Jump to content

Docteur Qui

Members
  • Posts

    5,000
  • Joined

  • Last visited

  • Days Won

    4

Docteur Qui last won the day on August 22 2020

Docteur Qui had the most liked content!

About Docteur Qui

Profile

  • Title (custom text underneath your username)
    Professor Gizmo enthusiast

Recent Profile Visitors

12,054 profile views
  1. Oh wow, I hoped for Gareth Edwards to helm this but I didn't actually expect it to be the case. Great news - I feel like his Godzilla was an attempt at making Jurassic Park, but it was probably not the best fit (people just want to see the kaiju in kaiju films, Spilebergian suspense was maybe a bad call), though I still really liked it a lot. The more exciting prospect is that Desplat might get a shot at this - assuming there was no fallout from his Rogue One exit. I suspect that really was a scheduling issue caused by executive meddling, considering the film was essentially taken out of Edwards' hands towards the end of production. If not Desplat then Britell please. Just no Giacchino; I can't stomach any more of his saccharine attempts or clumsy handling of Williams' themes.
  2. Silly me, I completely missed this thread when it was announced - I only found out about it upon listening to the latest episode of the Legacy of John Williams podcast which features Tim. I'm stoked that this is happening, congrats to all involved. I can't wait to read it.
  3. You got it! That opening arpeggio has been living rent free in my head for the past few months.
  4. Short excerpt, but shouldn't be too hard:
  5. I feel the same way about virtually all of the Wizarding World as portrayed in the films post PoA. Instead of absurdist, magical, interesting architecture we just get... retro real-world buildings. The Ministry of Magic is deliberately modelled after the London and Moscow undergrounds and it shows - on one hand I see how suggesting a time and place can be effective visual storytelling, but it also contradicts the social structure of the magical society as it's portrayed in the books. The buildings are supposed to be weird - most witches and wizards look down on Muggles (whether that's affectionately or sinisterly) so it doesn't make much sense that their aesthetic is virtually the same. It's the same with the clothing/robes - they're supposed to be flamboyant but in the films they're either nonexistent or just lightly tailored suits/variations on Muggle fashion. Don't get me started on the portrayal of actual magic/spells. As @Holko pointed out everything's strangely mechanical and logical when it should be bizarre and absurd. We never see any interesting spells or charms, especially from GoF onwards - it's all just generic jets of light, shields and explosions. Yates is squarely responsible IMO, for going with the "realistic, grounded and gritty" aesthetic that dominates the franchise. I hope the show goes to someone with vision and flair, someone weird - imagine Terry Gilliam (who Rowling originally wanted to direct) producing this show, it would be amazing!
  6. They should stick to the description of Hogwarts in the book I reckon - aesthetically the film castle is beautiful but I always imagined the real Hogwarts as a little more ramshackle. Not quite the Weasley's house, but still not as graceful as the film; kind of like a fortress with towers coming out of it in not-quite-right ways. It should look as if it was made with magic and not from human engineering. The book version of the castle is much smaller as well, as there's only around 850 students; realistically the film version would feel perpetually empty with that number of students spread over its enormous grounds. The biggest challenge is giving the castle an iconic silhouette, which is something the film version did perfectly.
  7. Yes, he's one of the first who came to mind when I wrote that. His 2014 Godzilla gets a bit of flak but I think it's pretty good. It takes itself a little too seriously but Edwards is very good with scale (as he was in Monsters). He'd be a good choice for a Jurassic Park film IMO. I imagine he would've been asked for Jurassic World had Godzilla not happened first.
  8. I doubt that. I imagine Abrams is planning a rebrand after the fiasco that was TROS. That seemed like the end point of his Spielberg/Lucas homage era.
  9. Agreed on all points. What the franchise really needs is a director who understands suspense and scale. Trevorrow was not good at either of those things. And please, please we need to lose the meta jokes in the scripts. It was a cute trend when it became popular in the 2010’s but it’s been done to death. Let the story be earnest and speak for itself, meta writing just undermines things and takes me out of the experience.
  10. If there's one thing Machine Games is good at it's making killing Nazis a lot of fun. From the glimpses of combat they seem to have captured the very stylised violence of Spielberg's films; those punches have real heft to them. Remains to be seen how the game will go though. It's obvious they wanted to steer clear of Uncharted territory, specifically the climbing mechanics of that series. It makes sense, seeing as those games were direct homages to Indy and pretty much wrote the book on how you'd make a modern Indy game, but I'm not entirely convinced a FPS approach will work for Indy. For one, FPS games are not known for their intricate puzzle design, and I'd be extremely disappointed if that aspect of the game is lacking. But who knows, perhaps that's why there's 4(!) studios attached to the game - one of them are bound to make a good puzzle or two. Here's an extended look at the game, and it's chock-full of what I assume is the new score. It's Gordy Haab doing what he does best; classic 80's Williams. I look forward to hearing it in full:
  11. Oh wow, the “Duel” performance is really something special. I adore the idea of turning it into an actual duel between violin and cello. The way the performers interact with one another and with Williams… it really highlights the reimagining of these pieces as something to watch being performed as opposed to merely listening. It distills the purpose of what he’s achieved with these late collaborations with Mutter. It’s a true privilege to be able to experience Williams’ music in this context; elevated. It’s as though all those decades of “serious” critics and institutions deriding JW’s music (and film music in general) as a lesser form of art have completely washed away. That they can all see him now, and the ways in which his music has transcended the films they were written for… Not that those views have ever really mattered much to those of us who’ve always loved his music, but there’s a certain satisfaction in knowing that he is now universally considered to be an artist of the highest calibre and integrity by those same institutions. It’s sublime.
  12. Good to know, thanks! Out of curiosity, where do you see the estimated time of delivery? I can't see it anywhere on LLL or the USPS tracking page.
  13. Has anyone from Australia received theirs yet? I ordered within hours of it being available from the LLL website; it’s been shipped and the USPS tracking site says it arrived at an origin transfer airport on December 9th but hasn’t moved since, still “in transit”. I’m getting a little antsy as last year when I ordered TND it never arrived at all, I checked the status in early Jan and it said “delivered” but never got it. I was eventually sent a replacement but that took another month.
  14. The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning. As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors. Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.