Latest / Movie Meltdown / Attack of the 2021 Oscar Nominees!

Transcript

Attack of the 2021 Oscar Nominees! · Movie Meltdown

0:00
Speaker 1: Guess who?
0:02
Speaker 2: It's 10 o'clock.
0:02
Speaker 3: Do you care where your parents are?
0:04
Speaker 4: The following feature has been rated R by the Motion
0:06
Speaker 4: Picture Association of America.
0:08
Speaker 5: It is intended for mature audiences and parental discretion is advised.
0:20
Speaker 6: Emergency alert.
0:21
Speaker 7: Defense Corps forces reported just moments ago.
0:25
Speaker 8: This is not a drill.
0:27
Speaker 9: Repeat, this is not the drill.
0:29
Speaker 4: At this time, we are requesting the immediate.
0:33
Speaker 10: And orderly evacuation of the vicinity.
0:36
Speaker 11: The Coast Guard and the Navy have been alerted and
0:38
Speaker 11: are standing by on the eastern seaboard.
0:41
Speaker 4: And it continues to burn out of control.
0:43
Speaker 2: It has been regular.
0:44
Speaker 5: Every five to ten minutes, there has been another convoy
0:47
Speaker 5: of units, fire.
0:48
Speaker 7: Companies, paramedics.
0:50
Speaker 12: A citywide emergency has been declared.
0:52
Speaker 10: Police officers are still on tactical full alert.
0:56
Speaker 13: 2,000 National Guardsmen are standing by.
0:58
Speaker 8: Air defense warning read.
1:01
Speaker 5: It's time for Movie Meltdown's Attack of the Killers soundtrack.
1:08
Speaker 14: The live transmission has begun, and we're into the final
1:12
Speaker 14: hour of hell.
1:33
Speaker 5: What's up, and welcome to Movie Meltdown's Attack of the
1:35
Speaker 5: Killer soundtrack. I am Brian, and joining me this week is.
1:38
Speaker 9: Eric Stem.
1:40
Speaker 5: And we are back! It has been a while since, A,
1:43
Speaker 5: we've done a soundtrack episode, B, we've done an Oscar
1:46
Speaker 5: soundtrack episode, about a year, and even longer since we've
1:50
Speaker 5: sat in the same room together.
1:52
Speaker 9: Yeah, I think it was 2019.
1:54
Speaker 5: It's been, yeah, because we almost bailed last year on
1:57
Speaker 5: the whole idea because we couldn't sit down together. No,
2:01
Speaker 5: we actually did. We did it, but almost, yeah, we
2:04
Speaker 5: almost gave up on it because it was the last
2:06
Speaker 5: couple of days and I was like, oh, I'm so
2:08
Speaker 5: sick of doing stuff with Zoom. And I stand by that.
2:11
Speaker 5: I'm still sick of Zoom. Don't get me wrong. It's
2:13
Speaker 5: a very nice thing to have. But I prefer to
2:16
Speaker 5: actually sit down and be in the same room. So
2:19
Speaker 5: I almost was just like.
2:20
Speaker 9: Eh, we'll screw it.
2:21
Speaker 5: We'll come back next year. But I was like, we
2:23
Speaker 5: were on such a good roll. I feel like we
2:25
Speaker 5: should still do it anyway. So we did it through Zoom.
2:29
Speaker 5: And it worked.
2:30
Speaker 9: And it worked.
2:31
Speaker 5: It was actually turned out way better than I expected.
2:33
Speaker 5: But I just go in with low expectations across the
2:36
Speaker 5: board with Zoom anymore.
2:37
Speaker 9: Because.
2:38
Speaker 5: Everybody's on a Zoom call. Is it ever exciting? I mean,
2:41
Speaker 5: most people run their lives through Zoom the past two years.
2:44
Speaker 9: Well, if you're also in my house, you know, when
2:47
Speaker 9: we run the microwave, it actually interferes with the Wi-Fi.
2:51
Speaker 9: So Zoom cuts off. So it's kind of like.
2:54
Speaker 5: A, you know. I mean, I guess that's slightly better.
2:57
Speaker 9: It's an audio production nightmare in our house.
2:59
Speaker 5: Slightly better than when it interferes with your pacemakers.
3:01
Speaker 9: That's true.
3:02
Speaker 5: Could be worse, but still not really good for Zoom calls.
3:05
Speaker 9: Let's go look at the positives, yes.
3:07
Speaker 5: At least I'm not having a heart attack currently. This
3:11
Speaker 5: is my upbeat attitude about life.
3:12
Speaker 9: This is a good start to the podcast.
3:14
Speaker 5: Yeah, it says a lot about the songs we're going
3:16
Speaker 5: to be talking about. Or only some of them. Some
3:18
Speaker 5: of them, yeah. So, yeah, otherwise, yeah, how's it going?
3:23
Speaker 9: It's going great. It's going great, yeah. I mean, and
3:26
Speaker 9: like you said, I think this is, we're at a
3:29
Speaker 9: point now where everybody in the country is kind of
3:31
Speaker 9: starting to take the masks off again. Not just metaphorically,
3:35
Speaker 9: but literally, right?
3:37
Speaker 15: Both.
3:37
Speaker 9: Both, yeah. So it's kind of nice to be back
3:42
Speaker 9: in person and actually have a conversation with a human being,
3:45
Speaker 9: which is interesting. Yeah, it's a little weird.
3:48
Speaker 5: I'm not used to it. Or at least now I
3:51
Speaker 5: only see the same people. That's kind of why it's
3:53
Speaker 5: been so long since I've done a soundtrack episode. I
3:56
Speaker 5: was just trying to keep the episodes rolling anyway. And
3:59
Speaker 5: then we just got into the groove of, okay, we're
4:01
Speaker 5: doing horror, and then George wants to talk about comic
4:03
Speaker 5: books or something. So, like, we got a couple of
4:05
Speaker 5: good routines going. But, yeah, after a while, I went, wait,
4:08
Speaker 5: when's the last time we talked about soundtracks? It might
4:11
Speaker 5: have been last year. Anyway, we might want to get
4:16
Speaker 5: back into it. So, this is a good way for both.
4:18
Speaker 5: We need to discuss the Oscar nominations, and it'll kind
4:22
Speaker 5: of get us, you know, the wheels kind of oiled
4:24
Speaker 5: up to get back into some soundtrack episodes. So, all
4:27
Speaker 5: of the above. All right. Are we ready to jump
4:31
Speaker 5: into this thing?
4:31
Speaker 9: I'm ready.
4:34
Speaker 5: As we've done in previous years, I'm going to go
4:36
Speaker 5: back and forth. So we'll do score and song and
4:39
Speaker 5: kind of cover all of them, but we'll mix it
4:41
Speaker 5: up and go back and forth. So first up, we
4:43
Speaker 5: will start with a score. This is.
4:48
Speaker 9: Nicholas Bertel.
4:49
Speaker 5: Nicholas Bertel. Don't look up. And we're going to go
4:52
Speaker 5: with the in-credits suite.
5:08
Speaker 4: You Thank you.
7:19
Speaker 9: And this is actually we've heard nicholas's music before in
7:23
Speaker 9: 2019 probably remember this when he was nominated for best
7:26
Speaker 9: original score for the movie if beale street could talk
7:29
Speaker 9: yeah and i remember really liking that score you know
7:32
Speaker 9: because i do too yeah yeah it had like i
7:35
Speaker 9: mean there were a lot of colorful shifts in it
7:37
Speaker 9: um in the mood in the mood that it created
7:39
Speaker 9: for the film so um his approach to writing for
7:44
Speaker 9: the film. That was my first time that I ever
7:46
Speaker 9: heard his music when it got nominated for that movie.
7:51
Speaker 9: But it was cool this time to kind of hear
7:54
Speaker 9: another jazz swing-influenced score get the nomination this year, like
7:58
Speaker 9: Mink did last year.
7:59
Speaker 5: Yeah, well, I mean, Beale Street definitely had a jazz
8:02
Speaker 5: sound to it, but it was a way more downbeat
8:05
Speaker 5: version of jazz. It's the smoother jazz version, where this
8:10
Speaker 5: is just in-your-face jazz. Like, this is all kinds of jazz.
8:14
Speaker 9: This is swing.
8:15
Speaker 5: And I liked it, yeah. It's way more upbeat. It's
8:18
Speaker 5: way more kind of fun, but also, like, again, it's
8:21
Speaker 5: almost assaulting you with jazz. Like, it is a lot
8:24
Speaker 5: of jazz. So, like, if you have a minimal appreciation
8:28
Speaker 5: for jazz, it might be too much for you. But
8:30
Speaker 5: I actually really like it because I like swing. So, like, yeah,
8:33
Speaker 5: I enjoyed this one. And this is another one of
8:35
Speaker 5: those that we kind of, comment every year is, like,
8:38
Speaker 5: how many of these would you go out of your
8:40
Speaker 5: way to listen to outside of the film? This one
8:42
Speaker 5: I probably would. I like this one.
8:45
Speaker 9: Well, and also, too, like, you know, with the movie,
8:47
Speaker 9: you know, this is about basically, you know, two astronomers,
8:51
Speaker 9: you know, that go on a media tour to warn
8:53
Speaker 9: people about this planet-killing comet, you know, that's going to
8:56
Speaker 9: hit the Earth. I mean, there's a little bit of
8:58
Speaker 9: humor to that because everybody responds to, oh, what's the
9:00
Speaker 9: big deal with that? I mean, so what? So, you know,
9:03
Speaker 9: I think that jazz, like... coming back to that jazz
9:07
Speaker 9: theme that seems to be prevalent in all the cues,
9:10
Speaker 9: worked really well with the film, I thought. And there
9:13
Speaker 9: were a couple cues, actually, that was kind of interesting.
9:15
Speaker 9: It had a more sci-fi feeling, like G5 Galaxy and Discovery.
9:20
Speaker 9: But what he would do, I think the good job
9:22
Speaker 9: that he did with this was he would take a
9:26
Speaker 9: simple musical idea, like repeating a chord and then building
9:29
Speaker 9: upon that with the thread being that jazz number you
9:32
Speaker 9: hear every time. And so it was kind of a
9:34
Speaker 9: nice little link, I thought. And it was fun.
9:37
Speaker 5: Did you see Don't Look Up?
9:40
Speaker 9: I saw parts of it, but I didn't see the whole.
9:44
Speaker 9: You might be okay.
9:45
Speaker 5: It's one of those, I enjoyed it, but even watching
9:48
Speaker 5: it that first time, I was like, this is where
9:52
Speaker 5: Adam McKay is now. It's weird because he's also graduated
9:58
Speaker 5: up to being an Oscar winner. caliber director now, which
10:01
Speaker 5: you would not have expected with his early work. But
10:05
Speaker 5: it is so... It's what he did with his last
10:08
Speaker 5: political movie. This one is less... all up about politics
10:12
Speaker 5: but it still finds a way to be very political
10:16
Speaker 5: and not veiled at all in the way it's being
10:19
Speaker 5: political and kind of hitting you over the head with
10:21
Speaker 5: the political aspect of it which is just what he
10:24
Speaker 5: is like i feel like if he would back off
10:26
Speaker 5: that because he's also not balanced you know it's like
10:29
Speaker 5: it's one thing if because the purpose of that story
10:32
Speaker 5: is how stupid everybody is So if we just went
10:35
Speaker 5: across the board of like, look at all of these parties,
10:39
Speaker 5: they're idiots and we're going to die because of it.
10:41
Speaker 5: But he's leaning very heavily on his favorite and going
10:46
Speaker 5: out of his way to make the opposite look like idiots.
10:49
Speaker 5: And I'm like, well, again, the point of the movie
10:52
Speaker 5: is everybody's stupid. Like society as a whole is.
10:55
Speaker 9: Kind of stupid.
10:56
Speaker 5: So yeah, that is.
11:00
Speaker 5: Which, again, is almost maybe fitting of the score because
11:03
Speaker 5: this is so in your face with the way that
11:06
Speaker 5: it sort of throws jazz at you that, yeah, much
11:09
Speaker 5: like the not-so-subtle overtones of the politics going on in
11:13
Speaker 5: this one. Right, yeah. It's a weird approach, but it is,
11:16
Speaker 5: like I said, it's interesting that he went from being
11:19
Speaker 5: the dorky comedy guy to being political and then being
11:23
Speaker 5: taken seriously enough to get Oscar nominations. Right. It's not
11:27
Speaker 5: what you would have expected a few years ago.
11:28
Speaker 9: A lot of comedians these days are doing that.
11:30
Speaker 5: Yeah.
11:31
Speaker 9: There's certainly a political component to– I mean you look
11:35
Speaker 9: at late night television. You look at David Letterman for instance.
11:39
Speaker 9: I mean this is a guy that used to throw
11:41
Speaker 9: cards through the windows with the window crashing– And would
11:44
Speaker 9: go out to the streets to do kind of silly
11:46
Speaker 9: stuff that made no sense at all. I think he
11:49
Speaker 9: would drop refrigerators out of windows and see it fall.
11:52
Speaker 5: Drop stuff off the roof.
11:53
Speaker 9: Yeah, and break apart.
11:54
Speaker 5: Most of my life was spent watching Letterman.
11:56
Speaker 2: Right.
11:56
Speaker 5: Yeah, it's my favorite.
11:58
Speaker 9: And that was the point of the show, was to
12:00
Speaker 9: watch stuff break on the sidewalk. But then all of
12:03
Speaker 9: a sudden, it becomes something like that to something a
12:07
Speaker 9: little bit, let's talk about politics and let's talk about
12:10
Speaker 9: serious issues and And the smiles go from, you know,
12:14
Speaker 9: that to, you know, it's like.
12:15
Speaker 5: Or just, well, all of that handing the baton. Because
12:18
Speaker 5: then you get to somebody like Colbert now.
12:20
Speaker 15: Right.
12:20
Speaker 5: I mean, he's funny. He is ridiculously funny. But there's
12:24
Speaker 5: no dumb setting, you know. It's political 98% of the time.
12:29
Speaker 5: And then sometimes they work in some silly stuff. But, like,
12:32
Speaker 5: the majority of it still is, like, his origins, you know,
12:35
Speaker 5: daily show kind of stuff. Where it's just like, let's
12:37
Speaker 5: talk about the news.
12:38
Speaker 9: And, like. Right.
12:39
Speaker 5: Let's make fun of the news, but we're also going
12:41
Speaker 5: to be political about it the whole time. We're not
12:43
Speaker 5: just going to be like, that guy's stupid looking. Right.
12:46
Speaker 9: Well, and Comedy Central does that too.
12:47
Speaker 5: Yeah.
12:48
Speaker 13: Yeah.
