Latest / Movie Meltdown / Attack of the 2018 Oscar Nominees!

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Attack of the 2018 Oscar Nominees! · Movie Meltdown

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  Speaker 11: It's time for Movie Meltdown's Attack of the Killers soundtrack.
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  Speaker 3: 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 7: What's up, and welcome to Movie Meltdown's Attack of the
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  Speaker 7: Killer soundtrack. I am Brian, and joining me this week is.
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  Speaker 12: Eric Stem.
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  Speaker 7: And we are coming to you live via digital recording from...
• 1:42
  Speaker 7: Do we have a... What's this building again?
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  Speaker 12: This is the Ogle Center at IU Southeast.
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  Speaker 6: Yes.
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  Speaker 11: This is where we have.
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  Speaker 12: The quiet place.
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  Speaker 7: Yeah, we need a quiet place where people will shut
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  Speaker 7: up and let us talk about movies and music. So yeah,
• 1:56
  Speaker 7: this is where we did this last time. So I'm
• 1:58
  Speaker 7: glad to have you back. This has become an annual
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  Speaker 7: event now. I still really like this concept of Of
• 2:06
  Speaker 7: giving you a very, giving you, the listener, a very focused, like,
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  Speaker 7: conglomeration of everything that's nominated this year and just kind
• 2:14
  Speaker 7: of gives you a glimpse at, you know, what's up
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  Speaker 7: for score, this actual entire song for each song. So
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  Speaker 7: by the time you're done, you've done your homework and
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  Speaker 7: you know what's going on. So I think that's kind
• 2:26
  Speaker 7: of good for everybody to have. And then you and
• 2:29
  Speaker 7: I have to listen to all of these things.
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  Speaker 12: And go to all those.
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  Speaker 7: And occasionally do some research.
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  Speaker 13: Yeah.
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  Speaker 7: But I will say, having watched the Oscars my whole
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  Speaker 7: freaking life, but also having done this and been a
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  Speaker 7: little more focused on the music these last at least
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  Speaker 7: four years we've been doing this, at least, I think
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  Speaker 7: this is the most solid one exception we'll get to later.
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  Speaker 7: But otherwise, the most solid group of nominees. Just overall,
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  Speaker 7: I'm like, everything along the way, I'm like, wow, I
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  Speaker 7: really like this. And thinking back to other years going,
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  Speaker 7: there were definitely some I really liked along the way,
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  Speaker 7: but there was a lot of weak spots where this
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  Speaker 7: year there's one, and other than that, I'm like, this
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  Speaker 7: is a really good crop of nominees. So I think
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  Speaker 7: this is an impressive year all around, more or less. So,
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  Speaker 7: do we want to just jump right into it?
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  Speaker 12: Let's dive into it, yeah.
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  Speaker 7: Alright, so, again, as normal, I try to go back
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  Speaker 7: and forth between score and song, so we will kick
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  Speaker 7: it off with score.
• 3:33
  Speaker 12: I guess we could talk about Terrence Blanchard, who wrote
• 3:37
  Speaker 12: the original score to Black Klansman, and so.
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  Speaker 11: Black Klansman?
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  Speaker 12: Yeah, I was going to say, do I.
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  Speaker 14: pronounce it like that I don't remember I mean I
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  Speaker 14: think it's Black Clans I guess it was always advertised
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  Speaker 14: like that I do not remember until like right before
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  Speaker 14: like the nomination like this last month or two when
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  Speaker 14: everything like I guess the beginning of the year when
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  Speaker 14: everything started focusing more.
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  Speaker 7: On what's gonna get the nomination what's gonna and they
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  Speaker 7: finally started printing it and I'm like has it always
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  Speaker 7: been like that and I've never noticed like I get
• 4:09
  Speaker 7: that the 2Ks were already there but like if you
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  Speaker 7: read it like it's printed it just sounds like you've
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  Speaker 7: got a weird stutter so Stuttering racist everywhere.
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  Speaker 12: Right, exactly. Well, this was an interesting score. Terrence Blanchard.
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  Speaker 12: I actually thought this was kind of like the stars
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  Speaker 12: aligned perfectly for not only just the fact that this
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  Speaker 12: movie actually takes place in the 1970s, but for the
• 4:40
  Speaker 12: fact that Terrence Blanchard himself actually And he's kind of
• 4:45
  Speaker 12: an interesting background. He's a jazz trumpeter, so he's got
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  Speaker 12: a background in jazz. And his childhood friend was Wynton Marsalis.
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  Speaker 12: In fact, I think he replaced Wynton in Art Blakey's
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  Speaker 12: Jazz Messengers. And fast-forwarding through his career in 2011, he
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  Speaker 12: was actually named the director of the Henry Mancini Institute
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  Speaker 12: of the University of Miami. And I know you're laughing
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  Speaker 12: because I am a Henry Mancini fan.
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  Speaker 7: I was going to say, I mean– Henry Mancini, I
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  Speaker 7: feel like I've heard of that guy.
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  Speaker 8: Yeah.
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  Speaker 7: Kind of did some music before. Exactly.
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  Speaker 12: Yeah, yeah. We were talking last time about the music,
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  Speaker 12: my background and so forth, that Mancini's score to Silver Streak,
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  Speaker 12: when I loved trains when I was little, kind of
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  Speaker 12: caught me into really just following his music. But he
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  Speaker 12: was like, you know, Henry Mancini was the king of
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  Speaker 12: film composers in the 1970s. And so, again, this is
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  Speaker 12: where the stars align perfectly because... Blanchard has this charge
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  Speaker 12: to write for a film that takes place in the 70s.
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  Speaker 12: And he has all the tools to make it happen
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  Speaker 12: and to make it work very well. And he was
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  Speaker 12: perfect for the job, I thought. The music throughout the movie,
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  Speaker 12: I thought, had this really nice 21st century flair to it.
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  Speaker 12: But there was a little bit of that 1970s jazz
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  Speaker 12: and funk style interwoven into the music, you know, with
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  Speaker 12: the Rhodes keyboard, you know, coming out.
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  Speaker 7: It's definitely, as you get into the, specifically, like, the
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  Speaker 7: main theme, like, it's, like, steeped in Blaxploitation. Like, you
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  Speaker 7: get kind of that little groove going on that you're like, oh, yeah,
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  Speaker 7: this is definitely, like, he knows the score he's writing
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  Speaker 7: for the movie that they're making. Like, he's definitely drawing
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  Speaker 7: on these old school Blaxploitation influences, which is love or
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  Speaker 7: hate Blaxploitation of the 70s, like, the one thing you
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  Speaker 7: can never question is the music.
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  Speaker 11: Is always amazing.
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  Speaker 12: Oh, absolutely.
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  Speaker 11: It's a huge thing to undertake doing.
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  Speaker 7: Anything that's sort of similar to 70s Blaxploitation music. So
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  Speaker 7: the fact that he kind of delivers is also extra impressive.
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  Speaker 12: Yeah, I thought it went well. I mean, I thought
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  Speaker 12: just the music that, you know, when you listen to
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  Speaker 12: a composer... with a jazz background versus a composer with
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  Speaker 12: a classical background. Even if it's not about the 70s,
• 7:16
  Speaker 12: let's say the setting is in the 21st century and
• 7:18
  Speaker 12: it's in Ireland or something like that, you're still going
• 7:22
  Speaker 12: to get, I think, a different take on things because
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  Speaker 12: I think jazz musicians are immersed in the language of jazz, obviously,
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  Speaker 12: and that language has a lot of variation in in
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  Speaker 12: terms of chord progressions. And so I'm, I'm getting into
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  Speaker 12: the weeds and the musical aspect of things, but, but
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  Speaker 12: simply put, you know, I, as a musician and also
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  Speaker 12: somebody who loves jazz, I, I kind of appreciated his,
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  Speaker 12: his approach. Now, now Terrence is, uh, he's, his approach
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  Speaker 12: is very simple. You know, it's not very epic, you know, uh,
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  Speaker 12: in your face orchestration. He's, you know, uh, he takes
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  Speaker 12: a simple idea of, And he just twists the idea
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  Speaker 12: a little bit as it unfolds. And so I kind
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  Speaker 12: of respect that a lot. Definitely not the Hans Zimmer
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  Speaker 12: type approach to writing.
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  Speaker 11: Yeah, it's focused.
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  Speaker 7: So it's like it doesn't get overblown like a lot
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  Speaker 7: of bigger composers might go down that road.
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  Speaker 12: Yeah, and that works in some movies too. And we'll
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  Speaker 12: get to one where that does happen. But in this
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  Speaker 12: particular case, yeah, his style... His background perfectly matched, I think,
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  Speaker 12: the setting, basically. So, yeah, this was one of my favorites,
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  Speaker 12: one of the favorites of the original score nominees.
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  Speaker 11: And because songs, we're going to hit each individual song.
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  Speaker 7: Because it's the entirety of the score that's nominated, we're
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  Speaker 7: just going to kind of pick different tracks. Again, a
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  Speaker 7: lot of them I'm going with the main theme to
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  Speaker 7: give you more of a good idea of what's going on,
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  Speaker 7: or sometimes that works in several different types of movements
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  Speaker 7: or whatever. But I'll try to at least ID what
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  Speaker 7: we're going through. So this one, and that's the one
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  Speaker 7: thing I was also going to say about his work
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  Speaker 7: on this specific score.
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  Speaker 11: I don't know if it's all of his work, but
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  Speaker 11: they're super short.
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  Speaker 7: And maybe because Spike Lee is also working in a
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  Speaker 7: lot of period music along the way, so he also
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  Speaker 7: had to, like, balance it in between scenes with you
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  Speaker 7: know working in lots of other music but yeah because
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  Speaker 7: they're so short i'm gonna throw in our main theme
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  Speaker 7: here and then just kind of go right into here
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  Speaker 7: comes ron which i thought was one of the more
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  Speaker 7: blaxploitation-y of all of his tracks.
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  Speaker 12: Guitar solo guitar solo.
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  Speaker 7: But yeah, I think all of that's again, like kind
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  Speaker 7: of impressive. And even like, again, we, I threw in
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  Speaker 7: another one just for you to listen to.
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  Speaker 11: Like hatred at its best.
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  Speaker 2: Right.
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  Speaker 11: And that one gets a little.
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  Speaker 7: More serious and it's just kind of a little more
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  Speaker 7: standard score, you know, which is interesting mixed into the
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  Speaker 7: same project as something like, you know, here comes Ron.
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  Speaker 11: So it's like, yeah, to be able to do both of.
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  Speaker 7: Those and to be able to balance all that stuff. That's,
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  Speaker 7: that's kind of a theme I found with a lot
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  Speaker 7: of the scores we're going to be talking about is,
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  Speaker 7: There's an interesting balance that has to come into play
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  Speaker 7: with all of these.
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  Speaker 15: Right.
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  Speaker 11: They've all kind of done a good job with it,
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  Speaker 11: this included.
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  Speaker 12: Yeah, absolutely. And Terrence was even interviewed. I was watching
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  Speaker 12: an interview with him and Hans Zimmer. And then it
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  Speaker 12: was Ludwig, I guess, Joransson, was also in the interview set.
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  Speaker 12: And he was talking about how as a jazz musician,
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  Speaker 12: he doesn't get a chance to really explore– writing for
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  Speaker 12: larger orchestral settings, you know? And so he's like this,
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  Speaker 12: this film industry that he's obviously has a, has a
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  Speaker 12: hand in allows him to do that. So when you
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  Speaker 12: listen to different tracks in the black Klansman, you're going
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  Speaker 12: to hear, you know, very small instrumentation, like, you know,
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  Speaker 12: a small jazz ensemble, but you're also going to hear,
• 12:32
  Speaker 12: you know, sweeping strings and large orchestral scores too. So
• 12:35
  Speaker 12: I think he's, yeah, there's definitely a good balance there.
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  Speaker 11: He's kind of playing with all the different pieces. Absolutely.
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  Speaker 11: Which is fun, I'm assuming, for him.
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  Speaker 7: All right, so to move on to song, the first
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  Speaker 7: entry here is All the Stars, which is from the
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  Speaker 7: Black Panther soundtrack, and it is by Kendrick Lamar and Seza.
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  Speaker 5: Thank you.
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  Speaker 6: Let's talk about love.
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  Speaker 5: Is it anything and everything you hope for?
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  Speaker 14: I didn't feel your heart, no.
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  Speaker 5: I didn't feel your heart, no.
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  Speaker 16: .
• 13:41
  Speaker 17: .
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  Speaker 7: .
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  Speaker 1: .
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  Speaker 18: Fuck you and all your expectations.
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  Speaker 18: I don't even want your congratulations. I recognize your false
• 14:09
  Speaker 18: confidence and calculated promises. All in your conversation. I hate
• 14:14
  Speaker 18: people that feel entitled. Look at me crazy cause I
• 14:17
  Speaker 18: ain't invite you.
• 14:18
  Speaker 19: Oh, you important.
• 14:19
  Speaker 20: You the moral to the story.
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  Speaker 18: You endorsing motherfucker. I don't even like you. Corrupt a
• 14:24
  Speaker 18: man's heart with a gift. That's how you find out
• 14:26
  Speaker 18: who you're dealing with. It's my person that you I'm
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  Speaker 18: building with. I want the credit if I'm losing or
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  Speaker 18: I'm winning. Oh, my mama, that's the realest shit.
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  Speaker 1: Under the city lights It's maybe the night that my
• 14:55
  Speaker 1: dreams might let me.
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  Speaker 17: Know All the stars are blue, sure All the stars
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  Speaker 17: are blue, sure All the stars.
• 15:02
  Speaker 7: Are blue, sure.
• 15:08
  Speaker 1: All the stars are closer All the stars are closer
• 15:12
  Speaker 1: All the stars are.
• 15:13
  Speaker 21: Closer Skin cold when the ego gets you talking I
• 15:17
  Speaker 21: get informed like a rebound No control, no up switch
• 15:23
  Speaker 21: And the way that you bringing me down It's a turn,
• 15:26
  Speaker 21: I won't get it away from me.
• 15:28
  Speaker 22: Leave me alone, keep away from me.
• 15:30
  Speaker 21: And it's over, I won't get it away from me. I, I, I,
• 15:35
  Speaker 21: I just cry for the reason. I just pray for
• 15:38
  Speaker 21: the reason. I just think for the life, for the day,
• 15:41
  Speaker 21: for the outside, another life. Breathing in, I let it
• 15:45
  Speaker 21: all go to feel good. You let me in, all
• 15:48
  Speaker 21: I can feel bad. Better live your life with me.
• 15:55
  Speaker 1: .
• 16:01
  Speaker 16: .
• 16:09
  Speaker 5: .
• 16:13
  Speaker 23: .
