Uni

Whether you're in the minority or not, HPFan, you're certainly welcome to your opinion. What's funny is that I had a few beefs of my own when I first saw X2. It also took its time getting things set up, and did it in what I thought a rather banal fashion. After a couple of years, I was hoping some of the reunions, some of that "here's the ol' gang, back together again," would ring more compelling. And for those who aren't avid fans of the comic books, much of the ending comes across as just plain wrong (as a not-avid-fan, that's what I got from it). Some characters seemed underused, others misused, and there were a few other trifles to sour things a bit. But man, if nothing else, the thing was fun. Great fun. Giddy fun. We laughed, we cheered a few times (even once for the bad guy--Magneto stands as one of the greatest villains to hit the screen in years!), and much of what was meant to move us actually did the trick, more or less. Bottom line? X2, for all its problems, entertained me. Reloaded didn't, and it pissed me off that it didn't. With a story that epic, a premise that fantastic, it can't be that hard to put at least some sort of slinger together. I'll be months trying to figure out how they could've gotten it so wrong--and by that time, Revolutions will be out....and by golly, they'd better get it right this time.... - Uni

The few times Williams has been used for trailers are notable, since it's exhilirating to hear his stuff in any format--and since no one would dare use something from his more popular scores, it's fun to hear some of his more obscure themes popping up from time to time. (The only one that comes to mind just now appeared in the trailer for a film I think was called Alaska. I never saw the movie--it didn't look worth it--but to hear the inspiring strains of "Cadillac of the Skies" bursting over the snow-capped peaks was as thrilling as anything that movie could've brought to the table anyway.) You're right, Jeff....I'm not sure any theme could outdo "Bishop's Countdown" for sheer overuse (just about every third thriller or horror film teaser over the past fifteen years has made use of it), although a couple of themes from Stargate ("The Mastage Chase" and the final explosion--whatever that's called) have been trying to gain runner-up position over the past few years. Another fairly common one is the love theme from Dragon: The Bruce Lee Story, and I'd list this as my personal favorite for trailer cross-seeding. It's use for the Forrest Gump preview made it one of the most memorable and moving trailers I've ever seen. - Uni

how can you read a novel more than once? K.M. If a book is good enough I can re-read it several times. I've read Casino Royale (the first James Bond novel) three times so far. Neil LOTR--10 times (cover-to-cover; countless other flip-throughs) A Connecticut Yankee in King Arthur's Court (Mark Twain)--6 times Letters from the Other Side (Will Cunningham)--4 times Taliesin (Stephen R. Lawhead)--4 times Merlin and Arthur (Lawhead)--3 times each The Matarese Circle (Robert Ludlum)--3 times Timothy Zahn's Star Wars trilogy--3 times The second half of The Rainmaker (John Grisham)--Like, seven or eight times These are just a few that came to mind....you're right, Ray. It's like repeat movie-watching (only it takes longer....). - Uni

