#suzani watches

[zani-is-a-stan]

suzani watches the Sherlock unaired pilot

Opening

-       This version of John looks way more old and way more dad

-       That close shot on the gun tell the viewer that John is suicidal

-       The dark silhouette of the cupid statue kind of stands out. Given how the cinematography and shot framing is a lot sloppier in this version, I don’t think this is intentional. But if it was intentional, this would be a signal to the viewer that this is a love story.

-       Mmm, pass on both Anderson’s beard and this way of introducing the concept of a Sherlock

-       This title & credits sequence is so dated

-       Anderson with no inflection is boring

-       Dinner with wine is not a great place for John to be saying he’s broke

We meet Sherlock & Molly

-       We start to see the beginnings of the geometric and precise framing that are the signature of the show in that one shot of Molly behind the glass

-       Its nice to see that Molly’s character required almost no adjustment between the two versions. Given that she was the first character original to the show instead of the books, it’s nice to see that she stuck the landing so perfectly

-       It’s starting to be really obvious how loose the editing is. There’s a lot of dead air at the beginning and end of every shot before each cut. Much better in the final version.

The lab

-       This version of Sherlock seems a lot more accurate to the book Sherlock from Study in Scarlet than the series ultimately ended up being. He’s softer, more interested in interacting with other people than the antisocial, high functioning ASD (where’s the fic that explores that?) twanging brain haver he is in the first episode of season 1

-       I want to read a take on Sherlock that discusses him as having ASD and interprets the violin playing and the mystery solving as his stimming techniques

-       The camera shots in this scene are really starting to stand out as very different from the show. It’s not just the editing which is kind of thoughtless – these shots are poorly composed and poorly planned. I don’t think it would stand out so much if the final version of the show didn’t make so many deliberate and stylized decisions regarding with the shots and editing.

The apartment

-       The extrapolation of john’s family based on the phone became much cleaner in the aired version

-       Comic sans! I mean, mrs Hudson is better than that.

-       Mrs Hudson definitely checked out john’s butt …

-       “can I just ask … what is your street?” this was very good, if repetitive

-       Sherlock needs an assistant? This sherlock has a need for human connection that the other one doesn’t – and he has a lava lamp.

-       Ugh the apartment at 221B baker st looks so much more vintage in this setup. Not a fan.

-       This sherlock definitely cares more about what other people think than the final version.

-       Mrs Hudson is a much softer, premade character in this version. I like the final version better. She seems stronger that way.

The cab ride

-       So boring. Such greenscreen. Wow.

-       not just the greenscreen. the difference in the shooting and finishing of this sequence in the pilot and the aired episode is so incredibly improved that you can hardly believe there were part of the same thing.

-       TOO MUCH SYNTH

-       Sherlock has a far too human response to john’s compliments and more doubt in how accurate his deductions are

The crime scene

-       Im glad they changed sally’s outfit, and smoothed out sherlock’s taunting of her and Anderson’s affair. Ugh I wish they’d kept sally around. This show needed more normie/casual sherlock opponents. Lack of closeups in this scene do it no favors

-       They cut the Rache/Rachel clue. And btw, I do love how this was inverted from the book presentation in the show.

-       “no, there are two women and three men lying dead, keep talking and there will be more” – this sherlock prioritizes people over mystery solving, and that’s a little more humanizing as well.

-       When he’s deconstructing the scene around the woman in pink, there’s a switch in sherlock’s voice when he’s off camera. I’m wondering if maybe that’s a stat actor reading the script for some reason, or if they recorded the dialogue and the camera angles at the same time and forgot to switch when they were editing that shot? Makes sense given how messy the editing is throughout the pilot.

-       “do you know you do that out loud?” “sorry, I’ll shut up” “No, don’t worry, it’s fine” (pleased smile) --- this exchange is so accurate to book Sherlock and Holmes

-       This is not the same sally as the first episode. I had to check because I have a little bit of face blindness and there weren’t any closeups, but it’s definitely not her. Interesting how the actress who ultimately played her changed the inflection but brought very little new to the blocking.

a bit inbetween and the pink case

-       No Mycroft, hmm. Don’t care for it. It added a lot with a really nice red herring feel.

