Marian Schedenig

I didn't see Tár (primarily) as a relatable tragic character. She's too close to real life examples of conductors who were horrible tyrants, even if (perhaps even because of that) they produced great artistic results. Someone like Alsop probably had to contend with people like that throughout her career to become successful, maybe even had to oppose them, or maybe even oppose using their method herself (surely male conductors at least can get a career advantage out of at least some of that stuff, as long as they're artistically convincing enough and have enough people on their side). Tár is a character remarkably similar to Alsop in some aspects who probably behaves very much in a way that many people she encountered in reality do and in which she herself probably very deliberately doesn't. That doesn't necessarily make the film "wrong". But she has a point - at the very least a subjective, but valid one. How the film portrays this behaviour seems mostly very accurate. It's quite uncomfortably successful in that regard.

Maybe it wouldn't have to be a wall to wall score. It probably needs fewer busy action sequences than Indy, too. And I'm sure Spielberg would accommodate Williams and plan for his scoring habits along with editing. Provided Williams is healthy and wants to do it, of course.

Marin Alsop didn't like it: https://en.wikipedia.org/wiki/Tár I didn't think it was "anti-woman". Comments have been made that making the lead character male would have been a cliche, and perhaps there's some truth to that - but is it really cliche just because it's so often the truth? I don't think the film suggests a specific connection between Tár being a female, or a lesbian, and her abuse of power. But given the still heavily male dominated field and the similarities between Alsop and the film's character, it's not really surprising that she takes it somewhat personal. Interesting point.

Much of it seemed believable, or even familiar. And then other parts felt like someone overshot by a dozen namedrops and ended up cliched instead of authentic (possibly without being aware of it). But then I don't think I fully grasped the film, so my perception may be off.

I felt it walked the fine line between authenticity and random name/technical term dropping very wobblily. But yes, always nice to see Glover.

I finally watched this a while ago after looking forward to it for a long time. I must say I didn't know what to think of it once it was over (and still don't). Blanchett's performance was very strong, but probably not among my favourites of hers, subjectively.

I'm confused now.

I hope so! What do you mean WotW is now older than CE3K was when I first discovered Williams's score!?

Ah. True then. Yes, the score always gave me strong Herrmann vibes. It's a fine score and works very well in the film, from what I recall. But I have the old album and I don't think I need more than that.

First one has to be What Lies Beneath. The bath tub and ghost leave little doubt. (A ouija board is missing, but maybe there's no emoji for that?) Don't really see Starship Troopers in the second one. What's a purple monster face, a drop of blood, Saturn (?), and that masked face got to do with it? (It's also not a horror film… but then I wouldn't really call WLB horror either)

Not of the anniversary remaster perhaps, but the original release was available on CD from GNP Crescendo: https://www.soundtrackcollector.com/title/1808/Hellbound%3A+Hellraiser+II

And with today being Mancini's 100th birthday, let me again point to where I think its syncopations originate:

This is a nice clip to show to someone who thinks they don't know Mancini: And the new Williams & Co Supergroup Peter Gunn has a new trailer: