Docteur Qui

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.
 
Watching the new trilogy I never once found myself conscious of the fact I was watching a white woman, a black man and a latino. The characters they play could’ve worked with any race and yet these three had the most chemistry with each other and it shows. 

Why does Rey's character need to have sexuality or sexual overtones to her character, purely because she's a female?
 
Do all male protagonists in films have sexual overtones integrated into their character?
 
Frankly, some of these so-called "criticisms" are disgustingly shallow and, frankly, sexist. How is a female character flawed just because she isn't showing sexual interest in other characters?

Yikes. I’m out.

Yikes. I’m out.

What?
 
Lucas put anti-Bush stuff in ROTS!
 

Because they are much more entertaining!!  The characters in the PT, other than Obi Wan and Palpatine are awful.  The acting is awful.  The dialogue is awful. Anakin's turn is awful.  It didn't appear to me like he was seduced by the Dark Side.  He cut off Mace's arm defending his friend in order to learn how to save his wife.  Mace Windu decapitated Jango, but he didn't fall to the Dark Side.  It makes no sense.
The prequels were one disappointment after another.
 
The Disney Trilogy is fun!!  Plus Han,Luke, Leia, and Chewie are back!  I cried when I first saw TFA and Han and Leia were both onscreen together the first time.  The only think in the PT that made me cry was how awful the dialogue is.

And Johnson did an excellent job refocusing the central conceit of the Jedi and their connection with the Force.
 

 
And understood that Yoda's teachings represented this:

 
Not this:

 

The Prequels is the only trilogy where Lucas is 100% responsible for everything. It's his most undiluted vision of Star Wars. However it's incredibly poorly made in just about every way. The sequel trilogy so far is far far better from a film making and storytelling standpoint. But you can certainly consider them redundant if you're a purist about these things.
 
I have zero interest in ever watching the Prequels again, not that I've seen them a lot anyway. No more that 3 times each. ROTS just twice I think. The sequels are very watchable.

It seems to me that he was always satisfied with his TFA experience and working with Abrams and never had to make peace with any of it...I think that's just a narrative that started here.

Warms my heart to see all the love for Goransson’s score here. He’s a phenomenal musician and producer and I can’t wait to hear how he develops as a composer.

Warms my heart to see all the love for Goransson’s score here. He’s a phenomenal musician and producer and I can’t wait to hear how he develops as a composer.

Warms my heart to see all the love for Goransson’s score here. He’s a phenomenal musician and producer and I can’t wait to hear how he develops as a composer.

Huh? What was wrong with the finale? I hear so many people complaining about it but it was fine.

You can do it with anything more or less
 
 

Fair enough! Cool arrangement anyways.

I think this whole thing is a bit misleading - it could be that this is Williams, but what you actually hear in the background is a section from a cue looped three times. If that's the case then there's no real way of knowing what the "real" rhythm is.
 
However, if it isn't looped, then there's nothing actually that "complex" about the rhythm. The accents suggest 3+3+3+3+2+2, but this adds up to 16, so there's nothing irregular about it. The whole thing is in 4/4 - as The Five Tones hinted, it's like a slowed down version of Zimmer's Mombasa.
The Grievous excerpt has constantly changing meters - if you try tapping a regular beat to it (3/4 or 4/4), you can't do it very well. The same goes for The Falcon, the beginning of which is 2+2+2+2+3=11 so you can't fit it into 3/4 or 4/4. Similarly, this track by Jerry Goldsmith is 4/4+7/8. THESE are irregular patterns, but not the pattern in this TV spot, which is just 4/4 with some syncopation.
Another way to think about it is that if you imagine someone conducting, they would have to keep changing their motions in the excerpts I listed in the paragraph above, but this wouldn't be the case for Mombasa nor this TV spot.
 
Just wanted to highlight that there's nothing really linking Williams' past use of irregular meters (i.e. in his action music) with the rhythm in this TV spot.

First section, absolutely not Williams, it's as synthy as you can get. The second half though could very well be. I hope so, it sounds pretty cool!

First section, absolutely not Williams, it's as synthy as you can get. The second half though could very well be. I hope so, it sounds pretty cool!

Driving Miss Daisy

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies