old movies for the win

Happy Feet is now available on Netflix.

Reminder that this 10 year old Oscar winning animated movie isn’t just “cute dancing penguins” its entire film is about separation of Church and State. Political, Educational and religious corruption. Cults and Environmentalism. all in a way little kids can understand.

-I guess the director caught on to his intense story telling because he later went on to direct: Mad Max: Fury Road

-The animation is 10 years old and still looks better than alot of modern CGI films being made in 2016-2017

-Mumble has Autism Spectrum Disorder. His son Erik, has Anxiety disorder

-the two krill in the second movie Bill and Will are gay. They are voiced by Brad Pitt and Matt Damon. “Were both men.” “We’ll adopt!”

-The creators did there research. Almost all the creatures are scientifically accurate and built their culture around their natural behaviors in the wild. My only complaint was that with emperor penguins, their is actually a imbalance of too many females for every male so the high priests and the scenes where the woman are being followed by huddles of men would be gender swapped.

-Alot of people think the Adelie penguins are racist because of their Spanish accents and Hispanic culture but heres the thing. the southern most human settlement in the word (before science bases on antartica) is Chile….they speak Spanish there. Geographically speaking it makes sense

-Initially, Prince refused to allow the use of his song, “Kiss”, for the film. However, after seeing footage of the film, he not only changed his mind and allowed the song to be used, but also wrote an additional original song for the film to use in the closing credits.

-Robin Williams, Brittney Murphy, and Steve Irwin are all lead voice actors that passed away after working on the film

-Norma Jean and Memphis are obviously named for Marilyn Monroe and Elvis Presley. Elvis lived in Memphis, Tennessee and some of Memphis’s movements are like his. Norma Jean is Marilyn Monroe’s birth name and Norma Jean sings like her.

For Composer Michael Giacchino, It’s ‘Spider-Man: Homecoming’ vs. ‘War for the Planet of the Apes’

With this month’s one-two punch of “Spider-Man: Homecoming” and “War for the Planet of the Apes,” it’s clear why Michael Giacchino has become Hollywood’s go-to composer. He once again delivers both the loud and quiet musical passages with force and grace, making him the master of superhero and animated movies.

“You need the quiet time in order for the louder times to mean something,” Giacchino said. “This is good for the audience, too. It pulls them in.”

Indeed, ever since Pixar’s “The Incredibles,” the 49-year-old composer has moved freely between animation, sci-fi, and superhero movies, winning the Oscar for Pixar’s “Up.” Along the way, Giacchino has also conquered the Disney (“Zootopia”), Marvel (“Doctor Strange”), and “Star Wars” (“Rogue One”) universes, working four times with J.J. Abrams (“Star Trek”), Bird (“The Incredibles”), and “Apes” director Matt Reeves.

With “Homecoming” and “War,” however, Giacchino experimented outside the box with unorthodox orchestration and instrumentation. And, with its haunting sense of melancholy, “War” is already being talked up as an Oscar contender ahead of this week’s release (stream the original score here).

Giacchino immediately made his mark on both movies by ditching his Marvel Studios fanfare for “Homecoming” and inserting the theme to the original 1967 “Spider-Man” animated series, and replacing Alfred Newman’s 20th Century Fox fanfare with his own thunderous Apes version for “War.” In each case, this plops us immediately into the worlds of Tom Holland’s younger Spidey and Andy Serkis’ world-weary Caesar.

Music Fit for a “Homecoming”

The moment Giacchino walked out of the screening of “Captain America: Civil War,” he knew he wanted to score “Homecoming,” and immediately made his pitch to Marvel president Kevin Feige before leaving the theater. “I love that clumsiness of the character, that wanting to run into the fray of things without even thinking, as a teenager would,” he said. “And I love that so much of it took place in his [high school] world, where even he was tortured by the other kids and not just by these supervillains.”

To convey a sense of nostalgic fun, Giacchino utilized the iconic animated theme as his template for “Homecoming.” “I wanted a theme that could be young and turned into something much more heroic and epic,” he said. “So it was important for me to let it grow and get to that point.

Giacchino’s favorite moment has Peter Parker pinned under concrete at a point of no return. “There’s a sadness to the pain and struggle,” Giacchino said. “It was fun to allow the theme to be big and heroic, as opposed to plucky and clumsy, as it had been up to that point.”

Abandoning the John Hughes Tribute Music

Director Jon Watts was fully on board with Marvel’s notion of making a John Hughes-inspired superhero movie, but it didn’t work musically. The ’80s-like synth cues seemed dated, so Giacchino cut them. “We were paying more attention to that idea than what the characters needed,” he said. “But once we reversed course, everything fell into place nicely.”

Giacchino’s unconventional orchestration for a superhero movie also fell into place, with pizzicato violin and weird, plucky guitar sounds. He also relied on a rhythm section that included buckets, odd metal objects, and a plastic oil drum as the kick drum.

