TBF, Mags, you have been doing a lot of the heavylifting for the quest, so this will be in good hands.
To be clear to everyone, this is just me burning out on imagination of the quest, since my muse has been hitting me over the head a lot with so many different ideas that I just can't find myself too interested in this.
I'll still hang out here, though, since this still does have a sepcial place in my heart.
I'd like to thank you all for making this a wonderful experience while it lasted.
I'd also like to thank @Magoose, @Fluffy_serpent, and @Martin Noctis for doing so much to help prepare and write this quest. I couldn't have done it without you all.
Splash Directed by: Ron Howard
Written by: Lowell Ganz, Babaloo Mandel, Bruce Jay Friedman
Produced by: Brian Grazer
Production Studio: The Ladd Company
Distribution: Lucasfilms Unlimited
Starring: Tom Hanks, Daryl Hannah, Eugene Levy, John Candy
Well, at least it made a profit. After the massive success of Ran and Scarface, you were hoping that it was a sign of Lucasfilms having a dominant year of Blockbusters to reinforce its newfound status as the most commercially successful of the Big Five. However, Splash combined with Outsiders return served as a slice of humble pie, that while Lucasfilms wasn't going to fail, that not every film was gonna be a blockbuster. Then again, you would have probably foreseen this if you had given the script a closer read beforehand.
Splash was a fantasy romantic comedy where Tom Hanks plays Allen Bauer, the owner of a produce supplier in New York longing for love and intimacy. Allen finds such when he encounters Madison, a mermaid who he had met when they were young and Madison being smitten with Allen pursues him to New York to start a relationship. However, the two have to contend with a wacky scientist desperate to prove Madison is real, all the while Madison has to deal with her secret identity and being committed to Allen.
The film landed in the Ladd Company after a short bidding war between it, United Artists and Disney. Alan while skeptical at first, had been drawn to the idea of doing a romantic comedy as it was something that was relatively lacking in the Lucasfilms filmography. Ron, who was interested in experimenting in a new genre had agreed to sign on and from there it was a relatively smooth sailed production. Infuriatingly, while Conan's ocean scenes had given you hell, all the good nautical luck went to Ron who didn't have a single thing go wrong with his water filming. Not that you wanted anything bad to happen to Ron, but why did he deserve all the blessings? Then again, he was filming in the sane and rational US instead of the corrupt and cursed Mediterranean.
As for the overall film....it's fine. Carrie said it best in that when it came to the film's two genres it was "Silly not hilarious" and "Cute not passionate". It served both genres competently but it didn't inherently introduce anything innovative or went above and beyond in terms of quality. While Ron's direction was good, the script seemed to be a metaphorical anchor for the plot in that it was more focused on the novelty of the concept and all the silliness of a literal "Fish out of water" and Allen's quest for love than anything powerful. There was plenty for audiences to enjoy in general, but few that would leave a lasting impact. Though in your case the most memorable part was the wacky scientist Kornbluth's determined quest to expose Madison and how he accidentally harasses an innocent couple by splashing them with water, that had you cracking.
The cast all had competent performances with decent chemistry that could get laughs out of the comedic bits and make you smile slightly with the romance. Tom and Daryl had good chemistry, though they are burdened by the script as their characters don't really meet until a third of the movie and most of the film is aimless fun romance and the goofiness of a human and mermaid falling in love. Daryl did give her all for the swimming scenes though and did excellent choreography. Also, you don't know why, but you have a strong gut feeling that Tom Hanks is not only gonna go far, but can surpass you as an actor.
Also a fun part of this movie was how Ron got your Dad to play a cameo as the President, so that was nice of him.
Splash debuted with one of Lucasfilms' smallest opening weekends of $5 million and from there it kind of trickled on in the small theaters until being pulled in late April. You are heavily grateful to the international audiences as they carried the film hard and had it been just a domestic release it would have been a surefire bomb with less than the budget. Europe was the key to success here with over $20 million, and Ireland and Northern Ireland had seen $4 million, more likely than not as a thank you for the Ash Wednesday peace.
If you had to say why it failed, well for one Splash was no longer competing alone and going against Outsiders as now Lucasfilms tended to release two films a month save for special occasions. But it also faced hard competition from Ran and Scarface which were still going strong in March and pulled adult audiences. Combine it from being adult enough to not be enticing to families (even if it was PG) and you didn't really have anyone come out besides those yearning for romance. Though with 3.5 times the budget, at least you got your money back and some nice profits.
Audience reception was mildly positive. People enjoyed themselves but no one was crazy about it and there were a fair amount of detractors who though the romance was below average or the tone was a bit silly. Oddly, critics were strongly in support for the movie across the board with lots of warm recommendations and praise being given to the humor, acting and Hanks and Hannah's chemistry.
Unfortunately, there was no chance of Splash being a cult classic after its theater run. It had moderately healthy VHS sales and low numbers for airings on LucasTV and other stations. People mostly just rented it for date nights and it never really developed a dedicated fanbase. For the long-term, Splash would mostly reappear in interest whenever someone wanted to go through the careers of Tom Hanks or John Candy.
If there was one good thing that came from the film, it was that it had brought you and Ron together as good friends. In March, he had been staying in LA both for Splash's promotion and to sort out the pre-production of his next film Cocoon. Ron was busy one night and due to a everyone he knew already being busy, had asked short hand if you and Carrie could watch over his daughter Bryce. Wanting to help your old Graffiti co-star, you agreed and Bryce had been a delight to watch over. She quickly became fast friends with Sarah and Joseph and the trio had a blast playing games with one another and going on adventures. This lead to many more playdates over the course of March and April and the three of them becoming as thick as thieves like Mary and Wally. Thus you and Ron were Dad Buddies. Well, it was certainly nice to have another friend like that besides George.
Also, you learned from Ron one day when you were watching your kids in the pool that Ron Clements and John Musker had approached him after the premiere of Splash and had sort of an impromptu interview about the film's production and Ron's opinion of the story. Apparently it was research for this new film they were working on for Dreamworks, The Little Mermaid.
Roy: You are making a princess movie? Are You defying us in the game we created Bruce?
The Goose: Honk *Little Mermaid becomes the highest grosing animated movie in history*
Roy: Noooo! Uncle Walt I have failed You!
I swear to God, if Little Mermaid somehow became the highest grossing animated movie in history despite all that I've done to try and boost Undertale, I think I might just cry
Video Game Pitch: Tron F01 Game Developer: LucasArts Entertainment Platform: Sega Arcade Director: Bill Adams Genre: Racing
Premise: Tron F01 is an arcade racing game that takes place after the first film in the Grid. The broad story premise is that Flynn has designed a new racing game called Formula 01 and wishes to test it out on the Grid. Programs are invited to take part with the lucrative offer of Flynn creating whatever the winning program desires.
The protagonist is Megan, a program dedicated to Light Tanks who wishes to become a light cyclist and enters to prove herself. Megan takes control of a purple Light Cycle and races against 12 others in a tournament.
There are five tracks in the game that take place in the Grid. The key feature to F01 that sets it apart from other games is that the game is in 3D and is meant to mirror the graphics from the film. The race tracks are:
An arena designed to mirror a Formula one track with many levels and tight turns
A course through the Grid's city with tight streets and many splitting branches
A mountain-like course with lots of jumps and a lack of railings
A course set with many "Digital Lakes" to navigate through.
An obstacle course with many hazards that mirror Space Paranoids.
Gameplay mechanics are mostly those of a standard race system with a few notable features. One is the Light Nitro mechanic that players and other programs can use to either boost speed or create jetwalls that last for five seconds and can cause temporary barriers. Light Nitro slowly refills overtime with 1% per second, but there are Light Nitro canisters throughout the track that the player can access to boost the Light Nitro filling.
The other feature is the structure of the tracks which are not as strictly linear or flat as other games and can move to different elevations along with branching paths and hazards typical of something like Mario Kart.
Players can either invest a quarter to play one of the race tracks, or play full quarters to play through the story mode of the "Grid Prix" and go through all five race tracks. Progression is based off of points placement like Mario Kart. If the player gets to a points where they are unable to win the Grid Prix, then the game is over. If Megan wins, then a cutscene takes place of Flynn meeting with Megan, congratulating her for her win and admiring how Megan's victory has shown that programs can be more than just their directives. He asks Megan what she desires, to which she replies that she wants a dog like what users have in the real world. A request that Flynn happily grants with Megan naming her dog Spot.
Splash Directed by: Ron Howard
Written by: Lowell Ganz, Babaloo Mandel, Bruce Jay Friedman
Produced by: Brian Grazer
Production Studio: The Ladd Company
Distribution: Lucasfilms Unlimited
Starring: Tom Hanks, Daryl Hannah, Eugene Levy, John Candy
Well, at least it made a profit. After the massive success of Ran and Scarface, you were hoping that it was a sign of Lucasfilms having a dominant year of Blockbusters to reinforce its newfound status as the most commercially successful of the Big Five. However, Splash combined with Outsiders return served as a slice of humble pie, that while Lucasfilms wasn't going to fail, that not every film was gonna be a blockbuster. Then again, you would have probably foreseen this if you had given the script a closer read beforehand.
Splash was a fantasy romantic comedy where Tom Hanks plays Allen Bauer, the owner of a produce supplier in New York longing for love and intimacy. Allen finds such when he encounters Madison, a mermaid who he had met when they were young and Madison being smitten with Allen pursues him to New York to start a relationship. However, the two have to contend with a wacky scientist desperate to prove Madison is real, all the while Madison has to deal with her secret identity and being committed to Allen.
The film landed in the Ladd Company after a short bidding war between it, United Artists and Disney. Alan while skeptical at first, had been drawn to the idea of doing a romantic comedy as it was something that was relatively lacking in the Lucasfilms filmography. Ron, who was interested in experimenting in a new genre had agreed to sign on and from there it was a relatively smooth sailed production. Infuriatingly, while Conan's ocean scenes had given you hell, all the good nautical luck went to Ron who didn't have a single thing go wrong with his water filming. Not that you wanted anything bad to happen to Ron, but why did he deserve all the blessings? Then again, he was filming in the sane and rational US instead of the corrupt and cursed Mediterranean.
As for the overall film....it's fine. Carrie said it best in that when it came to the film's two genres it was "Silly not hilarious" and "Cute not passionate". It served both genres competently but it didn't inherently introduce anything innovative or went above and beyond in terms of quality. While Ron's direction was good, the script seemed to be a metaphorical anchor for the plot in that it was more focused on the novelty of the concept and all the silliness of a literal "Fish out of water" and Allen's quest for love than anything powerful. There was plenty for audiences to enjoy in general, but few that would leave a lasting impact. Though in your case the most memorable part was the wacky scientist Kornbluth's determined quest to expose Madison and how he accidentally harasses an innocent couple by splashing them with water, that had you cracking.
The cast all had competent performances with decent chemistry that could get laughs out of the comedic bits and make you smile slightly with the romance. Tom and Daryl had good chemistry, though they are burdened by the script as their characters don't really meet until a third of the movie and most of the film is aimless fun romance and the goofiness of a human and mermaid falling in love. Daryl did give her all for the swimming scenes though and did excellent choreography. Also, you don't know why, but you have a strong gut feeling that Tom Hanks is not only gonna go far, but can surpass you as an actor.
Also a fun part of this movie was how Ron got your Dad to play a cameo as the President, so that was nice of him.
Splash debuted with one of Lucasfilms' smallest opening weekends of $5 million and from there it kind of trickled on in the small theaters until being pulled in late April. You are heavily grateful to the international audiences as they carried the film hard and had it been just a domestic release it would have been a surefire bomb with less than the budget. Europe was the key to success here with over $20 million, and Ireland and Northern Ireland had seen $4 million, more likely than not as a thank you for the Ash Wednesday peace.
If you had to say why it failed, well for one Splash was no longer competing alone and going against Outsiders as now Lucasfilms tended to release two films a month save for special occasions. But it also faced hard competition from Ran and Scarface which were still going strong in March and pulled adult audiences. Combine it from being adult enough to not be enticing to families (even if it was PG) and you didn't really have anyone come out besides those yearning for romance. Though with 3.5 times the budget, at least you got your money back and some nice profits.
Audience reception was mildly positive. People enjoyed themselves but no one was crazy about it and there were a fair amount of detractors who though the romance was below average or the tone was a bit silly. Oddly, critics were strongly in support for the movie across the board with lots of warm recommendations and praise being given to the humor, acting and Hanks and Hannah's chemistry.
Unfortunately, there was no chance of Splash being a cult classic after its theater run. It had moderately healthy VHS sales and low numbers for airings on LucasTV and other stations. People mostly just rented it for date nights and it never really developed a dedicated fanbase. For the long-term, Splash would mostly reappear in interest whenever someone wanted to go through the careers of Tom Hanks or John Candy.
If there was one good thing that came from the film, it was that it had brought you and Ron together as good friends. In March, he had been staying in LA both for Splash's promotion and to sort out the pre-production of his next film Cocoon. Ron was busy one night and due to a everyone he knew already being busy, had asked short hand if you and Carrie could watch over his daughter Bryce. Wanting to help your old Graffiti co-star, you agreed and Bryce had been a delight to watch over. She quickly became fast friends with Sarah and Joseph and the trio had a blast playing games with one another and going on adventures. This lead to many more playdates over the course of March and April and the three of them becoming as thick as thieves like Mary and Wally. Thus you and Ron were Dad Buddies. Well, it was certainly nice to have another friend like that besides George.
Also, you learned from Ron one day when you were watching your kids in the pool that Ron Clements and John Musker had approached him after the premiere of Splash and had sort of an impromptu interview about the film's production and Ron's opinion of the story. Apparently it was research for this new film they were working on for Dreamworks, The Little Mermaid.
So….
Any chance we might butterfly away the memetic 'reporter difficulty' by actually fostering the rise of critics that carry themselves professionally in the field?
So….
Any chance we might butterfly away the memetic 'reporter difficulty' by actually fostering the rise of critics that carry themselves professionally in the field?
