CAYOM Magazine

[SLAM!]

@CayomMagazine

 

Among Us will be a CGI animated film. The Mitchells vs. the Machines director will direct it, and Super Monkey Ball will now be directed by Over the Hedge director Tim Johnson.

[SLAM!]

@CayomMagazine

 

New Journey Pictures is saying "never mind" and making Among Us live action again, with James Gunn in the director's chair. "The story's mystery/thriller elements, though comedic in nature, could alienate the family animation general audience." Michael Rianda returns to direct Super Monkey Ball.

Edited May 26, 2021 by SLAM!

[SLAM!]

@CayomMagazine

 

John Hawkes (The Peanut Butter Falcon and Winter's Bone) will star as Colorado baker Jack Phillips in the faith-based feature Cakewalk, a film that discusses the court cases involving the Masterpiece cake shop from the baker's point of view. The film could potentially be an adaptation of the baker's memoir which was recently published.

Edited May 30, 2021 by SLAM!

[SLAM!]

@CayomMagazine

 

Cakewalk has been cancelled. More Cayom-related news to arrive shortly.

[El Squibbonator]

The Workshop, the animation studio that made this year's animated action-comedy Frankenstein Jr., is announcing a major shake-up in its release schedule. It was previously planned that The Workshop's Y9 movie would be an adaptation of Brianne Drouhard's webcomic Harpy Gee. However, this movie has been shifted to an unknown later year. Taking its place will be. . . 

 

The Furby Movie! 

 

"90s nostalgia is all the rage," says The Workshop creative head Anne Sullivan. "People who were kids when Furby was a big hit are having kids of their own now, and this is the perfect time to make a movie to capitalize on that. I don't want this movie to be seen as just a toy commercial-- it's something for the both kids and their parents can enjoy." 

Be that as it may, The Workshop and Hasbro (manufacturer of the Furby toy) are definitely planning to go all-out in promoting this movie. According to Sullivan, one thing sure to be in demand next Christmas is the all-new Gnarlies, evil twins of the Furbies who love making mischief and playing naughty tricks on people. "The Gnarlies might be the bad guys in the movie, but as far as the toys go, they have an appeal to older kids who aren't into the squeaky-clean side of things." 

As far as what kind of story could be told about Furbies, Sullivan didn't say much. "All I can say is this. They aren't toys in this version. They're living creatures, and a few very special children around the world get to bond with them. And that's really what the story is about-- it's about that bond. It's about being a family." 

Edited May 30, 2021 by El Squibbonator

[Alpha]

@CayomMagazine

The director of Alpha Pictures’ Beastars is now Jennifer Yuh Nelson (Spark: Beyond the Sky, Dreams). In theaters August Y9.

[SLAM!]

@CayomMagazine

 

New Journey Pictures is ready to announce more information about the studio's next thriller film, The Mirage, which is directed by Scott Cooper (Antlers).

 

The film follows a bounty hunter from Texas named Ralph Thompson (Glen Powell) who gets hired to find a missing girl named Alexis (Margaret Qualley) and stumbles across an abandoned valley town in the desert of New Mexico. Little does the bounty hunter know that the people lingering in the ghost town, the kidnappers, and the creatures he encounters are all connected in a way that he doesn't expect...

 

The film also boasts an original score by composer Johnny Greenwood (There Will Be Blood).

Edited June 1, 2021 by SLAM!

[SLAM!]

@CayomMagazine

 

Fede Alvarez will direct a PG-13 rated "general audience" horror film (a la Quiet Place) titled Los Pasillos (which is Spanish for "The Corridors"). In the film, a Hispanic family on vacation stops in a motel with ghostly corridors that only one person can enter (and not to be able to return)--each corridor preys and feeds off of the person's fear and could bind them forever if they succumb to their fear.

 

Actors in talks to join the film's ensemble include Diego Luna, Michelle Rodriguez, Isabela Merced, Xolo Maridueña, Dafne Keen, and an unknown child actor.

Edited June 1, 2021 by SLAM!

[Rorschach]

@CayomMagazine @LagerPictures

 

Gore Verbinski (Pirates of the Caribbean, Rango, XJ-9: Rebirth) is now set to direct Lager Animation's long-gestating animated sci-fi action/adventure film Star Reaper, slated for a TBD Y10 summer release date. Ted Elliot (Pirates of the Caribbean, Aladdin, Shrek) and Nicole Perlman (Guardians of the Galaxy, Detective Pikachu) have been tapped as the film's screenwriters.  

