Red
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Posts posted by Red
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I would say director but I do feel that there needs to be a cooperative dynamic between the filmmaker and the studio. Its easy and often warranted to demonize the studio heads but the fact of the matter is it is their money they are putting up for the movie and they are trying to make a return on it as any sound business would. I think it comes down to a case-by-case thing at the end of the day. Sometimes the director is absolutely on the money about the film and other times the studio plays the necessary role of reeling in and managing the director's vision.
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I like a lot of what the director had to say about the project. He seems very open and honest about his approach and the expectations that go along with the film. I particularly dug the line about a teenager looking at his cell phone instead of the t-rex behind safety glass. That's a great image to make the concept very relevant for the modern age.
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Kind of ironic that you'd post part of that scene considering its meant to be satirizing overly sexualized female characters.
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This is great. I'll definitely be picking this up. As big a fan as I am of the score and the movie I don't actually own either.
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Hilariously bad title. Kind of mind boggling that they went with that. All they really had to do was some permutation of World's Finest and call it a day.
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The whole sequence from To Manhattan - Where Dreams Are Born (End Credits) is my highlight reel. It's got it all!
Indeed it is. Both the score and movie have a very clear three act structure to them and as far as the score goes the third movement is not only the best of this score but certainly one of the best finales Williams has ever done. Whenever I revisit the score its always those last handful of cues. If I had to pick a favorite it would probably be "David and the Supermecha". Just incandescently gorgeous.
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This is awesome. Barring Williams himself Giacchino is the best man for the job. Greatly looking forward to what he comes up with.
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I pretty much hate these videos and their contemporaries Cinema Sins. To me they are emblematic of an unfortunate trend on the internet of diluting criticism into a reel of nitpicks and useless jabs. I don't think it's funny, just damaging to actual intelligent analysis. Which, of course, can itself be funny.
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Why do I get the feeling this is going to be like a cross between Spielberg and Malick.
Cool poster.
Spielberg and Kubrick, actually. 2001 has been name dropped as an inspiration.
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I never saw a performance from him that I didn't like. Great character actor. Like a lot of people my age he'll be most immortalized for Roger Rabbit and Hook.
He'll always be my favorite Mr. Smee.
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At this point I feel like there's nothing more that can really be said about them. Red Letter Media's reviews of them kind of said it all from a critical standpoint. Now we look to the future. Star Wars as a franchise, regardless of how Episode IX turns out (better than the prequels to be sure), is in a better place now than it has been for a long time. The irony is that it took the independent, self-made millionaire Lucas selling the property to a gargantuan corporation for that to happen. Lucas had been the franchise's biggest stumbling block when he was its original creator. His story is pretty fascinating if you think about it.
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Haven't seen True Detective yet, but I'm hesitant to put in the effort since the ending was widely regarded as something of a letdown.
I wouldn't say that. Plenty of people, including myself, liked the ending. But there were others that didn't. A lot of it came down to what the individual viewer wanted the show to amount to; either something supernatural or not supernatural.
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I don't see what the problem was with "There and Back Again". It's a direct reference to the text and has a closer connotation to Bilbo himself, who is the character these are apparently supposed to be about. This new title makes me think that the sidelining of Bible as the main character will continue in part three. It also strikes me as another example of poor planning and indecision on Jackson's part.
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I don't usually like to say that someone didn't "get" a film or whatever but in this case I think it's largely probably true. Had Spielberg employed a flashforward framing device like in Saving Private Ryan his intentions about showing the events through the tinted eyes of a child would have been much more obvious, but it would also have robbed the film of its subtlety and mystique. I actually find some very loose similarities with Wizard of Oz there, in the sense that most of the movie is arguably a kind of dream had by the main character. Only in this film there is no explicit reveal that that was the case, leaving it with a lingering dissonance.
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One of the beard's most character-driven films, following Christian Bale's Jim throughout. He's in nearly every frame of the movie and the fact that it's a child as the center piece makes the performance and structure quite impressive. It's a study about a child's experience and perspective on war and as such is idiosyncratic and strange in some ways, but deliberately so. Spielberg has made three character-driven films like this that's focused on a particular child, E.T. and A.I. being the other two. Those are fine movies but this one is my favorite.
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I think the best thing to do (other than maybe replacing Zimmer altogether) would be to get a second composer in to handle the Batman-specific material, like with James Newton Howard in Batman Begins. Doesn't look like that's going to happen, though.
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A.I. Artificial Intelligence - John Williams
I think this will always be my favorite score from John, beating out CE3K due to my preference for things more intimate than grand. Can't say much more than I've previously said about this one. It's his greatest masterpiece.
It's one of my favorites; top three even. I think the last movement or so starting with "Search for the Blue Fairy" is just perfect. There's so many tones working together there, from sentimentality in "The Reunion" to innocence in "David and the Supermecha" but with an all-the-while darkness underneath. It feels to me very much like fairy tale music by the end, whereas the music took on different tones prior.
Inception - Hans Zimmer
Every revisitation of this reveals even more just how criminally unappreciated it is. I had the idea to do an in-depth analysis a few months ago, and I think it's time to start on it.
It's one of his best, definitely. And the best he's done with Chris Nolan, which I think overall has produced stuff that is a cut above the standard, ubiquitous, recycled sound scape. The Batman scores are undeniably derivative, for instance, but within those parameters I feel like they excel and even more so with Inception. The manipulation of the Edith Piaf song is frankly a little genius, though it was originally written in the script and not first thought of by Zimmer himself.
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Immortalized in bronze.
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I thought this was the most consistently good season of the show since the first. I've really enjoyed the character building that has been the focus of the second half. Excited to see where the story goes from here, whereas I had felt mostly tired at the end of season 3.
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I love this score; love it. Not to be redundant but I'd probably place Empire a notch higher but to be honest each of the trilogy are pretty much at the same level in my book. I've listened to "The Dark Side Beckons" and "Into the Trap" a countless number of times.
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Jeremy Soule is a brilliant composer.
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Keisuke Wakao Plays the Music of John Williams: Still as sublime as ever. I have to say that most of the arrangements are spot perfect.
One of my favorite albums.
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I wonder if Williams will ever win another Oscar.
Fargo (TV Series)
in General Discussion
Posted
Indeed it is. It's the show I'm most into currently.