The Outsiders Directed by: Francis Ford Coppola
Written by: Kathleen Rowell
Produced by: Francis Ford Coppola
Production and Distribution Studio: Lucasfilms Unlimited
Starring: C. Thomas Howell (Ponyboy Curtis), Ralph Macchio (Johnny Cade), Matt Dillon (Dallas "Dally" Winston), Patrick Swayze (Darrel "Darry" Curtis), Rob Lowe (Sodapop "Soda" Curtis), Emilio Estevez (Keith "Two-Bit" Mathews), Tom Cruise (Steve Randle), Glenn Withrow (Tim Shepard), Diane Lane (Sherrie "Cherry" Valance), Leif Garrett (Bob Sheldon), Darren Dalton (Randy Anderson), Michelle Meyrink (Marcia), Gailard Sartain (Jerry), Tom Waits (Buck Merrill) and William Smith (The Store Clerk)
Budget: $10,000,000 Domestic: $25,221,123 international: $14,325,113 Total Box Office: $39,546,236
VHS: $50,403,032
There were time when you did not fully understood Francis Ford Coppola, but there were also moments when you felt that both of you could be siblings from different mothers. Case in point, his dedication and love for his family was something that you did not doubt, nor did you feel that it could be faked, yet at the same time, he was the same man who did not seem to mind much when it came to filming for overly long period of times away from them if it meant that he could deliver a better product for the masses.
Basically, both of his seeming passions seemed to be at odds altogether.
Still, after an entire decade where his work took precedence with classics like The Godfather (Parts I & II), The Conversation, and Apocalypse Now (and boy did that movie hit you hard when Francis told you the entire behind the movie details), Francis seemed to have decided to try for a more balanced way of life. One where he could still try to make the films he wanted, while also spending the time with his family so as to no longer miss the moments that made up their entire life. It was a well-balanced approach that you could respect, and the fact that you got another director that could work with you and George was another bonus at the time.
It seemed to work well enough as well. After a period of production, Francis got back in the saddle with Devil's Hour: Dead Man's Gold, a film that became a hit in Ireland (and still had them asking for more movies with Dr. Donovan and Sewall) and seemed to showcase his penchant for experimental narrative structures, working on a mystery and fittingly making use of Noir techniques in a more folklore and fantasy setting. That it allowed him to bring his family along and spend time with them was a happy coincidence, and many of them had been looking forward to a family vacation anyways.
Dune nearly threatened to undo all of his progress, yet he managed to keep himself moderated nonetheless. Where before he would have probably gone unchecked, this time he'd had a plan that he'd shared with both you and Mike, making sure to emphasize the time he would be working in the project, the regulated breaks for the workers, and a tight schedule to which he would put himself in order to make this a great space epic, while also keeping to his new and tried methods.
Yet, in the end, we all tend to stumble a bit.
When you heard how Francis had immediately begun production of another film just after closing Dune you were expecting him to perhaps have another relapse, or perhaps for him to have found another blockbuster idea that he just could not get out of his mind. Never would you have thought to have found him working on a simple film, where instead of the grand sets and special effects of the past few years he would instead work with on the stie filming. Where instead of having him be apart from his family for years at an end, he would instead have them be involved, either by giving them cameo roles, or working with the music of the film.
And never would you had thought that the reason was because of a simple letter that would show him one of the greatest novels that you had never heard about.
Sent by Jo Ellen Misakian, a school librarian from Freson, California, it was a letter asking him if it would be possible to make a film about a novel that many in her district were clamoring about. A novel written by S. E. Hinton, one that was actually being panned by parents for the terrible crime of having teens swearing, smoking or getting into trouble with the police. A novel that explored the life in 60s America, and the life of teenagers from different socioeconomical classes without shying away from such heavy topics.
And when you first took a look at it, from Francis own recommendation, you could not believe that such a gem of a story had been under your nose for nearly twenty years without you ever hearing about it.
Set in Tulsa, 1967, the story follows the life of a gang called the "Greasers" and their tribulations through life. Darryl, the older sibling, taking care of Sodapop and Ponyboy, his smaller siblings, after the death of their mother and abandonment by their father. Ponyboy has to move through life enduring both the circumstances of their condition (poverty) while at the same time trying to deal with the other gang in town, the "Socs" who are more affluent and live in the west side. The conflict begins heating up when Ponyboy begins having feelings for the girlfriend of one of the Socs, Cherry, leading to the Socs to try and kill him along with a fellow younger Greaser, Johnny. When Ponyboy is about to be drowned, Johnny grabs a knife and kills one of the Socs, causing the rest to flee, and both of them having to hide in a church for a while.
During their time in hiding, both Ponyboy and Johnny spend the time playing poker, smoking and reading books like "Gone with the Wind" (and damn it, why is that thing still so popular" as well as the poem by Robert Frost "Nothing Gold Can Stay". Eventually they are met by fellow Greaser, Dallas, who helped them hide, and tells them that Cherry is willing to testify that they acted in self-defense to the police. Before leaving however, they go to the church a final time and find it on fire, causing them to go and rescue the children still trapped inside, but though Ponyboy comes out unscathed, Johnny has his back broken and his body with third degree burns.
Ponyboy and Johnny are seen as heroes, though the Greasers and the Socs still go and have a rumble, which the former wins. Johnny eventually passing away from his injuries, but not before saying to Ponyboy to "Stay Gold". And though Ponyboy eventually is exonerated, he is still ignored by Cherry, Dallas dies after stealing from a store, committing "Suicide by Cop". Ponyboy is told he'll get a passing grade if he manages to write a good essay, and though he remains apathetic to it all, his mood changes when he finds a letter from Johnny, where he tells Ponyboy that it was worth it to give his life to save the children, and for Ponyboy to "Never Change".
