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  1. I had a dream with yesterday's ceremony. In my dream, Oppenheimer won all the awards it indeed won in real life, except for Best Picture, which went to Avatar: The Way of Water. When that movie's name was announced, the camera showed James Cameron and some other guy who seemed to be his producer (Jon Landau?) lying down on the stage playing with some action figures of US Marines, apparently recreating with toys the scenes of soldiers infiltrating the Pandora jungle. Then, suddenly a choir of people in Na'Vi makeup, all with the same dreads that Jake Sully had in that movie, started singing something, not from the score but I think some 70s music (?). And all of this ceremony happened not on the actual Kodak theater but on some church (??). A lot of other stuff happened as well, but I can't remember. After I woke up I was like "damn so Avatar 2 did get the Oscar over Oppenheimer huh" for a few seconds before my mind actually remembered what happened yersterday.
  2. http://filmmusiccritics.org/2024/02/ifmca-award-nominations-2023/ The International Film Music Critics Association will announce the winners of the 20th IFMCA Awards LIVE on the IFMCA YouTube channel on February 22, 2024. ####################################### The nominees are: SCORE OF THE YEAR GOJIRA-1.0/GODZILLA MINUS ONE, music by Naoki Sato INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams KIMITACHI WA DŌ IKIRU/THE BOY AND THE HERON, music by Joe Hisaishi OPPENHEIMER, music by Ludwig Göransson THE PIPER, music by Christopher Young COMPOSER OF THE YEAR LORNE BALFE LAURA KARPMAN BEAR MCCREARY JOHN WILLIAMS CHRISTOPHER YOUNG BREAKTHROUGH COMPOSER OF THE YEAR SHERRI CHUNG PAWEŁ LUCEWICZ MICHAEL “MIKA” PENNIMAN JR. ŁUKASZ “L.U.C” ROSTKOWSKI COREY WALLACE COMPOSITION OF THE YEAR “Can You Hear the Music?” from OPPENHEIMER, music by Ludwig Göransson “Concerto for Flute and Orchestra, Movement 2” from THE PIPER, music by Christopher Young “Found” from LA SOCIEDAD DE LA NIEVE/SOCIETY OF THE SNOW, music by Michael Giacchino “Helena’s Theme” from INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams “Leaving Spacedock” from STAR TREK: PICARD, music by Stephen Barton and Frederik Wiedmann BEST ORIGINAL SCORE FOR A DRAMA FILM THE BOYS IN THE BOAT, music by Alexandre Desplat NAPOLEON, music by Martin Phipps OPPENHEIMER, music by Ludwig Göransson LA SOCIEDAD DE LA NIEVE/SOCIETY OF THE SNOW, music by Michael Giacchino ZNACHOR/FORGOTTEN LOVE, music by Paweł Lucewicz BEST ORIGINAL SCORE FOR A COMEDY FILM AMERICAN FICTION, music by Laura Karpman BARBIE, music by Mark Ronson and Andrew Wyatt HAUNTED MANSION, music by Kris Bowers KUREIJI KURUZU/IN LOVE AND DEEP WATER, music by Takatsugu Muramatsu MON CRIME/THE CRIME IS MINE, music by Philippe Rombi BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES, music by James Newton Howard INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams MISSION: IMPOSSIBLE – DEAD RECKONING, PART ONE, music by Lorne Balfe PERTSA & KILU: FAARAON SORMUS/RANGERS OF THE LOST RING, music by Panu Aaltio SUPERCELL, music by Corey Wallace BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM THE CREATOR, music by Hans Zimmer FENG SHEN DI YI BU: ZHAO GE FENG YUN/CREATION OF THE GODS I: KINGDOM OF STORMS, music by Gordy Haab GOJIRA-1.0/GODZILLA MINUS ONE, music by Naoki Sato PETER PAN & WENDY, music by Daniel Hart POOR THINGS, music by Jerskin Fendrix BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM A HAUNTING IN VENICE, music by Hildur Guđnadóttir THE LAST VOYAGE OF THE DEMETER, music by Bear McCreary M3GAN, music by Anthony Willis THE NUN II, music by Marco Beltrami THE PIPER, music by Christopher Young BEST ORIGINAL SCORE FOR AN ANIMATED FILM CHŁOPI/THE PEASANTS, music by Łukasz “L.U.C” Rostkowski ELEMENTAL, music by Thomas Newman KIMITACHI WA DŌ IKIRU/THE BOY AND THE HERON, music by Joe Hisaishi MIGRATION, music by John Powell SPIDER-MAN: ACROSS THE SPIDER-VERSE, music by Daniel Pemberton BEST ORIGINAL SCORE FOR A DOCUMENTARY BLUE WHALES: RETURN OF THE GIANTS, music by Steven Price LIBRES, music by Oscar Martín Leanizbarrutia LIFE ON OUR PLANET, music by Lorne Balfe STILL: A MICHAEL J. FOX MOVIE, music by John Powell WILD ISLES, music by George Fenton BEST ORIGINAL SCORE FOR TELEVISION AHSOKA, music by Kevin Kiner ALL THE LIGHT WE CANNOT SEE, music by James Newton Howard THE FALL OF THE HOUSE OF USHER, music by The Newton Brothers ONE PIECE, music by Sonya Belousova and Giona Ostinelli STAR TREK: PICARD, music by Stephen Barton and Frederik Wiedmann BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA AVATAR: FRONTIERS OF PANDORA, music by Pinar Toprak GOD OF WAR: RAGNARÖK – VALHALLA, music by Sparks & Shadows, themes by Bear McCreary HOGWARTS LEGACY, music by Chuck E. Myers, J. Scott Rakozy, and Peter Murray PLANET OF LANA, music by Takeshi Furukawa STAR WARS: JEDI – SURVIVOR, music by Stephen Barton and Gordy Haab BEST ARCHIVAL RELEASE CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon) FILM MUSIC RECORD LABEL OF THE YEAR INTRADA RECORDS, Douglass Fake, Roger Feigelson LA-LA LAND RECORDS, MV Gerhard, Matt Verboys MOVIESCORE MEDIA, Mikael Carlsson MUSIC BOX RECORDS, Cyril Durand-Roger, Laurent Lafarge QUARTET RECORDS, Jose M. Benitez ###################################
  3. Disc-On-Demand (CDR) CD includes Digital Download/Digital Booklet Dragon’s Domain Records presents THE JOE KRAEMER COLLECTION: VOLUME 1, featuring music composed by Joe Kraemer (THE WAY OF THE GUN, JACK REACHER, MISSION IMPOSSIBLE: ROGUE NATION) for two films from his extensive filmography, THE HITCHER II: I’VE BEEN WAITING and JOY RIDE 2: DEAD AHEAD. Released in 2003, THE HITCHER II: I’VE BEEN WAITING was directed by Louis Morneau (BATS), written by Eric Red, Molly Meeker and Charles R. Meeker, starring C.Thomas Howell, Kari Wuhrer and Jake Busey. The film catches up with Jim Halsey (Howell) fifteen years after his horror filled trip through Texas at the hands of a psychotic drifter as chronicled in the events of the first film. After being discharged from the police force after using excessive force on a suspect, Jim decides to take a trip back to Texas with his girlfriend, Maggie (Wuhrer) to face the demons of his past and visit his old friend, Captain Estridge. On the way, the couple make the mistake of picking up another hitchhiker, Jim (Busey), who remarkably also happens to have most of his screws loose and Jim and Maggie find themselves taking part in a new cat-and-mouse tour of Texas with Jim in relentless pursuit. Heavily affected by Kraemer’s score for THE WAY OF THE GUN, director Louis Morneau knew exactly what he wanted musically for THE HITCHER II and sought out Joe to score the film. Released in 2008 after the surprise success of the first film, JOY RIDE 2: DEAD AHEAD was also directed by Louis Morneau, written by James Robert Johnston, Bennett Yellin and Clay Tarver, starring Nicki Aycox, Nick Zano, Laura Jordan, Kyle Schmid and Mark Gibbon as Rusty Nail. While driving to Las Vegas for the bachelor party of her sister Melissa (Aycox) and her fiancé Bobby (Zano), Kayla (Jordan) stops the car at a gas station to meet her date, Nik (Schmid). Nik convinces her to take the car down a back road and the car breaks down. They find a house in the middle of nowhere and decide to take the car parked in the garage to the nearest city and return the car later. Melissa leaves her cell phone number. Along the way, the car is damaged because of Nik’s stupidity and they plan to rent a car and return to the house to pay for the damages to the car. Unknown to them, the owner of the house is the psychotic Rusty Nail and the friends realize they are going to have to pay a much higher price than expected for what they did... Joe Kraemer has been scoring films since the age of 15, when he composed the soundtrack for his high school classmate’s feature-length indie shot on Super 8 in 1986. Joe attended the renowned Berklee College of Music in Boston to study film composition. In the following years, Kraemer carved out an eclectic career scoring various genres. He has written music for over 100 films, with about 40 of those just for the Hallmark Channel/Larry Levinson Productions. Furthermore, he has scored for episodic television, television movies, documentaries, and short films, including his scores for John Putch's THE POSEIDON ADVENTURE and A TIME TO REMEMBER, as well as the MYSTERY WOMAN series, and westerns such as HARD GROUND, LONE RIDER and THE TRAIL TO HOPE ROSE. His filmography includes THE WAY OF THE GUN, JACK REACHER, MISSION: IMPOSSIBLE – ROGUE NATION, THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT, the documentary KING COHEN and television series COMRADE DETECTIVE, CREEPED OUT and PANDORA. Joe frequently does Masterclasses in composition for media for various colleges and organizations, including Columbia College Chicago, Media Sound Hamburg, and the Hollywood Music Workshop. Dragon’s Domain Records presents THE JOE KRAEMER COLLECTION – VOLUME 1, featuring the premiere releases of music composed by Joe Kraemer for THE HITCHER II: I’VE BEEN WAITING and JOY RIDE 2: DEAD AHEAD The liner notes are written by the composer himself, along with director Louis Morneau. The music has been mastered by James Nelson at Digital Outland. THE JOE KRAEMER COLLECTION – VOLUME 1 is a disc-on-demand release and is expected to begin shipping the week of February 5th, 2024. The first 50 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge. THE HITCHER II: I’VE BEEN WAITING 1. A Dark And Stormy Night (4:38) 2. Flight To Texas / Meeting The Hitcher (6:10) 3. The First Attack / Maggie Must Go On (9:10) 4. The Empty Water Tower* / French Fries / Gas Station Shoot-Out (8:32) 5. At The Roadside / Stealing A Plane / Freeway Face-Off (6:56) 6. Did He Survive / The Final Fight / Finale (3:31) JOY RIDE 2: DEAD AHEAD 7. The Open Road (3:42) 8. One Car For Another (3:19) 9. Mortuary (3:10) 10. Flipping The Chevelle (3:46) 11. Repercussions (4:05) 12. Kidnapped (5:04) 13. Torture Chamber (5:23) 14. It’s Not Over Yet (3:07) 15. The Final Drive (4:26) Total Time: 75:38 *Vocals: Lisa Donahey https://buysoundtrax.myshopify.com/collections/dragons-domain-records-1/products/the-joe-kraemer-collection-volume-1