• 16:15
  Speaker 1: .
• 16:18
  Speaker 17: .
• 16:26
  Speaker 1: So this one, I come back to something I'm.
• 16:49
  Speaker 7: I work with people and we play music all the
• 16:52
  Speaker 7: time and we're constantly like throwing out different genres. And
• 16:55
  Speaker 7: every time I land on a modern and even like
• 16:59
  Speaker 7: not even super modern, like even the last 20 years,
• 17:02
  Speaker 7: 25 years modern of sort of R & B edging
• 17:07
  Speaker 7: its way into rap kind of music, I'm almost always
• 17:13
  Speaker 7: like disappointed by It's usually just some guy and whatever
• 17:17
  Speaker 7: rapping he's doing or even sometimes you're like random slow talking.
• 17:23
  Speaker 7: It's like so weakly put together and like that's my
• 17:26
  Speaker 7: issue with this. I think Seza is amazing in that song.
• 17:29
  Speaker 7: I love everything else going into it and then the
• 17:33
  Speaker 7: rap kicks in and I'm like this is just lame. Yeah.
• 17:37
  Speaker 7: It's just even for like and he can do better work.
• 17:41
  Speaker 7: I'm like it's weird that this is the song that
• 17:43
  Speaker 7: got nominated too because It's like one of the worst
• 17:47
  Speaker 7: portions for Kendrick Lamar. So it's weird that this, cause
• 17:51
  Speaker 7: it is sort of his project. Like if you go
• 17:53
  Speaker 7: by that soundtrack at the end of it, he's the
• 17:56
  Speaker 7: through line. It's all songs, you know, from the movie
• 17:59
  Speaker 7: and inspired by featuring Kendrick Lamar.
• 18:02
  Speaker 11: And then every.
• 18:03
  Speaker 7: Track kind of has different guest stars that come in.
• 18:05
  Speaker 7: So I guess this is a one just because of
• 18:08
  Speaker 7: her stuff is so impressive.
• 18:10
  Speaker 11: Like it got the push because I was also looking,
• 18:12
  Speaker 11: I think it.
• 18:12
  Speaker 7: Got a golden globe nom and, I can't remember if
• 18:15
  Speaker 7: it actually won. Like it got like a couple of
• 18:17
  Speaker 7: different nominations where a lot of the other stuff didn't.
• 18:21
  Speaker 7: So I'm guessing that was just sort of the like, again,
• 18:23
  Speaker 7: the Oscars are just such a promotion game that I
• 18:25
  Speaker 7: guess they picked the one they thought they had the
• 18:27
  Speaker 7: most shot with.
• 18:28
  Speaker 11: But yeah, I don't know.
• 18:31
  Speaker 7: That was the weak spot for me, which is funny
• 18:33
  Speaker 7: because he's the one putting the entire album together more
• 18:35
  Speaker 7: or less.
• 18:36
  Speaker 3: Right.
• 18:37
  Speaker 12: And that's the thing, you know, who knows what that
• 18:40
  Speaker 12: is all about because I thought this, that was my
• 18:43
  Speaker 12: reaction too. And I would say probably my word was
• 18:46
  Speaker 12: it was too polished. And I think when you do
• 18:50
  Speaker 12: obviously a film project like that and you're coming from
• 18:54
  Speaker 12: a place where Kendrick– and what I'm talking about there
• 18:59
  Speaker 12: is like, for example, he got the Pulitzer Prize for
• 19:03
  Speaker 12: winning the album Damn, right? So that was his– his,
• 19:10
  Speaker 12: I guess, entry into becoming well-known as an artist. And
• 19:15
  Speaker 12: in that album, you listen to it, it sounds more raw.
• 19:20
  Speaker 12: It seems he has a very interesting collage-style writing, where
• 19:24
  Speaker 12: he uses vocalizations like a mixture of singing and spoken
• 19:27
  Speaker 12: with grooves, chord progressions, and sound effects. And I think
• 19:32
  Speaker 12: he did that very effective in Damn. But whereas this song,
• 19:38
  Speaker 12: All the Stars... It seems to be more– again, maybe
• 19:41
  Speaker 12: a little too polished and so– and I think that's
• 19:44
  Speaker 12: probably– again, you're writing for a movie. So there's a
• 19:48
  Speaker 12: different– there's– a different artistic purpose, I guess. And that
• 19:53
  Speaker 12: may play into the, well, I have to do this.
• 19:56
  Speaker 12: There's a formula that maybe is... I don't know, maybe
• 19:59
  Speaker 12: not forced, but you know, you feel like you have
• 20:01
  Speaker 12: to follow. You can't really go outside certain boundaries.
• 20:04
  Speaker 7: His part does feel forced. Cause that's my thing is
• 20:06
  Speaker 7: like his part doesn't match the Cesar stuff.
• 20:09
  Speaker 11: Like I've, again, I love the mood that.
• 20:11
  Speaker 7: She's putting together and then his stuff doesn't really match
• 20:14
  Speaker 7: what she's doing. And it doesn't really match like what
• 20:17
  Speaker 7: he's bringing to the movie in other points.
• 20:20
  Speaker 11: Cause that's the thing.
• 20:21
  Speaker 7: I was kind of surprised that this one was, I went,
• 20:23
  Speaker 7: I saw it got a nomination. I was like, Oh,
• 20:25
  Speaker 7: it's probably that one big single. And then I stopped
• 20:28
  Speaker 7: and listened. I was like, oh, no, this is not
• 20:30
  Speaker 7: the one like the the one that I think was.
• 20:32
  Speaker 7: And I played it on the show before, right before
• 20:35
  Speaker 7: the soundtrack came out. I know I was talking with
• 20:37
  Speaker 7: a guest about it and we were like, we're talking about.
• 20:41
  Speaker 11: You know, how good that soundtrack was probably going to be.
• 20:43
  Speaker 7: And then the first track I went to was Pray
• 20:46
  Speaker 7: For Me, which is the one Kendrick does with The Weeknd.
• 20:50
  Speaker 7: The Weeknd is, again, I think will eventually, I mean,
• 20:53
  Speaker 7: even now people give him respect, but I think will
• 20:56
  Speaker 7: be seen as like a really amazing writer and singer
• 20:59
  Speaker 7: and just an artist in general as time goes on.
• 21:02
  Speaker 11: But that song is like amazing. And then you.
• 21:05
  Speaker 7: Work in, because once again, The Weeknd does a lot
• 21:08
  Speaker 7: of the bulk of the song and then it goes
• 21:10
  Speaker 7: to Kendrick kind of doing his rap in the middle.
• 21:12
  Speaker 11: But at least there, like it feels, it isn't near
• 21:16
  Speaker 11: as polished.
• 21:16
  Speaker 7: It feels kind of angry and it feels like it's
• 21:19
  Speaker 7: commenting on everything that a movie like black Panther needs
• 21:22
  Speaker 7: to be commenting on. Whereas this just seems almost random
• 21:26
  Speaker 7: in the middle of, of this song. So I don't know.
• 21:28
  Speaker 7: I I'm surprised they didn't kind of push more for
• 21:31
  Speaker 7: pray for me just because it's a little more balanced
• 21:34
  Speaker 7: and sort of fits the movie a little better. But again,
• 21:37
  Speaker 7: this says this stuff is great.
• 21:39
  Speaker 1: All right.
• 21:40
  Speaker 11: Next up for score.
• 21:41
  Speaker 23: Okay.
• 21:42
  Speaker 12: So we have, um, what was it? Uh, Alexandra, um, Alexandra, sorry. Um,
• 21:47
  Speaker 12: this blah is a, uh, nominee for the Isle of Dogs. And, um,
• 21:54
  Speaker 12: I'm kind of with you in the sense of like
• 21:57
  Speaker 12: your response to, uh, uh, Kendrick's, uh, song. I kind
• 22:02
  Speaker 12: of viewed this as not maybe his best work. Um,
• 22:05
  Speaker 12: and you may have, you may have a disagreement with
• 22:08
  Speaker 12: me on that one, but, um, it didn't seem like,
• 22:11
  Speaker 12: you know, and I'm comparing it again. We all do that.
• 22:13
  Speaker 12: We compare it to previous, um, nominations and, It didn't
• 22:18
  Speaker 12: seem to fit the potential that he delivered in Shape
• 22:24
  Speaker 12: of Water, for example, last year when that got nominated.
• 22:26
  Speaker 24: Yeah.
• 22:27
  Speaker 12: Which I thought the Shape of Water score had a
• 22:29
  Speaker 12: lot of nice variation in it. It was pretty amazing, yeah. Yeah,
• 22:33
  Speaker 12: in terms of musically speaking. It's just scored nicely. He's
• 22:40
  Speaker 12: developing the themes, use of sounds and that sort of thing.
• 22:43
  Speaker 7: Yeah.
• 22:45
  Speaker 12: And again, maybe in this particular score, I would just
• 22:49
  Speaker 12: encourage your listeners to go to YouTube and listen to
• 22:52
  Speaker 12: the score or the soundtracks. And it's possible I'm missing
• 22:56
  Speaker 12: maybe there's a point of his ultra-simple approach to writing
• 23:00
  Speaker 12: and the repetition of ideas that really don't change from
• 23:03
  Speaker 12: one track to the next. But for a stop animation piece,
• 23:07
  Speaker 12: it seems that he would have had more to work with.
• 23:11
  Speaker 12: At least there would have been a little bit more
• 23:14
  Speaker 12: opportunity to do interesting things musically, I think. But for
• 23:19
  Speaker 12: each track, he would, in this particular, in Isle of Dogs,
• 23:24
  Speaker 12: he would repeat a musical line over and over again.
• 23:27
  Speaker 12: And for me, I'm like, oh, okay, well, there's a
• 23:29
  Speaker 12: repetitious idea, and so he's going to build upon that
• 23:32
  Speaker 12: and do something interesting. But then he would get tired
• 23:34
  Speaker 12: of the idea, and then move on to a different idea,
• 23:37
  Speaker 12: and then repeat that several times, and then move on
• 23:40
  Speaker 12: to something else. So there wasn't, I didn't get a narrative.
• 23:45
  Speaker 12: And I don't know if he was trying too hard
• 23:49
  Speaker 12: to be different. Because it does sound, if you compare
• 23:52
  Speaker 12: it to other scores on the nominee list, it's certainly
• 23:55
  Speaker 12: different in its approach. Or if he was, I'm being
• 24:00
  Speaker 12: cynical here, but maybe he was on a hard deadline.
• 24:03
  Speaker 11: He's like, I just need a copy and paste.
• 24:04
  Speaker 12: And let's get this out of here.
• 24:06
  Speaker 7: But don't get me wrong.
• 24:07
  Speaker 12: I mean, I think Alexander Desplat is a good composer
• 24:11
  Speaker 12: with that. Very interesting background in jazz and classical music.
• 24:15
  Speaker 12: He actually even studied with avant-garde composers and orchestras. So
• 24:19
  Speaker 12: he's got chops. I just didn't think he brought it
• 24:22
  Speaker 12: to this. What do you think?
• 24:25
  Speaker 7: Well, let's at least let him hear. This is the
• 24:29
  Speaker 7: end titles, which again kind of works a few of
• 24:31
  Speaker 7: those different sort of movements in there. But again, we'll see.
• 24:35
  Speaker 7: Maybe not as many as you would like. This is
• 24:37
  Speaker 7: the end titles.
• 24:39
  Speaker 11: This is the end titles.
• 25:48
  Speaker 2: Thank you.
• 26:18
  Speaker 1: Thank you.
• 27:06
  Speaker 22: Thank you.
• 29:23
  Speaker 7: So my thought on it is, and again, I think
• 29:26
  Speaker 7: you almost have to take it out of the standard
• 29:30
  Speaker 7: box that you would put any, you know, composition in
• 29:34
  Speaker 7: when working on a film when you're working on a
• 29:36
  Speaker 7: Wes Anderson film, because I think it changes all. the
• 29:40
  Speaker 7: rules like I think Wes Anderson himself is such a
• 29:43
  Speaker 7: different filmmaker and then everything he's trying to do is
• 29:48
  Speaker 7: weird and I mean that in the best possible way
• 29:51
  Speaker 7: like I do like especially lately like I think he's
• 29:54
  Speaker 7: gotten better at doing an overall story based on mostly
• 29:58
  Speaker 7: these last too like again i think even um moonrise
• 30:03
  Speaker 7: kingdom had some structure issues story-wise for almost like character
• 30:08
  Speaker 7: development issues where i think he almost corrected it on
• 30:11
  Speaker 7: grand budapest hotel so it's like he's i think just
• 30:15
  Speaker 7: looking from that point and then looking at isle of
• 30:17
  Speaker 7: dogs i think isle of dogs is pretty interesting the
• 30:21
  Speaker 7: way that it constructs its character development but again it's
• 30:24
  Speaker 7: wes anderson so that like changes your rules on even
• 30:28
  Speaker 7: character development and story and especially music he's also such
• 30:32
  Speaker 7: a heavy music kind of a director that like in
• 30:36
  Speaker 7: his normal non animated features he just loads them with
• 30:41
  Speaker 7: tons of music and usually like older music like he's
• 30:44
  Speaker 7: a big it seems like a lot of 70s you
• 30:46
  Speaker 7: know hits is like some of the stuff he'll pull
• 30:49
  Speaker 7: from and like he's so music influenced but everything has
• 30:53
  Speaker 7: to be shoved into this weird quirky Wes Anderson vibe
• 30:57
  Speaker 7: you know, it gets kind of filtered through his interests.
• 31:00
  Speaker 7: So like, I think this is one of those, like
• 31:04
  Speaker 7: you're almost like tied to that idea when you come
• 31:07
  Speaker 7: to one of his movies, even putting the score together.
• 31:10
  Speaker 7: I think, I think Grand Budapest had a pretty great score.
• 31:14
  Speaker 7: And I was thinking that was Alexander too, but I
• 31:17
  Speaker 7: don't know. I can't remember now, but I remember at
• 31:19
  Speaker 7: the time really liking that score because it also got
• 31:22
  Speaker 7: a nomination that year. But, um, it, it, itself was
• 31:26
  Speaker 7: really weird and kind of different. And I feel like
• 31:29
  Speaker 7: this does that. I do see what you're saying on
• 31:32
  Speaker 7: the repetition though. Like it doesn't stray very far. I
• 31:34
  Speaker 7: think it, I think what it does well is it
• 31:36
  Speaker 7: finds a really interesting take on all this. Like it uses,
• 31:41
  Speaker 7: because it's happening in not only a different country, but
• 31:44
  Speaker 7: also kind of an alternate universe version of this different country.
• 31:49
  Speaker 7: So it's like there, he's taking stuff that is instrument's,
• 31:54
  Speaker 7: that are kind of, you know, known or at least
• 31:57
  Speaker 7: identified with, you know, something going on in the country itself.
• 32:01
  Speaker 7: So it gets kind of traditional instruments to work in
• 32:04
  Speaker 7: to be part.
• 32:05
  Speaker 11: Of this bigger score.
• 32:07
  Speaker 7: But it also works in these weird Wes Anderson-y kind
• 32:11
  Speaker 7: of like quirky tones and vibes and movements along the way.
• 32:15
  Speaker 7: But at the same time, I guess it doesn't elaborate
• 32:19
  Speaker 7: and do anything other than that.
• 32:20
  Speaker 11: So, I don't know.
• 32:21
  Speaker 7: I still think it's... I give it points, I think,
• 32:23
  Speaker 7: for just being how different, like you said earlier.
• 32:26
  Speaker 5: Right.
• 32:26
  Speaker 7: And for also, like, not being afraid to go super dark. Like,
• 32:30
  Speaker 7: when you get, like, the vocal tones that get kind
• 32:33
  Speaker 7: of worked in, it seems really ominous and, like, a
• 32:36
  Speaker 7: lot darker than, like, you would normally get in an
• 32:39
  Speaker 7: Oscar-nominated score.
• 32:41
  Speaker 11: So, it definitely has no problem kind of going down.
• 32:44
  Speaker 7: A dark road.
• 32:45
  Speaker 11: But, again, it really... I will agree, it doesn't vary
• 32:49
  Speaker 11: it up very much.
• 32:50
  Speaker 7: Once it finds that little thing that it's doing, it
• 32:53
  Speaker 7: repeats that movement, and then you get to another track
• 32:56
  Speaker 7: and it's similar, but maybe he finds a new little
• 32:59
  Speaker 7: trick to work into that one.
• 33:01
  Speaker 12: Right, and I think when you think of the word
• 33:04
  Speaker 12: or the phrase original score, you're thinking about obviously something
• 33:08
  Speaker 12: that's not arrangement, something else, and so what makes an
• 33:14
  Speaker 12: original score... And so I would definitely, like you said,
• 33:20
  Speaker 12: I would give it points for being different. It's just
• 33:25
  Speaker 12: that coming from the composer's perspective, and again, with stop animation,
• 33:34
  Speaker 12: because of the fact that you have a different world
• 33:37
  Speaker 12: that you're working with that's not, well, then why not
• 33:41
  Speaker 12: take advantage of all the kinds of musical possibilities that
• 33:45
  Speaker 12: are out there? And, you know, he could have developed
• 33:48
  Speaker 12: it and be weird at the same time or be quirky,
• 33:52
  Speaker 12: you know, as you put it. So, yeah, I'm looking
• 33:56
  Speaker 12: at it from the technical. But, you know, when I
• 33:58
  Speaker 12: also think of, you know, probably like if somebody says
• 34:01
  Speaker 12: that's the best original score, it's also something I think
• 34:05
  Speaker 12: that could stand alone in a way.
• 34:08
  Speaker 7: Yeah, this definitely doesn't work without the visuals.
• 34:11
  Speaker 12: I'm going to make up words. Stand-alone-ness-ness, you know, ish-ness
• 34:15
  Speaker 12: or whatever.
• 34:15
  Speaker 11: Yeah.
• 34:16
  Speaker 12: I think there needs to be that kind of takeaway.
• 34:20
  Speaker 12: And I guess I didn't get that. More than I did, say,
• 34:24
  Speaker 12: his other works.
• 34:26
  Speaker 7: Yeah, that's what I think he did right, because I
• 34:30
  Speaker 7: just double-checked. He is the composer from Grand Budapest Hotel.
• 34:33
  Speaker 7: He does that exact thing. It's also in kind of...
• 34:37
  Speaker 7: It's a period piece, but also in a period piece
• 34:39
  Speaker 7: that exists in its own alternate history, almost, because it's...
• 34:45
  Speaker 7: it's referencing a country that doesn't exist in a war
• 34:47
  Speaker 7: that's similar to one of ours, but it's very different.
• 34:50
  Speaker 7: So it's like, again, the, the kind of the rules
• 34:53
  Speaker 7: go out the window as far as what.
• 34:55
  Speaker 11: You can do.
• 34:55
  Speaker 7: So I feel like there, he really does kind of
• 34:58
  Speaker 7: play it up and he starts kind of coming up
• 35:01
  Speaker 7: with traditional songs for this country, but it's a country
• 35:04
  Speaker 7: that is made up. So he kind of makes up
• 35:06
  Speaker 7: his own. So I think that one, really kind of
• 35:09
  Speaker 7: runs with it where this one yeah i i see
• 35:12
  Speaker 7: what you're saying it doesn't really take it plus you
• 35:15
  Speaker 7: could kind of listen to that one its own where
• 35:18
  Speaker 7: this one i feel like would be really hard to
• 35:19
  Speaker 7: do yeah.
• 35:29
  Speaker 3: In the mood for hot coffee? When you are, nothing
• 35:32
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• 35:35
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• 35:38
  Speaker 7: Sounds like a plan. I need more coffee.
• 35:41
  Speaker 11: You need more coffee?
• 35:42
  Speaker 8: Why?
• 35:42
  Speaker 7: Where would you go to get more coffee?
• 35:44
  Speaker 13: Why?
• 35:45
  Speaker 10: Heine Brothers? Do you need more coffee?
• 35:47
  Speaker 1: I do!
• 35:49
  Speaker 11: Where would I get some?
• 35:50
  Speaker 10: Perhaps from our house that has Heine Brothers.
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  Speaker 7: of the page and you'll find a link to take
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• 36:59
  Speaker 4: Hi, this is Rick from Southern Culture on the Skids,
• 37:01
  Speaker 4: and you're listening to Movie Meltdown.
• 37:03
  Speaker 6: I'll call you later, baby Maybe I'll see.
• 37:08
  Speaker 8: You around.
• 37:12
  Speaker 6: Next up for original song, this is the thorn in
• 37:16
  Speaker 6: my side every one of these episodes.
• 37:37
  Speaker 7: I I've realized in doing this, and that's why I
• 37:40
  Speaker 7: say it's been at least four years. Cause I started
• 37:42
  Speaker 7: looking at the list and I was like, damn it.
• 37:43
  Speaker 7: I remember her every year. She's been nominated the last
• 37:46
  Speaker 7: four years. And I've had to talk about Diane Warren
• 37:50
  Speaker 7: songwriting for the last four years.
• 37:52
  Speaker 3: She's got a good agent.
• 37:53
  Speaker 7: She, I mean, she's super successful. She's been doing it
• 37:56
  Speaker 7: since the eighties. She's been getting nominations. So it's like,
• 37:59
  Speaker 7: she is like in the system in like a weird
• 38:03
  Speaker 7: spot where it's just like, she's the go-to it's, I
• 38:06
  Speaker 7: think in the past we talked about that with composers.
• 38:09
  Speaker 7: It's like, oh, here's the one this year from Alexander,
• 38:12
  Speaker 7: from John Williams.
• 38:13
  Speaker 11: Here's John Williams.
• 38:14
  Speaker 7: It's the normal entry from all these same guys that
• 38:16
  Speaker 7: were like, oh, here's Don Zimmer again. Whereas there's only
• 38:21
  Speaker 7: a handful of songwriters on the more pop side that
• 38:24
  Speaker 7: fall into that category. Unfortunately, Diane Warren is one of them,
• 38:29
  Speaker 7: and I do not like her songwriting style. So you
• 38:33
  Speaker 7: decide here. This is I'll Fight... from rbg when you
• 38:38
  Speaker 7: feel you're taking.
• 38:39
  Speaker 22: All that you can take and you're sure you're never
• 38:42
  Speaker 22: gonna catch a break and the tears of rivers running
• 38:45
  Speaker 22: down your face yeah when your faith is slowing you
• 38:51
  Speaker 22: got no strength left when you think you've gone as
• 38:54
  Speaker 22: far as you can get and you're too one down
• 38:56
  Speaker 22: to take another step Oh, I will.
• 39:02
  Speaker 13: Take up the struggle.
• 39:06
  Speaker 7: Oh, I know it's a fight. So I'll fight.
• 39:14
  Speaker 1: Fight the world for you. I'll fight.
• 39:20
  Speaker 7: Stand and defend you.
• 39:23
  Speaker 1: Take your flight.
• 39:22
  Speaker 11: When this day just.
• 39:24
  Speaker 1: Takes another piece of you, everybody takes all they can
• 39:33
  Speaker 1: get from you.
• 39:34
  Speaker 13: So When each night is like a battle you came
• 39:56
  Speaker 13: with And the pain is like.
• 39:58
  Speaker 22: The weight you're carrying I will be the one.
• 40:01
  Speaker 1: To help you carry it I will take all your
• 40:07
  Speaker 1: troubles All I know is survive So I.
• 40:34
  Speaker 15: I'll be there to be strong.
• 40:35
  Speaker 1: Oh, I'll keep on, keep on the fight. Oh, help
• 40:41
  Speaker 1: me back when you're back to the wall. I'll catch
• 40:47
  Speaker 1: the tears when your tears fall.
• 40:51
  Speaker 6: I'll give it all, I won't.
• 40:53
  Speaker 5: Give up the fight.
• 41:06
  Speaker 1: Stand and defend you Take your side That's what I'm
• 41:13
  Speaker 1: here to do I'm here to be strong I like
• 41:18
  Speaker 1: it more, keep on I'll fight Fight that war for
• 41:26
  Speaker 1: you I'll fight Stand and defend you Take your.
• 41:33
  Speaker 7: Side Performed by Jennifer Hudson, who is amazing. So I'm
• 41:55
  Speaker 7: separating the two. Jennifer Hudson is an amazing performer. We
• 42:00
  Speaker 7: kind of all know that. Oscar winner herself. There's no
• 42:04
  Speaker 7: fault with the vocals here. It's all songwriting. I cannot
• 42:07
  Speaker 7: get over the songwriting. She is so ham-fisted. It is annoying.
• 42:14
  Speaker 11: So I don't know.
• 42:15
  Speaker 7: I'm ranting a little. Do you have any thoughts other
• 42:18
  Speaker 7: than mine?
• 42:20
  Speaker 12: Yeah, no, I'm with you on that one. Yeah, it's
• 42:25
  Speaker 12: definitely a nothing to write home about song. And I'll
• 42:28
  Speaker 12: even go as far to say, because this is the
• 42:31
  Speaker 12: first thing that came to my mind, but it actually
• 42:34
  Speaker 12: sounds like the background music to an Ambien commercial, doesn't it?
• 42:39
  Speaker 7: See, my take on it is.
• 42:41
  Speaker 12: Don't let sleep deprivation control your life.
• 42:44
  Speaker 16: Oh, fine!
• 42:46
  Speaker 12: And if you actually play the music behind it, it
• 42:48
  Speaker 12: will actually succeed in something like that. It's very like,
• 42:52
  Speaker 12: you know, we were talking about the polished. It's a very,
• 42:55
  Speaker 12: I'll even say the bad C word, cliche a little bit.
• 42:59
  Speaker 7: No, she totally is. And it happens every year. And like,
• 43:03
  Speaker 7: this is my, I didn't really know that much about
• 43:06
  Speaker 7: her that first year. And now I end up making
• 43:08
  Speaker 7: the same. comments and like she obviously doesn't care she's
• 43:11
  Speaker 7: making millions of dollars so like i guess it's working
• 43:14
  Speaker 7: on some level but i'm like professionally like how can
• 43:18
  Speaker 7: you live with yourself like it's so and this is
• 43:22
  Speaker 7: like we get to like fine lines too because to
• 43:24
  Speaker 7: me i'm listening to it and i'm like it in
• 43:27
  Speaker 7: addition to just being overly cheesy lyric wise right it
• 43:32
  Speaker 7: also has a tone that feels like it thinks it's
• 43:35
  Speaker 7: in the Yeah, right. And it's not. So it's like,
• 43:39
  Speaker 7: to me, like, you can pull off, like, we had, like,
• 43:42
  Speaker 7: The Greatest Showman last year, and it's like, those could
• 43:45
  Speaker 7: do that because they were in the middle. It makes
• 43:47
  Speaker 7: sense in context. And it works within the context of that. But, like,
• 43:50
  Speaker 7: this feels like it's taken out of the big song
• 43:53
  Speaker 7: from that musical this year.
• 43:54
  Speaker 11: And I'm like, this isn't a musical.
• 43:57
  Speaker 7: You need to readjust your song to match what you're doing.
• 44:00
  Speaker 13: Right.
• 44:01
  Speaker 11: And get some, I don't know, tact.
• 44:03
  Speaker 2: Yeah.
• 44:03
  Speaker 7: When it comes to PC. Like, there's just no.
• 44:08
  Speaker 7: There's no style with her writing there's no finesse and
• 44:11
  Speaker 7: there's definitely no subtlety like everything is just hammered home
• 44:16
  Speaker 7: and exactly like spelled out for you what each and
• 44:20
  Speaker 7: everything that's going on there's a formula directly in this
• 44:23
  Speaker 7: movie yeah each one is like and that's again just
• 44:26
  Speaker 7: to hit her for years and years and years it's
• 44:29
  Speaker 7: like beyond the light she's nominated for grateful and it's
• 44:33
  Speaker 7: all about how grateful this character is like thanks you
• 44:36
  Speaker 7: pointed out in the title And then, like, that Stand
• 44:40
  Speaker 7: for Something movie last year was with Common, which, again, like,
• 44:44
  Speaker 7: was just kind of awkwardly, you know, again, like, so
• 44:49
  Speaker 7: over the top with its, like, ideals.
• 44:53
  Speaker 11: It's like, stand for something.
• 44:54
  Speaker 7: Like, it can't even be subtle in the basic way
• 44:57
  Speaker 7: that it approaches it. The whole thing is like, which, again,
• 45:00
  Speaker 7: it's a very important idea going on within the film,
• 45:03
  Speaker 7: but you would also want a good song to showcase that.
• 45:07
  Speaker 3: Right.
• 45:08
  Speaker 7: And the same thing with the year before that, that's
• 45:09
  Speaker 7: the one that kills me the most because the year
• 45:12
  Speaker 7: before that was, uh, the song from the hunting ground.
• 45:17
  Speaker 7: And that's, I mean, that is a horrifying documentary. So
• 45:21
  Speaker 7: when you're trying to do something that's that delicate about
• 45:24
  Speaker 7: like trying to do a song about something as serious
• 45:28
  Speaker 7: as what's going on in that documentary is already almost
• 45:32
  Speaker 7: a bad idea because, and like she's, there's another of
• 45:35
  Speaker 7: one we'll return to later. She's working with Lady Gaga
• 45:37
  Speaker 7: and Lady Gaga has a great voice and can deliver
• 45:41
  Speaker 7: within the context of what's going on in that song.
• 45:43
  Speaker 7: But it's just, it's again, it's hitting the nail on
• 45:47
  Speaker 7: the head in a way that feels insensitive towards something
• 45:51
  Speaker 7: that's so like, just, ah, it's just an icky movie anyway.
• 45:56
  Speaker 7: And so then to make a cheesy song to go
• 45:59
  Speaker 7: along with it, that feels, ah, it just feels not right. And,
• 46:03
  Speaker 7: So at least this is not near as serious as that.
• 46:06
  Speaker 7: But it's seriously offensive in how dumb it's written. I
• 46:13
  Speaker 7: told you there was one that I had problems with.
• 46:16
  Speaker 12: Moving on.
• 46:16
  Speaker 1: So.
• 46:18
  Speaker 11: Diane Warren.
• 46:19
  Speaker 15: All right.
• 46:20
  Speaker 7: Just up your game. Come on.
• 46:21
  Speaker 11: Exactly.
• 46:22
  Speaker 12: She will, hopefully.
• 46:23
  Speaker 11: We'll see.
• 46:25
  Speaker 12: So the next on the list is Original Score. It's
• 46:28
  Speaker 12: Black Panther by Ludwig Joransson.
• 46:31
  Speaker 13: And so.
• 46:33
  Speaker 12: You know, I listened to several tracks from the soundtrack,
• 46:38
  Speaker 12: and I thought his sound was very epic and close
• 46:43
  Speaker 12: to the Hans Zimmer Hollywood style that you hear, you know,
• 46:46
  Speaker 12: with expressive strings, with chorus, and a lot of drumming,
• 46:50
  Speaker 12: a lot of use of drumming, and so forth. And
• 46:53
  Speaker 12: he's actually a graduate, I don't know if you know this,
• 46:55
  Speaker 12: a graduate from the film composition program at the University
• 46:59
  Speaker 12: of Southern California, so there's definitely his his background, that's...
• 47:03
  Speaker 12: Hans Zimmer's the kind of person that he studied. And
• 47:07
  Speaker 12: I think he actually admits that and talks about that
• 47:09
  Speaker 12: in an interview. And actually, there's a little bit of a...
• 47:12
  Speaker 12: You know, when you watch that interview with him and
• 47:15
  Speaker 12: Hans Zimmer, there's a little bit of a bromance there
• 47:17
  Speaker 12: because I think Hans Zimmer really likes the fact that
• 47:19
  Speaker 12: he kind of emulates him a little bit. So you
• 47:21
  Speaker 12: definitely hear that big Hollywood influence coming out. And in
• 47:24
  Speaker 12: this particular case, like we were talking about, that's appropriate
• 47:28
  Speaker 12: for this particular movie.
• 47:29
  Speaker 7: So.
• 47:30
  Speaker 12: And so I think it works very well with the film.
• 47:33
  Speaker 12: The Casino Brawl track, or I guess the music behind that,
• 47:38
  Speaker 12: seemed very interesting. And the one thing I will just
• 47:42
  Speaker 12: say about this score is that it didn't strike me as,
• 47:47
  Speaker 12: oh my gosh, this is really something unique and different.
• 47:51
  Speaker 12: Because it's just, okay, this is Hollywood epic style. But
• 47:54
  Speaker 12: I don't... there's a little bit of respect in the
• 47:58
  Speaker 12: way that, uh, your Ronson basically, he tried, he actually
• 48:01
  Speaker 12: traveled to Africa to research, uh, traditional African music for
• 48:05
  Speaker 12: this film. And he, um, he actually, uh, um, used
• 48:12
  Speaker 12: different instruments that were, um, you know, attributed to that area.
• 48:16
  Speaker 12: So like the talking drums and the Tamman, for instance, uh,
• 48:19
  Speaker 12: to define certain characters in, in the film, which I,
• 48:23
  Speaker 12: you know, I think the, that effort going into it,
• 48:27
  Speaker 12: is very respectful. And, um, you know, it shows, I
• 48:31
  Speaker 12: think he puts, you know, thought into it and, um,
• 48:34
  Speaker 12: didn't want it just to be, okay, here's my samples
• 48:37
  Speaker 12: that are in my computer that I use all the time.
• 48:40
  Speaker 12: And I'm just going to write an Epic film and
• 48:42
  Speaker 12: be done with it and get my award. Uh, he,
• 48:45
  Speaker 12: you know, he, he did some research. He did his
• 48:47
  Speaker 12: work there.
• 48:47
  Speaker 7: So. Well, to hear all of that come together, uh,
• 48:51
  Speaker 7: this is what kind of rounds out the film. This
• 48:53
  Speaker 7: is United Nations slash entitles.
• 48:56
  Speaker 11: Which kind of gives a good mixture of all of
• 48:59
  Speaker 11: that going on.
• 49:10
  Speaker 5: Thank you. so so.
• 50:15
  Speaker 2: Thank you.
• 50:45
  Speaker 1: I don't know.
• 51:21
  Speaker 5: We'll be right back. We'll be right back.
• 51:52
  Speaker 15: Thank you.
• 52:44
  Speaker 1: Thank you. Thank you. © BF-WATCH TV 2021 Ha ha ha!
• 54:46
  Speaker 16: Ha ha ha!
• 54:48
  Speaker 1: Ha ha ha! Ha ha ha! Ha ha ha! so so.
• 56:07
  Speaker 7: See, I think, and this is, I guess, an interesting
• 56:10
  Speaker 7: sort of counterbalance to what we had going on with
• 56:12
  Speaker 7: Isle of Dogs, because once again, we have someone who's
• 56:16
  Speaker 7: using traditional instruments of the land where the story is
• 56:20
  Speaker 7: kind of centered around.
• 56:21
  Speaker 5: Right.
• 56:22
  Speaker 7: And they're both, again, they're both done effectively, but I
• 56:25
  Speaker 7: think here it is done and worked in so much
• 56:29
  Speaker 7: better that it, it, it doesn't just use it as
• 56:32
  Speaker 7: like a gimmick. Like it legitimately works it into the
• 56:35
  Speaker 7: score and it all becomes part of this score that
• 56:38
  Speaker 7: is then sort of balanced out with more traditional strings.
• 56:42
  Speaker 7: And like, it gets into both sides. It has a
• 56:45
  Speaker 7: very traditional African, like bass that's coming through there and
• 56:49
  Speaker 7: all the drums that they're bringing into it. But at
• 56:51
  Speaker 7: the same time, it works completely effectively on its own
• 56:55
  Speaker 7: as an, you know, an epic music score. And that's,
• 56:58
  Speaker 7: that's something that's kind of impressive. That's what I said
• 57:00
  Speaker 7: earlier with the balance of so many of these trying
• 57:02
  Speaker 7: to balance different things, because this one has to work
• 57:05
  Speaker 7: in like the, the traditional element, because the whole, most
• 57:09
  Speaker 7: of it is all going on in Africa. So you
• 57:11
  Speaker 7: need kind of that to sort of ground it there.
• 57:14
  Speaker 7: But at the same time, it's also in the, not
• 57:17
  Speaker 7: even the middle in a long running series of epic
• 57:20
  Speaker 7: Marvel movies. So it still has to deliver a, like
• 57:24
  Speaker 7: an epic superhero level score. And it kind of does both.
• 57:29
  Speaker 7: Like when it kicks in with the big, you know,
• 57:31
  Speaker 7: epic part and towards the, even the end of the
• 57:33
  Speaker 7: titles there, it gets much more grand and it doesn't, again,
• 57:37
  Speaker 7: doesn't stay at that same level like we had with
• 57:40
  Speaker 7: Isle of Dogs where it never really progresses outside of
• 57:43
  Speaker 7: that little thing that it's doing, that little movement. It
• 57:46
  Speaker 7: like takes that and.
• 57:47
  Speaker 11: Kind of builds on it and builds on it.
• 57:49
  Speaker 7: And by the time you get to the epic level,
• 57:51
  Speaker 7: marvel score part of it you're like oh no this
• 57:53
  Speaker 7: works from both angles it works as an epic superhero
• 57:57
  Speaker 7: theme and at the same time is totally grounded in
• 58:00
  Speaker 7: the history of who this character is which becomes the
• 58:04
  Speaker 7: superhero so it ties it all together way better again
• 58:08
  Speaker 7: if you gave it to a lesser composer i think
• 58:10
  Speaker 7: this could be a mess and like the african instruments
• 58:14
  Speaker 7: could be used again as like a setting on your
• 58:16
  Speaker 7: computer is like well i have to put these in
• 58:18
  Speaker 7: and I think it could be a very cheap move
• 58:21
  Speaker 7: if given to somebody who didn't know what they were
• 58:23
  Speaker 7: doing or didn't care about what they were doing. But
• 58:26
  Speaker 7: he definitely does in this because it comes together really well.
• 58:29
  Speaker 15: Right.
• 58:30
  Speaker 12: Absolutely.
• 58:31
  Speaker 7: Anything else on that?
• 58:32
  Speaker 12: Yeah, that was my... I liked it. Yeah.
• 58:36
  Speaker 7: I think it's pretty great. And yeah, that casino brawl
• 58:39
  Speaker 7: one is pretty interesting just because, again, I think everybody
• 58:42
  Speaker 7: had that. As we get into that scene... And you
• 58:45
  Speaker 7: see everybody kind of dressed up. And in the casino,
• 58:47
  Speaker 7: you're like, this is just kind of James Bond. We've
• 58:49
  Speaker 7: been promised a black James Bond for years now. I'm like,
• 58:52
  Speaker 7: that scene is kind of delivering. I'm like, this is
• 58:54
  Speaker 7: what we need. Let's do more of this.
• 58:56
  Speaker 12: And that's the thing, you know, like with that particular scene,
• 58:59
  Speaker 12: he also gets out of his normal, you know, style
• 59:03
  Speaker 12: of writing. And so I think, you know, Joranson actually can...
• 59:09
  Speaker 12: when he gets out of that kind of epic Hollywood style, it's,
• 59:13
  Speaker 12: you know, as a composer, he gets a little bit
• 59:15
  Speaker 12: more experimental. And so I think, you know, it'd be
• 59:19
  Speaker 12: interesting to see if he takes on a challenge in
• 59:22
  Speaker 12: the next year or what have you, where it's like, okay,
• 59:25
  Speaker 12: let's strip down that. style and let's just do something
• 59:29
  Speaker 12: else like you know how um uh john williams did
• 59:31
  Speaker 12: the score for catch me if you can where it
• 59:33
  Speaker 12: was just basically vibraphone.
• 59:35
  Speaker 7: Going back to his roots of jazz or just.
• 59:37
  Speaker 12: Yeah i mean there was no you know a huge
• 59:40
  Speaker 12: orchestral score in that movie so it'd be interesting to see.
• 59:42
  Speaker 7: Him well i think yeah that that That's why I
• 59:45
  Speaker 7: threw that one out there too, that Casino Brawl, to
• 59:47
  Speaker 7: throw in as sort of a counterbalance to the epicness that.
• 59:50
  Speaker 11: Was going on.
• 59:51
  Speaker 3: Yeah, right.
• 59:51
  Speaker 7: Because it does both as well, but it starts off
• 59:54
  Speaker 7: really slow and does this little steady sort of normal
• 59:58
  Speaker 7: composure kind of a build to it.
• 1:00:01
  Speaker 11: And then it turns on a dime.
• 1:00:03
  Speaker 7: And when it becomes time for the action to kick
• 1:00:05
  Speaker 7: in in the scene, it just delivers this epic pulse-pounding
• 1:00:09
  Speaker 7: action movie kind of a take. which again is not
• 1:00:12
  Speaker 7: always something that, you know, some composers take very easily too.
• 1:00:17
  Speaker 7: If they're doing something that's a moving score, they don't
• 1:00:20
  Speaker 7: necessarily also have a hand in building a really good,
• 1:00:24
  Speaker 7: you know, epic action scene, you know, where it actually
• 1:00:27
  Speaker 7: kind of builds the tension with the music. It's like,
• 1:00:30
  Speaker 7: that's a different approach. And like this within that same
• 1:00:33
  Speaker 7: song kind of ends up doing both. So it's, again,
• 1:00:36
  Speaker 7: it's just him really showing how well he can balance
• 1:00:39
  Speaker 7: all the different things that are being thrown at him
• 1:00:41
  Speaker 7: in this, epic Marvel movie.
• 1:00:43
  Speaker 3: Right.
• 1:00:44
  Speaker 12: Absolutely.
• 1:00:44
  Speaker 7: Yeah.
• 1:00:45
  Speaker 3: All right.
• 1:00:47
  Speaker 7: So next up for song is a place where lost
• 1:00:51
  Speaker 7: things go from Mary Poppins returns. And this is, uh,
• 1:00:56
  Speaker 7: I've gone through all of the, yeah, we've mentioned most
• 1:00:58
  Speaker 7: of the writers and performers. It was written by, uh,
• 1:01:01
  Speaker 7: is it shaman? It's S H I. Mark Shaman.
• 1:01:06
  Speaker 12: And Scott Whitman, right?
• 1:01:07
  Speaker 2: Yep.
• 1:01:07
  Speaker 11: Written by Mark Shaman and Scott Whitman.
• 1:01:10
  Speaker 9: Do you ever lie awake at night Just between the
• 1:01:17
  Speaker 9: dark and the morning light Searching.
• 1:01:22
  Speaker 25: For the things you used to know Looking for the
• 1:01:28
  Speaker 25: place where.
• 1:01:30
  Speaker 15: The lost things go Do you ever dream or reminisce
• 1:01:39
  Speaker 15: Wondering where to find what you truly miss.
• 1:01:45
  Speaker 25: Well, maybe all those things that you love.
• 1:01:49
  Speaker 2: So are waiting in the place where the lost things go.
• 1:01:57
  Speaker 25: Memories you've shared, gone for good you feared.
• 1:02:03
  Speaker 15: They're all around you still, though they've disappeared.
• 1:02:10
  Speaker 17: Nothing's really left or lost without a trace Nothing's gone
• 1:02:17
  Speaker 17: forever only.
• 1:02:20
  Speaker 15: Out of place.
• 1:02:24
  Speaker 25: So maybe now the dish and my best spoon Are
• 1:02:31
  Speaker 25: playing hide and seek just behind the moon.
• 1:02:37
  Speaker 7: Waiting there until.
• 1:02:39
  Speaker 25: It's time to show spring is like that now, far.
• 1:02:47
  Speaker 15: Beneath the snow, hiding in the place where the lost things.
• 1:02:57
  Speaker 14: Go.
• 1:03:12
  Speaker 13: Time to close your.
