ericvespe FIRST Member Star(s) Indication of membership status - One star is a FIRST member, two stars is Double Gold

from Austin, TX

  • Activity

    • Infinity War Trailer has been up for about 8 hours and has over 17 million views!

      1 month ago


      And that's just on the main Marvel YouTube channel. It's been copied and uploaded a few bazillion times, some of these videos having millions of views themselves. 

      If you missed it... well, it's awesome. Check it out and prepare to soil your pants a little teensy weensy bit. If you've already seen it, well watch it again like any sane human being would.

      Marvel's going big for their finale to this first trilogy of phases. So. Many. People. Are. In. This. Trailer. 

      We at The Know recorded a pretty nerdy in-depth breakdown of the trailer, so prepare your eyeholes for that.

      Stay tuned, nerds! It's a hell of a time for Marvel fans and a ::shakyhand:: time to be a DC fan, but still... we've taken over the world and this trailer is evidence of that. Our time is now!

    • Michael Giacchino, Germaine Franco and Camilo Lara talk about the music of Pixar's Coco!

      1 month ago


      Over the summer I visited the hallowed grounds of Pixar (of course I took an obligatory photo of the big Luxo Jr at the entrance... it's almost mandatory when you go there) and got to see a little bit of the behind the scenes of Coco. 


      One of the big focuses was on the music of the movie. Composer Michael Giacchino was on hand to talk about his score and so were Germaine Franco and Camilo Lara. Germaine was in charge of arranging the music and writing the actual songs and Camilo's job was to keep the movie authentically Mexican by making sure the source music wasn't just random Mariachi stuff that is in every Hollywood production set in Mexico.

      The reason why there was such a focus on the music is pretty self-evident when you see the movie. It's about a boy whose dream is to be a musician, but his family will not allow it. Music is the soul of this child and frankly it's the soul of their small town, who worship a deceased movie star/singer named Ernesto de la Cruz.

      The filmmakers needed to populate this town with music, give young Miguel the inspiration that sparks his passion, and for that to work it had to be authentic, which is where Camilo comes in. He's an expert on the broad tapestry of traditional Mexican music so he makes sure the music you hear playing in the town or in the town square (the source music) isn't fake Hollywood stuff.

      The second type of music are the original songs in the film, inspired by the various types of Mexican music, but do it as storytellers that support that story they're telling. That's what Germaine Franco was in charge of. She arranged both the original songs as well as some traditional Mexican tunes so that they melded together into one cohesive soundscape, taking particular inspiration from the Oaxaca region of Mexico.

      And then there's score, which was Giacchino's job. You know Giacchino's work from a million things. The Incredibles, JJ Abrams' Star Trek, Rogue One, Up, War for the Planet of the Apes, etc. The job of the composer is to bring emotion and themes to the music, something John Williams so masterfully did in his Star Wars score, for instance. Themes and motifs became one and the same with the visuals. When you hear his Force Theme you know some force stuff is going on or when the Imperial March kicks up you know Vader is near.

      I was able to talk to all three people during my visit. Below you'll find my interview with Michael Giacchino, Germain Franco and Camilo Lara. Enjoy!


      Eric Vespe: First of all, I wanted to start by telling you that your War for the Planet of the Apes score is one of my favorite scores of the year so far.

      Michael Giacchino: Aw, thanks. Matt Reeves is a great director. I love working with him.

      Eric Vespe: Since I have all three of you here in front of me I think we should talk a little about your collaboration. What is the creative process like since you're all bringing different kinds of music together that ultimately has to be one cohesive, rich sound.

      Michael Giacchino: Basically if you look at three aspects of what has to be done in the film you have songs, you have source music and you have score. Germaine and Camilo have been there since the beginning, since before I came on board. If you guys want to talk about how you started I can pick up when I came on board.

      Germaine Franco: Camilo started a month or so before me...

      Camilo Lara: It's been very interesting. It's a complex situation. I guess Michael needs to put some salt on the emotions, make it so you can show those feelings, and Germaine has been working on these amazing songs, which are instant classics. I'm so excited to see them blossom. I've been helping with the process of making sure the elements are Mexican.

      Michael Giacchino: He's our Mexican Obi-Wan Kenobi.

      Camilo Lara: I would say Yoda. (laughs)

      Eric Vespe: So you're here to keep Michael honest and make sure everything is authentic.

