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RUMBLINGS FROM THE LAB, Part I (RE: X-MEN, ROAD TRIP, Unified Theory & MORE!!!
Hey, all. "Moriarty" here.
One of the things most frustrating about trying to write a regular column here at AICN is there's so much work going on behind the scenes right now to turn the site into the Six Million Dollar Man version of itself - better, faster, stronger - that I tend to get overwhelmed. Yes, I have the henchmen to help, but they're more useful in the manual labor end of things. Once we actually get down to the act of putting it all on the page for you guys to enjoy, it's just me again, alone in the Labs.
I haven't even had Harry, my usual sounding board, to talk to these last few, since he's been off at Cannes being a superstar. I notice that he's been sneaky above and beyond the call of duty lately, freezing even us on the inner circle out of some of his spy missions. I hope whatever he saw in France was crap so the whole plane ticket was a waste.
Is that wrong of me?
Not that I mind being trapped here in my underground bunker. I've had some lovely company at the Labs lately, so it makes the work far more enjoyable. I just want you to understand that I haven't been slacking off. Far from it. I've been working my ass off to make sure that this edition of the RUMBLINGS would be jam-packed with all sorts of goodies. As a result, I'm going to get out of my own way and just start throwing all of this at you.
ALL I CAN SAY IS HIS LIFE IS PRETTY STRANGE
You may not know Brad Smith, but I'll bet money you know at least one song he wrote. It's impossible to have missed "No Rain" when it hit in 1993. I know that for me, when I think of that summer, I think of working at Universal Studios and having a great new girlfriend and seeing JURASSIC PARK and hearing that song. It just sort of caught that moment for me, the way great songs often do. I know when I think back to any specific period of my life, there's always a song or two that seem to be attached, underscoring what was going on. The story of Shannon Hoon and what happened to Blind Melon was heartbreaking for fans of the band, just as I'm sure it was devastating for the people who actually had to live through it. For years now, I've had these guys in the back of my head, like Weezer, wondering when we would hear from them again.
Right now, the cavernous Moriarty Labs are filled with the sounds of "Cessna," echoing off every surface, cranked to maximum volume. Despite my advanced age, I am up and moving. I cannot help myself. You see, Blind Melon bassist Brad Smith and guitarist Christopher Thorn have a new band, a new album, a new single, and if there's any justice, a new monster hit.
I first caught wind of the return of these guys in the recent ROLLING STONE with Britney Spears on the cover. Austin Scaggs ran a brief tidbit in his column about the new the band Unified Theory. Describing the sound of the new band, Smith said, "The music is way more ethereal, vocal and guitar driven [than Blind Melon's]." Just that mention got me excited.
Then someone tipped me off to the fact that they were playing a show at the Dragonfly, a club here in Hollywood. I had to check it out, and I'm so glad I did. As much as I liked Blind Melon, I love Unified Theory. They've rebuilt their sound, building on the preposterously catchy hooks that marked the best of Blind Melon's songs and adding a decidedly edgy aggressive guitar sound. Chris Shinn, the vocalist for the band, reminds me of a more melodic, controlled Geddy Lee. Their live show was simple, direct, and totally controlled. If there's one thing that you have to say about Unified Theory, it's that they are professionals. The music they're making is as good and as tight as bands that have been together for a decade or longer.
Don't just take my word for it, though. You're going to be hearing a lot about Unified Theory in the months ahead. The buzz has already started with Matt Pinfield's new music radio show in New York. He broke the band's first single "California" over the weekend after hearing it and falling in love. I know that they're currently looking at directors for the video for that single, and the names they're talking to - guys on the level of Michel Gondry - indicate a great deal of faith in the band on the part of Universal Music and 3:33 Music Group, Tom Shadyac's company. Tonight, at the Key Club in Hollywood, the band is playing a show in front of an industry crowd, a sort of coming-out party. If you're interested in hearing them for yourself, try catching them at Zeke's Backyard (at the Opium Den) this coming Monday night, the 22nd.
