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Docteur Qui

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Everything posted by Docteur Qui

  1. It's not really a kids show anymore, its audience has aged with the characters. Kids who were 12 when they watched season one would be 18 now. It's the same with Harry Potter - started as a children's fantasy book but by the end it was clearly young adult fiction.
  2. Jay's post is spot-on. The contracts and schedules for film crews are as numerous as they are complicated. Many people working on the film likely have work lined up for months or even years down the track, and it wouldn't make financial sense for Disney to retain their services for any longer than they were initially contracted for. Changing the scoring schedule would mean also having to pay out other post production crews for work they would lose as a result of changing the schedule, and while Disney is heavily insured for things like Ford's injury or a crew death it's still a financial hit that no business would want to take on. And then there's Williams himself, who is busier than ever with his own schedule to keep to. Keeping the production schedule tight and moving the film to next year makes the most sense for everyone involved.
  3. I kind of like the idea that it was just a brutally powerful force of nature, not "intelligent" in the way that we know but more operating on primal instinct, and that by binding with Henry it gained his sentience while he gained its power. The show keeps hammering home the hive-mind aspect, so I suspect that when Henry connected with it they symbiotically became a "new" being and are now pretty much one in the same. The irony of course is that by doing so Henry intervened in the natural order of that dimension, which is exactly what he hated about humans in his own dimension. Classic villain hypocrisy! I hope they do answer it in the next season. I really dug this season. Easily the strongest the show has been since the first season. I was doubtful when the Duffers claimed they had a whole story mapped out 7 years ago but the proof is very much in the pudding; they've clearly given this world a lot of thought. That said, while I appreciated the amount of time the story has been given to breathe I also feel like the pacing was a little off in the last few episodes. Eleven's daddy issues with Papa felt like a bit of a retread, and she was in that desert lab for waayyyy too long. Eleven traversing Max's memories could've been done much more eloquently; the whole sequence with all the kids skating in the storm drain was completely superfluous and didn't tell us anything new about Max or Eleven. I also think Eddie's sacrifice was a little clunky, he could've just gone through the gate and things would've turned out pretty much the same. Personally I think it would've been more powerful for him to realise that there's no shame in running away (which is a line he says in the D&D game in ep 1). And my final gripe is how separated all of the characters were this season. I'd actually completely forgotten how close Eleven and Max were in previous seasons, and had there been a bit more interaction between the characters I think the emotional wallop of El trying to save Max would've hit a bit harder. But I guess it'll work much better on a rewatch and without waiting 3 goddamn years between season 3-4.
  4. Yeah that's what I gathered. Henry/One/Vecna arrived in the Upside Down and came across the swirling mass of particles that is the central nervous system of the dimension (aka The Mind Flayer/The Shadow), and, using his psychic powers, connected with it and "shaped" it into his preferred image (that of a spider). To continue with that analogy, he became the "brain" of the Mind Flayer, giving it intelligence and form in order to do his bidding. The main question is who is really in control, One or The Shadow? I predict that will play into the ultimate endgame of the entities. My understanding is that it is the Upside Down, but when One arrived it was still chaotic and primordial, much like Earth was when it first formed billions of years ago. After he connected with the Mind Flayer/The Shadow, he began to create some order in the chaos, probably very slowly. But when Eleven inadvertently opened the second gate on the day Will disappeared there was a kind of camera effect which captured the image of Earth (or at least Hawkins) as a kind of "negative", and that snapshot gave form to the Upside Down we know. I'm sure the show will explain it in more detail, but that's my impression.
  5. Counting down until the first screencaps of the new tracks rendered in an audio spectrometer program land in this thread, followed by complaints about differences in frequencies that are literally inaudible and only perceptible due to said software. It’s JWFan OCD at its most entertaining
  6. This is exactly my thought. I’d pay for Azkaban in a heartbeat if they were able to to locate all of the masters and alternates. LLL did they best they could with what they had and I’m very grateful for that - the missing music was very much out of their hands. If developments happen in the meantime, great news! Curious to know what the new and improved JP will be. I’m more than happy with the last release so I won’t be buying it, but if this means people who missed out on that will get their hands on it, good for them.
