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The Big Bad Star Trek XI Thread


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Mark....that Romulan in the clip that you mentioned the one that says

"Then ask Captain Nero, what right he has to attack a Federation vessel?"

...he looks familiar, do you recognize him?

I believe he was one of the Russian soldiers in KOTCS

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Just heard the new score. In less than 3 words

As have I. I quite enjoy it myself. "Nero Death Experience" :lol:

"Enterprising Young Man is the highlight for me. I don't know how it fits in the movie, but I can picture the Enterprise leaving spacedock (or drydock, whatever) for the first time in the movie while a segment from this track plays. It's probably the closest to a grand theme we get in the OST.

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The whole timeline deal already sounds convoluted so god knows how they're going to explain it in the film. I read Star Trek Countdown and unless I missed something, that barely explained anything, apart from Nero is a bit pissed off, although why he's going after Kirk is unknown.

What's convoluted about it?

Nero goes back in time and messes with the timeline. It's basic "science" in sci-fi time travel stories. As far as I understand it, he goes back to destroy Vulcan, Kirk and crew just gets in the way. His line in the trailer is probably because he's forced to face Kirk, and obviously he knows who Kirk is, but he didn't go back specifically for Kirk.

I mean the way he travels back. The whole black hole, hobus star deal that I couldn't for the life of me figure out, although it did remind me of an episode of Futurama. But who knows. The whole Borg technology bit is weird though.

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The whole timeline deal already sounds convoluted so god knows how they're going to explain it in the film. I read Star Trek Countdown and unless I missed something, that barely explained anything, apart from Nero is a bit pissed off, although why he's going after Kirk is unknown.

What's convoluted about it?

Nero goes back in time and messes with the timeline. It's basic "science" in sci-fi time travel stories. As far as I understand it, he goes back to destroy Vulcan, Kirk and crew just gets in the way. His line in the trailer is probably because he's forced to face Kirk, and obviously he knows who Kirk is, but he didn't go back specifically for Kirk.

I mean the way he travels back. The whole black hole, hobus star deal that I couldn't for the life of me figure out, although it did remind me of an episode of Futurama. But who knows. The whole Borg technology bit is weird though.

Oh, I didn't know HOW it happened, I see your point now.

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Anyone else who's heard the CD think it was edited and put together by an amateur?

I just noticed one of the tracks just stops in mid-beat, and it's not one of those intentional ones. I'm not a music expert, so bear with me. There's a full note, unrelated to the music that came before, and it's not a a climax or anything. It's as if it's going to start a new part of the track and as soon as the note is over, there's a harsh cut, as if it wasn't originally supposed to end on that note and it was just convenient to cut there because it had a fairly clean end on the note.

Also, the End Credits are really hacked together and a few other spots have a few really noticeable edits. Not to mention the earlier complaint that the tracks are too short to get into, like you're starting in the middle of the intended cue.

Overall the score is growing on me slightly, but the OST itself is really just poorly put together.

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I just watched the videos from the Austin screening. Wow, I would have totally freaked out if I had been there!! ;)

So I am P.O.'d there is not a proper midnight screening here. There is a 7 and 10 pm on Thursday.

But that's not the same as the classic geekiness of the midnight thing! Meh.....so I'm not sure if I 'm going on that day or not, I'll have to see.

I'm going to wait to hear the score in the film, since I read the OST had some problems with editing and such.

I can't wait to see it!!

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Well, quibbles about the mixes in the prequels aside, he is actually a brilliant sound designer so I don't see why this shouldn't have fantastic sound design. And his work on WALL-E was incredible.

I have to say, the TV spots look great but the generic hard rock they're using sucks like a Dyson.

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A rather strange semi-spoiler I've discovered today:

One of the songs credited as being featured in the film is the Beastie Boys opus 'Sabotage', which funnily enough is one of my favourite songs, although I'm not sure about its use in a Star Trek flick. But I suppose it makes sense in the same way we still listen to music hundreds of years old.

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A rather strange semi-spoiler I've discovered today:

One of the songs credited as being featured in the film is the Beastie Boys opus 'Sabotage', which funnily enough is one of my favourite songs, although I'm not sure about its use in a Star Trek flick. But I suppose it makes sense in the same way we still listen to music hundreds of years old.

I would imagine there will be songs in the nightclub sequence

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Well, quibbles about the mixes in the prequels aside, he is actually a brilliant sound designer so I don't see why this shouldn't have fantastic sound design. And his work on WALL-E was incredible.

Exactly. For all the complaining that happens, his sound design really is amazing.

