Red Blaster said:That Rickenbacker has to be stolen, there's no way in hell Scott could ever afford one.
I have a knock off Rickenbacker that looks exactly like it that my uncle gave me for free as a kid.
Red Blaster said:That Rickenbacker has to be stolen, there's no way in hell Scott could ever afford one.
What brand is it? The actual one is a model 4003 but they cost like over $2K. They are fucking gorgeous though and I totally want one.bluemax said:I have a knock off Rickenbacker that looks exactly like it that my uncle gave me for free as a kid.
soultron said:Meh. After watching the trailer they put up, I'm not really interested. The animation looked very janky. The humour also felt a little flat, for some reason.
Cautiously optimistic, personally.
randomwab said:God damn it.
I had arranged to see this tomorrow with friends, and now everyone has pulled out. Sounds like some of them want to see it next week, but fuck, I'm tempted to just go on my own tomorrow.
Is it still sad to go to the cinema on your own?
Pctx said:So is this movie better than Speed Racer GAF?
It belonged to his kid brother in the book. Which means it very well could have been one of the top tier models, just that the Pilgrims had purchased it for their youngest boy as a gift or something.WordAssassin said:What brand is it? The actual one is a model 4003 but they cost like over $2K. They are fucking gorgeous though and I totally want one.
I know right? That's the thing that I love about some adapted properties, when the director kind of understands the culture of the work rather than how many references and ideas they can put into a film hoping that'll just be enough. It's the best adapted film I've seen in a long time (from works that I've experienced with the source material before) and probably the best adaptation since Harry Potter: PoA. The cuts were right, the reassignment of certain things were great and crap...just read this article to find out how involved Wright was with this film regarding the music:randomwab said:Saw it earlier. Holy Christ.
I'm actually still in awe. I literally don't know how Edgar Wright made this film. The amount of work that must have been put into it is blowing my mind.
Yeah, Toronto. From reading this thread, I'm convinced that the GTA is the exception rather than the rule when it comes to sales.lunarworks said:Finally got to see it last night.
I was more than impressed. It was awesome.
Also, the theatre was surprisingly PACKED. It seemed like every geek, nerd, and dork in Scarborough was in there. (Of course, it was Cheap Tuesday, so...)
yeah.ezekial45 said:Oh, the movie just opened in the UK?
Here's a good track-by-track account of the soundtrack from the composer and some of the artists:DarwinMayflower said:I know right? That's the thing that I love about some adapted properties, when the director kind of understands the culture of the work rather than how many references and ideas they can put into a film hoping that'll just be enough. It's the best adapted film I've seen in a long time (from works that I've experienced with the source material before) and probably the best adaptation since Harry Potter: PoA. The cuts were right, the reassignment of certain things were great and crap...just read this article to find out how involved Wright was with this film regarding the music:
http://exclaim.ca/articles/multiarticlesub.aspx?csid1=146&csid2=778&fid1=48343
Scott's dad is known to spoil his kids, so yes he likely bought the Bass for Scott's brother.soultron said:It belonged to his kid brother in the book. Which means it very well could have been one of the top tier models, just that the Pilgrims had purchased it for their youngest boy as a gift or something.
Sometimes I prefer itrandomwab said:Is it still sad to go to the cinema on your own?
_dementia said:Sometimes I prefer it
captmcblack said:I am in love with this movie, this universe of characters...everything.
I want to learn bass so I can *be* Scott Pilgrim.
Fuck, this film was so very, very good.
Loved this too.WordAssassin said:One touch I really, really like that I haven't seen anyone comment on, is at the very end of the Gideon fight,I thought that was just an awesome touch.when Gideon's flashing red and doing his last angry monologue, he coughs really loudly and when he does, a single coin flies out of his mouth.
Funny thing is, the bassline actually drops out in parts of that song.G-Fex said:I wanted to too. The Bass sounded awesome in that song that isn't called Launchpad McQuack.
Song No. 1: "We Are Sex Bob-Omb," Sex Bob-Omb
All of the Sex Bob-Omb songs, six of which appear on the soundtrack, were written by Beck and performed with his frequent collaborator Brian LeBarton. They were knocked out over a span of three or four days in 2008.
"We Are Sex Bob-Omb" is the first song one hears in the film, not counting an 8-bit version of the Universal Pictures theme. At just under two minutes, Wright used the full length of this fuzzed-up, sloppy rocker in the film, in which the only truly audible lyric is the word "yeah" repeated. It plays over an extended credit sequence of colorful, old-school video game effects, with text displayed in the kind of choppy handwriting that one finds on the folders of high school students.
