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Docteur Qui

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Everything posted by Docteur Qui

  1. Surely Warner Brothers owns all rights to the music of Harry Potter? I don't know the ins-and-outs of Hollywood arts law but I'm under the impression that composers are work-for-hire and don't retain any publishing for their music. Wouldn't be that difficult to use Hedwig's Theme for subsequent films would it? Hedwig's Theme was always going to be the musical identity of the Potter films ever since the first movie and now it's the aural stamp for the whole Wizarding franchise. You couldn't ask for better branding. One of the dumbest things Marvel ever did was spend their first 10 years refusing to establish any kind of musical identity for their films.
  2. Don't care for this much, except the ending part starting from 1:05. I still think the best Star Trek theme Giacchino ever wrote was the main theme from "Secret Weapons Over Normandy". Optimistic to the max, appropriately Williams-y/Goldsmith-y. Not faux-epic like his eventual, disappointing Trek '09 one.
  3. I'd say his last true masterpiece is Philosopher's Stone, and before that Schindler's List. The former is the absolute zenith of the fantasy/adventure/magic writing that began with Star Wars and percolated throughout the 80s and early 90s and his most iconic scores. He was clearly more inspired than he'd been since Hook, and it shows in the music. Schindler's List speaks for itself. It's raw emotion, pain, horror and hope distilled into a surprisingly cohesive sound. I'm generally lukewarm (but respectful) towards JW's drama scores, his post 2000 ones are excellent in the film but not too interesting to listen to outside, while SL is that perfect beast of both worlds. I don't like to bandy around the word masterpiece as, for me, it implies the absolute cream-of-the-crop of an artist's output. No composer in my opinion has more than a handful of true masterpieces, which is the point (it's all relative in the end). Scores like PoA and TPM are absolutely remarkable and even more enjoyable to listen to than the above two, but in terms of my perception of the emotional labour involved and the corresponding quality of output, these two are the obvious choice.
  4. It’d be ironic if this next series is one of the show’s best, which isn’t likely but also not outside the realm of possibility. As much as I’ve disliked Chibnall’s take on the show I’ve always held out hope that he would improve along the way. Having a single storyline for the next series is intriguing, and I’m always supportive of the showrunner shaking things up and taking risks with the format. Moffat tried it plenty (and failed often), but I’d argue that series 9 and its two-parter format was one of the show’s very best. I also appreciated the ambition of the Monk 3-parter in series 10 even if it didn’t quite stick the landing. I can’t help but worry about the show’s future now. Even though I’m not displeased that Chibnall’s moving on there’s also no clear heir to the throne. By all accounts it sounds like a truly gruelling job that burnt out all three of the showrunners emotionally and creatively. The fan criticism alone would be unthinkable to deal with. I smell a hiatus on the horizon, which does not bode well as the show approaches its 60th year.
  5. YES! I am here for Anna Torv, she is a very underrated actor. They're really throwing a lot of money at this thing. I'm looking forward to it but I really hope it doesn't just fall into a pit of despair and grittiness. I know that's how the games are, but there's a big difference between watching grim shit happen and being "in control" of it. There's a salient philosophical meta-idea in the games, particularly heightened in the second one, about the cycle of violence, narrative perspectives, deconstruction of hero/villain tropes etc, but it's unlikely to translate to the purely passive world of TV.