  4. Avatar: Frontiers Of Pandora - Pinar Toprak I've cut the album down to just under an hour and I have to say, it's really good. I feel it really sounds like an Avatar score and Toprak did a good job of incorporating the synths and vocals. In the action music it sounds a bit more like a Toprak score than Horner or Franglen, but I don't mind it. Great work
  5. There's a new game based on two movies that made a gazillion dollars and... Not even Ubisoft seems to care enough about it. https://kotaku.com/avatar-frontiers-of-pandora-impressions-review-ubisoft-1851077773 I know these Avatar movies are controversial (I think the first one is okay and the second was really good), but since James Cameron and Lightstorm invested so much money in order to make the most spectacular visual experience in theaters worthy of their 3 billion dollars box office, I think a game based on this brand should've been much more, I don't know, mind-blowing? These are "the biggest movies of all time" so the game should be similarly big and grandiose? Especially now that consoles have much more power than in 2009. Yet this one is so empty? Sigh
  6. Yes, it is kind of "Dry You Tears Pandora". Doesn't grab me at all.
  7. It does have both: THE ABYSS: ULTIMATE COLLECTOR’S EDITION THEATRICAL VERSION AND SPECIAL EDITION VERSION Street Date Digital: December 12, 2023 Physical: March 12, 2024 Product SKUs Digital: 4K UHD, HD, SD Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code) Theatrical Version Run Time: Approx. 145 Minutes Special Edition Run Time: Approx. 171 minutes Rating: U.S. Rated PG-13 Aspect Ratio Digital: 2:39:1 Physical: 2.39:1 Disc Size 4K UHD: 100GB Blu-ray: 50GB U.S. Audio Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio (some platforms) 4K UHD Theatrical Version & Special Edition: English Dolby Atmos, English 2.0 DTS-HDMA, English 2.0 Dolby Digital Descriptive Audio, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital Blu-ray Theatrical Version & Special Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital U.S. Subtitles Digital: English SDH, Spanish, French (some platforms) Physical: English SDH, Spanish, French BONUS FEATURES (NEW): Deep Dive: A Conversation with James Cameron – An exclusive new sit-down with James Cameron as he revisits the origin of the project and addresses some of the myths behind the production. The Legacy of The Abyss – Discover the lasting legacy of The Abyss with stories from James Cameron and the crew about how and why the film continues to have an impact on filmmaking today. ADDITIONAL BONUS: Under Pressure: Making The Abyss – The original documentary about the infamous production of The Abyss, with candid commentary by the actors and crew. Archives Deepcore Timelapse – Watch this production timelapse of the Deepcore set being created. Videomatics Montage – Watch a montage of behind-the-scenes production videomatics. Montana Bridge Flooding – See behind-the-scenes footage of the Montana bridge flooding. Engine Room Flooding – See behind-the-scenes footage of the engine room flooding. Surface Shoot Montage – Watch a behind-the-scenes montage of the surface shoot. Crane Crash Shoot – Check out behind-the-scenes footage of the crane crashing sequence. Visual Effects Reel – Watch a reel of visual effects progressions to see how they were developed for the film. Miniature Rear-Projection – Watch behind-the-scenes footage of how production used rear-projection techniques on miniatures. Motion Control Timelapse – Watch this production timelapse of the motion control technology being used. Teaser Trailer Main Trailer Reviews Trailer Still Gallery – Presented here are extras as they appeared in the “Imaging Station" on the Special Edition DVD release of The Abyss, along with the trailers. Since their original presentation has been preserved, resolution and clarity will vary from element to element. Street Date Digital: December 12, 2023 Physical: March 12, 2024 Product SKUs Digital: 4K UHD, HD, SD Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code) Feature Run Time: Approx. 141 minutes Rating: U.S. Rated PG-13 Aspect Ratio Digital: 2.39:1 Physical: 2.39:1 Disc Size 4K UHD: 100GB Blu-ray: 50GB U.S. Audio Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio (some platforms) 4K UHD: English Dolby Atmos, English 2.0 DTS-HDMA, English 2.0 Dolby Digital AD, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital Blu-ray: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, English 2.0 Dolby Digital AD, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital U.S. Subtitles Digital: English SDH, Spanish Physical: English SDH, Spanish, French BONUS FEATURES (NEW): Fear Is Not an Option: A Look Back at True Lies – Unveil the explosive behind-the-scenes secrets of True Lies with the cast and crew as they share untold tales of daring stunts, cutting-edge technology, and the comedic genius that brought this spy-thriller to life. Archives: Script, Artwork, Marketing – Dive into the production secrets of True Lies with these exclusive behind-the-scenes documents and more. ADDITIONAL BONUS: Theatrical Trailer ALIENS: ULTIMATE COLLECTOR’S EDITION THEATRICAL VERSION AND SPECIAL EDITION VERSION Street Date Digital: December 12, 2023 Physical: March 12, 2024 Product SKUs Digital: 4K UHD, HD, SD Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code) Theatrical Version Run Time: Approx. 137 minutes Special Edition Run Time: Approx. 154 minutes Rating: U.S. Rated R Aspect Ratio Digital: 1.85:1 Physical: 1.85:1 Disc Size 4K UHD: 100GB Blu-ray: 50GB U.S. Audio Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio (some platforms) 4K UHD Theatrical Version and Special Edition: English Dolby Atmos, English 2.0 DTS-HDMA, English 2.0 Dolby Digital Descriptive Audio, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital Blu-ray Theatrical Version and Special Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio, French 5.1 DTS-HDHR, Spanish 5.1 Dolby Digital U.S. Subtitles Digital: English SDH, Spanish Physical: English SDH, Spanish, French BONUS FEATURES James Cameron Introduction – A message from writer/director James Cameron introducing the Special Edition version of the film. 2003 Audio Commentary by James Cameron and the Cast and Crew-Special Edition – 1990 Special Edition Commentary by James Cameron and the cast and crew. The Inspiration and Design of Aliens – For the 30th anniversary, writer/director James Cameron reveals new insight into his own inspiration and the design elements for Aliens. 2003 Audio Commentary by James Cameron and the Cast and Crew – 1986 Theatrical Version Commentary by James Cameron and the cast and crew. Isolated Scores Final Theatrical Isolated Score – This isolated track presents, as accurately as possible, James Horner’s music score in its final form following extensive reworking during the post-production process. Composer’s Original Isolated Score – Although there are a few instances where the length of individual sequences was changed slightly after the music was recorded, this isolated score track presents, as accurately as possible, James Horner’s original intentions. Superior Firepower: Making Aliens– Immerse yourself in the world of Aliens with 11 fully-loaded featurettes that deconstruct all that went into making this sci-fi thriller, from casting to creature design to post-production and everything in between. 57 Years Later: Continuing the Story Building Better Worlds: From Concept to Construction Preparing for Battle: Casting and Characterization This Time It’s War: Pinewood Studios, 1985 The Risk Always Lives: Weapons and Action Bug Hunt: Creature Design Two Orphans: Sigourney Weaver and Carrie Henn Beauty and the Bitch: Power Loader vs. Queen Alien The Final Countdown: Music, Editing and Sound The Power of Real Tech: Visual Effects Aliens Unleashed: Reaction to the Film Superior Firepower: Making Aliens Enhancement Pods – Supplemental video pieces to complement Superior Firepower: Making Aliens. Without Sigourney Weaver Origins of Acheron Building Hadley’s Hope Cameron’s Design Philosophy Finding an Unused Power Plant Cameron’s Military Interests Working with Sigourney Weaver The Importance of Being Bishop Paul Reiser on Carter Burke The Paxton/Cameron Connection Becoming Vasquez On Set: Infiltrating the Colony Props: Personal Light Unit Simon Atherton Talks Weapons Praising Stan Winston Test Footage: Chestburster Fighting the Facehugger Test Footage: Facehugger Stan Winston’s Challenge Test Footage: Queen Alien Stan Winston’s Legacy Cameron’s Cutting Edge Sigourney Weaver’s Triumph Re-Enlisting with Cameron From Producer to Stunt Double Pre-Visualizations: Multi-Angle Videomatics Angle 1: Videomatic Angle 2: Videomatic/Final Shot Comparison Audio Commentary by Miniature Effects Supervisor Pat McClung Direct Access to New/Additional Scenes From Special Edition Ripley’s Daughter – Burke informs Ripley that her daughter died two years ago. Van Leuwen’s