-       John returns to his place for absolutely no reason narratively.

-       I don’t care for the red herring moment where john looks at the pink case and wonders if sally was right and talks out loud about it.

-       The end exchange of this scene is awesome and should have stayed. “Donovan said you get off on this.” “And I said danger and here you are.” “DAMNIT!” It’s very funny, and it’s a fun spar between the two rather than the ultimate resigned tolerance that series John seems to settle into by season 2.

do you have a girlfriend? a boyfriend?

-       Sherlock not eating is a brilliant touch, I think that should have been there.

-       This version of the girlfriend boyfriend conversation is far more successful than the aired version, although I prefer the setting in the aired version. It’s flirtier, and the “Everything else is transport” line carries implications I prefer to the one we saw on on the official version.

-       Sherlock knowing the cab thing ahead of time really lowers the stakes.

-       Angelo and the headless nun thing is fucking beautiful. (although angelo is a bit of an upstager) But, the change in the plot to the John running and leaving the cane behind in the final version is much more relevant to the story.

-       Ok, so the cabbie drugging Sherlock did show us that John is smart in his own right (we never got enough of that), but it showed us Sherlock fucking up in a way that is inconsistent with the show version of that character. For us to buy that Sherlock is other level super genius instead of just very smart, he can’t make this kind of mistake. If he can’t make a mistake, then John can’t prove his own intelligence. I do think it was a good idea to put the police back in his apartment now, as it gives us more interesting and fun things about those characters, and the ultimate build to the cab ride and the incorporation of modern technology really contributed to the modernizing of the adaption.

which pill

-       WHOA that cabbie did just very much threaten to molest or rape Sherlock. Although if there were no women or gay men on the script team, I can totally see the writers not realizing that this line had that connotation.

-       And this version requires a lot more explaining of plotholes with dialogue in a way that is avoided in the final verion. This is unquestionably good, because there’s nothing more graceless in filmed stories than having plot explained with words, especially by a villain.

-       Taking the pills out of the bottle looks silly.

-       Final version cabbie is better. More self-satified and mean.

-       “Either way, you’re wasted as a cabbie” is a way better line in the final.

-       Taking him out of the apartment and away from the police phone call was A+ the right choice.

-       Everyone know the best cops scream “Who is firing, who is firing?” when someone fires a shot.

i’ve got a blanket

-       Sherlock saying “Yeah, maybe he beat me, but he’s dead” is a far shot from the man who shook a dying man and demanded to know if he was right or not. Again, this Sherlock is far more human and far less computer.

-       That bit with mrs Hudson at the end was unnecessarily mean, I’m glad they cut it

-       “I’m his Doctor.” – this lines should have stayed forever.

Overall thoughts

Ok, so overall changes between the pilot and the aired first episode. Plot was a lot more polished. They scrubbed every trace of human need from Sherlock, which I think was a good choice, at least for the beginning of the show. His literal only love is his own abilities as the show airs, which leaves him with a very interesting and exploitable weakness – his arrogance, where as pilot Sherlock doesn’t seem to care all that much when he makes a mistake. We did lose a couple of scenes that had a lot of good chemistry in them, but I think the plot was much improved overall for the changes. The change of Sherlock from being casually mean to people like Anderson to swatting away an irritating fly is very successful. The focus of Sherlock’s relationship with Lestrade seems of a higher priority than Watsons a little bit, so I’m glad that changed. The lead up to John shooting the cabbie was much better in the final

Honestly the pilot doesn’t look like a pilot as much as it looks like a proof of concept piece. The budget was obviously smaller: that’s why they reused the same restaurant set, it’s why the final confrontation took place in the apartment rather than a second location, that’s why the effects are missing or budgety, that’s why the editing was low-end. This as a pilot was sold on the impact of the actors and the bones of the script, not on any of the look that would ultimately make the show what it was. The color work between the first and second version of this alone was amazing.   I also think that the hair change in Sherlock was an excellent choice. It offsets BC’s face/head structure in a way that plays into the strangeness of the character in a much better way. Similarly, the coat and scarf that he wears in the series do exist in the pilot, but aren’t really a signature of Sherlock’s on-screen shape design in the same way.

I think the only thing I would’ve kept is the inflection, delivery & read on the girlfriend boyfriend scene, and the return of the “I said danger and here you are” exchange.

There’s a lot of talk about Sherlock’s sexuality and what was cannon in the books. TV Sherlock they seem to be confused about (Belgravia as an episode left me really confused about what statement the writers were trying to make there, which implies that they’re either not completely sure either, or they’re too straight to understand what they’re doing). In the books, Holmes chooses not to have romantic relationship because it stops his brain from working clearly – it’s a deliberate choice based on the Victorian concept of sex (and women, because they are clearly only sex objects) diminishing the capacity for clear thought and mental performance. This is not the same as him being asexual or aromantic as we not aro/ace people understand the concept in 2019.

Based on the scene as it airs, the girlfriend/boyfriend scene would leave me with the opinion that Sherlock is not just asexual but also aromantic. Possibly one of these by choice rather than nature. Based as how the scene plays out in the unaired pilot, I would think that Sherlock is celibate and also attracted to John, more likely gay than bisexual. (There was quite a bit of smoldering going on in the Sherlock to John direction.)

[fuganumeroseis]

VOZ:  Paulo Araújo e Morão di Privintina 

MÚSICA:  Cama de Quiabento

ROTEIRO: Paula Isabella e Renata Pinho / PRODUÇÃO: Carolina Brandão, Jessica Brito e Renata Pinho / DIREÇÃO: Paula Isabella / CÂMERA: Carolina Brandão e Paula Isabella / ASSISTENTES DE CÂMERA: Deo Araújo e Elton Paz / PRODUÇÃO DE ELENCO: Carolina Brandão e Renata Pinho / CAPTAÇÃO DE ÁUDIO: Jessica Brito / MONTAGEM: Deo Araújo e Paula Isabella / COLORISTA: Elton Paz e Paula Isabella.

ELENCO Paulo Araújo, Cátia Rocha Novais, Diêgo dos Santos Souza, Maria Rosimar de Jesus, Adão Pereira dos Santos, Anderson de Jesus Santos, Amilton de Jesus Santos, Domingos Alves Pereira, Raquel Cordeiro Leite, Julio dos Santos Lopes, Daiane Campos Macêdo, Fabrício Pereira de Souza, Alice Maria Alves Santos, Áurea Maria Leão Miranda, Jeila Chagas Oliveira Silva, Jéssica Oliveira de Almeida, Suzani Dias Silva Teixeira, Valdemir Pereira de Araújo, Joaquim Teixeira de Araújo, Ana Luiza dos Santos Pereira, Antônio Reinaldo dos Santos, Armando Teixeira de Araújo, Luã Alves do Nascimento Virgens, Neucilene Francisca Ribeiro de Brito, Carlos Adelino Santos Nascimento, Geovanna Ferreira dos Santos Lacerda e Lucas Vinicius Carneiro da Silva Miranda.

- Bom Jesus da Lapa-BA, 23 de julho de 2019.