 

Geraldine Viswanathan, Mena Massoud, Tom Hardy, Sophia Lillis, Ana de Armas, Riz Ahmed, Daveed Diggs, Jurnee Smollett, Rosa Salazar, Noah Jupe, Omari Hardwick, Peter Serafonowicz, Jackie Earle Haley, and Norman Reedus will round out the voice cast. 

 

That is all.

[Reddroast]

Zack Snyder has been hired on for a mystery project by Horizon Entertainment aiming for a y9 or y10 release. The project is rumoured to a war film with supernatural elements 

[4815162342]

MASS EFFECT: REVELATION SOUNDTRACK

 

Original Music by M83

The film score for this film shifts into heavily electronic based, with a lot of pulsing rhythms and synths to give a more artificial and mechanical tone to the events. The action music in general contains a lot of flares and blasts of tempo shifts and volume changes to reflect the shifting and volatile nature of the artificial intelligences opposing the main characters. A handful of character themes/motifs from the prior films do carry over, but with a synthetic rework to fit with the style of the film score.

 

Track Listings in Spoiler Tags

 

Spoiler

 

1. Eden Prime – 3:18 (This track starts with an idyllic agrarian-style motif, before giving a sample of the theme for Liara, which is pensive piano-based tune with supporting strings reflecting her scientific, contemplative background and her species’ long lifespan) See 0:01 to 2:00 of this piece to get a sense of what I am aiming for with Liara’s theme:

 

 

 

 

2. A Race of Machines – 2:26 (This track presents a pulsing, clanking theme for the Geth, who are recurring, faceless enemies throughout the film, and there’s flares of action in the theme to represent their violent assaults)

 

3. Reach the Beacon – 6:12 (This track covers the action at Eden Prime as Shepard and the Normandy seek to defeat the attack by Geth and recover the Beacon. We get flashes of the motifs for many major characters, with a martial theme for Ashley introduced. In the final minute-plus of the track the action tempo dies down and gets replaced with ethereal style music, that then becomes jagged and distorted in similarity with the broken vision Shepard receives)

 

4. Saren and The Matriarch – 3:07 (This track features the themes for Saren and Matriarch Benezia, which recur through the film. It starts with Saren’s theme, which is dark and brooding, grim synth tones that reflect a determination to see things through no matter the cost, and then the track seamlessly segues into Benezia’s theme, which is based upon strong, sleek string notes with a slightly discordant female choir giving background vocals)

 

5. Finding Fist / Rescue the Quarian – 6:34 (This track starts by introducing Wrex’s motif, which is a grumpy and bombastic theme of drums and horns and other unique percussion instruments with some backing strings. The music then cuts into an actiony bit that is woven in with synth notes styled liked club dance music, before simmering down for some slow-paced tense notes, before a final action flare) This piece indicates the style/tone for Wrex’s theme:

 

 

 

 

6. Shepard’s Induction – 2:03 (Shepard’s theme from prior movies recurs in a bit more triumphant fashion as she gets inducted into the Spectres and is authorized to go after Saren and hunt him down)

 

7. A Frozen World – 4:19 (This track covers a number of initial events at Noveria, with the first half being a simmering, tense, ominous affair as Shepard’s crew investigates the port and tension slowly builds, and then the second half erupts into action music with appearances by the themes for the Geth, Ashley, and Shepard) This piece gives a sense of what the first half of the track is like, plus the general mood aimed for in the investigative music in the film:

 

 

 

 

8. The Mountain Convoy – 5:31 (This is an action music track covering the convoy chase and battle up the snowy mountain roads, with a lot of flares of music representing events such as armored vehicles being knocked off cliffsides, and the Normandy’s Mako being dropped and crashing into the barricade. The Geth theme, Wrex’s theme, and the Normandy theme heavily feature here). This piece gives a sense of the style of music for the chase scene and in general what the action music is geared towards

 

 

 

 

9. Peak 15 – 3:36 (This track features ominous investigation music with some brief flares of action as Shepard’s crew investigates the facility and slowly uncovers what is going on. The close of the track features a brief rendition of Benezia’s theme)

 