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I would imagine there will be songs in the nightclub sequence

Why not? If recordings of Steppenwolf and Roy Orbison survived WWIII, and we hear classical music galore in the 24th century, why shouldn't other contemporary music survive well into Kirk's timeline? It's an attempt to anchor a sci-fi movie into a possible future, by grounding it in our present time, and it works. And Kirk and McCoy know "Row Row Row Your Boat."

Oh, and Uhura orders a Budweiser right before the bartender recommends a Slusho, as seen in a lengthy clip at Yahoo. I expect to see other product placements for 20th/21st century stuff in this movie, too, and I'm ok with that.

I was worried when she ordered some Cardassian beverage, because Cardassians didn't appear until TNG. But then I looked up an episode of Enterprise where Cardassians were mentioned, so that's ok.

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I think the whole situation about Ben Burtt was summed up correctly in the FSM Star Trek Podcast.

Which basically said...

"He's great at sound f/x and great at destroying scores." -- Jon or Al Kaplan (clarification here would be welcome)

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I'm glad they used songs OTHER THAN Born to Be Wild or Oh, Pretty Woman. Both of those are the instantly recognizable ones, and the Steppenwolf is overplayed.

No wait, I'm sorry. Steppenwolf is Canadian. And Cochrane's launch site is in Montana, so maybe they're blurring the national boundaries.

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Why not? If recordings of Steppenwolf and Roy Orbison survived WWIII, and we hear classical music galore in the 24th century, why shouldn't other contemporary music survive well into Kirk's timeline? It's an attempt to anchor a sci-fi movie into a possible future, by grounding it in our present time, and it works. And Kirk and McCoy know "Row Row Row Your Boat."

Oh, and Uhura orders a Budweiser right before the bartender recommends a Slusho, as seen in a lengthy clip at Yahoo. I expect to see other product placements for 20th/21st century stuff in this movie, too, and I'm ok with that.

I was worried when she ordered some Cardassian beverage, because Cardassians didn't appear until TNG. But then I looked up an episode of Enterprise where Cardassians were mentioned, so that's ok.

Oh there's nothing wrong with it, after all they are from earth. And I watched the same clip as well.

I think the whole situation about Ben Burtt was summed up correctly in the FSM Star Trek Podcast.

Which basically said...

"He's great at sound f/x and great at destroying scores." -- Jon or Al Kaplan (clarification here would be welcome)

I dunno, they had Jeff Bond, Lukas Kendall and someone else as well as the Kaplan bros and Doug Adams.

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I think the whole situation about Ben Burtt was summed up correctly in the FSM Star Trek Podcast.

Which basically said...

"He's great at sound f/x and great at destroying scores." -- Jon or Al Kaplan (clarification here would be welcome)

I dunno, they had Jeff Bond, Lukas Kendall and someone else as well as the Kaplan bros and Doug Adams.

Yes, Brandon F. Moore, noted expert on Arthur B. Rubinstein. :music: It sounded like one of the Kaplans, though.

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I'd rather it was left to Goldsmith, either orchestrally or maybe have him write something. Either way, the scenes and the movie in general leaves a bad taste in my mouth.

You mean write an original song like "The Moon's a Window to Heaven"? No thanks. If you're going to have a 20th century jukebox in a 21st century bar, you better play a 20th century song. Nothing Goldsmith could have written would have been appropriate there.

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I'd rather it was left to Goldsmith, either orchestrally or maybe have him write something. Either way, the scenes and the movie in general leaves a bad taste in my mouth.

You mean write an original song like "The Moon's a Window to Heaven"? No thanks. If you're going to have a 20th century jukebox in a 21st century bar, you better play a 20th century song. Nothing Goldsmith could have written would have been appropriate there.

I'm sure something orchestral might have been appropriate, then again, maybe only Carl Stalling could really have appropriately scored the terrible fucking scenes that are Zefram Cochrane boogieing down.

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Listened to this score again today. Sighhhhh. Just can't get into it. The earlier tracks sound like LOST chord progressions with a few extra instruments doubled to give it that "epic sound" and the latter ones are the same frenetic action fare approach from MI:3. Not sure where I stand on Giacchino though it's unlikely anyone else gives a crap what I think. I guess this is one film score fan that will have to resist buying his stuff without having seen the film first.

I'm really trying to analyze why I don't care for this score though since I have been an ardent fan of Giacchino's from his early years. Is it his sound has not changed too much, or should I say "matured" in the way I had hoped it would when he first came onto the scoring scene with ALIAS back in 2001? His scores for video games still possess a depth that I would say is largely missing in much of his big screen work.

Maybe he's working on too many things at once (LOST, ST, LotL)

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