Personally, as much as I like "California," I think there's other material here that's much stronger. After seeing the live show, I ordered Mongo to infiltrate the 3:33 offices and procure me a copy of the CD. He did so immediately, and I've been playing it nonstop ever since. Smith, Shinn, Thorn, and Dave Krusen, the original drummer for Pearl Jam, have a propulsive power pop sound that works in very different ways on the CD and live. On the CD, the vocals are front and center, achingly lovely. Live, the guitars are overwhelming, and the energy is much more insistent. I know that I'm already a giant fan of "Cessna," the song that opens the CD. Live, Unified Theory played a cover of Pink Floyd's "Breathe" that led into "Cessna," somehow seeming to be the most natural transition in the world. "Passive" is a tender anthem about finding some strength in yourself, the syncopated rhythms of the piece putting me in mind of "Kashmir," and the effect live is powerful. "Wither" knocked me out when I heard it live, and the version on the album is hypnotic, shimmering and hopeful at once. It's the two songs that serve as the album closers that really kills me, though. There's "Keep On," with its simple keyboard progression that kicks in with a sort of lurching, drunken rhythm. Then there's "Not Dead," a song that gave me chills. To hear guys like this, real life rock'n'roll survivors, sing "I'm not dead, o, god, I'm not dead yet" becomes oddly touching. There are shadows of the band that once was Blind Melon here, but only the best kind… the way a melody builds, some particularly clever bit of phrasing… but Unified Theory has also managed that trickiest of feats: they have rebuilt from tragedy, stronger and better than before. I, for one, couldn't be happier.
Check them out here, where you can hear "California," "Cessna," and "Passive" for yourself, and then mark August as the tentative release date for their CD. You'll be as happy as I am.
Kamen Blabs & Score Samples Suck!!
One of the hardest things to keep up with for me personally right now is all the sites like AICN that seem to pop up almost daily. For example, I'd never heard of The Daily Radar until Garth's Dark Horizons ran a link to the site yesterday. The link was for this story, a pretty major scoop no matter how you look at it. Michael Kamen evidently played many of the film's major themes for the site's reporter, allowing him to record the themes and post them on the site in MP3 form. I can't believe Fox hasn't kicked Kamen's ass yet considering how touchy they are about any uncontrolled release of information about their big movies. Even more importantly, I can't believe how lame the music is. I've been to scoring sessions, and I've sat with composers as they played demo versions of themes. I'm not just underwhelmed because of lack of orchestration on Kamen's part. These themes are genuinely lame. All of Kamen's film music sounds rehashed, warmed over. In my opinion, he's only ever scored one film he didn't fuck up, and that was BRAZIL, an arranging job more than a composing one. Check out the link and come back here to rant and rave about what you hear. Maybe if we all piss loudly enough, Fox will boot Kamen and find someone worthy to score the picture. I know that guys like John Williams and Danny Elfman have passed on the film, but there's other composers out there who are appropriate. Hell, Trevor Jones' DARK CITY cues seem to work pretty well for the second X-MEN trailer... why not get him? Where's David Arnold when you need him? If there's not a studio approved traditional composer available, why not reach out to someone like Moby or The Dust Brothers who could give the film a truly cutting edge sound? Please... don't let Kamen slap another coat of mediocre on a film. He's the one thing that kept THE IRON GIANT from sitting atop my list of the best films of 1999. He must be stopped before he kills again.
Got SUNDANCE CHANNEL? You'd Better!!
You are aware that Krzysztof Kieslowski's THE DECALOGUE is playing currently on The Sundance Channel, aren't you?
Even if you're not, you are aware that you can get the entire series of ten short films from Facets Video right now, aren't you?
I mean... you do know what THE DECALOGUE is, don't you?