      Camilo Lara: In a way, but I am not a purist of Mexican music. I mean, I do Mexican music because I'm Mexican, but I guess it just needed to feel right. It needed to feel correct and you can tell that.

      Eric Vespe: Yeah, you can tell when you see a movie set in Mexico and they pull out the canned public domain Mariachi music or whatever.


      Michael Giacchino: That's exactly what we wanted to avoid. We wanted to make sure it felt truthful and it came from the heart of this country.

      Germaine Franco: From the beginning we had the mandate to keep it authentic, but also be able to tell a story. We took songs, some that you've heard before and some that were written that I helped arranged and orchestrate... The first thing I ever did was arrange and orchestrate the big extravaganza of de la Cruz singing. We thought “What would that be like in that golden age of Mexico meets Hollywood cinema?” and adding fantastic Mexican musicians into the tracks.

      Also, there's a lot of great Mexican musicians in LA and players that can play the style very well, including the guitarist you heard today. Every time we sent a demo or I did an arrangement, we kept that in mind. It's not just going to be a marimba score or a mariachi score. Even though that's great music, let's look at all the kinds of music that you hear and let's focus on certain styles and, as Camilo likes to say, smells of Mexico.

      Michael created a bunch of source music which we took down to Mexico and we got to collaborate with the musicians there. In addition to playing the traditional music we also had them play some of his source music. It's all been a really great situation. We all respect each other for what we each do, so it's a lot of camaraderie, a lot of nice experimenting and openness.

      Michael Giacchino: One of the things that I love so much about movies in general is that I can jump into a project and take on this whole other character. You know my music. I like it to fit the movie. If that means it needs a completely different orchestration idea I do it. This is a perfect project to come into and become what the soul and heart of Mexico is.

      I had a narrow window into that world through my dad's record collection, but then growing up and getting to work with these guys I learned so much more about it. Camilo sent me a list intially and I was like “Whoa! This is whole other ball of wax!” It was really incredible to go down that rabbit hole and trying to use that to tell the emotional story of the film.

      Eric Vespe: Music is emotion in movies. Your Up score is a perfect example. At the beginning of that film your music is the dialogue for Carl's life story. Maybe you guys can talk about shouldering that responsibility in a movie like this. You have hundreds, if not thousands, of people working here at Pixar to bring these characters to life, but ultimately if the score is jarring it can derail all that work they've done. Not to put more pressure on you guys...

      Michael Giacchino: The emotion is the number one thing in the back of my mind. Always. A film like this is so tricky because you could easily just put music everywhere. You could not care about throwing in source or score and let them bleed into each other, hoping no one would notice, but that's not what we wanted.

      One of my things talking with Adrian (Molina) and Lee (Unkrich) was saying that as important as figuring out where you want music is it's just as important to figure out where you don't. You want music, when it's there, to mean something, to have something to say. If it's just talking all the time it's like that person you get into a conversation with at a party that you just can not get away from and just won't shut up. So many movies do that and it's just like constant wallpaper.

      It was about how do we balance these three ideas: song, source and score, and get that to tell the story in a proper story in the same way you would if it was just score.

      Eric Vespe: You also want to give it personality, too, I bet. A lot of times that comes from happy accidents. How open were you guys to that?

      Germaine Franco: Totally open. That's the only way to be on a project like this, or any project. You have to keep experimenting. By experimenting you find what you're looking for. Sometimes you try four or five different versions and the first one is the best, but you only know that because you tried the other ways. That's one of the things that I learned from working with the Pixar team. Don't be afraid to try things. You don't have to make it a huge effort and try to make it perfect. Just see. Does that idea work? Oh, it doesn't. Here's another idea. Not having a preconceived notion of what the outcome has to be.

      In Mexico that was what was so beautiful. He were were sitting in a room with a lot of musicians, giving them charts of all these things. I didn't know if they would be able to play it, but I thought “let's find a way for them to engage with the music.” There's some source music that I think came out really beautiful because of that.

      Michael Giacchino: Oh, yeah. It's amazing to listen to. When you write something you have it in your head what you want it to sound like and you're maybe writing it just on the piano and then Germaine does these beautiful arrangements of these tunes and the next thing you know they come back and you're like “Oh, my God! That really sounds like it just came out of the country, like it had been there forever! How does that happen?!?” It's a crazy, wonderful magic trick.


