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The Illustrious Jerry

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The Illustrious Jerry last won the day on September 18 2022

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    If we're kind and polite, the world will be right.
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  1. The assertion that people choose en masse to identify however they may because it's morally advantageous to them or because it fulfills some self-righteous image is frankly disgusting. That's a woefully armchair assessment disguised as a genuine attempt to get a finger on the pulse of the here and now. On an individual level, the identity age isn't some malicious smokescreen with an ulterior motive for a disproportionate or overcorrective response, however fragile your definition of that might be. Casting the persecution complex net over the reactions of marginalized communities and their allies to long and very real histories of victimhood is in itself a reinforcement of those injustices. I think you know better.
  2. Crazy how many people still think detached, performative Hollywood politics are a good litmus test for where modern liberalism is at. Not that detached, performative liberals aren't still a thing, or that Hollywood isn't at the same time capable of making an actual effort in the types of films and filmmakers they give exposure to, particularly those that have been all but non-existent historically. Point is, reactionaries thrive on taking whatever straw man they can find and running it into the ground so they can return to their comfortable seats. The Oscars tend to be a favourite because they're annual fodder and already pretty dumb to begin with. Lame as that may be, this thread also charts some insanely warped mental gymnastics, starting at "why does everyone make everything about race and gender, it shouldn't matter" before finally coming around to "my problem is actually just seeing other races and genders existing in media." Also pretty typical that we still managed to get in a few knocks at today's accepted terminology, with most of the ones brought up being all-too-classic bad faith examples from the right-wing wolf-crying handbook. It may interest you to know that in real life, people prefer to be acknowledged the way they do, for one, because it's a way of taking back the decades and decades where they were exclusively referred to by demeaning slurs. I would say that's an extremely reasonable and simple request in response to ages of systemic mistreatment (which I'm sure if you perused today's headlines, you'd find still very much exists on a tragic scale). Anyway, this is one of the basest back-and-forths in my time scrolling this forum, and in combination with some of the most dire, juvenile, bottom-of-the-barrel "differently abled" jokes I've encountered since maybe high school, it's doubly pathetic.
  3. SCORES Interview with the Vampire (Daniel Hart) The Book of Boba Fett (Joseph Shirley w/ themes by Ludwig Göransson) The Fabelmans (John Williams) Succession: Season 3 (Nicholas Britell) The Batman (Michael Giacchino) Avatar: The Way of Water (Simon Franglen) The Outfit (Alexandre Desplat) Black Panther: Wakanda Forever (Ludwig Göransson) Special mention to Austin Wintory's Traveler: A Journey Symphony. TRACKS - The Journey Begins from The Fabelmans - Main Theme from Glass Onion - The Run (Urban Legends) from Nope - Leaving Home from Avatar: The Way of Water - Can’t Fight City Halloween / The Bat’s True Calling / Catwoman Suite from The Batman - Rigaudon / End Credits – The Raid from Succession: Season 3 - Vengeance Has Consumed Us from Black Panther: Wakanda Forever - The Book of Boba Fett / The Stranger / Train Heist / The Ultimate Boon / Teacher’s Pet from The Book of Boba Fett - Are We the Sum of Our Worst Moments / The Fantasy of Happiness / Vicious from Interview with the Vampire - Galadriel / The Stranger from The Lord of the Rings: The Rings of Power I'm including The Book of Boba Fett and Succession: Season 3 on my lists because while both are 2021 shows, their scores were not released until 2022 and weren't on my list last year. FILMS The Fabelmans (dir. Steven Spielberg) Nope (dir. Jordan Peele) Tár (dir. Todd Field) Top Gun: Maverick (dir. Joseph Kosinski) Avatar: The Way of Water (dir. James Cameron) The Banshees of Inisherin (dir. Martin McDonagh) Ambulance (dir. Michael Bay) RRR (dir. S.S. Rajamouli) The Batman (dir. Matt Reeves) The Northman (dir. Robert Eggers) Glass Onion (dir. Rian Johnson) It's been an incredible year for populist cinema and I've enjoyed almost all of the big ones. Hoping to fill in the gaps with a few I still intend to catch in 2023, including but not limited to: White Noise (dir. Noah Baumbach), Decision to Leave (dir. Park Chan-wook), Aftersun (dir. Charlotte Wells), and The Eternal Daughter (dir. Joanna Hogg) SPECIALTY LABELS I was only able to buy Empire of the Sun from LLL this year, but I'd really like to nab Amistad and Jurassic Park soon. Thanks for another year at JWFan!