Tell you what... tune in to Sundance on Thursday and Friday of this week, from 9 pm to 11 pm, and then come back to this column next week. We'll talk about all ten films in the series and their staggering, blinding power and beauty.
Cage Picks A Winning MANDOLIN
Miramax and Universal had such a winning run with SHAKESPEARE IN LOVE that it only makes sense they would try to come up with a film that is equally passionate, equally literate, and equal as potential Oscar-bait. Now that they're teaming Nicolas Cage and Penelope Cruz with director John Madden for CAPTAIN CORELLI'S MANDOLIN, it looks like they're on the right track to do just exactly that. I've never read the novel by Louis de Bernieres, but I've just finished reading Shawn Slovo's screenplay adaptation, and I thought it was a wonderful, smart, engaging piece of writing that could well serve as the basis of a classic romantic tale.
I thought for sure, based on the few early descriptions I had read of the film, that I was in for an earnest, overly dramatic romance along the lines of THE ENGLISH PATIENT, full of forbidden longing and tragic sacrifice. Instead, this is a script that's full of feisty, unpredictable life. I knew I had to set aside my expectations when I saw the first page of the script, on which a single sentence was written:
"Greece Is The Word."
Set during WWII on the island of Cephallonia, Greece, this is a dense, rich story about an entire community and the long shadow that war casts over it. In order to make the horrors of war mean something when they intrude, time and care is spent to establish the warmth of the people who fill this village. We meet Doctor Iannis, Alekos the Herder, Father Arsenios, Velisarios the Strongman. Most importantly, we meet Pelagia, the beautiful daughter of Dr. Iannis. This is the role Cruz is set to play, and it's another great one for her. After this and ALL THE PRETTY HORSES inside of a year, she should finally be as well known to mainstream American audiences as she already is to fans of international cinema. I think she's bound to end up a star. She is a sensitive, intuitive actor, and she also just happens to be a raging superbetty of the highest magnitude.
Pelagia is in love with a local fisherman, Mandras (who I believe is being played by Christian Bale), and plans to marry him. When the war intrudes into the idyllic world these people have created, Mandras is one of the first to volunteer to go and fight. Pelagia is heartbroken and writes him several letters a day. She gets nothing back, though, and as the war rages on, she becomes convinced that he isn't coming back and that her letters are all for naught.
Things become truly complicated when German and Italian troops take up occupancy in the small town, quartering their forces with the locals. Dr. Iannis and Pelagia end up with Captain Antonio Corelli (Cage) in their house, a young man who comes to Greece with a mandolin among his gear and peace in his heart. He's not a fascist, and he certainly doesn't wish anyone in the village any ill-will. In fact, none of the occupying forces are painted as faceless thugs or monsters. Instead, the film humanizes everyone, showing how the troops become part of the rhythm of the village, part of the life that's going on there.
Corelli and Pelagia end up falling in love, which isn't much of a spoiler, but what happens after that would be. I found myself genuinely engaged by each page of this script, interested by each character. There are some hard, painful moments in the script, and there are scenes of lyrical beauty as well. Madden has lucked into another great piece of material here, and he should be able to bring it to rough and rowdy life. This is a film that earns the tears that will flow freely towards the end of the second half, but it never lets tragedy overshadow the small quirks that make this village and these people all seem so real. In many ways, this script reminds me of the thunderingly good CINEMA PARADISO, a compliment as far as I'm concerned. There's a chance that this won't just be a good film, but might in fact be a great one. Let's keep our fingers crossed and wish them all a successful shoot.
TRIP Worth Taking?
If AMERICAN PIE is PLAYBOY, then ROAD TRIP is HUSTLER. It may get you off, but you won't feel good about it.
