Latest / Movie Meltdown / Attack of the 2023 Oscar Nominees!

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Attack of the 2023 Oscar Nominees! · Movie Meltdown

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  Speaker 4: It's time for Movie Meltdown's Attack of the Killers soundtrack.
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  Speaker 2: The live transmission has begun, and we're into the final.
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  Speaker 5: Hour of hell.
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  Speaker 4: What's up and welcome to movie meltdowns attack of the
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  Speaker 4: killer soundtrack i am brian and joining me i said
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  Speaker 4: to you on our email we've gone around the sun
• 1:40
  Speaker 4: one more time back again joining me is eric stem
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  Speaker 4: for our annual event whether we like it or not
• 1:48
  Speaker 4: i don't know but Sooner or later, we've decided. I
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  Speaker 4: try to give you the out. Every year, I'm like,
• 1:54
  Speaker 4: have you come to your senses yet? I'm like, yeah, okay.
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  Speaker 1: What can I say? No, he's too nice.
• 1:59
  Speaker 4: Oh, man.
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  Speaker 1: All right, here we go.
• 2:00
  Speaker 4: I try to let you escape every year, and you're like, okay.
• 2:03
  Speaker 1: At some point, I'm going to say, hey. No, I'm
• 2:06
  Speaker 1: just kidding.
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  Speaker 4: I have a real life, damn it. Right?
• 2:08
  Speaker 1: What's going on here?
• 2:10
  Speaker 4: I know better on my end, so I keep trying
• 2:12
  Speaker 4: to give you the option. But here we are. I
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  Speaker 4: appreciate that. For our Oscar spectacular. So every year we
• 2:20
  Speaker 4: get together around this time and we discuss all of
• 2:24
  Speaker 4: the nominees, both song and score, for the Oscars. Nominees
• 2:33
  Speaker 4: each year for the Oscars. So we're back once again.
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  Speaker 4: You never really know what you're going to get, except
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  Speaker 4: for one person. That's right. We won't open with her,
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  Speaker 4: but we'll be there in a minute.
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  Speaker 1: So, for those who heard, you probably know exactly what
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  Speaker 1: Brian is talking about. So, yeah, this is.
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  Speaker 4: I mean, I decided to at least address it a
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  Speaker 4: little bit as we get there this year. So, there's
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  Speaker 4: some things we're going to discuss, and we'll get to that.
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  Speaker 4: But we usually bounce back and forth, so we will
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  Speaker 4: start with score first. So, first up is... American Fiction, right?
• 3:09
  Speaker 6: American Fiction.
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  Speaker 1: You want to talk about that?
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  Speaker 5: Yeah. Yes.
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  Speaker 4: Composed by Laura Karpman.
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  Speaker 1: Laura Karpman, yeah. And.
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  Speaker 4: Yeah, this is the overall score to American Fiction.
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  Speaker 7: © transcript Emily Beynon piano plays softly piano plays softly
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  Speaker 7: piano plays softly piano plays softly Thank you.
• 6:03
  Speaker 3: Thank you.
• 6:29
  Speaker 7: Thank you. Thank you.
• 8:01
  Speaker 1: So American fiction. Yeah, this is, um, this was a really, uh,
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  Speaker 1: really great. One of my favorite, I think of, you know,
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  Speaker 1: I had actually many favorites, uh, In this list that
• 8:11
  Speaker 1: was amongst the nominees this year, because I thought they
• 8:14
  Speaker 1: did a really... Usually it's like you get really a
• 8:17
  Speaker 1: good one or two, but I think there was a
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  Speaker 1: lot of really great ones this year.
• 8:21
  Speaker 4: I also feel like it's super eclectic this year. Yes.
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  Speaker 4: It's a lot of Oscar-sounding stuff a lot of years,
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  Speaker 4: and then this year is very different stuff.
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  Speaker 1: Right, exactly. Yeah, you have your epic orchestral score. you
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  Speaker 1: have jazz, which is this one you have, and then
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  Speaker 1: a very unique style, which we'll talk about a little bit,
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  Speaker 1: but yeah, everything is different and they all are good in,
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  Speaker 1: in that difference. It's not just, you know, all this
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  Speaker 1: is different and it's bad. So that's why I think
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  Speaker 1: this year is for me, if I were actually voting
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  Speaker 1: on who's going to win the original score, gosh, this
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  Speaker 1: is going to be a tough choice for whoever's on
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  Speaker 1: that committee.
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  Speaker 6: Yeah.
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  Speaker 4: So a little more of a challenge again, because it's,
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  Speaker 4: I don't know. Does that make it better or worse?
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  Speaker 4: It makes it harder to pick a lane, I guess,
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  Speaker 4: because there's so many distinct options. Right. But then they're
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  Speaker 4: almost not competing with each other in style because they're
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  Speaker 4: so different. So I don't know.
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  Speaker 10: Right.
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  Speaker 4: They're both a challenge.
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  Speaker 1: And I think it makes it better for the movie industry.
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  Speaker 10: Yeah.
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  Speaker 1: Because then you have, I think we, in the past,
• 9:24
  Speaker 1: I would say four years out of the, I guess
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  Speaker 1: we've done this five or so, something like that.
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  Speaker 4: It's been a while.
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  Speaker 10: Yeah.
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  Speaker 4: I know how long we've been doing this series overall.
• 9:34
  Speaker 4: I'm trying to remember when you got roped in. We'll
• 9:35
  Speaker 4: get back to that in a minute, too. But it's
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  Speaker 4: definitely been about five years.
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  Speaker 1: The last four years have been really good picks here. So, yeah,
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  Speaker 1: starting with Laura Cartman. So just right off the bat,
• 9:48
  Speaker 1: for those who don't know Laura, she's obviously an American composer,
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  Speaker 1: but she's done a lot of stuff. She's done film, television,
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  Speaker 1: video games, theater, and also has done several works in
• 9:59
  Speaker 1: the concerto.
• 10:00
  Speaker 5: Hall.
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  Speaker 1: She's Juilliard trained, so she was primarily a jazz player,
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  Speaker 1: but also a scat singer as well. So she would
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  Speaker 1: do scatting in bars at night and kind of like
• 10:11
  Speaker 1: jazz player during the day kind of thing. And she
• 10:14
  Speaker 1: and her husband, this is an interesting one of those
• 10:16
  Speaker 1: who know the avant-garde composers of early 20th century, she
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  Speaker 1: studied with Milton Babbitt, who was a composer known for
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  Speaker 1: this approach to music that was very, I guess, quite
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  Speaker 1: new at the time, but serialism and total serialism. He
• 10:34
  Speaker 1: used to call himself a maximalist. In other words, he
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  Speaker 1: would just use all kinds of um, you know, the
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  Speaker 1: extended techniques that a voice and, or an instrument can
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  Speaker 1: make and the most, uh, most, uh, you know, complicated way.
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  Speaker 1: And so it's, um, certainly, uh, stretches the boundaries of,
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  Speaker 1: of music. And she kind of brings that to the
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  Speaker 1: table here in, in some of the tracks of which
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  Speaker 1: I thought was pretty cool. But anyway, um, she is, uh,
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  Speaker 1: I would say hits on a lot of diverse jazz
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  Speaker 1: elements and a lot of her tracks. Like, So you
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  Speaker 1: hear a lot of post-bop, you hear a lot of
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  Speaker 1: hard bop and free jazz. There are some big band
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  Speaker 1: elements that are sort of reminiscent of swing, which is
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  Speaker 1: kind of cool. And the thing is, is that like
• 11:19
  Speaker 1: you get that for the first four tracks, but then
• 11:21
  Speaker 1: all of a sudden, if you listen to Humans Remain,
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  Speaker 1: for instance, that all of a sudden opens up a
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  Speaker 1: world of this very orchestrated atmospheric work that's more contemplative
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  Speaker 1: and lush, you know, and it's atmosphere i guess in
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  Speaker 1: nature and so i kind of thought that was you
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  Speaker 1: know at first i was thinking well there's this movie
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  Speaker 1: is going to be dominated by you know primarily the
• 11:45
  Speaker 1: jazz style which which makes a lot of sense but
• 11:47
  Speaker 1: then she goes off and does different things and i
• 11:50
  Speaker 1: like some of what really kind of um you know
• 11:53
  Speaker 1: as a composer myself what i really appreciate were tracks
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  Speaker 1: like bookstore and drips because they start out very harmonically
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  Speaker 1: um daring you know and then they uh so like
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  Speaker 1: for example drips for instance gets gets into this kind
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  Speaker 1: of pointillistic approach in music and then all of a
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  Speaker 1: sudden it opens up to this very lush atmospheric string
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  Speaker 1: orchestra you know kind of sound and it's uh it
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  Speaker 1: it shows the two different worlds that laura is as
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  Speaker 1: a composer but also just you know that she's presenting
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  Speaker 1: in this um in this movie which i thought was
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  Speaker 1: probably one of the coolest parts of the score is
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  Speaker 1: that it's two worlds coming together.
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  Speaker 4: When it first started, I think I really got into
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  Speaker 4: it and I kind of liked it as the sort
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  Speaker 4: of smooth jazz way that she was taking it. As
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  Speaker 4: it went on, I feel like, and maybe, I don't know,
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  Speaker 4: I listened to quite a bit of it. I was
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  Speaker 4: kind of going through the whole thing and I still,
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  Speaker 4: I think I wanted more of a bebopping kind of jazz.
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  Speaker 4: I think it does kind of get into almost like
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  Speaker 4: from the film end of it, almost like interstitial music.
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  Speaker 4: It's almost like, here's what he is when he's walking
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  Speaker 4: down the street, heading to the next location. I feel
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  Speaker 4: like some of it is just sort of going on
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  Speaker 4: in the background, which I know we kind of address
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  Speaker 4: every year. It's like, how much does the music move
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  Speaker 4: to the forefront and should it, versus how much does
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  Speaker 4: it sort of just exist behind your characters and their
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  Speaker 4: actions and all of that. So I feel like this
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  Speaker 4: definitely kind of worked as like, what's going on in
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  Speaker 4: the background while our character is doing whatever, but then
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  Speaker 4: I was once again trying to be like, do I
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  Speaker 4: want to listen to this by itself as a piece?
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  Speaker 4: I don't know, I don't know how much, again, I
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  Speaker 4: think it's impressive as it starts, but as it went on,
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  Speaker 4: I didn't notice as many changes as, like, I feel
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  Speaker 4: like the last couple of years we've had some really
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  Speaker 4: big jazz wins that were, like, kind of big and
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  Speaker 4: went into totally different places, where this is Yeah.
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  Speaker 1: Like Terrence Blanchard did that in some of the films
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  Speaker 1: that were nominated.
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  Speaker 4: I feel like this one sort of stuck to that
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  Speaker 4: basic thing that it does, and it did it really well,
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  Speaker 4: but I don't know. I think it would get kind
• 14:02
  Speaker 4: of slow if you were just sitting around listening to
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  Speaker 4: this for hours on end.
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  Speaker 1: Yes, certainly. I agree that if you look at the
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  Speaker 1: whole score in total, you would see a lot of
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  Speaker 1: the tracks are, like you said, it's this... it's not
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  Speaker 1: meant to get in the way of the narrative. And
• 14:21
  Speaker 1: so you're, you're definitely, she's definitely choosing to, to do
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  Speaker 1: this more of a backtrack to, you know, the scene
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  Speaker 1: around it. But, you know, what's interesting, you know, if
• 14:30
  Speaker 1: you again, go back to say bookstore or drips, you know, you'll,
• 14:34
  Speaker 1: you'll find that it's interesting to listen to just a,
• 14:37
  Speaker 1: you know, musically speaking, because the way she uses the,
• 14:42
  Speaker 1: the instrumentation, the way she uses the, The melodic lines,
• 14:47
  Speaker 1: you can get something out of that, I think. Because
• 14:50
  Speaker 1: a lot of times composers will, if they're not really
• 14:52
  Speaker 1: interested in weaving compositional elements in a really complicated way,
• 14:57
  Speaker 1: oftentimes they'll just lay down some chords or chord progressions,
• 15:01
  Speaker 1: and it will just kind of be there. But there's
• 15:04
  Speaker 1: nothing really musically evolving out of that. And I think
• 15:07
  Speaker 1: I'll give her kudos. And even the backtrack-y type of stuff,
• 15:12
  Speaker 1: it does have things that evolve.
• 15:15
  Speaker 4: Musically.
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  Speaker 1: And so I kind of like... I'm maybe 80% leaning
• 15:21
  Speaker 1: towards this would be a good thing to listen to
• 15:23
  Speaker 1: by itself.
• 15:23
  Speaker 9: Yeah.
• 15:24
  Speaker 1: You know, so... But I hear what you're saying.
• 15:27
  Speaker 4: As I was listening to it, I was like, at
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  Speaker 4: its best moments, I think it's almost trying to evoke
• 15:32
  Speaker 4: like a Vince Giraldi sort of thing, which is a
• 15:36
  Speaker 4: huge compliment for me because I'm like, that's one of
• 15:38
  Speaker 4: the few people that like, in that type of music,
• 15:41
  Speaker 4: I would... Which again, he's like... the king of that
• 15:45
  Speaker 4: type of music. Like somebody who like defined a sound
• 15:48
  Speaker 4: more or less and like just knew how to do
• 15:51
  Speaker 4: it his whole career. And so like in its best moments,
• 15:54
  Speaker 4: I think it is doing that where it's bringing about
• 15:56
  Speaker 4: like almost its own playfulness to the background, you know, and,
• 16:00
  Speaker 4: and not overshadowing what's going on, but still kind of
• 16:04
  Speaker 4: doing its own thing. I don't know that all of
• 16:06
  Speaker 4: the tracks were that for me, but I was like
• 16:07
  Speaker 4: at his best, like I will give that, that huge
• 16:10
  Speaker 4: compliment that I'm like, I think when it works it's,
• 16:12
  Speaker 4: it definitely has that kind of style to it that
• 16:14
  Speaker 4: is trying to kind of do its own thing and
• 16:17
  Speaker 4: have a fun sort of playful quality to what's going
• 16:20
  Speaker 4: on in the music. Right. Absolutely. Yeah.
• 16:23
  Speaker 5: Yeah.
• 16:24
  Speaker 4: All right. Are we ready to switch gears to song?
• 16:30
  Speaker 4: The fire inside the fire inside. Let's just get right
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  Speaker 4: to it before I start my complaining.
• 16:37
  Speaker 1: I can see the smoke coming out of your ears
• 16:38
  Speaker 1: from the fire inside.
• 16:40
  Speaker 4: You know, The Fire Inside from the movie Flaming Hot,
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  Speaker 4: sung by Becky G. Music and lyric by Diane Warren.
• 16:50
  Speaker 9: Oh, you got places to go. You're not going there slow.
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  Speaker 6: Oh, no, no, no, no, no.
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  Speaker 9: They will tell you you're crazy.
• 17:02
  Speaker 6: They will call you a fool.
• 17:05
  Speaker 9: They will think they can stop you, but there's no
• 17:08
  Speaker 9: stopping you. They can't put out what you got inside you.
• 17:14
  Speaker 9: No way to put out that flame. Nothing can hold
• 17:20
  Speaker 9: you back.
• 17:21
  Speaker 6: .
• 17:28
  Speaker 9: .
• 17:30
  Speaker 6: .
• 17:32
  Speaker 7: .
• 17:39
  Speaker 9: .
• 17:40
  Speaker 7: .
• 17:46
  Speaker 6: .
• 17:52
  Speaker 9: We'll be right back. No one can kill your life
• 18:26
  Speaker 9: When you got the fire inside When you got the
• 18:29
  Speaker 9: fire inside And.
• 18:31
  Speaker 7: Oh, you're gonna own this life Cause.
• 18:36
  Speaker 9: You got the fire inside Cause you got.
• 18:39
  Speaker 7: The fire, you got the fire.
• 18:48
  Speaker 9: You got the power inside you So let them all
• 18:54
  Speaker 9: laugh You'll have the last laugh They can't put out
• 19:04
  Speaker 9: what you got inside you No way to put out
• 19:09
  Speaker 9: the flame Nothing can hold you back No one can
• 19:13
  Speaker 9: kill your vibe When you got the fire inside When
• 19:19
  Speaker 9: you got the fire inside And oh, you're gonna own
• 19:23
  Speaker 9: this life Cause you got the fire inside Cause you
• 19:30
  Speaker 9: got the fire, you.
• 19:30
  Speaker 3: Got the fire, oh.
• 19:52
  Speaker 5: All right.
• 19:58
  Speaker 4: So would you, would you like to go through my
• 20:02
  Speaker 4: normal version of complaining first? Or would you like a,
• 20:07
  Speaker 4: a just jaw dropping announcement? Just like years in the
• 20:13
  Speaker 4: making this dark secret that I have. I can share
• 20:16
  Speaker 4: that now if you'd like.
• 20:17
  Speaker 1: Yeah, either or as a, The Secret sounds interesting, though.
• 20:22
  Speaker 4: Here's the thing, and I don't think I realized it
• 20:24
  Speaker 4: until recently. Here's the deep, dark secret. After all these
• 20:27
  Speaker 4: years of complaining about her, I like one of her songs.
• 20:31
  Speaker 1: You're kidding me.
• 20:32
  Speaker 4: I went back over the years, and that's the thing.
• 20:34
  Speaker 4: You have to go all the way back. Oh, I see. Okay.
• 20:37
  Speaker 4: Her very first song that she was nominated for in, again,
• 20:42
  Speaker 4: back to my favorites because I like very classy films,
• 20:46
  Speaker 4: in Mannequin.
• 20:48
  Speaker 1: Okay we're going we're going back that far.
• 20:50
  Speaker 4: Nothing's gonna stop us now is actually written by her
• 20:55
  Speaker 4: now i think this is also a difference it's co-written
• 20:58
  Speaker 4: by her okay so maybe albert hammond who also wrote
• 21:03
  Speaker 4: it with her brought something else to it but i
• 21:06
  Speaker 4: remember at the time really liking that song it comes
• 21:10
  Speaker 4: up again once a week i'll try to mix things
• 21:13
  Speaker 4: up and throw it on some uh your throwback Thursday,
• 21:15
  Speaker 4: throw on the 80s channel. Right. It comes up every
• 21:19
  Speaker 4: time because it's a go-to for that era. And I'm like,
• 21:22
  Speaker 4: you know.
• 21:23
  Speaker 1: So you like 50% Diane Warren?
• 21:24
  Speaker 4: I was like, Starship was already plenty cheesy by the
• 21:27
  Speaker 4: time they became Starship. But this is a fun song.
• 21:31
  Speaker 4: It's poppy as hell. It is not like there's anything
• 21:34
  Speaker 4: to it. But for a cheesy pop song, it is
• 21:37
  Speaker 4: very fun.
• 21:38
  Speaker 8: Right.
• 21:39
  Speaker 4: And she co-wrote it. So I'm just like, all right,
• 21:41
  Speaker 4: all right, let's give her that. And then I look back,
• 21:44
  Speaker 4: I believe even before that, which she, I don't know how,
• 21:48
  Speaker 4: I don't know how Rhythm of the Night performed by
• 21:52
  Speaker 4: DeBarge didn't get nominated for an Oscar because it should have.
• 21:54
  Speaker 4: It was in a film. Right. But she also wrote
• 21:57
  Speaker 4: that like the year or two before that. So that
• 22:01
  Speaker 4: was a fun bop song too. So I was like,
• 22:03
  Speaker 4: the more I went into it, I was like, okay,
• 22:05
  Speaker 4: so maybe she just used to have it and.
• 22:08
  Speaker 1: She lost it.
• 22:09
  Speaker 4: Right. Because if you go back to the mid-80s, I
• 22:14
  Speaker 4: liked her cheesy pop songs.
• 22:16
  Speaker 1: I thought you were going to say that you like
• 22:18
  Speaker 1: this one.
• 22:19
  Speaker 4: No, no. That is too deep and dark a secret.
• 22:22
  Speaker 1: That's a bad secret.
• 22:23
  Speaker 4: And not true. And that's my thing. As I'm listening
• 22:26
  Speaker 4: to it this year, that's what I came back to.
• 22:28
  Speaker 4: I was just like, it starts, and I'm listening to it,
• 22:31
  Speaker 4: and I'm like, of course. It's the same thing I
• 22:35
  Speaker 4: say every year. It's the most straightforward, basic... generic version
• 22:42
  Speaker 4: of a song.
• 22:44
  Speaker 1: Yeah we're talking about the Disney formula not even that.
• 22:47
  Speaker 4: Like I feel like here's what I realized today because
• 22:49
  Speaker 4: I listened to it again today no offense to Becky
• 22:53
  Speaker 4: G she's a fine singer but I was listening to
• 22:55
  Speaker 4: it again and I'm like here's what it feels like
• 22:58
  Speaker 4: to me it's almost like when you're asking AI to
• 23:02
  Speaker 4: make you art yes it feels like you just plug
• 23:06
  Speaker 4: in the thing you want something sort of uplifting and
• 23:09
  Speaker 4: inspiring keyword add a reggae beat add in this reggae
• 23:13
  Speaker 4: beat add in a modern pop swing to it and
• 23:16
  Speaker 4: blah blah this and go and it just spits out
• 23:20
  Speaker 4: the most basic generic thing yeah and it works on
• 23:24
  Speaker 4: that basic generic level and i'm just like and i
• 23:28
  Speaker 4: think that's what's so frustrating it was like I can't like,
• 23:31
  Speaker 4: I see what it's trying to do. And that's why
• 23:33
  Speaker 4: she ends up in these movies every year, because it's like,
• 23:37
  Speaker 4: we need a basic inspiring song to work into this,
• 23:40
  Speaker 4: you know, upbeat movie about people that are overcoming odds.
• 23:44
  Speaker 4: And I don't know. Yeah. It's just so annoying.
• 23:47
  Speaker 1: Oh no.
• 23:47
  Speaker 4: Yeah.
• 23:48
  Speaker 1: I feel exactly the opposite. You know, we started out
• 23:51
  Speaker 1: talking about how every year there seems to be a
• 23:54
  Speaker 1: really good mix of orchestral scores or just, you know,
• 23:59
  Speaker 1: film scores in general, not simply just orchestral, but film
• 24:03
  Speaker 1: scores that really are top-notch, high-quality, great. But the last
• 24:07
  Speaker 1: three years, I'm feeling the opposite about the song selections because,
• 24:12
  Speaker 1: as you say, it seems like to me that they're
• 24:15
  Speaker 1: choosing songs that really are, maybe it's because they feel
• 24:20
  Speaker 1: like they have to pick it because the movie is
• 24:22
  Speaker 1: popular and it did well at the box office. So, okay,
• 24:25
  Speaker 1: since this movie did well, we now have to find
• 24:28
  Speaker 1: some song in it that is going to, you know,
• 24:31
  Speaker 1: be a part of the song list.
• 24:32
  Speaker 4: I feel like that's always part of the strategy. And that's, yeah.
• 24:34
  Speaker 4: I think that's how Disney rode that wave for those,
• 24:37
  Speaker 4: during its high years. Right. But now they've kind of
• 24:39
  Speaker 4: hit that point. Disney songs aren't even up for Oscars
• 24:41
  Speaker 4: a lot of years because everybody's sort of scraping the bottom.
• 24:44
  Speaker 1: Everybody, yeah. And that's the thing. It's like, yeah, I
• 24:46
  Speaker 1: feel like, so I was thinking about this as I
• 24:49
  Speaker 1: was coming over here too. It's like, okay, what are,
• 24:52
  Speaker 1: what is missing? And I think your description of the
• 24:55
  Speaker 1: AI thing is perfect. It actually hits a nail on
• 24:58
  Speaker 1: the head there. But when I think about, okay, what
• 25:01
  Speaker 1: makes a good song? There are three things, right? We
• 25:04
  Speaker 1: talk about, most people when they talk about a good song,
• 25:07
  Speaker 1: they talk about the melody, right? It's something that's very catchy, right?
• 25:12
  Speaker 1: You have an interesting chord progression or musical language that
• 25:15
  Speaker 1: you're kind of tapping into. And that could be like
• 25:18
  Speaker 1: chord progressions, that could be use of instrumentation and Stuff
• 25:22
  Speaker 1: that's going to work with what the melody is doing
• 25:25
  Speaker 1: and the singer too. The singer's style and sound of
• 25:31
  Speaker 1: their voice has a lot to do with the success
• 25:33
  Speaker 1: of the song as well. And so if you get
• 25:35
  Speaker 1: that generic vocal stuff going, it's going to sound like
• 25:39
  Speaker 1: an AI production like you're talking about.
• 25:41
  Speaker 4: Again, because they're always huge projects and she has big studios,
• 25:44
  Speaker 4: she always gets solid singers each year. So it's always
• 25:47
  Speaker 4: like the singer has nothing to do with it because
• 25:49
  Speaker 4: she doesn't write, they don't write the songs. It's almost
• 25:51
  Speaker 4: always a woman. And like, they bring in these talented singers,
• 25:54
  Speaker 4: but like, they're just given this nothing to work with.
• 25:57
  Speaker 4: And like, so it always just becomes sort of a
• 25:59
  Speaker 4: wash of like, well, it's a shame you're talented because
• 26:03
  Speaker 4: it's going to waste here. Yeah. Yeah.
• 26:05
  Speaker 1: They're certainly good. They're, they're trained. And, but it's very
• 26:08
  Speaker 1: much like, uh, speaking is to say a news anchor, right?
• 26:11
  Speaker 1: They all have the same, that news anchor accent, right?
• 26:14
  Speaker 1: So that's, that, vocal inflections and so on. But anyway,
• 26:19
  Speaker 1: I mean, the other thing to think about too, which
• 26:21
  Speaker 1: is a huge part, and I was talking to a
• 26:24
  Speaker 1: friend of mine about this the other day, about lyrics.
• 26:27
  Speaker 1: You know, lyrics, you know, if you look at some
• 26:31
  Speaker 1: of the stuff that was done in, say, you know,
• 26:33
  Speaker 1: the 60s, 70s, and 80s, I feel, and maybe this
• 26:36
  Speaker 1: is an old man raising the cane, I'm going to
• 26:38
  Speaker 1: get off my lawn kind of thing.
• 26:39
  Speaker 4: I do that every episode.
• 26:41
  Speaker 1: I will put that disclaimer out there. That's totally probably
• 26:44
  Speaker 1: what I'm doing here. But I feel that lyrics used
• 26:47
  Speaker 1: to be more poetic. And take, for example, so I'm
• 26:52
  Speaker 1: going to get on my little rant here. Take, for example,
• 26:56
  Speaker 1: Sting's Fortress Around My Heart. That encapsulates, in my opinion,
• 27:01
  Speaker 1: all the things that we're talking about here. So if
• 27:03
  Speaker 1: you think about, for example.
• 27:06
  Speaker 1: Core progressions and use of, you know, interesting modulations to
• 27:11
  Speaker 1: different key centers and things like that. Check out, if
• 27:14
  Speaker 1: you want to just YouTube this, you could check out
• 27:16
  Speaker 1: Rick Beato. I don't know if you've ever seen or
• 27:19
  Speaker 1: looked at some of his podcasts, but he tears apart
• 27:22
  Speaker 1: all these different well-known pop tunes and so forth. And
• 27:25
  Speaker 1: he actually did interview Sting at one point to talk
• 27:28
  Speaker 1: about his style, but he tears apart Fortress Around My Heart.
• 27:32
  Speaker 1: Why it's so interesting to, musically speaking, right? But if
• 27:36
  Speaker 1: you look at the lyrics and you read the lyrics, right,
• 27:39
  Speaker 1: you have, it's a poem. It's not just, you know, this, okay,
• 27:43
  Speaker 1: let's find something to rhyme at every end of the stanza, right?
• 27:47
  Speaker 1: You have something like, under the ruins of a walled city,
• 27:50
  Speaker 1: crumbling towers and beams of yellow lights, no flags of truce,
• 27:54
  Speaker 1: no cries of pity, the siege guns have been pounding
• 27:57
  Speaker 1: through the nights. I mean, that's poetic stuff, right? And
• 28:01
  Speaker 1: Sting puts the melody to that with his unique voice.
• 28:04
  Speaker 1: I think it just, everything comes together in this really
• 28:07
  Speaker 1: great song. And I think what's missing, what's that, that
• 28:12
  Speaker 1: that's kind of presenting this AI emptiness that you're talking
• 28:15
  Speaker 1: about is the lack of those things. It's just not
• 28:18
  Speaker 1: grabbing and not interesting to listen to. And maybe, maybe
• 28:23
  Speaker 1: this is the, the actual epitome of, we don't want
• 28:26
  Speaker 1: this to get in the way of the movie at all.
• 28:29
  Speaker 1: But I feel that songs are supposed to not do that.
• 28:31
  Speaker 1: They're supposed to actually get in the way, right?
• 28:34
  Speaker 4: Especially in this movie. This very heavy drama about the
• 28:38
  Speaker 4: creation of Flaming Hot Cheetos. We really want to put
• 28:42
  Speaker 4: this song in the background and focus on the drama
• 28:45
  Speaker 4: involved here.
• 28:45
  Speaker 1: It disrupts the food industry, as it's said. And so,
• 28:48
  Speaker 1: come on.
• 28:49
  Speaker 4: Well, I think, and again, I like that you said emptiness.
• 28:52
  Speaker 4: And I think that's what I'm going to come back to.
• 28:53
  Speaker 4: And actually, a couple more times. I'm going to address that.
• 28:56
  Speaker 4: with at least two more of our songwriters as we
• 28:59
  Speaker 4: go through here is, and I think this is the
• 29:02
  Speaker 4: other end of the spectrum. This is the very blow
• 29:04
  Speaker 4: end where it's like, that's the problem to me is like, yes,
• 29:08
  Speaker 4: all these words go together and it makes the uplifting
• 29:10
  Speaker 4: point you're trying to make.
• 29:11
  Speaker 1: They rhyme.
• 29:12
  Speaker 4: But it feels so dead. Like there's just no feeling
• 29:19
  Speaker 4: to it. There is no emotion to it, which is
• 29:21
  Speaker 4: like the key to songwriting. You know, it's like specifically lyrics,
• 29:25
  Speaker 4: like you need to be able to feel what this
• 29:27
  Speaker 4: person is putting into their song, and then they're trying
• 29:30
  Speaker 4: to convey to the audience, and, like, there is none
• 29:33
  Speaker 4: of that in kind of any of these songs she's
• 29:35
  Speaker 4: done in recent years, I'm like, it's just, it hits
• 29:38
  Speaker 4: all the, it's, again, it's almost like the script points.
• 29:41
  Speaker 4: It's like, we need it to be this kind of
• 29:43
  Speaker 4: uplifting message. We need it to say. Give yourself some applause.
• 29:47
  Speaker 4: You're sure worth it.
• 29:48
  Speaker 5: Right.
• 29:48
  Speaker 4: Or you can do it. You can beat the Cheetos industry. Like,
• 29:51
  Speaker 4: it just needs to be, like, these key things. Be
• 29:55
  Speaker 4: sure to, you know, kind of hammer that home. You're
• 29:57
  Speaker 4: flaming hot Cheetos. It's going to change the world.
• 29:59
  Speaker 10: It is.
• 30:00
  Speaker 4: It kind of did. But the song is not going
• 30:02
  Speaker 4: to change the world because there's nothing else to it. Like,
• 30:05
  Speaker 4: it is just hitting those points that you program in
• 30:07
  Speaker 4: your computer.
• 30:08
  Speaker 5: Right.
• 30:09
  Speaker 4: Wouldn't it be great if Diane Warren was like an
• 30:11
  Speaker 4: AI program? There really was, no?
• 30:13
  Speaker 1: That would be really funny if actually they found that
• 30:15
  Speaker 1: she was using ChatGPT. Like, you know, they found, what
• 30:18
  Speaker 1: was it, some of the sports, there was a magazine
• 30:21
  Speaker 1: that went under recently because some of the article writers,
• 30:26
  Speaker 1: I guess some of the- I.
• 30:27
  Speaker 4: Thought some of the bigger newspapers got busted for that.
• 30:29
  Speaker 8: Last year too.
• 30:29
  Speaker 1: Yeah, journalists were using ChatGPT to write their articles.
• 30:32
  Speaker 4: And just none of it was even a person writing it.
• 30:35
  Speaker 4: Which granted, I mean- Especially if you're trying to fill
• 30:38
  Speaker 4: a physical paper still.
• 30:39
  Speaker 1: Sports Illustrated, that's it.
• 30:40
  Speaker 4: Who the hell does that.
• 30:41
  Speaker 12: You know?
• 30:42
  Speaker 10: Right.
• 30:42
  Speaker 4: You've got so much paper to fill. And they used
• 30:44
  Speaker 4: to employ hundreds and hundreds of people to do one newspaper.
• 30:49
  Speaker 4: They don't bring those people in anymore. There's barely enough
• 30:51
  Speaker 4: to crank out a physical piece of paper now. So, like,
• 30:54
  Speaker 4: I understand.
• 30:55
  Speaker 1: The temptation is there.
• 30:56
  Speaker 7: Yeah.
• 30:56
  Speaker 4: How would you fill up that much newspaper?
• 30:59
  Speaker 1: I think it was Sports Illustrated.
• 31:01
  Speaker 4: Yeah.
• 31:02
  Speaker 1: They were the ones.
• 31:02
  Speaker 4: A year or so ago, there was like the bigger
• 31:04
  Speaker 4: newspapers that got busted for it. Right. Mainstream newspapers that
• 31:08
  Speaker 4: were just throwing in random AI crap. So it's like,
• 31:12
  Speaker 4: this is where we're heading and maybe we've been there
• 31:14
  Speaker 4: for a while.
• 31:16
  Speaker 1: You could be right.
• 31:17
  Speaker 4: I was going to say that.
• 31:18
  Speaker 1: We're going to work on that conspiracy theory.
• 31:20
  Speaker 4: To throw in again, I will pretend like I've done
• 31:23
  Speaker 4: some research. So we have comments from Mrs.
• 31:25
  Speaker 6: Warren.
• 31:26
  Speaker 4: I'm sure she loves our show as it is. So, remember,
• 31:31
  Speaker 4: this is a story about Cheetos. The song is all
• 31:34
  Speaker 4: about passion. It's the theme song not only for the
• 31:37
  Speaker 4: movie Flamin' Hot, but for a theme song for dreamers
• 31:41
  Speaker 4: everywhere that has fire inside them to make their dreams
• 31:44
  Speaker 4: come true. Do you buy any of that crap? Well, again,
• 31:48
  Speaker 4: even that comment sounds super generic.
• 31:50
  Speaker 1: That sounded like it was written by AI.
• 31:52
  Speaker 4: Well, it was like the press person put that together
• 31:55
  Speaker 4: for her to say when she got to the interview.
• 31:56
  Speaker 4: It's like it's the most generic crap. That you say
• 32:00
  Speaker 4: to somebody in the... Again, I've done these interviews. I'm
• 32:03
  Speaker 4: sure everybody says crap to me, too. So, like, I
• 32:06
  Speaker 4: don't know. It just feels like, from the get-go, this
• 32:09
  Speaker 4: was just made up of those pieces that we need
• 32:11
  Speaker 4: to put in a movie. It happens to be this movie,
• 32:14
  Speaker 4: so we need some Cheeto-themed things to, like, bring some
• 32:18
  Speaker 4: inspiring messages together, and here we are.
• 32:21
  Speaker 1: Right, yeah.
• 32:22
  Speaker 4: And to at least... I threw out earlier we were
• 32:25
  Speaker 4: going to discuss how long this nonsense has been going on.
• 32:28
  Speaker 4: Number one... Interesting. Interesting. Is that a coincidence? Is it
• 32:48
  Speaker 4: feeding off of my hatred?
• 32:50
  Speaker 10: I don't know.
• 32:50
  Speaker 4: I think it is. Maybe it is because I was like,
• 32:53
  Speaker 4: I didn't even know for sure. Like, I guess I
• 32:55
  Speaker 4: maybe knew the name that first year, but like I
• 32:58
  Speaker 4: was not invested at that point. And she hadn't been,
• 33:00
  Speaker 4: it was like 13 years. Like she's been nominated a ton,
• 33:04
  Speaker 4: but there was like a 13 year gap where she just,
• 33:07
  Speaker 4: I guess she was still writing, but just wasn't getting nominated.
• 33:10
  Speaker 4: And like it hit like 2014.
• 33:11
  Speaker 3: Yeah.
• 33:14
  Speaker 4: And then she got nominated, and every year since then,
• 33:18
  Speaker 4: she's just the go-to. It's like, well, which Diane Warren
• 33:21
  Speaker 4: song are we going to go with? I don't know
• 33:22
  Speaker 4: if she's doing more than one every year to make
• 33:24
  Speaker 4: sure they have options, or they just give it one,
• 33:27
  Speaker 4: and it's just a, all right, well, here it is.
• 33:29
  Speaker 4: Hand it over. We've got to put it in this year.
• 33:31
  Speaker 4: So every year since then. So the overall, let's see,
• 33:35
  Speaker 4: of what she's done with her career, she says, is this.
• 33:40
  Speaker 1: From her website?
• 33:41
  Speaker 4: This is directly from her.
• 33:42
  Speaker 6: I read it.
• 33:43
  Speaker 4: The quote is, and now the number of Oscars I've
• 33:46
  Speaker 4: been nominated for has caught up with my emotional age,
• 33:49
  Speaker 4: which is 15. She's been nominated 15 times over the years.
• 33:54
  Speaker 1: Okay.
• 33:54
  Speaker 4: 15 times for this songwriter. Think about it. What does
• 33:59
  Speaker 4: that say about the Oscars?
• 34:01
  Speaker 1: That's where we are.
• 34:01
  Speaker 4: That's the world we live in. 15 times she's been nominated.
• 34:06
  Speaker 1: That's why I feel that there is such a distinct...
• 34:10
  Speaker 1: difference between what's being nominated in the score category and
• 34:15
  Speaker 1: what's being nominated in the songs. And it's just, yeah,
• 34:18
  Speaker 1: you get different.
• 34:19
  Speaker 4: Definitely different.
• 34:20
  Speaker 1: Different results.
• 34:21
  Speaker 4: Style options.
• 34:24
  Speaker 8: Yeah.
• 34:25
  Speaker 4: So.
• 34:26
  Speaker 1: Shall we jump into somebody who has been nominated a
• 34:32
  Speaker 1: lot of times but deserves it?
• 34:34
  Speaker 4: I will continue to use her as a reference point
• 34:36
  Speaker 4: as we move forward. As we move forward, yes. At
• 34:38
  Speaker 4: least in the songwriting.
• 34:39
  Speaker 1: She'll become a verb at the end of this.
• 34:42
  Speaker 4: But if we're moving forward, if we want to keep
• 34:45
  Speaker 4: a theme going, someone else who's been nominated a lot
• 34:49
  Speaker 4: over the years... yes john williams would be our pal john.
• 34:53
  Speaker 1: Williams yeah so i i i think we all know
• 34:55
  Speaker 1: what we're talking about here so this is and even
• 34:58
  Speaker 1: harrison ford uh is is coming back for this one
• 35:01
  Speaker 1: too so um but yeah.
• 35:03
  Speaker 4: Somebody else who won't go into retirement yes exactly all
• 35:07
  Speaker 4: right i'll do another sequel to whatever dumb movie.
• 35:09
  Speaker 1: I got yeah i have to my bathroom needs renovating
• 35:12
  Speaker 1: he's the grumpiest old bastard ever but like you gotta
• 35:15
  Speaker 1: love him like even when he comes back it's like
• 35:17
  Speaker 1: Because every one of his huge.
• 35:19
  Speaker 4: Properties, he revisited. Like, he came back to Star Wars.
• 35:23
  Speaker 4: He came back to Blade Runner. He came back to
• 35:25
  Speaker 4: Indiana Jones. Again, even when the last one tanked, he
• 35:28
  Speaker 4: was like, all right, one more, damn it. God, Spielberg
• 35:31
  Speaker 4: won't even come back, but I'll do it. I'll do it. Right.
• 35:35
  Speaker 1: Yeah, exactly. You know, it's like sacrificial.
• 35:37
  Speaker 8: Yeah.
• 35:38
  Speaker 1: But, yeah, and John Williams is, like, threatening to retire, remember?
• 35:42
  Speaker 1: I think somebody said that.
• 35:43
  Speaker 4: Last year we were like, wow, this might be his
• 35:45
  Speaker 4: last year.
• 35:45
  Speaker 1: He's like, whoa, whoa, whoa, wait a minute. I didn't
• 35:47
  Speaker 1: say I was retiring fully.
• 35:49
  Speaker 4: He said I was done with Star Wars. Right. Which
• 35:52
  Speaker 4: I think he is, but that's only because nobody wants
• 35:54
  Speaker 4: to make Star Wars movies anymore.
• 35:56
  Speaker 1: I think, yeah.
• 35:56
  Speaker 4: They've all died now, so.
• 35:58
  Speaker 1: He is a composer for life. And that's, again, certainly
• 36:03
  Speaker 1: he's well-deserved of this honor. Yeah. I mean, obviously, we
• 36:08
  Speaker 1: probably don't need a lot of introduction here. But for
• 36:10
  Speaker 1: those who don't know, John Williams, he's basically been connected
• 36:15
  Speaker 1: with Steven Spielberg's movies for, I guess, when he was
• 36:18
  Speaker 1: last nominated. This was The Fablemans, right? That was their
• 36:23
  Speaker 1: 50th anniversary collaboration, which was kind of amazing. But yeah,
• 36:28
  Speaker 1: Star Wars, Jaws, Superman, Indiana Jones, of course, E.T., Schindler's List,
• 36:32
  Speaker 1: so forth.
• 36:34
  Speaker 4: Just a few of those smaller movies. Those small, little.
• 36:37
  Speaker 1: Spielberg-y movies, yeah. Of course, I always like to talk
• 36:42
  Speaker 1: about his beginnings, which is the movie Images. This is
• 36:46
  Speaker 1: the one that follows this unstable children's author who finds
• 36:50
  Speaker 1: herself engulfed in these hallucinations while she's at a vacation home,
• 36:55
  Speaker 1: which is a pretty cool little setting, right?
• 36:58
  Speaker 4: But he was actually.
• 37:00
  Speaker 1: A lot more experimental in his earlier days. when he
• 37:03
  Speaker 1: was first starting out. But this one, along with all
• 37:07
  Speaker 1: the other big movies that I talked about, this one
• 37:10
  Speaker 1: is his, you know, most of his output is this
• 37:14
  Speaker 1: epic orchestral scores. And so for those who, you know,
• 37:18
  Speaker 1: who like his orchestral scores, which actually go around the
• 37:21
  Speaker 1: country to different orchestras, even our own Louisville Orchestra does
• 37:24
  Speaker 1: this every year. And you can hear it, hear his,
• 37:28
  Speaker 1: let's say, you know.
• 37:30
  Speaker 4: Jaws or Superman. Greatest Hits tracks, yeah.
• 37:33
  Speaker 1: His suites just with the orchestra itself. This one won't disappoint.
• 37:39
  Speaker 1: And the thing that I like about it is that
• 37:43
  Speaker 1: it does two things. One is that he doesn't lose
• 37:47
  Speaker 1: the identity of the Indiana Jones series. And so obviously
• 37:51
  Speaker 1: he weaves back the old themes and you hear a
• 37:54
  Speaker 1: lot of the styles that he has always kind of
• 37:59
  Speaker 1: remained true to in this particular film. But the cool
• 38:02
  Speaker 1: thing about this is that he always tries to introduce
• 38:05
  Speaker 1: something new. And I feel like he did this with
• 38:07
  Speaker 1: Star Wars series as well. It wasn't just, okay, when
• 38:12
  Speaker 1: somebody gets into trouble, this is my copy and paste orchestration.
• 38:16
  Speaker 4: This is the trouble theme.
• 38:17
  Speaker 1: This is the trouble theme.
• 38:19
  Speaker 4: And here's the.
• 38:20
  Speaker 1: Sound that I'm going to make when something happens. So
• 38:23
  Speaker 1: if it's not a theme, it's a go-to sound or
• 38:27
  Speaker 1: chord progression or something of that sort. He doesn't do that.
• 38:30
  Speaker 1: Every time he comes back to the same type of series,
• 38:34
  Speaker 1: whether it's Star Wars Part 5000 or whatever, he's always
• 38:38
  Speaker 1: trying to make the pieces themselves new, not only just
• 38:44
  Speaker 1: trying to use different instrumentation, but also just trying to
• 38:48
  Speaker 1: weave the film into different scales and sound worlds. So
• 38:52
  Speaker 1: I think that was kind of well done in this
• 38:53
  Speaker 1: particular score, which almost kind of in a way made
• 38:59
  Speaker 1: it a little newer than say the last Indiana Jones,
• 39:02
  Speaker 1: you know? And so kudos, kudos to John Williams for,
• 39:06
  Speaker 1: and that's kind of the person he is. That's the,
• 39:09
  Speaker 1: he's a very old school, not old, like an eight,
• 39:13
  Speaker 1: but he is, I mean, he is, but, but he's
• 39:15
  Speaker 1: old school in the sense that, yeah, he writes on
• 39:17
  Speaker 1: paper still. And he's, he thinks about every note. He's
• 39:21
  Speaker 1: very conscious about, you know, the choices, just making it
• 39:25
  Speaker 1: not only something that, would work for a film, but
• 39:27
  Speaker 1: also something that could exist by itself. and I definitely
• 39:32
  Speaker 1: would encourage you to listen to like just listen to
• 39:35
  Speaker 1: the the track American Spy or Bombs Away which is
• 39:38
  Speaker 1: actually a more you know riveting kind of driven score
• 39:42
  Speaker 1: you'll see that you could just sit back and just
• 39:44
  Speaker 1: listen to it and it's a piece in and of itself.
• 39:53
  Speaker 7: Thank you. © transcript Emily Beynon so so.
• 42:44
  Speaker 1: Yeah, this is going to be hard. We go from
• 42:46
  Speaker 1: jazz to this, which, again, these are Laura's and John's
• 42:51
  Speaker 1: pieces are dynamically different, but they bring something really amazing musically,
• 42:57
  Speaker 1: I think.
• 42:58
  Speaker 4: Yeah. Yeah. That's what I was so impressed with with this.
• 43:01
  Speaker 4: And again, not that I'm always impressed with John Williams,
• 43:03
  Speaker 4: because I am. But in going into, like, again, every
• 43:07
  Speaker 4: couple of years, we'd get a new Star Wars, at
• 43:09
  Speaker 4: least in the last few years. Well, go back a
• 43:11
  Speaker 4: few years. And then every couple of years, we've had
• 43:13
  Speaker 4: a gap now. But with, like, revisiting that every few years,
• 43:20
  Speaker 4: it is, like, as you said, he does different things
• 43:23
  Speaker 4: with different moments in the film, but I feel like
• 43:25
  Speaker 4: he's almost locked into more of a specific sound with
• 43:28
  Speaker 4: star wars so then i was like all right well
• 43:30
  Speaker 4: let's you know compare it to that but take a
• 43:32
  Speaker 4: look at this as a separate thing and i think
• 43:35
  Speaker 4: it is one of those he has to because he's
• 43:37
  Speaker 4: built up such a almost musical universe in star wars
• 43:41
  Speaker 4: he does almost have the okay this is the stressful
• 43:44
  Speaker 4: thing that we return to this is the princess theme
• 43:47
  Speaker 4: when she's on screen like so there's almost stuff he
• 43:49
  Speaker 4: has to drop in at specific moments because the film
• 43:52
  Speaker 4: almost needs it to work like that right Whereas once
• 43:55
  Speaker 4: we got into this, I was like, I'm so impressed
• 43:57
  Speaker 4: with how much it just sort of does its own thing.
• 44:13
  Speaker 4: And like, it doesn't forget that it's Indiana Jones. It
• 44:16
  Speaker 4: works that theme in when it needs to. But there's
• 44:19
  Speaker 4: huge gaps where it does not work in any recognizable
• 44:23
  Speaker 4: Indiana Jones theme.
• 44:24
  Speaker 5: Right.
• 44:25
  Speaker 4: And it's like it just goes off on its own
• 44:27
  Speaker 4: and does its own musical thing. And then it's still, like,
• 44:31
  Speaker 4: intense when it needs to be. It's still, like, you know,
• 44:34
  Speaker 4: just sort of bombastic. And, you know, when it needs
• 44:37
  Speaker 4: to be a big, you know, score moment, it still
• 44:40
  Speaker 4: delivers on that point. But it doesn't do it in
• 44:42
  Speaker 4: the easy, familiar way that would be, you know, even...
• 44:46
  Speaker 4: five movies in you know star wars is so many
• 44:48
  Speaker 4: more this is still five movies in a series it
• 44:50
  Speaker 4: would be real easy to just be like hey you
• 44:52
  Speaker 4: know like that one thing in the third one when
• 44:54
  Speaker 4: i did this and like it'd be easy to plug
• 44:56
  Speaker 4: and play but he doesn't ever do that he just
• 44:59
  Speaker 4: writes an entirely new piece of music and then you
• 45:02
  Speaker 4: know peppers in a little you know indiana jones reoccurring
• 45:05
  Speaker 4: theme here and there right but like this one in
• 45:08
  Speaker 4: particular i feel like is so much more its own
• 45:11
  Speaker 4: thing than maybe any of the other.
• 45:12
  Speaker 1: Four it's well thought out yeah definitely i would agree
• 45:15
  Speaker 1: that it's um you know, he is, he's trying to,
• 45:18
  Speaker 1: like I said, you know, he's trying to write a
• 45:20
  Speaker 1: piece thinking, thinking of it as a challenge to write
• 45:23
  Speaker 1: a new piece, but with a familiar theme and, you know,
• 45:27
  Speaker 1: familiar trajectory in the movie, because it's always the same,
• 45:30
  Speaker 1: you know, where you have this adventure seeker going out
• 45:32
  Speaker 1: and finding something. And then there's, there's some sort of
• 45:35
  Speaker 1: epic conclusion to that, but he's, he's got the chops.
• 45:40
  Speaker 1: I mean, he has, he can pull out the You know,
• 45:44
  Speaker 1: the chalice with the harps and then all of a
• 45:46
  Speaker 1: sudden you get the marches and the classical, you know,
• 45:50
  Speaker 1: big sounding 19th century, you know, romantic scores. He has
• 45:54
  Speaker 1: all that at his fingertips. And you would think, I guess,
• 45:58
  Speaker 1: after 90 years, he would be good at that.
• 46:00
  Speaker 7: And he is.
• 46:00
  Speaker 1: He was always good at that.
• 46:01
  Speaker 4: But it would be so easy to just fall back
• 46:04
  Speaker 4: on doing what you always do.
• 46:05
  Speaker 1: Copy and paste, yeah.
• 46:06
  Speaker 4: Don't get that at all with this one. Like, I
• 46:07
  Speaker 4: think it really does do its own thing. And.
• 46:11
  Speaker 8: I don't know.
• 46:12
  Speaker 4: Like it is impressive that this far in, you know,
• 46:15
  Speaker 4: it's like that, that he's not just, just phoning it in.
• 46:20
  Speaker 4: Like so many people, again, as you see into their career,
• 46:24
  Speaker 4: not just composers, but like directors, actors. I think there's
• 46:27
  Speaker 4: so many that like they. do this great stuff when
• 46:29
  Speaker 4: they're young and then they get old and just gets
• 46:31
  Speaker 4: kind of familiar and like.
• 46:32
  Speaker 1: Or, or they hire in their own orchestrators and like,
• 46:35
  Speaker 1: you know, they.
• 46:35
  Speaker 4: Get, they barely show up. They go, here's some notes here.
• 46:38
  Speaker 3: All right.
• 46:38
  Speaker 4: It's mine now. I claim my minions do it. Yeah.
• 46:41
  Speaker 1: We won't mention composers that do that, but you know, yeah,
• 46:45
  Speaker 1: he doesn't do that.
• 46:46
  Speaker 5: Yeah.
• 46:46
  Speaker 1: And that one thing that I also respect about him
• 46:48
  Speaker 1: is that he is, he's, he's always seeking that kind
• 46:52
  Speaker 1: of variety. Like, you know, catch me if you can,
• 46:54
  Speaker 1: you know, he's always trying to, he'll, he'll go back
• 46:57
  Speaker 1: and forth.
• 46:58
  Speaker 4: But yeah, I.
• 46:59
  Speaker 1: Think this is certainly... One thing I like about this also,
• 47:03
  Speaker 1: I'll mention one more thing. As a composer, this is
• 47:07
  Speaker 1: not an easy score to write. It's not like he's
• 47:10
  Speaker 1: jumping on, say, a computer that has a software program
• 47:14
  Speaker 1: that has all these things built into it, and it's like,
• 47:16
  Speaker 1: I'm just pushing a few buttons. I mean, the skill
• 47:21
  Speaker 1: that it takes to write every single note that means
• 47:25
  Speaker 1: something in every single instrument is still being appreciated. And
• 47:30
  Speaker 1: that's kind of, again, maybe I'm an old man raising
• 47:33
  Speaker 1: the cane in the air, going to get off my lawn,
• 47:34
  Speaker 1: but I like that. I like the fact that we're
• 47:36
  Speaker 1: still really rewarding that. So I'm just going to say, yeah,
• 47:42
  Speaker 1: I'm happy with this.
• 47:43
  Speaker 4: What I think is interesting in this series too, because you, again,
• 47:47
  Speaker 4: I keep comparing it to Star Wars, but it's probably
• 47:49
  Speaker 4: his most well-known and kind of biggest grouping of stuff
• 47:53
  Speaker 4: that he's written. But in something like that, you're almost,
• 47:56
  Speaker 4: it's in its own universe. So it almost is isolated
• 47:59
  Speaker 4: from everything else. What's interesting about Indiana Jones is he
• 48:03
  Speaker 4: actually exists in this world. Like he is, you know,
• 48:06
  Speaker 4: he's fighting Nazis, but like it also like exists in
• 48:10
  Speaker 4: our time periods. So as these go along, this story
• 48:14
  Speaker 4: also continues to move forward in time. So he can
• 48:17
  Speaker 4: tie it to real world places and events and just,
• 48:21
  Speaker 4: different sounds that were happening at the time this story
• 48:24
  Speaker 4: is taking place that like you can't do in another galaxy.
• 48:27
  Speaker 4: But like here, it's almost grounded enough that it gives
• 48:30
  Speaker 4: him a way to work in influences that maybe for
• 48:33
  Speaker 4: him growing up or for this character, like it gives
• 48:36
  Speaker 4: you a way to ground it to earth and like
• 48:39
  Speaker 4: the timeline we're in versus, you know, something that just
• 48:42
  Speaker 4: is in a vacuum more or less where this can
• 48:45
  Speaker 4: feel a little more grounded to, humanity and like the
• 48:49
  Speaker 4: story that we're telling with this guy like this poor
• 48:51
  Speaker 4: old man that's still running around looking for treasure yeah
• 48:56
  Speaker 4: bless his heart that's my favorite part of dialogue destiny
• 48:59
  Speaker 4: is like it just addresses the fact he's like i
• 49:02
  Speaker 4: just i don't need to be doing this anymore right
• 49:04
  Speaker 4: i'm tired let me go sit down and by the
• 49:07
  Speaker 4: end of the movie that's kind of where it ends
• 49:08
  Speaker 4: up it's just like let somebody else go look for
• 49:11
  Speaker 4: this stuff i don't want to have to do it anymore.
• 49:13
  Speaker 1: Yeah he should be the retired professor right.
• 49:15
  Speaker 4: He should be he kind of is in this one
• 49:17
  Speaker 4: and they still they just win. He's on the golf course.
• 49:20
  Speaker 1: Well, it's like Sylvester Stallone in his Rambo movies.
• 49:24
  Speaker 4: It's like, come on. Rambo maybe. Rocky's the one that
• 49:28
  Speaker 4: kills me. The last couple, he kept trying to go
• 49:31
  Speaker 4: back in the ring and legit fight. And I'm like,
• 49:34
  Speaker 4: you're an old man. They're not going to let you
• 49:36
  Speaker 4: get in the ring. At least by the time we
• 49:37
  Speaker 4: hit Creed, he stays outside the ring. But I think
• 49:40
  Speaker 4: those other last two, he was still going in front
• 49:43
  Speaker 4: of the board being like, hey guys, I can still
• 49:45
  Speaker 4: do it.
• 49:45
  Speaker 6: Let me get in there.
• 49:46
  Speaker 4: And I'm like, you're an old man. They will kill
• 49:48
  Speaker 4: you in there. That just got more and more ridiculous.
• 49:51
  Speaker 4: I'm like, You can coach for the rest of your life,
• 49:54
  Speaker 4: but you can't get in the ring. Craziness. So, thankfully, Indy,
• 49:59
  Speaker 4: he's a crotchety old man, and he's going to go
• 50:03
  Speaker 4: look for some treasure if he's forced to, like he
• 50:05
  Speaker 4: is in this movie.
• 50:06
  Speaker 1: Right, exactly.
• 50:07
  Speaker 4: But, yeah, as much fun as I think the Harrison
• 50:12
  Speaker 4: sort of brings to that role, it's never bad. dialed
• 50:17
  Speaker 4: back a notch when you've got John Williams involved. He
• 50:19
  Speaker 4: just A-game every time. It's amazing.
• 50:22
  Speaker 1: Yeah, I agree.
• 50:23
  Speaker 4: Fully agree. Alright. If we're bouncing back to the songs,
• 50:29
  Speaker 4: this one is the one that's sort of out in
• 50:31
  Speaker 4: its own little area. Almost in a world that doesn't exist, well,
• 50:35
  Speaker 4: certainly in a world that doesn't exist at all, but
• 50:37
  Speaker 4: doesn't exist anymore even in, like, movie music. This is
• 50:42
  Speaker 4: I'm Just Kin. From the movie Barbie, sung by Ryan
• 50:46
  Speaker 4: Gosling and a cast of kins. Music and lyrics by
• 50:49
  Speaker 4: Mark Ronson and Andrew Wyatt.
• 50:51
  Speaker 13: Doesn't seem to matter what I do.
• 50:56
  Speaker 6: I'm always number two No one knows how hard.
• 51:02
  Speaker 1: I tried Oh, I, I have feelings that I can't
• 51:08
  Speaker 1: explain Driving me insane All my life been.
• 51:15
  Speaker 8: So polite, but I'll sleep alone tonight.
• 51:21
  Speaker 6: Cause I'm just king. Anywhere else I be a king.
• 51:26
  Speaker 6: Is it my destiny.
• 51:28
  Speaker 8: To live and die a life of blood, fragility?
• 51:34
  Speaker 6: I'm just king. Where I see love, she sees a friend.
• 51:39
  Speaker 6: What will it take for her to.
• 51:42
  Speaker 3: See the man behind the tent and fight for me?
• 52:14
  Speaker 7: I want to know what it's like to love to
• 52:18
  Speaker 7: be the real thing.
• 52:21
  Speaker 6: Is it a crime? Am I not hot?
• 52:24
  Speaker 3: Where do me my feelings? And is my love finally here?
• 52:30
  Speaker 7: Or am I dreaming?
• 53:24
  Speaker 6: I'm just Cain, anywhere else I'd be a Cain. Is
• 53:30
  Speaker 6: it my destiny.
• 53:32
  Speaker 5: To live a.
• 53:34
  Speaker 6: Life of longevity?
• 53:38
  Speaker 1: I'm just Cain, where I see love, she sees a friend.
• 53:43
  Speaker 3: What will it take for her to see the man
• 53:47
  Speaker 3: behind the tent and fight for me?
• 53:52
  Speaker 6: I'm just Ken and I'm enough. And I'm great at
• 53:57
  Speaker 6: doing stuff. So hey, check me out.
• 54:02
  Speaker 7: Yeah, I'm just Ken.
• 54:26
  Speaker 4: I will say I like Barbie a lot. And I like,
• 54:30
  Speaker 4: I mean, Ryan Gosling. There's a reason he's nominated. I
• 54:33
  Speaker 4: know everybody else got snubbed in the cast and crew.
• 54:35
  Speaker 4: But he's amazing. Like, he really is good. But the
• 54:40
  Speaker 4: song is so, like, old school movie musical, like, in
• 54:44
  Speaker 4: such a silly way that it's, like, it can't exist
• 54:48
  Speaker 4: outside of the movie. So it's not one of those
• 54:50
  Speaker 4: you can just put on your mix of songs anymore
• 54:54
  Speaker 4: without somebody going, what the hell is this? Assuming there's
• 54:57
  Speaker 4: anyone left on the planet who hasn't seen Barbie, which
• 54:59
  Speaker 4: probably is not true. But it's still, like, such a
• 55:02
  Speaker 4: jarring thing to, like, work this in with other songs
• 55:06
  Speaker 4: that aren't part of this specific movie. Like it, it's
• 55:09
  Speaker 4: hard for, especially this song, there's other ones in this
• 55:12
  Speaker 4: that work on their own, but this one is so
• 55:14
  Speaker 4: ingrained in the story. It makes no sense outside of
• 55:18
  Speaker 4: the story. It's fine. Again, it's like, it's the, it's
• 55:23
  Speaker 4: so specific about what it is. It's kind of hard
• 55:25
  Speaker 4: to even be objective about it. Like you almost have
• 55:28
  Speaker 4: to take into context everything that's going on in the
• 55:31
  Speaker 4: plot for the song to even make sense. So it's,
• 55:34
  Speaker 4: I don't know, this one is way more complicated to
• 55:37
  Speaker 4: look at as just a song.
• 55:39
  Speaker 5: Yeah.
• 55:39
  Speaker 1: You sort of have to ask yourself like, well, what is,
• 55:42
  Speaker 1: what does it mean to be, you know, song, a
• 55:46
  Speaker 1: nominated song, right? Best song in a particular movie. And
• 55:50
  Speaker 1: it does it, does it have to be actually a
• 55:52
  Speaker 1: good song or does it have to just be so
• 55:55
  Speaker 1: unique to the movie that it works, you know, in
• 55:58
  Speaker 1: propelling narration forward and so forth.
• 56:01
  Speaker 4: Right.
• 56:01
  Speaker 1: So, Like you said, this thing is not going to
• 56:03
  Speaker 1: be able to, you're not going to get this on
• 56:06
  Speaker 1: a playlist and it makes sense in any other case.
• 56:09
  Speaker 4: You don't hear this on the radio. No. And like
• 56:11
  Speaker 4: there are plenty of other songs on the soundtrack that
• 56:13
  Speaker 4: you do, especially right now, but this one just doesn't
• 56:17
  Speaker 4: work like that.
• 56:18
  Speaker 9: No.
• 56:18
  Speaker 4: It's so, it's almost just a scene from the movie. Right.
• 56:22
  Speaker 4: And you're hearing the audio track from it, but it's
• 56:25
  Speaker 4: not like a separate. Which again, maybe is what we
• 56:28
  Speaker 4: were talking about. Like before, it's like, is the music
• 56:31
  Speaker 4: supposed to be in the background or is it in
• 56:34
  Speaker 4: the middle of what's going on in the scene? And
• 56:35
  Speaker 4: like this one is a hundred, but granted it's a song,
• 56:38
  Speaker 4: not the score, but it's a hundred percent part of
• 56:40
  Speaker 4: what's going on on screen. So you can't even separate it.
• 56:44
  Speaker 4: It's like, it has to be this complete package. So again,
• 56:49
  Speaker 4: how do you like separate out just this part of
• 56:51
  Speaker 4: the song is going to get nominated, but we're not
• 56:54
  Speaker 4: going to, you know, nominate the rest of the things
• 56:57
  Speaker 4: like actors or directors or anything right exactly for jumping
• 57:01
  Speaker 4: on that band i'm sure that yeah i'm sure that
• 57:04
  Speaker 4: discussion is going around oh yeah there's plenty of it
• 57:06
  Speaker 4: which again i won't even start on that that's its
• 57:09
  Speaker 4: own separate thing yeah but so is this song it's
• 57:13
  Speaker 4: a very different so i don't know had you seen
• 57:16
  Speaker 4: the movie.
• 57:17
  Speaker 1: I admit I have not seen the movie.
• 57:19
  Speaker 4: It took me a while. Almost because I knew what
• 57:23
  Speaker 4: it was about, not because I had a problem with
• 57:25
  Speaker 4: it like so many other weird dudes out there did.
• 57:28
  Speaker 4: But mine was just like, man, this looks depressing. And
• 57:31
  Speaker 4: then I finally watched it and was like, man, this
• 57:33
  Speaker 4: is depressing. For a movie about a toy, it's heavy.
• 57:39
  Speaker 4: I'm like, I'm already going with a lot of existential
• 57:42
  Speaker 4: crisis in my life. I don't need to watch more
• 57:44
  Speaker 4: of it. So watching Barbie was, was rough. I gotta say.
• 57:47
  Speaker 1: That was my understanding was that this was supposed to
• 57:49
  Speaker 1: be a very serious movie about serious, you know, societal
• 57:53
  Speaker 1: questions and issues. And so this song does not really
• 57:56
  Speaker 1: sound like a Ken, you know, reflecting on, I mean, again,
• 58:02
  Speaker 1: it almost seemed satirical.
• 58:04
  Speaker 7: Again.
• 58:04
  Speaker 6: Well, and they do that.
• 58:05
  Speaker 4: Like they are, that's why this movie works so well.
• 58:08
  Speaker 4: It somehow balances both of those. It is, complete satire
• 58:12
  Speaker 4: and complete comedy on one hand. But at the same time,
• 58:16
  Speaker 4: there's way bigger societal comments being made. And also just,
• 58:21
  Speaker 4: that's the thing. Everybody wants to get off on the
• 58:23
  Speaker 4: feminist end of it. I was like, I don't, I mean,
• 58:25
  Speaker 4: that's there. But to me, the way bigger thing is
• 58:27
  Speaker 4: just the, the sad, what the hell am I doing
• 58:30
  Speaker 4: with my life portion of it? That is both Barbie
• 58:33
  Speaker 4: and Ken are kind of like, no, really, this is
• 58:36
  Speaker 4: what I'm doing every day. And, why and like again
• 58:40
  Speaker 4: it becomes such a bigger thing to tackle once you
• 58:43
  Speaker 4: get into that movie which is why i think the
• 58:45
  Speaker 4: movie is amazing but this is probably the silliest moment
• 58:49
  Speaker 4: in the movie which is saying something so it's kind
• 58:52
  Speaker 4: of weird that you to try to look at just
• 58:55
  Speaker 4: this moment because again i think that role that the
• 58:58
  Speaker 4: way that that character is written and the way that
• 59:01
  Speaker 4: gosling performs is is just phenomenal for what should be
• 59:05
  Speaker 4: so silly right they they both get like this weight
• 59:09
  Speaker 4: brought to them underneath. Again, he's still hilarious in the,
• 59:12
  Speaker 4: in the part, but there is just this underlying sadness
• 59:16
  Speaker 4: about what he's going through. And there's this weird delusional
• 59:20
  Speaker 4: thing he's doing to try to deal with it, but
• 59:21
  Speaker 4: there's this underlying thing going on. That's really heavy. Right.
• 59:25
  Speaker 4: That again, doesn't necessarily come through in this very silly song. So.
• 59:30
  Speaker 1: Yeah, that's why I was thinking this seems like an
• 59:32
  Speaker 1: odd choice for all the songs that are.
• 59:35
  Speaker 4: It's so different from what else is going on in
• 59:37
  Speaker 4: the movie that it is weird to just try to
• 59:39
  Speaker 4: pull it out and listen to it on its own.
• 59:43
  Speaker 1: You never know.
• 59:44
  Speaker 4: You never know. They do love some Gosling this year,
• 59:46
  Speaker 4: but we will see. Next up, back to score, we
• 59:53
  Speaker 4: are going with Killers of the Flower Moon, and this
• 59:57
  Speaker 4: is composed by Robbie Robertson.
• 1:00:06
  Speaker 10: Thank you.
• 1:00:34
  Speaker 7: Thank you. Thank you.
• 1:02:20
  Speaker 10: Thank you.
• 1:02:49
  Speaker 1: And this is a posthumous nomination.
• 1:02:52
  Speaker 4: That's what I'm wondering. Of all the things, which we
• 1:02:55
  Speaker 4: have a lot of good scores this year, as you said,
• 1:02:58
  Speaker 4: but if there's anything that kind of gives this a
• 1:03:01
  Speaker 4: little edge, this is sort of the last thing he completed.
• 1:03:04
  Speaker 1: Yeah.
• 1:03:05
  Speaker 4: So, you know, you can't really give him any more
• 1:03:08
  Speaker 4: after this. This might be his chance.
• 1:03:10
  Speaker 1: Yeah, exactly. I don't think I've run into a nomination
• 1:03:15
  Speaker 1: where a composer has gotten a posthumous nomination, but.
• 1:03:19
  Speaker 4: Actors a lot of times, but yeah, composers, not so much.
• 1:03:22
  Speaker 1: Not so much, yeah. So, I mean, I admit I
• 1:03:25
  Speaker 1: don't know a lot about Robbie Robertson. And so this
• 1:03:29
  Speaker 1: is kind of a really interesting score. You know, he's
• 1:03:33
  Speaker 1: a Canadian musician. He was lead guitarist for Bob Dylan
• 1:03:38
  Speaker 1: in the mid-late 1960s.
• 1:03:40
  Speaker 4: How the band came together. They were Bob Dylan's band
• 1:03:43
  Speaker 4: and became the band. Right, so.
• 1:03:46
  Speaker 1: But he's done a lot of really cool things. He's
• 1:03:49
  Speaker 1: worked with director Martin Scorsese, and he's done The Last
• 1:03:53
  Speaker 1: Waltz in the 1970s. This is literally his last one,
• 1:03:58
  Speaker 1: but before that, you remember he did The Irishman in 2019.
• 1:04:03
  Speaker 4: I was thinking maybe this was like, I knew he'd
• 1:04:05
  Speaker 4: known Scorsese since The Last Waltz and before, so they'd
• 1:04:08
  Speaker 4: been friends forever. But then I went back looking at
• 1:04:10
  Speaker 4: his list. I was like, oh, he's been working with
• 1:04:12
  Speaker 4: Scorsese this whole time.
• 1:04:13
  Speaker 1: Yeah, Silence.
• 1:04:14
  Speaker 4: He's been, yeah, like all of these different scores over
• 1:04:16
  Speaker 4: the years. He's like every couple of movies Scorsese did,
• 1:04:19
  Speaker 4: he'd come back and go work with Robbie Robertson again. So, yeah,
• 1:04:22
  Speaker 4: I didn't realize how consistently he'd worked with Scorsese if
• 1:04:26
  Speaker 4: nobody else. Yeah, yeah.
• 1:04:28
  Speaker 1: And I thought, you know, there are several things that
• 1:04:31
  Speaker 1: he did really well in this score. So he actually,
• 1:04:34
  Speaker 1: we're talking about like what kind of philosophy do you
• 1:04:36
  Speaker 1: have as a film score guy? composer, do you like
• 1:04:40
  Speaker 1: to have your music guide or work integrally with the
• 1:04:44
  Speaker 1: film or serve more as a backdrop to enhance the
• 1:04:47
  Speaker 1: scenery and the narrative that is more taken upon by
• 1:04:52
  Speaker 1: other things in the film? And he, I think, exemplifies
• 1:04:56
  Speaker 1: the latter, where he's trying to not make the music
• 1:05:01
  Speaker 1: really too much in-your-face necessarily, more than just using it
• 1:05:06
  Speaker 1: as a backdrop to kind of move the narrative forward.
• 1:05:09
  Speaker 1: And so he's got like a completely different approach than
• 1:05:12
  Speaker 1: say John Williams. But what I do like about the
• 1:05:16
  Speaker 1: entire score is the versatility of it. So you see,
• 1:05:20
  Speaker 1: and because this is, you know, basically, you know, a
• 1:05:24
  Speaker 1: piece about, or a film about the Osage nation, you know, we're,
• 1:05:28
  Speaker 1: we're going to have a lot of elements that musically
• 1:05:32
  Speaker 1: represent that, you know, so.
• 1:05:33
  Speaker 4: Traditional music of, their people mixed with the Robbie Robertson style. Right.
• 1:05:38
  Speaker 1: And also like, but the other side of the thing,
• 1:05:41
  Speaker 1: you know, because this is, this is, these are two
• 1:05:43
  Speaker 1: characters being, and if, if you will put up against
• 1:05:47
  Speaker 1: each other. So you have fiddle, fiddle dancing tune. You
• 1:05:51
  Speaker 1: got sort of this new Orleans, early jazz like number.
• 1:05:55
  Speaker 1: There's a ragtime inspired piece. There's so much different musical
• 1:06:01
  Speaker 1: elements that kind of come in towards the end. which
• 1:06:04
  Speaker 1: I think is really interesting. But then the one that
• 1:06:08
  Speaker 1: we'll kind of revisit later, which is actually a song
• 1:06:11
  Speaker 1: that came from this movie, you have a chant, right?
• 1:06:15
  Speaker 1: You have other elements that speak to it. And the
• 1:06:18
  Speaker 1: cool thing is that he kind of got a really
• 1:06:20
  Speaker 1: unique ensemble together to bring this to the forefront. So
• 1:06:23
  Speaker 1: it wasn't just, okay, I'm going to get onto the
• 1:06:26
  Speaker 1: computer and use something, a DAW, which is a digital
• 1:06:30
  Speaker 1: audio workstation. to bring out these instruments. He actually did
• 1:06:33
  Speaker 1: put together guitars, keyboards, mandolins. He had a cello. He
• 1:06:37
  Speaker 1: had a mando cello, which is actually basically a larger mandolin.
• 1:06:42
  Speaker 1: He had a zither.
• 1:06:43
  Speaker 4: I was going to say, there's synth. Because that's what
• 1:06:47
  Speaker 4: was weird is I listened to it, and it's got
• 1:06:49
  Speaker 4: all these traditional instruments going on, and then it just
• 1:06:52
  Speaker 4: kind of throws in this weird synth that I'm like, whoa, wait,
• 1:06:55
  Speaker 4: that was cool. And just unexpected. For what else is
• 1:06:59
  Speaker 4: going on, you would expect it to get kind of.
• 1:07:01
  Speaker 4: almost bogged down and have to be traditional, have to
• 1:07:04
  Speaker 4: stick with what's, you know, true to the nation. And
• 1:07:06
  Speaker 4: I'm like, but you're also the composer, you can put
• 1:07:09
  Speaker 4: in whatever you want. So I liked that he sort
• 1:07:11
  Speaker 4: of threw in these more modern touches here and there
• 1:07:14
  Speaker 4: that were just to keep things interesting almost. Right.
• 1:07:17
  Speaker 6: Yeah.
• 1:07:18
  Speaker 4: Yeah.
• 1:07:18
  Speaker 1: And like, I mean, he'll bring folk instruments like the harmonica, right? So,
• 1:07:24
  Speaker 1: and so, yeah, you do get like out of this score,
• 1:07:26
  Speaker 1: you certainly get, you get the place, you get the time,
• 1:07:31
  Speaker 1: You get all these things that I think– like I
• 1:07:33
  Speaker 1: can't remember a tune from it, but I'm definitely– it
• 1:07:38
  Speaker 1: immediately put me where I needed to be. So we're
• 1:07:41
  Speaker 1: talking about outside of Oklahoma territory, I think.
• 1:07:45
  Speaker 4: So, yeah.
• 1:07:46
  Speaker 1: So it's– I think he did a good job with this,
• 1:07:49
  Speaker 1: and it's unfortunate that he's not around to.
• 1:07:53
  Speaker 4: What I was thinking, yeah. Yeah. Like I said, I
• 1:07:57
  Speaker 4: don't think I realized how much he'd worked in scores
• 1:08:00
  Speaker 4: over the years. But yeah, I just sort of knew
• 1:08:04
  Speaker 4: him as the person that he was, which is funny
• 1:08:06
  Speaker 4: that the way you're describing it also seems like him.
• 1:08:10
  Speaker 4: What little I knew of him, you know, just as
• 1:08:13
  Speaker 4: a guy, I almost knew him. It's a shame he
• 1:08:15
  Speaker 4: didn't catch on more as like an actor because I
• 1:08:19
  Speaker 4: just recently watched, I remember as a kid, really thinking
• 1:08:22
  Speaker 4: Carney was great. And I rewatched it recently. I was like,
• 1:08:25
  Speaker 4: this is a weird movie, but he's, he's co-lead, you know,
• 1:08:29
  Speaker 4: in the movie. And it's one of the times he
• 1:08:31
  Speaker 4: was like, all right, he was a big enough star.
• 1:08:33
  Speaker 4: I guess they were like, let's put you in a movie.
• 1:08:35
  Speaker 4: He's got such a cool presence about him that like,
• 1:08:37
  Speaker 4: he's so, and this is like, and he interviews us
• 1:08:40
  Speaker 4: all with him too. He's so laid back and he
• 1:08:42
  Speaker 4: just seems like a cool reserved rockstar kind of a guy.
• 1:08:46
  Speaker 4: And so once I got into this and that main
• 1:08:48
  Speaker 4: theme starts, it's just sort of groove oriented, that guitar
• 1:08:52
  Speaker 4: based one that I'm like, this seems like him in
• 1:08:55
  Speaker 4: score form. Like it's just a cool laid back kind
• 1:08:58
  Speaker 4: of a groove. and like it just he found a
• 1:09:01
  Speaker 4: way to work it into the story and then it
• 1:09:03
  Speaker 4: sort of weaves its way through all of these like
• 1:09:05
  Speaker 4: then later you get through the other ones that have
• 1:09:08
  Speaker 4: the more traditional instruments and then he throws in synth
• 1:09:11
  Speaker 4: and like he throws in all this other stuff but
• 1:09:13
  Speaker 4: it still sort of has that overall kind of attitude
• 1:09:16
  Speaker 4: towards it that holds the whole thing together Yeah.
• 1:09:19
  Speaker 1: He has kind of a, you know, in a way
• 1:09:21
  Speaker 1: Hans Zimmer does that a lot where he'll, you know,
• 1:09:23
  Speaker 1: research the geographic area. He'll, he'll research and try to
• 1:09:28
  Speaker 1: remain true to the, I guess the region's instrumentation even
• 1:09:33
  Speaker 1: though he's got a particular style that he's going to
• 1:09:35
  Speaker 1: bring to the table each time, at least he's bringing
• 1:09:38
  Speaker 1: some new instruments and you know, it's not, again, not
• 1:09:41
  Speaker 1: just using sort of pre-recorded synth sounds and so forth.
• 1:09:45
  Speaker 1: So I think that, Yeah, it definitely contributed to that variety,
• 1:09:50
  Speaker 1: which I thought was cool.
• 1:09:51
  Speaker 4: This, yeah, I was just going to say, it may
• 1:09:54
  Speaker 4: have the edge because of him passing away, but because
• 1:09:58
  Speaker 4: of what I think is so solid about it, I
• 1:10:00
  Speaker 4: wouldn't be upset if it won. So whatever reason gets
• 1:10:04
  Speaker 4: it there, there are worse things that could win an Oscar.
• 1:10:07
  Speaker 1: And I think it depends on, yeah, again, if you're
• 1:10:09
  Speaker 1: one of the types that say, okay, this has got
• 1:10:12
  Speaker 1: to be on my library and my track listings, uh
• 1:10:17
  Speaker 1: list and i need to be able to listen to
• 1:10:19
  Speaker 1: this outside of the movie you might be disappointed in
• 1:10:22
  Speaker 1: terms of again it.
• 1:10:24
  Speaker 4: Would almost work background music but yeah if you just
• 1:10:26
  Speaker 4: had it on again we're doing something else driving through
• 1:10:29
  Speaker 4: kind of works yeah the chanting might confuse you when
• 1:10:32
  Speaker 4: those come up but you know the regular musical themes
• 1:10:35
  Speaker 4: i think are still pretty solid.
• 1:10:37
  Speaker 1: But yeah it's it definitely works wonderfully for the movie
• 1:10:40
  Speaker 1: so yeah no complaints here.
• 1:10:42
  Speaker 8: Yeah Hey, everybody. This is Tim Capello from the Lost Boys.
• 1:10:54
  Speaker 8: And you are now listening to Movie Meltdown, baby.
• 1:11:01
  Speaker 10: Yeah.
• 1:11:17
  Speaker 4: All right, bouncing back to song. This is from the
• 1:11:22
  Speaker 4: documentary American Symphony. This is It Never Went Away, sung
• 1:11:26
  Speaker 4: by John Batiste and music and lyric by John Batiste
• 1:11:30
  Speaker 4: and Dan Wilson.
• 1:12:20
  Speaker 6: It never went away.
• 1:12:22
  Speaker 3: Oh The feeling's just the same Oh Every.
• 1:12:34
  Speaker 6: Time I see your face.
• 1:12:40
  Speaker 3: Oh It's never going away.
• 1:12:45
  Speaker 12: Thought I was a wise lad When your plan got
• 1:12:54
  Speaker 12: last Thought.
• 1:12:57
  Speaker 13: I was, I got a detour along the way Summertime
• 1:13:04
  Speaker 13: adventure That's what we were meant for I need you
• 1:13:13
  Speaker 13: and that's never going to change It.
• 1:13:18
  Speaker 6: Never went away.
• 1:13:21
  Speaker 3: Oh Every time I see your face.
• 1:13:30
  Speaker 7: Oh The feeling's just the same, oh.
• 1:13:41
  Speaker 6: It's never going away.
• 1:13:44
  Speaker 7: Looking for adventure That's what we were meant for.
• 1:14:12
  Speaker 13: And that's never going to change.
• 1:14:17
  Speaker 6: It never went away.
• 1:14:19
  Speaker 7: Every time I see your face The feeling's.
• 1:14:33
  Speaker 6: Just the same.
• 1:15:12
  Speaker 4: So are you a John Batiste person?
• 1:15:15
  Speaker 1: I don't know a lot about him other than I
• 1:15:18
  Speaker 1: know he gained a lot of popularity as a songwriter,
• 1:15:21
  Speaker 1: and he has worked with people that are usual suspects
• 1:15:26
  Speaker 1: in my field of music. But I don't really have
• 1:15:33
  Speaker 1: a lot of John Batiste CDs.
• 1:15:35
  Speaker 4: See, I thought maybe you'd have more with him because
• 1:15:37
  Speaker 4: I think he at least seems to take himself more
• 1:15:41
  Speaker 4: seriously as a composer, I feel like. For somebody who
• 1:15:45
  Speaker 4: I knew of specifically because he was on a late
• 1:15:47
  Speaker 4: night talk show, which is kind of how that, I mean,
• 1:15:50
  Speaker 4: there've been so many, like you get such a huge,
• 1:15:53
  Speaker 4: you know, market there and you get a huge budget
• 1:15:55
  Speaker 4: that they keep bringing in pretty big names to be
• 1:15:58
  Speaker 4: the house band more or less for whatever the talk
• 1:16:02
  Speaker 4: show is for that time of night and whatever network
• 1:16:05
  Speaker 4: they're on. So there've been a lot of them in
• 1:16:06
  Speaker 4: the last 10 or 20 years, but. that's how I
• 1:16:09
  Speaker 4: originally knew him. I don't think I knew of him
• 1:16:11
  Speaker 4: before he showed up on the late show. And then
• 1:16:13
  Speaker 4: as soon as he got popular, he left notice, but yeah.
• 1:16:17
  Speaker 4: And I kind of liked the new guy, no offense. Um,
• 1:16:20
  Speaker 4: but as far as once he got into, I started
• 1:16:22
  Speaker 4: hearing like his songs that were more like lyrical stuff
• 1:16:26
  Speaker 4: like this. I was like, and not to compare one
• 1:16:29
  Speaker 4: artist to another, but I've certainly, I got on that
• 1:16:32
  Speaker 4: bandwagon of, Lady Gaga sounds a lot like Madonna.
• 1:16:34
  Speaker 6: I'm like, you know what?
• 1:16:35
  Speaker 4: You're kind of right. I feel like it's not, I
• 1:16:37
  Speaker 4: feel like they know it and they're inspired by these
• 1:16:40
  Speaker 4: same people. And we all kind of do that. So
• 1:16:42
  Speaker 4: that having been said with John Batiste, I always feel
• 1:16:45
  Speaker 4: like he's a fancier John legend and almost of his
• 1:16:49
  Speaker 4: own doing. Like, I don't know that he is fancier,
• 1:16:51
  Speaker 4: but he seems like he's trying to present himself as
• 1:16:54
  Speaker 4: a more polished version. But I'm like, I don't know.
• 1:16:57
  Speaker 4: I like, I, I'm not, like, a huge John Legend fan,
• 1:16:59
  Speaker 4: but what I know of his stuff is very real
• 1:17:02
  Speaker 4: and very, like, his songs are kind of heartfelt and, like,
• 1:17:05
  Speaker 4: he's trying to do that same sort of jazzy R
• 1:17:09
  Speaker 4: & B style, but, like, he has really good lyrics
• 1:17:11
  Speaker 4: to sort of go with it.
• 1:17:13
  Speaker 7: I don't know.
• 1:17:15
  Speaker 4: Sometimes Batiste seems like he's trying too hard to do that. Yeah.
• 1:17:19
  Speaker 4: I don't know. Like, this one, I at least... I
• 1:17:21
  Speaker 4: re-listened to it again today, and I was like, lyrically,
• 1:17:24
  Speaker 4: I think it works... Again, to return to what we
• 1:17:27
  Speaker 4: said earlier, because lyrically it is heartfelt. Like if you, again,
• 1:17:32
  Speaker 4: once I found out what the documentary was about, I
• 1:17:34
  Speaker 4: was like, oh, well, no, this is real. Like this
• 1:17:37
  Speaker 4: is a real song about his wife and what they're
• 1:17:41
  Speaker 4: going through. And like, this is a real thing. So lyrically,
• 1:17:43
  Speaker 4: I think it works because he's not phoning it in.
• 1:17:48
  Speaker 4: Because it is 100% stuff that he's dealing with and
• 1:17:51
  Speaker 4: it's very heartfelt. Musically, again, I wanted to ask you,
• 1:17:55
  Speaker 4: does that weird little reoccurring piano thing fit this song?
• 1:17:59
  Speaker 1: I think it, you know, in terms of his craft.
• 1:18:01
  Speaker 4: It just distracted me. Yeah, okay.
• 1:18:03
  Speaker 1: Yeah, well, I think in terms of his craft, he
• 1:18:07
  Speaker 1: has a little more chops that he brings to the table.
• 1:18:09
  Speaker 10: He does.
• 1:18:09
  Speaker 4: He's very schooled.
• 1:18:11
  Speaker 1: Yeah, I mean, and certainly that makes it a little
• 1:18:15
  Speaker 1: more interesting than, say, the last two that we were
• 1:18:17
  Speaker 1: talking about. But I think that he incorporates... more classical elements.
• 1:18:24
  Speaker 1: And I think as part of that, for me, it
• 1:18:27
  Speaker 1: wasn't really distracting. I thought this was a nicely crafted
• 1:18:32
  Speaker 1: song in terms of what the melody does, how the
• 1:18:35
  Speaker 1: chord progressions interact, and with also the lyrics. And there's
• 1:18:41
  Speaker 1: so much to consider, and you're talking about even things
• 1:18:43
  Speaker 1: like rhythm, how is that going to incorporate itself? And
• 1:18:47
  Speaker 1: so you have all those things that I think make
• 1:18:51
  Speaker 1: for a well-done song. Again, is this something that I'm
• 1:18:56
  Speaker 1: going to probably write home about? I may not go
• 1:19:02
  Speaker 1: home and buy a John Batiste CD, but I think it's,
• 1:19:05
  Speaker 1: like you said... a lot of the songs, the reason
• 1:19:09
  Speaker 1: why they're chosen is not necessarily because it's, it's going
• 1:19:13
  Speaker 1: to be, you know, the top song, you know, of
• 1:19:15
  Speaker 1: all time, but it's going to, it works very well
• 1:19:18
  Speaker 1: with the movie. And this particular movie is a very personal,
• 1:19:22
  Speaker 1: heartfelt tribute. And so you have, or, you know, story
• 1:19:26
  Speaker 1: and in essence, two lives going on at one time
• 1:19:29
  Speaker 1: in a way. And so I think, you know, when
• 1:19:33
  Speaker 1: you listen to the song, if you connect with the,
• 1:19:36
  Speaker 1: what's going on in his life, personally then i think
• 1:19:40
  Speaker 1: you're going to connect with the song because it does
• 1:19:42
  Speaker 1: it it strokes those those uh you know emotional elements
• 1:19:47
  Speaker 1: pretty well again you feel it.
• 1:19:49
  Speaker 4: And i think that's distinctly different from what we said
• 1:19:52
  Speaker 4: earlier without naming names again but i was like it
• 1:19:55
  Speaker 4: doesn't feel like it was put together artificially it feels
• 1:19:58
  Speaker 4: real and it feels grounded in what he's going through
• 1:20:02
  Speaker 4: what his wife is going through like all of it
• 1:20:04
  Speaker 4: feels like it sort of grew out of all of that.
• 1:20:07
  Speaker 4: And it is organic in the way that it came
• 1:20:09
  Speaker 4: together more or less. But yeah, I think I liked the, like,
• 1:20:12
  Speaker 4: it has a very slow lead in that I kind
• 1:20:13
  Speaker 4: of liked just sort of focusing on the piano. And like,
• 1:20:16
  Speaker 4: I kind of liked that. And then it was just
• 1:20:19
  Speaker 4: that weird little reoccurring thing that comes back into the
• 1:20:21
  Speaker 4: song that I almost feel like it's, maybe it's just
• 1:20:23
  Speaker 4: in a weird key or something, but it just, it
• 1:20:25
  Speaker 4: almost felt like it was distracting from the lyrics because
• 1:20:29
  Speaker 4: the lyrics were kind of doing their own thing and
• 1:20:31
  Speaker 4: the piano otherwise was, fit the lyrics and then it
• 1:20:35
  Speaker 4: would do that almost like he's showing off again like
• 1:20:37
  Speaker 4: almost like he's trying to be a little fancier than
• 1:20:39
  Speaker 4: he needs to be but again i do not doubt
• 1:20:42
  Speaker 4: that he's like massively talented so and and again lyrically
• 1:20:45
  Speaker 4: i think this is a great song right yeah all
• 1:20:49
  Speaker 4: right back to some heavy hitters on the score so.
• 1:20:54
  Speaker 1: We have oppenheimer right on the table so And it
• 1:23:07
  Speaker 1: looks like Ludvig Jørgensen is on the nominee list. And
• 1:23:11
  Speaker 1: so Swedish composer, conductor, songwriter, record producer, wears a lot
• 1:23:16
  Speaker 1: of different hats. did a lot of really interesting films.
• 1:23:20
  Speaker 1: Like he's scored films for the Rocky franchise.
• 1:23:23
  Speaker 4: Um, yeah, he started way more mainstream than I went
• 1:23:26
  Speaker 4: back looking. I was like, Oh, look at all these
• 1:23:28
  Speaker 4: cheesy movies he made that I was like, he's now
• 1:23:30
  Speaker 4: super well respected. And like, you would think is like
• 1:23:33
  Speaker 4: super serious, but going back and looking through his other stuff,
• 1:23:36
  Speaker 4: it was like, he started with some silly movies that
• 1:23:38
  Speaker 4: I'm like, good for you, man. I like that. Oh yeah.
• 1:23:41
  Speaker 1: And I think this is like, and I, you know,
• 1:23:44
  Speaker 1: haven't seen the movie as well. It's, it's, uh, I
• 1:23:47
  Speaker 1: remember coming out thinking that this was almost striking a
• 1:23:54
  Speaker 1: middle ground between the backgrounds approach and the foreground. Like,
• 1:23:58
  Speaker 1: I could listen to this music outside of the movie,
• 1:24:03
  Speaker 1: and it would be just as interesting, I think.
• 1:24:08
  Speaker 4: To me, this seems different for him, what I know
• 1:24:11
  Speaker 4: of him. Because, again, he's been working for years. I
• 1:24:15
  Speaker 4: knew him as a name before. once he started getting
• 1:24:17
  Speaker 4: into the different type of scores, because I think he
• 1:24:21
  Speaker 4: got the most attention maybe when I first started noticing
• 1:24:24
  Speaker 4: that name for when he did the Black Panther score. Right.
• 1:24:27
  Speaker 4: And he worked in a lot of traditional African instruments
• 1:24:30
  Speaker 4: and music and entirely different approach to a score than
• 1:24:34
  Speaker 4: you would expect from, you know, a normal Oscar score.
• 1:24:36
  Speaker 10: Right.
• 1:24:37
  Speaker 4: And then he also did the, the, score type music
• 1:24:41
  Speaker 4: for the Mandalorian series, which is also working in weird
• 1:24:44
  Speaker 4: sounds and like doing totally different. Like he just gets
• 1:24:47
  Speaker 4: outside of the normal symphony sound. He starts experimenting with
• 1:24:52
  Speaker 4: a lot of crazy stuff and then still sort of
• 1:24:54
  Speaker 4: delivers this really polished sound. And this to me almost
• 1:24:58
  Speaker 4: sounds like what I would expect from an Oscar score.
• 1:25:01
  Speaker 4: You know what I'm like? I don't mean that as
• 1:25:03
  Speaker 4: a backhanded compliment, but I'm like with him and knowing
• 1:25:06
  Speaker 4: his name, I expected it to be pretty different. And
• 1:25:09
  Speaker 4: then I came in, I'm like, this is just a
• 1:25:11
  Speaker 4: really good, you know, symphony sound. Like it's, it's really
• 1:25:15
  Speaker 4: well done. I can actually, I was listening to it
• 1:25:17
  Speaker 4: for a long time and like, I could just sort
• 1:25:19
  Speaker 4: of listen to this as its own piece, you know,
• 1:25:22
  Speaker 4: it's like, it doesn't, but which I think is maybe
• 1:25:25
  Speaker 4: harder to do with the more weird sounding ones. It's like,
• 1:25:27
  Speaker 4: sometimes those work better in a limited, you know, this
• 1:25:31
  Speaker 4: three minute song is really cool because it's so different,
• 1:25:34
  Speaker 4: but you don't want two hours of that. Whereas this,
• 1:25:36
  Speaker 4: I think you're just fine to kind of put this
• 1:25:38
  Speaker 4: on and, and, enjoy listening to what he's doing for
• 1:25:41
  Speaker 4: the whole run of the piece. So I was, yeah,
• 1:25:43
  Speaker 4: I was kind of surprised knowing who he was that
• 1:25:46
  Speaker 4: it's as traditional as it is. But again, that's not a,
• 1:25:50
  Speaker 4: that's not a dig. It's so impressive for what it
• 1:25:52
  Speaker 4: is that like I could very easily sit and listen
• 1:25:56
  Speaker 4: to this.
• 1:25:56
  Speaker 9: Well, yeah.
• 1:25:57
  Speaker 1: I mean, and the interesting thing talking about, you know,
• 1:26:00
  Speaker 1: how you're, you're describing his unique style or unique approach
• 1:26:05
  Speaker 1: to writing scores is coming in contact with more conventional
• 1:26:09
  Speaker 1: modes of working here.
• 1:26:11
  Speaker 6: I agree.
• 1:26:12
  Speaker 1: I think you hear both of those approaches in this
• 1:26:15
  Speaker 1: particular score. But what's interesting is that you can tell he,
• 1:26:19
  Speaker 1: even though when he goes the conventional route, the use
• 1:26:23
  Speaker 1: of motives, like small little melodies, as well as referencing
• 1:26:30
  Speaker 1: some really well-known works, and I'll talk about that in
• 1:26:34
  Speaker 1: a second, but like Take, for example, Fission, right? So
• 1:26:37
  Speaker 1: Fission starts out with this, you know, very relatively lush,
• 1:26:41
  Speaker 1: you know, it's got, you know, he's, I think, primarily
• 1:26:45
  Speaker 1: using the string orchestra in this particular score for the
• 1:26:47
  Speaker 1: most part. But then he has this piano motive that's
• 1:26:52
  Speaker 1: two notes, and it's usually a perfect fifth apart for
• 1:26:54
  Speaker 1: those musicians out there. But then he gets into, he references,
• 1:26:59
  Speaker 1: and this is my take from it, because this is about, obviously,
• 1:27:04
  Speaker 1: the bomb. And so he references Polish composers, Krzysztof Penderecki's Threnody.
• 1:27:10
  Speaker 1: And if you ever heard that score, it's also for
• 1:27:13
  Speaker 1: string orchestra. And Threnody is, it was actually the full title,
• 1:27:17
  Speaker 1: Threnody for the Victims of Hiroshima. Threnody takes, you know,
• 1:27:23
  Speaker 1: say clusters of pitches that the violins will play and
• 1:27:28
  Speaker 1: will slide them down. You down to a single pitch.
• 1:27:35
  Speaker 1: And he does that in the Fission score, or I
• 1:27:39
  Speaker 1: guess that track there. You'll see he kind of references
• 1:27:42
  Speaker 1: that sort of Penderecki-like Threnody approach, you know, to here's
• 1:27:49
  Speaker 1: a cluster, here's a sound, this is referencing something very serious,
• 1:27:53
  Speaker 1: and then we're going to get down to one note.
• 1:27:56
  Speaker 1: So if you wanted to incorporate, you know, like a
• 1:27:59
  Speaker 1: little track, you can incorporate Threnody in there.
• 1:28:01
  Speaker 4: You can work that in.
• 1:28:05
  Speaker 10: Thank you.
• 1:28:42
  Speaker 4: Yeah. Yeah. Yeah.
• 1:28:43
  Speaker 1: I mean, it's, it's really interesting, uh, how he, he
• 1:28:46
  Speaker 1: does that. And unless you're like really, you know, diehard classical,
• 1:28:50
  Speaker 1: you know, 20th century music fan, you probably wouldn't catch
• 1:28:53
  Speaker 1: things like that. So I think he kind of does
• 1:28:55
  Speaker 1: bring in some of his background as, as a conductor
• 1:28:58
  Speaker 1: and composer into this in unique ways. Um, the other
• 1:29:02
  Speaker 1: track that you'll hear some of this is what we
• 1:29:04
  Speaker 1: have done. Um, they have like his, what I mean
• 1:29:10
  Speaker 1: by that's, this is kind of interesting. is that when
• 1:29:13
  Speaker 1: you hear that two-note motive in Fission, it's not just, okay,
• 1:29:18
  Speaker 1: that's just a cool sound and I'm done with it.