  6. Yeah I never thought I'd say this but I even miss the frequent sexual innuendo that Moffat and (to a lesser extent) RTD injected into the scripts. As cringy as it could be sometimes at least it was a nod to the fact that a good chunk of the audience are actual adults. The postulating of the current run is almost unbearable, as is the refusal to acknowledge any nuance or complexity concerning the issues raised. Take Arachnids for example - the Doctor is staunchly against killing the invading spiders (fair enough), but her ultimate solution is to.... allow them to slowly starve and/or suffocate to death in incredible agony. Ok, that's also fair enough, as long as there's discussion around having two terrible things to choose from (or, you know, baiting them into the TARDIS so she can release them in a less hostile environment).... Nope, nothing like that. What could've been an interesting exploration about the ethics of euthanasia is instead a black-and-white GUNS BAD, KILLING BAD narrative in which the Doctor's opinion is presented as the only right - and obvious - one, completely ignoring the implications of her choices. The appallingly named Ranskoor Av Kolos (cringe) has a similar conundrum; old mate Graham is hell-bent on getting revenge on Tzim-Sha for killing his wife. Ooh, juicy! The Doctor is all like "no Graham, if you kill him you'll be just like him", which, eh yeah that's a point-of-view I suppose, not exactly the most original take (or even accurate) but it's an attempt at conflict. Graham's ultimate act is.... to keep Tzim-Sha in a permanent state of torturous half-life for the rest of eternity, with no hope of escape. The same action that the Doctor earlier lambasted the villain for as being "completely obscene". And she congratulates him for it. No hint of irony, no meditation on the implications of torture or incarceration, just a simplistic scenario in which it's her way or the highway, ethical discussions be damned. I won't go on, and a lot of this is covered in a 5-hour Youtube video by Jay Exci I recently watched, but honestly I wouldn't recommend it. As much as I agree a lot with their points, it's often repetitive and some arguments are a stretch, they could easily have whittled this thing down to an hour. Still, I watched it, but what else do you do in lockdown? Watch something you actually like? I did that, and here I am again.
  7. Nah, I place the blame squarely on Chibnall. As head writer, executive producer and showrunner the buck stops with him. Just take a look at the writing credits for both of his seasons, out of a total of 22 episodes his name is on 15 of them. Unsurprisingly, the strongest episodes from either season are ones he didn't write or co-write (speaking of which, if RTD or Moffat are to go by, "co-write" is code for "complete rewrite"): Demons of the Punjab It Takes You Away Nikola Tesla's Night of Terror The Haunting of Villa Diodati None of those is perfect, but they're much better than the episodes around them. The last one is probably the only one in which the Doctor seems to act like the Doctor. Maxine Alderton, its writer, seems to have been promoted next season so that's at least a good sign.
  8. Recently rewatched Smith/Moffat's first season and really, honestly just can't get over how much fun it is. I loved it at the time, but now it just hurts to see how much the show has dipped in quality since. I know the Chibnall-bashing is flogging a dead horse but the difference is night and day. What stuck with me wasn't the arc-centric episodes (which are very good), but how entertaining the monsters-of-the week are. Vampires of Venice is a delightful romp with a wonderful villain in the late Helen McCrory, jam-packed with fun and illuminating character beats from Amy, Rory and the Doctor. The Lodger makes me laugh out loud despite the broad humour sometimes falling flat - it's almost always made up for by Smith's earnest performance. Victory of the Daleks, which I recall being very tepid on, just sings in comparison to something like Revolution of the Daleks (the blatant plot similarities notwithstanding). Even the most expository scenes vibrate with energy and movement. To then watch something as anaemic, simplistic and procedural as Orphan-55 or Arachnids in the UK is such a drag. As I said, flogging a dead horse, but man, remember when Doctor Who was fun? Or at least tried to be?
  9. There are few things in this world I'd less rather watch than YouTubers spending hours complaining about Star Wars. And this is coming from someone who recently watched a 5-hour video of someone complaining about Doctor Who.
  10. I've always found it quite funny that Hammond points out the score as being temporary and will eventually be replaced, despite the fact that the music is obviously incredibly detailed and was clearly written, orchestrated and recorded (spared no expense) specifically for that animation, sync points and all. What kind of monster would replace that? Still, it fits with his character arc I guess. Hammond is a stand-in for the Hollywood producer tyrants.
  11. I suspect they’re trying to find the next long-form, multi-season smash hit, but to me it would’ve been more interesting to watch multiple single season-long stories set in different points of the universe’s history. Kind of like what Bryan Fuller’s Star Trek series reboot was going to be before they decided to go all in on just Discovery.
  12. Should be called “10,000 spin-offs” at this rate. I wonder just how bad the Naomi Watts one must’ve been to not make it past the pilot.
  13. Wow I really loved this musical back when I was 17. I really liked musicals in general, now I can’t stand most of them. The Producers was pretty funny though. The music is great.
  14. Irina’s theme is worth the price of admission IMO. If nothing else, JW knows how to write a good villain theme, even if the character as portrayed isn’t worth the paper the score is written on.