That's the best way I can encapsulate my feelings about the new Dreamworks comedy, ROAD TRIP. I don't want to give you the impression that I didn't laugh while sitting in the theater. I did. I know that my lovely companion for the evening, Trinity (yes... that Trinity... skipping out on a kickboxing class just to hang with the Professor), caught me laughing out loud several times during the film. There are some well-built gag sequences throughout. Tom Green is gold every single time he shows up in the film. My problem with the movie is that there's a general level of skank to it that's a little off-putting. If there's a way to take a mildly dirty joke and just plain make it gross, ROAD TRIP manages every time. True, it's never quite GUMMO gross, but it doesn't fail for lack of trying.
I originally thought that Dreamworks was out of their minds for releasing two comedies on the same day, but the chances of there being much crossover audience between SMALL TIME CROOKS and this film are about the same as the chances that I'm going to become Lorenzo Di Bonaventura's personal secretary. ROAD TRIP is perfect if you want to see elderly people with giant erections, prostate milking sequences, a man with a mouse in his mouth, illicit toe sucking, Amy Smart's breasts, a whole lot of gratuitous breasts, giant leopard skin panties, or a stoned talking dog. Just be warned... a shower may be required afterwards.
EVERYONE'S FAVORITE MORIARTY PHRASE
... to be continued. Yes, I'm going to have to hold the second half of today's RUMBLINGS until this afternoon or early evening. There's a lot more to squeeze in, including peeks at the scripts for 5-25-77 and NOVOCAINE, more news on Forry Ackerman, some mini-reviews for films making their way from art house to art house at the moment, and a rather personal piece about the worst film I ever saw. And all you have to do is wait!
As Bugs Bunny always said, "Ain't I a stinker?"
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I'm a huge Tom Green fan, but I'm not too sure I wanna check this flick out. The other cast members are basically there just for all the romantic interludes and "American Pie-esque" stuff. If this movie just starred Tom Green alone, i'd be first in line.
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Wow-a sneak peek into the private musical life of Moriaty! who knew?
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But then it just wouldn't be that balls-out arena rock that made me think I was the coolest kid in school when everybody else was listening to the New Kids on the Block and I had tickets to the "Presto" tour that weekend. Rush just rules. Totally interested to hear your take on the Novocaine script, though. Without Steve Martin, I wouldn't necessarily think it was that grand, but with him - I think it'll be coolsville.
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Such disparate tastes, old chap! I'd like to see Andrew Sarris discuss ROAD TRIP *and* Kieslowski's THE DECALOGUE in the same column. As for Jack's above-mentioned predilection for Rush, I, too, must confess that I will forever hold the "Roll the Bones" tour in high regard. Oh, how I love Rush. As the stoned concertgoer standing next to me at the Toledo Sports Arena continually shrieked..... "fuckin' Geddy Lee, man!"
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and I know terrific. This last part was a little confusing. I don't remember you mentioning any of the great films of the late 90's like Titanic, Good Will Hunting, Saving Private Ryan, etc. I guess the alzheimer's is kicking in.
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This book is one of the most gorgeous pieces of literature ever. It had depth, meaning, intelligence and well drawn out characters. Nic Cage. . .hm. . . .well let's see, snake eyes, City of Angels, need I go on? All I can say is, I'll see it, but they'd better not fuck it up.
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Why did Beethoven's Ode To Joy have to be stuck in place of his music in Die Hard? Because Kamen couldn't keep the pace of that movie with his soft string cues. How does he even get work? Did he get his reputation from Lethal Weapon where Eric Clapton and David Sanborn played a bunch of music an occasionally we'd get a Michael Kamen string cue. Brazil was Michael Kamen's adaptation of an existing song. Nothing original from him. And his work with Aerosmith/Metallica, once again adaptations of others music. Where's the talent? I'll have to listen to Dead Zone, to find out if he had some good ideas in 1983.
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Been listening to some of the tracks on their web site. Not bad, tho comparing this guy to Geddy Lee is just wrong. These guys fit more in with Oasis and Radiohead, with a little floyd and Blind Melon. I never was a fan of Blind Melon and Shannon Hoon's death had no effect on me.