[honorooroo]

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[womenwatchesze]

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[sliceannarbor]

Duncan Thum

Film Composer/Multi-Instrumentalist Music Producer/Lead Composer Chef’s Table, Netflix original docuseries Los Angeles, California duncanthum.com

Photo by Andrew Quinn

SPECIAL GUEST SERIES

Duncan Thum is a film composer and multi-instrumentalist based in Los Angeles, California. Last year, he was nominated for an Emmy for “Outstanding Music Composition for a Series (Original Dramatic Score)” in the second-season episode of the Netflix original docuseries Chef’s Table featuring Chef Grant Achatz of the acclaimed Alinea in Chicago. In 2015, Duncan was similarly nominated for “Original Dramatic Score” in the first-season episode of Chef’s Table featuring Argentinian Chef Francis Mallmann. He has since scored Chef’s Table: France and the third season of the series. Duncan has worked on a range of features and documentaries, including: I'll Sleep When I'm Dead, Off The Rails, DEALT, and VICE Media's  Broadly. He is a graduate of the University of Southern California’s Scoring for Motion Pictures and Television program. Duncan also earned a bachelor of arts degree in music and humanities from the University of Southern California. In earlier days, he attended Interlochen Arts Academy, earning a diploma in guitar. When Duncan is not working, you can find him outside exploring the flora with Beckett and Finnie, his most trusted canine advisors. He resides in Los Angeles and composes from an attic studio that moonlights as a rare Suzani emporium.

FAVORITES

Book: The Phantom Tollbooth by Norton Juster

Destination: Peru

Film score: Spirited Away, written and directed by Hayao Miyazaki

Motto: Consistency is the last refuge of the unimaginative. - Oscar Wilde

THE QUERY 

Where were you born?

I was born and raised in Berkeley, California. Later my family moved inland to Lafayette, where I lived until high school.

What were some of the passions and pastimes of your earlier years?

I was indoctrinated to the outdoors by my dad at an early age. I don’t think I realized what a profound effect it would have on me until later on. We took many canoe trips in the Boundary Waters, Quetico Provincial Park; and the Bowron Lakes in British Columbia. I think exploration of the wild is one of the most creative and spiritually fulfilling things you can do.

What is your first memory of music as an experience?

Listening to my dad play the piano. It turns out that he has been quite an influential force in my life. My sisters and I would lie under the piano while he played. He has a wide repertoire that ranges from Dave Brubeck to Bach to this amazing tome of traditional songs called The Fireside Book Of Folk Songs. That was my point of introduction to melody.

How did you begin to realize your intrigue with the guitar?

I actually started out on bass and later segued into guitar. I blame David Gilmour’s solo on Dogs for my treasonous defection. Later my obsession would expand to include Django and Paco De Lucia. The final breakthrough was my exposure to the music of South America, Cambodia, and Africa. The expressive possibilities are endless.

When and how did this intrigue segue into scoring music for film?

I started writing a lot of songs and poetry in college. If you made a Venn diagram between songwriting and film composition, there would a high percentage of overlap. Both rely upon the same tropes (form, melody, harmony, instrumentation) to convey emotion. I think the inclination to tell stories with music naturally lead me toward film composition. 

Why does this form of artistic expression suit you?

Words are powerful things. It would take me a lifetime to command and distill their structure and rhythm. I love the abstraction in music; it frees me from certain obstructive thoughts like ‘it’s never good enough.’ I think of sound like an empty vessel that you fill with your emotional experiences, and that is always good enough. I don’t mean to imply that making music is easy, rather the ideas come more naturally. I decided to focus on that aspect and collaborate with those who specialize in other art forms.

What led to your initial work with the Chef’s Table series?

Many of the creative forces behind the show double as great friends from college. When Chef’s Table creator David Gelb exploded his documentary Jiro Dreams Of Sushi into serialized form, he and director Clay Jeter contacted me because they thought I would be a good fit for the Francis Mallmann episode, having seen me perform over the years in my rock and roll band. Anecdotally the name of that band was Pizza!

How has this endeavor shaped your approach to scoring music to film?

There is something Joseph Campbellian about Chef’s Table. The chefs often cross international borders to apprentice, stay away for years, endure intense scrutiny/hardship, return, innovate, and obtain a form of mastery. Their stories blur the lines between food, art, and humanity. By virtue of immersion, my own sense of musical possibility has been tested and transformed.

