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      Hi JWFAN.COM members,   Update: The migration need more time.   5-11. Dec. 2016.   The server is ready, a dedicated system:   Intel Xeon® E3-1225v3 Quad-Core 32 GB DDR3 RAM 2x 512 GB SSD   New os: Ubuntu 16.04 LTS Plesk Onyx Management system
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mrbellamy

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  1. I love Moonrise, actually not too sure whether or not I like it or Grand Budapest more but I've rewatched the latter more. Most of them are pretty close, though I think Darjeeling Limited is still my favorite.
  2. No, she's never said anything one way or another about Grindelwald's sexual preferences. She might change it, who knows, but she's always portrayed it as an unrequited love story. I remember there was an interview where she referred to DD as "possibly the 150 year old virgin." Also the "Life and Lies of Dumbledore" chapter in Deathly Hallows said they never met again after their teenage years until their duel (but since that info was from Rita Skeeter, I think there would be room there for some kind of secret meeting.) But it could make the Dumbledore stuff rather interesting going forward, especially since the Rita Skeeter excerpt says that he hesitated to go after Grindelwald for a long time. There's probably stuff in that chapter and Aberforth's story that she'll draw from and elaborate on.
  3. We should probably put this post in the F.A.Q. thread or something. Or make one with common Williams and film score questions.
  4. Yeah, but at least the number of tracks and times were on Google Play by this point too, so we also had some additional confirmation on that level. I guess we didn't officially know until the digital leak on Amazon? Can't remember.
  5. Bad movie, though. Also speaking of Aaron Taylor-Johnson, I thought he was great in Nocturnal Animals.
  6. of course you are absolutely right. I had forgotten that. Probably didn't articulate myself very well, but I agree with your thoughts on empathy as an imaginative process, although I would say that it is informed by knowledge/experience of human behavior (how could it not?). When I say I might know someone like a character, I don't necessarily mean "That's so-and-so from down the street" but just recognizing authenticity. Again, I don't know or remember Margaret well enough to give much insight into my reactions to Lisa...I hate to reduce it to "unlikability" because that's a non-criticism and hasn't prevented me from reaching out to characters in understanding, but there was some resistance there, I think she's certainly a polarizing character. Really would like to see it again. The flashback structure worked for me. I found them well-placed, carefully expressed. And obviously I disagree about the grief feeling manufactured or that the extreme, specific nature of (I assume you mean) Lee's grief made it harder to emphathize. Imagination did its work in those developments.
  7. Interesting that you call Manchester "more Hollywood and by the numbers in a way". I can't say I see where you're coming from on that, it felt very much in line with the frank emotional honesty of his other two films. This one did resonate with me the most of the three, I think it's maybe the most humane portrait of grief I've seen in a movie. All three of Lonergan's films, actually, have this really keen understanding of how amidst the deepest emotional pains, life and relationships seem to just somehow move on as ever but with new colors. This is a deeply sad film and yet doesn't feel like it's wallowing in it like a lot of movies on these subjects are prone to doing. Lee is bitter, frustrated, scared, angry, paralyzed, and yet his interactions and day-to-day living with Patrick are never drowned in that, these emotions are omnipresent but always tempered with the natural humor and common politeness and habits/procedures of making it through a day like any other. I found it quite something, I rarely see it dramatized this well. This was actually one problem I do remember having with Margaret, was that the number of scenes that turned into shouting matches became unconvincing to me in the particular ways they escalated. Part of this would probably have to do with my frustrations with Margaret herself, and I find this interesting because I remember not being quite sure I really knew a "Margaret" in my own life. I found myself struggling at times to recognize her in my own experiences and anyone I knew and her situation was also so strange that it became harder for me to find my way into the intensity of the film's emotional pitch. I felt like I didn't fully understand the character and consequently didn't 100% buy into her plight, though I admired much about the film. But what's interesting is that from what I can gather through the various pieces and opinions I've read on the film, a lot of people who love it seem to really know that girl. She's a sister, mother, daughter, friend, or indeed themselves. So there must be some truth there. But this is something that occurred to me because as I was watching Manchester, I did instantly feel like I knew Lee. I recognized him, I know people like him. In some ways I am him. And I've been reading criticisms about the ending and people being similarly frustrated with Lee, not understanding his decisions, wanting further closure. To me it was the perfect ending, it was exactly right. Anyway, this one's going to stick with me.
