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Posts posted by Dixon Hill
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On 12/24/2018 at 2:14 PM, Knox Harrington said:Now even me mum says JWFan's version of things don't add up, so what I'm really tryna say is...I believe ya.
Anyone else think this was a really well placed quote that should have gotten more likes?
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I prefer Kubrick's film but its great selection of music isn't quite as good as Vangelis' Blade Runner.
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Interesting. John and I more or less agree.
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Well I can't say I know what anyone involved truly intended, but I do see Williams' music as reaching beyond the bleak surface to the real heart of matters, rather than it being a synthetic facade. The music and film both have such masterful handling of light and shade that I can't look at either as plainly happy or disturbing. It seems to be about happy things in a disturbing context, but given the family men behind the film I err on the side of the emotional thrust being more important than the seeming scifi twistedness of things.
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5 hours ago, crumbs said:
The ending is deeply disturbing to me, though I accept that endings like this will yield different reactions depending on the viewer.
David was designed to unconditionally love a mother. He was created to fulfill Monica's needs as a mother while her biological son could not. At the end, once all that remains are the descendants of humanity's artificial creations, a fake Monica is created to fulfill David's need to be someone's child.
An idealised version of the real Monica is created to unconditionally love David. We see David make her coffee, watch them play hide and seek, see David tuck Monica into bed. All these events are repeated from Act I except the roles are reversed. Now it is David whose needs are being fulfilled, the artificial being now playing the role of a human once all humanity is gone.
This is Spielberg & Kubrick's bleakest, most challenging ending because it shows how self-delusion can result in wish fulfillment. The cloned Monica is nothing like the one from David's past but he cares not. He believes the fantasy; he's reunited with his "mother", he believes his wish has come true. Yet the fairy-tale ending is as artificial as David himself.
Like any film it's a Rorschach test for the viewer and we take away what is most applicable to us. Everything you say is true, but I don't see any of it as the main point of the film or what Spielberg/Kubrick wanted to ultimately convey. That's the difference between it being a rather hollow commentary on something purely speculative, and a deeply moving statement on real things.
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I would never describe this ending as happy but I don't subscribe to the idea that it's somehow really disturbing and dark and twisted either. It is what is shown - bittersweet.
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I reckon A Clockwork Orange is a pretty upbeat ending too.
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Hello A. A. Ron - if you haven't noticed yet, hornist is a great choice to start out your ignore list with. Just a friendly suggestion.
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He hands out the confused reaction like candy on Halloween but can't take it when I do it.
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No that would be you.
- BLUMENKOHL and Bilbo
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I like the flute concerto. Viola is a close second.
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1 hour ago, TheUlyssesian said:
And the chase theme is the single most original theme he has written. There is really nothing like it.
Hate to be that guy but let's not go crazy.
- Jurassic Shark and Falstaft
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AI has little bits of influence from a number of sources, but those moments are brief and scattered. On the whole I reckon the score is deeply connected to Williams' personal voice as a concert composer, with all the influences and innovations that make that up. A solid choice for his most original score with the understanding that nothing is ever really original.
- SteveMc and Taikomochi
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You can compare them as Nolan movies of course. The Prestige is better than both though.
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This is one lover's quarrel we cannot get involved in, my dear.
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I fully endorse more X-Men/X2 quotes.
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Old news, Snoozenkohl. Been using this for years.
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Won't ever understand people's need to rank and list things. Who cares.
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I'm with Thor and Koray, The Shining on all counts. I can appreciate the reverence for Hitchcock more than I do for some other oft touted films and directors, but personally only North by Northwest interests me much.
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Prefer Inception as a movie. I like both scores alot.
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It's a stolen march anyway.
Anyone else think 90s film scores sound the best?
in General Discussion
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Lower dynamics/more relaxed playing leading to a warm and broad sound. Lexicon on everything. Todd-AO in its heyday. Natural dynamic range.
The 80s were tinny. Everything before that is crap quality whether you like it or not. You might be nostalgic about the sound of Star Wars 77 but it is shit sound. Shore's trilogy from 2001-2003 was the last great example of pinnacle 90s sonic quality. Since then dynamic range has suffered, playing techniques have changed and made things harsher. Overall aesthetics are different because of the widespread hybrid approach, and it sounds great with that stuff, but even straight orchestral music is being treated differently. What's the last symphonic score that really sounded good on every front? Silvestri's Avengers, the first one? The end credits on that rock. Nothing else really stands out. I welcome recommendations.