10. You Always Made Me Proud – 4:12 (This track starts with a duel of sorts between Liara’s theme and Benezia’s theme, before escalating into an action music showdown, and then in the final minute softening again into sad renditions of Benezia’s and Liara’s themes respectively)

 

11. The Queen – 2:21 (This track features discordant and chaotic synth notes to represent the alien nature of the Rachni Queen, whose way of think and communicating is utterly different from the rest of the cast, and there’s a build of tension as the heroes consider whether to let the Queen go)

 

12. Assault on the Compound / Wrex Wrecks – 7:42 (This track of action music covers much of the assault on Saren’s base on Virmire, with heavy reliance on pulsing synths and percussion and horns. The latter part of the track shifts into a dramatic and almost reflective take on Wrex’s theme, as he considers the research being done at the base, and then flares into a triumphant action take as he decides to shut it down)

 

13. Come, Reap – 2:46 (This track introduces Sovereign’s theme, which is dark, authoritative, and imposing with heavy synth notes and blasts of backing horns and swipes of string instruments. The track is almost over-the-top in presentation, reflecting Sovereign’s confidence and utter contempt for organic lifeforms as it reveals itself to Shepard) See the first few minutes of this piece to indicate the sort of tone and style for Sovereign and the Reapers:

 

 

 

14. Hold the Line – 4:52 (This track covers the escape from Virmire, with action music segueing into a musical standoff between Shepard and Saren’s themes, that then cuts into sad rendition of a theme for Kaidan intercut with flares of actiony music, as Kaidan holds position at the bomb, before setting it off, with the final thirty seconds or so of the track being sad vocalizing of a female choir)

 

15. No One Else – 3:02 (The track starts off with a sad rendition of Shepard’s theme, before moving into a hopeful rendition of the Normandy theme as Shepard’s resolve firms up as she decides to go after Saren, even without support from the Council)

 

16. Vigil – This track is a remix of the musical track from the game:

 

 

 

 

17. Sovereign Arrives – 3:42 (This track represents Sovereign and its Geth fleet arriving at the Citadel and engaging the defenses, with heavy doses of the Sovereign and Geth themes. As the track progresses there’s an increasing presence of a male choir vocalizing in the background, growing more intense and weightier as the losses for the Citadel mount)

 

18. Citadel in Flames – 3:32 (This track starts out with a mix of synths and vocals sadly reflecting the devastation of the Citadel, before escalating into intense action music as Shepard and the others fight their way towards the Citadel core)

 

19. There’s a Way Out – 5:19 (Similar to “Hold the Line”, the track features an escalating musical duel between Shepard and Saren’s themes, Shepard’s theme growing more earnest and pleading as Saren’s theme gets more discordant and doubtful, until there’s a flare of triumphant music. Then the track shifts into intense but triumphant action music, with the Normandy theme featured, as the various races band together and defeat the exposed Sovereign)

 

20. At Ease – 3:20 (This is a sad and mellow track representing Kaidan’s funeral and the wake that follows, with a soft rendition of Kaidan’s theme for the final time with backing vocals, before moving into a quiet piano-based rendition of the Normandy theme as characters interact)

 

21. Into the Unknown – 4:04 (This track starts off as warm piano, string, and synth notes interact with the gang all together, before becoming a pensive rendition of Shepard’s theme as she sits in the Normandy’s cockpit, and then shifting into a dramatic rendition of the Normandy theme as the ship flies into space for what comes next.)

 

 

[SLAM!]

New Journey Pictures: News Hodgepodge

 

• The Needles of Haystack County's planning is progressing smoothly. Because this will be New Journey Pictures' first original blockbuster franchise, the previously announced The Last Beacon will be placed on indefinite hold so the studio can focus on getting Needles made right. The action fantasy western will star an impressive slew of performers including Dacre Montgomery, Lakeith Stanfield, Ella Purnell, Jurnee Smollett, Forrest Goodluck, Diego Luna, Anthony Gonzalez, John Goodman, Margo Martindale, Willem Dafoe, and Sandra Oh among others.
• NJP Animation will release an adaptation of the Doug TenNapel graphic novel Cardboard in the animation style of Klaus, with Klaus filmmaker Sergio Pablos directing. The animated film will release in Y9.
• New Journey Pictures is considering releasing a werewolf thriller called Once Bitten in Y9. The film has Spontaneous director/Underwater writer Brian Duffield in talks, and the film is billed as a werewolf thriller that doubles as a social allegory about the fear and pain inflicted by sexual assault and abusive relationships. Kaitlyn Dever is in talks to star.
• Los Pasillos has been pushed to Y10 and will not have an IMAX release. NJP is making room because they've decided they'll do the first Xenoblade Chronicles film in Y9 after all.
• NJP's Professor Layton will be in live-action and is eyeing Paddington filmmaker Paul King to direct. NJP hasn't ruled out adapting the video games directly.
• An adaptation of the second season of Megalo Box has been greenlit. The film will be titled Nomad in reference to the second season's subtitle and will be directed by Charm City Kings director Angel Manuel Soto. Luke Pasqualino hasn't confirmed whether he will reprise the role of Joe.
• A sequel to Dragon Ball Z: Attack of the Saiyans has been greenlit.
• A Street Fighter film has been greenlit.