***SPOILERS*** (Without that cool invisible ink, either, so watch your step if you haven't seen it yet.) Wow. I've never seen such a commonality of intuition in this place. And all so well spoken, too....pretty much every one of you, from CYPHER on (except Morn, who liked it better than the first) reflected my feelings about the film--and not only that, but described their misgivings in very nearly the precise thoughts I had while watching it and afterward. Most of all, I was just plain disappointed. Disappointed to have waited so damn long for this thing to come out and then be subjected to it like that. It was wretchedly paced, poorly realized, and in the end....well, nothing really happened, did it? The chain of significant events could've been summarized and played out in less than an hour; bulking out the rest of the 150 minutes resulted in the most overstuffed movie I think I've ever seen. Endless--no, really, endless--fight sequences, an insipid romp through a tribal nightclub (were these people really worth saving?), and scene after scene that began with promise, only to beg out by the end. One instance of this last was the Architect scene, which started well (I liked its style too, Stefan), then dragged out....and then it was over. Nothing really to mark that it even happened. It was just there. (Did anyone else wonder if it would've proved more interesting if he'd made the other choice...?) Same with Link'n'his wife, same with Frenchie and his special cake, same with just about every fight sequence in the thing, each of which clocked in about four times longer than what it should have been. (And you're all right on--they were far too banal, since the Matrix isn't real, Neo's too good to die, and we knew none of the programs--Smith, Bobsey or otherwise--were gonna take one for the ol' CPU.) Yes, the film was packed with totally useless characters. I would far rather have seen the story begin with Neo's rescue of the kid I came to call Mouse's Replacement (surely I can't be the only one who noticed the resemblance?). That way, we're interested in what's happening, we're reintroduced to the Matrix from the ignorant perspective of an insider (one of the things that made the first film so great), and we also are given some friggin' idea of who this kid is!!! Before two minutes had passed, I was as annoyed with him as everyone else was--though I blamed the W. brothers, not Earboy. Wasn't his fault. Yes, the highway sequence was phenomenal, the best the film had to offer. This was because: a) It was almost the only scene that recalled the exhilaration of the first film; B) It moved the story forward, and didn't just serve as another display window; c) It had tension, since we couldn't be sure of its outcome; and d) it had the most convincing CGI effects in the entire movie (good enough to make us forget they were effects, actually). Yes, the "cliffhanger" ending was anticlimactic and lame--and offstep, too, since I was convinced the thing was wrapping up almost half an hour earlier. I thought for sure the preparations for the "strike" were a setup for Revolutions, since surely they wouldn't want to edit a real sequence that herky-jerky, convoluted, and out of order. But no....it proved yet another example of having way too much in this film, to the point where they had to take a jackhammer to the final edit in order to constrain time. As a result, it felt like the story was continuing long after it was supposed to end....even to the point that it felt like the scriptwriters were making things up as they went after a while (I was left staring in amazed befuddlement after Neo discovered his "shocking" new talent). And then....they call that a cliffhanger? Ugh. Flubs and inconsistencies abounded, too. (MAJOR SPOILERS FOLLOW....) During the Matrix's take on 101 Dalmations (long about the 17th minute of it, I think), my wife leaned over and whispered, "Why the snot doesn't he just fly away?" Game, set, match. And did anyone else find it odd that Neo was able to predict--forsee--precisely visualize--Trinity's "death?" He wasn't in the Matrix when he had those dreams. He was just plain, old Neo. Huh? I'm bound to concede the film did have its strengths. In spite of their gregarious time expenditures, the fight scenes were pretty stinkin' cool. And as good as Keanu Reeves is as Neo (and I think he was born for this role), Lawrence Fishburne's Morpheus is one of the baddest-to-the-bone characters I've seen in ages. I got goosebumps whenever he went at it with the bad guys, if for no other reason than he knows how to resolve a melee in less than seven minutes, something Neo, with all his "Oneness," has yet to learn. And I actually liked some of the religious and philisophical undercurrent in the film; out of all the blabbing the script thought was necessary, it was the stuff that had the most substance (and I think the Oracle lady's a fantastic character, too). I like that Neo, in spite of being so guldarn cool, is still questioning his purpose and potential. If he'd solved everything, then the movie would really have sucked. As Kenanu would say....whoa. I didn't mean to go on this long. Really. I guess once you got me going on this....sorry. :oops: :roll: One final agreement--X2 was the far superior movie. Too cool. - Uni

Definitely one of his best (and most overlooked) scores and individual cues. "The Land Race" is a piece that could almost stand as a concert suite to most of the score all by itself, with no reorchestrations necessary. - Uni

Wow....well done, macrea! A few responses: The omission of this scene--cutting immediately to Gillian in the forest, calling for Barry--is one of the biggest open wounds on the newer versions. It's a great character establishment scene; we see some subtle shades of Neary's insecurities, and his willingness to accept authority and stick to the status quo (which he will begin to buck the very next day). Ah! I would love to see this! Probably the easiest and most justifiable cut in the film. Nope....and why not?!? Another crucial scene sorely missed--if for no other reason that this is the first one that presents the "shape" with the flat top...! I agree for the most part, other than to say the addition of the Gobi desert scene was one of the things that actually made the special edition an improvement (at least I thought so). Another one missing from my "complete" version. (I'm gonna hafta get me wunna them fancy-shmancy Criteerion laser thingies, ain't I...?) I haven't seen it, but here's another cut I can live with. His brief glance out the window (with the old Budweiser commercial playing in the background) is sufficient to "separate" him from the rest of the world. Here's an oddity....you're right, this wasn't in the ABC version, but I actually remember it from the 1977 version, which I haven't seen since then (or shortly thereafter). I think I actually missed seeing that in the ABC run when I was 10, and it was an omission that always stuck with me. You're right--it ought to be in there. Absolutely. The fraction problem, Pinocchio vs. golf, and Ronnie yelling at Roy for leaving his junk around ("This stuff can cause tetnis!" [sp?]) while he remains oblivious is classic, and shows Roy as someone already losing control of his family. The alternate is a hasty, inferior attempt to ellucidate chaos and an establishing trait or two. Bleh. And together they communicate the whole picture. I really missed seeing some of the funnier business, as Roy collects materials for his masterpiece, in the trunicated version. ********************************* On the DVD, we're also allowed to see a scene missing from every all of them that I felt should've been left in: the block party, where Roy's skygazing soon has everyone gaping up in the air, though none of them have any idea why. This is one of those classic Spielbergian "crowd" scenes, where he manages to make a large group of people act and interact as if there are no cameras present. Yep, that one's missing too. And the farmer doesn't touch on the UFO's--but he does tell the story of his encounter with Bigfoot, much to everyone's amusement (except Roy's). This was an important scene because it presented the government differently than much of the rest of the film so far, which was mostly Men in Black stuff. Here they were trying to calm the public and avoid hysteria, putting on a cheerful face while pointing out how silly such claims can be. (The officer leading the conference shows a picture of a flying saucer, which he reveals is made of pewter and thrown across the lawn by his son--but not before he one of the attendees yells out, "That's the one I saw!") Great discussion. Thanks again, macrea. - Uni