What was the greatest challenge in achieving the score Fantastic Amalgams for the Chef’s Table episode featuring Chef Grant Achatz?

Most editors will start cutting scenes to temporary music, which the composer will replace after the scene has taken shape. In the case of Grant Achatz, the “temp” featured the music of Arvo Part. I will say that Arvo Part is one of my favorite composers, but the juxtaposition of his intensely reflective brand of minimalism and Grant’s cuisine was an emotional disconnect. The breakthrough was realizing we needed to write music that put this feeling of introspection into context. Grant’s food, while intellectually and technically rigorous in its execution, is all about theatricality, surprise, and emotional discovery. Once we realized that, a musical plan fell into place.

How would you describe your creative process?

The most important part is knowing what your purpose is before you start. I rely heavily upon improvisation and experimentation while I compose, but I find that having a few limitations allows for much more confident brush strokes. Often the mistakes are usable too.

Where do you do most of your composing?

I’m set up in an attic studio outfitted with tapestries from Uzbekistan. It truly evokes an opium den, except William S. Burroughs is nowhere to be found. There are, however, many variations of guitars. I try to keep all of my instruments accessible, as you never know when the mood will strike to use one. The collection ranges from vintage Japanese synthesizers to Greek and Peruvian stringed instruments.

How do you typically get acquainted with the narrative/theme for which you will compose a score?

In the case of the Chef’s Table Francis Mallmann episode, Clay Jeter (the director) and I watched the cut several times and brainstormed. I’m often looking for adjectives as much I am for the milestones in the story arc. The next step is getting your hands dirty. Often the first ideas don’t work, so you have to be patient while they come and go. The theme is always under your nose and will emerge as long as you keep at it.

Is there a project/period along the way that has presented an important learning curve?

It’s safe to say that every project has presented a learning curve of one type or another. The ratio of risk and error may not be proportionate to success, but effort is always enforcing the foundation. I will add that nothing is more horrifying and exciting as starting out fresh. Carte blanche is a very persistent teacher.

What role does collaboration play in your work?

A huge one. Filmmaking is a great example of the Aristotelian cliché, the whole is greater than the sum of its parts. Amazing things occur when you are bouncing ideas off each other and building upon one another’s insights. It is a conversation.

How has your style/aesthetic evolved over the years?

Oddly enough, I think I have come full circle. The styles of music I once rejected in my angsty years are what I spend most of my time writing now. I suppose I just needed to collect enough life to be able to appreciate where I started, musically speaking. I wouldn’t change a detail, though, as every moment counts.

Is there a composer living today that you admire most?

Joe Hisaishi.

Do you have an artistic resource that you turn to? 

I would love to take this opportunity to plug BrainPickings by Maria Popova. It’s a goldmine. https://www.brainpickings.org/surprise/

What music do you listen to in your down time?

The last three items on my YouTube playlist are Kaneda’s Theme from Akira, Sia’s Chandelier, and Claude Bolling’s Suite for Flute and Jazz Piano Trio. The latter is performed by Nikola Todor Atanasov, whom I studied with at Interlochen Arts Academy. He’s now the principal flutist with the Beijing Symphony Orchestra and makes an occasional cameo on Chef’s Table.

From where do you draw inspiration?

Often times it comes from not doing what you set out to do. I am guilty of overlooking this 98 percent of the time.

Who are some of your artistic influences?

Cai Guo-Qiang’s work has been very inspirational of late, as has Katherine Johnson’s for NASA. The Coen Brothers always get to me. Bill Watterson. Shigeru Miyamoto. Albert Camus. Alex North. Charlie Mingus.  

What three things can’t you live without?

Laughter, love, light.

What’s the best advice you’ve ever received?

Get out of the way!

Is there a book or film that has changed you?

Seeing Akira Kurosawa’s Dreams was a life changing experience for me. Anytime it rains when the sun is shining, I think ‘fox wedding.’

What drives you these days?