[Reddroast]

Joe Cornish has been moved off fantastic four to a different y9 project Bo Burnham and Paul Rudd join the already attached Erin Kellyman. The film will be written by Burnham and Cornish

[SLAM!]

@CayomMagazine

 

New Journey Pictures is looking to make a film based on the Marvel hero Stingray. Dev Patel is in talks to star as Stingray, while Tyler Hoechlin is in talks for Tiger Shark and Caleb Landry Jones is in talks for Dr. Lemuel Dorcas. J.A. Bayona is in talks to direct.

Edited June 18, 2021 by SLAM!

[SLAM!]

@CayomMagazine

 

New Journey Pictures News Hodgepodge

 

• New Journey Pictures has decided that its last films will be released in Y11 due to chapter 11 bankruptcy. Another studio run by the main NJP executive (a la Slam) might take New Journey's place after Y11 once they are given time to evaluate their resources.
• Grace and Mercy has been cancelled after careful consideration. "It turns out that there really isn't a feature film story worth telling out of the gorilla glue incident."
• It's a turbulent time for New Journey Pictures, and a lot of previously greenlit projects have been cancelled. But many of the most important films to the studio will still be intact.
• Jon Boyega will play Reyn in the Xenoblade Chronicles franchise instead of Jack Reynor.
• Jimmy Tatro will star as Aiai in Super Monkey Ball instead of Jake T. Austin.

Edited June 18, 2021 by SLAM!

[Blankments]

Sandboy (Original Motion Picture Soundtrack)

Original Score by Dan Romer and Benh Zeitlin

 

Reference scores:

 

 

 

 

 

 

 

 

This is a score obviously inspired by Romer and Zeitlin’s other work. However, it does utilize a bit more vocal track from a young choir. It tries to keep it to beachy sounds - I know that sounds vague, but imagine some calypso-infused with a general fantasy vibe (like the sound of the other Romer/Zeitlin scores). 

 

Track listing with time codes and descriptions:

 

1. Windy Ride - 2:14 - this track plays from the beginning of the film to when Bree finally explores her house. It’s whimsical but slightly dark, filled with the fear that comes when a kid arrives at new place.
2. A Boy and a Girl - 1:45 - plays when Bree and Arthur first meets, and when we really capture the themes used for the two of them. Bree’s sound is slightly more formal, created with strings (but still fun), while Arthur’s theme is percussion-based, where the main sound heard is maracas.
3. The Cavern Beyond the Rainbow - 4:38 - designed to be one of the centerpieces of the score, it is an ethereal piece that combines the Arthur and Bree themes with distortions and a drum backing to build up dread until they finally arrive in the center of the cavern, when the piece explodes with a triumphant brassy sound of awe and wonder.
4. The Tidal Pool - 2:58 - similar to the previous track; again Arthur and Bree’s themes intersect, but this time, snaps and cymbals pervade the piece, attempting to create a sound similar to the animals within the tidal pool.
5. Piece of Pizza - 1:03 - this and #10 are similar, a strings piece that clashes with a simpler piano for the parents
6. The Summer of Bree - 3:22 - for the montage of summer; Arthur’s and Bree’s themes intersect with a choral arrangement of children the age of them singing basic “la”s within it.
7. The Trip to Town - 2:11 - this piece takes Bree’s central theme and transposes it on her parents’ piano themes.
8. Deep Dive - 1:58 - a more volatile arrangement of Bree’s theme; somewhat offkey at points, but halfway, the maracas come in and forces the strings into something more panicked, until the strings and maracas begin to sound in tune with each other.
9. Arthur’s Parents - 1:41 - a deep hum that is created by multiple different drums on top of each other along with the youth choir, with moments of Arthur’s and Bree’s themes shining through. 
10. Piece of Cake - 2:03 - a play on #5, but this time, Arthur’s theme is lightly mixed in and as Bree avoids her parents, the piano becomes more a tense, somewhat jazzy sound.
11. Look at the Fireworks - 2:16 - begins as a triumphant version of Arthur’s theme, but ends with the piano overtaking it as the strings and maracas begin to fall apart.
12. A Final Run - 4:16 - the climactic piece. Begins with Bree’s strings really falling apart, as the parents’ piano frantically attempts to cover for it but fails. When the maracas come in, they initially sound triumphant, until Arthur begins to cry and they too fall out of sync, until Bree is revived. The youth choir steps in for the very end of the piece.
13. All Good Things - 2:03 - the youth choir finally takes over, harmonizing Arthur and Bree’s themes, with the instrumental aspects taking a backseat. It starts big but grows subtler as the film itself abandons the beach.
14. Once There Was a Sandboy - 6:01 - comes from the epilogue to the end credits. A big arrangement of both Bree’s theme and Arthur’s theme, being played on maracas, drums strings, and eventually even the trumpets and pianos that defined the magical places and the parents of the piece.

