Red

There's a LexCorp building in one of the trailers, but beyond that nothing's confirmed.

It was a really good finale, especially considering the show probably should have ended two seasons ago. I also wish there was more Michael Scott.

That looks awesome. I might have to see that in IMAX.

There's an atmospheric, alien quality to a lot of the samples that I kind of dig. It works with the emphasis on the Kryptonian stuff that the movie seems to have. As far as actual melodies go I couldn't really make out a single one, with the possible exception of the piano notes in "Sent Here for a Reason". Whatever was going on in "Goodbye My Son" sounded like it had some focus to it and the violin solo in "Krypton's Last" was pleasantly surprising. Unfortunately the action music leaves much to be desired. It seemed to be exceedingly loud just for the sake of being loud. Overall it sounds better than I thought it would and I'm sure it will work in the film. Zimmer's scores are usually serviceable in that way.

Bay wasn't actually apologizing for the movie in the way you might think. If he was doling out proper apologies he should start with Transformers 2 and Pearl Harbor first. Comparatively Armageddon isn't that bad.

It'll be interesting to see which DP he chooses and what Interstellar will look like compared to his past films, which have all been shot by Pfister and are superb and have a particular aesthetic. I'd love for him to work with Deakins.

This is a hilarious opinion.

I like the trailer but didn't care very much for the music.

Considering Snyder is doing Superman I sincerely doubt he'll ever direct a Batman film, especially Dark Knight Returns which has already been made into an animated feature.

I figured that's the way it would happen. There was just no way.

RIP

Oddly, I think Gangs could work very well as a television show. The movie had a very large, almost Dickensian world to it that has potential for other stories.

The goal of the "dream team" is to implant an idea into a person's subconscious This is not unlike filmmaking which is about manipulating the viewer into becoming invested in what is happening on screen. The catharsis that Fischer (Cillian Murphy) experiences is like what a person watching a movie can experience when it moves them, and in both instances the catharsis is some ways false and engineered by the team creating it. Basically the symbolism is that Cobb is the director, the person who orchestrates the team. Other members have roles similar to that of those making a film, such as Eames who can change his appearance in the dream to suit the overall goal like an actor does, Ariadne the production designer who designs the dreams, and so on. It isn't an exact analogue but I don't think the similarities are unintentional. With The Prestige the metaphor is more loose but it makes a statement about the dedication to illusion that has a lot in common with movie making. Coming up with a magic trick that dazzles the audience and makes them wonder whether or not it was real and how it was done is like making a film which at its best does the same thing. The three acts of a magic trick that are set up in the film, where the title comes from, is also similar to the three acts of traditional cinema storytelling and most storytelling in general. You could take this further with what Hugh Jackman's character says at the end of the film and posit that the point of movies, like magic tricks, are to offer an escape to the audience from the "miserable" real world and make them believe even for a moment in what they're seeing. It goes back to coercing the audience into investment. Hope that clears things up.

I don't think the whole movie is a dream as Faraci does, but it is definitely a statement about movie making or in a larger sense, about manufacturing emotion out of thin air. It's a nice companion piece to The Prestige because that film was also about cinema (in a meta way).

Very exciting news. It's Nolan's chance to do hard sci-fi for the first time.

The difference is that those films were specifically designed to co-exist and lead up to the Avengers. The Dark Knight Trilogy has never been that, it has always been a unique, standalone take on Batman that had a definitive end with Rises.

Exactly. This doesn't make any logical sense any way you look at it. I sincerely hope this doesn't happen.

I actually think one of the major issues with Superman Returns is that it too reverent of Donner's original. It felt too much like a pantomime of that film and never developed enough of its own voice. And the use of Williams' themes, while undeniably great, was apart of that.

This applies even more to Spielberg himself. The film is by far his most under appreciated.

I remain cautiously optimistic about this. The early buzz is interesting but it doesn't exactly prove anything about the film. Plenty of mediocre to bad movies have had positive buzz months beforehand.

Imma have to pick up one of these. The Edge is one of my favorite Goldsmith scores that I've heard.

When I whistle or hum Williams it's usually the classics like stuff from Star Wars, Indiana Jones, or Hook.

"David and the Supermecha" from Artificial Intelligence is one of them. That score also has my favorite love theme that Williams has ever done: Monica's theme.

In some ways I feel like the music in the game industry has usurped film scoring in recent times. My favorite score of last year, for example, was a Playstation game called Journey.

Giacchino, if not Williams. But I doubt JW will do it.