Verdict – Van Leuwen reads the findings of the court of inquiry. The Colony/The Jordens’ Discovery – The colony is bustling with life and activity. Newt, along with her brother and parents, come upon the Derelict ship. Burke’s Answer – At Ripley’s apartment, Burke explains why he’s making the trip to LV-426. INT. Sulaco – Establishing shots of the interior of the Sulaco before the crew awakens from hyper-sleep. Hudson’s Hubris – As they descend in the drop ship to LV-426, Hudson boasts about their advanced weaponry. False Alarm – Hudson and Vasquez detect motion in the colony, only to find it is pet hamsters. Ripley Pauses – As she enters the colony, Ripley hesitates for a moment. The Sentry Guns – Hicks reveals they have robot sentry systems. While examining the colony blueprints, Ripley and Hicks discuss where to place the robot sentries. Fire in the Hole – Hudson and Vasquez set up the UA 571-C remote sentry weapons and following a quick test, seal the tunnel. Last Line of Defense – The Sentry Guns dutifully scan the tunnel for incoming targets. Newt’s Questions – Newt quizzes Ripley about the fate of her parents. Hudson’s “Ant” Theory – Hudson speculates on how the Aliens are organized and reproduce. The Aliens Attack – The Sentry Guns unload on multiple targets. The Aliens Retreat – Under withering fire from the sentries, the Aliens are temporarily repulsed. First Name Basis – As Ripley departs the drop ship to try and rescue Newt, she and Hicks share their first names with each other. Deleted Scene: Burke Cocooned – Long one of the most sought-after lost moments from the entire Alien Anthology, this scene depicting Carter Burke’s fate is now revealed. Deleted Scene Montage – This collection of scene extensions and omitted moments represents the remainder of deleted scenes not appearing in either the Theatrical Version or the Special Edition. Still Galleries and More Original Treatment by James Cameron Storyboard Archive The Art of Aliens Cast Portrait Gallery Production Image Galleries Continuity Polaroids Weapons and Vehicles Stan Winston’s Workshop Colonial Marine Helmet Cameras Video Graphics Gallery Weyland-Yutani Inquest: Nostromo Dossiers Post-Production Aftermath Image Galleries Laserdisc Archives Main Title Exploration Teaser Trailer Theatrical Trailer Domestic Trailer International Trailer AVATAR: COLLECTOR’S EDITION THREE VERSIONS OF THE FILM INCLUDING THEATRICAL VERSION, SPECIAL EDITION AND COLLECTOR’S EXTENDED CUT Street Date Digital: December 12, 2023 Physical: December 19, 2023 Product SKUs Digital: 4K UHD, HD, SD Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code), Blu-ray 3D Combo Pack (Blu-ray 3D + Blu-ray + Digital Code) Theatrical Version Run Time: Approx. 162 Minutes Special Edition Run Time: Approx. 170 Minutes Collector’s Extended Cut Run Time: Approx. 178 Minutes Rating: U.S. Rated PG-13 Aspect Ratio Digital: 1.78:1 Physical: 1.78:1 Disc Size 4K UHD: 100GB Blu-ray 3D: 50GB Blu-ray: 50GB U.S. Audio Digital: English Dolby Atmos (UHD only, some platforms), English 5.1 & 2.0 Dolby Digital, Spanish 5.1 & 2.0 Dolby Digital, French 5.1 & 2.0 Dolby Digital, English Descriptive Audio 2.0 Dolby Digital (some platforms) 4K UHD Extended Edition: 5.1 DTS-HDMA, English 2.0 DTS-HDMA, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital 4K UHD Special Edition: 5.1 DTS-HDMA, English 2.0 DTS-HDMA, English Family Friendly 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital 4K UHD Theatrical Edition: English Dolby Atmos, English 2.0 DTS-HDMA, English 2.0 Dolby Digital AD, English Family Friendly 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital Blu-ray 3D Theatrical Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, English 2.0 Dolby Digital AD, English Family Friendly 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital Blu-ray Extended Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, Spanish 5.1 Dolby Digital Blu-ray Special Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, Spanish 5.1 Dolby Digital, English Family Friendly 2.0 Dolby Digital Blu-ray Theatrical Edition: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, Spanish 5.1 Dolby Digital, English Dolby Digital AD, English Family Friendly 2.0 Dolby Digital U.S. Subtitles Digital: English SDH, Spanish 4K UHD: English SDH, Spanish, French Blu-ray: English SDH, Spanish Blu-ray 3D: English SDH, Spanish, French BONUS FEATURES (NEW): Behind-The-Scenes Presentation Hosted by Jon Landau – Join Jon Landau as he unlocks the cinematic secrets behind the making of Avatar. Colonel Miles Quaritch RDA Promos – Get an inside look into the RDA with these in-universe promos hosted by Colonel Miles Quaritch. New Still Gallery – Sam Worthington and Zoe Saldaña Special Shoot ADDITIONAL BONUS: English Family Audio Track Theatrical and Special Edition Release – 5.1 Dolby Digital Direct Access to New/Additional Scenes – Special Edition Herd – As they fly over Pandora in Trudy’s gunship, Jake, Grace and Norm get a closer look at some of Pandora’s creatures The Schoolhouse – Entering an abandoned schoolhouse in the jungle with Grace and Norm to retrieve supplies, Jake makes a grim discovery. Purple Moss – Jake follows Neytiri after his rescue, and delights in the bioluminescent moss that glows beneath his feet with every step. I Don’t Even Know Your Name – Newly tasked with teaching Jake the Na’vi ways, Neytiri brings him to dinner with the entire clan. What Does Hold Them Up? – The Avatar team lands at their new base camp in the Hallelujah Mountains, and Jake and Norm marvel at the floating mountains. Extended Montage – Jake learns the ways of the Pandoran forest under Neytiri’s tutelage, and the gulf between his two worlds grows ever wider. Neytiri’s Flyby – As Tsu’tey, Jake and two other young hunters travel across suspended vines to dizzying heights, Neytiri sails past on her banshee. Sturmbeest Hunt – Omaticayan hunters on direhorses attack a massive herd of sturmbeests, while Jake takes aim from atop his banshee. Extended Love Scene – Jake and Neytiri confess their feelings for one another and bond together for life under the Tree of Voices in this extended scene. Drums of War – The morning after the military’s attack on the Tree of Voices, Parker and Quaritch get some bad news from the reconnaissance team. Tsu’tey’s Fall – In the RDA assault, Tsu’tey fights fiercely after boarding the Valkyrie shuttle. But the soldiers counter with a hail of bullets. Strumbeest Attack – Sturmbeests charge to the rescue when Neytiri is cornered by RDA soldiers in AMP suits. Extended Thanator Fight – Neytiri and her fearsome thanator battle Colonel Quaritch in his AMP suit in this extended sequence. The Last Shadow – When Neytiri and Jake find Tsu’tey mortally wounded, he passes leadership of the Omaticaya to Jake, with one last request of him. Direct Access to New/Additional Scenes – Collector’s Extended Cut Earth – Jake navigates a bleak, dystopian Earth before tragic news offers an escape. Herd – As they fly over Pandora in Trudy’s gunship, Jake, Grace and Norm get a closer look at some of Pandora’s creatures The Schoolhouse – Entering an abandoned schoolhouse in the jungle with Grace and Norm to retrieve supplies, Jake makes a grim discovery. Purple Moss – Jake follows Neytiri after his rescue, and delights in the bioluminescent moss that glows beneath his feet with every step. I Don’t Even Know Your Name – Newly tasked with teaching Jake the Na’vi ways, Neytiri brings him to dinner with the entire clan. Sylwanin – Norm spars with Jake, who proceeds to one-up him. But Jake’s mention of Neytiri dredges up painful memories for Grace. What Does Hold Them Up? – The Avatar team lands at their new base camp in the Hallelujah Mountains, and Jake and Norm marvel at the floating mountains. Alternate Montage with Grace’s Story – As Jake learns the Na’vi ways, the gulf between his two worlds grows wider, and Grace shares the tragic tale of Neytiri’s sister. Neytiri’s Flyby – As Tsu’tey, Jake and two other young hunters travel across suspended vines to dizzying heights, Neytiri sails past on her banshee. Sturmbeest Hunt – Omaticayan hunters on direhorses attack a massive herd of sturmbeests, while Jake takes aim from atop his banshee. Extended Love Scene – Jake and Neytiri confess their feelings for one another and bond together for life under the Tree of Voices in this extended scene. Drums of War – The morning after the military’s attack on the Tree of Voices, Parker and Quaritch get some bad news from the reconnaissance team. They Bulldozed a Sacred Site – Grace and Jake suspect that the RDA forces are plotting to provoke a Na’vi attack, as Trudy brings alarming news. Tsu’tey’s Fall – In the RDA assault, Tsu’tey fights fiercely after boarding the Valkyrie shuttle. But the soldiers counter with a hail of bullets. Strumbeest Attack – Sturmbeests charge to the rescue when Neytiri is cornered by RDA soldiers in AMP suits. Extended Thanator Fight – Neytiri and her fearsome thanator battle Colonel Quaritch in his AMP suit in this extended sequence. The Last Shadow – When Neytiri and Jake find Tsu’tey mortally wounded, he passes leadership of the Omaticaya to Jake, with one last request of him. Memories from Avatar – Producer Jon Landau leads a spirited conversation with cast members, Sam Worthington, Zoë Saldana, Sigourney Weaver and Stephen Lang, recalling warm memories from production and reflecting on the extraordinary success of Avatar. Avatar: A Look Back – In this retrospective, cast and filmmakers reflect on their extraordinary journey making Avatar, the groundbreaking technologies they used to