12:49
Speaker 9: But yeah, I thought it was, I thought it was
12:51
Speaker 9: a good score. I thought it worked very well. So,
12:54
Speaker 9: and you know, if, if, if I were just to
12:57
Speaker 9: listen to the track by itself, you know, I think
13:00
Speaker 9: that that was the feeling that I got was that
13:02
Speaker 9: it was supposed to be, you know, done in this
13:05
Speaker 9: kind of fun spirit.
13:07
Speaker 5: And so, Yeah, that's the thing. I wish the movie
13:12
Speaker 5: stuck to that plan is my off, not discussing just
13:17
Speaker 5: the music exclusively. It is funny that the music kind
13:20
Speaker 5: of works on its own. The movie can't take itself
13:23
Speaker 5: out of, it can't get out of its own way, essentially.
13:26
Speaker 5: It's like, yeah, we know you're making a point. It's
13:28
Speaker 5: already obvious in the story you're telling, but then you're
13:31
Speaker 5: also like hitting people over the head with this other context. Yeah,
13:36
Speaker 5: he just needs to back off. But the score is
13:38
Speaker 5: really cool. Yeah. All right, next up, we're going with
13:44
Speaker 5: Be Alive, which is from King Richard and is music
13:48
Speaker 5: and lyrics by Dixon and Beyonce. It feels so good
13:53
Speaker 5: to be.
13:54
Speaker 7: Alive Got all my family by my side Couldn't.
14:04
Speaker 16: Wipe this black off if I tried.
14:10
Speaker 4: That's why I lift my head with pride.
14:18
Speaker 16: I got a million miles on me They want to
14:23
Speaker 16: see how far I'll go.
14:28
Speaker 17: The path was never made without We worked and built
14:36
Speaker 17: this on our own And can't nobody knock it if
14:44
Speaker 17: they tried This is our soul personified Look how we've
14:50
Speaker 17: been fighting to stay alive So when we, when we
14:54
Speaker 17: will have.
14:55
Speaker 12: Pride Do you know how much we have cried? It
15:03
Speaker 12: feels so good to be alive.
15:07
Speaker 5: It feels so, so, so good.
15:10
Speaker 2: I got all my sisters by my side.
15:13
Speaker 16: I got all my sisters by my side.
15:18
Speaker 5: I can't back.
15:19
Speaker 4: Off if I try. Like a pimp I'm trying to
15:24
Speaker 4: live my life with.
15:26
Speaker 16: Pride Now we're sitting on top of the world again
15:30
Speaker 16: I've got a million miles on me They want to
15:36
Speaker 16: see how far I'll go The path was never made
15:42
Speaker 16: with gold.
15:47
Speaker 17: We fought and built this on our own.
15:50
Speaker 4: We fought and built this on our own.
15:55
Speaker 17: It ain't nobody knock it if they tried. This is
16:00
Speaker 17: how souls were gonna fight.
16:02
Speaker 12: Look how we've been fighting to stay alive.
16:05
Speaker 16: So when we win, we will have pride.
16:11
Speaker 12: Do you know how much we have cried?
16:17
Speaker 5: We had to fight. It feels so good to be alive.
16:21
Speaker 16: It feels so good, so good.
16:24
Speaker 17: Got all my family by my side.
16:27
Speaker 12: And we're going to sit on top of the world again.
16:30
Speaker 10: And wipe this back off if I try.
16:32
Speaker 4: I don't want to try nothing.
16:35
Speaker 5: You're doing everything.
16:38
Speaker 18: They said you couldn't do.
16:40
Speaker 10: Oh, That's why I live my life without you.
17:30
Speaker 5: All right. Do you want to start this? Because I'm
17:33
Speaker 5: going to annoy a lot of people. I'm going to
17:34
Speaker 5: piss people off with mine.
17:36
Speaker 9: Why don't you start? Because I might be following that. Okay. Well,
17:42
Speaker 9: all right.
17:43
Speaker 5: Don't bother writing in to complain. I know I'm in
17:45
Speaker 5: the minority. It's fine. Just hear me out. Because I've
17:50
Speaker 5: never been a huge Beyonce fan. And I don't dislike
17:54
Speaker 5: her personally. She seems very nice. I appreciate, like, how
17:59
Speaker 5: much she's built herself up from just kind of a
18:02
Speaker 5: nobody kid starting out. And then like has run the
18:05
Speaker 5: music world at this point. And I really appreciate the
18:08
Speaker 5: fact that she's tried to become an, and like integrate
18:11
Speaker 5: film into her, her music as years have gone on.
18:14
Speaker 5: So I really appreciate that, but never did I respond
18:18
Speaker 5: well to the music. And I think that's, I mean,
18:20
Speaker 5: she obviously had a big influence on the destiny's child
18:23
Speaker 5: stuff because from those early destiny's child songs, I was
18:26
Speaker 5: like this, this, phrasing of the lyrics is weird and
18:31
Speaker 5: I it just doesn't work for me so like from
18:34
Speaker 5: that point on and everybody was already making a big
18:36
Speaker 5: deal out of her and I was like come on
18:38
Speaker 5: Kelly is the cute one let's be real but.
18:40
Speaker 17: Then graduating up to her going solo and like all
18:43
Speaker 17: the stuff she does now I still like it's a
18:46
Speaker 17: little less.
18:47
Speaker 5: Now I think she's sort of rounded some of the
18:58
Speaker 5: edges and and can do stuff that's a little more
19:01
Speaker 5: traditional pop stuff that you hear on the radio it's
19:03
Speaker 5: not so drastically different but then you get to a
19:06
Speaker 5: song like be alive and i'm like it's so it's
19:11
Speaker 5: so halting in the way that and that's the way
19:13
Speaker 5: her lyrics always were even back in destiny's child it's
19:16
Speaker 5: a weird structure that like i don't like the halting
19:20
Speaker 5: nature of the music, I don't like the way that
19:22
Speaker 5: she phrases the lyrics, and like, it just, there's, you
19:26
Speaker 5: never get a flow out of it, like, lyrically, what
19:29
Speaker 5: it's saying is fine, I suppose, but the way that
19:31
Speaker 5: it's delivering it is just so, it just doesn't vibe
19:35
Speaker 5: with me at all, so, like, again, that's me, I
19:39
Speaker 5: know I'm wrong compared to most people, because people love Beyonce, so, but,
19:43
Speaker 5: This is not my favorite song.
19:45
Speaker 9: So when you say halting, do you mean like it
19:47
Speaker 9: doesn't work with the lyrics? It's just literally.
19:50
Speaker 5: The beat itself it's just it's just like it's an
19:54
Speaker 5: unnatural rhythm and then it's not just the drums then
19:58
Speaker 5: the music the rest of the music kicks in is
20:00
Speaker 5: also doing that same thing and then she comes along
20:04
Speaker 5: with the lyrics and also kind of matches in a
20:06
Speaker 5: similar way so that like the music and the lyrics
20:10
Speaker 5: seem unnatural to me. Like it's just an odd, like
20:13
Speaker 5: I never get comfortable with her songs. So many of them.
20:16
Speaker 5: There's a few that don't seem like that, but there's
20:18
Speaker 5: a lot, like I said, going all the way back
20:20
Speaker 5: with her that just never get into a musical flow
20:24
Speaker 5: that I enjoy. Like, it's just like, Oh, Oh, this
20:27
Speaker 5: is what they're doing. Like the whole time. My brain's
20:28
Speaker 5: just like, why, why are they doing this? Like, it's
20:31
Speaker 5: just not processing right for me. I know it's just
20:35
Speaker 5: for me.
20:36
Speaker 10: Right.
20:36
Speaker 9: Well, it'll be interesting to know, like, what came first?
20:40
Speaker 9: Was it the lyrics or the music? And so for me,
20:44
Speaker 9: it was, to put it in just a short phrase,
20:48
Speaker 9: it was nothing to write home about. So I didn't
20:51
Speaker 9: get any catchy melodic elements. I mean, it wasn't something
20:56
Speaker 9: that I got in my head after I listened to
20:58
Speaker 9: it and sung it over. So to me, it seemed
21:02
Speaker 9: like a lot of these songs, I mean, again, you
21:07
Speaker 9: have Two theories when you're writing music, whether you're doing
21:11
Speaker 9: a film score or whether you're writing a song, I guess.
21:16
Speaker 9: There's one theory that says you want the music to
21:19
Speaker 9: stand in the background. You don't want it to be
21:21
Speaker 9: at the foreground because it's supposed to be about the movie.
21:24
Speaker 9: It's supposed to be about pushing the narrative forward. And
21:28
Speaker 9: there's another theory that says, well, no, you kind of
21:30
Speaker 9: want the music to be memorable and in the foreground because...
21:34
Speaker 9: that's going to bring up memories about the movie. And so,
21:36
Speaker 9: you know, the store war star Wars trilogy, you know, and,
21:39
Speaker 9: and the whole, I guess, series, if you will, brings,
21:43
Speaker 9: brings that to mind, you know, with.
21:45
Speaker 5: Potentially overpowers the movie sometimes.
21:48
Speaker 9: And it can, yeah, it certainly can. Like if you
21:50
Speaker 9: don't have it, that main theme that comes back in another,
21:54
Speaker 9: say episode, then, you know, you're going to have a
21:56
Speaker 9: lot of disappointed fans. So there's a lot of that too. So,
22:01
Speaker 9: But this seems to be among the views of, this
22:06
Speaker 9: is in the background. And so as an independent song,
22:09
Speaker 9: to me, it was just, it was kind of vanilla's bland.
22:14
Speaker 9: It worked. And I can see it certainly being pushed.
22:20
Speaker 9: And I think probably some executives like this idea may
22:23
Speaker 9: be pushed to being a part of some kind of
22:26
Speaker 9: commercial later on, which was the big thing to do,
22:29
Speaker 9: you know, with Microsoft buying, start me up by the
22:32
Speaker 9: Rolling Stones. You remember the cell windows 95. It's just like,
22:35
Speaker 9: you know, it's like you, you, you push out the
22:37
Speaker 9: movie and there's a song in it. And then maybe
22:40
Speaker 9: a year or so later, you know, you, you put
22:43
Speaker 9: it to some kind of car or banking or pharmaceutical commercial,
22:47
Speaker 9: you know, and it sells because it has a famous
22:50
Speaker 9: artist backing it up. But it's, It's in the background
22:54
Speaker 9: enough that it's not interrupting whatever narrative or story or
22:59
Speaker 9: thing it's trying to sell.
23:01
Speaker 5: On that note, I just recently saw this. Somebody posted
23:05
Speaker 5: online and I was like, wait, is that a real thing?
23:08
Speaker 5: Rolling Stones did a breakfast cereal commercial.
23:12
Speaker 9: Like recently?
23:12
Speaker 5: Back in the old days.
23:14
Speaker 9: Oh, in the old days.
23:14
Speaker 5: Before they were even, I mean, they were already the
23:17
Speaker 5: Rolling Stones, but they weren't like The epic 60s era.
23:21
Speaker 5: I think this is like... Let me see if I
23:22
Speaker 5: can find the year on it. Because I think it
23:24
Speaker 5: was Rice Krispies. I could be wrong. Which at least
23:27
Speaker 5: I'm assuming was a good paycheck. Which, I mean.
23:30
Speaker 9: Was this before Keith Richards had.
23:33
Speaker 5: Mick and Keith aren't worried about cashing a check. Like,
23:35
Speaker 5: that's not a problem for them.
23:37
Speaker 12: Right.
23:38
Speaker 9: I don't remember Rice Krispies.
23:40
Speaker 5: I didn't either. That's why I was like, are they
23:41
Speaker 5: making that up? And then I went and found it
23:43
Speaker 5: on YouTube. You can watch the thing, but... Let's see
23:46
Speaker 5: if I can... Rice Krispie TV commercial.
23:49
Speaker 9: Oh, what a thing to sell. Because that's like a
23:52
Speaker 9: kid's cereal.
23:52
Speaker 2: 1964.
23:52
Speaker 5: Yeah.
23:52
Speaker 2: Wow.
23:56
Speaker 9: So what song do you put to Rice Krispies? I
23:58
Speaker 9: think it was one of them singles. Snap, Crackle, and Pop, right?
24:01
Speaker 9: Wasn't that the.
24:26
Speaker 9: There you go.
24:28
Speaker 5: I mean, it is definitely that era of bluesy Rolling Stones.
24:32
Speaker 9: Oh, absolutely. Well, if I were seven years old, I'd
24:35
Speaker 9: want to hear a little blues in the morning.
24:36
Speaker 2: Yeah.
24:37
Speaker 5: I mean, I would be suckered into buying Rice Krispies
24:39
Speaker 5: because of that. Yeah.
24:41
Speaker 9: Get the lunchbox going.
24:41
Speaker 5: Michael gets some now. It still works. Right.
24:43
Speaker 10: Yeah.
24:44
Speaker 9: Well, I didn't know that. That's really funny.
24:46
Speaker 5: I didn't either. That just reminded me when you said that.
24:48
Speaker 5: I was like, wait, didn't they really do a commercial
24:50
Speaker 5: back in the old days?
24:51
Speaker 9: And then they graduated to Windows 95. Yeah.
24:53
Speaker 5: I bet they wrote him a much bigger check than
24:55
Speaker 5: Rice Krispies. I'm just kidding. Again, if we're getting sidetracked
25:00
Speaker 5: sort of about other things involving this movie, I do
25:03
Speaker 5: remember when this movie came out, it's also like, this
25:07
Speaker 5: is a weird time to put out this story. Because...
25:11
Speaker 5: Here's a story about a dad pushing his kids really
25:14
Speaker 5: hard to get into sports. Right. In a year where
25:16
Speaker 5: we've seen the last Summer Olympics where we had one
25:19
Speaker 5: of our main contenders back out because she's like, look,
25:23
Speaker 5: this is too much for me.
25:25
Speaker 15: Right.
25:25
Speaker 5: I'm dealing with way too much and my mental health
25:28
Speaker 5: is more important than winning a gold medal. So, screw
25:30
Speaker 5: you guys. I'm sitting out. Then we just had in
25:34
Speaker 5: the Winter Olympics we've got somebody having a breakdown on
25:36
Speaker 5: the ice that's just like, I can't deal with this anymore. So...
25:40
Speaker 5: it's weird to have this is more of a like
25:44
Speaker 5: a story from the 90s maybe when you would have
25:46
Speaker 5: been like yes this is what it's all about is
25:49
Speaker 5: being a strong parent and pushing your children to success
25:52
Speaker 5: and I'm like that's not really the kids we're raising
25:55
Speaker 5: now like kids now don't want that and they don't
25:57
Speaker 5: want to be pushed the way they you know that
26:00
Speaker 5: was acceptable in the 80s and into the 90s but
26:03
Speaker 5: This new millennium, people don't take to that very well.