• 1:03:14
  Speaker 25: Eyes so sleep can come around For when you dream you'll.
• 1:03:21
  Speaker 2: Find all that's lost is found Maybe on the moon
• 1:03:29
  Speaker 2: or maybe somewhere new.
• 1:03:32
  Speaker 26: Maybe all you're missing lives inside of you.
• 1:03:40
  Speaker 22: So when you need her touch and loving gaze, gone.
• 1:03:48
  Speaker 15: But not forgotten is the perfect phrase.
• 1:03:54
  Speaker 25: Smiling from a star that she makes glow Trust she's.
• 1:04:02
  Speaker 26: Always there Watching as you grow Find her in the
• 1:04:10
  Speaker 26: place where the lost things go.
• 1:04:35
  Speaker 12: Yeah, I thought, you know, this song captured the sensibilities,
• 1:04:41
  Speaker 12: I thought, of the original 1964 version of Mary Poppins. Although, interestingly,
• 1:04:47
  Speaker 12: you know, I also heard Aladdin. Did you catch that? Like,
• 1:04:52
  Speaker 12: some of the chord progressions, and it was almost like,
• 1:04:56
  Speaker 12: you know, with a The musical formula of the late Disney,
• 1:05:00
  Speaker 12: post-1990s Disney.
• 1:05:02
  Speaker 7: Yeah, the reboot of Disney, essentially, when they came back
• 1:05:06
  Speaker 7: out of obscurity, almost. Right, yeah. Certainly not to the
• 1:05:10
  Speaker 7: amount of power that they have now. But yeah, that
• 1:05:13
  Speaker 7: late 80s era, before Little Mermaid, was just like, yeah,
• 1:05:18
  Speaker 7: everything changed. But also their music style kind of changed
• 1:05:21
  Speaker 7: at that point. right because they weren't focusing as much
• 1:05:24
  Speaker 7: on music and those last you know great mouse detective
• 1:05:27
  Speaker 7: nobody's singing the songs from it so you know it's
• 1:05:30
  Speaker 7: like right it kind of got away from that and
• 1:05:32
  Speaker 7: then when they came back with a little mermaid and
• 1:05:34
  Speaker 7: beauty and the beast and aladdin like they just found
• 1:05:37
  Speaker 7: a whole new crop of people to pull from and
• 1:05:39
  Speaker 7: like kind of turned it up to 11 on the
• 1:05:41
  Speaker 7: on the musical numbers for these so right it does
• 1:05:45
  Speaker 7: have to have a different approach i don't feel like
• 1:05:48
  Speaker 7: it got again like to me i listened to it
• 1:05:50
  Speaker 7: and i was like i'm kind of like my brain
• 1:05:53
  Speaker 7: doesn't know what to do with it because it is
• 1:05:56
  Speaker 7: so close like that I guess they were really you
• 1:05:58
  Speaker 7: know trying to make.
• 1:05:59
  Speaker 11: This a sequel to that movie and.
• 1:06:02
  Speaker 7: It's been so long that I'm like it's really odd
• 1:06:05
  Speaker 7: to hear something that's that true to that time period
• 1:06:09
  Speaker 7: in a movie that just came out this year so
• 1:06:11
  Speaker 7: it's like I don't again it's like my brain trying
• 1:06:15
  Speaker 7: to be like well it's it's really well done And
• 1:06:19
  Speaker 7: how do you put it up against music in movies
• 1:06:23
  Speaker 7: from this last year? It's so different because it's stylistically
• 1:06:28
  Speaker 7: decades earlier.
• 1:06:29
  Speaker 11: Yeah, it's like I.
• 1:06:30
  Speaker 7: Just don't know how you counterbalance and compare it to
• 1:06:35
  Speaker 7: other stuff that's coming out in modern era because nothing
• 1:06:37
  Speaker 7: else really gets this close to being this relic of
• 1:06:42
  Speaker 7: a bygone musical period. Right.
• 1:06:45
  Speaker 12: Yeah, it's definitely the Laurel and Hardy problem where you
• 1:06:49
  Speaker 12: have– the music used in this original, I guess, 64
• 1:06:55
  Speaker 12: version is certainly a little more lighthearted. And this, again,
• 1:07:00
  Speaker 12: we've– like you said, we've come through all these decades
• 1:07:03
  Speaker 12: with Disney becoming a little bit more epic in their
• 1:07:08
  Speaker 12: taste of composers in terms of their style. And so
• 1:07:11
  Speaker 12: it's– you do get that kind of– okay, this is
• 1:07:15
  Speaker 12: Mary Poppins, but really serious. And actually, what was very
• 1:07:19
  Speaker 12: interesting is that the, and gosh, I'm forgetting her name,
• 1:07:24
  Speaker 12: the main actress.
• 1:07:25
  Speaker 11: Emily Blunt.
• 1:07:26
  Speaker 7: Emily, yes. I will give her points. Nobody knew she
• 1:07:28
  Speaker 7: had that great a voice, or certainly I didn't.
• 1:07:31
  Speaker 12: She definitely changes the character, too, which is a little
• 1:07:34
  Speaker 12: more serious and stern version of Mary Poppins, which I
• 1:07:38
  Speaker 12: think was actually the intention of the original character.
• 1:07:40
  Speaker 7: Yeah, I think the way it was written was probably
• 1:07:42
  Speaker 7: a little closer to that. Which also may be, and
• 1:07:45
  Speaker 7: just thinking on the way animation has changed over the
• 1:07:48
  Speaker 7: years too, it may be because Disney was always kind
• 1:07:51
  Speaker 7: of dark. I mean, you know, Bambi's parents are getting.
• 1:07:54
  Speaker 11: Off, you know, really early on.
• 1:07:56
  Speaker 7: But yet the whole rest of that movie has a
• 1:07:58
  Speaker 7: pretty light tone to it. You know, it's like there's
• 1:08:00
  Speaker 7: sad parts in all of these early Disney movies. But
• 1:08:04
  Speaker 7: I think the real dividing line in animation is, again,
• 1:08:08
  Speaker 7: coming out of that Beauty and the Beast resurgence of Disney.
• 1:08:12
  Speaker 11: And then the emergence of Pixar.
• 1:08:14
  Speaker 7: And Pixar comes along before they're even part of Disney.
• 1:08:17
  Speaker 7: Pixar comes along and goes, oh no, we're going to
• 1:08:20
  Speaker 7: be so deep-rooted in your childhood, but we're also going
• 1:08:24
  Speaker 7: to bring some sort of trauma with it that's just like...
• 1:08:27
  Speaker 7: So all of theirs kind of have such a dark
• 1:08:30
  Speaker 7: edge to it as they've gone on that are beautiful
• 1:08:34
  Speaker 7: and gut-wrenching at the same time. So I think that's
• 1:08:37
  Speaker 7: kind of where we land now with maybe kids... Not
• 1:08:40
  Speaker 7: all kids' movies, because there's a lot of those dumb
• 1:08:42
  Speaker 7: ones that don't get nominated. There's a lot of life
• 1:08:45
  Speaker 7: of pets out there that nobody's really putting bigger, grand
• 1:08:49
  Speaker 7: ideas behind. But with a lot of the stuff that's
• 1:08:52
  Speaker 7: geared to be a little better and meant for maybe
• 1:08:55
  Speaker 7: adult audiences equally as much as kids, which you know
• 1:08:58
  Speaker 7: Disney and Pixar both are kind of going for that
• 1:09:00
  Speaker 7: that's what they're doing but yeah I think that Pixar
• 1:09:02
  Speaker 7: kind of changed the tone of everything and now that
• 1:09:05
  Speaker 7: they're owned by Disney I think Disney's that same way
• 1:09:07
  Speaker 7: where they're just like well we want to make sure
• 1:09:09
  Speaker 7: we deliver like adult not adult themes in the wrong
• 1:09:13
  Speaker 7: way but like themes that adults identify with and are
• 1:09:16
  Speaker 7: kind of struggling with as they grew up as a
• 1:09:19
  Speaker 7: little kid watching this stuff and now they've been through
• 1:09:21
  Speaker 7: these decades that we mentioned and like they're a little
• 1:09:24
  Speaker 7: jaded because of it and they have a little darkness
• 1:09:27
  Speaker 7: now that comes with like revisiting childhood stuff and so
• 1:09:31
  Speaker 7: again like looking at something like mary poppins returns which
• 1:09:34
  Speaker 7: is completely revisiting like something that most kids grew up watching.
• 1:09:38
  Speaker 12: The original it's more for the adults it has.
• 1:09:40
  Speaker 7: To yeah it's like little kids i guess can still
• 1:09:42
  Speaker 7: watch it and enjoy it but they're gonna not get
• 1:09:45
  Speaker 7: that level they're not gonna have that extra like side
• 1:09:49
  Speaker 7: that kicks in when you grew up watching this and
• 1:09:51
  Speaker 7: now you've lived decades of your life and you're a
• 1:09:53
  Speaker 7: grown up and you have to deal with stupid real
• 1:09:56
  Speaker 7: life and it makes it a weird darker tone to
• 1:09:59
  Speaker 7: it that yeah maybe is what's coming through on.
• 1:10:01
  Speaker 12: This you know I will say that you know the
• 1:10:04
  Speaker 12: the songs and the orchestration the fact that they did
• 1:10:09
  Speaker 12: weave in some of the older tunes worked you know
• 1:10:13
  Speaker 12: really nicely and you know I think They didn't really
• 1:10:19
  Speaker 12: obscure that same feeling too much. I think they really
• 1:10:25
  Speaker 12: brought it out. But yeah, again, the orchestration is certainly,
• 1:10:31
  Speaker 12: definitely post-1990 Disney. And maybe that's just the way... Again,
• 1:10:35
  Speaker 12: I didn't see... When is the Lauren Hardy.
• 1:10:45
  Speaker 7: It just, yeah, in the last week or so. Well,
• 1:10:47
  Speaker 7: I think it started, you know, New York, LA, but
• 1:10:49
  Speaker 7: I think it just started going wide right about now.
• 1:10:52
  Speaker 12: So I would be curious, you know, to listen to
• 1:10:55
  Speaker 12: the music in that film.
• 1:10:57
  Speaker 7: Yeah, kind of that same thing, because it's definitely going
• 1:11:00
  Speaker 7: to have to deliver a totally different tone, because what's
• 1:11:03
  Speaker 7: on screen with Laurel and Hardy is just silliness.
• 1:11:06
  Speaker 25: Right.
• 1:11:06
  Speaker 7: But now we're getting this behind-the-scenes darkness.
• 1:11:09
  Speaker 11: That went on with them.
• 1:11:10
  Speaker 7: If nothing else, just the... relationship between them is definitely
• 1:11:15
  Speaker 7: a little darker than just the silly smacking each other
• 1:11:18
  Speaker 7: around that goes.
• 1:11:19
  Speaker 3: On on screen.
• 1:11:19
  Speaker 12: Right, exactly.
• 1:11:20
  Speaker 11: So yeah, probably along those same lines.
• 1:11:22
  Speaker 12: It'll be interesting to see how they weave those.
• 1:11:24
  Speaker 7: Yeah, definitely.
• 1:11:28
  Speaker 12: Alright, so we have another nominee on our list for
• 1:11:33
  Speaker 12: the original score nominee. I think I have here If
• 1:11:37
  Speaker 12: Beale Street Could Talk by Nicholas Brittle. Or is it Brittle?
• 1:11:42
  Speaker 7: Who knows?
• 1:11:44
  Speaker 12: So I think for this particular soundtrack, this was the
• 1:11:49
  Speaker 12: one that made it for me. This was if I
• 1:11:52
  Speaker 12: were a judge and I was part of the committee.
• 1:11:55
  Speaker 11: I was about to go down this road. Is that
• 1:11:57
  Speaker 11: where you're going to go to?
• 1:11:57
  Speaker 7: Well, I was just like, this so appeals to me. Like,
• 1:12:00
  Speaker 7: it's just my style of music that I got into
• 1:12:03
  Speaker 7: when I started listening to something outside.
• 1:12:05
  Speaker 11: Of radio rock.
• 1:12:06
  Speaker 7: You know, it's like, this is what I found and
• 1:12:09
  Speaker 7: this is what I attach myself to. And I don't
• 1:12:11
  Speaker 7: normally hear it. even in film scores, I don't really
• 1:12:14
  Speaker 7: hear what's going on here most of the time. So
• 1:12:16
  Speaker 7: I was like, so excited when I found this and
• 1:12:19
  Speaker 7: I started hitting all the tracks and I'm like, oh
• 1:12:21
  Speaker 7: my God, it's all kind of like this. It's just
• 1:12:23
  Speaker 7: in different areas kind of.
• 1:12:24
  Speaker 6: Yeah.
• 1:12:25
  Speaker 12: Well, and I would say you definitely have to listen
• 1:12:28
  Speaker 12: to the entire soundtrack to get a sense of the
• 1:12:31
  Speaker 12: musical variety in this. And that's the one thing that
• 1:12:34
  Speaker 12: I think he achieves in this. In addition to working
• 1:12:38
  Speaker 12: well with the film, the variety is really amazing. And
• 1:12:43
  Speaker 12: I think that speaks to his background because Nicholas actually
• 1:12:47
  Speaker 12: was inspired by a wide range of music. He was
• 1:12:52
  Speaker 12: inspired by Rachmaninoff, Gershwin, Philip Glass, but then also producers
• 1:12:57
  Speaker 12: Quincy Jones and Dr.
• 1:12:58
  Speaker 20: Dre.
• 1:12:58
  Speaker 12: And actually, I think he was actually in a rap
• 1:13:01
  Speaker 12: group when he was at Harvard, you know.
• 1:13:03
  Speaker 11: Like most Harvard kids are.
• 1:13:05
  Speaker 12: Like most, exactly, of course. That's what I think of. So,
• 1:13:09
  Speaker 12: you know, he comes from a really wide, you know.
• 1:13:13
  Speaker 20: Diverse.
• 1:13:13
  Speaker 12: Diverse background as a musician. And so you kind of
• 1:13:18
  Speaker 12: get that in this particular score. And I like the
• 1:13:22
  Speaker 12: fact that, you know, when you listen to the opening theme,
• 1:13:24
  Speaker 12: for instance, you're... A lot of times when I listen
• 1:13:28
  Speaker 12: to an opening theme of any particular composer, I can
• 1:13:33
  Speaker 12: pretty much, based on the experience that I've had with
• 1:13:36
  Speaker 12: other films, pretty much can write out the rest of
• 1:13:39
  Speaker 12: what they'll probably do for the other scenes. They'll flip
• 1:13:42
  Speaker 12: the theme around or maybe they'll come back and so forth.