When you think everything is someone else's fault, you will suffer a lot. - Dalai Lama

[alessandra-ambrosio-us]

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[amber-heard-us]

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[zani-is-a-stan]

sherlock season 4

episode 2 is a+.

[kim--smith]

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[honorooroo]

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[zani-is-a-stan]

I mean ... did we really need a scene about that woman hitting on Mycroft and him not getting it instead of a little extra resolution time when the woman who killed 5 people that day suddenly became redeemable

[zani-is-a-stan]

sherlock

I have some to a conclusion.

everything after s2e3 is balls.

there are some funny moments and good villains in the next two seasons, and I really appreciate Abominable Bride for what it was *trying* to do, but the story structures that made the first two series so good just collapse and the characters that were so strong just start getting warped for punchlines. the only character growth I appreciated was sherlock's and molly's relationship - *in that he respects he in a way he didn't before and she is less intimidated by him* - but even that they blew to shreds in s4. there were episodes when Mary was handled well, but at her best she felt completely unecessary and at her worst she made me question why John was even in the cast. and I hate to say it, because he played the role well, but when a writer is also an actor on a show, the role he plays becomes way more important than it should in the grand scheme of things.

a lot of the SCENES and MOMENTS are amazing. the discussion of suicide in s4e2 is worth its weight in gold. mycroft's redemption speech in s4e3, when three enter but only two may leave. drunk sherlock trying to investigate the mayfly man. not diffusing the bomb in s3e1. *some* of the best man speech. magnussen, who deserved two more episodes than he got - all of these bits were wonderful. but a few pretty trees does not make a beautiful forest. if the story ain't right, these scenes cant fix it.

[zani-is-a-stan]

Suzani watches Hannibal

Uhh, so I just realized that not only is Jack Crawford being played by a black man when he was whitey mcboring in the movies, but Freddie is gender flipped character from book/classic movie cannon.

I love the thought process that went into the production of this show.

[zani-is-a-stan]

Suzani watches Hannibal S02E04

Ugh FINALLY Will’s being proactive.

NO, Beverly. Why are you telling Lecter that?

So it’s cool to see another female killer -- but boy oh boy did she confess to those crimes like ... instantly.

Beverly, n=no. No, Beverly. I know what you’re thinking. No Beverly. NO.

BEVERLY WHAT ARE YOU EVEN DOING/? NONE OF THIS WOULD BE ADMISSIBLE IN COURT!

That’s like .. the first time we’ve ever seen Hannibal move fast. Like, super fast.

This better be how they catch him.

[zani-is-a-stan]

Suzani watches Hannibal S01E13

Fuck Hannibal. FUCK that guy.

[zani-is-a-stan]

Suzani watches Hannibal S02E03

Yes Hannibal, nice butt.

Well, it’s nice to see Crawford providing some kind of explanation for not backing off of Will.

Did that lawyer just call Will ‘unconsciousness in a pretty package’?

Why would Hannibal be killing people to prove Will’s innocence when it’s his own crimes Will’s taking the fall for? If Will’s proved innocent, he has to know they’ll come for him next.

Freddie is quickly becoming one of my secret favorite characters. She’s so unapologetically evil.

Excuse me Chilton? Empathy is super wrapped up in individuals on the autism spectrum. Many autistic adults and children describe aspects of their state of being as feeling all of the feelings. Man, this guy is incompetent, and immoral.  But listening to Chilton describe what he thinks Will is is amazing -- he’s so clearly describing himself.

HOW DARE YOU QUOTE STAR TREK, MR. LECTER! HOW DARE YOU LEVERAGE SPACE HUSBANDS AT ME MR. FULLER!

What .... is ... this series of cuts ... showing Hannibal staring at Will’s empty chair. YOU PUT HIM IN THE THE DAMN JAIL, HANNIBAL! How are you gonna MOPE about that?

That’s such a shitty kid gesture. The judge won’t do what you want, so you call him dumb and heartless? GJ Hannibutt.