• 1:29:20
  Speaker 1: He actually, when you listen to the track, What We
• 1:29:22
  Speaker 1: Have Done, it comes back as a reflective moment. So
• 1:29:26
  Speaker 1: he's trying to use these really two unique notes, this motive,
• 1:29:31
  Speaker 1: if you will, in a very contemplative way. And so
• 1:29:35
  Speaker 1: he's rounding out ideas in the actual score from the
• 1:29:39
  Speaker 1: beginning to the end. So that's kind of a really...
• 1:29:42
  Speaker 1: thoughtful way that i i really appreciate as a composer
• 1:29:46
  Speaker 1: thoughtful way of uh presenting a score to a film
• 1:29:49
  Speaker 1: you know not just hey this this sounds neat now
• 1:29:52
  Speaker 1: we're going to go to the next track you know so.
• 1:29:54
  Speaker 4: Well i think it's that that he brings to these
• 1:29:58
  Speaker 4: projects that is probably why he is who he is
• 1:30:02
  Speaker 4: now and i think who he's going to be i
• 1:30:04
  Speaker 4: think we've talked about this in the past that like
• 1:30:06
  Speaker 4: there are those go-to names that we always come to
• 1:30:09
  Speaker 4: and and you know as the John Williams are aging out,
• 1:30:12
  Speaker 4: it's like, who's going to come in and be the
• 1:30:13
  Speaker 4: new up every year for an Oscar. And I'm like
• 1:30:16
  Speaker 4: this in the span of when we've been doing this,
• 1:30:18
  Speaker 4: you know, just this music series, I didn't know this name.
• 1:30:22
  Speaker 4: And now I'm like, I feel like I'm going to
• 1:30:24
  Speaker 4: see him. If not every year, every couple of years,
• 1:30:26
  Speaker 4: he's going to be back with a really impressive score.
• 1:30:29
  Speaker 4: So I think he's built up this, you know, like
• 1:30:31
  Speaker 4: we said, he's been working for a long time, but
• 1:30:33
  Speaker 4: I think because he's so talented, he's gotten to this
• 1:30:36
  Speaker 4: level where, and is probably going to consistently continue putting
• 1:30:40
  Speaker 4: out pretty impressive stuff.
• 1:30:42
  Speaker 1: And I'll just add something, too. Like, as a musician
• 1:30:44
  Speaker 1: and a composer, what I really appreciate is that– and
• 1:30:47
  Speaker 1: this has been going on for the last couple years
• 1:30:49
  Speaker 1: with a lot of these nominations– is that you get
• 1:30:52
  Speaker 1: these scores that are actually using real musicians. Because, like,
• 1:30:56
  Speaker 1: one of the things I remember we were talking about.
• 1:30:58
  Speaker 4: In the early 2000s– Real people. Gross.
• 1:31:00
  Speaker 1: Well, you know, it's– I know, right? I mean– Well,
• 1:31:03
  Speaker 1: you know, in the early 2000s, right, you get a
• 1:31:05
  Speaker 1: lot of these sci-fi predictions that we're going to be,
• 1:31:09
  Speaker 1: by 2023, we're all going to be using the computer.
• 1:31:11
  Speaker 1: There's not going to be any human playing instruments anymore.
• 1:31:13
  Speaker 1: But you see the exact opposite happening here. Like, look
• 1:31:16
  Speaker 1: at Terrence Blanchard and Defy Bloods. That uses, you know,
• 1:31:21
  Speaker 1: an orchestra. Joransson uses an orchestra. Real musicians playing the,
• 1:31:27
  Speaker 1: you know, written scores. Again, Old Man with Cane, I guess,
• 1:31:30
  Speaker 1: makes me happy, but This is a really cool thing.
• 1:31:33
  Speaker 1: I'm seeing this respect for working with live musicians. And
• 1:31:39
  Speaker 1: so I just thought I'd throw that in there.
• 1:31:41
  Speaker 4: I think it goes through waves, artistically speaking, and not
• 1:31:45
  Speaker 4: just music. But I know we always talk about that
• 1:31:48
  Speaker 4: watching a lot of horror. I'm like the practical effects thing.
• 1:31:50
  Speaker 4: Like we went through that wave of everything CG and
• 1:31:53
  Speaker 4: all the effects are going to be CG. And then
• 1:31:56
  Speaker 4: this whole group of people got together and went, yeah,
• 1:31:58
  Speaker 4: we don't like that. We love the real practical thing
• 1:32:01
  Speaker 4: where real humans put together real gross stuff and then
• 1:32:05
  Speaker 4: we show it on screen. And like so that made
• 1:32:07
  Speaker 4: this huge comeback. And like now they sort of go
• 1:32:10
  Speaker 4: back and forth and you do whatever you want. So,
• 1:32:12
  Speaker 4: I mean, I think they all kind of go through waves.
• 1:32:13
  Speaker 4: I'm sure we'll hit another weird AI makes all our
• 1:32:17
  Speaker 4: music synth. version of everything and then in another five
• 1:32:22
  Speaker 4: ten years people come back to me like no we're
• 1:32:24
  Speaker 4: gonna do an entirely real orchestra and we're gonna write
• 1:32:27
  Speaker 4: things on paper again yes i think it'll i think
• 1:32:30
  Speaker 4: it goes through those different periods and we're just in
• 1:32:33
  Speaker 4: a good spot for that stuff.
• 1:32:35
  Speaker 1: Now so yeah yeah it's good to see yeah.
• 1:32:38
  Speaker 4: All right for the song we are back to the
• 1:32:41
  Speaker 4: uh the killers of the flower moon area I'm going
• 1:32:45
  Speaker 4: to attempt this title as best I can, which we
• 1:32:48
  Speaker 4: all know is a bad idea for me. This is Wazazi?
• 1:32:53
  Speaker 1: That's Wazaji. Wazaji.
• 1:32:56
  Speaker 4: See, I kept trying to get the Zsa Zsa in there.
• 1:32:58
  Speaker 4: It's very Zsa Zsa-esque. Wazaji.
• 1:33:01
  Speaker 1: A song for my people.
• 1:33:01
  Speaker 4: A song for my people, which is from the movie
• 1:33:04
  Speaker 4: Killers of the Flower Moon. It is sung by the
• 1:33:07
  Speaker 4: Osage Tribal Singers and music and lyric by Scott George.
• 1:33:42
  Speaker 5: Hey! Hey. Yay!
• 1:36:32
  Speaker 4: Thank you.
• 1:37:43
  Speaker 10: Hey!
• 1:37:43
  Speaker 1: Hey!
• 1:37:44
  Speaker 9: Hey!
• 1:38:26
  Speaker 7: Come back, little man!
• 1:39:30
  Speaker 6: So I don't know.
• 1:39:33
  Speaker 4: This is one of those we kind of had, or
• 1:39:35
  Speaker 4: at least my response was, this is kind of when
• 1:39:37
  Speaker 4: we got the RRR song. I was like, do I
• 1:39:41
  Speaker 4: get to talk about this? Do I know enough about
• 1:39:44
  Speaker 4: this style of music to critique it in any way, shape,
• 1:39:47
  Speaker 4: or form? I don't know that I deserve to on
• 1:39:49
  Speaker 4: any of these pieces, truthfully. But I feel like when
• 1:39:52
  Speaker 4: it gets very specific into a certain culture, it almost
• 1:39:56
  Speaker 4: gets outside of the range of like, what do you
• 1:39:59
  Speaker 4: do with it? You know, it's just like, unless you
• 1:40:01
  Speaker 4: are immersed in that culture, does it even make sense
• 1:40:06
  Speaker 4: to make any comments one way or the other? So
• 1:40:08
  Speaker 4: I'm just like, This seems like what I would assume
• 1:40:11
  Speaker 4: this would sound like. It's done by the people who
• 1:40:13
  Speaker 4: are of this culture. So I assume that it is accurate.
• 1:40:16
  Speaker 4: So I'm like, yes, this works, I guess, in my
• 1:40:21
  Speaker 4: mind that doesn't understand these things.
• 1:40:24
  Speaker 1: Well, and I think, you know, if you go back
• 1:40:27
  Speaker 1: to like what we were talking about with the two
• 1:40:29
  Speaker 1: things that make a song, quote unquote, important enough to
• 1:40:33
  Speaker 1: like make a nomination list, right? That has to work
• 1:40:36
  Speaker 1: very well with the film. And then the second thing
• 1:40:39
  Speaker 1: is that it has to be good on its own,
• 1:40:40
  Speaker 1: or at least this would be my criteria, right? So
• 1:40:44
  Speaker 1: with regards to the film, absolutely, right? This is about
• 1:40:46
  Speaker 1: the Osage people. This is actually– Wazaji means people of
• 1:40:54
  Speaker 1: the Middle Water. And so this is– the Wazaji actually
• 1:40:58
  Speaker 1: was the name of the indigenous American tribe before it
• 1:41:05
  Speaker 1: got watered down to a sage, you know, after a
• 1:41:08
  Speaker 1: lot of colonization force migration and so forth.
• 1:41:11
  Speaker 4: So, yeah.
• 1:41:13
  Speaker 1: And so this is, um, this is something that I
• 1:41:16
  Speaker 1: think is, is a personal attribute, you know, to, to, uh,
• 1:41:21
  Speaker 1: what was going on in the movie. Obviously, again, you
• 1:41:23
  Speaker 1: have those two forces that are working against each other. Um, but, um,
• 1:41:29
  Speaker 1: but outside, outside of the movie, you're, you're absolutely right.
• 1:41:32
  Speaker 1: Unless you know, and are, you know, I guess this
• 1:41:36
  Speaker 1: is something that means something to you personally, it's going
• 1:41:40
  Speaker 1: to be hard to really say, compared to other, say,
• 1:41:45
  Speaker 1: songs of the similar style and, you know, musical camp,
• 1:41:49
  Speaker 1: you know, how do you objectively say, well, this one
• 1:41:51
  Speaker 1: is better than others, you know, so.
• 1:41:54
  Speaker 4: It's hard once it gets that immersed in a culture. Right.
• 1:41:57
  Speaker 4: Which technically, this is my culture. If you believe what
• 1:42:00
  Speaker 4: I've been told.
• 1:42:01
  Speaker 5: Right.
• 1:42:02
  Speaker 4: Like every other dumb white person in this part of
• 1:42:04
  Speaker 4: the world. Yeah, you've got Native American blood in you. Right.
• 1:42:09
  Speaker 4: But again, I've been ruined by white people enough that
• 1:42:11
  Speaker 4: I don't pretend like I know anything about this specific
• 1:42:15
  Speaker 4: group enough to be able to critique it. It did
• 1:42:18
  Speaker 4: bring up what I wanted to see because, like I
• 1:42:22
  Speaker 4: was saying, when you see something that takes place in
• 1:42:25
  Speaker 4: this world and then you hear this music, you're like, oh, yeah,
• 1:42:27
  Speaker 4: that seems right. Same thing when we had the RRR.
• 1:42:30
  Speaker 4: It's from an entirely different part of the world. We
• 1:42:32
  Speaker 4: get this song and I'm like, yeah, that seems right
• 1:42:34
  Speaker 4: for that story. Do other people in other parts of
• 1:42:37
  Speaker 4: the world do that in our direction? If they're making
• 1:42:41
  Speaker 4: a movie and it's taking place in a nightclub and
• 1:42:44
  Speaker 4: they need American jazz playing, do they just... plug in
• 1:42:48
  Speaker 4: some sort of generic American jazz, and they're like, yeah,
• 1:42:51
  Speaker 4: that seems right, good enough.
• 1:42:52
  Speaker 1: Right, and then a jazz expert comes in and says, absolutely,
• 1:42:56
  Speaker 1: that's not bebop or verse bop. That's not how that works.
• 1:42:58
  Speaker 4: Yeah, exactly. This is from the wrong era entirely. So, yeah,
• 1:43:01
  Speaker 4: I wonder if it works in opposite directions from other
• 1:43:05
  Speaker 4: parts of the world.
• 1:43:06
  Speaker 1: Right, yeah.
• 1:43:08
  Speaker 4: I agree.
• 1:43:09
  Speaker 1: But, you know, what is, I will say, the nice
• 1:43:13
  Speaker 1: factor about this nomination is that it's not just, a song,
• 1:43:17
  Speaker 1: a generic song that you would get. Cause you know,
• 1:43:21
  Speaker 1: you could have gotten something that was just, you know,
• 1:43:25
  Speaker 1: it was written in the style of.
• 1:43:28
  Speaker 4: You could have gotten a very popular songwriter.
• 1:43:31
  Speaker 1: I wasn't sure if I wanted to jump into that
• 1:43:33
  Speaker 1: name again, but it could have, it could have been
• 1:43:36
  Speaker 1: that right. And which had absolutely no connection and was
• 1:43:40
  Speaker 1: more of a generic way of telling the story. But
• 1:43:43
  Speaker 1: what we got was the actual, style the actual performance
• 1:43:47
  Speaker 1: um and so has that been done a lot the
• 1:43:50
  Speaker 1: answer is probably no right so.
• 1:43:52
  Speaker 4: Which again i will give credit to scorsese like he
• 1:43:55
  Speaker 4: is that kind of director he wants to bring that
• 1:43:58
  Speaker 4: level of realism to the story and also bring in
• 1:44:02
  Speaker 4: you know this is the first native american that's been
• 1:44:05
  Speaker 4: nominated for an actress you know so like the fact
• 1:44:08
  Speaker 4: that he wanted to get a real person to represent
• 1:44:11
  Speaker 4: these people not cast some white girl and be like
• 1:44:13
  Speaker 4: now you're an indian princess go be pocahontas so yeah
• 1:44:19
  Speaker 4: this is this is actually a real person that is
• 1:44:22
  Speaker 4: representing this culture and so the song is kind of
• 1:44:25
  Speaker 4: that same thing it's like i want to not just
• 1:44:28
  Speaker 4: find people that work in Hollywood and say here's the
• 1:44:31
  Speaker 4: generic version of what we're doing go write your generic
• 1:44:34
  Speaker 4: song it matches it this is very immersed in the.
• 1:44:37
  Speaker 1: Culture singing about battling oil and greed you know yeah exactly.
• 1:44:42
  Speaker 4: Always taking digs that's what we do that's right that's
• 1:44:45
  Speaker 4: important so switching gears back to score speaking of unique
• 1:44:51
  Speaker 4: very unique poor things poor things.
• 1:45:47
  Speaker 7: Thank you.
• 1:46:25
  Speaker 1: Okay, so Fendrix. So he's an interesting English musician and
• 1:46:32
  Speaker 1: kind of has his own unique style. Some people will
• 1:46:37
  Speaker 1: call it electro-punk or ultra-modern pop. And he's got this
• 1:46:42
  Speaker 1: baritone voice. Have you heard his songs?
• 1:46:44
  Speaker 4: I don't know that I've heard him sing.
• 1:46:47
  Speaker 1: Yeah, so it's like Lou Reed is what a lot
• 1:46:50
  Speaker 1: of people compare his singing style to. But yeah, he's basically...
• 1:46:55
  Speaker 1: kind of surrounds himself with the music scene, the Windmill
• 1:46:58
  Speaker 1: Pub in Brixton, and he's worked alongside bands such as
• 1:47:04
  Speaker 1: Black Midi and Black Country and so forth. So he's
• 1:47:08
  Speaker 1: coming from a traditional, I guess, pop background, but not
• 1:47:15
  Speaker 1: traditional in the sense of like some of these pop-turned-score
• 1:47:19
  Speaker 1: writers have other backgrounds to them that.
• 1:47:24
  Speaker 4: Are more conventional.
• 1:47:26
  Speaker 9: Yeah.
• 1:47:27
  Speaker 1: More conventional, but this is not conventional. And this is
• 1:47:29
  Speaker 1: kind of an interesting aspect of this is that he
• 1:47:33
  Speaker 1: really does bring a unique stamp. Like if, if you're
• 1:47:38
  Speaker 1: going to create a person that is going to change
• 1:47:41
  Speaker 1: the convention of writing music for film, um, you would
• 1:47:44
  Speaker 1: want to bring somebody like Fendrix on.
• 1:47:46
  Speaker 4: Right.
• 1:47:46
  Speaker 1: So he, um, And he actually kind of reminds me
• 1:47:50
  Speaker 1: a little bit of Toru Takamitsu as one of my favorite,
• 1:47:53
  Speaker 1: I probably mentioned him before, one of my favorite composers.
• 1:47:57
  Speaker 1: Japanese composer, lived in the 20th century, was kind of
• 1:48:00
  Speaker 1: like the John Williams of his time in the sense
• 1:48:03
  Speaker 1: that he not only wrote a lot of music for films,
• 1:48:07
  Speaker 1: but he also wrote a lot of music for concert stage.
• 1:48:10
  Speaker 1: So he's known by a lot of people. But Takamitsu was...
• 1:48:16
  Speaker 1: very into like writing music for these experimental films that
• 1:48:19
  Speaker 1: took place in the 1960s so one is for example
• 1:48:23
  Speaker 1: woman in the dunes and we probably talked about that
• 1:48:25
  Speaker 1: one a little bit and uh where he takes snippets
• 1:48:28
  Speaker 1: of these unconventional musical gestures and um uh ensembles you
• 1:48:35
  Speaker 1: know so like for example like he'll take um an
• 1:48:38
  Speaker 1: I'm tying this into what Fendrix does. Takamitsu will take
• 1:48:42
  Speaker 1: two harps and tune one of them normally, but then
• 1:48:46
  Speaker 1: detune the second one just a little flat compared to
• 1:48:50
  Speaker 1: the first one, so that when you strum them both together,
• 1:48:52
  Speaker 1: it sounds like an out-of-tune music box. It's a very
• 1:48:56
  Speaker 1: beautiful sound, actually. Kind of bittersweet in that sense. And
• 1:49:00
  Speaker 1: this is what Fendrix does. He kind of takes the idea,
• 1:49:03
  Speaker 1: he detunes one of the harps, actually, and but he's
• 1:49:07
  Speaker 1: got this kind of like, he embraces musical styles that
• 1:49:11
  Speaker 1: are very like, much like your more avant-garde pointillistic kind
• 1:49:17
  Speaker 1: of experimental composers. I'm thinking like John Cage and Morton Feldman,
• 1:49:21
  Speaker 1: for instance. And he's got a really dry studio recording sound,
• 1:49:28
  Speaker 1: which again, it's like, you don't think about recording as
• 1:49:32
  Speaker 1: an art form, but when you listen to this, you
• 1:49:34
  Speaker 1: do because it, it, brings a dryness that most people
• 1:49:38
  Speaker 1: try to put a lot of reverb on the sound
• 1:49:40
  Speaker 1: and you get that very generic sound, but he doesn't.
• 1:49:44
  Speaker 1: And he brings in also like high registers in the violins.
• 1:49:48
  Speaker 1: I mean, just really trying to take every convention and going,
• 1:49:53
  Speaker 1: we're going to do something different than that. We're going
• 1:49:54
  Speaker 1: to turn it on its head.
• 1:49:57
  Speaker 4: The offness of this is so perfectly suited because I
• 1:50:01
  Speaker 4: just mentioned it on a recent episode. I just went
• 1:50:03
  Speaker 4: and saw poor things. And it is such a, again,
• 1:50:07
  Speaker 4: the movie itself is off by design. Like it is
• 1:50:11
  Speaker 4: telling a weird story about a very strange character. And
• 1:50:15
  Speaker 4: the fact that they don't really fit with the world
• 1:50:18
  Speaker 4: around them, obviously you're going to want the score to
• 1:50:21
  Speaker 4: reflect that. So this perfectly like fits in with just,
• 1:50:24
  Speaker 4: it's like everything is sort of off kilter as you
• 1:50:27
  Speaker 4: get into this music. And then it works in this
• 1:50:31
  Speaker 4: human voice element at times that is like, again, almost
• 1:50:34
  Speaker 4: works with the Gothic look and feel of what's going
• 1:50:37
  Speaker 4: on with some of this movie. So it's like, it
• 1:50:39
  Speaker 4: sort of balances all the weird stuff going on on
• 1:50:43
  Speaker 4: screen that fits perfectly in with what's going on in
• 1:50:46
  Speaker 4: the score as well. Right. Yeah. Yeah.