create an unparalleled cinematic experience, and the profound effect the film had on audiences worldwide. Capturing Avatar– Journey with James Cameron and crew in this feature-length documentary, as they embark on a film the likes of which the world had never seen. Part One – After years of testing, research and design, James Cameron’s tackled Avatar, "the most complex film" in his storied career. Part Two – Actors and technology are pushed to the limit as James Cameron pushes the boundaries of a groundbreaking, new filmmaking paradigm. Part Three – James Cameron used ground-breaking technology to merge the virtual and live-action elements of his film. Part Four – The edit room became ground zero as music, sound and visual effects were finalized in order to make the film’s release date. Featurettes – Take a closer look at the creation of Pandora and the making of Avatarwith featurettes on key aspects of production design, performance capture, and the post-production process. Sculpting Avatar – Explore how clay maquettes were sculpted to help bring Avatar’s characters and creatures to life. Creating the Banshee – Discover all that went into designing the Banshees, high-flying predators of the Pandoran sky. Creating the Thanator – James Cameron and team reveal how the most terrifying beast in the Pandoran rain forest was brought to the screen. The AMP Suit – Explore the design of the AMP (Amplified Mobility Platform) and discover why it was the perfect weapon for Colonel Quaritch. Flying Vehicles – Explore the design of the RDA’s gunships and how they helped ground the story in a realistic world audiences could connect to. Na’vi Costumes – Discover the costumes of Avatar and why it was essential to create real-world costumes for characters that were seen only in a virtual world. Speaking Na’vi – Delve into the complex Na’vi language created for Avatar, and the challenging task for the cast who had to speak it. Pandora Flora – Explore the science behind the Pandoran rainforest, including the exotic plants and bioluminescence. Stunts – James Cameron and Avatar’s stunt coordinators discuss how they learned to move like a Na’vi, ride a Leonopteryx, and more. Performance Capture – Discover how the actors’ actions, emotions and spirit were captured in performance and transferred to a virtual character. Virtual Camera – Discover the virtual camera system that allowed James Cameron to apply camera angles, lighting and movement to his scenes long after the performance capture phase was completed. The 3D Fusion Camera – Explore the newly designed 3D Fusion camera system which enabled the filmmakers to create an immersive stereographic experience. The Simul-Cam – See how the newly created Simul-Cam seamlessly integrated the virtual world with the live action camera, allowing Jake’s Avatar to appear in a scene with real-world actors. Editing Avatar – James Cameron and the film’s editors reveal the unique challenges they faced editing Avatar, and the benefits of "learning as you go”. Scoring Avatar – Composer James Horner and James Cameron discuss how Avatar’s score was grounded in the familiar while evoking a breathtaking new world. Sound Design – Explore the sounds of Pandora, including the Banshee, Direhorse and Thanator, as well as the near-future engineering sounds of the Dragon, Scorpion and more. The Haka: The Spirit of New Zealand – On the final day of production, the New Zealand stuntmen honored James Cameron with a traditional Haka dance. Production Materials The 2006 Art Reel – Explore a video montage of striking artwork that inspired the movie’s look and feel, accompanied by temp dialogue and score. Brother Termite Test – Watch footage created by James Cameron’s production company for a science-fiction movie that was ultimately never produced. The ILM Prototype with Motion Capture Reference – View a VFX test of the scene in which Jake and Neytiri meet, with performance capture reference. The ILM Prototype without Motion Capture Reference – View a VFX test of the scene in which Jake and Neytiri meet, without performance capture reference. Screen Test – Sam Worthington (Raw Footage) – This raw screen-test footage shows Sam Worthington nailing the part of Jake Sully in Avatar. Screen Test – Zoe Saldaña (Raw Footage) – Zoe Saldaña tackles three scenes: Neytiri meeting Jake, their first visit to the Tree of Voices, and her learning of his deceit. Zoe’s Life Cast (Raw Footage) – Zoe Saldaña undergoes the all-encompassing process of creating the life cast that will transform her into Neytiri. James Cameron Speech: Beginning of Live Action Filming (Raw Footage) – Director James Cameron inspires and gives thanks to the crew on the first day of live-action filming in New Zealand. ILM VFX Progression – Break down the layers of effects in a series of shots that showcase Avatar’s battles, vehicles and explosions. Framestore VFX Progression – This reel opens a window into the art of worldbuilding through visual effects, highlighting Jake’s arrival on Pandora and more. [HY·DRAU"LX] VFX Progression – Examine the layers of effects in shots such as the interior of Trudy’s gunner, the shuttle bringing Jake to Pandora, and more. Hybride VFX Progression – Experience how the layering of effects in various shots from Avatarhelps bring these scenes to life on screen. Prime Focus VFX Progression – See the effects layered into the base’s control room where Jake tells the Colonel and Selfridge about Hometree, and more. Look Effects, Inc. VFX Progression – Unpeel the effects in various shots from the base and mountain camps. Crew Film: The Volume – Avatar cast and crew members appear in a spoof about a mo- cap actor. A Message from Pandora – See how James Cameron’s lifelong quest to protect the environment led him to fight for the Amazon and its indigenous peoples Deleted Scenes– Check out scenes that didn’t make the final cut. User’s Guide for Viewing Avatar Scenes with Unfinished Shots – A tutorial on the different types of unfinished shots seen throughout the deleted material. Stingbat Attack Pandora Rules Jake Meets Norm (First Cut) Jake Sees Decanted Avatars Norm Is a Living God Breakfast with the Scientists You’re in My World Now Grandma’s Teylu Pied Piper Going to the Mountains Interspecies Booty Call Norm’s Attitude Improves Learning Montage Section Early Cut We’re Buying Time Hunt Festival Driving Range The Dreamhunt The Challenge The Drums of War (Full Version) Escape The Eye of Eywa You’re a Long Way from Earth Battle Camp Kick Some Blue Ass Wainfleet Kills Norm Neytiri Kills Wainfleet (Alt Wainfleet Death) The Avatars Attack New Life Scene Deconstruction– View these scenes in various production stages: final with picture-in- picture reference, template and performance capture. Welcome to Your New Body First Run First Sortie Night on Pandora Shahaylu Seyzey You’re Mine First Flight Toruk Macto You Are Omaticaya Now I Am One of You I Trusted You The Aftermath I See You Fly with Me You Chose Me for Something Eywa Has Heard You Archives: Script, Artwork, Marketing Theatrical Trailer Teaser Trailer Avatar: The Original Scriptment Avatar: Screenplay Written by James Cameron The Art of Avatar The World of Pandora The Creatures Pandora Flora Pandora Bioluminescence The Na’vi The Avatars Maquettes Na’vi Weapons Na’vi Props Na’vi Musical Instruments RDA Designs Flying Vehicles AMP Suit Human Weapons Land Vehicles Avatar: The Songs Pandorapedia Still Galleries Pandora – The World of Avatar – Go behind the scenes with James Cameron and Disney’s Imagineers to discover what it took to bring the breathtaking world of Avatar to Disney’s Animal Kingdom. Raw Footage Production Elements Screen Test – Sam Worthington and Zoe Saldaña/Raw Footage – In their dual test, the chemistry between Sam Worthington and Zoe Saldaña lights up the screen. Screen Test – Stephen Lang/Raw Footage – Stephen Lang fully inhabits the role of Colonel Miles Quaritch in this series of scenes. Screen Test – Giovanni Ribisi/Raw Footage – Watch Parker Selfridge, Administrator of the RDA, come to life in Giovanni Ribisi’s performance. Screen Test – Joel David Moore/Raw Footage – Joel David Moore pivots from one scene to another, fully invested in the character of Norm Spellman. Screen Test – CCH Pounder/Raw Footage – CCH Pounder controls the room with her regal, imposing presence as Mo’at. Screen Test – Laz Alonso/Raw Footage – As the fierce warrior Tsu’tey, Laz Alonso commands attention in this riveting performance. Speaking Na’vi (Rehearsal/Raw Footage) – The Avatar actors make the Na’vi language their own in a series of clips that shows them learning how to speak it Wētā Workshop: Walk & Talk Presentation/Raw Footage – Go behind the scenes on a guided tour with Richard Taylor, who breaks down the workings of a series of props. Crew Short: The Night Before Avatar – In this animated short, producer Jon Landau has an unexpected adventure in the lead-up to Avatar’s opening. Pandora Discovered – Sigourney Weaver narrates this first look at the world of Pandora. AVATAR: THE WAY OF WATER – COLLECTOR’S EDITION Street Date Digital: December 12, 2023 Physical: December 19, 2023 Product SKUs Digital: 4K UHD, HD, SD Physical: 4K Ultra HD Combo Pack (4K UHD + Blu-ray + Digital Code) Feature Run Time: Approx. 