  7. Finally caught up on this after a couple of months of spoiler-avoiding. Wowsers, what a cliffhanger. Brilliant first half to the final season. I really don't want this show to end, but I also can't wait to see how the writers wrap this one up. Fantastic.
  8. Great addition! I love that RTD snagged Harris for the special(s), he was great in It's a Sin. The rumour mill has all but figured out who he'll be playing (spoilers below) Gosh I love being excited about this show again!
  9. It's conversations like these that make me glad that I keep Star Wars at arms-length. Doctor Who is more built for this kind of thing. Loose canon, bizarre continuity, wild variations in quality? That's my bread and butter. If it's a rip-roaring adventure then it's Doctor Who. If it's a sluggishly-paced piece of hot garbage, you'd better believe it's also Doctor Who. It's all gloriously inconsistent, and best of all, if you really don't like something then you can just pretend it never happened. Chances are the next writer will do the same!
  10. Who says I'm not a bot? One day the world will be ready to accept us 😭
  11. That would actually have been an interesting thing to communicate, and would have actually worked well (as well as giving Vader some more dimension which, let's face it, he's never really had since the suit went on).
  12. Man, that wasn't good. The budget limitations of the Disney+ model are really showing. This story (if it even needed to be told) really should have been a movie. The confrontation between Vader and Obi was so underwhelming. The direction was flat, the blocking/choreography clunky... Some nice visual language with the red and blue lightsabers in the dark, but compare it to the similar sequence in The Force Awakens between Rey and Kylo Ren (which had emotional stakes and brutal, heavy fight choreography) and it's almost laughable. Pathetic that Vader was stopped by a bit of fire that he and the stormtroopers could've easily walked around. And didn't he literally just extinguish a fire with the Force before the new one started? And couldn't do it again? Or, you know, pull Obi-Wan and his helpers into the fire? Maddening. They shot their wad too early bringing in Vader at this point. The dramatic tension established at the end of the last episode is now all but gone. And c'mon Natalie, you had the perfect opportunity to knock this episode out of the park. The lack of Imperial March was enough, but what is there was just so thin and uninspired, the action music in the previous episode had more punch than this. I'm stoked she got this assignment but I really feel like she dropped the ball on this ep.
  13. The more I think about it the more this needs to happen. And no crappy biopic please, we don’t need to see the death of his wife dramatised and his subsequent career shift to be romanticised and gawked at. A raw, truthful and honest look into the man.
  14. This x 1000. If anyone can and should do it, it's Spielberg. But I can't really see it happening while JW is alive - the man is far too humble, but I also imagine after JW finally passes the rawness of losing a lifelong collaborator and friend would be upsetting to say the least, so it wouldn't be an immediate thing. The important thing is that Spielberg properly archives the footage he took. I can't imagine he wouldn't have done so.
  15. Has the end credits version been released anywhere or are you just listening to an audio rip?
  16. I met Cameron a few years ago at a scoring workshop in New York, he was 15 at the time and blew everyone away with his skill. I thought I was going to be the biggest Williams fan there until I met him! Great to see his music shared here, he's very driven and very talented and a really nice guy. I hope to hear more of his his own personal style develop and mature, but have no doubt that will happen.
  17. I wasn't aware of that, but I don't know much about that score. I wouldn't be surprised if a good number of his best themes were written late in the process, I only mentioned the ones I have evidence for to back up my claim.