26:06
Speaker 9: Right, and you can see that with the book Open
26:09
Speaker 9: by Andre Agassi, which talks about how he kind of
26:13
Speaker 9: looks back at his dad pushing him to play tennis
26:16
Speaker 9: as not a good thing.
26:18
Speaker 5: I think that's what a lot of people are coming
26:21
Speaker 5: to terms with that as they've gotten older. They're like, yeah,
26:23
Speaker 5: I am probably... And it's true of showbiz kids too,
26:26
Speaker 5: so hell, maybe Beyonce has the same story. Her dad
26:29
Speaker 5: was pushing her like he was back in that band
26:31
Speaker 5: when she was a little kid, so... Maybe there's some
26:34
Speaker 5: personal ties to this, but I just, when that movie
26:37
Speaker 5: came out and I saw the tone they were going with,
26:40
Speaker 5: it was like, hell yeah, this King Richard guy's right.
26:43
Speaker 5: Look what he did. He made these two great athletes.
26:46
Speaker 5: And I'm like, yeah, at what cost? Like, are those
26:49
Speaker 5: two okay with that now? I'm sure they seem to
26:51
Speaker 5: be because they're successful, but in a few years when
26:55
Speaker 5: they write their book.
26:55
Speaker 9: See what their book says, yeah.
26:57
Speaker 5: In a few years, maybe.
26:58
Speaker 9: That's an interesting take, yeah.
26:59
Speaker 5: Yeah, I thought that was... Well, just because we keep
27:01
Speaker 5: seeing it now. Before, I think they used to hide it.
27:04
Speaker 5: I'm sure they pushed a lot of weird little Russian
27:06
Speaker 5: girls to the breaking point in previous years. Or they're
27:11
Speaker 5: going to do the... What's the... The girl from the
27:14
Speaker 5: 80s that hurt her foot and still went out there
27:17
Speaker 5: and performed.
27:17
Speaker 9: Oh, yeah.
27:18
Speaker 5: They're doing the movie about her. And I'm like, again,
27:21
Speaker 5: you're kind of missing the world we're in right now.
27:23
Speaker 5: Because her coach told her to go finish the move. Yeah,
27:28
Speaker 5: it's a grand triumphant moment in a movie. In the
27:32
Speaker 5: real world, her parents should have pulled her the hell
27:35
Speaker 5: out of there. Be like, no, your safety, you might
27:38
Speaker 5: not be able to walk again after this.
27:40
Speaker 9: Well, there's also other stories that this is coming off
27:43
Speaker 9: the cusp of, you know, for example, the Save Brittany thing.
27:46
Speaker 5: Yeah, same thing.
27:47
Speaker 9: Parents pushed her and then.
27:50
Speaker 5: Which, I mean, has been going on since the beginning
27:52
Speaker 5: of entertainment. Probably with the world. But, like, certainly since
27:56
Speaker 5: the beginning of entertainment when you've got the Jackie Coogans
27:59
Speaker 5: of the world going, guys, I don't want to do this.
28:01
Speaker 5: This is ridiculous. I'm getting screwed over. So financially, and
28:05
Speaker 5: then you get the parents involved and it's a whole
28:08
Speaker 5: other level and we've got countless kids' stories of nightmares
28:13
Speaker 5: of dealing with their parents and irreconcilable differences and, like,
28:18
Speaker 5: getting themselves separated from their parents for those same reasons.
28:21
Speaker 9: And yeah anyway well we'll see it remains to be
28:25
Speaker 9: seen but so.
28:26
Speaker 5: Yeah i that's what i thought was kind of weird
28:28
Speaker 5: thinking about this and then listening to the lyrics again
28:31
Speaker 5: she's she writes plenty of songs that i think have
28:35
Speaker 5: interesting lyrics this one is also kind of on the
28:38
Speaker 5: like hitting that nail square on the head like Everything
28:41
Speaker 5: is so, I've got my family, and I'm really pushing myself, and, like,
28:45
Speaker 5: everything is just so exactly what you would expect in
28:48
Speaker 5: this story that's obviously shooting for an Oscar nomination. Like,
28:52
Speaker 5: it's just... I don't know. It was just... There's so
28:55
Speaker 5: much more that could have been done with this that
28:57
Speaker 5: nobody really bothered to do. Right.
29:00
Speaker 15: Yeah.
29:00
Speaker 9: All right.
29:01
Speaker 5: Going in a different direction, we are back to score.
29:04
Speaker 5: This is Hans Zimmer's Dune score, and, um... What did
29:09
Speaker 5: we decide to go with as far as track? I
29:13
Speaker 5: can't decide. It's all kind of a similar sound. So
29:17
Speaker 5: do you have one track?
29:18
Speaker 9: You could almost pick and choose.
29:19
Speaker 5: Just pick and choose. This is some snippet from Dune.
29:23
Speaker 15: Right. Thank you.
31:47
Speaker 7: So so.
32:33
Speaker 4: Thank you.
33:20
Speaker 9: Well, this is obviously not to be confused with David
33:23
Speaker 9: Lynch's Dune that was released in 1984 and had a
33:27
Speaker 9: completely different set of composers. It was the band Toto.
33:32
Speaker 5: Which are kind of awesome in their own right, but
33:34
Speaker 5: a very different sound than Hans Zimmer. A little bit, right?
33:37
Speaker 9: When you say Africa, it's a little bit different than
33:39
Speaker 9: Driving Miss Daisy.
33:40
Speaker 5: But pretty damn catchy.
33:41
Speaker 9: Well, that's true.
33:43
Speaker 5: Who doesn't love Africa?
33:44
Speaker 9: Who doesn't like Africa? Oh, gosh. That is the quintessential
33:49
Speaker 9: 80s tune, right? But yeah, I think your listeners probably
33:52
Speaker 9: know this composer. He's like the staple in the Hollywood
33:55
Speaker 9: film industry who got noticed with films like Rain Man,
33:59
Speaker 9: Driving Miss Daisy, Thelma and Louise. And then he kind
34:02
Speaker 9: of went into a particular stamp with The Lion King
34:06
Speaker 9: where he writes with taiko drums and driving strings and
34:10
Speaker 9: bass or brass and so forth. and, uh, choral singing
34:14
Speaker 9: in the background. You know, when you think of an
34:16
Speaker 9: action adventure movie trailer, you're probably thinking of Hans Zimmer's stamp,
34:20
Speaker 9: you know, that's, that's kind of his, his thing. And, uh,
34:23
Speaker 9: so if you like his style, you know, I think
34:25
Speaker 9: this movie is drives home that, that kind of approach
34:28
Speaker 9: to writing very well. And, uh, he's got a really
34:32
Speaker 9: massive sound space, uh, almost all electronic, you know, so
34:35
Speaker 9: it's a little different than the other scores, uh, decorated
34:38
Speaker 9: with heavy bass lines and sustained chords. Um, if you explore,
34:43
Speaker 9: like if you go through all the cues in the soundtrack,
34:47
Speaker 9: he keeps it relatively consistent. That's what we were saying.
34:50
Speaker 9: You could just kind of pick one and it's going
34:52
Speaker 9: to give you the essence of what... And that makes
34:55
Speaker 9: sense if your background is in the desert.
34:58
Speaker 5: In the story that you're trying to tell.
35:00
Speaker 9: Exactly, yeah. You don't want it to go back and
35:03
Speaker 9: forth like if Beale Street could talk, or Terrence Blanchard's
35:08
Speaker 9: Black Klansman, which shifts a lot of.
35:11
Speaker 5: And if it's the right kind of movie that it
35:13
Speaker 5: is doing, I mean, Black Klansman may be a good
35:15
Speaker 5: example because you've got this guy living two worlds. So
35:18
Speaker 5: you could almost have a very different approach to the
35:20
Speaker 5: music in whatever scene you're doing.
35:22
Speaker 9: Absolutely.
35:22
Speaker 5: But something like Dune is like immersive in its own world.
35:26
Speaker 5: So you really don't want to stray too far from
35:28
Speaker 5: like what you're building there. Like it needs to be
35:31
Speaker 5: consistent to kind of like help you be lost in
35:34
Speaker 5: this new crazy little alternate universe.
35:36
Speaker 9: Right. It would be kind of strange to have a
35:38
Speaker 9: piano solo or some kind of little guitar solo.
35:40
Speaker 5: Bust into the jazz theme from Don't Look Up.
35:43
Speaker 9: Or jazz, yeah.
35:44
Speaker 5: They come walking in with a boombox.
35:46
Speaker 9: Even if it does give you the nomination, yeah, it
35:48
Speaker 9: probably would not fit the feeling of the movie very well.
35:52
Speaker 9: So I think he captured it very well. Like, if
35:55
Speaker 9: I were to call, okay, who would I want to
35:58
Speaker 9: write music for this film? The Hans Zimmer stamp would
36:01
Speaker 9: be perfect for it. Especially now.
36:03
Speaker 5: I mean, I remember... he's been doing it for years
36:06
Speaker 5: but i kind of forgot some of those specifics so
36:08
Speaker 5: as you're reading that i was like i feel like
36:10
Speaker 5: he's really grown as a writer because those earlier ones
36:14
Speaker 5: are a little more traditional in the way like a
36:17
Speaker 5: big hollywood movie would have a score that would sound
36:19
Speaker 5: like this right by the time he gets to those
36:22
Speaker 5: 2000s like you hit that era of him doing the
36:24
Speaker 5: dark knight and start getting really experimental and the stuff
36:28
Speaker 5: he was throwing in the mix So I think since then,
36:30
Speaker 5: he's been like, oh, they're okay with that? I'm like, okay, good.
36:33
Speaker 5: I can continue to do what I'm interested in, which
36:35
Speaker 5: is more weird stuff. So I think compared to your,
36:39
Speaker 5: you know, Driving Miss Daisy to Dune is like a
36:42
Speaker 5: huge span that we've kind of seen this artist continue
36:46
Speaker 5: to grow and get more experimental. And I think, again,
36:49
Speaker 5: like you said, it's also very fitting. Like, if you... Actually,
36:53
Speaker 5: I didn't know that much about Dune. I hadn't gotten
36:55
Speaker 5: super excited because... They've been talking about doing Dune forever
36:59
Speaker 5: again and again. We've already had two versions.
37:01
Speaker 9: You just can't get over Toto. That's the real issue.
37:04
Speaker 5: But really, I didn't even know who had done it.
37:07
Speaker 5: I think maybe, no, I think I knew once the
37:10
Speaker 5: trailers came out or somebody had mentioned it. And I
37:12
Speaker 5: was like, oh yeah. I mean, that 100% makes sense.
37:15
Speaker 5: I was like, of course it's Hans Zimmer. So, not
37:18
Speaker 5: only does he do a ton of movies now, but
37:20
Speaker 5: he's also the perfect sound when you're trying to do
37:23
Speaker 5: an interpretation of dune you know right it's yeah perfect
37:26
Speaker 5: for that so it's consistently moody i've listened to pretty
37:32
Speaker 5: much the entire thing over the last couple days and
37:34
Speaker 5: it's just like i said every snippet of it you
37:38
Speaker 5: don't even know for sure like it doesn't even drastically
37:41
Speaker 5: change i'm assuming what's going on on the screen like
37:43
Speaker 5: it's so similar in its structure it works in different
37:47
Speaker 5: elements sometimes you get more of the human voices kind
37:49
Speaker 5: of thing thrown in Then it'll switch to drums and
37:52
Speaker 5: you'll get like a very tribal drum kind of thing
37:54
Speaker 5: going on. But it never, it never does anything drastically
37:58
Speaker 5: outside of that realm. Like it sticks to that sound,
38:01
Speaker 5: which again kind of works in the background. It is
38:04
Speaker 5: one of those that's probably as hard to just detach
38:06
Speaker 5: yourself from and sit around like, with your headphones.
38:09
Speaker 9: Well, for instance, yeah, no symphony orchestra is going to
38:13
Speaker 9: tour this on an orchestral realm. Like they did a
38:16
Speaker 9: John Williams soundtrack. It's like, well, here's a chord for,
38:19
Speaker 9: you know, eight beats. And so, yeah, he's definitely of late,
38:25
Speaker 9: you know, definitely in the school of thought that, you know,
38:28
Speaker 9: the music should, should take a backseat to the narrative.
38:31
Speaker 9: And so, and it works, you know, so that's, you know,
38:36
Speaker 9: I'm not, As a composer, I go back and forth
38:40
Speaker 9: because I believe that if you are hired to write
38:43
Speaker 9: for a film, your first job is to push the
38:48
Speaker 9: narrative forward and to make the movie more than what
38:52
Speaker 9: it is or at least expand and enhance what the
38:56
Speaker 9: director is trying to do. But as a composer, too,
39:00
Speaker 9: it's kind of a unique challenge to also make it
39:03
Speaker 9: something that could stand on its own. And this is
39:05
Speaker 9: what composers like Debussy and, and, and so forth have
39:09
Speaker 9: tried to do, uh, for, for years. And, um, this is, um,
39:13
Speaker 9: you know, something that is, uh, a bit of a
39:16
Speaker 9: challenge because some people actually go over that line and,
39:20
Speaker 9: you know, you, you, you hear the score, but you're like, wait,
39:22
Speaker 9: what was that movie that it went to?
39:24
Speaker 5: Let's see.
39:24
Speaker 9: Let me think. Yeah, exactly.
39:27
Speaker 5: In a way, you don't want that. But at the
39:28
Speaker 5: same time, you want it to stand on its own.
39:30
Speaker 10: Right.
39:31
Speaker 5: Yeah, it's a fight.
39:35
Speaker 4: All right.
39:36
Speaker 5: Next up, and we're going to get into kind of
39:39
Speaker 5: a one-two here. We're going to have one ease its
39:41
Speaker 5: way into the next. The next song.
39:44
Speaker 13: All right.
39:45
Speaker 5: I'm culturally impaired. I'm going to try to get it. Officially, like,
39:50
Speaker 5: sanctioned by a doctor that I, like, can't have anything
39:53
Speaker 5: to do with other languages. So I'm going to attempt
39:56
Speaker 5: this one. Dos Oruguitas from Encanto. This is music and
40:02
Speaker 5: lyric by Lin-Manuel Miranda.
40:04
Speaker 13: Dos oruguitas enamoradas pasan sus noches Y madrugadas Llenas de
40:21
Speaker 13: hambre Siguen andando Y navegando un mundo Que cambia y
40:28
Speaker 13: sigue cambiando Navegando un mundo Que cambia y sigue cambiando
40:35
Speaker 13: Dos oruquitas Paran el viento Mientras se abrazan Con sentimiento
40:45
Speaker 13: Siguen creciendo No saben cuándo buscar algún rincón. El tiempo
40:53
Speaker 13: sigue cambiando. Inseparables son. Y el tiempo sigue cambiando.
41:00
Speaker 18: Hay oruguitas. No se aguanten más. Hay que crecer aparte
41:07
Speaker 18: y volver. Hacia adelante seguirás.
41:10
Speaker 5: Vienen milagros.
41:12
Speaker 18: Tienen gris salidas Hay que partir y construir su propio
41:19
Speaker 18: futuro Hay oruguitas No se aguanten más Hay que crecer,
41:27
Speaker 18: aparte y volver Hacia adelante seguirán Tienen milagros Thank you.
42:01
Speaker 13: Dos oruguitas desorientadas En dos capullos bien abrigadas Con sueños
42:12
Speaker 13: nuevos Ya solo falta hacer lo necesario En el mundo
42:19
Speaker 13: que sigue cambiando Tumbando sus paredes Ahí viene nuestro milagro
42:26
Speaker 13: Nuestro milagro.
42:27
Speaker 9: Nuestro milagro.
42:30
Speaker 18: Hay mariposas. No se aguanten más.
42:35
Speaker 19: Hay que crecer aparte y volver. Hacia adelante seguirás. Ya
42:40
Speaker 19: son milagros.
42:42
Speaker 18: Rompiendo crisalidas hay que volar hay que encontrar su propio futuro.
42:50
Speaker 19: Hay mariposas no se aguanten mas hay que crecer.
42:56
Speaker 4: Aparte y volver hacia.
42:58
Speaker 19: Adelante seguirás ya son milagros rompiendo crisalidas hay que volar hay.
43:07
Speaker 18: Que encontrar Seems like we've heard of him recently.
43:16
Speaker 5: Yeah, he sounds familiar.
43:17
Speaker 4: Right.
43:37
Speaker 5: So I don't know.
43:40
Speaker 9: I don't know what they're talking about. I, you know,
43:42
Speaker 9: I thought it was, it was fitting and it was,
43:44
Speaker 9: it was a very cute, um, you know, song. I mean,
43:48
Speaker 9: it was really, you know, I think it worked for
43:50
Speaker 9: what works.
43:52
Speaker 5: For what they're doing. And it is like, again, I
43:54
Speaker 5: think this is something they wouldn't have done 10, 20
43:57
Speaker 5: years ago. They would have been, especially, I mean, Disney
44:02
Speaker 5: was kind of in a different era there too. So
44:04
Speaker 5: I think even then they would have been leery of
44:06
Speaker 5: doing something that wasn't 100% in English. Like, I think
44:09
Speaker 5: it's just the way that things worked then. Now I
44:12
Speaker 5: think they've embraced culture so much and different cultures specifically
44:17
Speaker 5: that like, I think they like giving it this specific,
44:21
Speaker 5: giving it a whole different flavor than the last movie
44:23
Speaker 5: they did because the last movie was set in an
44:25
Speaker 5: entirely different country or sort of takes influences from a
44:28
Speaker 5: totally different culture. So, I think they enjoy that. So
44:32
Speaker 5: I think they're okay with that. Again, it's harder for
44:35
Speaker 5: me because I don't know. I didn't bother to go
44:38
Speaker 5: decode the lyrics and figure out exactly what he's saying.
44:41
Speaker 5: So I don't know. Like, again, it sounds fine, but
44:45
Speaker 5: it's also got that hurdle of if you don't speak
44:47
Speaker 5: the language, you're not 100% sure what it is you're
44:50
Speaker 5: listening to. But again, I give them points for being
44:53
Speaker 5: genuine enough to, you know, we're telling this story in
44:56
Speaker 5: columbia so we're going to be true to the characters
44:59
Speaker 5: and we're going to sing this song that's not in.
45:01
Speaker 9: English so right and i think you know again like
45:04
Speaker 9: musically speaking it it works for the movie because oftentimes
45:10
Speaker 9: when you do translations like if if a song was
45:14
Speaker 9: written for one language and to put a completely different
45:18
Speaker 9: language on top of that You're dealing with different rhythms.
45:22
Speaker 9: You're dealing with different timings of chord progression changes and
45:26
Speaker 9: so forth.
45:26
Speaker 5: Definitely different rhyme scheme. Absolutely. Totally different words. And meter
45:30
Speaker 5: and all.
45:30
Speaker 9: This that you have to really think about as a musician.
45:33
Speaker 9: So if your lyrics came first and your music came second,
45:36
Speaker 9: putting English in this would really ruin– not ruin, but
45:39
Speaker 9: I guess it would alter. You would have to do
45:41
Speaker 9: something with the music basically. So I think that was
45:44
Speaker 9: the theme, if you will. Of the movie score, like
45:50
Speaker 9: you were saying, the purpose of the score was to
45:53
Speaker 9: really embrace, you know, Colombian pop music. And, you know,
45:58
Speaker 9: at least be true to some of the instrumentation, to
46:02
Speaker 9: be true to some of the, you know, the musical styles.
46:05
Speaker 9: And so, yeah, I think it was a good idea
46:07
Speaker 9: for them to, you know, stick to the language that,
46:12
Speaker 9: you know, it was meant for. And specifically with that
46:15
Speaker 9: sound and that style.
46:16
Speaker 5: We're about to roll into the score because they also
46:19
Speaker 5: were nominated for score. But before we leave the song, what,
46:22
Speaker 5: I'm curious because you're way more invested in music. What
46:26
Speaker 5: are your thoughts on Lin-Manuel? I mean, he has become
46:29
Speaker 5: the new focal point of music these days. As, you know,
46:33
Speaker 5: as a writer, as a composer, you know, what do
46:36
Speaker 5: you think? Yeah, I mean, I think, you.
46:38
Speaker 9: Know, I don't really, I don't like, you know, go
46:42
Speaker 9: back home and listen to, you know, Lin-Manuel's music a lot.
46:46
Speaker 9: The greatest hits. Yeah, exactly. You've got In.
46:48
Speaker 5: The Heights and your CD player in the car right now.
46:50
Speaker 9: Right, exactly. Or I get a score on the side
46:54
Speaker 9: just with pencil marking it up and everything. Good songwriter
47:00
Speaker 9: and certainly a force in the commercial world.
47:06
Speaker 5: Definitely now. He's the go-to. Again, he's doing stuff that
47:10
Speaker 5: isn't his. but they're bringing him in to do the music.
47:14
Speaker 5: And then he's also powerful enough in the industry now
47:17
Speaker 5: to get his own projects and taken care of and
47:20
Speaker 5: off the ground and produced. And that's something that's really
47:24
Speaker 5: hard to do. So I give him credit that he's
47:27
Speaker 5: working in both fields. I think most people would just
47:29
Speaker 5: be thankful and lucky to be able to do one
47:32
Speaker 5: or the other. But the fact that he's talented enough
47:35
Speaker 5: to be able to do both is pretty impressive.
47:37
Speaker 9: Right, absolutely.
47:39
Speaker 5: So on to the score for Encanto. Again, there's a
47:44
Speaker 5: lot of different tracks and they're similar in their tone.
47:47
Speaker 5: I went with El Camino del Mirabel, which is actually
47:53
Speaker 5: composed by Jermaine Franco. So it changes hands. He did
47:58
Speaker 5: the songwriting on the songs, but the score is entirely
48:02
Speaker 5: done by Jermaine Franco.
48:22
Speaker 4: Thank you. Thank you.
48:48
Speaker 15: Thank you.
49:10
Speaker 4: Thank you.
50:06
Speaker 9: And, you know, like Lin-Manuel, you know, she definitely sticks to,
50:12
Speaker 9: at least, you know, takes inspiration from Colombian pop music,
50:17
Speaker 9: which features a steady... repetitive bass line with driving percussion lines,
50:22
Speaker 9: even uses sounds from percussion instruments heard in Columbia pop
50:25
Speaker 9: music like the tambora, which sounds almost like a bongo
50:31
Speaker 9: or what have you, or the guacharaca, I think is
50:35
Speaker 9: like a steel cylindrical instrument that you scrape with a brush,
50:41
Speaker 9: and it has that very distinctive percussive sound. And you know,
50:46
Speaker 9: I think they do it in a very produced way. So,
50:49
Speaker 9: you know, you don't, it's not like you're going to, uh,
50:52
Speaker 9: someplace and you're hearing a band that's, you know, three
50:55
Speaker 9: or four members and it's, it's a raw type of recording.
50:58
Speaker 9: There's a, there's actually another movie that does this very well, um,
51:01
Speaker 9: with Johnny Greenwood, but I'll get to that in a minute. Uh, but, uh,
51:05
Speaker 9: this is, this is very polished, you know, it's, it's
51:07
Speaker 9: well produced. It's a big budget film. So, um, if
51:11
Speaker 9: of course it's Disney, so, you know, uh, the overall
51:14
Speaker 9: approach to the form of the music is, uh, you know, it,
51:20
Speaker 9: it tells the story very much like a typical Disney
51:23
Speaker 9: film does, but she really sticks to that. Um, I
51:26
Speaker 9: think very well. And she's also a percussionist too. She,
51:29
Speaker 9: she has a wide background. Um, she studied, I think
51:33
Speaker 9: composition at, uh, Rice University, I believe when she, uh,
51:38
Speaker 9: she graduated from 19, uh, from Rice in 1984. And, um,
51:44
Speaker 9: She is the first woman to score a Disney animated
51:46
Speaker 9: feature film. I thought that was kind of cool.
51:48
Speaker 5: Yeah, I checked. She's also the first Latina invited to
51:51
Speaker 5: join the Academy of Motion Picture Arts and Sciences.
51:54
Speaker 10: Yeah.
51:54
Speaker 5: So, like, she was sort of, and I look, she
51:56
Speaker 5: has done a lot more traditional, like, Hollywood type stuff. So,
52:00
Speaker 5: she's done scores on the side that are a little more,
52:03
Speaker 5: you know, run of the mill versus something that's immersed
52:06
Speaker 5: in a culture like this one is. But she also
52:09
Speaker 5: can kind of mix it up because one of my
52:11
Speaker 5: favorite of previous episodes of these that we did was Coco.
52:14
Speaker 5: And she was not, there was someone entirely different doing
52:17
Speaker 5: the score of Coco.
52:18
Speaker 9: But she did additional music.
52:19
Speaker 5: But she co-wrote the songs.
52:20
Speaker 1: Yeah.
52:20
Speaker 5: She did, a lot of the songs were co-written by her. So, like, again,
52:23
Speaker 5: that's switching to Mexican. So, like, she kind of can
52:27
Speaker 5: ease her way into different cultures. And, like, she understands,
52:31
Speaker 5: you know, the basics of it, you know, being Latina. But, like, doesn't.
52:35
Speaker 5: pin it down to one like i only deal with
52:37
Speaker 5: this and that's all i do like she can kind
52:39
Speaker 5: of mix things up a little bit and she can
52:41
Speaker 5: do mexico and colombia and like she just kind of
52:43
Speaker 5: broadens her horizons a little bit so i was impressed
52:46
Speaker 5: with that that like she's willing to kind of take
52:48
Speaker 5: on different areas but still kind of keep that that
52:51
Speaker 5: basic idea going yeah and.
52:54
Speaker 9: You know she's she's also done that for tag uh
52:56
Speaker 9: dope and vita yeah and that was those were some
52:59
Speaker 9: of the uh the films that kind of put her
53:02
Speaker 9: you know, in, in the ranks. And so, but yeah, she's,
53:05
Speaker 9: she also, you know, has played with orchestras and artists
53:09
Speaker 9: like the Belgian radio orchestra, the Spoleto festival orchestra. And
53:14
Speaker 9: I think she's regularly appears with a Hollywood bowl orchestra
53:17
Speaker 9: and Hollywood symphony. I think she's done several performances with them.
53:20
Speaker 9: So yeah, she's, she's got a really, yeah. I mean,
53:26
Speaker 9: in this, in this score, it, like I said, with
53:29
Speaker 9: the others, like with Hans Zimmer, it works very well.
53:32
Speaker 9: she has this approach and the form that kind of
53:36
Speaker 9: tells the story. I don't think it's really, it doesn't
53:42
Speaker 9: overtake the listener. You know, you sort of like, it's
53:45
Speaker 9: kind of, it straddles the, you know, the memorable theme
53:49
Speaker 9: with the, you know, in the background kind of approach
53:53
Speaker 9: to score writing. But with this, you're not going to
53:57
Speaker 9: get like, you know, completely different, sound worlds and what
54:01
Speaker 9: have you. So it's very, like I said, very influenced
54:05
Speaker 9: by Colombian pop music, which I thought was good.
54:07
Speaker 5: I think it works easier for her too than what
54:11
Speaker 5: I guess he was doing with the songs because you
54:13
Speaker 5: don't have that hurdle of worrying about lyrics because she
54:16
Speaker 5: can still be true to the Colombian sound without having
54:19
Speaker 5: to worry about translating and putting things in English because
54:22
Speaker 5: you're still kind of marketing mostly for an English audience.
54:26
Speaker 5: So there's a little freedom there, but You know Disney's
54:28
Speaker 5: not going to be like, all right, this is entirely
54:30
Speaker 5: in Spanish. Here we go. Right. You know nobody's going
54:33
Speaker 5: to take to that, okay? So, yeah, you've got a
54:35
Speaker 5: little leeway and a little more, I feel like, with
54:37
Speaker 5: the score versus in songs you've got that extra thing
54:40
Speaker 5: to worry about. So I think hers are a little
54:42
Speaker 5: easier to get into because you don't have to worry
54:45
Speaker 5: about that.
54:45
Speaker 9: Right, exactly.
54:48
Speaker 5: All right, we're midway through the songs. It's time for
54:50
Speaker 5: the halftime show. I'm going to bring out Snoop Dogg
54:53
Speaker 5: and we're going to... Snoop Dogg and Ariana are going
54:55
Speaker 5: to join me here and we're going to do a
54:57
Speaker 5: whole big thing. So I did specifically want to bring
55:01
Speaker 5: this up because I was watching this movie and I went,
55:04
Speaker 5: oh man, I hope we're talking about this song in
55:06
Speaker 5: a couple of months. It occurred to me while I
55:08
Speaker 5: was watching the movie, I was like, oh, we have
55:10
Speaker 5: to talk about this. Come on. And of course they
55:13
Speaker 5: didn't nominate it. So now I have to bring it
55:15
Speaker 5: up anyway. So we mentioned it earlier. You saw parts
55:18
Speaker 5: of Don't Look Up. Did you see the production number
55:22
Speaker 5: that comes in? It's kind of the middle of the
55:24
Speaker 5: movie when they're doing this big push of like, you know,
55:28
Speaker 5: trying to get people to realize what's coming and it's
55:31
Speaker 5: not working, but some people are on board. And so
55:35
Speaker 5: they get that, you know, Oh, what if we get
55:36
Speaker 5: a big celebrity push involved here? And this, uh, Ariana,
55:41
Speaker 5: I think is playing all. She might be playing. I
55:44
Speaker 5: think she is an alternate version of herself. Like she's
55:47
Speaker 5: on board because she's being kind of a jackass the
55:49
Speaker 5: whole time. So she's in on the joke and sort
55:52
Speaker 5: of playing herself up as if she was that, that
55:55
Speaker 5: so self-involved and horrible person. Right. I don't know that well.