183 minutes Rating: U.S. Rated PG-13 Aspect Ratio Digital: 1.85:1 Physical: 1.85:1 Disc Size 4K UHD: 100GB Blu-ray: 50GB U.S. Audio Digital: English Dolby Atmos (UHD only, some platforms), English 7.1, 5.1 & 2.0 Dolby Digital, Spanish 7.1, 5.1 & 2.0 Dolby Digital, French 7.1, 5.1 & 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio (some platforms) 4K UHD: English Dolby Atmos, English 2.0 DTS-HDMA, English 2.0 Dolby Digital Descriptive Audio, English Family Friendly 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 7.1 Dolby Digital Plus Blu-ray: English 5.1 DTS-HDMA, English 2.0 Dolby Digital, English 2.0 Dolby Digital Descriptive Audio, English Family Friendly 5.1 Dolby Digital, Spanish 5.1 Dolby Digital U.S. Subtitles Digital: English SDH, Spanish 4K UHD: English SDH, Spanish, French Blu-ray: English SDH, Spanish BONUS FEATURES (NEW): Behind-the-Scenes Presentation Hosted by Jon Landau – Join Jon Landau as he takes you behind the scenes of the making of Avatar: The Way of Water and discover the groundbreaking techniques used to bring audiences back to Pandora. Memories from Avatar: The Way of Water – Producer Jon Landau joins Sam Worthington, Zoe Saldaña, Sigourney Weaver and Stephen Lang in a conversation about their experiences and insights coming back to Pandora 13 years later in Avatar: The Way of Water. Production Design Panel Hosted by Jon Landau – Uncover the inspiration behind the new designs of Avatar: The Way of Water with the award-winning Production Design team in this conversation hosted by Jon Landau. Deleted/Extended Scenes– Check out these scenes that didn’t make the final cut. User’s Guide for Viewing Avatar: The Way of Water Deleted Scenes and Extended Cuts with Unfinished Shots Date Night (Extended Cut) Crashed Samson Tiltrotor (Extended Cut) Goodbye Mo’at Neytiri Rides an Ilu Spider Mocks the Recoms Neytiri Spearfishes Learning Montage Ardmore and Quaritch Discuss Jake (Extended Cut) Ta’unui Village (Extended Cut) The Tulkun Hunt (Extended Cut) Scoresby and Garvin Rescued Parents from Hell and Standoff (Extended Cut) Scene Deconstruction– View these scenes in various production stages: final with picture-in-picture reference, template and performance capture. Quaritch Wakes Up in His New Body The Return to High Camp High Camp Biolab Quaritch and Ardmore Discuss Their Mission Jake and Neytiri Argue First Swim Lo’ak Meets Payakan Jake and Kiri Dock Talk Death Rock Spider Finds Quaritch Underwater and Saves Him Spider Drags Quaritch to Land but Leaves Him Production Materials “One Meal a Day” – James Cameron discusses the on-set initiative to eat one vegan meal a day. Editing – Learn, step by step, how the editing team transformed reference camera footage into the compelling narrative of Avatar: The Way of Water. 3D Technology – Learn how the production team pushed 3D technology to new depths in this behind-the-scenes featurette. Virtual Camera – Join Richard Baneham, Oscar®-winning visual effects supervisor, and the visual effects team as they discuss the virtual camera's role in the production process. Bringing the RDA to Life – Join James Cameron, Jon Landau, David Vickery and the ILM team for a look at the visual effects created for the opening sequences of the film. Tank Timelapse – Watch the building of the underwater performance capture tank in this timelapse video. Wētā Reel – VFX breakdown of shots by Wētā Effects. ILM Reel – VFX breakdown of shots by ILM. CJ Jones Sign Language Guide – Learn the basics of the Metkayina sign language from creator CJ Jones. JackCam – Join Jack Champion ("Spider") as he interviews cast and crew on the set of Avatar: The Way of Water. Shaman Blessing – A Brazilian shaman blesses the production of Avatar: The Way of Water. Cliff Curtis Blessings – Actor Cliff Curtis gives Maori blessings for the cast and crew of Avatar: The Way of Water. Beyond the Big Screen Pandora: The World of Avatar – Discover the story behind the artistry and imagination of Pandora – the World of Avatar at Disney’s Animal Kingdom. Crew Movie – Avatar: The Way of the Jimverse – Join producer Jon Landau on an animated adventure across the Jimverse to restore order and save the world of Pandora. James Cameron and Jon Landau Hand and Footprint Ceremony – See James Cameron and Jon Landau honored with a hand and footprint ceremony in front of the world-famous Chinese Theater in Hollywood, CA. “Scene at the Academy” – Check out this Academy featurette for Avatar: The Way of Water, diving into a key moment from the film. Archives: Script, Artwork, Marketing Monday Night Football TV Spot – Watch the TV spot broadcast exclusively during ESPN’s Monday Night Football. Archives: Script, Artwork, Marketing – Dive into the Avatar Archives with these exclusive behind-the- scenes production assets. ADDITIONAL BONUS: Inside Pandora’s Box– A series of featurettes on the challenges facing cast and crew as filmmakers devise new technologies to push the limits of cinema. Building the World of Pandora – James Cameron and a team of talented artists combine years of research with their design skills to build the world of Pandora with new characters, creatures, indigenous clans, underwater environments and the take-no-prisoners hard-tech world of the RDA. Capturing Pandora – James Cameron’s approach to performance capture has the cast performing in a volume rigged with infrared cameras to capture their movement, and head rig cameras to capture emotion on their faces with only the boundaries of imagination to limit them. The Undersea World of Pandora – Co-production designer Dylan Cole and his team conceive of the marine creatures required for Avatar: The Way of Water while James Cameron and his stunt team devise extraordinary means to bring those creatures to life in a performance capture tank. The Challenges of Pandora’s Waters – James Cameron tackles the “non-trivial challenge” of performance capture above and below the water’s surface, utilizing a wave machine and current generator to reproduce ocean conditions, and underwater vehicles to replicate creature movement. Pandora’s Returning Characters – James Cameron reunites with his returning cast – Sam Worthington, Zoe Saldaña, Sigourney Weaver and Stephen Lang. Together they discuss the amazing evolution of their characters in Avatar: The Way of Water. Pandora’s Next Generation – Meet the talented young newcomers who have been cast as the next generation of Na’vi and follow them through the adventure of making Avatar: The Way of Water. Spider’s Web – James Cameron introduced the human character of Spider into the fabric of Pandora – thus creating a host of technological challenges on set…and an incredible journey for the young actor, Jack Champion. Becoming Na’vi – The Avatar cast is immersed in the culture of the indigenous Na’vi, living off the land in the Hawaiian rainforest and training in a multitude of disciplines in preparation for their roles. The Reef People of Pandora – In true James Cameron-style, the Metkayina reef clan has been developed with great attention to detail, bearing unique evolutionary traits and a culture – with new dwellings, new clothes and different way of life – all a result of living off the ocean. Bringing Pandora to Life – Once James Cameron completes his virtual production process, every sequence is turned over to Wētā FX to bring Pandora to life – with unprecedented advancements in facial performance, environments and making CG water look real. The RDA Returns to Pandora – Co-production designer Ben Procter and his team present an armada of new vehicles and human technologies that the RDA brings to Pandora – in concept design and with practical builds. The New Characters of Pandora – Meet the important new characters of the Avatar saga played by Kate Winslet, Cliff Curtis, Edie Falco, Brendan Cowell and Jemaine Clement. The Sounds of Pandora – Hear how James Cameron worked with composer Simon Franglen to create the distinctive music of The Way of Water while building on James Horner’s brilliant score for Avatar, and learn how Chris Boyes created the immersive sounds of Pandora. New Zealand – Pandora’s Home – The production of the Avatar sequels is so thoroughly ensconced in New Zealand that James Cameron considers The Way of Water a “New Zealand film.” Hear reflections from the cast and crew, including the remarkable New Zealand crew, on making the film. More from Pandora’s Box– Additional featurettes that highlight special teams within the production Casting – Discover the screen tests that won the talented young cast their roles in Avatar: The Way of Water. Stunts – The Avatar stunt team isn’t just creating breathtaking action, they’re driving the story. From racing underwater on ilus, flying the skies on ikrans, to maneuvering RDA speed boats, the stunt team leaves you breathless and wanting more. The Lab – Explore the Lightstorm Lab, the backbone of virtual production for the Avatar films. Comprised of specialized teams, the Lab builds & supports every aspect of the production – environments, motion edit, Kabuki, sequence, post-viz and software development. The Troupe – Avatar’s Troupe is the Swiss Army Knife of acting, while playing dozens of roles on set, in the performance capture volume and on live-action sets, they bring life to Na’vi clans and RDA Recoms. They also play Na’vi-scale puppets on the live-action sets. Marketing Materials & Music Video– Marketing materials used to build audience awareness of the film Nothing Is Lost (You Give Me Strength) Music Video – Multi Grammy-winning, music superstar, The Weeknd, performs his emotionally packed end title song in the official music video for the smash hit “Nothing Is Lost (You Give Me Strength).” Theatrical Trailers 1 & 2 – Avatar: The Way of Water used two theatrical trailers to engage the audience. The first was a teaser trailer released 7 months before the film. The second was a standard trailer that premiered 5 weeks before the film’s release.