  4. Soooo this isn't dead in the water...yet. Deadline is reporting that Bradley Cooper is set to play the lead and that the film is still in development. Excerpts from the article: Would honestly be a little surprising if a third attempt at Spielberg and Cooper working together winds up fizzling out out or going in a different direction (à la American Sniper and Cooper's own upcoming Bernstein biopic Maestro). Colour me intrigued!
  5. The longest in recent memory was probably Reznor & Ross' score for Mank at a generous 52 (albeit mostly short) tracks. Certainly stuck out as an anomaly upon release. Amen. He absolutely has the compositional chops to pull that off, and then some. Sadly not feeling these singles. 'Twould be a real shame if we don't get anything symphonic out of this, and looking at the tracklist I wouldn't be surprised if it ends up being 95% uproarious party music in the same vein. Won't speak too soon but I'd hate to have to start counting down the days until the next, *next* Hurwitz-Chazelle for the chance at hearing another Planetarium/Epilogue/The Landing (since he apparently doesn't work with/get hired by anyone else).
  6. Correct! The sample starts at the beginning of the film's last cue, which has that more playful pizzicato tone I referred to yesterday, and the credits start at 0:47, which is when the Haydn excerpt comes in. I don't think the piano sonata runs much more than a minute, so the remainder of the piece is still mostly Williams. I remember some lovely expansion on the mother's theme over the credits, probably a good three or four minutes.
  7. Nope! As Stu said, that's from the trailer music, which does not reference Williams' score. Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one. There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter. I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.
  8. I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice! Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.
  9. What a welcome truffle this is. Nothing particularly showy, nor venturing into pastiche, just an intelligent score well-versed in the romantic stylings of the chamber Gothic voice that Hart adopts here, and cast in the mould and tradition of better days to boot, the ones when you could expect this level of no doubt serviceable artistry on a consistently workmanlike basis. One of the few "real" scores in recent memory, possibly the one I've taken to the most since Blanchard's Da 5 Bloods, making it basically chocolate in the waning months of 2022. Recommend.
  10. Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”. Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones. Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance. I can’t wait to hear this with you all.
  11. You can't go wrong with the triple threat of Signs, The Village, and Lady in the Water (my personal favourite JNH). That early to mid-2000s Shyamalan period remains his best work, I think. In more recent memory, A Hidden Life is another one worth checking out, although definitely more oriented towards Malick's propensity for keeping his classical music temps. Happy discovering!
  12. I can't speak to how accurate it is to the sheet music, and it's a little vague in my memory hearing just the piano part isolated this way, but otherwise that's very much in the vicinity of the score's main idea. I think the first few notes of the melody are also outlined by celeste at one or two points in the film. Good work, Fabulin!
  13. Slightly preemptive word of caution for anyone on the hype train who was getting their hopes up about the chance of another gold statuette for Williams. It's honestly a little funny to read many of the reviews citing the mother's "memorable" piano pieces which are understandably being misidentified by some press members as original score instead of pre-existing classical music. I don't know what the Academy's rules are for this particular category anymore but I wouldn't be all that surprised if somehow Williams winds up being ineligible for the nomination and nobody realizes it yet because the critics...don't know any better? I mean, the ratio is pretty significant. There's simply not that much Williams material here, even though it is quite lovely. Nothing certain, just something to keep in mind as we wait for the awards campaign to kick off.
  14. My mistake! I looked at Young's filmography to see if I could remember the title and it's actually from The Greatest Show on Earth, although there may have been others. The track from The Searchers was definitely Ethan Returns. I think that's the last bit of info I've got in my head more than 24 hours later, so hopefully this will tide everyone over until November when we find out I completely misremembered everything
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