One of the few times I've found myself at odds with one of scissorhands' opinions...."You Are the Pan" is a gorgeous piece of work. Overbearing? I dunno. Maybe. Does it matter? There are times I love being overborne, and if it's gonna happen, then this is as good a way as any. Cloying and boring? Never. (Hold the "land.") Funny....I find "The Ultimate War" to be one of my least favorite cues--though I don't know that I can explain why, and as one of the lesser cues on a truly masterful score, it still stands head and shoulders above a good many others. We're in total agreement about "Farewell to Neverland," though. As for your reaction, Kevin....y'never know when Williams is going to do that to you. A piece like that one, or "Cadillac of the Skies," or "E.T. and Me" (on the OST), or fourteen dozen others, are the sort of musical works that might understandably provoke that kind of reaction. But I've been deeply moved before by pieces that one would never consider "emotional" on that level. There was once a time at the wheel of my car when the marvelous complexity of the Mission Theme from NBC News did that to me. Can you picture that? A guy moved to tears because of a freaking television news theme?!? But there comes a time when it's the music itself that works the magic. It doesn't matter what the source material is, or what sort of tempo or instrumental strata it has....it's just the sheer brilliance that gets to you. All I can tell you is to love it when it happens. Those are great moments, just rare enough to be considered treasures. - Uni

I've never had a problem with "Liberty Fanfare".....actually, that's too bland a way of putting it. I've always liked it. I do hear a little too much of it in a wierd context at times, since the Colorado Avalanche love to play it (along with the Main Theme from Star Wars--and how cool is it to have a sports team in town that loves Williams!) every time they get a victory. Considering how often that happens, I hear it a lot in the background on T.V. But I think it's a great theme, very fitting for its subject material when it was first written. I haven't heard the Kunzel version, so I can't speak to that, other than to say I would guess it's a bit louder and goes haywire with the percussion at the end, something Erich can never resist. Yes you are. There are some great, and totally unique, versions of some of his major themes on that one. It's one of the only places I know of where you can get the original intro to his second Olympic theme, without having the opening bars of his first spliced on in its place. (Nothing too wrong with that version, either, but we oughta have at least one edition of an original theme preserved intact and made available to us, right...?) The suite to The Cowboys also stands as one of my favorite summaries to a score I don't own for a movie I haven't seen. Both of these make it a worthwhile purchase. - Uni

Sheesh....I shoulda known better than to casually drop a remark as loaded as "complete" in front of an expert like you, macrea. :oops: I was referring to the ABC broadcast--the very first thing my family ever taped on a VCR, so you're right about it not appearing that way in any "released" version. You're also right about the few missing minutes, but I would venture to say (even in front of you, mac) that the ABC contains more of the film than any other. For a couple of years there, I'd wind up watching it once or twice a week after school....thereby "growing up" with it. As a result, I can hardly stand to watch the other versions. Entire scenes, valuable scenes, are just gone. Missing. Open wounds. I can't handle it. So I guess "complete" is entirely based on perspective; to me, the ABC broadcast was (and is) the only one I'd consider complete. Thanks for further clarifying. - Uni

I was lucky enough to grow up with the complete film on tape, and it's easy for me to forget that many people still haven't seen sequences of the film that are old hat to me. That would be the reason so many miss the reference to Pinnochio at the beginning of the movie. Makes sense. Thanks for the detailed rundown, macrea. Good info there. - Uni

