Chen G.

There are a lot of terrible Bond movies that have fewer redeeming features than No Time to Die… and I’m quite confident I’d prefer to rewatch any of them before watching this AI trash.
 
Yavar

Yeah, but I know quite a few of the Kiwi crew have been replaced for season two following the move: Season two's credited prosthetic supervisor is not Weta (whether they're still doing some hand props is not ascertained, but my instinct would be no), Daniel Reeve (the guy who did all the caligraphy and maps in the films and in season one) had downscaled his involvement drastically, the costume designer Kate Hawley is off the payroll.
 
It stands to reason for Plan 9 to be in the same situation, and since Bear said he's recording pieces that will be used during the filming - that is to say source music - it seems to clench the case. Heck, for all I can tell the reason Plan 9 were engaged in season one was because they needed music on the set, and Bear wasn't yet on the payroll at the time.
 
I guess its good for Bear to consolidate the whole sweep of the music under his baton, and it might just help the show feel less Frankensteined with Jacksonisms, but Plan 9's contributions to Season One were a welcome addition to their Tolkien oeuvre. Alas...

Only when it's winter 

That's what Spielberg said.

In my Bond rewatches, when I got to Octopussy, I definitely thought "Seriously, people say Temple of Doom is racist?"

To George's credit (words which have never passed Chen's lips), he did the same with the Prequels. Love them or hate them, he didn't simply try to remake Star Wars.

The earliest story ideas for Temple of Doom are from fall 1981/early 1982, when Lucas had just adopted a baby and was in a "happy" moment of his marriage, as far as we know.
The story conferences were held in April 1982. Lucas wrote the treatment in May 1982. The first draft was delivered in August 1982.
Marcia Lucas asked for the divorce around summer 1982, I believe. It wasn't officially announced until June 1983.
 
So yeah, I don't believe the basic elements from Temple of Doom come from Lucas' personal crisis.

Interesting, but seems a little too strong as a piece of foreshadowing.

Well, one of the characteristics of these leitmotivic scores is that, by the time you're a couple of entries in, the motives have accured a lot more associative meaning, and so the gestures become much more evocative and pregnant with meaning, and thus register more...

I wouldn't be surprised if they put an advisory before the movie now...
 
"This movie is a product of its time. It presents depictions that were unacceptable then and are unacceptable now. Rather than not show the movie, we present it as-is to encourage progressive discussions. Yada yada..."

Interesting, but seems a little too strong as a piece of foreshadowing.

If that's the case - and it does sound vaguely like some of Jabba's music to my ears - it would be a classic Ahnung: you hear the theme in embryo before you notice that its there...

Yes of course I hadn't thought of it that way. Very cogent points. It's just that the actual musical archaeology of the Star Wars Scores fascinates me. 

Totally a marquee name!

I'm using "star" in the most superficial leading man kind of sense. I didn't want to make the Cruise comparison just because of Powell's Top Gun connection.
 
No, I don't think Philip Seymour Hoffman was ever a star in this sense. An astonishing actor, but not a leading man star. I remember a friend of mine pointing out that in the 70's Walter Matthau of all people was this kind of star. As was Dustin Hoffman.
 
But Powell seems to be in his "Risky Business" phase. Or maybe even before. He hasn't had his Top Gun. (See why I was avoiding the Cruise comparison?) Top Gun was more like his Taps or The Outsiders. Is he going to be Tom Cruise or is he going to be Rob Lowe? I'm trying to think of someone who was going to be The Next Big Deal that then totally fell off the map. For a minute that was probably going to be Robert Downey Jr.
 
To me the last Big Star that we've had (and yes, I know I'm picking guys) was Matt Damon. We don't have many (any?) traditional Leading Men anymore. Henry Cavil might be getting there. But he's kind of a weird case. None of the Chrises (Pratt, Pine, Evans) seem to be able to open a movie.
 
Mel Gibson is good example. He became known because of Road Warrior but when did he become a reliable Star? It seems he was there by the time they made Thunderdome. If not then shortly after.
 
Alien probably put Sigourney Weaver on the map, but by the time she returned for Aliens she was as more of the draw on her own than as being the returning star (survivor) of Alien.
 
 
Depends on how many and for how long.

Don't know if this should go here or in a score thread in the John Williams section proper.
 
But I put on the complete(ish) Return of the Jedi today. (Some sort of mish-mash of sources. I think it's probably one of the ABC editions.)
 
I don't know that there is another score, not even a Star Wars score, that takes me to THE first time that I saw a film the way Jedi does. I hear that intro of the Star Destroyer and Vader's approach as JW teases the Imperial March through the first minutes and I can feel the air conditioning and I can smell the popcorn. I can feel the summer heat when the doors open at the end. I can remember the cheers at the Fox and Lucasfilm logos, the hush during "A long time ago" and the cheers again at Star Wars.
 
The Jabba music in particular can make me "hear" the ambiance of a cinema.
 
We're film music nerds, and for many of us part of the appeal is re-experiencing a beloved film. But this isn't just the film, this is that exact DAY.
 
I wonder why this one?

The initial shot of the Tydirium flying over the camera is underscored brilliantly.
The whole sequence is fantastic.

Yeah, but only because there's only one such film, so the word "every" isn't signifying much.
 
 
 
Maybe - I'm happy enough to have my views called "extreme"! Moderation is overrated, and I wasn't criticising Alsop's comments for their extremeness...
 
All the same, I think the comparison is a poor one. There's nothing in Tár to suggest that the makers intend us to extrapolate Tár's negative traits (to women in general, or to lesbians, or to conductors), and I haven't seen Alsop argue otherwise; it's just an individual who happens to belong to those groups. As such, Alsop's castigation of the film for failing to use the opportunity to portray such a character in a positive light amounts to a prescriptive attitude to the purpose and function of films (or some of them), and that is what I find reprehensible.

This is sad proof to me that we get so few tragedies in film today - stories where a character is brought down by their tragic flaw - that when people see a tragedy they don't know how to digest it.

Marin Alsop didn't like it:
https://en.wikipedia.org/wiki/Tár
 
I didn't think it was "anti-woman". Comments have been made that making the lead character male would have been a cliche, and perhaps there's some truth to that - but is it really cliche just because it's so often the truth? I don't think the film suggests a specific connection between Tár being a female, or a lesbian, and her abuse of power. But given the still heavily male dominated field and the similarities between Alsop and the film's character, it's not really surprising that she takes it somewhat personal.
 
 
Interesting point.

Update: She was suitably dismayed. The "It's a peaceful life" meme was icing. So thank you, all!

Much of it seemed believable, or even familiar. And then other parts felt like someone overshot by a dozen namedrops and ended up cliched instead of authentic (possibly without being aware of it). But then I don't think I fully grasped the film, so my perception may be off.