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Other talented men
Very interesting blog by Bear McCreary on the music he scored for "Unvanquished":
"Tonight’s mid-season premiere, Unvanquished, was directed by Eric Stoltz (Daniel Graystone), who brings an uncompromising visual and narrative style to the story. Having worked with Eric as an actor, writing him piano arrangements to play on set, I knew he was a talented musician. So, it came as no surprise when working with him as a director that he brought a sophisticated ear and honed musical instincts to the process."
More here
I'm mostly happy with this bit:
"Towards the end of the episode, Zoe is revealed to be roaming freely through New Cap City and she is attacked by a bunch of goons. As she proceeds to kick their asses, the score transitions from the expected suspenseful underscore to an oddly simplistic child-like waltz.This was another idea from Stoltz, who wisely felt that a typical action cue would not really add anything to the scene. Instead, he wanted something innocent and simple, the kind of music that Zoe might have played on the piano as a child, perhaps even something her dad taught her. With the action effectively choreographed and shot, the action spoke for itself. The music was now free to explore a deeper narrative thread. This scene is about a lost child, roaming a dangerous world on her own. I found these ideas artistically challenging and happily tackled scoring the scene in this unconventional matter. This was a technique that worked very effectively in the past on “Battlestar Galactica,” most notably on The Hub. Musical scoring that approaches a scene from nearly the polar-opposite perspective from the expected is what makes working on these series so rewarding, and I was grateful that Eric crafted a sequence like this".
It was indeed a great idea and a lovely surprise (and again with the" it's nice to be surprised" leitmotiv that ran throughout the episode) to hear that waltz instead of the expected techno-music you usually get with action scenes. I love Bear's (or was it Eric's?) take on it. It was definitely my favourite part from the episode's score.
McCreary and Stoltz are both very talented men and it's obvious they enjoyed working together. Caprica should be saved if only for that reason!
"Tonight’s mid-season premiere, Unvanquished, was directed by Eric Stoltz (Daniel Graystone), who brings an uncompromising visual and narrative style to the story. Having worked with Eric as an actor, writing him piano arrangements to play on set, I knew he was a talented musician. So, it came as no surprise when working with him as a director that he brought a sophisticated ear and honed musical instincts to the process."
More here
I'm mostly happy with this bit:
"Towards the end of the episode, Zoe is revealed to be roaming freely through New Cap City and she is attacked by a bunch of goons. As she proceeds to kick their asses, the score transitions from the expected suspenseful underscore to an oddly simplistic child-like waltz.This was another idea from Stoltz, who wisely felt that a typical action cue would not really add anything to the scene. Instead, he wanted something innocent and simple, the kind of music that Zoe might have played on the piano as a child, perhaps even something her dad taught her. With the action effectively choreographed and shot, the action spoke for itself. The music was now free to explore a deeper narrative thread. This scene is about a lost child, roaming a dangerous world on her own. I found these ideas artistically challenging and happily tackled scoring the scene in this unconventional matter. This was a technique that worked very effectively in the past on “Battlestar Galactica,” most notably on The Hub. Musical scoring that approaches a scene from nearly the polar-opposite perspective from the expected is what makes working on these series so rewarding, and I was grateful that Eric crafted a sequence like this".
It was indeed a great idea and a lovely surprise (and again with the" it's nice to be surprised" leitmotiv that ran throughout the episode) to hear that waltz instead of the expected techno-music you usually get with action scenes. I love Bear's (or was it Eric's?) take on it. It was definitely my favourite part from the episode's score.
McCreary and Stoltz are both very talented men and it's obvious they enjoyed working together. Caprica should be saved if only for that reason!
no subject
I tend to think that Zoe did escape to the virtual world from the U-87 because the code they did download didn't test in the 'sentient level' as they said. How else would Zoe be in New Cap City? If everything that was imbued into virtual Zoe's code (by Zoe herself) included everything she knew of her own abilities to create a sentient code, then surely virtual Zoe (v.Zoe) has those computational abilities. Yes, it is not Zoe, people are people, not just our code - our DNA - but more. Yet, Tamara and Zoe are the personification of what was living and like people, v.Zoe is perhaps learning to outstrip even her code.
I got the feeling when they were boxing up the U-87 that it was akin to a funeral. That it was v.Zoe's body, but not her v.soul - the computer code. In that way Clarice is somewhat correct, but, yes, there is a clear disconnect between one's organic mind and what is created in cyberspace. They are not the same.
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"You can't forget this." - Peter on Fringe. Damn, that made be break down crying.
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