Capturing the Vulture

For Michael Keaton’s Vulture, the scavenger arms dealer, who profits from alien tech, Giacchino wrote a Hitchcockian theme. “There are two ideas: low brass that’s big and ready to attack, and this rhythm thing, with low strings on different notes. It’s more of a cluster,” Giacchino said. “It’s this idea that this guy’s a little twisted. You think this guy is going to do the right thing, but then it’s completely not the right thing.”

However, the early, more hopeful version of the theme returns when you least expect it. Vulture opens up all of the artifacts that he’s stealing from a plane and the theme reminds us of what might’ve been. Once again, Giacchino reveals his musical strength for deep emotional connection.

At “War” with Caesar

The composer’s approach to the third “Apes” saga (his second with director Matt Reeves, following “Dawn”) was to treat it almost like a mournful western. Caesar, the leader of the apes, struggles with his dark side at this critical juncture. After suffering personal tragedy and seeking vengeance, there’s no longer any chance for peaceful co-existence between apes and humans.

Giacchino explores this in the sublime “Exodus Wounds,” comprised of piano and strings before swelling with brass toward the end. “Caesar’s been on a crazy journey, and I was inspired seeing him grow and struggle,” the composer said. “It’s heartbreak…and how close you skate to those lines that you try to avoid in your life.”

An Ode to Nova

Along their journey, the ape tribe adopts Nova (Amiah Mille), a human war orphan. She’s a nod to Linda Harrison’s Nova from the original “Planet of the Apes” (1968). For this gentle child, Giacchino wrote a simple theme with piano and harp that repeats four times before resolving.

“For me, it was all about capturing this suspended tone of someone who is lost, doesn’t have a family, or anywhere to go, and day after day is the same,” he said. “At the end, there’s a change when she walks into the prison camp, where she finds her strength…helping other people.”

The Colonel as Counterpoint

Woody Harrelson’s ruthless Colonel McCullough represents humanity at its darkest. He declares war on Caesar and the other apes in a desperate battle of survival. “He single-mindedly protects himself after enduring a great deal of personal pain,” said Giacchino. “In many ways, he’s more the animal than Caesar.”

Giacchino relied on musical simplicity. The Colonel’s theme begins with repeated timpani drum hits, conveying the coming of dread. It’s an audience tease, forcing us to be anxious. But it keeps going underneath everything related to the Colonel.

For Giacchino, “Dawn” and “War” have taken him full-circle. As a kid, he watched the “Apes” movies and TV series and collected the toys. Now he has in his office the mixing bowls and ram’s horn used for the original “Planet of the Apes” score composed by the legendary Jerry Goldsmith.

“It’s a blast, having them right here and getting to use them again,” said Giacchino about continuing the legacy with his own passionate contribution.

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enchantingimagery  asked:

Thanks for replying. I'm genuinely interested in debate, & I like to hear other people's views even when I hold a different perspective. I think the main issue is that Jupiter's choices & actions are framed in such a way that they don't always seem as significant as they should. Jupiter spends the film being manipulated & perceived as another woman, and in the final act she gets a chance to reject that treatment and asset herself. While some will see it as too little too late, it worked for me.

Well, in the interests of debate, I can think of quite a few simple things JA could’ve done to make its story simpler, easier to follow, and stronger.

1. We’re told that Jupiter is smart and brilliant, but the first thing she actually does in the movie is agree to her cousin’s ovary deal where she gets only one-third of the profit. I get it, they’re hating on the ebils of kapitalism, but it makes our heroine look like a bit of a wet noodle when the scuzziest idiot in the movie manages to get one over on her.

2. There’s no reason for there to be three Abraxas sibs. I get that they’re probably going to do something important in the following movies–hell, three siblings, three movies in a trilogy, three villains, got it. But there’s not going to be a JA2 and 3 if the first one isn’t strong. Better by far to conflate Titus and Kalique into one character. Make him/her the surprise villain of the thing, but after we’ve had some time to buy that this character isn’t a total scumbag. As it is, the movie’s kinda “Hi, I’m Titus, and I’m nice! Wait, NO I’M NOT!" Say that Caine knows that his boss has a sinister plan for Jupiter and then be conflicted about going along with it. Eventually betraying Kalique to help Jupiter. You know, a character arc?

3. Show Jupiter’s intelligence by having her use the system against her enemies. Now, the downside of this is that you end up with the Star Wars prequels thing of intergalactic property law, which has to come down to someone getting shot since this is an action movie. But still, there can be a simplistic, elegant way of putting this into terms that can be solved with laser guns.

This is my first-draft idea. Jupiter, Balin, and our conflated Kalique/Titus character all own one-third of Mama Abraxas’ holdings, and it takes a two-third majority to approve any major action such as the harvesting of Earth. K/T suggests a marriage/business merger so that he and Jupiter can put a stop to all of Balin’s harvesting with their two-third majority (I say ‘business merger’ in case the subtext of Kalique 'marrying’ Jupiter only as a pretext to kill her is too much of a negative lesbian stereotype. It’s an easy change.) However, K/T plans to kill Jupiter after their relationship is formalized, own the two-third majority all by her lonesome, and freeze Balin out to control the galaxy.