In my late years of high school and those that followed, I was obsessed with the idea of being a director. Everything I saw I perceived through an imaginary 35mm lens, and most of it was a potential screenplay waiting to happen. As a result, at one point I had compiled a list of more than 60 film ideas. Some were ridiculous, most were crude at best....but a few were worth consideration, and of those a handful were stories I still think might've served for a decent cinematic experience. One of my favorites, and the one I'd probably make if a major studio knocked on my door this afternoon (y'never know....), was a piece set at the turn of the century (the 20th, that is). A young British man named William comes to America to study at a Virginian college. He's been studying the science of flight through the many attempts to perfect gliders in the late 1800s, and was actually there the day the famous German scientist died when his glider crashed to the ground (I forget the man's name--it's been a buncha years since I did the research). He's spent several years developing theories on how actual flight could be managed with the right wing structure, engine, etc, though he's never been able to test his ideas. Anyway, after his arrival in America he happens upon a crusty old eccentric who shares his interests, so much so that he's been attempting to prove the theories himself, though with disastrous results each time. Through a series of misadventures (involving two friends of William, twin brothers who excel in getting into mischief) he meets up with old man Willoughby, who shows him his latest constructions. Naturally, William's theories hold that final, elusive key Willoughby's been searching for, and together they succeed in first building a test glider (to help prove the theory of a proper lifting rudder), and then a working model of the first real airplane. Of course, for the sake of historical continuity, tragic developments ensue that keep them from fully realizing their dream. In the end, William has the choice of either testing the final model at great risk to himself, or declining in order to secure the love of the woman he has been corresponding with for years, his "Lady of the Sea." He makes his choice--presumably the right one--and three years later he notes from a distance, and maybe with a touch of regret, the breakthrough at Kitty Hawk. One of the most exhilirating things about this story concerns the way I used to apply filmusic in order to help me conceive key dramatic sequences. For the key scene when they test the experimental glider, I used "The Land Race" from Far and Away, and it made for one of the greatest inspirations for a scene I ever created. The (slightly) older of the two twins, Quentin, starts off toward the edge of the cliff; at the first big burst of brass, he sails over the edge (and promptly starts screaming); with the rapid pacing that follows, William goes dashing down the hill on horse in pursuit; then, through the passionate music of the race, you sense the wonder and glory of a young man actually flying; then you have the buildup, when the stick gets jammed and he can't get the glider to lift....and he's heading toward the tops of some trees....and then, as the Main Theme soars in, the stick works free and he sails upward. At last, as the steady, triumphant rendition of the Oklahoma Theme marches in, William waves up at Willoughby. They did it. I thought it could have made a pretty good film, though I'll probably never get around to writing it. (Don't get grabby, though; I copyrighted all my better ideas years ago. ) Anyway, if I had a chance to make one for myself....yeah, I'd have to go with that one. - Uni

Thanks, Neil. I'm breathing deeply....calm is returning.... I've had the OST for years, and definitely wouldn't mind having a digitally remastered version. The film edits on the second disk might prove an annoyance, but like the Ultimate Edition, at least it'll offer music that hasn't been available before (and for a far superior score, too). Thanks again, friend. - Uni

Another CE3K fan! You're certainly welcome here...! Not enough of us by a long shot.... The reason behind appearance of "When You Wish Upon a Star" is one of the most overlooked points I think I've seen in a movie, especially a Spielberg one. We've dealt with the question more than once here (though not in a good year or more). I'm not sure why so many people miss it. Yes, it's one of Spielberg's favorite films, and a story he seems to delight in referring to (A.I., anyone?), and he does love the song. But the reason for the music in CE3K is more character-specific than that. Remember near the start of the film (the third scene, if you really want to pare it down) when Roy Neary tries to cajole his family into going to the movies instead of playing Goofy Golf? What's the movie he wants them all to see, the one he grew up with, where there are "magic, and furry animals, and we'll all have a wonderful time"? Yup. It's meant to establish an underlying trait. Pinnochio searched for the means by which he could become a "real boy;" Neary spends the movie looking for the magical answer to justify his own obsession. When he finds it, what better piece to play to laud his achievement than one that ties both films together beautifully through the common theme of stargazing? It's a great bit of cross-seeding, and it's emergence in the end titles is one of the missing moments I waited years for, until the Special Edition finally offered it to me (and I had to wait a helluva lot longer than Roy Neary.... ). Once again, welcome. - Uni