      Coco is in theaters now and now you can go see it knowing even more about the thought put behind the music. 

    • Prepare Yourselves! First Trailer For Avengers: Infinity War Hits Tomorrow!

      1 month ago


      The wait is almost over, folks. Marvel announced that the trailer for Avengers: Infinity War debuts tomorrow! Hold on to your butts because it's all been leading up to this!

      There hasn't been an official announcement on time, but Good Morning America did say the trailer will debut during their show, which airs between 7 and 9am. I know I'm psyched.

      Marvel also dropped the new Teaser poster: 


      That should look a little familiar. All the Avengers posters have had the same motif, slightly tweaked to represent the movie it's advertising. Age of Ultron was all robotic and this one's purple as shit, which as we all know is Thanos' favorite color. 


      The culmination of a decade of record-breaking, industry-changing superhero cinema is almost here. Time to get excited, fellow nerds!

    • More Master & Commander Movies? Yes, please!

      1 month ago


      Welcome back! How was your Thanksgiving? Get into any arguments with racist grandparents? How much stuffing and gravy did you eat? That much?!? Oh, you! You're so crazy! 

      I spent most of my Thanksgiving finishing up as much of the Holiday Gift Guide as I could (click here to visit if you missed it). It's still a work in progress, but the massive Books section is going up very, very soon and Music is shortly behind it. We should have the full guide completely finished and posted in a couple of days, so stay tuned for that. 

      I'm taking a break from the Guide to share with you something that caught my eye on Twitter. Russell Crowe tweeted this interesting thing this morning: 

      "For the Aubrey Maturin lovers, I do hear whispers indeed that a second voyage is perhaps potentially pre-proposed a possibility. So O’Brian affectionate’s and aficionados, let know of your pleasure." 

      He's referring to a sequel to Master and Commander: The Far Side of the World, which was a GREAT movie. Straight up. If you missed it, fix that immediately. It's a Napoleonic era war movie, but it's not at all stodgy. In fact it plays more like a thriller as French and British naval captains play cat and mouse with each other on the high seas. 


      The movie was based on Patrick O'Brian's popular book series following Captain Jack Aubrey, who Crowe played. 

      Master and Commander was loved by critics and was a moderate success, but not a blockbuster, so a sequel was thought out of the question. The material is there, but studios don't tend to enjoy spending tons of money on a movie where they know they'll fight to just break even.

      Crowe's tweet doesn't mean too much. He could be trying to rally public support as a negotiation tactic in advance of a big pitch, but if he's right and Fox is open to the idea that could be great news, especially if they can get Peter Weir back in the director's chair. 

      Next year marks the 15th anniversary of this film's release, which is crazy. Maybe Crowe's aged out of the role, but I must admit I'd be excited to see this team get back together and make another classy, intense high-seas adventure.

    • Quentin Tarantino's Manson Family Murders project finds a home at Sony!

      2 months ago



      It's a whole new world out there. If you told me 6 months ago that Quentin Tarantino's next movie would be made at Sony I wouldn't have believed you, but back then we all just thought Harvey Weinstein was an asshole not an alleged (don't sue me) rapist.

      Tarantino parting ways with Weinstein is like Mickey Mouse leaving Disneyland. It changes the established Hollywood landscape and I hope it's a bellwether for a big positive change in the industry as a whole. There's obviously a problem and for the first time it feels like Hollywood at large is willing to deal with it. 

      But away from all that downer real life bullshit and back to movies. Tarantino shopped his new project around town and fielded many offers, but Sony wanted to be in the QT business the most and his Untitled Manson Family Murders script has landed there. 

      This movie looks to be one of his biggest-budgeted films ever at $100 million, which is quite a lot for a (surely) R-rated drama about '60s LA as the Manson cult were killing in the name of their crazy leader. Django Unchained is the only other movie he's done that has been in this budget range. 

      It feels to me that Sony wants the prestige more than any potential profit. According to Variety the deal Tarantino struck is pretty great... for him. He gets final cut and first dollar gross, which means it's real damn hard for the studio to use tricky movie math to screw him out of his participation percentage. With theaters taking a cut of box office and all the money that goes into publicity that means the movie would likely have to make $250-$300m to be profitable for the studio.

      So this is definitely an investment by Sony. They're hoping for awards, they're hoping to draw in other talented, visionary directors and they're hoping that Tarantino might make his next picture with them. 