Inspired by it all, Ponyboy begins writing the very book that you'd been reading all along.
There's.. no words for it. The story was full of life, it was a tale that focused on the connections between the different children and teens who had formed bonds tighter than family. It was a story that truly spoke to you, and yet it had been written over two decades before! There was a divide between the Greasers and the Socs, sure, but it was a divide that could have been mended at some point if the character of Cherry was anything you could guide yourself by. it was a tale of heart, of friends, of finding the goodness and the light inside the dark of the world, showing how despite the many divides that humanity had, we still yearned for connection, how even goodness could come from the most unlikely place, and it was possible despite all the setbacks we might face in life.
God, now you wanted to make the movie!
But, speaking with Francis, you understood why they had gone for him in order to make it. Despite his previous films all being blockbusters, full of epic and ambitious narratives that can explore complex themes, Francis also had a vision of how to bring about this emotive film, with a clear understanding of the book, as well as the experience to bring it to life with all the life that he usually imbued in his own characters. Even when working on a movie that, for all intends and purposes, was a complete turn from what he usually tended to work with.
Beginning the production in the city of Tulsa, Oklahoma in order to make it more real, Francis went through the entire process to make the film fit the book as much as possible, getting the permits to film in the appropriate locations, getting the ILM team to help when said locations did not seem to be enough, and of course always speaking with the experts to find the right clothing and style to fit the era he was working on. He even had to use both the book and his memory to remember just how exactly did people talk back then.
Though that one was even harder for the actors.
Francis was not looking for top actors form what you noticed, but instead trying to go for the perfect ensemble, which at times meant trying to get some actors trying for different roles, and then having them try with other actors to see if they fit together, all the while adding more tension to the entire process. Like trying to fit a gear with another, but at times trying a different gear just in case it fits better. He did not made much friends during the process, but at the very least he got the right actors for the job.
And boy, did he ever find a smorgasbord of teens ready to work in a Lucasfilms Production; Tom Cruise as Steve Randle was a given, since Lucasfilms gave him his breakout role which he then used to springboard into many varied roles that were helping show his range and professionalism while on screen. From what you'd heard, Don and Jerry were thinking on giving him the lead on a new project they were working on, something about fighter pilots? And Patrick Swayze, the man who ended up being Aquaman must have seen something in his role as Darrell, since his audition was among the hardest, yet he never gave up on it no matter how tough it got. He presented the image of a caring older brother, but unable to fully display it as he had to be both father and mother to his siblings.
It was just so powerful when it's shown on screen. His scenes are to be repeated over and over again.
Aside from that, Francis must have been looking for every person of talent, every young man that would have a chance to display his skills in the future, because by God he sure got them; C. Thomas Howell and Ralph Macchio as Ponyboy and Johnny are a match made in heaven when on screen, showing true compatibility as friends forged in the same circumstances, with both of them forming an enduring bond through all the tragedies and penuries of life. Matt Dillon however manages to nearly top them with his tragic interpretation of Dallas, a man who would have had nothing, and in fact had nothing, before he met Darryl or the rest of the gang. And his reaction when losing some of them, brings to mind those veterans who just... snap, who no longer find any meaning in this world, and just want to escape it by any means necessary.
Even if it means dying through cops.
Then there's Rob Lowe, Diane Lane and Emilio Estevez. You're sure that you've heard of them before, yet you can't understand how you must have missed them yet Francis seemed to have discovered such talented kids. Diane Lane makes for an amazing rich girl as Cherry, the girlfriend of one of the members of the opposite gang who forms a bond with Ponyboy while also seeming to be somewhat dislikable at the beginning and the end. In a way she showcases how even "villains" can have feelings as well, showing how the ones we would be rooting against have their own problems to deal with. Rob Lowe and Emilio Estevez have managed to fit into their perfect roles with hardly any disconnect, yet also bringing a degree of familiarity and sensibility that one would not expect to find in any kind of gang as well.
Yet it seems fitting that it does in this movie.
The entire point was to properly adapt the book, and the film managed to do so, showing how despite how rough, violent, and sometimes scary the Greasers could be, in the end they are all a family that takes care of themselves, mostly because they have no one else that can do so.
Darryl has to take care of his siblings by himself, which while he tries to do, he's still a teenager, and not that older either. Sodapop and Pony boy are both stunted emotionally, and trying to deal with all the changes from growing up. Johnny's parents are always at each other's throats and abusive towards him, which is why he tries to spend more time with the Greasers and Ponyboy. Dallas, though not said it explicitly, was a man who had done horrible things before joining the gang, yet managed to change and become less violent once he found a place where he could belong at last.