  8. I don't know about all of them....most of the players/technicians are probably unidentifiable in the background with the poor lighting and shitty quality, at least in the 70s/80s. I imagine they'd only need to get ahold of a handful of people, and they could always just cut around or leave out whatever they couldn't use. I'm sure there's interesting material of Johnny at the podium alone, or back at the consoles with Spielberg. What I really want to know is if there's more footage of just Spielberg/Williams spotting and working on the films at the piano together privately, like those ET clips, or if that's the only time they've let any of that be filmed. I could never get enough of seeing those two together.
  9. It seems to me that he would have it already, because he's about Dumbledore's age and DD is supposedly in his 40s or something at this point, and we know she described Grindelwald as a young man when he stole it. Also he supposedly used it to terrorize Europe which he's already begun. So I feel like he actually would have it at this point, but I've seen a lot of people theorizing about what's going on with the Elder Wand and why we never saw it. I hope he does have possession of it even he never used it, because I saw someone mention that since Newt captures (and I think disarms?) Graves at the end, that means he could actually unknowingly be the master now going into the sequel. Which would be pretty cool.
  10. Part of me thinks that Spielberg would only begin something like this in earnest once Williams has passed. Who knows if anybody else has attempted anything and been turned away, but you have to think it's occurred to SS to share the goldmine of footage that he's sitting on with the adoring public....possible that Williams himself is uncomfortable with the idea.
  11. I dunno, I do think the trumpets are somehow more blaring than in previous SW scores. Stuff like this: I think the biggest discrepancy for me between the prequels and TFA was just the sheer density of sound, but I think a lot of that is composition/orchestration. Especially how he really limited use of choir, percussion, "ethnic" instrumentation, and I also feel like there are generally less moving parts in both the action and even dramatic and transitional/scenic stuff, the compositions less "busy" in a way. Maybe less overtly melodic too. I do feel like recording played into that in various instances as well, though. For example, the great Poe's theme statement in "The Resistance," you can faintly hear all this accompaniment going on with the woodwinds and the trumpets underneath the horns but somehow they don't make the kind of impression I usually expect with Williams. Also there was a surprising amount of texture/color in the concert pieces (especially the woodwinds in "March of the Resistance") that I had really never heard at all until the BSO performance recordings last spring. Not sure to what degree performance would have factored in to any of this.
  12. 7-minute Dunkirk prologue to play before Rogue One in select IMAX theaters Also:
  13. The reactions to this movie are so interesting to me haha. I watched it a couple years ago (the full 3 hour version) and I ended up fairly positive on it but still somewhere in between the people who consider it a flat-out masterpiece and the people who think it's one of the most annoying things ever. I do wish Lonergan would/could make more movies. Just watched You Can Count On Me the other night and loved it and now I've kinda been wanting to give Margaret another go. Probably will, especially if I really love Manchester by the Sea (have you seen it yet?)
  14. I can't wait to see that!
  15. Right, but as Jay said, retrospectively that makes no difference here. Everybody still calls it for 2015. Again, though, I think it's different for a professional critic like yourself. For a reverse example, The Intouchables is a French movie that was a huge box office hit in 2011, but we Yanks didn't see it until 2012. And so American critics would have put it in 2012 for their year-end lists and if it were Oscar-nominated that's where it would have been, which is fine. But broadly speaking I would say it's a 2011 movie. But this whole discussion is pointless and pedantic, anyway.