"Whats great about the songs is that the wheels fall off of them," Wright said. "Most of those backing tracks are first takes. You can hear in We Are Sex Bob-Omb' that the bass drops out. The drumming rhythms change constantly because theyre just hammering away."
All of Beck's vocals on the songs used in the film were replaced by those of actor Mark Webber, who plays band leader Stephen Stills. Lyrics for "We Are Sex Bob-Omb" were only added after Wright decided to have it open the film.
"That was an instrumental that was on the initial run of stuff we got from Beck," Godrich said. "The beginning of the film needed them playing. That was the device that Edgar decided to use to start the film. It was actually originally a lot shorter, and it didnt originally have lyrics. Beck went away and wrote a little verse just so the character has something to sing when you see him. The song was extended late in the day. The reason it was used is because its riffy."
Beck left the decision over what songs to use to Godrich, Wright and O'Malley, yet noted he was a little surprised the burst of noise that is "We Are Sex Bob-Omb" made the cut.
"I went in and just wrote as many rough ideas as I could," Beck said. "I had no idea what songs they would want to go with. I wrote some things that to me were almost like a song for the Archies. Theres a song called Were Not Having No Fun,' which I thought was too on the nose for a cartoon band."
Here's the most interesting part of the article IMO, in terms of what Beck envisioned the band to sound like:G-Fex said:That's fucking genius of Beck. It makes it more authentic since they're not a professional band. Beck is awesome.
Song No. 18: "Summertime," Sex Bob-Omb
The most decidedly "pop" of the Sex Bob-Omb songs, containing a clearly defined singalong chorus. It's used in the end credits.
When Beck saw the final cut of the film, he said he was surprised this song was used mainly for the credits. "I thought this was the song that felt the closest to what the band would sound like," he said. "It had a looseness to it. Ultimately, what works best for the picture is what wins out."
Those who pay close attention can catch Sex Bob-Omb rehearsing "Summertime" earlier in the film. Though it's used primarily in the credits, that doesn't mean Wright wasn't partial to it. On the contrary, as the director shot a whole sequence with just this song.
"Originally, we ended with the film with a music video of Sex Bob-Omb playing Summertime,'" he said. "It was nice, but I didnt want you to see Scott Pilgrim after the end of the film. So you just hear Summertime, but the video will be on the DVD."
Song No. 13: "Threshold," Sex Bob-Omb
Used near the end of the film in a climatic rock 'n' roll battle, "Threshold" is one of the choppiest, roughest Sex Bob-Omb songs in the film. It builds to a faster chorus, complete with feedback and a heavily manipulated acoustic guitar.
"I don't know if I had a clear vision of what Sex Bob-Omb sounded like," O'Malley said. "I was in this band and my friend was playing an acoustic guitar plugged into an amp and it was really distorted. The sound guy would always get really upset. So thats kind of what they were originally looking like."
Beck noted it was one of the sloppiest songs he gave Godrich and Wright. "I mostly felt bad because there were so many mistakes in that song," Beck said. "Its much easier to learn to play something that has consistency. But almost every song is a first take, and completely unrehearsed. I was proud that some of the bad notes were left in there. I think things tend to get scrubbed for Hollywood films, but this was relatively less-polished."
They need to make more movies that appeal to Torontonians. ;pAlphaTwo00 said:Yeah, Toronto. From reading this thread, I'm convinced that the GTA is the exception rather than the rule when it comes to sales.
There's a few of those - are you looking for the one in the high school flashback scene or the college flashbacks?WordAssassin said:I just skimmed through the first four books again looking for the scene where Scott is having dinner with his parents and I can not effing find it. Can someone help me out here?
Soundtrack and score is up on Amazon and iTunes.Epcott said:Wow, I love Beck (especially Guerolito),
I had no idea he contributed to the songs in this movie.
I need this soundtrack and Blu-Ray like, now!
Soundtrack is available on Amazon e.g.Epcott said:Wow, I love Beck (especially Guerolito),
I had no idea he contributed to the songs in this movie.
I need this soundtrack and Blu-Ray like, now!
Johnlenham said:The Police were amazing :lol :lol
G-Fex said:THIS IS FOR THE GUY IN THE BALCONY WHO KEEPS YELLING STUFF ITS CALLED PLEASE SHUT UP AND DIE!
G-Fex said:THIS IS FOR THE GUY IN THE BALCONY WHO KEEPS YELLING STUFF ITS CALLED PLEASE SHUT UP AND DIE!