Malick has his fans and that is to be respected. But he's for everyone. Doesn't mean those people "don't get cinema." Tree of Life is the one film of his that achieves that dreamlike feeling of remembrance. But everything else feels very much like Horner is describing here. Grandiloquent, vague, poetic, scattershot, woozy and alienating affairs that are intellectually moving but too fragmented to connect emotionally. It's interesting to see the critical dive his films have received after Tree of Life. Seems more prolific Malick dilutes the special messianic reactions to is work when more time is in between them. The criticisms given to them now are what many about his work this whole time. He makes the same movie every time. And New World is a love story. That's a dishonest defense to say otherwise. The theme a ""new world" is important, but not the only aspect. Much time is spent with John Smith and unnamed Powhatan princess frolicking and pontificating in voiceover, indicating their love's importance to the non-narrative.
David duchovny y gillian anderson. Mis grandes personajes. Hummmmmm.... excelente mulder y la agente scully. Sin dejar de lado al fumador. Marco una epoca esta serie.
@@shuckslbj Thank you sir, I may do more MU330 covers in the near future. They are some of my favorite ska lines to play, and I agree I think he's an underrated player in the ska-punk world. Chumps on Parade has some really crazy stuff.
This has to be my favorite episode by far, I also absolutely loved the pilot episode, I always go back from time to time and replay this part, I love when he says "keep my Stars" God it gets me Everytime
From what Horner says, you’d think Malick would be surrounded by entirely different people on every film, so little faith would his crews have in him. And yet - his editors, his producers, his production designers, etc sign on again and again. You hear them discuss his films in interviews and refer to him as a genius. This interview smacks of sour grapes. Horner was a great composer, and the pieces of his music used in The New World are perfectly suited to the what we’re seeing in those scenes, but for him to paint Malick as someone with no instincts at all for how to use music in film - that’s some hilarious shit. Malick’s use of score and classical music in his pictures is almost second to none.
What a beautiful song.I lost my family.This song calms the hurt.I ve seen hurt as a combat medic in the Southafrican defence force in 86 and 87.I lost my dad three weeks ago.He was a submariner from 1950 till 1959 in the british navy.he fort in malay.When we had the wake.We stood up and said.Officer on deck.We saluted Him.A gentleman and a officer.
Hey man! This is a great bass cover. I actually wrote this song :) Our bass player Isaac wrote some crazy bass lines and it's great to see that people actually care about our music. Good times and great memories. Thanks for sharing!
Whoa, that's awesome! I found your music about 20 years after the fact through being a fan of The Hippos. The sound you guys had gave me teenage nostalgia and made me think of a simpler time. The same reason I will listen to The Hippos to this day. Oh and yes, I'm a sucker for busy ska basslines, haha. That was the first thing that stuck out to me listening to "Milkshake" for the first time. Thank you for commenting man!
@@BoredomEnsues No problem dude! The Hippos were a big influence of ours. We played with them a couple of times and Louis Castle (their trumpet player) actually wrote the lyrics to Girl, U Know I Need U with us after a show. Crazy times. How/where did you find out about our music?
@@taylorvansickle8756 I believe it was the Louis Castle connection. I think I might have been looking at the credits of Hippos members on one of those sites like Discogs and it led me to looking up your tunes. I also seem to recall someone mentioning you guys on the r/ska subreddit and talking about how you guys were similar in that you blended horns and keyboards. This was maybe 4 or 5 years ago.
@@nikosvault i understand why you’d make the distinction. But cinema is cinema and if you don’t understand that a director is going to use your music how they see fit, you’re kidding yourself. If you want your music to stand by itself you can perform on a stage. No one can misinterpret your music or misuse it in the medium of music. The medium of cinema/film is different.
Two different artists who couldn't comprehend one another. I can understand Horner's POV as much as I can understand Malick's POV, The logic of constructing and re-writing a film in the editing room in a totally free style almost anarchic manner is something a composer like Horner can not accept. But not all films can go by the book of Hollywood and obey the narrative way. I love James Horner scores as much as I love Malick's films. Perhaps Malick miscast Horner in this particular case despite the fact that he probably hired him admiring his musical sensibility. No doubt, having the final cut in such a huge picture is a big asset for a director and the way Malick works can drive everyone crazy and frustrated.
Horner was disingenuous on that front, though. Malick didn’t have final cut. The studio premiered the film and then told Malick and his editor Mark Yoshikawa they had two weeks to trim 15 minutes from the film before it was released nationwide. Horner has invented swathes of his version of what happened and misrepresented what many of Malick’s collaborators felt about the process and the finished product. When you watch the Criterion special features, you see editor Hank Corwin lose his shit about it at one point.
Incredible to hear all this as someone who didn't see it when it came out, didn't have a sense of these post-production issues, didn't have a preconcieved notion of it as a minor work or flop etc. No disrespect to James Horner - I'm sure this was far from an ideal experience - but in my opinion the New World is not only one of the greatest films ever, but also has basically the most effective use of music in any movie I can think of. The repetition of the Wagner piece is almost unbearably powerful.