• 1:50:49
  Speaker 1: It does grab, it grabs the sort of psychological elements
• 1:50:53
  Speaker 1: to the film, I think pretty nicely. And you also get, again, it's, um,
• 1:50:59
  Speaker 1: Can you remember any theme? Or are you going to
• 1:51:03
  Speaker 1: put this on your playlist when you get home?
• 1:51:04
  Speaker 4: Yeah, that's what I was going to say. This one
• 1:51:06
  Speaker 4: does not work outside of the movie, really. No, yeah.
• 1:51:08
  Speaker 4: It's definitely for the movie. Yeah. It would be hard
• 1:51:12
  Speaker 4: to present this to a normal person on the street
• 1:51:14
  Speaker 4: and be like, what do you think of this song? Right.
• 1:51:16
  Speaker 4: And be like, what the hell is this? Yeah.
• 1:51:18
  Speaker 1: It was interesting. I was listening to it in the car, actually,
• 1:51:21
  Speaker 1: with my son, who's like nine years old. And he
• 1:51:23
  Speaker 1: was actually digging it. And he was like, dad, that's really.
• 1:51:25
  Speaker 4: Kids are weird.
• 1:51:26
  Speaker 1: It's good.
• 1:51:26
  Speaker 5: Yeah.
• 1:51:27
  Speaker 6: Yeah.
• 1:51:27
  Speaker 3: He was.
• 1:51:28
  Speaker 4: He loved the.
• 1:51:29
  Speaker 1: Playfulness of a lot of the pieces.
• 1:51:31
  Speaker 4: So yeah. I really enjoyed the movie itself. So I
• 1:51:35
  Speaker 4: think this, this kind of works with it so well
• 1:51:37
  Speaker 4: that yeah, it would be hard to have any other
• 1:51:40
  Speaker 4: type of music really.
• 1:51:41
  Speaker 10: Yeah.
• 1:51:42
  Speaker 4: And then I, yeah, I think the movie is improved
• 1:51:45
  Speaker 4: by what he's doing with the score as well.
• 1:51:47
  Speaker 5: Right.
• 1:51:48
  Speaker 7: Yeah.
• 1:51:48
  Speaker 1: So like, you know, to, to round it out, you know,
• 1:51:51
  Speaker 1: we had nominees that were, were hitting the, traditional elements,
• 1:51:56
  Speaker 1: but doing it very well in a well-crafted way. So
• 1:51:59
  Speaker 1: like John Williams and then you have Laura Cartman who
• 1:52:02
  Speaker 1: are taking, you know, traditional jazz and traditional epic orchestra
• 1:52:05
  Speaker 1: scores and doing very well with it. But then you
• 1:52:07
  Speaker 1: have somebody who's just, Hey, I want to try something
• 1:52:10
  Speaker 1: new here. I want to really develop something that might
• 1:52:12
  Speaker 1: be of use later on. And I respect that too.
• 1:52:15
  Speaker 1: So that's, that's why this whole crop I think is
• 1:52:18
  Speaker 1: very hard. Like if I were on the committee, I'd
• 1:52:20
  Speaker 1: have a hard time figuring out what is original score music.
• 1:52:23
  Speaker 4: Yeah.
• 1:52:24
  Speaker 1: Mean and what is the best one, you know?
• 1:52:26
  Speaker 4: It's a lot. It's a lot to deal with.
• 1:52:28
  Speaker 8: Yeah.
• 1:52:30
  Speaker 4: Well, before we totally get to the last song, I did,
• 1:52:33
  Speaker 4: I think, in at least one of the recent years,
• 1:52:36
  Speaker 4: I did my own little honorable mention. And this one,
• 1:52:38
  Speaker 4: as we got to the nominations, I was like, oh, well,
• 1:52:41
  Speaker 4: it's kind of a shame. And I feel like it
• 1:52:42
  Speaker 4: was a trade-off for the Kin song. Because if we're,
• 1:52:47
  Speaker 4: you know, the Barbie soundtrack had a ton of stuff
• 1:52:50
  Speaker 4: on it. But the fact that Dua Lipa didn't get
• 1:52:53
  Speaker 4: nominated because she did get a Golden Globe nomination. And
• 1:52:56
  Speaker 4: I think her song is one of the few that
• 1:52:59
  Speaker 4: works in a traditional way. Like it is legitimately on
• 1:53:03
  Speaker 4: the radio all the time. Like it works as a
• 1:53:06
  Speaker 4: song that is just a, you know, it's not often
• 1:53:10
  Speaker 4: that you get danceable as part of your Oscar nominees.
• 1:53:12
  Speaker 4: But it's like, it's a popular dance song, but if
• 1:53:17
  Speaker 4: you listen to the lyrics, it actually, like, it was
• 1:53:19
  Speaker 4: written for the movie. It does, in, again, it's a
• 1:53:23
  Speaker 4: little more subtle. Well, the other ones are slower, sadder
• 1:53:26
  Speaker 4: song that we're going to get to. This one is
• 1:53:28
  Speaker 4: a danceable pop song, but it's also got the through
• 1:53:31
  Speaker 4: line in what minimal lyrics there are, they match what
• 1:53:36
  Speaker 4: was going on in the movie. And I was like,
• 1:53:37
  Speaker 4: you don't get that with a lot of poppier songs
• 1:53:40
  Speaker 4: that still have, like, enough... attention to detail to be
• 1:53:43
  Speaker 4: written thematically to fit the movie that they're going into.
• 1:53:46
  Speaker 4: So again, they, they usually make a big deal of,
• 1:53:49
  Speaker 4: was this written for the movie for it to be
• 1:53:52
  Speaker 4: a contender for Oscars? And I was like, this is
• 1:53:54
  Speaker 4: one of the few that I'm like, no, this obviously was.
• 1:53:57
  Speaker 4: And then instead he went with the silly Ken song.
• 1:53:59
  Speaker 4: So I don't know. I feel like it's a little,
• 1:54:03
  Speaker 4: a little annoying that she didn't get a nomination. I
• 1:54:05
  Speaker 4: don't know that she would have won, but just saying
• 1:54:08
  Speaker 4: of the more recent. And again, she's actually been around
• 1:54:11
  Speaker 4: for years, but yeah, In those years, she's kind of
• 1:54:13
  Speaker 4: grown on me as one of the more popular, somebody
• 1:54:16
  Speaker 4: who's on the radio all the time, and yet every
• 1:54:19
  Speaker 4: time I'm like, oh, this is actually a really good song.
• 1:54:21
  Speaker 4: So consistently, she's put out good stuff. So I thought
• 1:54:24
  Speaker 4: it was kind of a shame they swapped out and
• 1:54:27
  Speaker 4: instead went with the Kin song.
• 1:54:28
  Speaker 1: They need to talk to you in advance.
• 1:54:30
  Speaker 4: They really do. I mean, I think both of us,
• 1:54:33
  Speaker 4: you should be on there to be voting and have
• 1:54:35
  Speaker 4: a really tough time with this year on the score end.
• 1:54:38
  Speaker 5: Absolutely.
• 1:54:38
  Speaker 4: They should come to me with the songs and be like,
• 1:54:42
  Speaker 4: I'm still annoyed by last year that you know that
• 1:54:45
  Speaker 4: Selena wrote a great song about her mental illness and
• 1:54:47
  Speaker 4: instead they put another Diane Warren song on there so
• 1:54:50
  Speaker 4: I'm like this was a really well song that was
• 1:54:53
  Speaker 4: created specifically for this documentary that she made about this
• 1:54:57
  Speaker 4: whole thing and a song that came out of it
• 1:55:01
  Speaker 4: but no you didn't go with that one you went
• 1:55:03
  Speaker 4: with this nonsense that Diane Warren put out again continuing
• 1:55:06
  Speaker 4: to slam Diane.
• 1:55:07
  Speaker 1: Warren she'll get richer as you do that oh yeah
• 1:55:10
  Speaker 1: she again 15 nominations.
• 1:55:12
  Speaker 4: I don't think she's hurting. Right. But as far as
• 1:55:16
  Speaker 4: going out, we are going to be going out on
• 1:55:20
  Speaker 4: What Was I Made For? which is the song from Barbie,
• 1:55:23
  Speaker 4: the other song. It is sung by Billie Eilish and
• 1:55:27
  Speaker 4: it is music and lyric by Billie Eilish and Phineas O'Connell,
• 1:55:30
  Speaker 4: which is her brother. This one, I have a weird
• 1:55:35
  Speaker 4: personal connection to this one that makes me love it
• 1:55:39
  Speaker 4: and yet I can't listen to it sometimes now. So
• 1:55:41
  Speaker 4: it was a weird year for me, and this was, like,
• 1:55:44
  Speaker 4: literally playing on the radio as horrible things were going on.
• 1:55:48
  Speaker 4: So I have, like, this has a weird emotional impact
• 1:55:51
  Speaker 4: on me. But also, I mean, even before that, I'd
• 1:55:54
  Speaker 4: heard this song. This is not your traditional pop song. Like,
• 1:55:58
  Speaker 4: it is very sad. It is very slow. Like, as
• 1:56:03
  Speaker 4: far as, again, it's not danceable. It's, like, it's what
• 1:56:06
  Speaker 4: Billy does a lot, but, like, it is very... measured
• 1:56:10
  Speaker 4: and how it wants to approach this type of thing.
• 1:56:13
  Speaker 4: And then as it gets into it, lyrically, it is just,
• 1:56:16
  Speaker 4: I mean, truthfully, it's depressing, but again, it's like, I,
• 1:56:19
  Speaker 4: I kind of love that. It's amazing that Billie Eilish
• 1:56:21
  Speaker 4: has become the huge name that she has because a
• 1:56:25
  Speaker 4: lot of her songs are, are again, they're very slow.
• 1:56:29
  Speaker 4: They're very lyrically based. They're very like impressive vocally what
• 1:56:33
  Speaker 4: she's able to do. But they're not dance hits. They're
• 1:56:37
  Speaker 4: not pop songs. But no joke, on the way here,
• 1:56:40
  Speaker 4: I was listening to the song on the radio because
• 1:56:43
  Speaker 4: they're still playing it. So it's like the power that
• 1:56:45
  Speaker 4: she has in the industry, I guess, that she's built
• 1:56:48
  Speaker 4: up enough of a following that cheesy pop radio that
• 1:56:51
  Speaker 4: usually plays nothing but the five most popular and half
• 1:56:55
  Speaker 4: of them garbage songs instead is bothering to work this
• 1:56:59
  Speaker 4: in regularly is still kind of impressive, I feel like.
• 1:57:02
  Speaker 4: So to me, that's sort of the... The thing that
• 1:57:05
  Speaker 4: puts this over the edge for me, if I were voting,
• 1:57:09
  Speaker 4: I think this is the best song of the year,
• 1:57:11
  Speaker 4: of the ones that we've been presented anyway. I like
• 1:57:14
  Speaker 4: a few of the others, but I think this is
• 1:57:16
  Speaker 4: by far better written.
• 1:57:18
  Speaker 1: Yeah, I think this was, you know, it again worked for,
• 1:57:23
  Speaker 1: I think, what I know of the background behind Barbie. Again,
• 1:57:28
  Speaker 1: I haven't seen it, so I need to like probably
• 1:57:30
  Speaker 1: go buy a ticket soon.
• 1:57:31
  Speaker 4: And yeah, or I feel like it works either way.
• 1:57:34
  Speaker 4: Like if you didn't know, like if this was, if again,
• 1:57:36
  Speaker 4: if you lived in a vacuum and didn't see Barbie,
• 1:57:40
  Speaker 4: but you just heard this song, you'd be like, man,
• 1:57:42
  Speaker 4: this is a heavy song. Right. And then if you
• 1:57:44
  Speaker 4: watch the movie, you're like, Oh, it is entirely based in,
• 1:57:48
  Speaker 4: you know, what the character herself is going through. So
• 1:57:50
  Speaker 4: I think it, I think it isn't so caught up
• 1:57:53
  Speaker 4: in itself that it doesn't work on its own. I
• 1:57:55
  Speaker 4: think it could completely work as a depressing, sad song
• 1:57:58
  Speaker 4: by itself. Right. But it's just intensified when you know Barbie.
• 1:58:02
  Speaker 5: Right.
• 1:58:03
  Speaker 1: And I think that's a thing that, like, as you
• 1:58:06
  Speaker 1: get older and you experience more uh, crises, if you will,
• 1:58:11
  Speaker 1: existential or otherwise, you know, you, uh, you will, you
• 1:58:15
  Speaker 1: will connect to songs in different ways than you did say,
• 1:58:18
  Speaker 1: you know, when you were younger and you were more
• 1:58:20
  Speaker 1: after say, you know, how fast is the guitar riff
• 1:58:23
  Speaker 1: going or something of that sort. And so for this one, yeah, it, um,
• 1:58:28
  Speaker 1: It didn't speak to me that much. But again, that's
• 1:58:31
  Speaker 1: mainly because I probably am coming at this from a
• 1:58:35
  Speaker 1: different angle. I'm looking at it purely from the musical
• 1:58:39
  Speaker 1: side of things. And so that's why I launched with
• 1:58:44
  Speaker 1: my rant, I launched this talk about songs and what
• 1:58:49
  Speaker 1: makes it interesting and so forth. And so I felt
• 1:58:52
  Speaker 1: like this was, again, it kind of worked fine. And
• 1:58:55
  Speaker 1: I think it probably... For what Barbie was doing in
• 1:59:00
  Speaker 1: a sense that it was more focused on driving home
• 1:59:04
  Speaker 1: the message than it was about producing something musically amazing
• 1:59:09
  Speaker 1: or what have you. And I get that. That's why
• 1:59:13
  Speaker 1: you do a movie is that you have other elements
• 1:59:15
  Speaker 1: that are important. So this one, I just was like, okay, well,
• 1:59:19
  Speaker 1: it worked. Now, the thing is about the song, the singer.
• 1:59:26
  Speaker 1: I have never, I've had a hard time, I admit,
• 1:59:29
  Speaker 1: connecting to Billie Eilish's like singing style. It's very airy.
• 1:59:34
  Speaker 4: It's very sedate. It's very. Because that's the thing. I've
• 1:59:37
  Speaker 4: tried to listen to her in normal settings and like
• 1:59:39
  Speaker 4: sometimes her lyrics are so low in the mix almost
• 1:59:43
  Speaker 4: that you like lose that there's a song on, which
• 1:59:46
  Speaker 4: is weird really. For someone who has this really strong voice,
• 1:59:51
  Speaker 4: it's like she 75% of the time uses like, the
• 1:59:55
  Speaker 4: real low end and the quiet version, but she has
• 1:59:57
  Speaker 4: a really strong voice. If you listen to other pieces.
• 2:00:00
  Speaker 1: It's like, yeah, my, my daughter's describes it as a
• 2:00:02
  Speaker 1: whispering song voice, you know, and that's the thing. It's like, uh,
• 2:00:06
  Speaker 1: you know, using a lot of air in your voice, uh,
• 2:00:09
  Speaker 1: in that way can be very effective. You know, you
• 2:00:11
  Speaker 1: could actually, um, produce some kind of, let's say you're,
• 2:00:16
  Speaker 1: you're trying to tackle something that is very personal, you know, and, um,
• 2:00:22
  Speaker 1: But at some point, like a lot of really good
• 2:00:24
  Speaker 1: songs do, you reach a very important climactic moment in
• 2:00:29
  Speaker 1: the lyrics or what have you, where you're going to
• 2:00:31
  Speaker 1: need to change the voice a little bit. I think
• 2:00:33
  Speaker 1: that's what a really good vocalist will do, is that
• 2:00:36
  Speaker 1: they'll kind of mix it up a little bit. So instead,
• 2:00:40
  Speaker 1: Billy Joel did this pretty well. He would change actually
• 2:00:43
  Speaker 1: the sound of his voice, just the timbre a little bit,
• 2:00:47
  Speaker 1: just to drive home certain points on the lyrics. I
• 2:00:50
  Speaker 1: was kind of I thought a little bit to myself
• 2:00:54
  Speaker 1: that it would be interesting if Eilish did that, but
• 2:00:58
  Speaker 1: she doesn't. And I felt like it just kind of
• 2:01:01
  Speaker 1: stayed static.
• 2:01:03
  Speaker 4: In that way. I feel like she can do that.
• 2:01:05
  Speaker 4: And I would almost like to see... Again, I don't
• 2:01:08
  Speaker 4: know how it would work in this specific song, but
• 2:01:11
  Speaker 4: in general, yeah, it's like the stuff that she's putting out,
• 2:01:13
  Speaker 4: I would kind of like to see her experiment a
• 2:01:15
  Speaker 4: little more with bigger vocals and then just... bringing kind
• 2:01:20
  Speaker 4: of more vocally to it but i think yeah songwriting
• 2:01:23
  Speaker 4: wise i think this again a song that says i
• 2:01:28
  Speaker 4: think i've forgotten how to be happy is on the
• 2:01:30
  Speaker 4: radio on the way here right you don't get that
• 2:01:33
  Speaker 4: i was like hey that's my lament that's where i'm
• 2:01:35
  Speaker 4: at these days yeah but it wasn't and again i
• 2:01:38
  Speaker 4: don't think it's just feeding off of the movie because
• 2:01:41
  Speaker 4: when she she did is of the people that were
• 2:01:44
  Speaker 4: nominated for golden globes she just won this one and
• 2:01:46
  Speaker 4: she got up there and was like I was in
• 2:01:48
  Speaker 4: a really bad place as I was writing this. So
• 2:01:50
  Speaker 4: it's like, she brought a lot of, I think what
• 2:01:53
  Speaker 4: was personal world, personal like trauma to like, okay. And
• 2:01:57
  Speaker 4: now I have to mix this with Barbie. So luckily
• 2:02:00
  Speaker 4: this is a really depressing Barbie movie. So it works
• 2:02:03
  Speaker 4: to write this really depressing song. So again, I do
• 2:02:06
  Speaker 4: think it's depressing, but I think it's impressive what it
• 2:02:09
  Speaker 4: is that they're doing. And that's the other thing I
• 2:02:11
  Speaker 4: wanted to get into. Cause I really, the two of
• 2:02:14
  Speaker 4: them together, Phineas is her brother and, They seem like
• 2:02:17
  Speaker 4: the most adorable couple. They're not a couple. They're a family.
• 2:02:20
  Speaker 4: But they've been together their whole life, and they've been
• 2:02:23
  Speaker 4: writing music together since she started, since she was a teenager.
• 2:02:27
  Speaker 4: These two were sitting there writing music together. But I
• 2:02:30
  Speaker 4: feel like so much of this, again, as I said,
• 2:02:32
  Speaker 4: she's coming out of a bad situation. She's writing this
• 2:02:35
  Speaker 4: heavy song, and these lyrics still, filtered through Barbie, feel personal. Right.
• 2:02:42
  Speaker 4: Going back to Slam, our previous... How is it that
• 2:02:45
  Speaker 4: somebody with 40 years more experience is just phoning today?
• 2:02:52
  Speaker 4: Cause I was looking at that. I was like, Billy
• 2:02:54
  Speaker 4: is 22 at this point. She's been doing this since
• 2:02:56
  Speaker 4: she was a teenager. Uh, let's see. Diane is 67
• 2:03:00
  Speaker 4: this year.
• 2:03:01
  Speaker 5: Right.
• 2:03:02
  Speaker 4: So why is it that this kid? And then I
• 2:03:04
  Speaker 4: was like, well, but the songs that I liked of Diane's,
• 2:03:07
  Speaker 4: she was much, much younger. Is that it? Is that
• 2:03:11
  Speaker 4: you bring something to the table when you're, You're young
• 2:03:14
  Speaker 4: and you're still like getting into the arts and you're like,
• 2:03:17
  Speaker 4: maybe you're a little hungry trying to get the work
• 2:03:19
  Speaker 4: as well. But also you're just bringing something a little
• 2:03:22
  Speaker 4: more passionate to what it is that you do versus
• 2:03:25
  Speaker 4: I've been doing this for the last 40 years. For
• 2:03:28
  Speaker 4: God's sakes, I just need to cash a freaking paycheck.