      I believe Tarantino said he was going to make 10 features and then he was out of the movie-making business. This would be his 9th.

      What do you guys think? I'm just happy to see any story that Tarantino feels like telling, no matter what logo is at the beginning. You?

    • The new A WRINKLE IN TIME poster shows off the Celestials!

      2 months ago


      Ava DuVernay's adaptation of the popular kids book A Wrinkle In Time is going to be a big deal, I think. 2018 is a big year for Disney franchises putting the spotlight on people of color. We have Black Panther in February and A Wrinkle In Time in March. It's awesome we're finally getting a solo film centered on a black superhero, but I think it's going to be an even bigger deal seeing young Storm Reid playing Meg Murray in an adventure story like A Wrinkle In Time.

      Both will be inspirational for a whole new generation, but I have a feeling young women in particular are going to relate to the story being told in Wrinkle In Time. If DuVernay knocks it out of the park you're going to be seeing quite a cult spring up around this movie.

      Disney released a new poster for the flick which shows off the magical beings that help young Meg on her journey to find her missing scientist father. 

      Check it out:


    • The Last Jedi to be the longest Star Wars movie ever!

      2 months ago



      December 15th is quickly approaching, so we're getting some of the nitty gritty details of Rian Johnson's Episode 8, most notably the epic run time. Some theater websites started listing the run time of the movie as a whopping 150 minutes (that's 2 1/2 hours), which the director confirmed.

      That makes The Last Jedi 8 minutes longer than the previous longest Star Wars movie, Attack of the Clones, and 15 minutes longer than The Force Awakens. 

      Right now this is just a nice bit of trivia. We'll see in a few weeks if 2 1/2 hours is too much, not enough or just right. The story ultimately dictates how long the movie needs to be. A bad 90 minute movie feels like a 3 hour movie and a good 3 hour movie feels like 90 minutes.

      With Johnson at the helm I'm willing to bet we're in for the latter. And hey, that means there's plenty of time for a Porg subplot, right?

    • Xuelder asked ericvespe a question

      Favorite 80s movie monster and why?

      Answered: Nov 17, 2017

      This is an excellent question. Do you go by design? Quality of the movie or series they're in? Lasting chills? Design would be between Predator, Pumpkinhead and Gill-Man from Monster Squad (all created by the late, great Stan Winston, by the way). I watched more Friday the 13th movies growing up than I did Nightmare on Elm Street, but I like the character of Freddy more, especially in that first film and Dream Warriors. It might not be the most original answer, but I'd probably go with Freddy.

    • Watch The Rock Play Rampage! First trailer here!

      2 months ago


      Rampage is an interesting movie to me. Unlike most video game to movie adaptations there's not a lot you can fuck up with this one. You just gotta have big monster versions of regular animals destroying a city and you're good.

      The Rock stars as a buddy to George, an albino gorilla who gets some green space dust on him or something and grows super big. Now, The Rock's gonna protect his buddy and what we get is a Boy and His Giant White Gorilla movie with a huge wolf and crocodile thrown into the mix.

      I do miss the more werewolf look to "Ralph" and the more Godzilla look to "Lizzie", but I guess they figure they have to ground an adaptation of Rampage into some kind of recognizable reality. I can tell from the trailer that Dwayne Johnson and Jeffrey Dean Morgan are chewing up the scenery when the big CG creatures aren't on screen. 

      Check out the trailer below: 

    • Titanic returning to theaters for its 20th Birthday!

      2 months ago


      Holy shit does this make me feel old. Titanic is turning 20 this year and to celebrate there's going to be a limited re-release of the movie into theaters December 1st.

      The film will be playing exclusively in AMC Dolby Cinemas (check the list here to see if it's playing near you) in both 2D and 3D Dolby Vision. Dolby Vision, if you're curious, is essentially Dolby's proprietary HDR system, so that just means this has been remastered in Ultra HD HDR and will be projected that way. Super bright and crisp.

      Titanic is one of the great big screen movies and I'm always happy to see the studios embrace the re-release. There's nothing like seeing an audience-pleasing classic projected nicely with a big, enthusiastic crowd. They did one of those kinda crappy Fathom Event things with Jaws last year and I took my then 9 year old nephew to see it big and he was enraptured even though we'd already watched it on TV.

      Movies were meant to be seen big and every time one of these limited re-releases does well it gives me hope that we'll continue to see classics restored and projected.

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