karelm

Not true. There are many possible reasons to doubt it. One scenario I experienced firsthand; a young woman hired by a prominent composer used that opportunity to promote her own career - a big no no. While she was working for the composer, she presented herself and her music in secret instead of the composer she worked for just to get an in with the producers. She was fired on the spot when it was discovered. That isn't unusual. Opportunities are rare and people sometimes take a risk that can get them fired. It can be a cutthroat industry. Your teammate could say I have your back till it benefits them not to. Did you ever hear of her before this? I doubt it. I'm not saying if her allegations are true or false, just that you can't possibly claim her name and reputation were destroyed. She had no name and Elfman was a major name. That's the whole power imbalance. By the way, women can be guilty of this too! Read the massive thread by Jeremy Soule's accuser...women executives were at fault because they were part of the old boys club when they became executives. It's way, way more complex than you make it to be. I still think it's worth adding substance abuse and other topics because all of these happen at the same time and what someone might think is sexual assault might actually be something else. It can be very unclear. Here is another example...I dated a musician. During that time, I hired an orchestra for a score. I asked the contractor to hire my gf. He said that would not work well for her. The other musicians would banish her because she got "special treatment". So by my hiring her as my gf, I would harm her career. We then broke up. She claimed I hurt her career by limiting her opportunities. It's really tricky and your "no reason to doubt the story" is not true.

I agree with you that it's a bad situation either way and I haven't fully formulated my thoughts on the topic as this is a tricky and loaded topic. Some general thoughts I have though is the victim pretty much hates men. She's in a music composer forum I'm in and is almost always aggressive towards any opinion that doesn't align with her points as being example of patriarchy and demonstrating further examples of industry wide abuse towards women. The truth is this very same thing has happened to almost everyone in the industry, not just women. On the other side, it is very, very hard to imagine any scenario where Elfman would pay nearly a billion dollars and be completely innocent as he claims. My intuition is it is probably something in the middle like he probably did something inappropriate while under the influence, not that that excuses him, but might mean it isn't something in character and he might truly have no recollection yet did something very inappropriate too. Clearly, it's a male dominated industry and there are very few protections in place (there is no corporate HR to complain to for example). In my experiences, there have been near fist fights and blows during work sometimes between boss and staff and this happened to men and women. Lots of derogatory talk (they might tell you to go jack off for a bit in a room full of mixed audiences if they need to chat privately), naked pictures or porn sitting openly around, stuff like that. This was way before #METOO and I'll assume they've cleaned up their act quite a lot but the point is can be a generally abusive environment and sometimes that abusiveness is emotional, physical, sexual, or substance too and the lines can be blurry.

It's a nicely curated traversal. I heard it on NPR and thought "what the!@?@?! But that's Falstaft!" Great job!

Great interview on NPR too!

Yes, welcome and this is a favorite topic of many of us here. Basically, how did he know to do that thing he did. This particular instance is a very famous "spacey" example and is a space cliche (time honored tradition). He's immediately setting the location of distant, mysterious location using musical tropes of polytonality just like others did before every time they wanted to evoke the same thing. The lesson here is that JW didn't invent this but studied this. Many other works do this exact same thing as Loert points out. Holst's Planets which you absolutely must study but also Vaughan Williams Sinfonia Antarctica which similarly referenced this vernacular. Major up high and minor a half step above down below is suggestive of mysteries expansiveness. In Holst, Neptune uses E minor in the trumpets and G# major in the trombones. This works because it's tonally unsettling. You have E, G, B, G#, C, D# (everything's a half step off) this minor second is unsettling but separated in tonal space just feels otherworldly. We can even dive in to this deeper by showing that dissonances separated are more pleasing. Of course, JW knew this. He wasn't looking for harshness but for ambiguity...setting the stage most succinctly. Every great artist looks to say the most with the least words. JW did so musically in the example you are asking about.

I once hung out right next to him! It was a rehearsal/pre-run of Cirque de Soleil's Iris a few years back. I was invited to the dress rehearsal so experiencing the entire production in an empty theater. My friend, who invited me, walked up to this man just standing in the empty performance hall and introduced me to an ordinary looking man he called Danny Elfman. It was so unexpected. I wouldn't have recognized him if not introduced! It was surreal and mind blowing but mostly after the fact when I realized...holy shit, that was Danny Elfman I just met! Otherwise, I probably would have walked right past him. The most memorable thing was he seemed very nervous. His mind was elsewhere and he was very consumed about all the musical details of the high profile production such as the balance between electronics and amplified performers who were surrounding the stage. I stood next to him alone and he was completely consumed by the production issues. He was friendly, professional and kind, just deeply preoccupied.