  18. McDiarmid was heavily present in the recent SW celebrations yeah? I imagine we'll be seeing him pop up in Obi-Wan, most likely in scenes with Vader. He's very enthusiastic about his role, I doubt he'd say no if they asked him. I agree with all of this. Youtube film "critics" have really lowered the bar when it comes to film discourse, based purely on the fact that most of them are only interested in watching the same bunch of films over and over again in a single genre. Film criticism has traditionally been an area in which the writers watch hundreds of different films in a given year, so the critique comes from a place of broad knowledge rather than the genre-specific, obsessive pedanticism evident in the Youtube garbage. That said, I always figured the whole public amnesia about the Jedi was more related to the fact that even at the height of the Republic there only appears to be a few thousand of them, relative to the hundreds of billions of people in the galaxy. Most people would never have seen one, so a mythological status was effectively already in place when the Empire took over. If you really want to get deep, add in a massive propaganda machine expunging them from the records and some "magic" (Dark Side Force bullshit) and it's not much of a leap to get where we are in A New Hope. It's certainly nothing I've ever given much thought to until I wrote this post.
  19. Agreed, and it's a perspective that also disregards the fact that JW is the best at what he does because he's able to write staggeringly high quality music in a short amount of time. You don't get into film scoring if you're a slow writer, or you'd never get a gig. He famously completed Empire Strikes Back in less than two months if memory serves (others here will be able to correct that); and that was over 100 minutes of directly scored music (i.e. synced to the action of the film), as opposed to a four-minute theme and variation like we get here. Williams could write these kinds of suites in a day if he had to, but knowing that it was two weeks means that he probably gave it more thought than the majority of our favourite movie themes. I think this speaks to a broader issue of the perception of value of a skill relative to time. The more I study Williams and his scores the more I realise that so much of my favourite music of his is a happy accident, more a result of his creative problem-solving than some kind of tortured and inspired writing process. Take Prisoner of Azkaban for example, which is a revelation to me. If you listen to the score now you'd be forgiven for thinking that his "Window to the Past" theme was one of the first ideas he came up with. But following the trail of breadcrumbs it's more likely that it was a last-minute addition that was retroactively applied to the rest of the score; the vast majority of scenes it appears in had very different music initially, including the infamous "Remembering Mother" cue. It's likely he had already recorded a lot of the music before writing that theme and incorporating it into the fabric of the score. A similar thing can be inferred from The Force Awakens; there's compelling evidence implying he wrote "Rey's Theme" (as we know it) well into the scoring process. This knowledge does nothing to devalue the music as it ultimately appears, and if anything just makes me admire him even more.
  20. Yes that's another cue that I really liked - the solo violin is great, and judging from Holt's interviews played by her. I'd like to listen to the music by itself, as much as I enjoyed the episodes I don't have much desire to rewatch them so soon.
  21. I liked the underscore when the Inquisitors first arrive on Tatooine, some very powerful low brass writing. The later statements of the theme aren't as good though and are a bit muddled with the synth work. One thing I'm not much of a fan of is the percussion in some of the action sequences. Less can be more in my opinion.
  22. Breaking news: Fans of John Williams surprised and angered that music not by John Williams is not as good as music by John Williams Holt's music is nice. I like the Alderaan stuff a lot, and Leia's new theme has shades of Powell in it, particularly the longer melodic line work. Much better than a lot of her contemporaries who keep their themes in strict four-bar phrases. I look forward to hearing her work in isolation.
  23. I definitely hear it as @Falstaft has transcribed; the half step in the pickup to the next beat is clearly audible. EDIT: My mistake! Both @Falstaft and @Michael G. transcription’s are slightly off. The notes in the ostinato are as follows: C Ab G Eb C G (arpeggiated continuously down).
  24. A theme is a single melodic idea. Most arrangements of Williams “themes” are suites, featuring multiple renditions and variations on that theme.
  25. CoS is not a good movie, and frequently dips into “bad” territory. Overly-long, with anaemic pacing, an unimaginative script adapted from Rowling’s weakest novel, laughably bad acting (even from the adults), decidedly un-cinematic direction, and unconvincing CGI even for its time… The only reason I’d watch it now is for the score, and even that’s weak compared to JW’s other Potter scores, but worst of all it’s barely audible in the mix.
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