• 1:13:44
  Speaker 12: But he doesn't do that in this film. He actually,
• 1:13:47
  Speaker 12: you flip to the second track and you get something
• 1:13:50
  Speaker 12: completely different because I think what this movie was dealing
• 1:13:53
  Speaker 12: with was the different conflicting themes. feelings and issues that
• 1:13:58
  Speaker 12: so he used variation of instruments I like that as
• 1:14:02
  Speaker 12: a musician and this is what kind of I think
• 1:14:08
  Speaker 12: brought it home for me in the sense when I
• 1:14:10
  Speaker 12: think of the word original you know I think of
• 1:14:12
  Speaker 12: it as something that is separate from the crowd or
• 1:14:15
  Speaker 12: that which has been done to death you know and
• 1:14:17
  Speaker 12: in this case again when you listen to all the
• 1:14:19
  Speaker 12: tracks you get that the sounds that he used the
• 1:14:23
  Speaker 12: layering is different than The kind of orchestration that you
• 1:14:28
  Speaker 12: hear from the Hans Zimmer School, from the– even I
• 1:14:32
  Speaker 12: would say the 70s score of the Terry Blanchard background
• 1:14:38
  Speaker 12: that he did with his film. This was something much
• 1:14:42
  Speaker 12: different but then well-developed. And that was kind of like, okay,
• 1:14:45
  Speaker 12: this is going to win it for me in that sense.
• 1:14:49
  Speaker 1: Yeah.
• 1:14:49
  Speaker 7: Yeah, I threw out when I was, you know, picking
• 1:14:51
  Speaker 7: ones for you to listen to and for us to
• 1:14:53
  Speaker 7: potentially play. It's like the first one I clicked on
• 1:14:57
  Speaker 7: was Eden Harlem. And I'm like, this is what sold
• 1:15:01
  Speaker 7: me like that. So just so that you get kind
• 1:15:02
  Speaker 7: of that same entry point.
• 1:15:04
  Speaker 11: Yeah, this is yeah, Eden Harlem.
• 1:15:20
  Speaker 10: Amen.
• 1:17:11
  Speaker 1: Amen.
• 1:17:12
  Speaker 18: Amen.
• 1:17:12
  Speaker 3: Amen.
• 1:17:45
  Speaker 7: It's it's just like, again, it's just I don't know
• 1:17:48
  Speaker 7: that everybody else will respond to it that way.
• 1:17:50
  Speaker 11: But it's I have a handful of albums that I found.
• 1:17:53
  Speaker 7: Over the years that has a similar sound. And as
• 1:17:56
  Speaker 7: soon as it kicked in, I was like, oh, this
• 1:17:58
  Speaker 7: is this is this is it. Like, it's just such
• 1:18:02
  Speaker 7: amazing composition and just the layering of the instruments. And yeah,
• 1:18:07
  Speaker 7: all of it is just so well put together. But
• 1:18:10
  Speaker 7: then as you get– to throw out something a little different,
• 1:18:13
  Speaker 7: I threw out the end credits theme for you to
• 1:18:15
  Speaker 7: listen to too. And that kicks in and it takes
• 1:18:18
  Speaker 7: that same basic idea but adds a layer of horns
• 1:18:21
  Speaker 7: to it. So then you really get more of a
• 1:18:24
  Speaker 7: traditional jazz feel that you can see those roots in
• 1:18:27
  Speaker 7: there too. And that's kind of woven in there as
• 1:18:31
  Speaker 7: we get through what's going on in the end credits
• 1:18:33
  Speaker 7: as well.
• 1:18:35
  Speaker 12: Well, and not only that though, the approach that he
• 1:18:37
  Speaker 12: takes to creating– the actual composition is different and so
• 1:18:43
  Speaker 12: like in Eden Harlan you know that he takes one
• 1:18:46
  Speaker 12: approach but then you look at you know a different
• 1:18:48
  Speaker 12: scene uh he is using not only a completely different
• 1:18:51
  Speaker 12: set of instruments but it's also he's taking themes and
• 1:18:55
  Speaker 12: and playing and emerging things out of uh sounds that
• 1:18:59
  Speaker 12: he didn't do with eden for instance yeah and so
• 1:19:03
  Speaker 12: i think it's like you know, if you don't, for example,
• 1:19:06
  Speaker 12: if you don't like a particular track, just wait a
• 1:19:08
  Speaker 12: little bit, you know, it's like weather here in Louisville,
• 1:19:10
  Speaker 12: you know?
• 1:19:11
  Speaker 7: Uh, so that is normally how it works here, but,
• 1:19:14
  Speaker 7: but this is a good side.
• 1:19:15
  Speaker 24: Yeah.
• 1:19:15
  Speaker 12: This is a, that's, this is a good thing, you know?
• 1:19:18
  Speaker 12: And so I, yeah, I, I think that just won
• 1:19:20
  Speaker 12: it for me.
• 1:19:22
  Speaker 7: Yep. That's it's, it's again, looking at what we've been
• 1:19:26
  Speaker 7: dealing with and what, even what's coming up, I'm like, I,
• 1:19:29
  Speaker 7: if we're picking one that probably should win, I hope
• 1:19:31
  Speaker 7: this is the one.
• 1:19:32
  Speaker 16: Yeah.
• 1:19:33
  Speaker 7: This is the one I think is the most, Diverse
• 1:19:35
  Speaker 7: and well-developed, and as you said, original.
• 1:19:38
  Speaker 12: Yeah, I agree.
• 1:19:39
  Speaker 3: Yeah.
• 1:19:48
  Speaker 11: So this is a great episode, right?
• 1:19:50
  Speaker 7: Well, if you'd like to keep more awesome discussions like
• 1:19:52
  Speaker 7: this one coming your way, you need to join the
• 1:19:54
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• 1:19:57
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• 1:19:59
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• 1:20:03
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• 1:20:07
  Speaker 7: about film and keep booking amazing guests. So just go
• 1:20:11
  Speaker 7: to patreon.com slash movie meltdown or go to movie meltdown.com.
• 1:20:15
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• 1:20:16
  Speaker 7: the page and you can help keep the show going.
• 1:20:19
  Speaker 7: Plus you get exclusive episodes every month just for club members.
• 1:20:23
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• 1:20:26
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• 1:20:29
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• 1:20:31
  Speaker 11: Damn the man.
• 1:20:32
  Speaker 7: Save the meltdown.
• 1:20:37
  Speaker 23: Hey, this is Tiffany, and you're listening to Movie Meltdown.
• 1:20:48
  Speaker 7: I think we're alone now. So next up for original
• 1:21:12
  Speaker 7: song is, and you'll, if you've been listening along, you'll
• 1:21:16
  Speaker 7: have just heard this. I actually played it at the
• 1:21:18
  Speaker 7: end of our episode on this film. It's When a
• 1:21:21
  Speaker 7: Cowboy Trades His Spurs for Wings from the Ballad of
• 1:21:24
  Speaker 7: Buster Scruggs. And it's written by David Rawlings and Gillian Welsh.
• 1:21:28
  Speaker 8: Let me tell you, buddy, there's a faster gun coming
• 1:21:35
  Speaker 8: over yonder when tomorrow comes. Let me tell you, buddy,
• 1:21:43
  Speaker 8: and it won't be long till you find yourself singing
• 1:21:49
  Speaker 8: your last cowboy song.
• 1:21:53
  Speaker 4: Yippee-ki-yay-yay when the roundup ends. Yippee-ki-yay-yay and the campfire ends.
• 1:22:05
  Speaker 10: Yippee-ki-yay-yay He shouts and he sings. When a cowboy trades
• 1:22:14
  Speaker 10: his spurs for wings.
• 1:22:21
  Speaker 8: When they wrap my body in the pendlin' sheet.
• 1:22:27
  Speaker 10: And I take my six-ounce pull the boots from my feet.
• 1:22:33
  Speaker 8: Unsettle my pony, she'll be a-chinter on. I'll be halfway
• 1:22:41
  Speaker 8: to heaven under horse power of my own.
• 1:22:46
  Speaker 4: Yippee-ki-yay-yay when the roundup ends. Yippee-ki-yay-yay and the campfire bends.
• 1:22:58
  Speaker 4: Yippee-ki-yay-yay He shouts and he sings.
• 1:23:05
  Speaker 10: When a cowboy trades his spurs for wings.
• 1:23:10
  Speaker 8: Yippee-ki-yay, I'm glory bound. No more jangle, jangle.
• 1:23:19
  Speaker 7: I lay my guns down.
• 1:23:22
  Speaker 10: Yippee-ki-yay, He shouts and he.
• 1:23:27
  Speaker 6: Sings when a cowboy trades his spurs for wings. When
• 1:23:44
  Speaker 6: a cowboy trades his spurs for wings.
• 1:23:51
  Speaker 7: This is, and this is one, once again, if you've
• 1:23:54
  Speaker 7: heard me over the years on this show, you've heard me.
• 1:23:57
  Speaker 11: If there's one thing I'll rant about, it's modern country music.
• 1:24:01
  Speaker 7: But it's funny how much I don't ever, like, to me,
• 1:24:03
  Speaker 7: there's totally different categories. And some people just, like, anything
• 1:24:07
  Speaker 7: that even would be considered country, they want nothing to
• 1:24:10
  Speaker 7: do with. To me, like, if you get old school country,
• 1:24:13
  Speaker 7: I think it's amazing and still well written on, like,
• 1:24:17
  Speaker 7: modern country but um i also like there's the weird
• 1:24:20
  Speaker 7: offshoot of like country and western and when you lean
• 1:24:25
  Speaker 7: into the western part somehow it becomes an entirely different
• 1:24:28
  Speaker 7: world for me and it's like those i've always like
• 1:24:30
  Speaker 7: there's just a weird affection for them like anything marty
• 1:24:35
  Speaker 7: robbins so like el paso is like genius like it
• 1:24:39
  Speaker 7: is amazing and almost does like this thing that again
• 1:24:44
  Speaker 7: music so much of what goes on now has gotten
• 1:24:46
  Speaker 7: away from, which is just a narrative, you know, a
• 1:24:49
  Speaker 7: song that is equal as much story as it is
• 1:24:51
  Speaker 7: a song. So we get, you know, a light version
• 1:24:54
  Speaker 7: of that with this song. But I think that's why
• 1:24:57
  Speaker 7: I didn't, like, again, if you would have described, you know,
• 1:25:01
  Speaker 7: this level of what could have happened here, I might
• 1:25:04
  Speaker 7: have immediately been like, no, I'm not going to like this.
• 1:25:06
  Speaker 7: But I think it also helped. I've always been a
• 1:25:08
  Speaker 7: big fan of Gillian Welsh, and I think she is
• 1:25:11
  Speaker 7: an amazing songwriter and And again, I think that's why
• 1:25:14
  Speaker 7: I was always okay with her is because a lot
• 1:25:16
  Speaker 7: of people still want to group her when you have
• 1:25:18
  Speaker 7: to lump things into categories. People still try to put
• 1:25:21
  Speaker 7: her in country. And I'm like, no, she's a singer songwriter.
• 1:25:25
  Speaker 7: And like her, that is her true nature. And like,
• 1:25:28
  Speaker 7: she leans maybe on old school country back when it
• 1:25:32
  Speaker 7: was still just based on songwriting and it was about
• 1:25:35
  Speaker 7: nothing but the singer and the song. So like, again,
• 1:25:38
  Speaker 7: I think she's from those roots and is why she's
• 1:25:41
  Speaker 7: so well-developed. So, yeah, I really like what they put together.
• 1:25:45
  Speaker 7: It's very fun and kind of lighthearted, which works with, again,
• 1:25:50
  Speaker 7: if you listen to our episode on Buster Scruggs, that first, like, one, definitely,
• 1:25:54
  Speaker 7: maybe two that come out of the gate on Buster
• 1:25:56
  Speaker 7: Scruggs are super lighthearted and meant to be really fun.
• 1:26:00
  Speaker 11: It changes its tone in several of them along the way.
• 1:26:03
  Speaker 7: But, yeah, because it's, you know, the music is more
• 1:26:08
  Speaker 7: featured in that very first one, it fits the very
• 1:26:10
  Speaker 7: first kind of short film the most. But yeah, I, I, again,
• 1:26:14
  Speaker 7: it's like, it's, we talked about how much the movie
• 1:26:18
  Speaker 7: specifically that first one is like sort of playing with the, the,
• 1:26:22
  Speaker 7: the norms of like the old school singing cowboy, which
• 1:26:25
  Speaker 7: is sort of ridiculous when you think about it, but
• 1:26:28
  Speaker 7: within the context of their movie, it's reality.
• 1:26:31
  Speaker 11: And this is sort of that same thing.
• 1:26:33
  Speaker 7: It's like, I feel like it, it knows how much
• 1:26:35
  Speaker 7: fun it's having with this idea of being a cowboy,
• 1:26:38
  Speaker 7: even though the West kind of sucked. Yeah. So it's
• 1:26:41
  Speaker 7: taking a really light tone about something as grim as
• 1:26:44
  Speaker 7: the cowboys getting shot and dying.
• 1:26:46
  Speaker 11: So I don't know. What was your take on all this?
• 1:26:48
  Speaker 12: Well, I was going to say the same thing, that
• 1:26:50
  Speaker 12: it was definitely a light take on what was going
• 1:26:54
  Speaker 12: on and with a simple country song style of writing.
• 1:26:58
  Speaker 12: And so to me, it was just, okay, this works.
• 1:27:04
  Speaker 12: It certainly evokes the idea of what– Country music, at least, was...
• 1:27:11
  Speaker 12: Used to be.
• 1:27:12
  Speaker 11: Used to be, yes.
• 1:27:12
  Speaker 12: When it wasn't a nightmare. There's no... Yeah, something about
• 1:27:17
  Speaker 12: somebody's pickup truck didn't make an appearance in this song.
• 1:27:19
  Speaker 11: There's nothing about a girl wearing cut-off jeans.
• 1:27:21
  Speaker 12: I think a requirement.
• 1:27:22
  Speaker 7: Yeah.
• 1:27:23
  Speaker 11: They don't work that in.
• 1:27:24
  Speaker 12: I don't know if you go on YouTube, you can
• 1:27:26
  Speaker 12: actually see how country music is all the same.
• 1:27:29
  Speaker 7: Do you know how many times a day I send
• 1:27:33
  Speaker 7: people that link? I'm like, oh, no, no. I'm not
• 1:27:35
  Speaker 7: just ranting because I dislike it immensely. Look at it.
• 1:27:39
  Speaker 7: You can see on screen here how much it is
• 1:27:42
  Speaker 7: a corporate production. It is nothing but made on an
• 1:27:48
  Speaker 7: assembly line, essentially.
• 1:27:50
  Speaker 12: Talk about a pickup truck, and there's certain hit points.