  15. Man that wasn’t good. As soon as the witches(!) in the opening scene started blasting colour-coded CGI at each other my worst fears about this show came true. It’s fully devolved into boring by-the-numbers Marvel. Even Kathryn Hahn was barely watchable, not at all helped by the terrible dialogue given to her. All her charisma has been sapped in what has amounted to a moustache-twirling villain. Looks like next week will be Vision vs Vision, no real story closure and likely Banana Cabbagepatch will show up in a two-second cameo advertising his next movie. I also saw the trailer for Falcon/Winter Soldier, and I couldn’t be less interested in it. What a shame.
  16. To be fair, she’s largely been a character actor by trade, relegated to supporting parts in romcoms and guest roles in sitcoms, so most people wouldn’t have noticed her. This is probably her most high-profile role yet.
  17. I wouldn't be surprised if the whole series is just one big setup for the new Dr Strange movie and we don't get any kind of resolution. Agatha All Along is a banger. Been playing it all week, I just cannot get enough of Kathryn Hahn hamming it up. If this is the start of her time as a leading lady I'm here for it, she's one of the most consistently funny actors in Hollywood. And her dramatic chops are nothing to sneeze at either, after watching her in Transparent.
  18. A class act for his whole career. Wonderful to see his spritely and fun performance in Knives Out so recently.
  19. Yes that makes sense. I can imagine that assembling/producing your own album would be quite time consuming. I would love it if Gold returned to his Who music at some point - not so much the show as it’s clear he’s moved on, and in any case the show deserves to have new blood working on it. But I’d love it if he rearranged some of the popular themes and recorded suites for them. He really did write a tremendous amount of magnificent music.
  20. I imagine there’s some expense involved with the BBC Wales orchestra, re-use fees etc. Does anyone know what the situation is there? As far as I can tell Akinola uses a much smaller ensemble more sparingly, with a lot of the underscore carried by sampled instruments. It’s possible that creating an album for his first series was much cheaper and quicker than Gold’s last.
  21. Care to elaborate? Life is stacked against most of us from the outset. Only a very few privileged number “get what they want”. For every success story in Hollywood there are tens of thousands, if not more, that never even got a chance, largely due to economic and social inequality. In this industry, hell, in this world, if you weren’t lucky enough to be born in the right place at the right time to the right parents your dreams are worth jack shit. There’s nothing wrong with having lofty goals in life, but true wisdom is knowing when your dreams are impossible and focusing on building what you can with what you already have.
  22. Fascinating topic. It’s interesting to see the backlash boiling up about the film composing industry. I’m not at all surprised to hear about these awful conditions, and HZ has actively contributed to it with his business model. His legacy in Hollywood will ultimately not be a musical one, but a capitalistic one. I had the opportunity to move to LA a few years ago and try to crack into the industry. It didn’t take me long to weigh up the options and stay in Australia instead. I do not regret that decision, not least because right now COVID has made things even more difficult for young composers (and as a foreigner I would’ve gone broke instantly). I will never write a Hollywood score now, but I also will not be homeless, starving or exploited in an attempt to do so. Some dreams are not worth pursuing. And for what it’s worth I’ve been getting some great work here while also earning a solid wage teaching. I will be able to buy my own home in a few years which I imagine is not remotely the case for the thousands of people competing in LA.
  23. I'm loving WandaVision. It's a wonderful tribute to the classic sitcoms of the 20th century. The main storyline can take as long as it wants to get into gear, for now I'm just getting a kick out of Olsen and Bettany's wonderful chemistry and excellent comedy work. I could watch Kathryn Hahn ham it up for days. The little crumbs of not-quite-right are increasingly unsettling and a great mood. I'm almost dreading the "real world" stuff, I can only imagine it'll be stock-standard Marvel/SHIELD drama.
  24. It's A Sin was marvellous. It may be Russell T Davies' finest work to date. Hilarious, awkward, devastating and beautiful. I was deeply moved by it, my partner and I were in tears for a good 20 minutes after the last episode. I can't recommend it enough for anyone going in with an open mind. I was a bit hesitant going in - so much of drama around HIV/AIDS is dreary, depressing and full of finger-wagging and pontificating. RTD managed to start a new conversation about that awful period of time, and remind people that amongst all of the death and despair there was a whole world of fun, life and love. It's better than Years and Years which I also enjoyed a lot, also equal parts hilarious and devastating. But it's clear that It's A Sin was a deeply personal project for RTD and something he's been working up to his whole career. Plus it's got Daleks.
  25. Anyone else think Göransson was inspired by this when he wrote his Mandalorian march?
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