Yet it also doesn't shy from showing their mistakes and rage that nonetheless they can misdirect at each other; like how Darryl's anger leads to him hurting Ponyboy, which directly leads to the fight and death of one of the Socs members. Or the discovery that the Socs, for all their money and opportunities in life, nonetheless have their own problems and hurts, which is why they take it out on the Greasers, trying to make themselves feel a little bit better, and creating their own circle of friends and support as well. Or even Dallas fall to despair and suicide by cop when he feels that he's losing everything he's got.
It is a story that is conventional and straightforward, with linear storytelling, all unlike Francis' previous movies, yet is one where he brings his own flair and style, with parallelisms to The Godfather in many scenes while keeping to the main themes of parental neglect, poverty, social prejudice and the terror and confusion of a teenager as it tries to navigate their challenging lives and dealing with their own personal challenges.
And though it did not break any records, nor did it became the newest hit for Coppola, audiences who saw the film could not help but praise what could very well considered one of the best movies he's ever made. Men and women alike came out feeling a great deal of appreciation for Ponyboy's struggles, along with being saddened by Dallas' fate and Johnny's own desire to do good despite all the shit that life had thrown at him.
Many of the teens watching the movie could relate somewhat to their struggle, even if their circumstances were not as dire, there was still always that would have them feel like an Outsider, just as Ponyboy and Johnny felt when they had no place safe, neither at their homes nor in the Greasers. But at the end of the day, with all the darkness and sadness, and outright cruelty that the world could throw at them, they still chose to do good, proving that there is always a small light shining in everyone, that there is still a chance to be good people.
A chance to "Stay Gold" as Johnny told Ponyboy, one that he took to heart in the end. At the end of the day, audiences, though not many, would leave the theaters satisfied, feeling that they had watched a transformative experience, even if they would not know it for a long time yet.
Critics took to the film a bit more harshly. They expected another of the sweeping epics of Francis after all, a tale that explore d the human condition, one that pushed boundaries and made use of experimental technology and narrative rather than a by the numbers coming of age movie, claiming that the conflict was presented in a somewhat simplistic manner, with the socioeconomic tension not being as well explored as it could have been. Ebert himself mentioned how despite the movie being "good, but not great" there were many moments where the characters felt like paintings, with hardly any depth or richer context for their actions or motivations.
Yet among the many critics who panned the film, there were still those who gave it their full support. The New York Times review praising the movie as "a compelling and enduring portrayal of youthful camaraderie, and a solid analysis of the challenges of growing up". A true tale and embodiment of how messed up the world can be, how prejudices can blind us to those who might need a helping hand. Furthermore, they praise Francis new approach to cinema, commenting on how he has lost nothing of its flair or camera work, nor his instinctive emotive takes, giving as example the scene where both Ponyboy and Johnnie see a sunset similar in many ways to the "Gone with the Wind" film of 1939.
...Goddammit, why does it always come back to that movie?!
Well, with Tom Cruise and Patrick Swayze's appearance, the movie managed to chug along to a respectable $25,000,000 in sales or more for the domestic market alone. The later international market in Europe and Asia did not seem to think much of the film, but Ireland certainly did, with $5,000,000 coming out from them alone. The movie might be set in America, but the conflict, prejudice, social divide, it all seemed tailor made for a people who had been living with it for decades now. This movie touched so many of their issue that newspapers were claiming it was tailor made for them alone. The final message, of 'Staying Gold', to look for the good inside them, has also re-sparked an interest in the church that had been going downhill ever since The Troubles and the new decade had begun, looking for aid in reconnecting with the most noble aspects of humanity.
...Well, not that you're going to say anything against it.
On the Homefront as well, it did not escape anyone's notice how the entire cast was a showcase of talent, both current and for the future, with later mentions on of this being the first "Brat Pack" movie ever shown. Names like Dinae Lane and Rob Lowe, Emilio Estevez and Matt Dillon would soon become household names with their performance and with the regularity with which they would be called to act in more movies overall. John Hughes in fact has already managed to convince many of them to work on his "Breakfast Club" production, which he now has even greater hopes after seeing the dramatic, yet grounded way in which they can develop their characters.
And Francis, despite the lack of praise from critics, or the movie not being as much of a hit as he had expected, is very satisfied with it, commenting how in the end he enjoyed working on something that was not a blockbuster for once, a simple story that allowed him to experiment outside of his usual methods, and be with his family at the same time. He will still be available for any movie that Lucasfilms may want him for, but for now he wants to try any new genres that he'd left behind before.
Not that you're going to stop him if masterpieces like these are going to keep on coming. The movie, despite it not becoming a true blockbuster, would go on to become a Cult Classic, well remembered beyond its time, with VHS Sales going to nearly double their Box Office Earnings. The nostalgia feeling, the grounded tragedy and melancholy of the setting, the hopeful light at the end, and the excellent performance by a star-studded cast made this one of the films that no one can say did not deserve its title.
Heck, from what you heard, Tulsa is now turning the entire shooting places into a tourist attraction that is already bringing in the revenue! Just what the heck Francis! How do you go from trying a smaller production to suddenly turning the place into a small tourist park?! Geez, is the same going to happen to any of your other movies as well?