• 1:27:54
  Speaker 12: But not only that, but also, like you said, chord
• 1:27:56
  Speaker 12: progressions are all the same.
• 1:27:58
  Speaker 24: And in the same key they jump back and forth
• 1:28:01
  Speaker 24: between like six different songs and it does not miss
• 1:28:04
  Speaker 24: a beat like it is the guitar solo is exactly
• 1:28:07
  Speaker 24: the same they jump from back and forth.
• 1:28:09
  Speaker 7: I'm just like oh my god this is what and
• 1:28:11
  Speaker 7: they're like gee I wonder why these were all number
• 1:28:13
  Speaker 7: one hits I'm like well if you're not paying attention
• 1:28:16
  Speaker 7: that's why if you're dumb enough to be like this
• 1:28:20
  Speaker 7: is a great.
• 1:28:21
  Speaker 12: Song then you're gonna like next year's.
• 1:28:23
  Speaker 7: Song you thought it was a year ago when it
• 1:28:26
  Speaker 7: was a different title but the exact same song right
• 1:28:29
  Speaker 7: we don't get any of that in this this is
• 1:28:31
  Speaker 7: why i like this.
• 1:28:31
  Speaker 12: One right exactly and so um so yeah this was
• 1:28:35
  Speaker 12: kind of a refreshing oh well that's nice and you
• 1:28:38
  Speaker 12: know looking back and i don't know reminiscent i guess
• 1:28:42
  Speaker 12: of past songwriting style so.
• 1:28:45
  Speaker 7: And kind of different than what we normally get as
• 1:28:47
  Speaker 7: well i i think it's such a different style the
• 1:28:51
  Speaker 7: only thing i can think um again going back to
• 1:28:53
  Speaker 7: the coen brothers is like them sort of Oh Brother
• 1:28:57
  Speaker 7: and like launching an entire, I mean, not that that
• 1:29:00
  Speaker 7: music style wasn't there, but 90% of people in the
• 1:29:03
  Speaker 7: world didn't pay attention to it and had no idea.
• 1:29:05
  Speaker 7: And then all of a sudden them creating this soundtrack
• 1:29:09
  Speaker 7: and finding these bands that did that kind of music,
• 1:29:12
  Speaker 7: like so many people that just like woke them up
• 1:29:15
  Speaker 7: to be like, oh my God, I really like this music. Again,
• 1:29:17
  Speaker 7: in a style that I traditionally, like what it gets
• 1:29:21
  Speaker 7: lumped in with, I wouldn't respond to. That is an
• 1:29:23
  Speaker 7: amazing soundtrack for Oh Brother. And I'm like, this is
• 1:29:26
  Speaker 7: kind of like, an extra little track that falls into
• 1:29:29
  Speaker 7: that category. It's a different music style, but I feel
• 1:29:32
  Speaker 7: like it's of that same, you know, vein of like
• 1:29:35
  Speaker 7: trying to take something that, you know, it's sort of
• 1:29:38
  Speaker 7: a forgotten style of music or by most people and
• 1:29:41
  Speaker 7: then give it a different spin.
• 1:29:43
  Speaker 11: And like work it into one of their projects. And like,
• 1:29:45
  Speaker 11: I think it does really well within this project.
• 1:29:49
  Speaker 3: Right.
• 1:29:49
  Speaker 7: Yeah.
• 1:29:50
  Speaker 19: All right.
• 1:29:51
  Speaker 12: So, yeah, it looks like, um, Our last original score
• 1:29:55
  Speaker 12: nominee was Mary Poppins Returns, and this is Mark Shaman,
• 1:29:59
  Speaker 12: I guess, Scott Whitman, same songwriters, yeah, as the original song. And,
• 1:30:05
  Speaker 12: you know, I think like the original song that got nominated,
• 1:30:10
  Speaker 12: this score overall, I think it captures the feel of Disney.
• 1:30:16
  Speaker 12: That's exactly what I was thinking.
• 1:30:18
  Speaker 11: Yeah, so there are two different worlds.
• 1:30:21
  Speaker 12: Here that we're capturing. We're capturing the Disney world as
• 1:30:25
  Speaker 12: it's portrayed through the original Mary Poppins thing. So there's a,
• 1:30:30
  Speaker 12: you know, I do get a little bit of, okay,
• 1:30:32
  Speaker 12: he's weaving in or they're weaving in a lot of
• 1:30:36
  Speaker 12: the different melodies from the different tunes, but in a
• 1:30:41
  Speaker 12: post-1990s Disney context, you know. And so the question is,
• 1:30:48
  Speaker 12: would you call this best original score? And I would
• 1:30:52
  Speaker 12: say it would definitely win the best orchestrated version of
• 1:30:59
  Speaker 12: presenting Mary Poppins part two, I guess.
• 1:31:02
  Speaker 7: Most reminiscent score?
• 1:31:03
  Speaker 12: Reminiscent, yeah.
• 1:31:05
  Speaker 7: Or reminiscent of a style of a different era?
• 1:31:08
  Speaker 12: But if, yeah, I mean, if you're thinking about like
• 1:31:10
  Speaker 12: most or best original score, I definitely think it's good. Okay,
• 1:31:17
  Speaker 12: so we'll say that. And well-developed.
• 1:31:21
  Speaker 7: That's what I said earlier. I was like, with the
• 1:31:23
  Speaker 7: one exception, I'm like, everything on here, I'm like, I
• 1:31:25
  Speaker 7: can't say they're bad. Like, everything on here is solid.
• 1:31:30
  Speaker 7: Even the ones that I don't respond to near as much,
• 1:31:32
  Speaker 7: I'm like, they're still so well put together. Like, this
• 1:31:35
  Speaker 7: is such a just kind of top-notch group of people
• 1:31:38
  Speaker 7: this year.
• 1:31:39
  Speaker 12: Right, yeah. And it's hard to say, like, okay, when
• 1:31:42
  Speaker 12: you talk about original music and you're actually orchestrating the
• 1:31:47
  Speaker 12: music from a prior composer.
• 1:31:49
  Speaker 7: I think we brought this up before. We're talking about, like,
• 1:31:51
  Speaker 7: John Williams revisiting his own music.
• 1:31:54
  Speaker 13: Right.
• 1:31:54
  Speaker 7: It's like, how do you write original music for a sequel?
• 1:31:58
  Speaker 11: How does that change yours? Because you still have to.
• 1:32:01
  Speaker 7: return how does that get you nominated themes and styles
• 1:32:04
  Speaker 7: from a previous work either yours or someone else's in
• 1:32:07
  Speaker 7: this case i said so it's like right yeah how
• 1:32:10
  Speaker 7: do you approach it in a original way when you're
• 1:32:13
  Speaker 7: taking someone else's work and kind of continuing.
• 1:32:16
  Speaker 12: Well see that that's at least the idea yeah i
• 1:32:18
  Speaker 12: mean that's and i don't think that's the composer's fault
• 1:32:21
  Speaker 12: no so because.
• 1:32:22
  Speaker 11: It just makes a weird situation right.
• 1:32:25
  Speaker 12: Yeah because i mean they definitely were charged with okay
• 1:32:28
  Speaker 12: We're trying to give this to the adults who probably
• 1:32:31
  Speaker 12: grew up with the original version. And so we don't
• 1:32:34
  Speaker 12: want you to stray away. We don't want this to
• 1:32:36
  Speaker 12: be a different interpretation based on what Emily does with
• 1:32:39
  Speaker 12: the character.
• 1:32:40
  Speaker 7: Yeah.
• 1:32:40
  Speaker 12: Which would have been actually kind of cool.
• 1:32:43
  Speaker 7: But I'm also weird.
• 1:32:45
  Speaker 12: So I'm not like everybody else. And I probably– this
• 1:32:50
  Speaker 12: would not have become a box hit or box office hit.
• 1:32:53
  Speaker 12: So I think that's– It's tough to say. I think
• 1:32:58
  Speaker 12: it's just well done. That's all I can say about it.
• 1:33:00
  Speaker 25: Yeah.
• 1:33:00
  Speaker 7: I mean, I figured the one that was the most
• 1:33:03
  Speaker 7: representative of everything was the Overture kind of hits all
• 1:33:07
  Speaker 7: the points along the way, which.
• 1:33:09
  Speaker 11: Most Overtures kind of do.
• 1:33:11
  Speaker 7: Right. But with that, yeah, that's kind of what this,
• 1:33:14
  Speaker 7: as we get into this Overture from Mary Poppins Returns.
• 1:33:30
  Speaker 8: Thank you.
• 1:33:50
  Speaker 1: Thank you.
• 1:34:10
  Speaker 15: Thank you.
• 1:35:30
  Speaker 7: But yeah, to me, it's like, it is so... just
• 1:35:34
  Speaker 7: knee deep.
• 1:35:34
  Speaker 11: In old school Disney style.
• 1:35:36
  Speaker 7: Like so much so that it's almost got the sound
• 1:35:39
  Speaker 7: effect worked into this. And I was just like, that is,
• 1:35:43
  Speaker 7: or like right in the middle there, it works in
• 1:35:45
  Speaker 7: that silly sound effect. And I'm like, that's just from
• 1:35:48
  Speaker 7: Disney cartoons. Like that is, so again, it's like, they
• 1:35:51
  Speaker 7: definitely are working within their area. Like it's exactly what
• 1:35:55
  Speaker 7: they're trying to do, but is it too reminiscent? Like
• 1:35:58
  Speaker 7: it becomes a point of like, is this, are you
• 1:36:00
  Speaker 7: just using old Disney music?
• 1:36:02
  Speaker 12: I don't know that normal people would even know the difference.
• 1:36:06
  Speaker 11: Like you could pull an old Disney track and throw
• 1:36:08
  Speaker 11: it in.
• 1:36:08
  Speaker 7: The background and they might not notice the difference. I
• 1:36:11
  Speaker 7: don't think they would. That seems like a problem. Like
• 1:36:14
  Speaker 7: you should be, you know, creating something that's so connected
• 1:36:17
  Speaker 7: to what it is, you know, the whole project that.
• 1:36:20
  Speaker 11: It would seem wrong without it.
• 1:36:22
  Speaker 7: But I feel like this, it's so Disney like that
• 1:36:25
  Speaker 7: you could just drop other Disney music in.
• 1:36:27
  Speaker 12: And again, you can't, In that regard, again, I think
• 1:36:30
  Speaker 12: as a composer, your hands are tied.
• 1:36:32
  Speaker 8: Oh, yeah.
• 1:36:32
  Speaker 12: Because you can't write the background music to, say, Texas
• 1:36:36
  Speaker 12: Chainsaw Massacre, you know, 1973 release, and be all experimental
• 1:36:41
  Speaker 12: with sounds.
• 1:36:43
  Speaker 11: Just make it super happy songs.
• 1:36:46
  Speaker 7: We'll bring Emily Blunt in to do these lovely lyrics.
• 1:36:50
  Speaker 7: Chainsaw mixed in.
• 1:36:52
  Speaker 12: I mean, the score to that is really interesting. But, yeah,
• 1:36:55
  Speaker 12: you can't be experimental like that. You have to... You're
• 1:36:59
  Speaker 12: charged with, okay, we want our older audience to remember
• 1:37:03
  Speaker 12: the original version, obviously. It's a different charge.
• 1:37:10
  Speaker 7: I do, and again, that's become one of the ongoing
• 1:37:13
  Speaker 7: conversations in this show in general over the years. As
• 1:37:17
  Speaker 7: much as I want to look at the artistic angle
• 1:37:21
  Speaker 7: of it, I also have to continually comment on, It's
• 1:37:24
  Speaker 7: equally as much, if not a little more so, a business.
• 1:37:27
  Speaker 15: Right.
• 1:37:28
  Speaker 11: It is an industry.
• 1:37:29
  Speaker 7: So it's like when you are then handed these things
• 1:37:33
  Speaker 7: and your hands are tied in the process. And they're like, okay,
• 1:37:35
  Speaker 7: do the most creative thing you can with your hands tied.
• 1:37:39
  Speaker 3: Right.
• 1:37:40
  Speaker 7: So, like, that's always interesting.
• 1:37:41
  Speaker 12: 20 things musically that you, you know, you have to do.
• 1:37:43
  Speaker 7: You have to do. But on top of that, go crazy.
• 1:37:46
  Speaker 7: Do your own thing. Kind of, but not really.
• 1:37:48
  Speaker 12: It's like, well, I slid on a bass note one
• 1:37:52
  Speaker 12: time in measure three. That was.
• 1:37:54
  Speaker 11: No, no, no.
• 1:37:55
  Speaker 7: We're going to have to take that out. Like, somewhere
• 1:37:57
  Speaker 7: there's a producer going, nah, that's, no, that's not, that's
• 1:38:01
  Speaker 7: crossing a line.
• 1:38:01
  Speaker 11: No, thank you.
• 1:38:02
  Speaker 15: Right.
• 1:38:02
  Speaker 12: No car horns? Come on.
• 1:38:04
  Speaker 7: So... yeah i i think that's always interesting to look
• 1:38:07
  Speaker 7: at too with you know without placing too much blame
• 1:38:09
  Speaker 7: on the artist sometimes because yeah there's a lot going
• 1:38:13
  Speaker 7: on behind the scenes that.
• 1:38:14
  Speaker 11: We don't see and we don't.
• 1:38:15
  Speaker 7: Know about so right that's that's a huge part of
• 1:38:18
  Speaker 7: the the problem we do absolutely all right so we
• 1:38:24
  Speaker 7: will ground things out and with with what i think
• 1:38:29
  Speaker 7: will be the winner if i have to make a
• 1:38:31
  Speaker 7: prediction on the song end just because it's certainly got
• 1:38:35
  Speaker 7: the the biggest push it's on the radio all the
• 1:38:38
  Speaker 7: time it's got the biggest star power behind it and
• 1:38:42
  Speaker 7: i think it's a really good song like i was
• 1:38:44
  Speaker 7: i was surprised going in i didn't have much you
• 1:38:47
  Speaker 7: know i i I'm not huge Lady Gaga. I didn't
• 1:38:51
  Speaker 7: know what to think of Bradley Cooper moving into these
• 1:38:54
  Speaker 7: couple of roles as singer, as director.
• 1:38:56
  Speaker 11: It all seemed like it could have gone terribly wrong.
• 1:38:59
  Speaker 7: But I was surprised how much I actually like this song.
• 1:39:04
  Speaker 12: It looks like there are, what, about six names?
• 1:39:07
  Speaker 11: I think it's four.
• 1:39:09
  Speaker 23: Five?
• 1:39:09
  Speaker 12: So we have Lady Gaga, Mark Ronson, right? Anthony Rismondo,
• 1:39:14
  Speaker 12: Andrew Wyatt, and Benjamin Rice.
