Notes from the Manager
Ngh. Sorry, I got a little too serious this time, I think. I won't make too much of a habit of this sort of strip, but after I saw the full trailer at Apple's Quicktime Trailers page last night, I couldn't stop thinking about it, and it screwed any chance of doing something else this week.
I don't want people to think — as I've seen around the internet, in forums or whatever — that Multipex is a "movie review comic," à la Joe Loves Crappy Movies and Popcorn Picnic (both of which I love and highly encourage you to read). It's not… well, not usually. I guess this time is sort of a movie trailer review. But usually, the characters aren't stand-ins for myself, and their opinions are often not in any way related to my own. In some cases — such as the Saw II strip, way back when — I haven't even seen the movie the gang is talking about.
Me, I'm on the fence about the Marie Antoinette trailer. I'll definitely see the movie, though. (I loved Lost in Translation and The Virgin Suicides way too much to not see whatever Sofia Coppola does next.) Becky and Jason are saying a few of the thoughts I've had running through my head, but I can't honestly say I like it (like Jason, whose opinion is usually closest to my own) or not (like Becky). As Becky says, I do think it looks perfect. But what is the deal with the New Order song? One of my favorite things about period films is the period music, so hearing an 80's New Wave pop song (not to mention the black and hot pink movie poster) took me aback, just a bit. I even love that song, but what does it have to do with the film? Is "Age of Consent" even going to be in the movie? The shot of people dancing, thankfully, does look like they're dancing to 18th-century-appropriate music, but you never know.
I know the film's original score will be by Air, a French band that I used to consider one of my favorites until they unleashed 10,000 Hz Legend on the world and made me want to stab my ears out. (Their latest album, Talkie Walkie, is pretty good, but they will never totally compensate for the wretchedness of their second album.) Air's Virgin Suicides score was really good, and I hope they'll adapt their talents to the subject matter well. But again, you never know.
I guess what I'm saying is, I hope we get something a little closer to Vangelis's slightly (but not jarringly) anachronistic, synth-laden score for Chariots of Fire and as far away from the "We Will Rock You"-sporting Knight's Tale as possible.
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Sunday, March 1, 2015
I was never a huge Star Trek fan, exactly. I love some of the early episodes, and I think Star Trek II: The Wrath of Khan is one of the greatest
science fiction movies of all time. I enjoyed Star Trek III and IV, too, for what they were. I read a bunch of the DC Comics Star Trek stuff at that time, because my brother bought them. And I watched a bit of the Next Generation and then fell off the wagon. Kirk and Spock were my Star Trek, and the Star Trek 2–4 “era” was its peak for me, warts and all, because that’s the “era” that really hooked me. And really, for me, it was all about Wrath of Khan.
In addition to playing Mr. Spock, of course, Leonard Nimoy did a lot of other things. He was on Mission: Impossible. He directed a few movies (Three Men and a Baby!). He was a photographer. He was the voice of Civilization IV. But one thing I really loved of his was Standby: Lights, Camera, Action, on Nickelodeon from 1982–1987, which provided a behind the scenes look at movies like Star Trek III, Return of the Jedi, 2010, and more. Nimoy hosted and occasionally interviewed guests like George Lucas. As a budding film nerd in the pre-Internet Dark Ages, behind the scenes specials like Standby: Lights, Camera, Action were hard to come by. I ate that show up.
Anyway, as you’re undoubtedly aware by now, Leonard Nimoy passed away on the 27th. As cartoonists do when they’re sad about these kinds of things, I drew a picture:
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