...Nah, can't be.
That reminds you though, you still need to check on where to have The Hobbit filmed if you want to adapt it before the decade is out.
A classic movie that we got to watch while reading the book at my high school. It made a few hundred thousand less domestically then it did in real life but had a bigger mark internationally by about 14 million so I can't complain.
Hey guys do you think my pitch from last August "My Evil Quest To Save The World" would work right now for Marvel Manga or should we wait? I meant for it to be a manga then potentially an anime type deal but I don't really know how we launch a manga story.
Never watched the film, but did we at least make Tom Cruise run?
I am fully confident we made him run as Robin. It was a superhero film, there was action, naturally there would be running. It should be an unspoken rule that every Tom Cruise film we make should have him do a Tom Cruise run.
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Title: "Undertale (1984): The Musical Masterpiece That Redefined Film Scores | A Deep Dive Into Lucasfilm's Timeless Soundtrack"
Title: "Undertale (1984): The Musical Masterpiece That Redefined Film Scores | A Deep Dive Into Lucasfilm's Timeless Soundtrack"
[🎵 Opening music: an orchestral swell that transitions into an iconic chiptune melody, blending retro and modern sounds 🎵]
Narrator (on camera, surrounded by vinyl records and vintage synthesizers):
"Welcome back, cinephiles and music lovers! Today, we're diving into what many consider to be one of the greatest film scores of all time: the breathtaking soundtrack of Undertale (1984).
Imagine this: It's the mid-1980s. Lucasfilm has just brought us an animated movie like no other—a blend of quirky humor, heart-wrenching emotion, and moral complexity. But as brilliant as the animation and storytelling were, it was the music of Undertale that etched the movie into cinematic history.
From orchestral grandeur to intimate piano pieces, from experimental synth work to groundbreaking leitmotifs, Undertale's score wasn't just a backdrop for the movie—it was a character in its own right. Today, we're breaking down why this score remains an enduring masterpiece, nearly four decades after it first graced theaters. So grab your headphones, crank up the volume, and let's explore the genius behind the music of Undertale!"
1. The Vision: A Musical Story Like No Other
[🎥 Clip of Frisk standing at the edge of the Underground, the haunting opening notes of "Once Upon a Time" playing in the background.]
Let's start with the vision behind the music. According to internal Lucasfilm memos, the score's goal was to reflect the film's emotional range: equal parts quirky, heartbreaking, and triumphant. Samuel D. Orchestrus, head of music development, described it as a "one-of-a-kind soundtrack." He wasn't kidding.
At its core, the score aimed to make you feel. From the first note to the last, it had to immerse audiences in Frisk's journey through the Underground—a world of quirky monsters, ancient ruins, and moral dilemmas. And to achieve this, Lucasfilm assembled a dream team: Koji Kondo, the rising star of video game music; Shirley Kingsley, a veteran orchestral composer; and Wendy Carlos, the queen of synthesizers.
2. The Main Theme: "Undertale" and the Power of Leitmotifs
[🎥 Clip of the iconic scene where Frisk walks through the Ruins, with the main theme swelling.]
Every great film score has a main theme—a piece that not only anchors the story but lingers in your mind long after the credits roll. For Undertale, that theme was, fittingly, titled Undertale.
The piece opens with a gentle acoustic guitar, mirroring Frisk's innocence and vulnerability. Soon, reflective piano notes join in, followed by an emotional orchestral swell that evokes nostalgia and hope. But the genius of the theme lies in its leitmotif, Once Upon a Time.
This melody weaves its way through the entire score, subtly transforming to reflect the narrative. When Frisk is exploring, it's playful. When they face moral dilemmas, it's melancholic. And during the climactic moments? It becomes a triumphant symphony. By tying the entire soundtrack together, the leitmotif creates a sense of cohesion that few other scores have achieved.
Fun fact: Samuel D. Orchestrus revealed that Kondo and Kingsley intentionally designed Once Upon a Time to feel timeless, drawing inspiration from classical compositions like Pachelbel's Canon in D while infusing it with a distinctly modern sensibility.
3. Blending the Old and the New: Orchestral Grandeur Meets Synthwave Magic
[🎥 Clip of a montage showing both serene Underground landscapes and action-packed moments, underscored by the synth-heavy track "Core."]
What made Undertale's score so groundbreaking was its blend of traditional orchestral elements with cutting-edge synthesizer work. Wendy Carlos, fresh off her success with Tron, brought her signature style to the project.
Take the track "Core," for example. It's a pulsating, hypnotic piece that perfectly captures the eerie, high-tech vibe of the CORE area. Carlos used modular synthesizers to create sounds that felt alien yet deeply emotional.
But this wasn't just about sounding cool—it was about storytelling. The orchestral elements represented the ancient, mythical side of the Underground, while the synths symbolized the quirky and otherworldly aspects of its inhabitants. The combination created a soundscape that was both timeless and futuristic.
