilante the merciless melody he deserves. iF: How do you think your previous action scores led you to THE PUNISHER: WAR ZONE? MICHAEL WANDMACHER: While there isn't a particular score or credit that facilitated getting PWZ, the backlog of action scores I've amassed over the years was certainly helpful towards getting in the loop of people considered for the job. Action/thriller scores have always been a creative happy place for me. So, when the time came, there was no lack of material to help persuade everyone in the decision making process that I could make a great score for PWZ. iF: How familiar were you with the Punisher comics before taking the job? WANDMACHER: Very familiar. Like I-could-go-on-a-gameshow-and-win-money-answering-Punisher-questions familiar. I've followed the exploits of Frank Castle since he teamed up with The Jackal in Spider-Man #129 back in 1974. Since then, there have been many incarnations of The Punisher, be it in "War Journal", "War Zone", the regular series' in the 80s and 90s, all the way to the current MAX label. I've read and collected them all. Some of the best one-offs and crossovers in all of Marvel's history are focused on The Punisher. iF: The last PUNISHER is regarded as one of the worst made, and scored Marvel films. How important was it for you to put respect back into the series, no more so than with the music? WANDMACHER: My primary focus throughout the making of this score was creating a definitive musical identity for The Punisher. I knew I needed something dark, relentless and muscular, but I also couldn't forget Frank's humanity, his personal torment and deep sadness. So, I approached the job equally as a fan and as a composer. Taking that angle helped tremendously when trying to sort out what to keep and what to scrap. After completing a cue I would ask myself as a fan if the music was working. If so, it stayed in the score. At the end of the process, I had something that I knew was true to The Punisher in every sense. His theme, especially, is equal parts stoic, forceful, dark and mournful. iF: Were you taken aback that a woman made such a body-packed film, or did you find her as cinematically bloodthirsty as any of the boys, especially when it came to the scoring? WANDMACHER: It didn't surprise me at all. It was very clear from the look of the film that Lexi Alexander had done her homework in terms of translating The Punisher's domain to the big screen. All the details were there. Some of the sets looked as if panels from MAX series books had been magically lifted right off the page! Staging the violence "correctly", in Punisher terms, seemed to evolve naturally from the tone and look of the movie. Plus, Lexi is a world champion martial artist. She's no stranger to a good fight. iF: Even with so much tough action music, how did you want to bring out the buried humanity in Frank Castle? WANDMACHER: You've touched on something important here! The thing that makes Frank so intriguing to most is the sadness and turmoil that drive his near-amoral vigilantism. Showcasing the part of him that is most flawed, the most humane, was critical in the score. If the audience simply perceives Frank as a machine, they'll lose interest and certainly won't give his M.O. the benefit of the doubt. This all led to using a rather sizable orchestra (70+ with strings and brass only), a minimum of clearly defined themes and a set of motifs that could highlight critical emotional moments in the story. You'll find throughout the score that primary melodies are focused, straightforward and highly versatile - just like The Punisher. Because he's a "comic book" hero, it also gives license to use a strong thematic approach. I wanted to capitalize on that. Too few films like this have a melody you can hum on the way out of the theater. This one does. iF: How "military" did you want to make WAR ZONE’s score? WANDMACHER: Not as much as you might think. While Frank's military background is his "superpower", I thought using a rote military-style approach in the music would make the character seem too one-dimensional and rather cliché, even campy. The action scenes are sprinkled with snare cadences and the like, but I opted to use powerful, dynamic ostinatos and slowly rising string repetitions to mimic a relentless entity, like an approaching battalion. iF: Is the score's use of weird, electronic grooves used to reflect the fact that Castle's as twisted as the foes he kills? WANDMACHER: It started as that. But as I worked through the movie this approach stopped working for me. I stuck to using all the strange sounds for Frank's interactions with Jigsaw and Looney Bin Jim. And for creating tone and textural elements depending on where a particular scene is taking place. I love programming complete weirdness for my rhythm tracks, but sorry Frank, it just ended up lending itself to the bad guys! iF: Do you think the music shows a nobility to Frank's work? WANDMACHER: Absolutely. Being a vigilante puts you in a very confusing place morally. Many people would consider what The Punisher does as noble as it is horrifying. Much of music that accompanies Frank throughout the film is thematically powerful, almost majestic at times, but often veers