Posts Tagged ‘Terminator’

The Nineteenth Day of Mellowmas: Dollytoe’s Revenge

Jeff: I do want to say that I think it’s funny how often we keep coming back to Dolly. Is this the second or third time we’ve covered something Parton-related? I think it’s the third.

Jason: I thought it was the second! Did I forget the other one?

Jeff: Didn’t we cover two of her duets with Chicken Beard?

Jason: I only remember doing “I Believe in Santa Claus.” Did I block the other one out of my memory?

Jeff: I think you might have. Was “I Believe in Santa Claus” the one with the terrifying ski lodge video? Because that would bump a few things out of the memory banks.

Jason: No, that was the one in the shopping mall with Kenny dressed as Santa. But now I’m totally remembering what you’re talking about!

Jeff: I feel sort of guilty, because Dolly seems like such a nice person. But she keeps releasing such bad Christmas music.

Jason: Yes! We did “A Christmas To Remember!”

Jeff: Dollytoe!

Jason: Yes!

Jeff: shudder

Jason: I wouldn’t feel guilty. Look at that cover.

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Jason: I mean, who is that? Is that Dolly Parton?

Jeff: It’s Dolly after she was attacked by an airbrush, I think.

Jason: She looks like The Joker.

Jeff: Is her face frozen like that?

Jason: Look at her lips. Look at that facial expression.

Jeff: And those eyebrows! Holy shit!
EYEBROWS DON’T DO THAT, JASON

Jason: And is that a mole on her face? I thought it was dust on my screen, but then I moved the image and the dust mark stayed where it was.

Jeff: I think it’s butterfly poop.

Jason: Her facial expression, I would imagine, is supposed to say “I wonder what’s in this package?” But all I’m seeing her saying is “Have you ever danced with the devil in the pale moonlight?”

Jeff: Ha ha ha ha ha ha ha!

Jason: I supposed we have to listen sooner or later, don’t we?

Jeff: I suppose we must. This is just a single, right? I mean, you aren’t going to spring another track on me after this is over, are you?

Jason: As far as I know, this is just a single. But even if it’s not, I promise you: no more Dollytoe after today.

Jeff: That’s a promise you may not be able to keep, but okay. I feel better. You can’t see me crossing my fingers and hoping Dolly covers “Last Christmas” next year.

Jason: SHE HAD BETTER NOT

Jeff: Ready to…uh, comin’ home for Christmas?

Jason: I wonder if there’s any correlation to the title and the fact that she’s surrounded by balls in the picture.

Jeff: Ha! And a box!

Dolly Parton — Comin’ Home for Christmas (download)

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From Comin’ Home for Christmas (single)
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Revival House: “I’ll Be Back”

TerminatorIf you’re like me, when you see a picture of Arnold Schwarzenegger in shades, a certain five-note rhythm comes to mind. There’s no denying composer Brad Fiedel kicks things off in James Cameron’s The Terminator (1984) with a great main title, letting us know we’re building to something awesome here.

In the late ’70s and early ’80s, there was a wave of low-budget films hitting theaters, but they didn’t feel low-budget — they all had the aura of expensive blockbusters. I’m talking about flicks like The Howling, Scanners, and Escape From New York (all 1981), and directors like Joe Dante, David Cronenberg, John Carpenter, and of course Cameron — directors who knew enough about the craft of filmmaking to stretch their shoestring budgets and create cool-looking movies.

Carpenter’s Escape From New York is a good example. The dilemma: how to make New York City look like a maximum-security prison in the near future with very little money? The early establishing shot of the Manhattan skyline is a matte painting. But more important is the way Carpenter pans up from the set — created in Sepulveda Basin, California — to the night sky, then cuts from blackness to the matte shot, perfectly matching the lighting and camera movement so it appears to be one continuous shot.

Cameron served as a matte painter and special-effects cameraman on Escape From New York, but before that, he was a model builder who was quickly promoted to art director on Battle Beyond the Stars (1980), produced by Roger Corman. Cameron literally stapled empty egg cartons to the back wall of one of his alien-spaceship sets because it was cheap and he thought it would look cool. It was around this time that he met Gale Anne Hurd, who served as an assistant production manager on the film. A few years later, when Cameron started developing his idea about a cyborg assassin from the future, he brought Hurd on board to cowrite and produce.

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