  8. It's about damn time! SIX ICONIC JAMES CAMERON FILMS INCLUDING FOR THE FIRST TIME EVER ON 4K UHD™ ALIENS, THE ABYSS AND TRUE LIES! IN ADDITION, SPECIAL COLLECTOR EDITIONS FOR TITANIC, AVATAR AND AVATAR: THE WAY OF WATER WITH: ** IMMERSIVE DOLBY ATMOS AUDIO ** STUNNING 4K DOLBY VISION HDR PICTURE QUALITY ** HOURS OF COMPELLING NEW BONUS FEATURES BURBANK, CA. (November 15, 2023) – A piece of cinema history comes home this year when six box-office juggernauts from Oscar®-winning director James Cameron are released. The six titles – The Abyss, True Lies, Aliens, Titanic, Avatar and Avatar: The Way of Water – will be made available in 4K UHD digital and 4K UHD Blu-ray disc. Cameron, who has helmed three of the five highest grossing movies of all time, says “There’s a world of emotions in revisiting these films and I hope we’ve captured some of that in the new bonus materials we created for our fans.” Oscar®-winning producer Jon Landau added, “We really wanted to deliver the best possible experience at home so viewers could immerse themselves both in the films and the journeys we went through to make them.” The 4K transfer for each release will be presented in superb Dolby Vision HDR and with an immersive Atmos audio mix. Additionally, most of the releases will arrive with several hours of captivating all-new bonus features. From the eight hours of Avatar: The Way of Water bonus including all-new deleted scenes to the five hours of new and legacy Titanic extras, fans will delight in the numerous hours of never-before-seen materials. Release date schedule is as follows: On Dec. 5, 2023, available for the first time ever on 4K Ultra HD Blu-ray and at digital retailers including Prime Video, Apple TV and Fandango/Vudu: Titanic 25th Anniversary Collector’s Edition Available in 4K Ultra HD, some for the first time ever, on Dec. 12, 2023, at digital retailers including Prime Video, Apple TV and Fandango/Vudu: Aliens Collector’s Edition The Abyss Collector’s Edition True Lies Collector’s Edition Avatar Collector’s Edition Avatar: The Way of Water Collector’s Edition Available Dec. 19, 2023, are special edition Blu-ray discs of: Avatar 4K Collector’s Edition Avatar 3D Blu-ray Avatar 4K Limited Edition Steelbook (available only at Best Buy) Avatar: The Way of Water 4K Collector’s Edition Arriving on March 12, 2024, new on 4K Ultra HD Blu-ray disc are special editions of three of Cameron’s most popular feature films: Aliens 4K Collector’s Edition The Abyss 4K Collector’s Edition True Lies 4K Collector’s Edition All titles will be available to pre-order from November 20. Also, on Wednesday, December 6, 20th Century Studios will present Academy Award®-winning filmmaker James Cameron’s “The Abyss: Special Edition” in theaters for a special one-night-only event. Fans will be able to experience Cameron’s thrilling underwater sci-fi adventure for the first time in stunning, remastered 4K. Tickets go on sale beginning November 20 and can be purchased at Fandango or wherever tickets are sold. ABOUT THE ABYSS In this underwater sci-fi adventure written and directed by James Cameron, a nuclear sub mysteriously sinks and a private oil rig crew, led by foreman Bud Brigman (Ed Harris), is recruited to join a team of Navy SEALs on a search and rescue effort. The group soon finds themselves on a spectacular life-and-death odyssey 25,000 feet below the ocean's surface, where they find a mysterious force that could either change the world — or destroy it. The Abyss also stars Mary Elizabeth Mastrantonio and Michael Biehn. ABOUT AVATAR Written and directed by Academy Award® winner James Cameron*, Avatar is set on the lush alien world of Pandora, home of the Na'vi—beings who appear primitive but are highly evolved. Because the planet's environment is poisonous, human/Na'vi hybrids called Avatars must link to human minds to allow for free movement on Pandora. Jake Sully (Sam Worthington), a paralyzed former Marine, becomes mobile again through one such Avatar and falls in love with a Na'vi woman (Zoe Saldaña). As a bond with her grows, he is drawn into a battle for the survival of her world. ABOUT AVATAR: THE WAY OF WATER Avatar: The Way of Water reaches new heights and explores undiscovered depths as James Cameron returns to the world of Pandora in this emotionally packed action-adventure. Set more than a decade after the events of the first film, Avatar: The Way of Water launches the story of the Sully family (Jake, Neytiri and their kids), the trouble that follows them, the lengths they go to keep each other safe, the battles they fight to stay alive, and the tragedies they endure. All of this is experienced against the backdrop of the breathtaking seascapes of Pandora, where audiences are introduced to new Na’vi cultures and a range of exotic sea creatures. Avatar: The Way of Water stars Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, Cliff Curtis and Kate Winslet. Joining the illustrious adult cast are talented newcomers Britain Dalton, Jamie Flatters, Trinity Jo-Li Bliss, Bailey Bass and Jack Champion. ABOUT TITANIC Experience Titanic, the global box-office phenomenon and winner of 11 Academy Awards®, including Best Picture (1997), Best Director (James Cameron) and Best Original Song (“My Heart Will Go On”). Leonardo DiCaprio and Kate Winslet light up the screen as Jack and Rose, young lovers who find one another on the maiden voyage of the “unsinkable” R.M.S. Titanic. But when the doomed luxury liner collides with an iceberg in the frigid North Atlantic, their passionate love affair becomes a thrilling race for survival. From acclaimed filmmaker James Cameron (“Avatar,” “Avatar: The Way of Water”), comes a tale of forbidden love and courage in the face of disaster that triumphs as a true cinematic masterpiece. The film also stars Billy Zane, Kathy Bates, Frances Fisher, Bernard Hill, Jonathan Hyde, Danny Nucci, Gloria Stuart, David Warner, Victor Garber and Bill Paxton. **Titanic, 1997: Art Direction, Cinematography, Costume Design, Directing (James Cameron), Film Editing, Original Dramatic Score, Original Song, Sound, Sound Effects Editing, Visual Effects, Best Picture. ABOUT TRUE LIES Writer-director James Cameron creates an exhilarating mix of non-stop action-adventure and romantic comedy. Secret agent Harry Tasker is a top spy in the ultra-secret Omega Sector — although to his wife Helen, he’s just a dull computer salesman. But while Harry’s been busy saving the world, Helen’s been gathering secrets of her own. When their two lives unexpectedly collide, Harry and Helen find themselves in the clutches of international terrorists, fighting to save not only their marriage, but also the world. True Lies stars Arnold Schwarzenegger, Jamie Lee Curtis, Tom Arnold and Bill Paxton. ABOUT ALIENS The terror continues in this chilling, critically acclaimed sequel written and directed by James Cameron. Ripley, the sole survivor of the space tug Nostromo’s deadly encounter with the monstrous Alien, is found after drifting through space in hypersleep for 57 years. She agrees to accompany a team of Colonial Marines back to LV-426—and this time it’s war. Aliens stars Sigourney Weaver, Michael Biehn, Carrie Henn and Paul Reiser. *Aliens does not contain new bonus material
  9. Avatar. The other half missed the sequel in cinemas but couldn't remember what happened in the original so we watched it on D+ by way of a catch-up. Visually it holds up really well (new LG OLED 4K TV helps... I have to say, the colours are astonishing), with FX that are more or less flawless most of the time. I could probably have done without the narration - it feels like an unnecessary crutch, and it's long enough that you don't need it as a shortcut to fill in the backstory. Having said that, for 3 hour film, if sure doesn't feel it. As ever, Cameron's US army villains are insufferably annoying. I get having a boo hiss villain, but Quaritch is so over the top I just found him grating every time he appeared on screen. I gather there's some deleted scenes which show earth in a parlous state (albeit self-inflicted) which could give a little bit (and I mean an absolutely minuscule amount) of justification to the plundering of Pandora. The Na'Vi seem a bit more stereotypical primitive/spiritual than in the sequel (but that could be my imagination). Horner's score is, of course, wonderful, and the OST seems to cover the major highlights, notwithstanding the (approx) 104539727 different boots/recording sessions floating around clearly add a whole lot more than the OST and what appears in the film.
  10. Oppenheimer - epic biopic as summer blockbuster ... you have to admire Nolan's chutzpah. A very good (but at 3 hours long, with somewhat inevitable longueurs) account of the man at the centre of the 'opening of Pandora's Box' that the Manhattan Project was and the subsequent fallout (in every sense). Fine cast (Cillian Murphy, Emily Blunt, Robert Downey Jr., Matt Damon, Florence Pugh and Kenneth Branagh amongst others), a better sound mix than Tenet (i.e. dialogue wasn't obscured by score or sound FX, at least not for me) and a true sense of cinematic spectacle, tension and atmosphere (the test detonation sequence (achieved, astoundingly, with no CGI) is absolutely terrific). Recommended.
