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mrbellamy last won the day on April 23

mrbellamy had the most liked content!

About mrbellamy

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  1. It is and it isn't. It's a pretty episodic story. Some great imagery and two or three brilliantly staged/scored sequences, not sure you'd find it worth the 2.5 hour slog just to get to those. It's quite a maudlin movie, really, but it has some good old-school craftsmanship. I didn't really find Tintin that interesting, apart from the falcon chase....I'm tempted to say that alone would be worth looking up on YouTube just to appreciate on its own merits.
  2. We are all waiting for your example from Gidget Goes to Rome!
  3. American Beauty is great for those brief motives/rhythms/harmonies that instantly hook, probably my favorite score that is completely built around such "micro" ideas. "Any Other Name" and "Root Beer" also qualify imo.
  4. This one's a contender for my #1
  5. Not exactly.
  6. I think most people do well enough with italics, quotes, exclamation points, general hyperbole etc. Besides that, tagging a little /s at the end of the post seems to get the job done for those who care about whether or not their post will read to the Thors of the world Anyway, I'm all for "group scoring" in the collaborative sense. A pop/rock band or an established duo like the Danna bros....I think I'm a little confused reading this thread but are there really arguments against that? I don't get it, especially if they're working cue-by-cue together. I'm guessing a singular vision would be harder to maintain and just plain inefficient writing for a 100-piece orchestra, though, as opposed to a 4-piece rock band or an all-electronics piece where the finished product is forming right in front of you. But like, Good Dinosaur was wonderful recently. Ghostwriting obviously is a and I don't really like the idea of any collaboration that takes the Oprah approach: "You get a cue, you get a cue, everybody gets a cue!!!" You'd be lucky to make it to a cohesive whole that way and it's not really a collaboration at all, unless I suppose you're constantly reconvening and swapping each other's work like some screenwriter partners who might each take a few scenes then regroup. But no idea how well that would work on a modern post-production schedule...definitely not for some kind of intricately leitmotivic and/or fully orchestral piece. I don't have that much insight into how the Dannas do it or like how Zimmer/JNH did the Batmans. Anybody?
  7. Ebert's weekly reviews were okay and usually pretty enjoyable reads and he was an entertaining TV presence, but he really rose in my estimation as a writer with his Great Movies essays and his blog after his cancer had left him literally speechless.
  8. Scores, I go back and forth all the time but I've been more fond of War Horse lately. Both hold a special place with me, being my first releases on the forum and coming after that 3.5 year wait; really loved at the time that they were both so episodic since it allowed for so many different Williams styles at once. Film, I guess I'd also give the edge to War Horse. Hard to say since I think it has both higher highs and lower lows than Tintin.
  9. Still too soon for Schindler's List jokes, man.