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Chen G.

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Everything posted by Chen G.

  1. The latest Transformers has Anthony Hopkins, as well... The performance depends on the director much more so than the actor.
  2. Fair. Also, not all artforms are made the same in terms of how they are critiqued. Even just within the form of film, the different genres merit different levels of objectivity.
  3. Its not anyone's opinion, its the opinion of the entire field of film theory and film criticism. Its not an absolute science, but you can point out what in a movie is good, what is bad and why. Where the balance between the two falls - that's the subjective part. The criteria according to which film is analysed are objective. The overall verdict - isn't quite, but you'd expect it to fall within some sort of reasonable range.
  4. It depends on genre: Horror and Comedy being the most subjective. One person will find something scary, where another won't. In drama and action, there is more objectivity or at least objective criteria. The pros and cons of each film can be clearly and objectively analysed. Where subjectivity joins the party is when you weigh the good against the bad. Everyone has their threshold.
  5. When Shore adopts an instrument into his score, he takes the time to study the kind of music its typically used for playing, so that he can write specifically for the instrument and the player, as he so often does. I assume his knowledge in Eastern scales would stem from that.
  6. Yep. It was supposed to provide a direct segue between the two opening scenes of the film. The score to said scene is on the Special Edition, and the scene is described in the liner notes. It was most likely cut for time - it was already a much longer film than the previous two. Well, I distinguish between my favorite films, and the films I think are the best. But I do appreciate The Desolation of Smaug, specifically, very highly. If a film professor like Hartwell can call a movie like Speed Racer "Great", I feel the same if not more can be applied to a film such as The Desolation of Smaug. I'm certainly not trying to convince anyone who thinks otherwise, but in this day and age, when a film is unliked, its so easy for people who like it to be frowned upon even when they can articulate very clearly what it is that they like in said film. I'm trying to offer those kind of people a little encouragement, is all.
  7. To me the reveal in Return of the Jedi never felt pre-planned or natural. It was just a "you really wanted to copy the 'I am your father' moment, didn't ya?"
  8. They're typically movies I only watch as part of a six-film marathon (spread across six days, I'm not crazy) although I haven't watched them in a good two months, so this latest rewatch was something of an eye-opener. For instance, I enjoyed An Unexpected Journey far less than before, so I can see where people who dislike the trilogy are coming from. When a trilogy doesn't open strong, the "bad taste" is going to carry over to the other two films, although here I think its largely unwarranted as far as those two are concerned. The Desolation of Smaug has to go down as one of my all-time favorite films, but that's just me. The scores are amazing.
  9. Well, he already used a Rhaita, played by Morrocan musicians, before Lord of the Rings, so I think North-African music is probably it.
  10. I don't think they are considered "awful". Just, as you say, "mediocre" to "good". I know a lot of critics/reviewers enjoyed The Desolation of Smaug, specifically, very much. A few examples: Chris Stuckmann (who also wrote a good review of the film), John Flickinger and Jeremy Jahns (definitely on the more "populist" side of internet film criticism, but valuable nonetheless), Michael Winn Johnson (much more cerebral, and one that surprisingly enjoyed the trilogy as a whole), Pete Hammond and others. Hell, Sheila O'Malley from RogerEbert.com gave it 3.5/4! Having just rewatched them not two days ago, I enjoy them (the last two, especially) very, very much. And not as a fan of the series, but as a fan of good cinema, and therefore can articulate the why and how, as well. But that's another matter.
  11. The way its staged, its more Luke using The Force to reach out to Leia, than her using The Force, outright. Besides, Leia kisses Luke twice in that movie, and there were deleted scenes that dialed the romantic tension between the two even more. I doubt anyone would have the nerve to stage it like that, had they already envisioned them to be brother and sister. It was just a matter of the writers of Return of the Jedi going "well, that reveal involving a hitherto unthinkable fimilial tie between two characters sure was succesful! now, what kind of twist should we add to this film, hmmm..."
  12. It may well be that Williams was misremembering. The first that he mentioned it was here, and he even seems to misremember the time gap between the films, because Leia was only reimagined as Luke's sister during the scripting of Return of the Jedi, so it would have been much later than "two years" after the original Star Wars. Nonetheless, the point still stands. These films were not planned from the outset, and even if they were, I doubt if Williams would have bothered looking into such a story outline if there was one. The closest to such a planned trilogy would have been the Star Wars prequels, but even then all that was planned was the most rudimentary contuor of the plot: the finer plot points (which are what matters) were made up as he went along. And even at that point, Williams wasn't too interested with the overarching plot. If he was, we would have had an embryonic form of "Across the Stars" in The Phantom Menace - and we don't.
  13. They didn't ultimately use it, but he did write one.
  14. YES! THAT, AND NOTHING BUT THAT! For the original Star Wars, Williams wrote a love theme for Luke and Leia! He didn't know better, and how could he have? George Lucas had no idea they were brother and sister, either! Williams has no clue whatsoever what's going to happen in the episode after the one he is scoring: its true of any episode of each of the three trilogies. Nor does he really care.
  15. Not to mention Braveheart, Titanic, the Middle Earth films, the better Star Wars episodes, etcetra. Expectations are one thing, but to assume that there's some master-plan behind the plotting of these episodes that we don't know about, especially when it has been proven time and again that there is none, and to assume that John "I-don't-read-scripts" Williams is in on such a plan, if ever there was one - now, that's truly "cute".
  16. If you don't know about such a link, John Williams doesn't know about it either. The man doesn't read scripts (and even if he did, there was nothing written about Episode IX when he was scoring the picture), he just shows up and sees the movie.
  17. Another one that springs to mind: Supergirl. Not a teriffic score, but light-years ahead of the film it accompanies. One of the worst Hollywood films ever made. Oh, yes. I forgot that one. Its a clever narrative device, but the execution is severely lacking and to this day the intention (or lack thereof) behind it remains unknown.
  18. Specifically Attack of the Clones. Its one of the (if not the most) lesser Star Wars scores, anyway, but its still so much better than the movie it accompanies. Its one of the greatest dissonances of visuals and audio in the history of the motion picture.
  19. By that you mean the lamentation material from Revenge of the Sith? That's definitely Johnson's temp-track showing right there.
  20. Its Rose's theme. It of course applies to her entire storyline, which of course involves Finn, but the theme is undeniably hers.
  21. Even when the film revisits plot elements (characters, places, etc) a composer can still find new ways the keep things fresh. He doesn't have to slavishly follow what's happening on screen. Its also not beyond Wiliams to write a brand new theme for an existing character.
  22. But that's the catch of the ninth film - being the resolution to the entire thing (at least, that's what it should be) you'd actually expect the old themes to have a strong presence. But, because that's what we got in this installment, Williams has wrote himself into a corner, as it were.
  23. But that's what makes it almost pandering. Its the musical equivalent of the plot of The Force Awakens or the dialogue of Rogue One. If it were Episode IX, all this recycling of themes would have a been easier to contextualize from a narrative standpoint. But, sadly, its not.
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