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I'm sure I misspelled MEDITTERANEO! Anyway, I read an earlier draft of the Slovo script (Moriarty doesn't say what draft exactly he read) and the whole thing was a cliche-ridden, melodrama that ripped off MEDITERRANEO ad nauseum. The thought of Nic Cage as "The Mad Italian" just sends shivers down my spine; yet another "performance" of his to look forward to. BTW, Moriarty, but how could you have not heard of Daily Radar? They've been around for awhile and are a pretty major site. No offense but you should read some other sites besides just AICN.
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I'm sure I misspelled MEDITTERANEO! Anyway, I read an earlier draft of the Slovo script (Moriarty doesn't say what draft exactly he read) and the whole thing was a cliche-ridden melodrama that ripped off MEDITERRANEO ad nauseum. The thought of Nic Cage as "The Mad Italian" just sends shivers down my spine; yet another "performance" of his to look forward to. BTW, Moriarty, but how could you have not heard of Daily Radar? They've been around for awhile and are a pretty major site. No offense but you should read some other sites besides just AICN.
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david arnold is a hack who pales in comparison to the great john barry! arnold's work on that skinny runt pierce brosnan's bond films stinks!
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The audio quality of the MP3's was horrible, and you were most likely hearing a synth version of the score, not the final orchestrated version. Still, I'm not a huge Kamen fan, although the only good thing about Robin Hood: Prince of Thieves was the main title track. Die Hard was good too, but that was over a decade ago. Personally, I'd like to see Don Davis on this movie (Elfman's Batman was great, but his other superhero scores are too OOMPA-OOMPA for my tatse).
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but it seemed too desperate to be shocking and wild, like it felt it had to top American Pie, TSA Mary and everything else. Tom Green wasn't in it enough
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I think it takes alot of supposition to take what's been heard as evidence the score is going to suck. The sound quality was awful, and he must be playing this on a little Casio keyboard or something. You all know you'll be going to see this movie when it comes out, so unless we get a sample of the finished music, in much higher quality, then I think it would be wise to save judgement until then. Wungolioth the Wanderer
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I place that with "I've assessed the situation, you can keep the friends..." line in American Psycho...Well Moriarty, that's a classic...
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You're right, Moriarty. Fox should never have let this guy speak -- the article is fill with inaccurate information about character names, plot, etc. However, people who are ranking on the TIDBIT of score need to relax. Based on the clues Kamen gave as to when the "X-Men theme" will appear, I can assure you it fits in PERFECT context with the scene. Keep in mind as well, this is not just an action film -- Singer has said over and over again it is character-driven.
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May 18, 2000 11:37:15 AM CDT
Sorry, Moriarty, but Daily Radar is not like AICN at all.....
by monkeylucifer
AICN is a fan run site that focuses mainly on movies news and occasional scoops. Daily Radar, on the other hand is a professionally run web magazine that provides info on Video Games, with a little bit of movies and pop culture to boot. "sites like AICN that seem to pop up almost daily" hhhmmmm, Daily Radar has been up and running for some time now, by the way. Sorry old bean, but AICN is not the only source of irreverant news on the net. Oh, and I agree about having someone more cutting edge do the soundtrack for X-Men. The Dust Brothers' soundtrack for Fight Club was an outstanding example of how modern electronic music can score a film.
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And thanks for putting X-men in
the header to get people to read
this completely uninteresting piece...... -
May 18, 2000 12:16:15 PM CDT
Uh oh, I guess I fall into that dreaded crossover category. The
by smapdi
I saw Road Trip last week at a free screening and yes, it is a guilty pleasure. I love Tom Green and find him to be the comedic terrorist of our generation. And while he wasn't in the movie enough, the movie itself wasn't so bad. But here's the thing, I am really looking forward to Small Time Crooks. So Moriarty, what does that say about me? I can appreciate Tom Green and Woody Allen. I even like "Strangers with Candy" a show that no one else I know likes. But to quote someone else, "I enjoy all the meats in our cultural stew" Timmah!
