Comments

  1. Jack M says

    They stole that Ligeti music from the 2001: A Space Odyssey soundtrack. I can’t hear it without thinking of that movie.

    Can’t believe Bryan Cranston is in this film. Trailer looks lousy.

  2. jamal49 says

    @STYLER The gay angle is that Godzilla is a she/he and can asexually reproduce (aka parthenogenesis, the next phase in gay evolution). Instead of all that nasty, messy, surrogate stuff, we’ll just go ahead and reproduce by ourselves.

  3. Zlick says

    Several trailers have used music from 2001, because it’s so eerie. But it’s also, imo, too famous to use without invoking a reference in the mind to that film. Those pieces, the Ligeti included, were not written for 2001, but are nonetheless so entwined with it in popular culture, imo.

    Trailers rarely use the actual score from the film being previewed, but they also avoid using music from Jaws or Star Wars or the like, because it will take you out of that trailer and into Jaws or Star Wars. This one took me out to 2001, but I still admired the use of the really creepy piece.

    Oh, and I’m disappointed it showed New York post-attack. I had thought the San Francisco setting shown in the last teaser meant at least this Godzilla didn’t have to trek across the Pacific, and across Panama and up the Atlantic to implausibly attack NYC. Oh well.

    I’m one of the 7 people who actually liked that last Godzilla movie, and this one looks like a ton of fun, too. I’m totally in.

  4. Caliban says

    Gojira!

    I love this kind of brainless popcorn movie so I’m in, dependent of course on reviews. Now I just have to figure out how to convince my BF to see it with me since he likes more… serious (read: deadly dull) fare. Do you think he’d buy that it’s Dame Judy Dench inside that Godzilla suit?

  5. oncemorewithfeeling says

    Zlick, that’s not New York — it’s the New York-New York Hotel and Casino in Las Vegas. Check out the roller coaster behind the Statue of Liberty. The trailer doesn’t make that clear, though, so it’s easy to mistake it for NYC.

  6. Bill says

    @Steve T. @Jack M : Stealing it from the film 2001 is only fair – the people who made that movie never got Ligeti’s permission to use his music in that film (and as I recall they were lax about paying him initially). Hope they paid Ligeti’s heirs though.

    http://www.sfgate.com/bayarea/article/Gyorgy-Ligeti-music-scores-used-in-2001-film-2533294.php has an article noting the lack of permission. The comments about not getting paid are based on my memory of a pre-opera lecture or program notes for a performance of Le Grand Macabre. Eventually he did get some payments, however, and was paid fairly when his music was used in other films.

    According to http://www.newyorker.com/online/blogs/goingson/2008/03/clarke-kubrick.html “When Ligeti attended the Vienna premiere of the film and realized that the music had been used without his permission, he was understandably shocked. (He eventually received a modest payment from MGM, and substantial royalty payments.) But by acknowledging Ligeti’s work in the final credits, Kubrick made the composer world-famous. When the director later used Ligeti’s music in “The Shining” and in “Eyes Wide Shut,” he sought permission from Ligeti and paid the composer well.”

    According to http://books.google.com/books?id=iaN4IPj9C20C&pg=PT148&lpg=PT148&dq=Ligeti+2001+film+royalties&source=bl&ots=EdPNypXJDf&sig=Omm-d7md_gp55_IhXTJj1E5wLMs&hl=en&sa=X&ei=HpAOU_qxHoGDogSajILQCQ&ved=0CEIQ6AEwBA#v=onepage&q=Ligeti%202001%20film%20royalties&f=false Ligite got $3500 after a six year battle with MGM. He got letters from MGM saying he should be happy with such a pittance because he was now famous in America. One U.S. lawyer told him that everyone (i.e., Hollywood lawyers) thought he was stupid to engage a German instead of a Hollywood attorney.

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