  11. It works the same either way. A streaming service pays musical labels money to stream their music. Subscription services like Spotify or Tifa make their money from subscription fees, free services like youtube or Pandora make it from ad revenue. But the part where they pay the labels is the same regardless of how they get their income.
  12. But it is a great idea. We could watch the Navi kids learning to swim or to climb trees or just playing with toys, parents educating their children, blue people eating stuff, hunting and collecting stuff, chasing animals or running from animals, riding dragons, watch more and more Pandora landscapes, blue people watching sunsets, meeting other people talking about Pandora weather. Sounds exciting. What a missed opportunity. I am sure ChatGPT could provide hours and hours of script for the extension (to be honest, I suspect it already created the existing scripts of what we saw).
  13. Here's everywhere I have found to purchase or stream this album This is using US pricing and links, but shouldn't be hard to find your country's version on the same platforms Amazon: $23.99 320kbps mp3: https://www.amazon.com/dp/B0BWT8TTP9 iTunes: $24.99 256kbps m4a: https://music.apple.com/nz/album/the-orville-new-horizons-original-television-soundtrack/1674261061 7Digital: $27.99 320kbps mp3 or m4a: https://us.7digital.com/artist/various-artists/release/the-orville-new-horizons-original-television-soundtrack-28067276 7Digital: $33.99 16/44.1 FLAC: https://us.7digital.com/artist/various-artists/release/the-orville-new-horizons-original-television-soundtrack-28067276 Qobuz: $37.59 16/44.1: https://www.qobuz.com/us-en/album/the-orville-new-horizons-various-artists/wgfc3mwhebubc Stream on Tidal: https://tidal.com/browse/album/278856354 Stream on Spotify: https://open.spotify.com/album/1UlVExCl7Ae1EEQXSx9HhB?si=WRMM9uL-Sk6Uqn4zsXbl_g Stream on Pandora: https://www.pandora.com/artist/various-artists/the-orville-new-horizons-original-television-soundtrack/ALqK5zqPfbpwnn2 Stream on Apple Music: https://music.apple.com/nz/album/the-orville-new-horizons-original-television-soundtrack/1674261061 Stream on Youtube Music: https://music.youtube.com/playlist?list=OLAK5uy_mQH0-QRrgc33D21VGT5tgRgvcUGC0YUe4 Stream on Amazon Music: https://www.amazon.com/dp/B0BWT8TTP9 Stream on Pandora: https://pandora.com/artist/various-artists/the-orville-new-horizons-original-television-soundtrack/ALqK5zqPfbpwnn2 Stream on Deezer: https://www.deezer.com/us/album/411427097 Hollywood Records does not appear to be selling it in high resolution at this time. EDIT: Official link to all platforms: https://hulu.lnk.to/TheOrvilleNewHorizons
  14. FEBRUARY 23, 2023 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2022, in the 2022 IFMCA Awards. The award for Score of the Year goes to American composer Bear McCreary, for his score for the epic Amazon Prime television series The Lord of the Rings: The Rings of Power. The series, which has a main theme by composer Howard Shore, is based on the extended writings of author J.R.R. Tolkien, and looks at events that took place in Middle Earth millennia before those portrayed in director Peter Jackson’s massively successful and popular Lord of the Rings and Hobbit films. IFMCA member James Southall called The Rings of Power “a real triumph, undoubtedly McCreary’s own career-defining moment,” and IFMCA member Conrado Xalabarder said that the score was “one of the best in the history of music for television series … a work made from intelligence, commitment, and above all respect for Tolkien and the audience. All its central themes work impeccably, coherently, and they develop and interact with each other, creating first-rate narration and dramaturgy.” IFMCA member Jon Broxton similarly praised the score, saying “the level of research and intelligent design McCreary has done in terms of creating the musical structure of The Rings of Power is absolutely astonishing, and is probably unparalleled in the history of television music.” This marks the first time a score written for television has been named Score of the Year by the IFMCA. The rules were changed earlier in 2022 to allow television and video game scores to compete alongside films for the top award. The Lord of the Rings: The Rings of Power is also named Best Original Score for Television, while McCreary himself is named Composer of the Year, his first win in this category. McCreary’s other work in 2022 included the animated comedy Paws of Fury: The Legend of Hank, which is a re-imagining of the classic 1970s comedy Blazing Saddles; the epic video game God of War: Ragnarök (which also won the award for Best Original Score for a Video Game or Interactive Media); and continuing contributions to the most recent seasons of TV series such as Outlander, See, The Serpent Queen, The Walking Dead, and The Witcher: Blood Origin. These are the sixth, seventh, eighth, and ninth IFMCA Awards of McCreary’s career. British composer Simon Franglen wins two awards for his score for Avatar: The Way of the Water, director James Cameron’s first sequel to his 2009 blockbuster Avatar, which sends audiences back to the lush world of Pandora. The score was named Best Original Score for a Fantasy/Science Fiction Film, while his cue “Leaving Home,” aka “Hometree,” was named Composition of the Year. In reviewing Avatar: The Way of Water, IFMCA member Christian Clemmensen said that “Franglen surpassed all expectations in composing an astonishingly brilliant love letter to James Horner that is arguably superior to its predecessor,” and praised the score’s “fantastic themes, extremely tight narrative, and vibrant, smart mix of orchestra, voice, electronics, and specialty accents.”. Egyptian composer Hesham Nazih is named Breakthrough Composer of the Year after being widely heralded for his outstanding score for the super-hero series Moon Knight. Nazih – who has been working in the pan-Arabic film music industry for almost 20 years, and is well-known in that part of the world, but had never scored an English-language project before – brought authentic sounds of the Middle East to the Marvel Universe with his score. IFMCA member Jon Broxton described Moon Knight as “an old-fashioned big-orchestra superhero action score, anchored by a massive and memorable main theme, but which also seamlessly works in elements of Egyptian classical music, anchoring it in a specific place and a specific culture, while remaining appealing to a broad audience,” and noted that the score is “yet another reminder – as if one were needed – of just how much compositional talent there is working outside the established Hollywood mainstream.” Nazih’s win here marks the first win in any category for an African-born composer in IFMCA history. The various other genre awards are won by: John Williams for director Steven Spielberg’s semi-autobiographical drama The Fabelmans, Nathan Johnson for the murder mystery comedy Glass Onion, Michael Giacchino for the latest re-imagining of the classic DC superhero The Batman, Michael Abels for the contemporary horror film Nope, Alexandre Desplat for director Guillermo del Toro’s new animated version of the classic Pinocchio, and Harry Gregson-Williams for the Disney-produced nature documentary Polar Bear. Producer Michael Matessino and Quartet Records receive the Archival Award for their new release of the music for Alfred Hitchcock’s 1972 crime thriller Frenzy. The album was produced as a limited edition release that features in-depth liner notes by writer Deniz Cordell and art direction by Nacho B. Govantes, and showcases composer Ron Goodwin’s score for the finished film, as well as the little-heard rejected score by the great Henry Mancini. Quartet Records, and their executive owner Jose M. Benitez, is also named Film Music Record Label of the Year, in recognition of their outstanding series of expanded re-releases which in 2022 included titles such as the aforementioned Frenzy, John Barry’s Mary Queen of Scots, a collection of Elmer Bernstein’s Magnificent Seven scores, Georges Delerue’s The Day of the Dolphin, and Jerry Goldsmith’s Seconds. This year’s winner of the Roberto Aschieri Special Award, which is awarded to an individual who has made an important and long-lasting contribution to the art and preservation of film music over a career, is also given to producer Michael Matessino. The award is named in honor of Roberto Aschieri, the film music journalist and author from Argentina who was a member of the IFMCA until his death in 2017. Matessino is a writer, film historian and preservationist, with particular emphasis on the restoration of classic film music. An accomplished music mixer and editor, he has produced, edited, mixed and mastered music, and written liner notes for hundreds of soundtrack projects spanning nine decades, including the Star Wars Trilogy, Poltergeist, Superman, Alien, The Goonies, Back to the Future, Home Alone, the Star Trek feature films, and Empire of the Sun. Also among his credits are comprehensive box sets of Jerry Goldsmith’s and Bernard Herrmann’s music for 20th Century Fox, and many scores from Hollywood’s Golden Age including The Robe, Demetrius and the Gladiators, The Egyptian, David and Bathsheba, and Ben-Hur. This year alone he received five IFMCA nominations for his work on the albums for the aforementioned Frenzy, John Williams’s Amistad, Jerry Goldsmith’s L.A. Confidential, John Barry’s Mary Queen of Scots, and the compilation album Goldsmith at 20th, Vol 5: Music for Television 1968-1975. In total, Matessino is a 27-time IFMCA Award nominee. This year, the IFMCA has also decided to bestow the Kyle Renick Special Award on Ennio, the feature documentary about the life and career of the late Ennio Morricone, which was directed by his friend and colleague Giuseppe Tornatore.This special award is presented to a title not eligible for a standard IFMCA Award, but which has a film music component. This award is not guaranteed to be presented annually, and is only presented to a project worthy of separate special acknowledgement. The award is named in honor of Kyle Renick, the film music journalist and theater producer from New York who was a member of the IFMCA until his death in 2019. Ennio features extensive interviews with Morricone, who shares his memories of his life and career – from the beginning studying under Goffredo Petrassi and working as an arranger for RCA, to his Academy