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May 18, 2000 12:40:02 PM CDT
CINEMA PARADISO Is one of the best and most touching films of al
by say no more
If Captain Corellis Mandolin is anywhere close to Cinema Paradiso, wow! that will be a film for the ages.
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What the hell was that? A Jam-Packed column? Give me a break, like you're raining manna from heaven each time you squeeze out another turd-paragraph? Moriarty, if this were a real news publication, you would have been thrown out on your ass a long time ago for your incessant habit of abandoning serial columns (should we mention the 90's retrospective again? Ahh, who cares what you think, anyway), the endless Part 1 of 2's whose follow-ups never materialize. And let's not forget your Hall of Shame entry "Lucasfilm raped my Mid-Life Crisis", or "I'm A Fucking Crybaby and Harry Can't Play If I Can't, Let Alone The AICN Readers". *** Secondly, why are you giving us music tips? Like I come here to see your suggestions for my CD player? I don't think so. I spent over 5 years trying to forget I ever heard a note of Blind Melon's sonic mess, and you come here and remind me. The last time I saw Shannon Hoon he was doing Axl's backing vocals on that great helicopter-spotlit roof in the sky. Maybe if you spent less time recommending bands to deaf ears you'd free up more space for what you're supposed to be doing. Did I mention the new Pearl Jam album rocks? Garage-style? *** As for Penelope Cruz, anyone who bothered to see the magnificent All About My Mother should already know who she is. ANd from what I've heard, Matt Damon now knows her in the biblical sense (and I ain't talking David & Goliath. Think Jonah & the Whale) *** Michael Kamen: God, do we have to mention this Longhair all the time? What an overrated loser. He's not even one of the 10 best film composers working today. That song from Robin Hood was one of the worst singles unleashed on the American public. Bryan Adams? What a crooner. "Everything I dooooo...." Uggh. *** Lastly, PLEASE take Moriarty's advice and watch (or tape and watch) the Dekalogue on Sundance (or buy the DVD for christ's sake), and treat yourself to possibly the best visual work done in the 80's (that and The Singing Detective). It's a made-for-TV experiment that makes The Kingdom look like Friends. Here's a quote from the back of the DVD package, courtesy of STANLEY KUBRICK himself: "These films have the very real ability to dramatize their ideas...with such dazzling skill, you...don't realize until much later how profoundly they have reached your heart." WOW. Part 5, Thou Shalt Not Kill, simply outdoes Dead Man Walking in half the time. Absolutely brutal. How about this quote from Kenneth Turan: "No one who takes film at all seriously can have any excuse for missing it." Damn! Talk about throwing down the gauntlet. Are you up to the challenge? Bow down before Kieslowski, possibly the greatest filmmaker of the second half of the 20th century. Okay, I'm done.
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If you hold Moriarty's opinion in such low regard, then why take him to task over the infrequent posting of his articles? I will, however, agree with you on THE DECALOGUE. The meditation on adultery, set around Christmas, is simply transcendent. Unremittingly lugubrious until that final, quietly revelatory moment. Cinema had no more astute explorer of the human condition than Kieslowski, and, sadly, there is no heir on the horizon (well, maybe Egoyan.)
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That was an incredibly thrilling and exciting Rumblings from the Lab. Sincerely, Marcus Allen CBS Sports
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I saw this last Friday and while it's not as good as American Pie(the end falls to peices...) it's not bad..plus u get to see Amy Smarts boobies and other equally good boobies..though the black girl in the shower room's boobies kinda scared me...I think it was the nipples...Maybe it was just me---El"boobies are my friends"Ryano
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Road Trip is what movies should be...entertaining and an escape from reality...not that it's the best movie ever made...because it's far from it, but it's a good two hours spent away from the daily grind....