Are you KIDDING?!?! A full treatment of The Dark Crystal? Trevor Jones's best score....a lost treasure from the early 80's, completely overshadowed by E.T. in the same year....one of the finest fantasy scores of all time....*sigh* If this is a limited edition, and not available through normal outlets, any idea on how I can secure a copy? - Uni

Goldsmith's Apes certainly ranks among the more unique scores in history. I don't know that I would be as quick as you to compare it to Close Encounters, but that's primarily for the fact that Williams's work heads toward (and brilliantly achieves) a melodic, motif-aspiring resolution, while the original POTA does not. Not that it should have, of course; the music (it's almost an anathema to call it that!) was right for the film, and the film was not comparable to CE3K--especially at the end. But you're right; it's a score every "serious" filmusic afficianado ought to have in his/her collection. - Uni

Wow. I'm honored that you should even suggest such a thing, especially since it's somewhat dependent on the rest of the conversation for the context (since the superlative "more significant" suggests a missing antecedent)....but I don't suppose I'd have any real objection to you using it for your signature, if you're so disposed. I've never been quoted like that before....you just made my day. - Uni....who, in his daily, mild-mannered guise, is known as Scott Fields--in case you actually decide to use it, I guess I'd feel better if you attributed it more properly than "Uni."

First, an easy one....In Temple of Doom, during the "Slave Children's Crusade" (in either the film version or the multiple concert versions), you have a sound similar to clanging of pick axes providing the rhythmic backbone to the piece. Very cool. Here's one that's always confused me a little, though....it's really the first one that came to mind when I read Ozzel's (very creative!) notion of musical onomatopoeia--only I don't even know if it's intended as such, or if it's just musical background, or if it's actually a mistake of some sort: In Star Wars, when the image of the Princess first appears in Luke's garage, after the first phrase of descending flutes, there's a sound that resembles something between a bending synth note and one of R2's low moans. Am I crazy, or was this an intentional addition that rightfully belongs under this heading? - Uni

This seemed oddly in line with the developments of the cinematic series so far....at this point, I'm not sure anything would surprise me. Having said that....I did find this hilarious. LOL - Uni

Well....there's an appropriate handle, if ever I saw one....:roll: - Uni

Actually, those masks may be tougher nuts to crack than you think. I would submit that in many circumstances, each of the first three "fast excuses"--which, I suppose, also means (d) by default--can in fact stand up to better than 60 seconds of logical examination. There are those out there who are burdened with day-to-day commitments and financial obligations that can't so easily be tossed to the wind. Sincere and reasonable lack of money or time isn't an excuse; it's a reality for many people, and it would be less than wise for them (or hey, for me!) to disregard responsibility in order to take up the crusade for "the power of perseverance and commitment." The third reason is just as valid. Why waste hundreds of dollars and several days out of your life to pursue something that holds no interest for you...? I do understand what you're saying, and I know that we've a couple of years to work out schedules and stable enough dough to pony up when the time comes. Still, there's no telling what circumstances may intervene in the interrim. And I don't think we need to be pointing condemning fingers in the faces of people who honestly recognize their situation, and want to do the right thing, in order to accuse them of peddling "lame excuses." I'd hate to see anyone in two years dealing not only with having to stay behind, but also feeling saddled with guilt that the only reasons for not going were all in their head. Besides, I would say that sacrificing something you want to do in lieu of what you need to do can be an even more significant demonstration of the the power of perseverance and commitment. - Uni

Except that there have been several people--including myself--who have expressed everything from a passing interest to a deep passion for Trek. Therefore, I think it much more likely that this poll shows the result of a decidedly warranted aversion to the imprint of William Shatner's ass in the director's chair. (Did I just say that...? ) - Uni