55:59
Speaker 5: She seems like a nice enough girl, but she's in
56:01
Speaker 5: on the joke. So she's playing herself in like the
56:04
Speaker 5: interview scenes earlier. So then they come back around with
56:07
Speaker 5: her and she does a huge like stadium production of
56:10
Speaker 5: their song that becomes the like theme to their push.
56:14
Speaker 5: You know, they're doing a promotion almost of trying to
56:16
Speaker 5: get people to not be idiots. And like, so the
56:19
Speaker 5: song itself is just look up. Right. So have you
56:23
Speaker 5: heard this? I have not. to play the first verse here,
56:28
Speaker 5: and then I'll get into why they probably didn't get
56:31
Speaker 5: a nomination.
56:47
Speaker 12: You haunted every memory with no goodbye sound.
56:53
Speaker 17: But for me, your pride put.
56:56
Speaker 4: Out the fire in my flame.
57:01
Speaker 2: Then just one look is all it takes.
57:05
Speaker 4: I feel your eyes that locked.
57:08
Speaker 17: On every part of me.
57:11
Speaker 12: And then my dumb heart says, so you.
57:19
Speaker 2: Get the.
57:22
Speaker 4: You get the style.
57:24
Speaker 5: Of what it is i think it's It's genius, but
57:41
Speaker 5: it's one of the better things that they're doing in
57:44
Speaker 5: that movie that's not hitting you over the head politically.
57:46
Speaker 5: It's making fun of the entertainment industry. So it's this
57:50
Speaker 5: perfectly captured version of a super self-serious, we're gonna use
57:57
Speaker 5: this art to promote our cause kind of thing. And then, like,
58:01
Speaker 5: so that first verse is just super serious and, like, totally...
58:06
Speaker 5: If they would have continued down that road, that probably
58:08
Speaker 5: would have got an Oscar nomination. And they might not
58:11
Speaker 5: have gotten the point that was making fun of this
58:13
Speaker 5: entire thing that happens all the time in the arts.
58:18
Speaker 5: But then the second verse comes along and the lines are,
58:22
Speaker 5: look up. What he's really trying to say is get
58:24
Speaker 5: your head out of your ass. Listen to the goddamn
58:27
Speaker 5: qualified scientist. We really fucked it up. Fucked it up
58:30
Speaker 5: this time. That's the second verse. And I was like, oh, God,
58:34
Speaker 5: this is so awesome. And again, she does it in
58:38
Speaker 5: that same style. She does it totally straight. And I
58:40
Speaker 5: was just like, that just killed it. You're not getting
58:43
Speaker 5: anything now. I was like, I hope you do, but
58:46
Speaker 5: I know better because they don't have that good a
58:48
Speaker 5: sense of humor.
58:49
Speaker 9: At the Oscars. You can't use that for a pharmaceutical commercial.
58:52
Speaker 5: I was like, I thought it was too funny. And
58:56
Speaker 5: it's them totally making fun of just these type of
58:58
Speaker 5: songs that we're talking about half the time. The ones
59:01
Speaker 5: that aren't as good... In this rundown every year. Are
59:05
Speaker 5: the ones they're making fun of. And they did a
59:07
Speaker 5: really good job of it I thought. So yeah. that
59:10
Speaker 5: was the oversight, and I had to bring it up,
59:13
Speaker 5: so that was our halftime show.
59:14
Speaker 9: Are you prepping this for the next song as well?
59:20
Speaker 5: Let's see what's next on this list. You're talking about
59:25
Speaker 5: really cheesy writing and... Songs that end up every year
59:30
Speaker 5: on this list, even though they really don't need to be.
59:33
Speaker 5: Is that what you're talking about? Possibly.
59:35
Speaker 9: I don't know. There's usually this songwriter that you love
59:40
Speaker 9: to talk about every year.
59:42
Speaker 5: You know, I didn't used to annually bash Diane Warren, but...
59:48
Speaker 5: since we started doing well i mean she was been
59:51
Speaker 5: working in the industry she was nominated like late 70s
59:54
Speaker 5: early 80s like she's been around forever so she's gotten
59:57
Speaker 5: nominations years ago and then there was sort of a
1:00:00
Speaker 5: lull so i don't know i don't know her life
1:00:02
Speaker 5: story i don't know if she quit working or they
1:00:04
Speaker 5: just didn't care about her for a while but like
1:00:06
Speaker 5: since we've started the show it's become a thing and
1:00:09
Speaker 5: now she was like she's the john williams of her
1:00:12
Speaker 5: field now and every year no matter what they work
1:00:15
Speaker 5: her songs into she gets a nomination And I think
1:00:18
Speaker 5: she's the hammiest songwriter I've ever.
1:00:23
Speaker 5: So, that's, yeah. Every year I say to myself, am
1:00:26
Speaker 5: I going to use the term ham-fisted? Yeah, I'm probably
1:00:29
Speaker 5: going to. So, this is no exception.
1:00:33
Speaker 9: Somehow you do, Brian.
1:00:35
Speaker 5: Somehow I do. This is from Four Good Days. performed
1:00:41
Speaker 5: by Reba, and music and lyrics by Diane Warren. This
1:00:46
Speaker 5: is Somehow You Do.
1:00:49
Speaker 8: So you feel like you've run out of hope.
1:00:55
Speaker 11: Carrying all that weight Your back's about to break And.
1:01:01
Speaker 8: You're standing at the end of.
1:01:04
Speaker 5: Your rope.
1:01:07
Speaker 11: You wanna give up.
1:01:08
Speaker 8: The fight You see no relief inside And it's hard
1:01:14
Speaker 8: To keep the faith But the darkest night Still finds
1:01:22
Speaker 8: the day When you think It's the end of.
1:01:28
Speaker 11: The road It's just cause you don't know Where the
1:01:32
Speaker 11: road's leading.
1:01:34
Speaker 6: To When you think If.
1:01:38
Speaker 4: The mountain's too high and the ocean's too wide You'll
1:01:44
Speaker 4: never get through Somewhere, somehow.
1:01:55
Speaker 8: Somehow you do So you feel like you're.
1:02:01
Speaker 17: Right on the brink.
1:02:05
Speaker 11: Oh, you'll win the battle of lonely lives. Punch the
1:02:09
Speaker 11: hole in your soul, yeah.
1:02:12
Speaker 8: You've been brought to your knees. But there's better days
1:02:18
Speaker 8: up ahead.
1:02:20
Speaker 9: You'll be back on your feet again.
1:02:23
Speaker 4: And you'll want to be okay for the darkest night.
1:02:30
Speaker 8: We'll find a day When you think It's the end.
1:02:37
Speaker 4: Of the road It's just cause you don't know Where.
1:02:42
Speaker 6: The road's leading to.
1:02:46
Speaker 11: When you think That the mountain's too.
1:02:50
Speaker 9: High And the ocean's too wide And you'll never.
1:02:55
Speaker 4: Get through Oh, some Wait, somehow, somehow you do.
1:03:09
Speaker 11: Cause it's those times, it's those times when times get bad.
1:03:15
Speaker 4: You'll find the strength you.
1:03:17
Speaker 16: Didn't know you even had.
1:03:20
Speaker 4: Somehow, oh, you'll get through the end. When you think
1:03:32
Speaker 4: it's the end of the road.
1:03:34
Speaker 1: It's just cause you don't know where the road's leading to.
1:03:41
Speaker 4: When you think that the mountain's.
1:03:45
Speaker 9: Too high and the ocean's too wide and you'll never
1:03:50
Speaker 9: get through.
1:04:01
Speaker 4: Somehow you do. Some way. Somehow.
1:04:13
Speaker 8: Somehow you do.
1:04:25
Speaker 9: Well, she had the good formula, though. She had a
1:04:28
Speaker 9: key change at the chorus and then a multi-voiced multi-instrument
1:04:31
Speaker 9: climactic moment, followed by the crash cymbal, and then just
1:04:35
Speaker 9: the voice alone, and then that was it.
1:04:37
Speaker 5: See, I'm glad you brought all of that up, because
1:04:40
Speaker 5: my note is, everything seems so calculated. And you just
1:04:46
Speaker 5: named it off. Like, from the music writing standpoint, you
1:04:50
Speaker 5: backed my point. It's and every year it's just like,
1:04:54
Speaker 5: I'm like, I don't, I'm not surprised that she gets
1:04:57
Speaker 5: nominated every year because she's checking all the boxes. She's
1:05:00
Speaker 5: doing it exactly the way that not just she's supposed
1:05:05
Speaker 5: to as her job, but also specifically, especially these recent years,
1:05:10
Speaker 5: like almost checking the boxes of what Oscar nominations are
1:05:13
Speaker 5: looking for. And that's, that's what we get. Like it
1:05:16
Speaker 5: is the, the most, it, Did you ever.
1:05:22
Speaker 9: Go on YouTube and search movie trailer formula?
1:05:27
Speaker 5: No.
1:05:27
Speaker 9: Okay.
1:05:28
Speaker 5: They all fit kind of the same thing though. Yeah, exactly.
1:05:31
Speaker 9: That's just like what we were talking about here. Like
1:05:33
Speaker 9: if you go and search that, you'll find there's a
1:05:36
Speaker 9: spoof out there that just actually is the formula itself.
1:05:40
Speaker 9: It acts like a trailer, but it shows up like
1:05:43
Speaker 9: on the screen what you're supposed to do at every
1:05:45
Speaker 9: moment of the– It's really clever, actually. But yeah, I
1:05:49
Speaker 9: was going to say that for you, you're probably going
1:05:52
Speaker 9: to create one for Diane Warren.
1:05:54
Speaker 5: Well, I mean, it's like by the time we get
1:05:56
Speaker 5: this far in and we've done this so many years
1:05:59
Speaker 5: and every year she gets nominated, I listen to these
1:06:01
Speaker 5: songs every year. And I got to this one. I'm like,
1:06:04
Speaker 5: it's like, you know, when you go on the Internet
1:06:07
Speaker 5: and you find one of those like random name generators
1:06:10
Speaker 5: and like you just put in a few key things
1:06:12
Speaker 5: and it like generates a bunch of random stuff that
1:06:15
Speaker 5: fits your situation. She's got a random song generator. Like,
1:06:19
Speaker 5: she puts in, okay, what's our schmaltzy topic of, like,
1:06:22
Speaker 5: what we're making this Oscar-y, we gotta work in our term,
1:06:25
Speaker 5: Oscar-y movie about. And then, like, we gotta figure out
1:06:30
Speaker 5: how to work that in and what's the generic, like,
1:06:33
Speaker 5: run-of-the-mill lyrics that I can put together with this that
1:06:36
Speaker 5: are gonna make you seem like, Somehow you will do it.
1:06:41
Speaker 5: I have faith in you and you have.
1:06:43
Speaker 9: Strength within yourself.
1:06:45
Speaker 5: And isn't this inspiring?
1:06:48
Speaker 9: I thought, you know, even the mountains seem so high
1:06:50
Speaker 9: or the oceans are too wide. I mean, that was new.
1:06:54
Speaker 9: I thought that was kind of.
1:06:56
Speaker 5: The road line is maybe the most like... I was like,
1:07:00
Speaker 5: all right, that's not a terrible line. Like the road thing.
1:07:02
Speaker 5: I'm like, that's a good one. line that leads to
1:07:07
Speaker 5: the next and i'm like all right that's almost for
1:07:09
Speaker 5: the type of song you're putting together here that's almost
1:07:15
Speaker 5: fine it's fine go with that and then you got
1:07:17
Speaker 5: to the mountains and i was like.
1:07:18
Speaker 9: Oh god the singer's on the mountain i was like
1:07:20
Speaker 9: i just okay.
1:07:22
Speaker 5: It's just so hammy and then there's the reba thing
1:07:27
Speaker 5: and people who listen to this know i'm not a
1:07:30
Speaker 5: big country music fan in general but I don't have
1:07:32
Speaker 5: anything against Reba, though. Reba's fine. Reba knows her thing.
1:07:37
Speaker 5: She knows the thing that worked for her when she
1:07:39
Speaker 5: was young is still the reason people are coming back.
1:07:42
Speaker 5: I think I also like her a little bit because
1:07:44
Speaker 5: she became an actress from Tremors on. I was like, well,
1:07:48
Speaker 5: she's in Tremors. I gotta like her a little bit.
1:07:50
Speaker 5: So I think Reba actually is not bad as an artist.
1:07:53
Speaker 5: She oversells the twangy country bullshit, but people like that.
1:07:57
Speaker 5: I understand. Not me, but people like that. So I
1:08:00
Speaker 5: don't dislike Reba. But again, I feel like the songwriter
1:08:06
Speaker 5: putting this together, I think even using Reba McEntire is
1:08:11
Speaker 5: a calculated move. And not even a creative one. It's, well,
1:08:15
Speaker 5: this is a really sad movie. What kind of music
1:08:18
Speaker 5: is sad a lot? Country music is sad a lot. Right.
1:08:23
Speaker 5: Even when it doesn't fit what we're doing here. This
1:08:26
Speaker 5: movie is about drug rehab and coming off of A
1:08:30
Speaker 5: really bad addiction to drugs. Okay? Don't get me wrong.
1:08:35
Speaker 5: I'm sure there's tons of meth people out there listening
1:08:39
Speaker 5: to country music. So those two I don't say is
1:08:41
Speaker 5: a bad idea to pair those up. But the fact
1:08:44
Speaker 5: that our movie has nothing to do with anything that
1:08:48
Speaker 5: would tie to country music. Like, it's filmed in California.
1:08:53
Speaker 5: The character they're basing it on and the entire story
1:08:56
Speaker 5: takes place in Detroit. Detroit.
1:08:59
Speaker 13: That's right.
1:09:00
Speaker 5: Country when you think of the music of detroit it's
1:09:03
Speaker 5: country music good move diane warren i just feel like
1:09:09
Speaker 5: it's just a lazy move going country for a story
1:09:12
Speaker 5: this big sad story you've got and then it makes
1:09:16
Speaker 5: absolutely no sense since the when there's so many musical
1:09:21
Speaker 5: avenues you could go down with Detroit, but no, you
1:09:24
Speaker 5: decided to go with Reba McEntire. Is that enough ranting?
1:09:31
Speaker 9: Yeah, no, absolutely.
1:09:33
Speaker 5: Do you have anything useful to add to my venom?
1:09:37
Speaker 9: I think, this is, I leave Diane Warren to you,
1:09:41
Speaker 9: because you could, you.
1:09:43
Speaker 5: Every time, I probably have it covered.
1:09:44
Speaker 9: You do it perfectly, exactly.
1:09:47
Speaker 15: So.
1:09:48
Speaker 5: Let's move on to something much better.
1:09:50
Speaker 9: I just sit here with my popcorn and just watch.
1:09:52
Speaker 5: You do enjoy it a little too much.
1:09:54
Speaker 9: This is why I do this every year.
1:09:55
Speaker 5: I think so. Just to hear your rant on diet.
1:09:57
Speaker 5: Because I sent the nominations over and you were like,
1:09:59
Speaker 5: isn't your friend in there? I was like, shut up.
1:10:03
Speaker 9: You know she is.
1:10:03
Speaker 5: Shut up.
1:10:05
Speaker 9: That's perfect.
1:10:06
Speaker 5: Yeah. So on to something much better. I really enjoy
1:10:12
Speaker 5: this score.
1:10:13
Speaker 9: I did too, and this was probably one of my
1:10:15
Speaker 9: favorites on a musical level. Alberto Iglesias is, for those
1:10:21
Speaker 9: who don't know, he's done a lot of stuff, but
1:10:27
Speaker 9: he's a Spanish composer. Like some film composers, he has
1:10:30
Speaker 9: one hand in the film world and another in the
1:10:32
Speaker 9: concert stage world. So I think he studied in Paris
1:10:35
Speaker 9: and he's written a ballet. But he got his– he
1:10:39
Speaker 9: started really writing for film in the 80s and wrote
1:10:43
Speaker 9: music for around 35 feature-length films. Probably people are Oliver
1:10:48
Speaker 9: Stone fans. You know the documentary Comedante that came out
1:10:53
Speaker 9: in 2003. He wrote the music for that. So I–
1:10:58
Speaker 9: on a musical level, like I said, I think this
1:11:01
Speaker 9: was my favorite soundtrack because Unlike many soundtracks you hear,
1:11:06
Speaker 9: which usually create changes by using different instruments or sound effects,
1:11:11
Speaker 9: Iglesias takes the singular sound of a standard orchestra, which
1:11:15
Speaker 9: I thought was kind of cool, with only some electronic
1:11:18
Speaker 9: sounds in the mix, and changes the mood with harmony.
1:11:22
Speaker 9: And he has probably the most varied and dynamic harmonic
1:11:25
Speaker 9: vocabulary of all the composers on this list. you really
1:11:30
Speaker 9: have to kind of check out the cues yourself. I
1:11:32
Speaker 9: would definitely look at or just listen to Las Visitas
1:11:37
Speaker 9: to get what I'm talking about.. Thank you.
1:13:29
Speaker 4: Thank you.
1:15:46
Speaker 9: I think, you know, the music stands on its own
1:15:49
Speaker 9: as its own concert piece. Um, and some believe that
1:15:52
Speaker 9: that's like you were talking about with the Hans Zimmer
1:15:54
Speaker 9: approach or, you know, others that that is probably the
1:15:57
Speaker 9: antithesis of what a soundtrack should be. But this one,
1:16:00
Speaker 9: this one didn't overtake the film. I don't, you know,
1:16:04
Speaker 9: it didn't really, um, you know, it didn't seem to,
1:16:07
Speaker 9: to go too much into an opposite direction that, uh,
1:16:12
Speaker 9: would make it, um, You know, too evasive.
1:16:15
Speaker 5: Too theme-y.
1:16:16
Speaker 9: Yeah.
1:16:16
Speaker 5: The closest I was going to work in Session de Fotos,
1:16:19
Speaker 5: because I think that is the closest to, like, a hook.
1:16:21
Speaker 5: That works, yeah. Like, it's got kind of a little
1:16:23
Speaker 5: theme that you can see probably reoccurring throughout it, but
1:16:27
Speaker 5: not that much, really. Like, it's not, because I, this
1:16:30
Speaker 5: is one I listened to a lot over the last
1:16:32
Speaker 5: few days, and, like, it is one I think I
1:16:35
Speaker 5: might return to, you know? It's, like, it's one I
1:16:36
Speaker 5: will definitely be able to listen to outside of the movie,
1:16:39
Speaker 5: but Right. Completely enjoy and not even like be like,
1:16:42
Speaker 5: oh man, I wish I was watching the movie. Like
1:16:44
Speaker 5: I enjoy it all on its own as a separate thing.
1:17:08
Speaker 4: It's also interesting.
1:17:10
Speaker 7: How like.
1:17:38
Speaker 5: Again, for something that I have not seen Parallel Mothers yet,
1:17:42
Speaker 5: which just makes me want to go see it. But
1:17:45
Speaker 5: it also, as far as I know, is a drama.
1:17:48
Speaker 5: But this play is so dark and moody and has
1:17:52
Speaker 5: elements of a suspense film running through it that is, again,
1:17:57
Speaker 5: way different than I would expect from even... I feel
1:17:59
Speaker 5: like I've watched the trailer when I knew about this movie.
1:18:02
Speaker 5: I know the basics of it, but I would not
1:18:04
Speaker 5: have expected this theme to go along with it. And
1:18:08
Speaker 5: that's a good surprise. I think, again, it's him kind
1:18:11
Speaker 5: of working against the norm and being like, well, you
1:18:13
Speaker 5: would expect it to be this, again, schmaltzy kind of
1:18:16
Speaker 5: generic music, but I'm going to go this direction because
1:18:19
Speaker 5: he's telling a different kind of a tale, so this
1:18:21
Speaker 5: is how I'm going to interpret it.
1:18:22
Speaker 9: Right, and that's what I liked about it so much
1:18:25
Speaker 9: is that you could certainly see a generic approach to
1:18:28
Speaker 9: this kind of storyline would be a lot of solo piano,
1:18:33
Speaker 9: very minimalist in terms of just very simple Chord progressions,
1:18:37
Speaker 9: probably repetitive and so forth. But he really, yeah, he
1:18:40
Speaker 9: takes it out and gets into the psychology of the
1:18:44
Speaker 9: narrative that exists between the women and the children and
1:18:49
Speaker 9: so forth. It really takes the story. I think it
1:18:55
Speaker 9: brings out a lot of different dynamic things that the
1:18:59
Speaker 9: movie otherwise, on a surface level, you wouldn't be able
1:19:03
Speaker 9: to discover without the music. And I think that is
1:19:06
Speaker 9: what is really compelling about this score. is that it
1:19:10
Speaker 9: tells so much about not just pushing the story from
1:19:14
Speaker 9: A to B, but also the psychology behind it. Because
1:19:19
Speaker 9: losing your own child is a.
1:19:23
Speaker 5: Different.
1:19:23
Speaker 9: This would be a score that would address that.
1:19:26
Speaker 5: I feel like adding this score to any movie would
1:19:30
Speaker 5: kind of change the way you're viewing the movie. If
1:19:33
Speaker 5: you had just a really bland score going on behind
1:19:36
Speaker 5: the same story... I feel like it's going to hit
1:19:38
Speaker 5: differently than when you work in something like this. It's
1:19:42
Speaker 5: going to change the tone of the movie.
1:19:44
Speaker 9: Absolutely. So that's what I liked about this. I will admit,
1:19:48
Speaker 9: part of it is because he uses a similar harmonic
1:19:52
Speaker 9: palette as one of my favorite composers, and that is
1:19:55
Speaker 9: Toru Takamitsu. So I'm probably coming at this also with
1:19:59
Speaker 9: a little bit of bias, but still, it works very well,
1:20:02
Speaker 9: and so I'm all about it.
1:20:06
Speaker 5: We all bring our stuff to the table. We do.
1:20:08
Speaker 5: I have bias to some songwriters. You like Diane.
1:20:11
Speaker 9: Yeah, exactly.
1:20:12
Speaker 5: We all bring our own stuff to the table. So.
1:20:17
Speaker 5: All right. So moving on. Next up, we're going with
1:20:21
Speaker 5: a more traditional song. This is Down to Joy from Belfast.
1:20:27
Speaker 5: Music and lyrics by Van Morrison.
1:20:39
Speaker 6: Well, at the sleepless night.
1:20:53
Speaker 14: I had a kind of dream for sure Well, I
1:20:59
Speaker 14: woke up in the morning Felt like I was coming
1:21:04
Speaker 14: down to joy.
1:21:08
Speaker 6: What did I see? What did I hear?
1:21:12
Speaker 14: When I was coming down.
1:21:18
Speaker 4: Had a brand new story But I was coming down to.
1:21:24
Speaker 14: Joy Felt so good Gratitude When I was coming down
1:21:36
Speaker 14: Something quite Quite profound Now I cried.
1:21:43
Speaker 4: Out loud I heard a brand new story I.
1:21:50
Speaker 14: Was coming down for joy She was standing there before
1:21:58
Speaker 14: me When I was coming down, down, down.
1:22:20
Speaker 6: I felt so good Gratitude.
1:22:27
Speaker 14: When I was coming down There.
1:22:32
Speaker 5: Was something quite profound.
1:22:37
Speaker 6: That I cried out loud I had a brand new.
1:22:43
Speaker 14: Story And I was in love Coming down to joy Man,
1:22:51
Speaker 14: I felt the glory When I was coming down to joy.
1:23:00
Speaker 6: She was standing there before me.
1:23:04
Speaker 4: When I was coming down to joy, I said I'd
1:23:10
Speaker 4: do what you would do.
1:23:13
Speaker 14: When I was coming down to joy, well, no vision
1:23:19
Speaker 14: was before me.
1:23:20
Speaker 3: Well.
1:23:28
Speaker 6: It was just around.
1:23:29
Speaker 14: The corner When I was coming down.
1:23:34
Speaker 4: To Georgia Coming down, coming down to Georgia Coming down
1:23:43
Speaker 4: to Georgia.
1:23:45
Speaker 6: Coming down, coming down.
1:23:48
Speaker 14: To Georgia Coming down to.
1:23:52
Speaker 5: Georgia There's usually one every year that you're like, this
1:24:04
Speaker 5: just seems like they just picked a song and threw
1:24:06
Speaker 5: it in the mix. So this just sounds like Van Morrison. Like,
1:24:10
Speaker 5: I don't have a problem with it. I like Van Morrison. Again,
1:24:13
Speaker 5: most of what I know of him is from years
1:24:15
Speaker 5: and years ago, but this is just what he does,
1:24:18
Speaker 5: and he's good at it. But I'm like, I guess
1:24:22
Speaker 5: he had to write it recently enough to qualify, because
1:24:25
Speaker 5: they're very specific about the stipulation to be nominated for
1:24:29
Speaker 5: an Oscar, so he must have written it in theory
1:24:32
Speaker 5: for this movie but i'm like does it really apply
1:24:35
Speaker 5: to this movie i don't know there's ones that are
1:24:37
Speaker 5: overly you've got your like beyonce one that feels like
1:24:40
Speaker 5: it's like reading the screenplay to you in the lyrics
1:24:45
Speaker 5: and then you got this one that could just be
1:24:47
Speaker 5: on the radio on the background and have nothing to
1:24:48
Speaker 5: do with the movie and that's kind of more what
1:24:50
Speaker 5: this feels like but in a good way like again
1:24:53
Speaker 5: i don't have a problem with this one it's just
1:24:55
Speaker 5: right doesn't feel overly connected to the movie it's just
1:24:58
Speaker 5: a song that happens in conjunction with the movie Right. Yeah.
1:25:02
Speaker 9: And, and certainly, yeah, I got that too. I mean,
1:25:05
Speaker 9: it's very simple, repetitive chord progression of one, five and four.
1:25:09
Speaker 9: And it just kind of repeats over. And he does this,
1:25:12
Speaker 9: you know, he does, you know, certainly really interesting things,
1:25:16
Speaker 9: you know, with his vocal inflections and, you know, he
1:25:19
Speaker 9: makes it interesting musically.
1:25:20
Speaker 5: He's always been impressed.
1:25:21
Speaker 9: He's always, he's always done that.
1:25:23
Speaker 5: Yeah.
1:25:23
Speaker 9: This is the guy who gave us Brown Eyed Girl
1:25:25
Speaker 9: and Moondance. I mean, so, you know, you can't complain there.
1:25:29
Speaker 9: But yeah, I'm, I'm with you too. I'm like, okay,
1:25:32
Speaker 9: this is just, this is a.
1:25:34
Speaker 5: It's a Van Morrison song. Yeah. It could just be
1:25:37
Speaker 5: off his new album, but it's off the soundtrack.
1:25:39
Speaker 9: It's like, I got this song. It's, you know, it's
1:25:41
Speaker 9: in my car. Let me, let me see if I
1:25:43
Speaker 9: can get it for you.
1:25:44
Speaker 5: This was the one we cut off that last album,
1:25:46
Speaker 5: but I'd like to do something with it. You guys.
1:25:48
Speaker 9: It has three chords, you know, so it's not like,
1:25:51
Speaker 9: you know, we're going to have a hard time performing it.
1:25:54
Speaker 5: So. I've also not heard great things about Belfast for
1:25:57
Speaker 5: people who kind of like him as a filmmaker. This
1:26:00
Speaker 5: is like a weird, supposed to be personal story, but
1:26:03
Speaker 5: nobody else is responding to it. So it's weird that
1:26:05
Speaker 5: he even got nominations because yeah, it's Kenneth Branagh and like,
1:26:10
Speaker 5: but most people who like his stuff are like, yeah,
1:26:12
Speaker 5: this one's kind of an off movie for him. So
1:26:16
Speaker 5: I don't know. It's a weird, a weird choice. I
1:26:20
Speaker 5: don't know. It's just weird. I guess pairing it up
1:26:22
Speaker 5: with this, but right. Let's just move on to Johnny Greenwood.
1:26:27
Speaker 9: Let's do it.
1:26:27
Speaker 17: Yeah.
1:26:28
Speaker 9: This is another songwriter from an old band that we know.
1:26:31
Speaker 5: Because we're old people.
1:26:33
Speaker 10: That's right.
1:26:34
Speaker 9: Well, this is a generation after.
1:26:35
Speaker 5: You ever heard of that Radiohead, kids?