With Caine’s warning, Jupiter sets up a counter-plan to recruit and/or assassinate Balin so that she and he will have the two-third majority and be able to stop Kalique. See, if Balin is killed, his holdings are put into trust until his genetic recurrence (like what happened with Jupiter), and with Jupiter and Kalique both voting against each other, the Earth is safe.

There, I came up with that in five minutes, and I think it’s pretty easy to understand. You can keep the story almost entirely the same, with Caine’s rescue of Jupiter leading to a fight inside the planet Jupiter, but here it’s Jupiter going to Balin with an offer to either get him on her side or sneak Caine in to assassinate him. Jupiter using her brain to double-cross Balin when he tries to double-cross her. Fair enough?

We end the movie with Balin dead, the Earth safe, and Kalique/Titus vowing revenge.

4. Make the Space Dragon Guy more of a threat. I guess he’s supposed to be Darth Vader to Balin’s Emperor, but he just seems like another anonymous henchmen who gives Caine a slightly tough time. I’m not saying he needs to kill Caine’s father or anything, but why not have him lead the bounty hunters who are competing with Caine? Give them a bit of rivalry. Let Dragon Guy kick Caine’s ass a little so their final fight is more satisfying to the audience. Have him kill Stinger in battle to prove what a badass he is. Think of how cathartic Agent Smith’s fight with Neo was at the end of The Matrix. Now imagine that showdown was the first time they’d ever seen each other.

5. Combine the Aegis and the Legionaires and the Skyjackers into one group. I’m still not sure how all those groups relate to each other, but it seems pretty easy to explain 'Stinger and Caine were elite space cops, but were disgraced and court-martialed.’ That would also give their interactions with the Aegis more weight. Caine has a stronger arc if, throughout the movie, he’s winning back the respect of his old unit until finally he redeems himself.

6. By the way, they could’ve gone with a–faintly nonridiculous look for Caine. They give Stinger something as subtle as hexagonal eyes, why couldn’t they have gone with a look like in this concept art?

That actually suggests 'wolf/man hybrid’ a lot more than the final film does and looks slightly dignified. He’s already a winged space wolf hybrid cop bounty hunter–does he really need to be an albino too?

7. As it is, Kalique has a very odd sequence in the movie where she shows up, she’s BFF with Jupiter, she dumps all this exposition on her, then she peaces out while Jupiter is passed like a chit between Balin and Atticus. Again, goes back to my former point, but why not have her say right off the bat what the goo is and that she’s trying to stop the harvesting? Handled right, this could be like The Matrix, only if Morpheus had then turned around and revealed he was only using Neo for his own personal gain. That’s a pretty good subversion. It also keeps things moving fast and tight. 

8. What else… oh, the ending. To quote a message board I go to…

Man, imagine this film’s ending in the context of The Matrix.
Morpheus: Tank… have you seen Neo?
Tank: He’s in The Matrix.
Morpheus: What’s he doing?
Tank: You’re not gonna believe this… he’s showing up to work on time. 
Then Neo takes a coffee break and flies around his new girlfriend Trinity.

Why not say that Jupiter has 'discovered’ one of the technological wonders she saw in outer space–such as the healing spray–and has used it to become rich. You can show how foolish her family is for spoiling themselves rotten, and then Jupiter being less materialistic and helping people with her new fortune. You can even keep up the motif and have her clean her own toilets. Just something to show her applying a lesson that isn’t "be happy with your shitty life so long as you have a boyfriend.”

anonymous asked:

;0 i love ur posts. hmmmm companions on halloween?!

Thank you!
Preston: Loves it. Dresses up and decorates with left over things. Borrows the survivor’s general uniform for his costume.

Piper: Dresses up as well and passes out candy to the kids of diamond city, gives them a newspaper with their candy as well.

Cait: She’s just there at the halloween party so she can get drunk. That’s also her costume: Drunk.

Curie: She’s fascinated by the human ritual of dressing up and going door to door for candy and treats. Dresses up as a lab beaker.

Codsworth: Reminds him of before the war and helps decorate the best he can. Offers to pass out candy and makes sure the other companions don’t make a giant mess.

MacCready: Love Halloween. Has a major sweet tooth so he sticks around the candy and treats. Also dresses up as a super hero from one of his favorite comic books and stays in character around kids that come to the door to get candy.

Danse: Doesn’t get Halloween and his costume is his power armor. Though the survivor swears they saw a few candy wrappers fall from his power armor. He denies it all.

Deacon: Halloween is HIS SHIT. Probably changes his outfit several times in the night. By the end though he’s dressed as a conga line dancer and is drunk with Cait.

Hancock: Says Halloween is just like every other day for him. Also goes to parties and gets drunk.

Valentine: In his office waiting for missing persons’ to come flowing in. It happens every year and he still doesn’t get how people end up on roofs that have locked doors.

Strong: Not enough food. Survivor tells him where Halloween came from and he wants those traditions back.

X6-88: Not big into the party or anything really, but the survivor just says he’s dressed as a spy from an old movie to keep him included.

Dogmeat: is entered in a cutest costume contest. He wins at the disapproval and many mothers.