off into something very dark or tense in the next bar or two. Capturing that "noble criminal" aspect of Frank was tricky. iF: Talk about Jigsaw's music WANDMACHER: Sheer dread. All of it. Dissonant and disfigured, just like him. I focused on sounds created by metals and glass, much of it highly processed, to offset all of the atonal strings and brass that accompany his screen time. In some cases I used power tools. And quite a bit of prepared piano. However, when Looney Bin Jim enters the picture I also injected the use of LOTS of brass mutes and chromatic lines in the bass and celli. There's something about the way those two characters interact that's almost comic. They have this goofy, loving brotherly bond that stays in tact amidst all the merciless mayhem they create. Plus, they're both insane. It's arch in every sense, so it felt right to do a little of that with the music. iF: PUNISHER: WAR ZONE has an unusually big orchestral sound, and power for a smaller budget film. How did you achieve it? WANDMACHER: The first decision was to use strings and brass only for the orchestra. I felt it was the best way to get the point across when dealing with The Punisher. He's just not a "flute" kind of guy. Tim Simonec came up with the idea of using tuba and contrabass trombone together for really powerful low end and my assistant and orchestrator, Susie Benchasil, did a bang up job of putting together the rest of the band and getting the balances right specifically for the music I was writing. We had six horns, four trombones, three trumpets and 50+ strings. I programmed everything else. It's been my practice since I started in this business to program and produce all of my electronic score elements. I actually really enjoy that. Most mixers are bummed when they find out I have more plug-ins than they do! iF: There's a lot of controversy regarded this Punisher's production, as well as its possible censorship. How did that behind-the-scenes war zone affect your work on the film? WANDMACHER: It didn't. Everything went very well on my end and everyone was a tremendous support. Once the filmmakers knew I was on track, they let me run with it. I was on a very short schedule. I had to write it in about 3.5 weeks and use about ten days to record and mix. iF: You're a composer who can actually kick ass. Tell us about your love of martial arts, and do you think it transfers to your action music? WANDMACHER: I've followed martial arts since I was a kid and spent 17 years doing it myself. By default, if you train to fight you're naturally interested in watching other people do it, too. Hence, MANY hours of my life have been spent watching action films. This is the genre that most imprinted itself on my film music brain. iF: Are you happiest having your music blast away in the action arena? WANDMACHER: I do get a lot of gratification from working in this genre. I like BIG music. Conversely, I'm as much a horror fan as anyone out there, I love animation and I am fascinated by primitive world music. A dream would be to score some outrageously huge sword and sorcery epic. I guess action is a place where I'm comfortable, but I don't rule out other styles. Ever. One of my favorite scoring experiences was doing a documentary called MAN OF TWO HAVANAS. The bulk of the score was rather intimate guitar and rhythm-section pieces steeped in traditional Cuban music. I learned how to play a tres for that. It was a very organic and spontaneous process. Not my usual fare, but tons of fun just the same. iF: You're scoring a 3-D remake of MY BLOODY VALENTINE next. What can we expect from the film and your music? WANDMACHER: The film is a rocket sled ride from start of finish. It starts on furious and accelerates to insane. The 3-D is amazing and the whole process has been an absolute blast. As for the score, it's about as big and brazen as a horror score can get. No mercy. He He. iF: Who would be your favorite Marvel superhero to score? WANDMACHER: That's a tough one! Mainly because I just did one of them! Punisher was the top of my list, seriously. Looking forward, Dr. Strange would be damn cool. All of the director choices Marvel has been making as of late make projects like Thor and Captain America a whole lot more interesting. Heck, I don't know. I'd be thrilled working on any of them! http://www.ifmagazine.com/feature.asp?article=3111 Nomad
  19. The information on this site vis a vis foreign grosses is suspect. There is no date for release in any other country until January 2009. Box Office Mojo lists grosses from several Arab countries which suggest another reason to question these figuers. The website lists Lionsgate as the distributors but it's Sony who has the international distribution rights. It is my understanding that this does NOT include the Canadian market, which appears to be part of the "US" release. Perhaps it would be more accurate to call it the North American release. Nomad
  20. Oh, it's flipped all right but I hadn't thought it was for that reason. Mostly it comes from people who are very new. I don't recognise at least half of the names posting there now. A lot of it comes from people who were unhappy with the film. That's to be expected. I'm hoping it will all calm down soon, but it likely won't be returning to the way it was. What stays the same in life? Not much, if anything at all! Nomad
