Not sure I see how “keep your mouth shut” is really part of the deal. 

The magnificent award-winning score of Star Wars (1977) was overshadowed by sound effects when the Special Edition was done and released, because Ben Burtt, whose sound effects work remains nonetheless amazing, took over the re-editing job. The right balance of score and effects was gone. A shame, really.

Even if I was paid well, I’d be kind of pissed if I worked incredibly hard on something only to have upper management screw up the end result and then stick my name on it regardless. But that’s just me.

Why don’t you fuck up

Fucking SNORE on you

The new composer for The Woman In The Window is Danny Elfman.
So we can just swap out that quip with “even if they usually just do variations on circus beats and choirs going ‘la la la la la la la la’ (listen, it’s December 26, nobody’s gonna stop us from getting real today)“

I’m guessing there were other projects he put on hold to do that, and maybe that’s more where he was coming from. Plus, now, anything he and Atticus made for that film cannot be re-submitted to any future projects if he wants another Academy Award.

Fun Fact: If you would have bought stock in Netflix when first issued in 2002 you would be enjoying right now a 31,260% return on your investment.

If you hire Trent Reznor to score your movie, you showcase that. Otherwise, it’s like buying a brilliant piece of art and putting it in a dark corner in the guest bedroom. What’s the point? 

Holy shit, Bird Box came out in 2019. This year has gone on forever

“even if they usually just do variations on moody bleeps and ominous droning (listen, it’s December 26, nobody’s gonna stop us from getting real today)“

One of my favorite scenes is where Sharon Tate goes to the movies and sees the real The Wrecking Crew and it’s the real Sharon Tate onscreen. We see Robbie’s character doing what the real Sharon Tate was denied—just living and loving life.

Saw it this past weekend on a plane and loved it. Thought it was the best Tarantino since Inglorious Basterds. The final 15 are batshit insane and, frankly, too much (though Pitt shines during it), but the whole thing... I’m not a huge Decaprio fan, and thought he was excellent. Thought Pitt was better. It was just so…

There was zero Manson worship in this. In fact the ending was a revenge on Manson fantasy.

“Manson” worship here is same as the “Nazi” worship from “Inglorious Basterds” (I hate that spelling). In that it was an easy plot element that allowed for Tarantino’s “alternate history” theme to be repeated again, with flamethrowers, and Dicaprio. Tarantino just uses the biggest target of ire from the period to…

As someone who legit hates feet, that’s the one gripe of yours I do agree with.

The detail was stunning but in hindsight countless scenes had no real point.

You’re entitled to your very, very wrong opinion.

The sheer degree of Watchman knob-polishing on avclub is unreal, given how uninspired and hacky it all really is.

I’d say you’re right for the most part with “nobody over 25 has any business dating a 21-year old” but in this case it seems like they made a pretty solid connection. So they might be the rare exception to that rule. I agree with the rest of your advice about letting the ex live his life since he hasn’t tried to…