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Tagged with “film:title” (220)

  1. #42 – Back to the Future – Settling the Score

    It’s about time! Jon and Andy finally get around to Alan Silvestri’s score for the hit 1985 sci-fi comedy adventure Back to the Future. What does its main theme have in common with some other memorable movie melodies? How does a film’s score have to breathe with its editing? And, where we’re going, do we need roads?

    https://www.settlingthescorepodcast.com/42-back-to-the-future/

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  2. #32 – Batman – Settling the Score

    Holy film score discussion, this time it’s Batman! Join Jon and Andy in Gotham City as they talk about Danny Elfman’s classic 1989 score. How does Elfman sell the sound of a dark comic book world? What peculiar path led him to film music in the first place? And, is this the best movie theme ever written on an airplane?

    https://www.settlingthescorepodcast.com/32-batman/

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  3. #41 – North by Northwest – Settling the Score

    George Kaplan? No, you must be mistaken, I’m an episode about Bernard Herrmann’s score for the 1959 madcap wrong-man adventure North by Northwest. What’s behind Herrmann’s extremely process-derived writing style? Does this movie really make any sense, and what can the music do about it? And, what did this movie inspire Jon to attach to himself?

    https://www.settlingthescorepodcast.com/41-north-by-northwest/

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  4. #45 – Terminator 2: Judgment Day – Settling the Score

    We’re back, with Brad Fiedel’s score for 1991’s box office champion, Terminator 2: Judgment Day! How did the improving technology change Fiedel’s approach between the first movie and its sequel? What’s the unexpected provenance of some of the score’s key sounds? And, why are we still talking about Henry Mancini?

    https://www.settlingthescorepodcast.com/45-terminator-2-judgment-day/

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  5. Science(ish): Arrival

    The boys start the new series with a bang. And a new format. One question, one scientist, plenty of relatively well-informed chat. To kick off, Rick and Michael go extra-terrestrial with 2016’s linguistic thriller ‘Arrival’. We’re talking a hundred words for snow, we’re talking babies on an island, and we’re talking (not so) Universal Grammar.

    Featuring: Dr Jessica Coon

    https://www.radiowolfgang.com/s/scienceish/arrival

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  6. Science Movie Club: ‘Arrival’

    The 2016 movie ‘Arrival,’ an adaptation of Ted Chiang’s novella ‘Story of Your Life,’ captured the imaginations of science fiction fans worldwide. Field linguist Jessica Coon, who consulted on the film, breaks down what the movie gets right — and wrong — about linguistics.

    https://www.npr.org/2020/08/12/901705799/science-movie-club-arrival

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  7. Weird Studies Episode 75: Our Old Friend the Monolith: On Stanley Kubrick’s ‘2001: A Space Odyssey’

    JF and Phil discuss a film they’ve been bringing up since the beginning of the podcast: Kubrick’s masterful 2001: A Space Odyssey (1968).

    "You don’t find reality only in your own backyard, you know," Stanley Kubrick once told an interviewer. "In fact, sometimes that’s the last place you’ll find it." Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality — or the Real, as we like to call it — in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art.

    https://www.weirdstudies.com/75

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  8. #40 – Titanic – Settling the Score

    This time, Jon and Andy go on and on about James Horner’s score for the 1997 epic disaster romance Titanic. What pop artist did director James Cameron originally want to score the movie? What powerful chord change is a keystone of both the score and the movie’s famous song? And, just how many famous paintings have actually been on the bottom of the ocean this whole time?

    https://www.settlingthescorepodcast.com/40-titanic/

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