One of the most famous examples of this fusion is "Heartache," Toriel's battle theme. The piece starts with a melancholy piano melody before exploding into a flurry of violins and synth arpeggios, mirroring Toriel's inner conflict as she tries to protect Frisk while hiding her own pain.
4. Character Themes: Giving Every Monster a Voice
[🎥 Clip of Sans and Papyrus's comedic antics, set to the upbeat tune of "Bonetrousle."]
In Undertale, every major character has a unique musical theme that captures their essence. These weren't just background tracks—they were integral to understanding the characters.
Let's start with Sans and Papyrus. Their themes, "Megalovania" and "Bonetrousle," couldn't be more different, yet they complement each other perfectly. "Bonetrousle" is a jaunty, whimsical track that mirrors Papyrus's over-the-top personality, while "Megalovania" is intense and rebellious, reflecting Sans's hidden depth.
Then there's "Dummy!"—a chaotic, percussion-heavy piece that accompanies Frisk's bizarre encounter with the Mad Dummy. The track's erratic shifts between playful and sinister tones perfectly encapsulate the Dummy's unhinged nature.
And who could forget "Asgore"? This track, with its mournful piano intro and epic orchestral crescendo, captures the heartbreaking nobility of the Underground's king. Listening to it, you can feel the weight of his decisions and the tragedy of his situation.
Each theme doesn't just enhance the characters—it is the characters. By the end of the movie, you could hum a melody and instantly know who it belongs to.
5. The Emotional Core: "Hopes and Dreams" and "Save the World"
[🎥 Clip of Frisk's final battle, as the triumphant strains of "Hopes and Dreams" echo through the theater.]
If there's one part of the score that stands out above all others, it's the climactic battle music. "Hopes and Dreams" and its follow-up, "Save the World," are nothing short of iconic.
"Hopes and Dreams" starts with a soft piano motif, echoing the main theme, before building into a full-blown symphony of hope and determination. It's a piece that represents Frisk's unwavering resolve to fight for a better future.
And then there's "Save the World." This track takes the emotional highs of "Hopes and Dreams" and cranks them up to eleven, layering in choir vocals and dramatic key changes. When combined with the stunning visuals of Frisk battling for the fate of the Underground, it's an unforgettable cinematic moment.
Fun fact: Composer Shirley Kingsley once said that she cried while recording "Save the World" because it perfectly encapsulated the movie's message of hope and perseverance.
6. Experimentation and Risk: The Quirky Genius of "Spider Dance" and "Death by Glamour"
[🎥 Clip of Mettaton's over-the-top performance, complete with pyrotechnics, accompanied by "Death by Glamour."]
Not every track in Undertale was emotional or epic—some were just plain fun. "Spider Dance," the theme for Muffet's battle, is a jazzy, toe-tapping piece with harpsichord flourishes that make it feel like a demented tea party.
And then there's "Death by Glamour," Mettaton's show-stopping theme. This track is pure 1980s glam, blending funky basslines with synth-pop melodies. It's flashy, flamboyant, and utterly Mettaton.
These tracks added levity to the movie while showcasing the composers' willingness to take risks. After all, who else but Lucasfilm would put a harpsichord battle theme and a synth-pop dance track in the same movie?
7. Legacy: A Soundtrack for the Ages
[🎥 Clip of fans at a 2020 symphony concert, cheering as the orchestra begins "Megalovania."]
Even decades later, the Undertale soundtrack continues to captivate audiences. It's been performed by symphony orchestras around the world, remixed by countless artists, and even used in video games and commercials.
The score's timeless quality lies in its emotional depth and versatility. Whether you're listening to the gentle strains of "Home" or the adrenaline-pumping beats of "Battle Against a True Hero," there's something for everyone.
Narrator (smiling):
"So, what makes the music of Undertale (1984) so special? It's more than just great melodies. It's the way the music tells a story, captures emotions, and immerses you in the world of the Underground.
Whether you're a die-hard fan or a newcomer, one thing's for sure: Undertale's score is a masterpiece that will continue to inspire for generations to come.
Until next time, keep listening, keep feeling, and keep exploring the magic of music!"
[🎵 Closing music: the main theme of "Undertale," fading into applause. 🎵]
One more bonus after this Carcer one or including this one? Cause I'm almost done with my own omake for Undertale and it'd really fucking suck for it to go to waste.
One more bonus after this Carcer one or including this one? Cause I'm almost done with my own omake for Undertale and it's really fucking suck for it to go to waste.
Dreamworks may not always be the top dog in the animation biz, at least for more than an occasional period of time or two, but I'll eat my nonexistent cowboy boots if Undertale doesn't nail them down as one of the top three animation studios in existence when it comes to animated films.
I can't wait for the soviets to release their cinematic masterpiece "Overstory" a film about a little boy and his monster friends overthrowing the fascist bourgeois.
I can't wait for the soviets to release their cinematic masterpiece "Overstory" a film about a little boy and his monster friends overthrowing the fascist bourgeois.
