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Chen G.

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Everything posted by Chen G.

  1. as in, music intended to capture and evoke Middle Earth or music that happens to sound "Middle Earth"-ish?
  2. I've been wondering that, too. Its very nice - more than nice, downright unprecedented - to see a composer get the chance to build a connected body of musical material spanning fifty years and encompassing not just nine films and, but also several concert pieces, a theme park and now a TV show. But at what point does getting John Williams to write new themes gets reduced to a routine? At what point does it start to cheapen (rather than contribute to) this great work? One wonders, one wonders..
  3. I doubt Kathleen Kennedy concerns herself with the themes... Plus, this all looks like decision-making that will have happened before anyone had the chance to sketch any musical material: it was probably in the conceptual stage.
  4. I don't like Temple of Doom. I like things that are in it. But I really don't care for the movie. I L-O-V-E The Last Crusade!
  5. Its not the trailer as such, its some of the avenues that we KNOW Amazon are exploring. So they decided they need Hobbits because "it wouldn't be Middle Earth without Hobbits!" Okay. Fine (he said through gritted teeth). But do you really need to gild the lily by not just having Hobbits in there, but Hobbits living in a secret community, with two wide-eyed youngsters wondering about the outside world, and falling in with a mysterious, bearded individual? They even gave them cute Hobbit names: no Deagol for this Hobbit gal. Nope. No, sir. Why, she is Elanor Brandyfoot. You see, I took the name of Sam's daughter, the first bit of Brandybuck and the last bit of Proudfoot and its a new name now. Hurr, hurr, hurr! I don't want to make too big a deal out of this, because I'm really not talking about this from the point of view of a Tolkien purist. I'm just talking cinematically: this is the sort of thing that, I'm convinced, even had I not known a word of Tolkien, I'd probably find incongorous with all the cutthroat politicing of the Second Age: amidst all the Celebrimbors getting a colo-cum-endoscopy-ed with a pike and the Pharazons doing coups and forcibly marrying their first cousins, to suddenly cut away to cute Hobbit girls on a crosscountry trek... I do see things I like: I think Romenna looks sweet. The idea of giving the Lindon Elves an ersatz-Arthurian aesthetic could become overly picture-book-y, but for the meanwhile looks rather pleasing. Obviously the New Zealand countryside will be as raptorous as ever. Peter Mullan was meant to play a Dwarf, and I think Robert Aramayo is a solid choice for an Elrond. Ultimately, I think the show deserves just as much good faith as all the Star Wars shows that are getting so much attention on the General forum, and probably more than anything Marvel are churning out. But there are also some troubling signs that go beyond a one-minute teaser. The Hobbits and "Meteor Man" (WTF?!) are not the only issues, either.
  6. I think the point is to distinguish between cycles and anthologies. In a cycle, the story is simply told over several parts, whereas in an anthology several standalone stories are told. I generally don't regard anthologies to the standard of a cycle, in much the same way that one wouldn't hold a picaresque story to the standard of a proper novel. The kind of sequels you are talking about are anthological in nature.
  7. Possibly. I really don't want to be too negative about a show that's still months away from airing. There are some stuff thus far that I like, but I definitely also see the storm-clouds forming. We shall see.
  8. I'm the first to say that leitmotives gain a myriad of overlapping associations and that those associations change over time. But to start wondering too much about why the theme associated with Yoda plays at the end of IX seems to me like an unnecessary exercise: it just played well with the footage, and so there it is. Just like how the theme associated with magic plays here for no good "reason."
  9. Its a bit peculiar, but I think it counts. Its what Doug Adams talks about when he says that "one of the Endor scenes suggests the tune (during the final battle)."
  10. Technically, they did just confirm a new character. This bloke: He's called....Theo (why?!) and he's the son of the character Bronwyn (Nazanin Boniadi) shown in the Vanity Fair article, a widow from Tirharad who starts an affair with the Silvan Elf Arondir (Ismael Cruz Cordova). You can see where its all going: boy is apprehensive about mum's new squeeze, rattles off to the village, village drives the lovers out, tragedy ensues. I'm expecting more character confirmations and possibly some more footage soon: the previous one was very Elf centric but teased Numenore. I think the next one will be Numenore-centric, and tease more Elves. After all, Vanity Fair confirmed (but didn't show) Isildur (Maxim Baldry) and Celebrimbor (Charles Edwards).
  11. Oh, the story is terrible, but you have to hand it to Abrams, the visuals are great. not the greatest, I would say, but good. Its not much, but it’s something.
  12. The family drama stuff gets a bit cheesy sometimes, but nobody blocks an action scene (and on a shoestring budget, too!) like Gibson.
  13. Like I said, it’s a kind of throwback to the 1960s epics. But it works for the way the movie is structured: the movie needs that breather there - it helps the stop-start pacing.
  14. Right after Kerak, before Saladin reconvenes at his camp.
  15. There are two versions of the director's cut: one that runs straight through, and a roadshow edit that has an overture, intermission and entr'acte. It may seem like an affectation, but the way the film is paced, it really needs that breather of the intermission. Get that one.
  16. The Roadshow Edition! The film really needs that intermission.
  17. I dunno that it drags, but the style of blocking is certainly antiquated: the entire thing plays like a stageplay with a camera in the isles.
  18. And yet there’s way more at stake because the father figure is there…
  19. Dunno that "ground" is how I'd put it. The Last Crusade takes the outrageousness of the serial plotting and setpieces of Indiana Jones and treats them...as comedy, really; which is probably why I like it the most. They're all knowingly over-the-top, but The Last Crusade is the most succesfull at actually deriving laughs from it.
  20. This is basically my point. I seriously doubt Treverrow's ability to bake this into the story with any success. But then, I guess I'm an outlier in that I never saw Jurassic Park as being particularly amneable to becoming a film series, and so any and all sequels to it carry little interest to me to begin with.
  21. People's desire to meet the elderly versions of their beloved characters continues to elude me...
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