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Everything posted by mrbellamy

  1. Like Superman, "Kryptonite" is also publicist's weakness
  2. Spielberg has never made the critics' 100, I don't think. Jaws is in the directors' 100 list this year. I haven't seen Jeanne Dielman, Beau Travail, Killer of Sheep, Wanda, News From Home, Contempt, Sans Soleil, Daughters of the Dust, Touki Bouki, A Brighter Summer Day, Satantango, Histoire du Cinema, Black Girl, or Tropical Malady. Some of them are just so damn long, idk. Now excuse me while I go watch LOTR again.
  3. Bicycle Thieves was #1 in the first poll, I'm still waiting for the comeback
  4. Dielman also jumped from 73 to 36 between 2002-2012 so it's been on the rise. I haven't seen it either to be fair, always seemed like something I'd struggle to focus on but has been in my watchlist forever. Ideally I'd like to find an arthouse revival screening and lock myself in a theater with it, I imagine somewhere in Chicago will be playing it next year. Incidentally Goodfellas made the 100 for the first time jumping 108 places from last year which is also very woke.
  5. I'm just excited to get a new JWFan acronym. Gonna be seeing a lot of DOD around here from now on.
  6. Looks like my 2022 claim to fame is being in the top 1% of Aimee Mann fans
  7. Nicky Paganini and Johnny Gabrieli somewhere in there
  8. Vivaldi! He's Italian! Ay Tony!
  9. Bob Schumann Gus Mahler Morrie Ravel Frank Liszt Eddie Grieg All dead!
  10. I was never a big soundtrack collector, I've got maybe a few dozen, which must be a ton compared to anybody else I know but peanuts next to you guys. But that's a technicality because I started listening by borrowing CDs from the library, and soon discovered I could rip them into the computer lol. I confess it all, guards take me away. Eventually streaming got rid of that habit too. I don't think I've bought a soundtrack CD since Rise of Skywalker? Movies were much slower to be convenient digitally so I've got a lot but it really has gotten to the point where I'm just out of room. I have to be more picky now and it is unfortunately just the reality that physical media is less necessary. I do miss it, though, and I still like buying my #1 favorites because I don't trust things to stay on a particular service, or to be my preferred version. Sometimes I am still a sucker for variety packs if it's a really fun 4-in-1. But even I couldn't justify buying Get Back on Bluray with no extra goodies on it. Last Blurays I bought were the two Don Hertzfeldt collections he has on his website, those are rad and it's cool to be able to give back to him directly.
  11. I think ultimately the issue is always gonna be a little confused because the "Family" theme is also used for moments of personal growth or reflection for Harry, and underscoring bonding moments with his friends (Hermione's speech at the end of "The Chess Game" where she is literally speaking to Harry's personal integrity and naming friendship as a virtue). I've always identified both closely together without even really thinking about how they're categorized unless I'm logged onto JWFan lol Over the years I've kinda just felt one is Harry's Theme (Friendship) and the other is Harry's Theme (Family). They're ultimately summed up for me by their climaxes, with the former as he celebrates with Gryffindor and his achievements become one with his friends' achievements, and the latter as he realizes Hogwarts = home = Hogwarts, and family = friends = family. Which again just speaks to the subtly equivalent relationship between these themes imo. In my memory the line is drawn most deliberately at the beginning of COS with "Family" over the photo of his parents and "Friendship" as he flips the page to Ron and Hermione.
  12. PTA brings music up generally at 19:19, JW brought up a minute later They actually both get a few details wrong haha. Also "John Sebastian Bach," come on Steven.
  13. DGA podcast with Spielberg and Paul Thomas Anderson Just one little reference to JW, Spielberg mentions asking Williams if they should start the score in earlier and that it was Williams' own intuition to really have Mitzi's dance be its first major entrance.
  14. It really would be a "thanks for everything" nomination, more than usual.
  15. I gotta say, even though I felt prepared for this being a very limited JW score, there was even less music in the movie than I really anticipated. Definitely seems like a complete release with extra on the album. My takeaway was that the score was contributing mainly to key moments in the relationship between Sammy and his parents, but especially Mitzi because it also reflects her personal state of mind (Mitzi's Dance, Midnight Call). That felt like the role JW wanted to take on this one. It felt perfectly spotted, though, along with the period songs and classical piano. Also I believe "The Fabelmans" is the only time that theme is heard in the narrative with that solo piano track actually placed toward the end in the last scene between Sammy and Mitzi. Chronologically between New House and The Letter, I think. Mother and Son's not in the score. It reminded me of the thread we had recently about memorable themes that are saved for the end. It does have a really calming effect on the movie, it's like "John Williams is here, everything's going to be ok" lol. Also someone needs to remind me which cue was used for Sammy and Mitzi's conversation en route to California when they get out of the car. I feel like it was Reverie, just the solo piano arrangement of that theme, but I can't 100% place that and Reflections.
  16. Yeah loved the hell out of this. I was most into it pre-California but then again the Jesus girl scene is one of the funniest things he's ever done, I kind of can't believe that's in a Spielberg movie lmao, or ostensibly is something that more or less must have happened to him. That moment when he looks up at Jesus when she's on top of him, I was dying. And Lynch's scene with that very last camera adjustment, it's too good. It's an interesting thing watching this because on one hand I still feel that just about everything he's saying here was being communicated obliquely in his other movies, which in some ways is more interesting. But on the other hand, he's never REALLY made just a straight hangout/coming of age film and this is a surprisingly breezy watch. More than any other movie since Schindler's List, I can tell he had to get this out of his system for the Judd Hirsch scene ("you love your parents and your sisters, but you love THIS a little more" hits so close to home, what a line), the discovery in the camping footage, and those couple brilliant seconds with Sammy's vision of himself in the mirror during the family breakup. One of the most honest visual ideas I've seen in an autobiographical movie, somebody's had a lot of therapy.
  17. It's still kind of my favorite slice of music in the whole trilogy lol
  18. Hope this and the Fincher movie are good. Kinda wild to think back 10 years ago when it really felt like Michael Fassbender was on the verge of a major career. I wouldn't have guessed in 2012 that Adam Driver would be running laps around him.
  19. I think I prefer the Fabelmans theme melodically but the Dear Basketball piece is a more satisfying arrangement.
  20. Go into any business that awards Employee of the Month and ask people what they think of the winners.
  21. Yeah I heard people talking about the brilliant Tar score and so I was listening out for it...not even against ambient scores, I can dig a Reznor/Ross or even Guonadottir, I have no problem grasping what people were getting out of Joker even if it's not my thing. But literally Tar had no score?? I really felt like maybe I'm actually legitimately deaf to this stuff now lmao. Was there anything in those surreal vignette-y transitions maybe?
  22. Furthermore none of these movies received any Oscar nominations, Far & Away and Home Alone 2 had equally mediocre reviews, and only Home Alone 2 was a fall/winter release i.e. closer to Oscar voters' memories but as we know, sequels nor comedies usually play well to them anyway. The last time John Williams was not nominated at all in a year where he scored a movie that received at least one other Oscar nomination was 1979, when 1941 got Cinematography, Sound, and Special Effects recognition but nothing for JW, and meanwhile Dracula got nada altogether. So I think Fabelmans would have to be ineligible (although I seem to recall somebody posting an article that confirmed it was eligible) or the changing tastes of the Academy music branch would have to be proven to be kinda over JW even in a critically acclaimed project. So far he's as likely to be nominated as ever. I also feel like even if it's a low average for Spielberg/Williams there's no way Fabelmans has less score in it than Tar.
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