1:26:37
Speaker 9: That Radiohead? Yeah, exactly. He was born in 1971.
1:26:40
Speaker 5: I was like, I remember when Radiohead was on that
1:26:45
Speaker 5: new songs tape that I got. Tape. I said tape.
1:26:48
Speaker 2: Tape, yes.
1:26:48
Speaker 5: Look that up, kids. You'll have to Google it.
1:26:50
Speaker 9: And they later went to CD, so.
1:26:53
Speaker 5: Yeah. I think originally the first thing I saw was
1:26:55
Speaker 5: the video. I would get a videotape. Maybe some of
1:26:59
Speaker 5: you old people used to get this too. They made
1:27:02
Speaker 5: like a, it was a thing that was around for
1:27:04
Speaker 5: a couple of years and they would put out like
1:27:06
Speaker 5: the new hot songs and the videos that accompanied them
1:27:10
Speaker 5: were on this VHS.
1:27:11
Speaker 12: VHS.
1:27:12
Speaker 5: That had like 10 songs on it and like they
1:27:14
Speaker 5: would mail it to you. And I don't even remember
1:27:17
Speaker 5: how I got involved in this, but somewhere in a box,
1:27:19
Speaker 5: I have like 15 of those things. And that was
1:27:22
Speaker 5: the first time I'd never even heard of Radiohead or
1:27:25
Speaker 5: Creep before. And like, I saw that and I was like, Ooh,
1:27:27
Speaker 5: I was like, what is this? Like, so I genuinely
1:27:31
Speaker 5: really liked Creep that first time I heard it. And
1:27:34
Speaker 5: most of what they did later is very different than
1:27:36
Speaker 5: that first album. But I, I responded to that. So
1:27:39
Speaker 5: I think from the get go, they were like an interesting,
1:27:42
Speaker 5: different kind of a band and, But watching what Johnny
1:27:45
Speaker 5: Green has become over the years is like really impressive
1:27:48
Speaker 5: because it is a different move even than what Radiohead does.
1:27:52
Speaker 9: A little bit, yeah. And I sort of attribute or
1:27:57
Speaker 9: parallel it to what Trent Reznor did.
1:28:00
Speaker 12: Yeah, definitely.
1:28:01
Speaker 9: And certainly going from the band, the songwriting world to
1:28:06
Speaker 9: film scoring. It's not a, you know, you don't just
1:28:11
Speaker 9: wake up one day and go, you know, I think
1:28:13
Speaker 9: I'll just do this. It's an undertaking, yeah. It is
1:28:17
Speaker 9: a little bit of a transformation. So it's kind of
1:28:19
Speaker 9: interesting to hear what songwriters do when they traverse over
1:28:24
Speaker 9: to that world to film scoring. But yeah, did I
1:28:28
Speaker 9: tell you I arranged two songs from their In Rainbows album?
1:28:32
Speaker 5: For your own production?
1:28:33
Speaker 9: For Orchestra. Interesting. Yeah, there's a group called Orchestra Enigmatic.
1:28:37
Speaker 9: That was in Louisville. This was a... Yes, I said Louisville.
1:28:41
Speaker 9: It's Louisville, sorry.
1:28:43
Speaker 5: If you're from here, you have to garble it into
1:28:45
Speaker 5: a mess. That's what we do.
1:28:46
Speaker 9: I'm trying to approach the wide audience, right?
1:28:49
Speaker 5: We are international, so feel free to pronounce it the
1:28:52
Speaker 5: right way.
1:28:53
Speaker 12: Right, exactly.
1:28:53
Speaker 5: Not the way we do it in Lul.
1:28:55
Speaker 9: Yeah, in Lul.
1:28:56
Speaker 6: So, yeah, I.
1:28:59
Speaker 9: Arranged uh weird fishes and house of cards and uh
1:29:03
Speaker 9: anyway it was performed at the speed art museum was
1:29:05
Speaker 9: a lot of fun uh but basically how complicated was
1:29:08
Speaker 9: you know what it was like chord progression wise it
1:29:12
Speaker 9: was not complicated but orchestrationally it was a fun project
1:29:17
Speaker 9: because what they do in their music and you know
1:29:20
Speaker 9: this is from the in rainbows album is uh for
1:29:23
Speaker 9: for a lot of them they they take a chord progression,
1:29:25
Speaker 9: they repeat it, but then they add layers upon layers.
1:29:29
Speaker 9: And so as the song goes on, you get different
1:29:34
Speaker 9: harmonies each time, you get different effects and so forth.
1:29:37
Speaker 9: And so as an orchestrator, that was kind of a
1:29:40
Speaker 9: fun thing to do with just, because they do it electronically,
1:29:43
Speaker 9: they do it with instruments, but I just had a
1:29:46
Speaker 9: standard orchestra. So that was a lot of fun. It
1:29:49
Speaker 9: kind of reminds me of what The Cure did, for instance,
1:29:51
Speaker 9: in their song Homesick. They start out, The little progression
1:29:54
Speaker 9: gets more involved as it goes on. But this one,
1:30:00
Speaker 9: I like the fact that he's not afraid to travel
1:30:05
Speaker 9: outside what I'll call the harmonic box. In this particular film,
1:30:12
Speaker 9: he uses, for instance, a detuned piano, as he calls it.
1:30:16
Speaker 9: yeah which is a sound world i like i think
1:30:18
Speaker 9: there's something nostalgic about a detuned piano playing a simple
1:30:21
Speaker 9: melody or chord progression.
1:30:23
Speaker 5: And actually ties to the movie as well so it's
1:30:26
Speaker 5: not just random like it is a that piano in
1:30:29
Speaker 5: the movie is kind of a big part of the
1:30:31
Speaker 5: story going on there or at least between the characters
1:30:34
Speaker 5: of working in the uh the kirsten dunst character and
1:30:38
Speaker 5: how she like fits into this family or doesn't so
1:30:41
Speaker 5: it's right it's functional as well as being kind of
1:30:44
Speaker 5: artistic it Right.
1:30:45
Speaker 9: Absolutely. You know, and if you want to listen to
1:30:47
Speaker 9: the cues like paper flowers would be a good one
1:30:49
Speaker 9: to listen to. And he also does this, you know,
1:31:07
Speaker 9: not with the actual piano, but kind of it gets
1:31:10
Speaker 9: out of his his own approach to you know from
1:31:14
Speaker 9: the songwriting uh to let's say if you listen to
1:31:17
Speaker 9: the cube best friends uh very interesting and dynamic and
1:31:21
Speaker 9: rich harmonic sound world.
1:33:09
Speaker 9: So I really liked it. I mean, I think there's some,
1:33:12
Speaker 9: you can hear some influences of his days, you know,
1:33:17
Speaker 9: as a band member of Radiohead. You know, he incorporates
1:33:20
Speaker 9: some of that raw sound. You know, that's what I
1:33:22
Speaker 9: liked about Radiohead was that, you know, what you heard,
1:33:25
Speaker 9: what you saw is what you heard. And that's pretty
1:33:28
Speaker 9: much it wasn't polished. in the, um, let's, let's put, uh,
1:33:32
Speaker 9: let's make it fake or, you know, you know, it's,
1:33:35
Speaker 9: they made you feel like you were in the room
1:33:38
Speaker 9: with the band and it was a raw and, and
1:33:41
Speaker 9: beautiful sound. Uh, and I think he does that with
1:33:44
Speaker 9: a couple of the cues, um, like mimicry, for instance,
1:33:47
Speaker 9: where you have the violin playing, this is just, um,
1:33:51
Speaker 9: you know, I, I like that approach that they've always
1:33:54
Speaker 9: taken with their music. And so this, This one for
1:33:57
Speaker 9: me was probably one of the top as well. In
1:34:00
Speaker 9: addition to, you know, Iglesia's soundtrack, you know, I think
1:34:04
Speaker 9: that Johnny Greenwood really made this score dynamic. And so
1:34:09
Speaker 9: I thought, yeah, thumbs up.
1:34:12
Speaker 5: This one's really good. This is one of those that
1:34:14
Speaker 5: falls on that other side, though. It's like it's so good,
1:34:17
Speaker 5: but yet it's so tied to what's going on on screen.
1:34:20
Speaker 5: And the bleakness of the sound matches the bleakness of
1:34:24
Speaker 5: the screen perfectly. So trying to listen to it on
1:34:26
Speaker 5: its own is a little more difficult, I feel like.
1:34:29
Speaker 5: Whereas the Iglesia stuff, I have no problem with that.
1:34:32
Speaker 5: That I would listen to just whenever. But I feel
1:34:35
Speaker 5: like it's going to be hard to detach from the
1:34:37
Speaker 5: movie and come back to what's going on in Power
1:34:39
Speaker 5: of the Dogs score. But again, I think it's really good.
1:34:44
Speaker 5: I think the sort of sparse guitar thing fits the
1:34:48
Speaker 5: dynamic of this landscape that we're looking at and these
1:34:53
Speaker 5: characters that like, it's such a, you know, you get
1:34:55
Speaker 5: to those tracks and it's really fitting, but then he
1:34:59
Speaker 5: can do so much more once we get further into
1:35:01
Speaker 5: the movie. So it's, yeah, it's, it's a nice balance of, again,
1:35:05
Speaker 5: just him, him doing what he does, but finding a
1:35:07
Speaker 5: way to, to kind of channel it into the specifics
1:35:11
Speaker 5: of this movie.
1:35:12
Speaker 9: Yeah, absolutely.
1:35:13
Speaker 5: You did remind me. We're not talking about Trent Reznor
1:35:16
Speaker 5: this year. No, we're not. That's weird. And then I
1:35:19
Speaker 5: had to look it up. I was like, he, He
1:35:21
Speaker 5: did two last year, so I guess he took a
1:35:24
Speaker 5: little rest this time. Yeah, he did Manc and Soul
1:35:26
Speaker 5: last year.
1:35:27
Speaker 9: Yeah, he did a couple.
1:35:28
Speaker 5: So he's, I guess, taking a vacation.
1:35:30
Speaker 9: Yeah, he's like, okay, I already won.
1:35:32
Speaker 5: He's on a Pixar popcorn episode that may just be
1:35:38
Speaker 5: clips from Soul. And 22 vs. Earth short.
1:35:43
Speaker 12: Yeah.
1:35:44
Speaker 5: Don't know what either of those are.
1:35:45
Speaker 2: Well.
1:35:46
Speaker 5: I guess the Pixar.
1:35:46
Speaker 9: Well, still with that, he's still averaging, you know, a
1:35:49
Speaker 9: nomination a year.
1:35:49
Speaker 5: So yeah. So he's still, he just got one ahead.
1:35:52
Speaker 5: He's just like, I can take it. I can take it.
1:35:55
Speaker 5: I'll get two in 2020. I can coast for a
1:35:57
Speaker 5: whole extra year now. Right. That was just an observation.
1:36:00
Speaker 5: I was like, oh yeah, lately we seem like we're
1:36:03
Speaker 5: always talking about Trent Reznor. So it was interesting. Yeah.
1:36:06
Speaker 5: Now we're just back to Johnny Greenwood, who we also
1:36:08
Speaker 5: were always talking about. Right. They're becoming, it is funny
1:36:11
Speaker 5: that like it's, You watch that because I noticed that
1:36:13
Speaker 5: with so many directors now that I thought of as
1:36:16
Speaker 5: new up-and-coming directors. And now I'm like, oh no, they're
1:36:19
Speaker 5: just the regular, you know... directors of the moment now.
1:36:23
Speaker 5: It's like they aren't new anymore. They've been doing this
1:36:26
Speaker 5: for 20 some odd years. Again, as old people, I
1:36:30
Speaker 5: forget that they've sort of handed the baton.
1:36:32
Speaker 9: You forgot 20 years was actually 20 years.
1:36:34
Speaker 5: Ago, not yesterday. It's like the John Williams of the
1:36:37
Speaker 5: world have come, hey, here, Johnny Greenwood, take this for me.
1:36:41
Speaker 5: He's still out there working, but Johnny Greenwood's kind of
1:36:44
Speaker 5: moved into that place now. It's interesting once they sort
1:36:48
Speaker 5: of hand it off to the next generation.
1:36:51
Speaker 9: And that's definitely, that's yeah. Both of these guys.
1:36:54
Speaker 5: Yeah.
1:36:55
Speaker 9: They're sitting at the throne. So yeah.
1:36:57
Speaker 5: As is Hans Zimmer. He's another one. Oh yeah. In
1:37:00
Speaker 5: that little club of like every year, one of these
1:37:02
Speaker 5: three guys, if not several of these guys are going
1:37:04
Speaker 5: to be in there.
1:37:05
Speaker 9: But Hans Zimmer didn't get nominated last year.
1:37:07
Speaker 5: I don't think. And he does a ton of work.
1:37:09
Speaker 5: So it seems like he had one, if not more
1:37:11
Speaker 5: than one in the running. So yeah. Sometimes they got
1:37:15
Speaker 5: to snub somebody.
1:37:16
Speaker 9: That's right.
1:37:17
Speaker 5: But not our next and final artist. So, Billie Eilish.
1:37:23
Speaker 5: I like Billie. I've always been on board with her.
1:37:25
Speaker 5: I've liked her since, I don't think I realized what
1:37:28
Speaker 5: a goofy kid she was when she started. I think
1:37:30
Speaker 5: she was already making music and I had seen the
1:37:34
Speaker 5: videos and I knew the weird album covers and like
1:37:37
Speaker 5: she was known as an artist already so quickly that
1:37:40
Speaker 5: I think it was like that first year that I went, wait,
1:37:43
Speaker 5: she's how old? I was like, I assume she was
1:37:45
Speaker 5: at least 20, you know? It's like, she started so
1:37:48
Speaker 5: young and had so much success that it's like, it's
1:37:51
Speaker 5: impressive that she's continued to deliver. Like she didn't immediately
1:37:55
Speaker 5: burn out. Like some artists do when they start that
1:37:57
Speaker 5: young again, going back to me, I think at least
1:38:00
Speaker 5: this was her doing. I think her and her brother
1:38:02
Speaker 5: took it upon themselves. It wasn't a parents shoving it
1:38:06
Speaker 5: down their throats every day here. You're going to practice. Like, right.
1:38:09
Speaker 5: I feel like it was very natural for her and
1:38:11
Speaker 5: her brother to, you know, just move into this territory.
1:38:14
Speaker 5: And luckily she's super talented. So, Yeah, I've always kind
1:38:18
Speaker 5: of liked what she did. This is also a returning thing.
1:38:22
Speaker 5: Pretty much every year there is a Bond movie, the
1:38:25
Speaker 5: song gets nominated because there's only so many songs. And
1:38:28
Speaker 5: the Bond song is a big one.
