Thor

I'll give you that the characters (and the way they are portrayed) are one out of the four crucial elements in the film. But it's by no means the most important; more like a stepping-stone to attack the perils and symbolism, really. The film's value and place in history come from a completely different place. Here's my article again -- Google-translated -- and although there's some weird translations going on here, it gets the point across. I like a good story and well-rounded characters like everyone else, but my main attraction to film as a medium is its audiovisual potential; its ability to communicate ideas strictly through visuals and sound. ALIEN is a perfect example of that, and I'm sure Denis Villeneuve's DUNE will be another. Time will tell. I'm confident.

No doubt the characters in ALIEN are important for the engrossment (crucial even), and the realistic way they are portrayed, but that's not why it became such a cornerstone classic. If that was all there was to it, it would have been a pretty run-of-the-mill genre pic. Quite the contrary, it has ALL to do with mise-en-scene, and how that creates sub-conscious effects on the spectator, founded on some deep, psychological trauma that we all share. But we've discussed this topic many times before, and I even forwarded you to an article I wrote a few years ago.

Nah, screw people. I'm particularly interested in "experience-oriented" cinema wherein the goal is to engross the spectator in an environment. This can either be arthouse films like ETERNITY AND A DAY or LAST YEAR AT MARIENBAD or mainstream films like AVATAR and ALIEN. There are obviously people in them, and they have a function, but that's not where the priority lies at all. I'm confident Villeneuve will provide something similar, given his track record. PRISONERS is about 'mood', ENNEMI and ARRIVAL are about 'state of mind' and BR 2049 -- while the most character-driven of them all -- is more about 'world building', really.

I hope so. I'm not interested in DUNE because of the characters.

Ah, I see. Didn't know 'dark and disturbing' was a thing at JWFAN. I've always found it more 'light banter and jokey'.

Why the "LOL"? PRISONERS is an excellent film. As I've said countless times by now, Villeneuve is the perfect choice to direct this epic.

Yes, good point! That guy always comes into line of sight first, before Williams. Who is he?

You never know.

Sure. At some point, maybe.

That's right, the 24 role was pretty good; I'll replace MISSION: IMPOSSIBLE with that, then, as the latest noteworthy performance. As I said earlier, I have no problem appreciating his acting abilites while at the same time finding both him and his political views abhorrent.

If I were to interview Matessino at some point, I'd slam these titles, and only these titles, on the table and say "Go ahead -- TALK!". YOU ARE WELCOME A TIMELESS CALL THE SUGARLAND EXPRESS THE SCREAMING WOMAN STORIA DI UNA DONNA DADDY'S GONE A-HUNTING SERGEANT RYKER THE PLAINSMAN THE RARE BREED THE KATHERINE REED STORY THE KILLERS NIGHTMARE IN CHICAGO GIDGET GOES TO ROME THE SECRET WAYS BECAUSE THEY'RE YOUNG I PASSED FOR WHITE DADDY-O INSIDE THE MOVIE KINGDOM

Guess I should chime in too, since everybody else does. As I've said before, I aim to boil myself a pot of coffee (or open a bottle of wine) and read/isten through all of these articles and podcasts at a later date; I love your project and angle, Maurizio. But it will have to be later, as I have too many other things to do and listen to at the moment. As for the new episode, I'm not interested in the expansions/C&C aspect of the discussion, but from what I understand, you also talk about other things, like previously unreleased JW scores and their potential release. THAT is more up my alley.

"Dancing Queen" is a fine piece of pop carpentry, but obviously overplayed over the years. Play, instead, their moody, mature masterpiece album THE VISITORS - which was also their final album as a band before Björn and Benny moved on to CHESS. I just remembered another one I dislike -- the extreme variants of free-tonal jazz. I mean, I can go pretty far (just attended a wonderful concert of Komeda improvisations a few weeks ago, for example), but there is a point where it just becomes grating.

I actually love MOTHERLESS BROOKLYN, publicist; even did a thread on it over on FSM: https://www.filmscoremonthly.com/board/posts.cfm?threadID=138630&forumID=1&archive=0 I've heard some 200-250 scores from 2019, and will be doing my top 10 soon on Celluloid Tunes. There will be no STAR WARS on it (probably; at least if judging by the FYC clips), but rather a mix between familiar and non-familiar material (to most). Like always.

I don't like these film concerts, but I'm curious to hear if that ensemble manages to capture Vangelis' sound. So far, no one ever has, even those that have used the same equipment!