Baby Yoda hides Quentin Tarantino collaborated with Richter!

//   11 dicembre 2019   // 0 Commenti

But some things on Tatooine are still the same: The same hunks of twisted metal still sit in the junkyard outside the cantina, for one, and the Tusken Raiders and Dewbacks featured in the episode were about what you’d expect from those particular species. Meanwhile, the casting of Amy Sedaris as mechanic Peli Motto was a huge and delightful surprise, and one of those moments where I felt like this show was made specifically for me. Sedaris in an Ellen Ripley wig and jumpsuit, scritching Baby Yoda’s little head and yelling at her pit droids to bring him “something with bones in it” to eat? Yes please!

And don’t look for Quentin Tarantino’s “Once Upon a Time in Hollywood,” which relies entirely on a soundtrack of classic oldies.

Meanwhile, James Newton Howard’s “A Hidden Life” score is, in the Academy’s eyes, overshadowed by Terrence Malick’s use of classical music and employment of other composers to add the finishing touches to his opus.

“Ad Astra,” despite having one of the year’s most beautiful scores courtesy of “The Leftovers” music scribe and veteran classical composer Max Richter, was disqualified. While Richter wrote the bulk of the score, Lorne Balfe does have a credit for writing additional music, and an Academy rule states “two credited composers [must] function as equal collaborators, each contributing fully to the original dramatic underscore.” Balfe wrote the score later on in post-production, and never actually collaborated with Richter.

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