  21. Hey, I'm all for this kiss and make up thing, BUT... ...there were no less than THREE "love Tom Jane, Hate Ray Stevenson" threads created just yesterday on IMDb and NO corresponding threads made in the other direction. So not only is the IMDb bashing unpleasant, it's damn inaccurate. And I RARELY mention Stevenson here. But it certainly seems that whenever he IS mentioned, I get the credit for it. Meh. I'm a fan. So what?? Thirteen! I'm aiming to see PWZ 13 times. Nomad
  22. Uh huh. That's just the response one gets from someone who really HAS no response but feels the need to make one in any case. At least it has the virtue of being concise if not thoughtful. Nomad
  23. You know, some of you really need to get over this IMDb thing. It's like you think we're the boogy men (or women) you have to protect Jane from. Likely you don't realise this, but you infantalise Jane with that attitude. Jane's a big boy and he's been in this business long enough to know what you can expect. There is NO IMDb "person." IMDb is a VERY public site, MUCH moreso than is THIS one (at least many more people know about IMDb and MANY more people go there). But the main difference is that the regular people who post there have NO control over who ELSE posts there and who ELSE chooses to become a "regular." As it is with the guy who posted the "Jane Humiliation" thread. There's not a damn thing anyone can do about it. Another difference is that I can't find a thread on IMDb that whines about the people at RAW like you guys whine about the people at IMDb. Are you so threatened by it? Is Jane? You'd be better off just ignoring it and taking the high road. Much better than sounding like a bunch of high-strung miniature poodles yapping at the feet of a Rottweiler who is totally unconcerned and unmoved by it. I'd rather whine about making a Punisher movie than about this silly issue. Wouldn't you? Nomad
  24. Well, not EVERYbody is hating on Punisher: War Zone. From comicbookmovie.com Finally A True Punisher Movie It's a movie. Not a film. Meaning, it wasn't meant to be as serious, realistic, or deep as The Dark Knight. That would be a film. Punisher: War Zone is a movie, meant to be enjoyed but not analyzed. To start with, the creative team behind this movie clearly went to the source material (Punisher Max Series), and it really shows. Not only are there several side characters from the series here in the movie, but the colors, tone, dialogue, and look of the characters (especially big Frank himself) are right from the comics. Sure some of the side characters aren't true to the comics, but I'm pretty sure they were just thrown in for the enjoyment of the fans. Ray Stevenson was great as the Punisher. Again, very true to the source material. While Dolph Lundgren seemed sleepy & burned-out, and Thomas Jane was a depressed drunk, Stevenson's Punisher is sharp and inconsolable. Not only does he have the right look and voice, but it's clear he's and actor with talent. If the studio decides to make any more Punisher movies, Ray Stevenson should continue to play the part. Dominic West was excellent as Jigsaw, and although some reviews feel he was a little over-the-top, I felt it was necessary to provide some balance to Ray Stevenson's Punisher. Julie Benz showed great balance as the female lead, and thank the comic-book gods, they did NOT try to invent a romantic storyline here. I've read some reviews where people are complaining about the plot, but again, this story could have been taken right from the comics. There was no need for several storylines intertwining, or plot twists, it was a simple story about the Punisher working his way through the mob, and having to protect a couple of innocents along the way. Why is this finally a true Punisher movie: 1) Ray Stevenson - he looks and acts the part. Instead of trying to create and origin story, they start with the Punisher 5 years into his rampage. The flashbacks and narrative tells the viewer all they need about the origin. Just like the comics, he is sharp and professional about what he does. And like the comics, he is direct. He doesn't waste time setting the villains up, he simply takes them out with military precision & strategy. 2) Interesting villains. Sure they are a little over-the-top, but they need to be to offset the darkness of the Punisher. 3) A director with the guts to show the Punisher as a relentless murdering vigilante. The previous Punisher movie tried too hard to make him a soft, sympathetic character, and dulled his violent edge. This movie displayed a Punisher that quite frankly, not everyone will like, but the same could be said about the comic. Congratulations, and thank you Lexi Alexander. It's really a shame that so many critics are giving it such a harsh, unfair review. Either they were spoiled by The Dark Knight & Iron Man, or they've never read a Punisher comic. Probably both. If you like the Punisher comics, you will really enjoy this movie. http://www.comicbookmovie.com/fansites/reviews/news/?a=5361 Nomad
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