I just so happens that twice this week, while flipping through channels, I caught the same scene both times--the one when Joe saves his buddy at the cost of his own life. I remember what I thought in the theater about that scene, and it's still true: it's an absolutely numbing sequence. Too many directors would've been tempted into drawing out Joe's demise, giving him last words or some attempt to save himself or similar dramatics. After the amazing way he doused Goodman's engine (what was his name in the film?) and narrowly escaped crashing....to have the end come so quickly while the intensity has barely begun to cool....man, was that a virtuoso piece of filmmaking, or what? With this in mind the second time I caught the scene, I wondered if I had been wrong in my initial opinions about the film as a whole, somehow jaded or in an ill mood when I first saw it, and thought another viewing might be revealing. It was. It revealed I wasn't wrong at all. Like the scene I just mentioned, I kept having the same thoughts as I did back in '89, mostly involving repeated invocations of the word, "Why?" That magnificent explosion sequence is tiny island of substance afloat in a fog of wearingly vague tripe. "Among the Clouds" is where Steven's head was, I think, throughout most of this project. This is one of his only films where his magic seems forced, where the characters spout dinner-theater dialogue on their way to a conclusion that (you said it, scissorhands) was depressingly inevitable from the start, and where (aside from that great scene) I was never for a moment caught up in the emotions and interests of the characters. Sure, I felt something, but without anything solid to attach to, it was like being set adrift in a little raft, out in the middle of an endless ocean of ersatz empathy. Blech. As for the score, I've always considered this an example of how even the great John Williams can be bogged down by poor enough source material. There are times he's able to save an inferior film with his music; but there are also times I wonder if certain films deserve the saving. In this case, he seems to have sensed the same meandering, ambiguous mood I felt, and simply attached the orchestra to the Love Boat bound for nowhere. I love, love, love the Main Theme--especially as its presented on the S/W Collaboration CD--and there are a couple of other sequences that stand out. But the rest wanders around as aimlessly as the movie, dully searching for a place it can either leap into action or go to sleep. Frankly, overall, it's one of the very, very rare Williams scores that bores me. I love Richard Dreyfuss, I adore Holly Hunter, and I enjoy John Goodman (on his better days, anyway). I really like Audrey Hepburn, too, although her appearance in this film felt uncomfortably more like a token gesture than a true character role. With all these people, and Spielberg directing--and Williams doing the score, fercryinoutloud!--I still wonder to this day how the movie missed the mark by so much. I hate that it did. I really wanted to like this film. A part of me still does. But give me something real, something tangible that will pull me in and engage my sympathies. I'm not saying fantasies about dead people are out of line (Heaven Can Wait was a wonderful movie); but when the characters' authenticity dies before they do, its absence is a ghost that haunts us all. However, I think you're right, LIJ. I think this was probably a vacation for Spielberg. Heaven knows he deserved one (heh...."heaven" LOL), and I'm more than willing to allow him the excuse and let it slide. It's just unfortunate that the result was so unsatisfying. How much better it would've been to enjoy his vacation along with him. - Uni

I didn't mention it before, and wasn't thinking to after Jeff covered it, but I'll go ahead and add my own voice to the growing crowd. After discussing it the other day with Jeff, I've already started squirreling away money for the trip. (True, the $9.12 I have so far won't do much more than cover the tip at dinner, but y'gotta start somewhere....:roll:) I was thinking....we used to do fund raisers for camp and school and stuff when I was younger. What are the chances we could come up with an international fund raiser on behalf of those going on the London trip? Something the attendees could split. I wonder.... - Uni

Once again, you've levelled judgement on a book you haven't even read--which, as it happens, is not just some "cheesy-ass sci-fi novel." In a sense it's sort of the War and Peace of the science fiction category, a broadly engaging piece of work that's sweeping in its scope, brilliant in its satire (especially concerning economies), exhilirating in its action, and wickedly funny. (And no, I am not a "Scientologist freak like Travolta." Far from it.) Your reputation as literary critic is only going to get progressively worse as long as you insist on weighing in on books you haven't even read, RL. :roll: As for the movie, was every bit as horrendous and nearly unwatchable as everyone says. Sorry, Wojo....but I can't bring myself to respect the attempt to bring it to the screen, even after reading the novel, when the attempt produced such gut-wrenching results on every level. It should never have been done. I'd watch both AOTC and STV a hundred times each before I subjected myself to even one more idiotically-tilted camera shot from Bunglefield Earth. However, for those of you who haven't read it--and are perhaps holding out on the basis of Roger Christiansen's disaster--give it a try. Now's a great time for it; they just came out with the 25th Anniversary hardcover edition. It was too beautiful to resist, so I picked up yet another copy of the book. One of these days, I'll have to read it again.... - Uni

We had a thread on this a good two-and-a-half, maybe three years ago. Though it's happened to me once or twice, the best experience of that sort I had also occurred on the road. I was listening to "Adventures on Earth," and just at the moment when the Feds find the empty van and the bicycles are first seen, that great cue when the orchestra takes off, a big flock of birds took to the air at the side of the road. They wheeled around, flew parallel to my car for a few hundred feet, then swept across my path. I nearly drove off the road--not out of fear, but for the goosebumps leaping up on my arms, big enough to clock me in the face. It doesn't happen very often, but when it does....what a moment, and what a feeling. - Uni