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Blind Melon sucked. And Blind Melon with a new singer, more agressive guitars, and a new name sucks too. I realize that I'm making a snap judgement based off of the three songs I heard, but nothing about those three songs made me want to listen to anything else by them.
Also Moriarty, you might want to actually investigate a website a bit more before you try to dismiss it as some AICN rip-off. Daily Radar is a site that I go to daily for their in depth video game coverage and not because they also happen to throw in some showbiz news. It's kind of funny though, because I've actually seen them beat AICN to a scoop several times. Sad considering that movie news isn't even what their site is about. -
Where the hell did she end up at? I mean I know in the video for "tones of home" she was an old woman...but what happened between the time of dancing in the field with the other bees(my guess is they were from some mental hospital on a field trip-that joke works on a lot of levels..can u name em all)and when she is an old woman? I think that maybe we can find out with this new band here...I just wish the same could be said for the remaining members of Sublime getting together a new band,but I saw them on the Mtv music awards awhile back and it was obvious that the guy who shot himself was the brains of that group...and what happened to the other guy in Nirvana?---El"I want my MTV!"Ryano
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Hey i sent this story awhile back they didn't mention it but if u go to ignmovies.com or dark horizens they have the Final Fantasy Trailer up...theres no sound but it looks nice indeed.....
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Hey whatever works for you, man. At least she made you comb your hair for once. Stick with Harry; anyone looks good standing next to him.
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Hi its sean. i just wanted to mention one more time that marvels best bet for the spiderman soundtrack is world renoun, Dj Sasha!!! He has done work with madonna and others, and his style is perfect for the marvel universe. if you listen to his global underground cd's they will instantly remind you of the dark sights of the city...hense: SPIDERMAN!!!!! HIS MUSIC WILL WORK LIKE MAGIC UPON YOUR EARS. TAKE MY WORD FOR IT, SASHA WILL WIN!!!
SEAN -
May 18, 2000 9:38:36 PM CDT
Wuh??Why would illicit toe sucking make me wanna take a shower??
by user id indeed!
We all saw it in From Dusk Till Dawn,and afterwards all I did was wash my hands,and that's just because I spilled Pepsi.Illicit?From what I hear,it's just a two-second interlude with some horny foot fetishist on a bus.Yes,that's my two cents,and there you are.This has been a Not Exactly Dead....More Like Rotting Moment w/User ID Indeed!
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Uhm, your judging it based off of that? One thing is that that wasnt a scoring session, he was playing a keyboard driving a sampler rig. Just listen to the sound, its pretty obvious. You can even hear where he screws up PLAYING one of the themes back.
Anyhow to flame him for hearing that is pretty ignorant. Im sure if you heard "Unified theory" while they were writing their music, before the laborious process of recording mixing and mastering their music on a decked out pro tools rig, you would have probably called them a garage band with that mentality. Flame him all you want for his prior work, i happen to be neutral concerning his stuff, but dont rip a work in progress. And as far as the argument of "well he shouldnt have let it get out then", i personally enjoy hearing parts of the evolution of film music. Remember most great pieces start out as doodling on a piano anyhow. -
Yes, this is a much have for those who love film. I bought the DVD set and while it would have been nice to have some extra features (interviews, etc) I feel very fortunate to own it. For those of you who have not seen The Decalogue or Red, White, or Blue....get out and see it!
Thanks Moriarty
~Shelly -
As to who should score X-Men (or just about anything else), allow me to put forward in this low-key venue a name most of you will never have heard: Yoko Kanno.
This little lady is Japan's newest superweapon in the Culture Wars, and her first soundtrack salvo arrives this fall when Fox broadcasts "The Vision of Escaflowne". This should establish that there's John Williams, Yoko Kanno-- and all those other guys.
You heard it here first. America's ears are in for a treat. -
I just downloaded 'Distant Early Warning' before reading this. Wotta great song. Heh. "It's a beauty way to go." As for the X-Men score, I'm gonna hold my opinion until I've actually heard the real thing!
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