• 2:03:31
  Speaker 1: I think that's a really good point. You open up a...
• 2:03:34
  Speaker 1: You might open up a little can of worms here,
• 2:03:36
  Speaker 1: but if you do look at older songwriters, you know,
• 2:03:39
  Speaker 1: if you look at Billy Joel, who stopped actually.
• 2:03:41
  Speaker 4: Who stopped, yeah. Who stopped.
• 2:03:42
  Speaker 1: He was like, you know, I'm going to quit while
• 2:03:44
  Speaker 1: I'm ahead here. But look at, like, for example, you know,
• 2:03:49
  Speaker 1: your Beatles guys, right? Or a guy.
• 2:03:51
  Speaker 4: There's not so much left anymore. Yeah. Don't count Ringo.
• 2:03:55
  Speaker 1: Or like, you know, yeah. And if you look at, say...
• 2:03:58
  Speaker 1: I mean, probably Sting has been relatively consistent, I think,
• 2:04:02
  Speaker 1: in his output. I'm trying to think. But Paul Simon,
• 2:04:05
  Speaker 1: I wasn't blown away by the last album that he.
• 2:04:13
  Speaker 4: The Elton John and Bernie Taupin that like they give
• 2:04:17
  Speaker 4: them all these awards recently I mean surprisingly all of
• 2:04:19
  Speaker 4: a sudden Elton John speaking of Dua Lipa just did
• 2:04:22
  Speaker 4: a duet with her last year but like he all
• 2:04:24
  Speaker 4: of a sudden came out of this hibernation almost where
• 2:04:27
  Speaker 4: he's been touring non-stop for like 25 years but hasn't
• 2:04:30
  Speaker 4: really put out any new music he just shows up
• 2:04:32
  Speaker 4: and plays the same 2030 song the Billy Joel model
• 2:04:35
  Speaker 4: yeah the same thing Billy Joel does so like they
• 2:04:37
  Speaker 4: both have just been touring non-stop or get a residency
• 2:04:40
  Speaker 4: somewhere And just sit there and play the same songs
• 2:04:43
  Speaker 4: over and over. So it's weird to me that you
• 2:04:44
  Speaker 4: can be that passionate and write these amazing, like Bernie
• 2:04:48
  Speaker 4: Taupin putting together these amazing songs and Elton John singing
• 2:04:51
  Speaker 4: them back in the day when they, again, they were,
• 2:04:53
  Speaker 4: when they got their tribute lately, they're talking about living
• 2:04:56
  Speaker 4: in an apartment together because they were so broke. Right.
• 2:04:58
  Speaker 4: Then they like piecing together this stuff and working together
• 2:05:02
  Speaker 4: to make these amazing songs. And then, so then you get,
• 2:05:05
  Speaker 4: enough money and enough success that you just don't want
• 2:05:08
  Speaker 4: to do that anymore? That I don't understand.
• 2:05:10
  Speaker 1: No, but I think to your point, though, I think
• 2:05:13
  Speaker 1: you probably hit the nail on the head in the
• 2:05:14
  Speaker 1: sense that, you know, great music, great songs come out
• 2:05:17
  Speaker 1: of tragedy. They come out of being hungry and struggling.
• 2:05:22
  Speaker 1: And so when you are, I don't know, I guess,
• 2:05:24
  Speaker 1: taking care of your wealth and you're, yeah, I mean,
• 2:05:27
  Speaker 1: what are you going to write about? My butler didn't,
• 2:05:29
  Speaker 1: you know, give me my martini shaken well enough or what?
• 2:05:34
  Speaker 4: And I think that's it. I've thought that for years.
• 2:05:37
  Speaker 4: I was like, you look at a band like U2,
• 2:05:40
  Speaker 4: and it's like, what do you guys have to write
• 2:05:41
  Speaker 4: about anymore? When you were kids, that's why you always
• 2:05:45
  Speaker 4: come back to relationship songs. Because no matter how rich
• 2:05:47
  Speaker 4: you are, your love life may still suck. So that's
• 2:05:50
  Speaker 4: really all you can go to. Other than that, I'm like,
• 2:05:53
  Speaker 4: how do you understand how to write a song for
• 2:05:55
  Speaker 4: a normal person to listen to? When your life is
• 2:05:58
  Speaker 4: so different than everyone else in the world, when you're
• 2:06:01
  Speaker 4: super rich and you can't even go out and connect
• 2:06:03
  Speaker 4: with people anymore because you'll be mobbed if you're a
• 2:06:06
  Speaker 4: big enough celebrity. So it's like, how do you still
• 2:06:08
  Speaker 4: write a genuine song when you don't have a genuine
• 2:06:11
  Speaker 4: life anymore? That's so weird.
• 2:06:14
  Speaker 1: That's true. And so much of, unfortunately, what songs, as
• 2:06:19
  Speaker 1: opposed to say, Let's go back to our 90-year-old or so.
• 2:06:22
  Speaker 4: I was going to come back around to that.
• 2:06:23
  Speaker 1: Orchestral writer.
• 2:06:24
  Speaker 4: He throws this out the window.
• 2:06:26
  Speaker 1: The thing about, well, I think that's because writing songs
• 2:06:30
  Speaker 1: has always been more geared towards the life of the youth, right?
• 2:06:36
  Speaker 1: So when you look at a majority of songs that
• 2:06:39
  Speaker 1: are out there, a lot of it is about struggling,
• 2:06:42
  Speaker 1: trying to make it, trying to build yourself up in
• 2:06:45
  Speaker 1: a new world. But the other is also about love, right?
• 2:06:49
  Speaker 4: Trying to get it on, which you don't do when
• 2:06:52
  Speaker 4: you're an old person.
• 2:06:53
  Speaker 1: Yeah, what are you going to write about when you're
• 2:06:56
  Speaker 1: 70 years old or 67? Yeah, nobody wants anything to
• 2:06:58
  Speaker 1: do with me anymore. We're not going to talk about that.
• 2:07:01
  Speaker 1: That's probably going to be turned off, right?
• 2:07:03
  Speaker 4: And what style would you use? I mean, disco?
• 2:07:05
  Speaker 1: I mean, I don't know.
• 2:07:06
  Speaker 4: This is what the kids got into in my day. Right, exactly, yeah.
• 2:07:11
  Speaker 1: But the orchestral stuff, when you have.
• 2:07:14
  Speaker 4: It's sort of timeless.
• 2:07:15
  Speaker 1: Yeah, nobody knows your age, right? But when you sing, like, hey,
• 2:07:21
  Speaker 1: come on.
• 2:07:22
  Speaker 4: Then you just get into Tom Waits territory.
• 2:07:24
  Speaker 1: It's going to sound.
• 2:07:24
  Speaker 4: You just get old and tired, and it fits the
• 2:07:28
  Speaker 4: grit of your song.
• 2:07:30
  Speaker 1: Well, that's another thing, too.
• 2:07:31
  Speaker 4: Yeah, you get to someplace like that.
• 2:07:33
  Speaker 1: I will say the blues is probably an outlet that
• 2:07:35
  Speaker 1: a lot of older singers can.
• 2:07:36
  Speaker 4: There you go.
• 2:07:37
  Speaker 1: Can keep doing pretty well but i.
• 2:07:39
  Speaker 4: Guess that's why they call it the blue oh no
• 2:07:41
  Speaker 4: wait he wasn't really doing the blues at all when
• 2:07:43
  Speaker 4: he sang that that's still a poppy song you're doing
• 2:07:46
  Speaker 4: it wrong elton and or bernie exactly i don't know
• 2:07:50
  Speaker 4: that was just a weird thing as we got into
• 2:07:52
  Speaker 4: this i was like here's this kid that's writing this
• 2:07:55
  Speaker 4: super heartfelt depressing-ass song versus this woman that's been around
• 2:08:00
  Speaker 4: doing it for her entire life. Why is it so
• 2:08:04
  Speaker 4: false on this end? But I'm like, maybe that's it.
• 2:08:06
  Speaker 4: Maybe you just get to a point. Again, maybe your
• 2:08:09
  Speaker 4: brain becomes the AI program of like, I've been doing
• 2:08:13
  Speaker 4: this so long. I just plug this in here and
• 2:08:14
  Speaker 4: plug this in there. And there isn't any emotion anymore.
• 2:08:17
  Speaker 9: Right.
• 2:08:18
  Speaker 4: Unless you go through something personal that makes you write
• 2:08:21
  Speaker 4: a personal song, if you're hired on to do a
• 2:08:24
  Speaker 4: job and you've been doing it for 40 plus years,
• 2:08:27
  Speaker 4: your brain just goes into autopilot and you like put
• 2:08:29
  Speaker 4: this here, inspiring message here, build up here, pay off here.
• 2:08:34
  Speaker 4: You know, it just, how do you not fall into
• 2:08:36
  Speaker 4: that mode, I guess?
• 2:08:38
  Speaker 1: Well, you know, Bob Dylan was known to say, you know,
• 2:08:42
  Speaker 1: unless you travel in different spots or unless you try to,
• 2:08:46
  Speaker 1: Do something different. You're always going to be static and
• 2:08:49
  Speaker 1: you're always going to do the same thing like you're
• 2:08:51
  Speaker 1: talking about. So changing as an artist is a really
• 2:08:56
  Speaker 1: hard thing to do because when you have something that
• 2:08:59
  Speaker 1: is a winning ticket. Why would you change? And your
• 2:09:01
  Speaker 1: record producers are not going to want that either, right?
• 2:09:04
  Speaker 4: No. So there's that pressure. Again, the production end of
• 2:09:06
  Speaker 4: it never wants you to change.
• 2:09:08
  Speaker 1: Diane may actually be wanting to change and she wants
• 2:09:10
  Speaker 1: to write, you know, chant music.
• 2:09:12
  Speaker 6: That's the thing.
• 2:09:13
  Speaker 4: I was watching, because again, like I trash her so often,
• 2:09:16
  Speaker 4: but I was like, I haven't seen much of her
• 2:09:18
  Speaker 4: as a real person. And I was watching, they were
• 2:09:20
  Speaker 4: doing interviews about this Cheetos movie. And like, she was
• 2:09:24
  Speaker 4: like making comments about like the inspiring message behind it
• 2:09:27
  Speaker 4: or whatever. But then she got to the moment of
• 2:09:29
  Speaker 4: talking about, she's like, it's Flamin' Hot, not the Cheetos,
• 2:09:33
  Speaker 4: but you're eating Flamin' Cheetos, you're going to get Flamin'
• 2:09:35
  Speaker 4: Hot whether you like it or not. I was like,
• 2:09:36
  Speaker 4: that was pretty funny. She at least didn't, it'd be
• 2:09:40
  Speaker 4: different if you're doing the Cheetos movie song and you
• 2:09:43
  Speaker 4: also got up there and got fucking pretentious about it.
• 2:09:46
  Speaker 4: It would be insufferable. So at least she had a
• 2:09:49
  Speaker 4: sense of humor. She at least realized the basic overall
• 2:09:53
  Speaker 4: thing we're dealing with.
• 2:09:54
  Speaker 1: It's kind of silly.
• 2:09:54
  Speaker 4: It's kind of silly, but at the same time, this
• 2:09:56
  Speaker 4: was a serious story that happened to a person, and
• 2:09:59
  Speaker 4: we're telling that story, and blah, blah, it's a pretty
• 2:10:02
  Speaker 4: rational song. I don't know.
• 2:10:04
  Speaker 1: Maybe she has these groundbreaking songs that are in her
• 2:10:06
  Speaker 1: safe deposit box somewhere that we won't know until she dies.
• 2:10:10
  Speaker 4: In years from now, yeah, she's going to have to
• 2:10:12
  Speaker 4: wait so many years after she's gone, and then they
• 2:10:15
  Speaker 4: can pry this open and be like, all right, we're
• 2:10:17
  Speaker 4: going to share this with the world, and they'll be amazing. Right.
• 2:10:21
  Speaker 4: Personal stories. touching songs that don't seem like a computer
• 2:10:25
  Speaker 4: made right oh man well i don't know what to
• 2:10:31
  Speaker 4: do with her she's there next year we have to
• 2:10:34
  Speaker 4: deal with her instead we'll go out with billy who
• 2:10:39
  Speaker 4: i enjoy much more as a singer and a songwriter
• 2:10:41
  Speaker 4: so anything else to pass along any cool stuff that
• 2:10:45
  Speaker 4: you've got in the works for the.
• 2:10:47
  Speaker 1: Future Just coming up, we were talking about this. The
• 2:10:50
  Speaker 1: Youth Performing Arts School here has just recently collaborated with
• 2:10:56
  Speaker 1: them on a symphonic band piece. And so that locally
• 2:10:59
  Speaker 1: is going to come out or be premiered March 5
• 2:11:02
  Speaker 1: at Y-Pass. And so I've worked with Kevin Callahan, which
• 2:11:08
  Speaker 1: has been a fantastic collaboration. And we've actually roped in
• 2:11:12
  Speaker 1: several other university symphonic bands to to play it as
• 2:11:17
  Speaker 1: well as part of a consortium, which was kind of
• 2:11:19
  Speaker 1: a fun idea. And so, uh, probably eight universities around
• 2:11:23
  Speaker 1: Kentucky and including IUS here, uh, we'll, we'll perform it
• 2:11:27
  Speaker 1: in the 2004, 2005 season or 2024, 25 season.
• 2:11:32
  Speaker 7: Sorry.
• 2:11:33
  Speaker 1: So yeah, going to be interesting, uh, year and got
• 2:11:36
  Speaker 1: some other potential projects in the hopper. So working on it.
• 2:11:40
  Speaker 4: Yeah.
• 2:11:40
  Speaker 1: All right.
• 2:11:41
  Speaker 4: Well, thank you for joining me once again. Yeah.
• 2:11:44
  Speaker 8: My pleasure.
• 2:11:44
  Speaker 4: Don't come to your senses. I guess we'll be back
• 2:11:46
  Speaker 4: here next year.
• 2:11:47
  Speaker 1: To the next trip around the sun.
• 2:11:49
  Speaker 4: It happens real quick. As you get older, as we're speaking,
• 2:11:53
  Speaker 4: as you get older, it goes by real quick. So
• 2:11:56
  Speaker 4: prepare for your life to pass you by as you
• 2:11:59
  Speaker 4: listen to this depressing song. And with that, I will
• 2:12:02
  Speaker 4: remind you, get a life and we'll provide the soundtrack.
• 2:12:05
  Speaker 5: I used to float.
• 2:12:07
  Speaker 10: Now I just fall down.
• 2:12:11
  Speaker 11: I used to know, but I'm not sure now.
• 2:12:17
  Speaker 6: What I was made.
• 2:12:19
  Speaker 11: For What was I made for.
• 2:12:29
  Speaker 10: Taking a drive I was an.
• 2:12:34
  Speaker 11: Ideal Not so alive Turns out I'm not.
• 2:12:40
  Speaker 5: Real Just something you paid for.
• 2:12:47
  Speaker 11: What was I made for?
• 2:12:55
  Speaker 7: Cause I, I I don't know how to.
• 2:13:04
  Speaker 11: Feel But someday I might Someday I.
• 2:13:31
  Speaker 7: Might Mm-hmm.
• 2:13:47
  Speaker 10: Enjoyment I'm sad again Don't tell my boyfriend It's not
• 2:13:56
  Speaker 10: what he's made.
• 2:13:57
  Speaker 7: For Cause I, cause I, I don't know how to feel.
• 2:14:19
  Speaker 7: But I want to try. I don't know how to feel.
• 2:14:33
  Speaker 5: But someday.
• 2:14:50
  Speaker 2: Think I forgot how to be happy Something I'm not,
• 2:14:59
  Speaker 2: but something I can be Something I wait.
• 2:15:05
  Speaker 5: For Something I'm made for Something I'm made for.
• 2:15:24
  Speaker 4: Enough complaining about Diane Warren.
• 2:15:26
  Speaker 1: No more complaining about Diane Warren.
• 2:15:29
  Speaker 4: Till next year. Wait a minute. Sitting in her mansion going,
• 2:15:33
  Speaker 4: are those jerks talking about me again?
• 2:15:35
  Speaker 8: Here we go.
• 2:15:36
  Speaker 1: Let's listen to the meltdown thing.
• 2:15:37
  Speaker 4: I bet they're going to complain about me this year too.
• 2:15:41
  Speaker 1: They probably send it off to the producers. They go,
• 2:15:45
  Speaker 1: this is actually good.
• 2:15:46
  Speaker 4: I wish we would have got a cease and desist
• 2:15:48
  Speaker 4: order from her.
• 2:15:49
  Speaker 13: I know.
• 2:15:49
  Speaker 1: I could frame that. That would be actually pretty epic.
• 2:15:53
  Speaker 4: Cease and desist.
• 2:15:54
  Speaker 8: Yeah.
• 2:15:55
  Speaker 1: That would be funny though if she was like actually
• 2:15:58
  Speaker 1: in a prison like trying to turn out all these pieces.
• 2:16:00
  Speaker 4: I just want to put out some cool original music
• 2:16:04
  Speaker 4: and they.
• 2:16:05
  Speaker 6: Won't let me.
• 2:16:05
  Speaker 1: They won't let me do my disco and my reggae piece.
• 2:16:09
  Speaker 4: Oh wait, they did it.
• 2:16:11
  Speaker 1: Okay, you could have a little reggae.
• 2:16:14
  Speaker 4: That's what's weird. She works with such drastically different people,
• 2:16:18
  Speaker 4: and you think maybe it would mix it up and help.
• 2:16:20
  Speaker 4: Because the one year before last was country, remember? Didn't
• 2:16:24
  Speaker 4: Reba do that? Yeah, that's right. I was like, so
• 2:16:26
  Speaker 4: she did a country one, and this one's reggae, and then...
• 2:16:28
  Speaker 4: Didn't she do one that was like... It was Spanish, right? Probably. Like, again,
• 2:16:35
  Speaker 4: every year she just gets shoved into whatever thing, and...
• 2:16:41
  Speaker 4: They work in the, again, it's like you get your
• 2:16:43
  Speaker 4: Casio keyboard and be like, samba beat. And she's like,
• 2:16:47
  Speaker 4: now I write my cheesy song to that. Right. That's
• 2:16:50
  Speaker 4: what's more disturbing. It's like it doesn't change no matter
• 2:16:53
  Speaker 4: how drastically the music style changes.
• 2:16:56
  Speaker 1: They'll bring like these songs.
• 2:16:57
  Speaker 4: Her style and lyrics don't really change. It's still the
• 2:17:01
  Speaker 4: same cheesy nonsense.
• 2:17:03
  Speaker 5: Right.
• 2:17:03
  Speaker 4: I know. Well, I thought I was done complaining about her. Well, no. No,
• 2:17:07
  Speaker 4: that's fine.
• 2:17:08
  Speaker 1: They'll go in the car right home.
• 2:17:09
  Speaker 4: Damn it!
• 2:17:11
  Speaker 5: Warren!
• 2:17:12
  Speaker 6: Warren!
• 2:17:13
  Speaker 4: Yeah, right. This episode is a production of Movie Meltdown,
• 2:17:17
  Speaker 4: produced and edited by The Oddity Studios. For more on
• 2:17:19
  Speaker 4: how to sponsor or support the show, email producer at moviemeltdown.com.
• 2:17:24
  Speaker 6: Aloha-oh!
• 2:17:26
  Speaker 10: Aloha-oh!
• 2:17:28
  Speaker 5: Talk hard!
• 2:17:35
  Speaker 4: This program is a proud member of the Battleship Pretension Fleet.