Award for Best Original Score on Quentin Tarantino’s The Hateful Eight – and, most fascinatingly discusses the creation of some of his legendary music. By focusing not just on the music that is already most familiar to the public at large, and thanks to the composer being unusually open and offering a rare public glance of his razor-sharp wit, it shares a number of fascinating insights into his fabled creativity. With additional interviews with many of his collaborators and contemporaries – not only composers like Quincy Jones, John Williams, Hans Zimmer or Pat Matheny, and filmmakers like Lina Wertmüller, Barry Levinson, Bernardo Bertolucci, and Clint Eastwood, but particularly from the earlier years of his career – the IFMCA felt that the film had great merit and worthy of special recognition in this way. The winners are: SCORE OF THE YEAR THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore COMPOSER OF THE YEAR BEAR MCCREARY BREAKTHROUGH COMPOSER OF THE YEAR HESHAM NAZIH COMPOSITION OF THE YEAR “Leaving Home (Hometree)” from AVATAR: THE WAY OF WATER, music by Simon Franglen BEST ORIGINAL SCORE FOR A DRAMA FILM THE FABELMANS, music by John Williams BEST ORIGINAL SCORE FOR A COMEDY FILM GLASS ONION: A KNIVES OUT MYSTERY, music by Nathan Johnson BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM THE BATMAN, music by Michael Giacchino BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM AVATAR: THE WAY OF WATER, music by Simon Franglen BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM NOPE, music by Michael Abels BEST ORIGINAL SCORE FOR AN ANIMATED FILM GUILLERMO DEL TORO’S PINOCCHIO, music by Alexandre Desplat BEST ORIGINAL SCORE FOR A DOCUMENTARY POLAR BEAR, music by Harry Gregson-Williams BEST ORIGINAL SCORE FOR TELEVISION THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA GOD OF WAR: RAGNARÖK, music by Bear McCreary BEST NEW ARCHIVAL RELEASE FRENZY, music by Ron Goodwin and Henry Mancini; album produced by Michael Matessino, liner notes by Deniz Cordell, album art direction by Nacho B. Govantes (Quartet) FILM MUSIC RECORD LABEL OF THE YEAR QUARTET RECORDS, Jose M. Benitez ROBERTO ASCHIERI SPECIAL AWARD FOR CONTRIBUTION TO FILM MUSIC MICHAEL MATESSINO KYLE RENICK SPECIAL AWARD ENNIO, THE MAESTRO, directed by Giuseppe Tornatore
  15. I think it’s more likely that the first act once included more information about how the RDA and Earth in general are going to make the move to Pandora if it is really vital and necessary to do so. More information about terraforming and the larger picture of the Pandora plan with more Ardmore stuff. I think this is why Thewlis and Yeoh are arriving in movie 3. Perhaps it will include a flashback to movie 2 time, who knows. However, I think it is more likely he will just set those scenes later in the chronology. The humans getting there is going to be a long process so it makes sense to isolate and concentrate on different areas of the story in each film. I love how intimate movie 2 is. Very excited to see the scope of 3. This will be Cameron’s first third directed film in a franchise. I can’t wait to see him take a story that far. And I’m very surprised to be saying that. I’m still shocked I like it this much.
  16. Considering Cameron said that he moved a plot thread from the first act of The Way of Water, to the 1st act of the 4th film, I believe we could be getting a flashback to the larger arrival of the RDA, and the 1 year time jump he did. Perhaps an exploration of the comic book canon that Cameron wrote a treatment for, where the RDA offer the humans amnesty that chose to stay on Pandora, in exchange for them turning in Sully and his group. Also Jake blew up the Mines and refinery for the Unobtanium when the RDA refused to leave. Could be a cool flashback and more info on the missing year that Cameron jumped past.
  17. It is a flub. Very well known here in the flub-forum. Now you opened the Pandora' Box!! 😱😱😱
  18. It's not at all, if you pay attention to what you wrote that I bolded. I get the impression that Payakan did that years earlier; heck it could even possibly be before the events of the first movie. There's no guarantee that Scoresby was even on Pandora at the time. But even if he was, there are a bunch of reasons why he might not know. I don't get the impression from Avatar 2 that all of the hunter ships are in close contact with each other or anything. They're competitors. Yavar
  19. Graham Foote (and his ensemble) did the vocals for "Living in The Age of Airplanes", and then the "Pandora" attraction music, but he did NOT work on Horner's Avatar score in 2009. The vocalists who carried over from the 2009 Horner score are Clydene Jackson, Terry Wood (you see them in the behind-the-scenes material on the Blu-ray) along with Carmen Twillie and Lisbeth Scott (Scott also performed on Amazing Spider-Man as well)
  20. Great picture! I’m looking forward to seeing Yeoh in A3. I think you’re right, Selfridge probably returns to Pandora and might be the head of operations for the RDA, along with General Ardmore. I think that Yeoh’s character is a scientist so she might interact with the scientist who was in the Tulkun hunt scene but that’s just me guessing lol. Thewlis is a great actor for sure. I first saw him in HP but he can really play any kind role. I read that Oona Chaplin plays a na’vi clan leader (maybe the ash people).
  21. Yep, definitely more to come from Selfridge and Yeoh. Should we assume that Selfridge ends up back on Pandora, as I doubt the series will return to Earth until the 5th film. Great question about Thewlis, I absolutely love that guy as an actor. So bloody varied! But it seems he'll be in the series until the very end:
  22. Yeah I assume they had a lot more setup at Bridgehead City about why the humans are back (probably involving Selfridge, who only cameos in the final cut but clearly has a larger role in the future), and their plans for Pandora. I wouldn't be surprised if their eventual plan is to terraform the planet with atmosphere processors, like in Aliens. In the final cut of A2 they really glossed over the concept of humans abandoning earth and making Pandora the new home base, which is quite a significant plot point! So it makes complete sense taking that whole chunk of story and moving it to film 3, because the primary antagonist in A2 is Quaritch and his revenge tour, not RDA. Clearly Quaritch will have some type of transformation as each film progresses, then RDA will take over as "the big bad."
  23. I think it's interesting that the 2nd and 3rd film started as a single script, and that Cameron knew as it 'grew in the telling' as Tolkien said, that it wouldn't fit into one film. So the battle at the end was meant to be the mid-way low point with the tragic loss, and then they presumably enter a larger conflict with perhaps attacking the human settlement 'Bridgehead City.' But Cameron has suggested the 3rd film opens with the 1st act being the summary of the conflict in The Way of Water, and then as the 3rd film continues, it further develops Pandora and its unexplored Na'vi clans. I'm glad he decided to split it into more films, not just because I want more of Camerons vision, but because it was refreshing to spend time living in the underwater world and developing the kid characters more, so that the conflict and ultimate loss hits harder.
  24. Avatar I watched the Extended Collector's Edition cut (3 hours long) on blu-ray last night, in anticipation of schlepping out the movie theater to see the sequel this weekend. I had seen this film twice before (in IMAX 3D when it was first in theaters, and then a re-watch of the theatrical cut on the same blu ray some 5 or so years ago), but I honestly wouldn't have been able to recall any character names (outside of Jake Sully and Quarritch) or any plot details out of the basics, so it was a very good refresher. I actually quite enjoyed the whole movie on this viewing, and I'm sure things will stick with me better now. I have no clue which scenes that I saw in this cue were not in the theatrical cut, but honestly at no point did I feel like I was watching a pointless or filler scene, nor did anything stand out as being something you should cut just to save time. About the only story thread that seemed a bit off was the background about how Neytiri's sister was murdered when Grace's school was attacked, but that's only because it's only told through scenes with Grace; Jake and Neytiri never discuss it at all in their scenes. Why wouldn't Cameron have given Saldana a scene to show how it affected her? Weird. Speaking of Neytiri, I was actually quite impressed with Zoe Saldana's acting performance, she's great in this movie! The other hero human characters (Michelle Rodriguez, Joel David Moore, Dileep Rao) were enjoyable too, but I couldn't quite get into Sigourney Weaver's role as much for some reason. Stephen Lang and Giovanni Ribisi made really excellent villains, they impressed me too! The various Na'Vi were also nicely unique. I definitely didn't remember that Neytiri is practically naked the whole movie, showing of tons of sideboob throughout most of the picture until she finally covers up more for the finale (unless that was changed for this cut, I dunno) Despite the fact that the story is so basic and straight-forward, the world-building is so excellent the whole film is really engaging right from the start. I liked getting an insight into Jake's life on earth before he agrees to board the ship for Pandora, and the way the biosystem of Pandora worlds is slowly unveiled is really good too. I also liked how every different creature and location introduced throughout the first two acts gets returned to in the big finale, that was very well done. Horner's score was excellent in the movie, I loved it. It made me miss him all over again, as a few times I felt like what I was hearing wouldn't be done that way by another composer. My only issue with the music in the movie was that there was many instances where it was mixed too low, which took me out of the movie to notice it. I remember one time there was a big panoramic shot of floating mountains and stuff, and the music was trying to soar to enhance the majesty of what you're seeing, but Cameron mixed it low and had helicopter sounds more prominent in the mix instead, which is baffling. Anyway, I'm looking forward to seeing the sequel now!
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