Hey, he's the guy who arranged/scored the orchestral parts of 1980's Flash Gordon!! Will have to check this out.

I'll go check it out once it's accessible.

A very nice vintage interview of Spielberg with lots of details of his early career.

You are hinting at the obvious flaw in the film. Story telling by committee. AKA Disney interference. "It rated poorly with fans so get rid of that thing they hated. Oh, wait...we need to explain why a major plot point/character isn't around now...so then kill that character/plot off" type of thing. That's what doomed Star Wars sequel trilogy too. It's a tricky balance. A major part of what makes Star Wars and early Indy great is Lucas was the story teller and hated story telling by committee AKA studio interference but that was also one of the criticisms of prequel trilogy, he needed more restraint. Ultimately it needs to be balanced. So I would argue what made TOS so great was Lucas had balance with sympathetic story tellers in his editor (Marcia Lucas) and producer (the late Gary Kurtz). Too much one way or the other is a failure.

But they wouldn't have if they had a better pilot. It had nothing to do with the power of the artifact they carelessly wielded. That's just very lame and anti-Indy. I think what you mean is that Indy for once got to experience the past. Yes that was a delight. It was just handled poorly. With good story telling, one NEVER has the hero of the story be a passive participant in the climactic events. Helena made the choice for him to return. What should have happened is for once Indy feels at home in the past and wants to stay but realizes that at the twilight of his life, his time belongs to is his present because there is more to life than living in the past or something like that but the choice is his. Maybe earlier in the script, spend a minute or two on him struggling to overcome his stubbornness and attempting to reconcile with Marion but that effort fails but in fact set the stage for the reconciliation at the end but it was all something he did. Recall TLC how the grail was seductive like the mythical sirens that would lure sailors to their deaths through seductive means. Indy reached for it nearly losing his soul but it was only his father, who for the first time in the entire film, called him by name, that pulled him away from the siren's song resulting in Indy deciding to let it go realizing the treasure isn't the artifact in the first place. How would you like TLC to have indy reach for it and get knocked out by dad to wake up in his bed but even worse then a massive ex machina of the grail or Marion were somehow in his possession? Lousy story telling. But it was VERY fun to see the past in such glory and grant my wish of hearing JW score an epic historical spectacle drama like Gladiator even if briefly. It's crazy the range he showed here. The 70's espionage music, retro female theme that felt very much like his 80's stuff, exciting historical epic battle, great villain theme, etc. I rate this film about 6.5/10. Good, fun, lots of missed opportunities and mediocre story/plot, fantastic score of course and points for nostalgia. Pretty much on par with KOTCS which is better directed but also a lazy script and lacking some of the fun set pieces this one has. It just could have been alot better without much effort. My ratings of all the films: 1. ROTLA: 10/10 firing on all cylinders and perfect filmmaking, etc. 2. TLC: 8/10 so much fun but added depth to Indy too 3. TOD: 7/10 a few plot holes but still fun including some damn good set pieces (the bug hallway and Willy seduction scene) 4/5 tie: KOTCS/DOD: 6.5/10 overall enjoyable but many missed opportunities and plot holes.

One thing that stood out to me, always the villain gets their comeuppance by getting the object of desire and instantly regretting it. Here Voller and the Nazi's just crash their plane unceremoniously. They should have been sucked out of time or something. Maybe something like realizing they're in the wrong time, they try to leave through the time gate as it closes with Indy and team just making it out alive as the nazi's get caught in the door as it closed where they are in a constant state outside of time forever or something as they scream in agony. That would have been more Indy.

Yikes, I provided no details at all. It is from poetry by Walt Whitman and John Gillespie Magee. About reaching towards the untrespassed regions of space and time and being in awe of the drama and spectacle surrounding us...perhaps even to reach the face of god.