1:38:30
Speaker 9: Thing so well and i was i was just thinking
1:38:33
Speaker 9: you know when i listened to it you know it
1:38:34
Speaker 9: was the typical james bond song you know and billy eilish.
1:38:39
Speaker 5: Even more so for this bond because i feel like
1:38:42
Speaker 5: he's a very different bond than what we've had in
1:38:44
Speaker 5: previous incarnations yeah he's a very moody quiet bond And
1:38:50
Speaker 5: this is a moody, quiet song. Right. I mean, so
1:38:53
Speaker 5: much so that, like, every time I'm like, did the
1:38:56
Speaker 5: track start? Oh, it is started.
1:38:57
Speaker 9: Okay.
1:38:58
Speaker 5: Like, it starts so quiet that every time I'm like,
1:39:02
Speaker 5: I did hit play, right? Oh, yeah, it's playing. All right. Like,
1:39:04
Speaker 5: she just eases into this track. Like, some of her
1:39:07
Speaker 5: other songs are quiet, but maybe none as much as
1:39:10
Speaker 5: this one. Like, this is a very quiet song.
1:39:12
Speaker 9: So, yeah. Well, she's got this smoky voice, and I
1:39:18
Speaker 9: think that kind of worked for the James Bond song.
1:39:22
Speaker 5: If I have my complaint, and I thought this the
1:39:25
Speaker 5: first time, and I don't know that Billy specifically fought
1:39:29
Speaker 5: against this or just wasn't thrown at her, but normally
1:39:33
Speaker 5: in any song that gets handed the honor of being
1:39:38
Speaker 5: the James Bond song of the movie, the big one
1:39:41
Speaker 5: that they pick and play over the end credits... They
1:39:44
Speaker 5: usually work in the theme. And like really for as
1:39:48
Speaker 5: quiet as the rest of this was, I felt like
1:39:50
Speaker 5: the buildup at the end should have been with a orchestra.
1:39:56
Speaker 5: Like it needed to work in that big Bond theme
1:39:59
Speaker 5: as like the big outgoing like push, like the big ending.
1:40:03
Speaker 5: And like it just kind of ends and it's not there.
1:40:06
Speaker 5: And I'm like, Billy, what are you doing? Right. But. Again,
1:40:10
Speaker 5: I like what she does. I like what she does
1:40:12
Speaker 5: with this song. I just feel like, again, if you're
1:40:14
Speaker 5: going to make a cheesy James Bond song, go ahead
1:40:17
Speaker 5: and use the theme. Like, I'm sure they'll license that
1:40:20
Speaker 5: right to you. It's part of the franchise. So.
1:40:22
Speaker 9: Right.
1:40:23
Speaker 5: I think it would have helped to throw that in there.
1:40:24
Speaker 5: I think it would have given it a little something that,
1:40:27
Speaker 5: you know, certainly if it's going to be in the movie,
1:40:28
Speaker 5: you might as well. But I think it would have
1:40:30
Speaker 5: helped it not be so quiet if you went with
1:40:33
Speaker 5: a big push at the end that, you know, finished
1:40:35
Speaker 5: up with the big orchestra Bond theme.
1:40:38
Speaker 2: So.
1:40:39
Speaker 10: Right.
1:40:39
Speaker 5: That's my suggestion.
1:40:40
Speaker 9: I admit, I have not seen this movie, so.
1:40:44
Speaker 5: I have, and I won't ruin it for you.
1:40:46
Speaker 10: Okay.
1:40:46
Speaker 9: All right.
1:40:48
Speaker 5: There are things to ruin more than most Bond movies,
1:40:50
Speaker 5: I suppose. Uh-huh. Okay. Like I said, he is a
1:40:53
Speaker 5: very different Bond, and I enjoyed him, but now that
1:40:58
Speaker 5: he's moving on, it'll be interesting to see if they
1:41:00
Speaker 5: go back to a more fun Bond, because... daniel craig
1:41:04
Speaker 5: never seemed like he as the actor was having fun
1:41:07
Speaker 5: nor was his james bond the character ever having fun
1:41:11
Speaker 5: right like roger moore was living it up like that
1:41:13
Speaker 5: guy had a ball playing james bond right and like
1:41:16
Speaker 5: connery too so it's like most of our you know
1:41:19
Speaker 5: big versions of james bond even pierce bronson.
1:41:21
Speaker 9: Had fun yeah he was gonna say bronson yeah but
1:41:24
Speaker 9: yeah this bond was like the most brooding and i
1:41:27
Speaker 9: know that's what they were trying to do they were
1:41:29
Speaker 9: doing the again it's the dark.
1:41:30
Speaker 5: Knight let's do a dark reboot of james bond so
1:41:33
Speaker 5: like that's what they did and it works on its
1:41:36
Speaker 5: own level but at the same time i'm like you
1:41:38
Speaker 5: guys know what james bond is right he's supposed to
1:41:42
Speaker 5: be having fun he knows he's a secret agent and
1:41:44
Speaker 5: he's having a great time being a secret agent and
1:41:47
Speaker 5: yeah he is just tortured the entire five movie span
1:41:51
Speaker 5: is just like this guy is just miserable.
1:41:54
Speaker 9: I don't want to do this job.
1:41:55
Speaker 5: He does it. Like he's miserable every step of the way.
1:41:58
Speaker 5: And like, it's interesting to see as a character, but
1:42:01
Speaker 5: also I'm like, are you sure he's James Bond? Like,
1:42:05
Speaker 5: I feel like you could have done another spy movie
1:42:08
Speaker 5: about this brooding, you know, aging spy that doesn't want
1:42:11
Speaker 5: to do this anymore. That could have been a cool thing. Right.
1:42:14
Speaker 5: But it's not really James Bond. I'm like, I know
1:42:17
Speaker 5: you're doing a different thing with it. But so again,
1:42:20
Speaker 5: the song's fitting for that reason.
1:42:23
Speaker 9: It's like Rambo. Rambo wasn't too thrilled to go back
1:42:26
Speaker 9: to work either. He seemed really kind of annoyed.
1:42:29
Speaker 5: I just want to wander around the country and not
1:42:32
Speaker 5: get hassled by some cops. Is that too much to ask? Right.
1:42:35
Speaker 5: But no, they keep pulling me back in. So, yes,
1:42:41
Speaker 5: it'll be interesting to see where they go with Bond
1:42:44
Speaker 5: in the long run. But for now.
1:42:47
Speaker 9: But for now.
1:42:48
Speaker 5: We've got no time to die. So before we round
1:42:51
Speaker 5: it out with that, anything else you want to pass
1:42:53
Speaker 5: along to people or anything interesting you're doing you'd like
1:42:57
Speaker 5: to bring up?
1:42:59
Speaker 9: Yeah, well, I'm actually going to get a premiere of
1:43:02
Speaker 9: a piece of mine. We were talking about this last time,
1:43:04
Speaker 9: the America By Project, where I'm writing music about the
1:43:08
Speaker 9: cities or the towns where these orchestras reside. And so
1:43:12
Speaker 9: my next project is going to take place. with the
1:43:15
Speaker 9: JMU Symphony Orchestra. This is March 5, and it's going
1:43:19
Speaker 9: to be about the Shenandoah region. And what we did
1:43:23
Speaker 9: with this is I'm going to accompany this piece with
1:43:28
Speaker 9: a film that has drone shots. It has various different
1:43:34
Speaker 9: captures of the Shenandoah Valley and so forth, but also
1:43:39
Speaker 9: a dance element by a dancer from the Louisville Ballet,
1:43:44
Speaker 9: and Ashley Thursby. And we're actually going to do it
1:43:50
Speaker 9: twice in the concert performance. So we're going to give
1:43:53
Speaker 9: like basically during the first half of the program, we're
1:43:56
Speaker 9: going to play it. And then we're going to do
1:43:58
Speaker 9: like a little interview in the middle called the info
1:44:01
Speaker 9: mission instead of the intermission. And then the last half
1:44:05
Speaker 9: of the concert is going to be the music with
1:44:08
Speaker 9: the actual film. being played. So they're going to darken
1:44:11
Speaker 9: the lights and it's going to be a film score basically.
1:44:14
Speaker 9: So I get to have a little bit of film
1:44:17
Speaker 9: like experience or premiere this coming March. So it's going
1:44:21
Speaker 9: to be, yeah, really exciting year. And I think in general,
1:44:24
Speaker 9: probably a lot of composers can say this too, that
1:44:27
Speaker 9: 2022 is going to be a floodgate of performances because everything.
1:44:30
Speaker 5: Was pushed back to 2022.
1:44:32
Speaker 9: Yeah, exactly. So, so yeah, I'm really excited about this
1:44:37
Speaker 9: year on the musical level. So.
1:44:39
Speaker 5: Very cool.
1:44:40
Speaker 9: That one sounds interesting. Yeah.
1:44:42
Speaker 5: Well, we will return. I was going to tell you,
1:44:46
Speaker 5: I know the sad thing is I don't think about
1:44:49
Speaker 5: this until it's time again because, as I've said, time
1:44:53
Speaker 5: moves totally different now as the old man that I am. And, like,
1:44:57
Speaker 5: I will think about we're doing this episode and then, like,
1:45:01
Speaker 5: a blink will go away. And like, oh, we got
1:45:03
Speaker 5: to do this again? Like, it's time already?
1:45:05
Speaker 15: Right.
1:45:05
Speaker 5: So I forget, but you're welcome to do other episodes
1:45:09
Speaker 5: if you want. I just get so sidetracked on this
1:45:13
Speaker 5: and then keeping the other episodes going. And next thing
1:45:15
Speaker 5: I know, we're back doing this again. So if there's
1:45:17
Speaker 5: anything else you'd like to do musically along the way,
1:45:19
Speaker 5: you are free to join in. I just get sidetracked
1:45:23
Speaker 5: on keeping everything going. And next thing I know, it's
1:45:26
Speaker 5: Oscar time again. And here we are.
1:45:27
Speaker 9: I know the feeling. Yeah, it goes by really quickly.
1:45:29
Speaker 5: It really does. Yeah. If nothing else, hopefully next year
1:45:33
Speaker 5: we'll be doing this again, but if anything comes up
1:45:36
Speaker 5: between now and then, you're welcome to come talk about
1:45:39
Speaker 5: music or movies. We can just watch a movie for
1:45:41
Speaker 5: a while. Absolutely.
1:45:42
Speaker 9: I like that.
1:45:45
Speaker 6: All right.
1:45:46
Speaker 5: Well, thank you for joining me. Thank everyone out there
1:45:50
Speaker 5: for listening, and you've now checked off. You've heard all
1:45:53
Speaker 5: the songs nominated. You've got a good handle on the scores,
1:45:56
Speaker 5: so you're ready to watch the Oscars if anybody did
1:45:59
Speaker 5: that anymore. I feel like it's losing steam as the
1:46:02
Speaker 5: years go on. People are less and less engaged in
1:46:05
Speaker 5: the Oscars. So that's almost why I still want to
1:46:08
Speaker 5: do this, because I feel like not that many people
1:46:10
Speaker 5: are even going to watch the show. But it's good
1:46:12
Speaker 5: to know what got nominated, because those are still some
1:46:15
Speaker 5: of them, not all. Some of them are a good
1:46:17
Speaker 5: example of what came out last year and, you know,
1:46:20
Speaker 5: the better stuff to look for. So it's good to
1:46:23
Speaker 5: kind of get a handle on what came out musically
1:46:26
Speaker 5: in film wise in the last year so that's what
1:46:29
Speaker 5: is sort of good about these episodes and then whether
1:46:31
Speaker 5: or not you watch the oscars is up to you
1:46:33
Speaker 5: so all right well we were rounded out with billy
1:46:39
Speaker 5: here she's already going you didn't notice it because it's
1:46:42
Speaker 5: very quiet but she's gonna ease her way in and
1:46:45
Speaker 5: round us out so with that i will remind you
1:46:47
Speaker 5: get a life we'll provide the soundtrack.
1:47:02
Speaker 15: I should have known I'd leave alone Just a ghost
1:47:19
Speaker 15: to show That the blood you bleed is just the
1:47:25
Speaker 15: blood you own.
1:47:30
Speaker 3: We were a pair But I saw you there Too
1:47:45
Speaker 3: much to bear.
1:47:48
Speaker 15: You were my life, but life is far away from fair.
1:47:55
Speaker 15: Was I stupid to love you? Was I reckless to help?
1:48:02
Speaker 15: Was it obvious to everybody.
1:48:06
Speaker 4: Else that I fall in for a lie?
1:48:16
Speaker 2: You were never alone.
1:48:20
Speaker 3: Side Fool me once, fool me twice Higher death or paradise.
1:48:32
Speaker 2: You see me cry There's just no time to die.
1:48:51
Speaker 3: I let it burn You're no longer my concern.
1:49:04
Speaker 2: Faces from my past return Another lesson yet To learn
1:49:10
Speaker 2: That I'd fallen.
1:49:13
Speaker 4: For a.
1:49:20
Speaker 15: Lie You and I.
1:49:29
Speaker 3: Fool me once, fool me twice All your death, a.
1:49:35
Speaker 4: Paradise Now you'll never.
1:49:38
Speaker 3: See me cry There's just no time.
1:49:44
Speaker 4: To die No time to die No time to.
1:49:49
Speaker 1: Die I know it's hell and day.
1:50:09
Speaker 2: Fool me once, fool me twice.
1:50:13
Speaker 4: I had death and paradise Now you'll.
1:50:18
Speaker 6: Never see me cry.
1:50:25
Speaker 5: There right there is where the james bond theme kicks
1:50:28
Speaker 5: in right and the credits roll and we all applaud
1:50:31
Speaker 5: and we're like yay james bond will return come on
1:50:35
Speaker 5: billy put it in there exactly the broccolis will give
1:50:37
Speaker 5: it to you come.
1:50:38
Speaker 9: On maybe they need the right actor maybe this one's
1:50:42
Speaker 9: a little too like i don't want to retire where's my.
1:50:45
Speaker 5: 401k i'm ready to get out of here Got some
1:50:47
Speaker 5: Knives Out movies to make. I don't have time for
1:50:49
Speaker 5: this James Bond nonsense. This episode is a production of
1:50:51
Speaker 5: Movie Meltdown, produced and edited by The Oddity Studios. For
1:50:55
Speaker 5: more on how to sponsor or support the show, email
1:50:57
Speaker 5: producer at moviemeltdown.com.
1:50:59
Speaker 6: Aloha!
1:51:02
Speaker 2: Aloha!
1:51:03
Speaker 4: Talk hard!
1:51:10
Speaker 5: This program is a proud member of the Battleship Pretension Fleet.