Edited June 18, 2021 by Blankments

[SLAM!]

@CayomMagazine

 

New Journey Pictures will no longer be making announcements in CAYOM Magazine, with the only exception being score descriptions whenever they are necessary. Films will be cast, scheduled, marketed (via Oscar ceremonies and the occasional livestream event a la Christmas Extravaganzas), posted for release, and potentially conceived and written (in cases where they haven't previously been announced) without any magazine posts warning about it—though bear in mind that release dates and release windows will be quietly updated in the Studio Plans thread. These decisions have been made in order to have our film teams focus primarily on the development of films instead of any other aspect of the CAYOM industry such as hype trains and commitments to certain projects. New Journey Pictures thanks its fans for their understanding.

Edited June 19, 2021 by SLAM!

[Ezen Baklattan]

@CayomMagazine

 

Singer Sara Bareilles will join the cast of Taika Waititi's THIS WASN'T SUPPOSED TO HAPPEN. Rumor has it she may also write an original song for the film.

[Reddroast]

On 6/12/2021 at 8:35 PM, Reddroast said:

Joe Cornish has been moved off fantastic four to a different y9 project Bo Burnham and Paul Rudd join the already attached Erin Kellyman. The film will be written by Burnham and Cornish

Gareth Edwards (rouge one, Godzilla) will now direct Fantastic Four. Chris Mackay has brought in to direct a original y10 film 

[Blankments]

Olive's Hallowed Eve (Original Motion Picture Soundtrack

Original Songs by Bret McKenzie

 

Track listing with select hyperlinked reference songs:

 

1. Spooky Season - Zendaya, Taika Waititi, Chris Hemsworth, Chorus
2. Totally Normal - Natasha Lyonne. Beanie Feldstein, Zendaya and John Mulaney
3. How to Be - Jemaine Clement
4. I Don't Hate Everything - David Byrne
5. Bookin' It - Zendaya, Taika Waititi, Joe Pantoliano, Chorus
6. It's Not So Bad - John Mulaney and Anthony Carrigan
7. The Uninspected - Ted Danson and Shahadi Wright Joseph
8. The Luga Brothers - Jemaine Clement
9. Incantation - Ted Danson and Joe Pantoliano
10. Welcome to City - Full Cast
11. Bright Magic - Zendaya and Jake Gyllenhaal
12. How to Be (Reprise) - Jemaine Clement
13. Fixing the Holiday - Jemaine Clement and Zendaya
14. Olive's Hallowed Eve - Full Cast
15. Spooky Season (Reprise) - Full Cast

 

Bright Magic description: This song I couldn't find a reference to. It feels a bit indie pop but slowly builds until a strong but emotionally firm. I imagine it sounding a bit like Arcade Fire or Of Monsters and Men; if I had to do a reference song it'd be Little Talks, but that would be the song eventually ends up, before the slow build. I also considered Falling Slowly and Me! in terms of the vibe from the beginning of song to the end.

 

As a Spotify playlist: