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Goldfingers

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About Goldfingers

  • Birthday 13/07/1988

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    http://www.hook-movie.com

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    Belgium

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  1. What would be interesting to know is whether John Williams composed the music in anticipation of what was happening in the script or if it was just random compositions that they tested on set. In my opinion, it must have been anticipated, but given the duration of the medley and the number of scenes in which the concertina appears in the script, it seems too short to me.
  2. It's hard to determine the significance of the different pieces in the Smee's Concertina Medley. 'Low Below' is recognizable, but as for the rest, I don't know. And it's challenging to ascertain where each of these parts should have been used in the story. Initially, Smee was intended to always have a concertina attached to his waist. There are several scenes where the concertina was supposed to appear, such as Hook's preparation scene before his first appearance, his speech, the negotiation with Tinkerbell, Hook's dinner, the lesson scene, the baseball scene (the script mentions that Mr. Smee was supposed to play 'Take me out to the ball game'), the final battle, and Smee's escape, during which one of the mermaids plays the concertina. The concertina serves as a means to add excitement to Captain Hook's life. Smee plays it at his request to create an epic atmosphere or to intensify the drama of the scene that Captain Hook is experiencing, often punctuated by a humorous moment when Hook interrupts the action to address Smee: 'Smee! Appropriate musical under scoring!' or 'Smee! Where is the musical accompaniment for this most dramatic moment of mine?' In the movie, the concertina disappears from Smee's character. I am certain that the concertina held by Tickles, played by David Crosby, is the same concertina that Smee was supposed to carry. There isn't a single scene where Tickles is seen without his concertina, but it is never heard being played. I believe they abandoned the idea because it potentially disrupted the scene by diverting attention from the action and limiting the possibilities for orchestrating the scene afterward.
  3. The main idea of the interview was mainly to promote the new CD to a public who are fan of the movie but not specially into soundtrack spheres. I hope they will produce a bit more for those who may not have had the chance to order it now. It was the first time we attempted it live. There will be a new interview in mid-January, and perhaps another one in February. I'm not revealing the guests yet.
  4. I'm not saying that Spielberg's intention should be obvious. Spielberg clearly wanted to create something stylized, and he has expressed regret that the result didn't match his vision. However, the film is imbued with aspects reminiscent of a theater production in many ways. Some might could say that it's an over-analysis, but when you consider all the elements that indicate this, the intention becomes clear. The intention to integrate songs is part of this.
  5. The intention was for the sets to be big and obvious. The film's opening scene announces this from the beginning, placing the focus on the theatrical aspect, just as Spielberg presents his version of the Peter Pan play. The set-up resembles a cinema (Spot in the middle of the audience as a projector) except that the screen is a theater stage. Hook is the sequel to Peter Pan, which was originally a play. The first scene in Neverland is literally a curtain opening when Peter rips open the parachute. Spielberg didn't randomly choose a Broadway and London theater concept designer. Critics and the audience criticized him for the cardboard-cutout sets in Neverland, but that was clearly the intention. The issue was that Spielberg had a very limited amount of time to prepare for the film. When he agreed to direct Hook, the release date was already set, and the sets were under construction before the script was finalized. The film was rushed and had ambitious goals that couldn't realistically be achieved within the given timeframe. Additionally, Spielberg didn't have the level of control that he would have preferred (about the casting I mean). Ultimately, he had to compromise and focus on delivering what was expected of him for the film to meet its scheduled release date. One of the most enduring pieces of misinformation concerning Hook. It's incredible that some people actually believed this, even though Spielberg denied it during the film's promotion.
  6. He flies to the Lost Boys in preparation for war. I don't know what was exactly filmed. Probably a very short special effects shot that serve to transition to the Lost Boys preparation shots we have in the final cut. The battle is not exactly after that scene. There is a deleted scene between that moment and the battle with Maggie and brainwashed Jack in captain costume.
  7. No, "Childhood" and "When You're Alone" do not appear in the script (at least not in the ones I have), "When you're alone" is simply mentioned as "Lullaby" without more details. (No lyrics).
  8. It was never kept hidden. It's precisely the reading of the novel that ignited my passion for deleted scenes and this particular scene. Everything has been there from the start. It involves singing, dancing, and the scene is depicted with meticulous attention to detail with dialogues that didn't make sense as pure dialogues, it was clearly from a song. Some details leads me to suspect that Terry Brook must have had access to a working version of the film rather than just a script. Here is the script of the scene, so you can understand its length and the events that unfold. The version on the CD is shorter than the potential film version that could have existed.
  9. The songs are integral to Hook essence. Spielberg had a strong desire to turn Hook into a musical. Choosing not to explore them would mean missing out on understanding the core inspiration behind the movie's themes. Why would you want to miss out on such a delicious experience?
  10. People who don't have access to the scripts can't tell that Smee was supposed to always have his concertina (called a harmonium in that storyboard). In the final cut of the film, we only see Tickles (played by David Crosby) with a concertina.
  11. I think the music work more on that "alternative" take than the final cut version of the scene. Dustin Hoffman explored multiple ways for his scenes. And it was quite exhausting for the entire crew, actually, when I hear the impressions of some people who worked on the film. Even Spielberg was sometimes tired when he was sure to have the right take; Hoffman wanted to redo it, to try something else. For exemple, when Crosby shouts, "Save me, daddy," while Peter is attempting to touch his children. Hoffman is seen pushing the pirates, shouting, "Fly! Fly! Fly!" In the next shot - / cut on the same shot /, he walks more slowly, smiling, saying, "Come on, Peter, fly! Stop pretending." I love the unused musics but it's clear that sometimes, the music distracts from the dialogue. And when you see how Hook is already musically extremly rich, it's good to have moments without music.
  12. Sorry, I was a bit quick in my reply and misunderstood the intention of your message. To complete my previous message. I think the use of the blue is interesting. Even if the Hook promotional campaign in Asia mostly used a photo montage on blue sky background. I doubt this visual inspired anything for this edition. On the other hand, in the visuals not used for final campaign, there's a series of "window" visuals that are predominantly midnight blue with an orange moon (in the same tone as the parchment in which the logo with the illumination appears). Then it exist same kind of visual but with real photos and props in a dark blue background. One of this visual have the logo in white and blue. The complete logo with the illumination usually only appears on the parchment, mostly on the John Alvin artwork. There is an audio cassette of the soundtrack from Asia which uses the logo with the illumination without the parchment.The logo is illegible. Personnally, I don't like it. It sometimes appear only with a parchment border too on some video games ads. Jim mixed these two logos in a balanced way. Taking the shape of the typography from one to adjust it to the size of the other. Now, I don't know exactly where Jim Titus got his inspiration, but as a collector interested in all aspects of the film, I think it's part of a continuity that's not too far away from what's already been tried and done. It's elegant and I love the logo update. I have more trouble with the visual used for the Mondo vinyl. Although I love the colors and the intention, I find the artwork too much different from the aesthetics of the film to please me.
  13. What's wrong? It looks perfect. And maybe it's with printed effects like gold effects that can't be rendered in the digital version of the cover. Wait until you have the product in your hands to judge anyway. This logo is the original logo, mostly used in the prologue teaser and teaser posters (on Alvin artwork, blue sky background or black background). This is (to me) the best version and its elegance fit to this edition. Jim reworked it a little to make it sharper and it look perfect to me. When most of the stuffs have the same visuals for a movie. It's normal to try to find news and originals visuals. I can show you tons of stuffs made for the movie with variations of the classics Alvin and Struzan artworks on parchments paper, red background, blue, white and gold. Because they are tired of the classics visuals, the 4k visual is ugly with the use of stock images that don't even come from the movie... To answer the question about how the "Prologue" teaser was filmed. They used a camera guided by a computer-controled arm to film on a vertical surface where the map and accessories were attached and stabilized with thin nylons cables. For the close up when the Nevertree burns, the magnifying glass is hand held.
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