• 1:39:16
  Speaker 7: I checked into those, and again, I think there's a
• 1:39:19
  Speaker 7: reason this song A, works.
• 1:39:22
  Speaker 11: So well, and B, is super successful.
• 1:39:25
  Speaker 7: All of these guys are like producers. Like, everybody else,
• 1:39:30
  Speaker 7: I mean, I guess Lady Gaga is, but I mean,
• 1:39:32
  Speaker 7: she's the artist, as it were. Everybody else are guys
• 1:39:35
  Speaker 7: that started off as musicians in bands, and as composers,
• 1:39:38
  Speaker 7: and And then they've continued to get more successful and
• 1:39:41
  Speaker 7: they're now engineers and they're producers and they're like become
• 1:39:46
  Speaker 7: big names in the industry. So you get, which almost
• 1:39:49
  Speaker 7: seems like it would just be fighting when you get,
• 1:39:51
  Speaker 7: but I mean, you get that many, that level of
• 1:39:54
  Speaker 7: professionals working on one project with somebody who is super talented,
• 1:39:58
  Speaker 7: like Lady Gaga. And I'm like, yeah, duh. I mean,
• 1:40:01
  Speaker 7: how is this not going to be? Like, at least
• 1:40:04
  Speaker 7: well orchestrated to be successful. But I think on top
• 1:40:08
  Speaker 7: of that, it's got other stuff going on that's well done.
• 1:40:11
  Speaker 7: It could be, and I don't feel like it is.
• 1:40:13
  Speaker 7: I think it works.
• 1:40:15
  Speaker 11: I don't know. What were your thoughts on it overall?
• 1:40:17
  Speaker 12: Well, you know, I think it... I thought it was
• 1:40:20
  Speaker 12: a good song. I mean, I think for what it
• 1:40:24
  Speaker 12: was trying to do.
• 1:40:24
  Speaker 18: And.
• 1:40:28
  Speaker 12: Whenever there's a basic acoustic guitar intro, anything can happen.
• 1:40:32
  Speaker 12: And a song, we know this, growing up in the
• 1:40:36
  Speaker 12: 70s and 80s and so forth. I didn't really have
• 1:40:42
  Speaker 12: anything to write home about with this song. I mean,
• 1:40:45
  Speaker 12: I think it just, to me, again, it was like
• 1:40:47
  Speaker 12: the Disney thing. It worked well for what they were
• 1:40:52
  Speaker 12: trying to do. But I didn't get a sense of, oh,
• 1:40:56
  Speaker 12: my gosh, this is something that's definitely unique and out
• 1:41:00
  Speaker 12: of the box. Lady Gaga has got a really interesting background, too.
• 1:41:05
  Speaker 15: Oh, yeah.
• 1:41:05
  Speaker 12: She's got a very– Very classical. Classically trained. Yeah. And so,
• 1:41:12
  Speaker 12: you know, it could have been maybe a little bit more.
• 1:41:15
  Speaker 12: I think there could have been– but, again, it works.
• 1:41:19
  Speaker 12: So how do you– I.
• 1:41:21
  Speaker 7: Think, and again, this is why I'm like, specifically for
• 1:41:25
  Speaker 7: what it's being nominated for here. Like again, if you
• 1:41:29
  Speaker 7: don't take to it as well, like for a Grammy
• 1:41:32
  Speaker 7: or something more musical, but for specifically the Oscars, I'm like,
• 1:41:36
  Speaker 7: I think it deserves to win because the song itself
• 1:41:42
  Speaker 7: thematically represents everything going on in the plot of the movie.
• 1:41:46
  Speaker 11: Yeah, okay.
• 1:41:46
  Speaker 7: I mean, to me, like the more I got into it,
• 1:41:48
  Speaker 7: I'm like, it starts off, as Bradley Cooper's song. It
• 1:41:53
  Speaker 7: starts off very simple. It's just him and a guitar.
• 1:41:56
  Speaker 7: It's a simplified story with him. And then very quickly,
• 1:42:01
  Speaker 7: it gets completely overtaken by Lady Gaga. He gets swallowed
• 1:42:05
  Speaker 7: up so much so that you don't really even hear
• 1:42:08
  Speaker 7: him by the end of the song. And it becomes
• 1:42:10
  Speaker 7: this huge production. We get away from this simple little
• 1:42:13
  Speaker 7: acoustic guitar. It becomes this massive showboat production of Of
• 1:42:18
  Speaker 7: like showcasing how talented she is and how grand her
• 1:42:22
  Speaker 7: vocals can be. And also completely outshining the guy who
• 1:42:26
  Speaker 7: started the song. And I'm just like, that is the movie.
• 1:42:29
  Speaker 7: Like this song perfectly encapsulates everything going on in this
• 1:42:34
  Speaker 7: story that should win best song for the Oscars. Because
• 1:42:39
  Speaker 7: it is nothing but like a miniature version of the
• 1:42:42
  Speaker 7: movie wrapped up in a couple of minutes.
• 1:42:43
  Speaker 12: Right. Whereas, you know, opposed to I'll Fight, you know,
• 1:42:47
  Speaker 12: the Diane Warren song, which, you know, it does sound
• 1:42:51
  Speaker 12: a little bit forced, you know.
• 1:42:52
  Speaker 7: And again, it's like hitting you over the head with
• 1:42:55
  Speaker 7: like the lyrics are essentially like she could just be
• 1:42:57
  Speaker 7: taking lines of dialogue out of.
• 1:42:59
  Speaker 11: There and reading them to you.
• 1:43:01
  Speaker 7: They're so on the nose, whereas this is just telling like, again,
• 1:43:06
  Speaker 7: I think this works as a song.
• 1:43:07
  Speaker 11: I could I.
• 1:43:09
  Speaker 7: Probably heard this on the radio the first time and
• 1:43:11
  Speaker 7: didn't even realize that's what this was. And I think
• 1:43:13
  Speaker 7: it works standalone as a song featuring Lady Gaga. That
• 1:43:18
  Speaker 7: could be a hit on the radio that you would
• 1:43:20
  Speaker 7: not even know is in this movie. If you're not
• 1:43:23
  Speaker 7: paying attention to the tons of marketing that came along
• 1:43:26
  Speaker 7: with it.
• 1:43:26
  Speaker 25: Right.
• 1:43:27
  Speaker 7: Where I don't think like if you listen to I'll fight,
• 1:43:29
  Speaker 7: you'll be like, what, why are you throwing these messages
• 1:43:32
  Speaker 7: at me where you don't, you don't get that with
• 1:43:34
  Speaker 7: this one. Like it just, the, the shallows has a
• 1:43:37
  Speaker 7: little deeper meaning. like kind of meaning to what's going
• 1:43:40
  Speaker 7: on shallow as it but it's not yeah it actually
• 1:43:42
  Speaker 7: like it's not as it's not as dumb and baseline
• 1:43:46
  Speaker 7: as just reading lines of dialogue to you like some
• 1:43:49
  Speaker 7: songwriters might do right or just again like hitting you
• 1:43:52
  Speaker 7: over the head with the themes of what the movie
• 1:43:54
  Speaker 7: is about this is just a song and that is
• 1:43:57
  Speaker 7: what the movie is about is about songwriters and trying
• 1:44:00
  Speaker 7: to find this weird success and trying to balance so
• 1:44:03
  Speaker 7: yeah it's like to me it works so well on
• 1:44:05
  Speaker 7: its own as a song but And at the same time,
• 1:44:08
  Speaker 7: it encapsulates the movie without hitting you over the head
• 1:44:12
  Speaker 7: with it.
• 1:44:13
  Speaker 11: Right, right.
• 1:44:14
  Speaker 7: So, yep, that's why, if I have to guess, I
• 1:44:17
  Speaker 7: could be wrong. We could get a wild card out
• 1:44:19
  Speaker 7: of this, but I feel like that's the front runner.
• 1:44:22
  Speaker 12: I'm going to die if this comes on an Ambien commercial.
• 1:44:25
  Speaker 12: I'm just saying.
• 1:44:25
  Speaker 7: I mean, Lady Gaga is not opposed to cashing a check.
• 1:44:30
  Speaker 11: She could easily sell it off to a drug company.
• 1:44:32
  Speaker 15: Exactly.
• 1:44:33
  Speaker 11: I don't blame her.
• 1:44:34
  Speaker 12: I would too. Big Pharma takes over.
• 1:44:37
  Speaker 7: Yeah, they've got more money than Hollywood.
• 1:44:39
  Speaker 11: That's where the real money is.
• 1:44:40
  Speaker 12: I wouldn't mind selling my music to them. I'd be
• 1:44:42
  Speaker 12: perfectly fine with that.
• 1:44:43
  Speaker 7: You should get on that, really.
• 1:44:44
  Speaker 12: I do.
• 1:44:45
  Speaker 6: I do.
• 1:44:46
  Speaker 7: Definitely. Let's get this drug company background music thing going.
• 1:44:51
  Speaker 7: Let's get our own production company. Because there's a lot
• 1:44:54
  Speaker 7: of ads out there. They all need some sort of theme.
• 1:44:57
  Speaker 7: They do.
• 1:44:57
  Speaker 12: We need to have Oscars for Big Pharma.
• 1:45:00
  Speaker 7: We can cash in on this.
• 1:45:01
  Speaker 11: Let's make this happen.
• 1:45:02
  Speaker 2: All right.
• 1:45:05
  Speaker 7: So before we go out in style with the lady
• 1:45:10
  Speaker 7: uh anything else to to pass along about this year
• 1:45:14
  Speaker 7: any of your personal activities or just thoughts on the
• 1:45:17
  Speaker 7: upcoming oscars.
• 1:45:18
  Speaker 12: Well i think it'll be interesting to see who wins
• 1:45:21
  Speaker 12: obviously and so uh again you know i think my
• 1:45:24
  Speaker 12: my top pick would be i would love to see
• 1:45:27
  Speaker 12: nicholas's uh if bill street could talk.
• 1:45:29
  Speaker 7: I think it would that would be Definitely on the
• 1:45:31
  Speaker 7: score end.
• 1:45:32
  Speaker 12: Definitely on the score part, yeah.
• 1:45:34
  Speaker 11: The most impressive, perhaps.
• 1:45:36
  Speaker 7: Yeah. It's an arguable topic, but yeah, I think that's
• 1:45:39
  Speaker 7: the most rounded of all of them.
• 1:45:40
  Speaker 12: Right, exactly. And, you know, I think I would be
• 1:45:43
  Speaker 12: happy with the place where Lost Things go, or again,
• 1:45:47
  Speaker 12: like you're talking about Shell, if they won, I think
• 1:45:50
  Speaker 12: that would be... That would be perfect. But, of course,
• 1:45:54
  Speaker 12: you and I know that I'll fight.
• 1:45:55
  Speaker 7: We'll win.
• 1:45:56
  Speaker 12: And I'll just send you a text and say, ha, ha, ha.
• 1:45:59
  Speaker 12: I hope not.
• 1:46:02
  Speaker 13: You know, right?
• 1:46:02
  Speaker 12: But anyway.
• 1:46:03
  Speaker 7: Again, it kills me that she just keeps getting nominated.
• 1:46:06
  Speaker 11: I'm like, you guys don't see through this?
• 1:46:08
  Speaker 12: You're going to get, like, a message from her agent.
• 1:46:10
  Speaker 7: From her agent.
• 1:46:11
  Speaker 11: Stop. We're putting security on your house.
• 1:46:14
  Speaker 12: Okay, how much money do you want, really?
• 1:46:15
  Speaker 7: I don't care enough to even do anything, so.
• 1:46:19
  Speaker 12: Right, exactly.
• 1:46:20
  Speaker 11: I shrug it off every year.
• 1:46:22
  Speaker 7: So you're safe, Diane. Keep writing your cheesy songs. Exactly.
• 1:46:28
  Speaker 12: All right.
• 1:46:28
  Speaker 7: Well, thank you for joining me on this little journey again. Yeah,
• 1:46:32
  Speaker 7: thank you. And for everybody else for listening and getting
• 1:46:35
  Speaker 7: all the bases covered as you go into the Oscars.
• 1:46:38
  Speaker 12: All right.
• 1:46:39
  Speaker 7: As we round it out here with Bradley kicking things
• 1:46:42
  Speaker 7: off and being quickly overpowered. With that, I will remind you,
• 1:46:47
  Speaker 7: Get a Life will provide the soundtrack.
• 1:47:04
  Speaker 20: Tell me something girl Are you happy in this modern world.
• 1:47:14
  Speaker 7: Or do you need more.
• 1:47:19
  Speaker 20: Is there something else you're searching for I'm falling.
• 1:47:29
  Speaker 7: In all the good.
• 1:47:30
  Speaker 20: Times I find myself longing for change And in the
• 1:47:40
  Speaker 20: bad times I fear myself.
• 1:47:54
  Speaker 15: Tell me something boy.
• 1:47:56
  Speaker 19: Aren't you tired trying to fill that void Or do
• 1:48:05
  Speaker 19: you need more? Ain't it hard keeping it so hardcore?
• 1:48:14
  Speaker 19: I'm falling in all.
• 1:48:19
  Speaker 20: The good times I find.
• 1:48:22
  Speaker 19: Myself longing for change and in the bad times I
• 1:48:31
  Speaker 19: fear myself.
• 1:48:34
  Speaker 1: I'm off the deep end Watch as I dive in
• 1:48:38
  Speaker 1: I'll never meet the ground Crash through the surface When
• 1:48:46
  Speaker 1: they can't hurt us We'll fall from the shallow now
• 1:48:54
  Speaker 1: In the shallow In the shallow In the shallow In
• 1:49:00
  Speaker 1: the shallow In the shallow, we're far from the shallow now. Oh, oh, oh. Oh, oh, oh.
• 1:49:49
  Speaker 1: We're far from the shallow now. In the shallow, shallow.
• 1:50:00
  Speaker 1: In the shallow, shallow. In the shallow, shallow. We're far
• 1:50:10
  Speaker 1: from the shallow now.
• 1:50:19
  Speaker 11: What was that other one he did?
• 1:50:21
  Speaker 7: He did one I really like lately because it was insane.
• 1:50:24
  Speaker 7: This episode is a production of Movie Meltdown, produced and
• 1:50:27
  Speaker 7: edited by the Oddity Studios. For more on how to
• 1:50:30
  Speaker 7: sponsor or support the show, email producer at moviemeltdown.com.
• 1:50:34
  Speaker 12: Aloha!
• 1:50:36
  Speaker 9: Aloha!
• 1:50:38
  Speaker 4: Talk hard!
• 1:50:45
  Speaker 7: This program is a proud member of the Battleship Pretension Fleet.