- John Debney's score to Predators was built to be a follow-up to Alan Silvestri's powerhouse score for Predator. I found it both wholly effective in the film and a very entertaining listen on La-La Land's soundtrack album. It would have rekindled my interest in the original score anyway, but then Intrada re-released a remastered edition of it! I really want to make a Predator mix, but I'm holding off for two reasons: the first is that I really hope for an expanded and remastered edition of Predator 2 (a great score as well), and the second is that apparently many of those who worked on Predators are quite interested in making another film, which is something I'd like to see given how much I enjoyed the new movie.
- I have to say I was completely captivated by Criterion's Blu-ray edition of Michael Powell and Emeric Pressberger's The Red Shoes. Not only is Jack Cardiff's Technicolor cinematography absolutely breathtaking, but the film itself is an intense and hypnotic experience, a masterpiece of two masters. It is visual and aural poetry, a fairy tale wrapped in a fairy tale, and if the characters are archetypes and their destinies fixed, it matters little as there is nothing else like The Red Shoes. The famed twenty-minute ballet sequence is a stunning piece of cinema at least twenty years ahead of its time.
Interesting essays on The Red Shoes by Doc M, Venicelion, Simon and Hal0000.
- Back in March, during the period that I wasn't posting, Dan and I mad plans to visit Aubree in San Francisco. We booked the flights back then, and since I'd been preoccupied with… well… just about everything. This trip has recently moved from being an abstract idea in the back of my mind to a much more practical concern, as I now have to start planning around it.
I'm looking forward to it; I haven't been on a real vacation since Nate's wedding back in '07.
I plan to listen to the James Conlon recording of Vertigo while I'm there at least once.
A PRODUCTION OF THE ARCHERS