I composed a cantata for soloists, choir, and orchestra. KE_ATSOS_mid.mp3

I saw the 1976 IMAX documentary, Flight. It started off so corny but ended up being really good. It begins with a silly scene of an over the top hot air balloon pilot but ends with very good pre Star Wars special effects of planetary exploration. This was probably mind blowing to 1976 audiences.

That was an excellent article! Way to go, Frank!

Maybe Spielberg earned Connery's hard won respect for dealing very well with another prickly Scotsman, Robert Shaw.

Does anyone know if Spielberg ever talked about his experience working with Sean Connery on TLC? I heard that Connery was known to be difficult to work with and curious what if anything Spielberg has to say on this.

That's exactly what I'm hearing. Just a high piano cluster and remember it caught my ear as well in the theater too. For those who saw the film, was it extremely loud (painfully so) or just my theater? It's definitely Don. Not just the sound but his level of involvement plus Don has done all of Johnny's LA soundtracks. I was surprised to see Jerry wasn't on this one.

I think Spielberg left a clue that Indiana Jone's successor will be our Johnny. He looks great in the fedora I think. mEsXL7Du6v5fIhrX.mp4

Sounds like a nice start to an adventure!

I am playing Star Wars Jedi Survivor. Very much enjoying it but it will take me a long time to get through the whole thing. Maybe all summer. I sometimes get lost and can't figure out what to do.

I enjoyed the film and love the soundtrack! Saw the film yesterday and have already listened to the album twice. Of course, I can't wait for all the music to get released, it's such a pleasant listening experience. About half of it is missing since the album is 62 minutes (not including Anne-Sophie Mutter's suite for violin and orchestra) and James Mangold said it had two hours of music. I think it fits very nicely with Williams' 2010 SW sequel style but also so many 1980's Indy references. It's a very good score! I especially loved Battle of Syracuse. Something I dreamed of hearing of JW all my life...a historical epic and kind of got it. But I think the film version is way longer than what's on the album. Question: I haven't seen any of young Indy tv show. How does that show portray the young Indy? Was he pretty much just a boy scout junior version of old Indy or more ambivalent, and rebellious? I'm wondering if Helena is being set up to be the next Indy and her attitude issues are similar to Indy's younger persona?

Just saw the film and had a great time! It was very loud but not sure if that was my theater. It hit all the right notes for me such as nods to nostalgia, great set pieces (chases), good side characters who have their own backstory yet contribute to the plot, good villain and henchmen. To me, this is much better than Crystal Skull and almost as good as Last Crusade but that one of course has Sean Connery. Story wise, damn good and here is why. Indy always pursued the treasure but usually found in the end, the treasure must remain in its place. The others who are greedy don't realize this usually costing them their lives in a desperate bid for a futile pursuit. But now, in a carefully crafted story, the shallow Helena pursues the prize of the artifact. Once Indy, who's always lived in the relics gets to experience the past for the first time in his life, it is he who starts to lose his life by the desire to experience the past itself. And Helena, the greedy muse who realizes Indy is right after all and has to pull him back kicking and screaming to reality and leave the past in its time. That was brilliant storytelling and very moving plus added a layer to the character without compromising his legacy. To me, that makes it a worthy entry in the Indiana Jones saga. As far as negatives, I wish Mikkelsen had more opportunities to show his villainy because frankly, I really like him as an actor and he never seemed bad enough or greedy enough. Perhaps just one more scene of utter villainy would have sold it. I also felt the audio (not the score) was way too loud. Again, I don't know if that was just my DOLBY ATMOS theater experience, but the score seems way better than I recall as I'm listening to the soundtrack now but all I remember was the sound effects. Harrison looked amazing for his age but sometimes looked quite old and sometimes I forgot his age. I think a lot of this comes down to hair. When he's disheveled, he looked older. But you still catch glimpses of his eternal boyish charms. I also felt the film needed a little more humor. He's weary most of the time. I get he's older and all but this still needs to be a fun movie. It would have just taken a touch or two to pull this off. One small example, when he's with Marion at the end, the final shot should have been an empty clothesline where he takes the worn out fedora he has on placed on the clothesline (the complete opposite of what they shot) and implying they're about to hop in the bed to snuggle but also a very nice send off. Overall I would rate it at 7/10 and entertaining and glad to see a beloved character return for another adventure with some nice twists and expansions but some missed opportunities.