Chen G.

Film is an artistic medium: its one of the arts. Whether a film finds commercial success or not is besides the point

Galadriel can be seen uttering those words in The Two Towers, so...

Yes. Not all film is good art, though.

Film, for one thing.

Good comparison, actually. I actually rather dislike “romantic epics”, including Zhivago, so that I like Titanic at all (and I like it a lot, actually) is really a testament to the quality of its construction. Jarre’s Lara’s theme is the kind of tune that’s memorable and infectious, but NOT in a good way. I don’t feel the same about Horner’s score, though. It hits me in the feels.

Basically, all three original Soundtrack releases are irreplaceable and are meant to complement the Complete Recordings. From memory, the first half of the Fellowship OST is almost all alternate material to the OST, and there are still differences in the second half, and in various track in the next two OSTs, as well. You’ll probably also want a rip of the Fan Credits (the alternate Breaking of the Fellowship alone is worth that) and the Rarities.

It takes its time. Again, it’s the kind of confidence that you don’t see anymore in films, which makes it all the more rewarding now. Horner's score (wonderful) benefits from this enormously.

Oh, you have so much to discover! Just you wait!

If I were to recut Titanic I would remove maybe two or three minutes off it’s running time, at the most. I love that the movie is patient, confident and takes its sweet time. Filmmakers today don’t have the balls to edit like this.

Garden of Magic *ahem I see your bet, and raise you one Gift of a Thistle.

The music for the opening crawl of the original Star Wars is a sort-of overture, but because that simply got replicated for future episodes, they don't each have a distinct overture. Star Wars wasn't really a throwback to the kinds of films that had overtures, though. It owes much more to campy serials than it does to big-screen epics. Musically, Williams arranged the album of The Phantom Menace to have the concert arrangements at the top of the presentation, after the manner of an overture. Its a smart way to acknowledge it as the "first" score in the cycle, I thought.

I was thinking more of this: Since Chris Terrio said that JJ Abrams had Kylo's road to redemption in mind from The Force Awakens, this is starting to seem quite plausible.

But what was the nature of their disagreement? Was it Trevorrow's idea of not having Kylo Ren redeemed? Seems likely to me.

Its true: Trevorrow's script, the villainy of Kylo Ren - all of it. Its all true. I'm beginning to wonder, with Chris Terrio saying that JJ Abrams and Kathleen Kennedy set Kylo's traejectory towards redemption in The Force Awakens, that this was the cause of removing Trevorrow. Kennedy did say that Trevorrow wasn't "in" on the traejectory set by The Force Awakens - could this be the reason?

1917 One-shot (actually, two) gimmick is gimmick, who would’ve guessed... It works in moments though: By far the best compositional choice of the whole of the piece happens early, when the two soldiers set off, and by far the most arresting shot is early in the night scene, where there’s what can only be described as a symphony of alternating light and shadows. A precious few moments of humanity work, too, but aren’t enough to fully elevate this beyond Oscar-munching. Liked it. ***1/2 out of *****