Guardians of the Galaxy (Post-release)
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Yeah, Drax in the comics version of the Infinity Gauntlet series is pretty laughable as far as visually. I actually prefer when they change story elements in the movies compared to their comic counterparts. I think it keeps the material fresh. Gunn has said that Quill's father in the movies won't be the same as in the books... which I'm excited for. J'Son just didn't do it for me. He would definitely fit the "*******" moniker that Yondu uses at the end of the movie, though.
Inside the Record-Breaking 'Guardians of the Galaxy' Soundtrack | Rolling Stone
I am glad he ignored those notes from Marvel and stuck with his choice of music, cause it made all the difference for the needed tone of the film.
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Full article:
When Guardians of the Galaxy director James Gunn began assembling the soundtrack for his Marvel superhero flick, he wanted familiar hits but not overplayed radio staples. In the movie, now officially the biggest film of the year, these songs would connect lead character Peter "Star-Lord" Quill – who was abducted by aliens just after his mother's death in 1988 – to his old life and the era his mother grew up in.
"The tape is really the character of Quill's mother," Gunn tells Rolling Stone. "The Walkman and the compilation tape inside of it is the heart of the film."
As he worked, the director compiled a playlist of tunes, most from the Seventies, that he thought the character would have liked. David Bowie, the Runaways and the Jackson 5 all make appearances, complemented by tracks from lesser known acts like the Raspberries ("Go All the Way") and Blue Swede ("Hooked on a Feeling"). "I think most of the songs, although slight hits, never truly had their day in the sun," Gunn says. "That time is now. I also think people are hungry for good, old-fashioned, well-crafted pop songs that exist outside of any sort of imposed hipness or irony."
It turns out, he was onto something. A week after its release, Guardians of the Galaxy: Awesome Mix Vol. 1 topped the album charts, becoming the first soundtrack ever to do so without having a single original song. "When I heard the news, I was like, 'Holy crap,'" Gunn says. "Maybe that childhood spent locked in my room listening to pop hits on FM radio wasn't all for waste.
"I've spent my whole life compulsively collecting music and making all sorts of mixes for my siblings and friends and girlfriends," the director continues. "I feel like this soundtrack was an opportunity to make a mix CD for the whole world."
When writing his screenplay, Gunn carefully chose the songs that would appear on that mix CD and wrote them directly into the story, a risky move considering that licensing songs can often be difficult.
"Most times when the film is finished, none of the songs that were suggested are included," Guardians producer Kevin Feige tells Rolling Stone. "James' first draft of the script had the songs that were with us at the end when we brought the film to theaters – a rare and often impossible feat."
"I picked Seventies music because that would be Meredith Quill's era," Gunn says, referring to Star-Lord's mom. "To me, there's also a very pop art, spacey and fun feeling to those songs that seemed to fit well with Guardians. The unexpected contrast of those songs to our aliens and outer-space apes also made it fun."
The director says that for the most part, the cast and crew enjoyed his song selections – even if lead actor Chris Pratt eventually complained about the number of times he had to hear Rupert Holmes' "Escape (The Piña Colada Song)." Redbone's grandiose "Come and Get Your Love," on the other hand, was a set favorite, especially when Pratt was forced to dance along.
"Chris was very self-conscious about dancing," Gunn says. "I would just scream at him – not in an angry way, just in a way to get him out of himself and focused on something else – so he could feel free to get his groove on. It was also important to keep his dancing mellow. He's not supposed to be entertaining anyone but himself in the movie, so it was important not to have him overdoing it."
Still, some of the people overseeing with the film questioned Gunn's choices, suggesting that he make the soundtrack a little more contemporary. "One of the Marvel folks who gave notes on the script kept saying we were crazy to put Seventies songs in the movie, that it was going to be alienating to kids," the director says. "I guess he thought Quill should have learned how to download Beyoncé and Ke$ha off iTunes. Now I see little kids all over the world singing me 'Hooked on a Feeling.' Nothing could make me happier than to have folks take a second look at these songs."
I am glad he ignored those notes from Marvel and stuck with his choice of music, cause it made all the difference for the needed tone of the film.
--------------------------------
Full article:
When Guardians of the Galaxy director James Gunn began assembling the soundtrack for his Marvel superhero flick, he wanted familiar hits but not overplayed radio staples. In the movie, now officially the biggest film of the year, these songs would connect lead character Peter "Star-Lord" Quill – who was abducted by aliens just after his mother's death in 1988 – to his old life and the era his mother grew up in.
"The tape is really the character of Quill's mother," Gunn tells Rolling Stone. "The Walkman and the compilation tape inside of it is the heart of the film."
As he worked, the director compiled a playlist of tunes, most from the Seventies, that he thought the character would have liked. David Bowie, the Runaways and the Jackson 5 all make appearances, complemented by tracks from lesser known acts like the Raspberries ("Go All the Way") and Blue Swede ("Hooked on a Feeling"). "I think most of the songs, although slight hits, never truly had their day in the sun," Gunn says. "That time is now. I also think people are hungry for good, old-fashioned, well-crafted pop songs that exist outside of any sort of imposed hipness or irony."
It turns out, he was onto something. A week after its release, Guardians of the Galaxy: Awesome Mix Vol. 1 topped the album charts, becoming the first soundtrack ever to do so without having a single original song. "When I heard the news, I was like, 'Holy crap,'" Gunn says. "Maybe that childhood spent locked in my room listening to pop hits on FM radio wasn't all for waste.
"I've spent my whole life compulsively collecting music and making all sorts of mixes for my siblings and friends and girlfriends," the director continues. "I feel like this soundtrack was an opportunity to make a mix CD for the whole world."
When writing his screenplay, Gunn carefully chose the songs that would appear on that mix CD and wrote them directly into the story, a risky move considering that licensing songs can often be difficult.
"Most times when the film is finished, none of the songs that were suggested are included," Guardians producer Kevin Feige tells Rolling Stone. "James' first draft of the script had the songs that were with us at the end when we brought the film to theaters – a rare and often impossible feat."
"I picked Seventies music because that would be Meredith Quill's era," Gunn says, referring to Star-Lord's mom. "To me, there's also a very pop art, spacey and fun feeling to those songs that seemed to fit well with Guardians. The unexpected contrast of those songs to our aliens and outer-space apes also made it fun."
The director says that for the most part, the cast and crew enjoyed his song selections – even if lead actor Chris Pratt eventually complained about the number of times he had to hear Rupert Holmes' "Escape (The Piña Colada Song)." Redbone's grandiose "Come and Get Your Love," on the other hand, was a set favorite, especially when Pratt was forced to dance along.
"Chris was very self-conscious about dancing," Gunn says. "I would just scream at him – not in an angry way, just in a way to get him out of himself and focused on something else – so he could feel free to get his groove on. It was also important to keep his dancing mellow. He's not supposed to be entertaining anyone but himself in the movie, so it was important not to have him overdoing it."
Still, some of the people overseeing with the film questioned Gunn's choices, suggesting that he make the soundtrack a little more contemporary. "One of the Marvel folks who gave notes on the script kept saying we were crazy to put Seventies songs in the movie, that it was going to be alienating to kids," the director says. "I guess he thought Quill should have learned how to download Beyoncé and Ke$ha off iTunes. Now I see little kids all over the world singing me 'Hooked on a Feeling.' Nothing could make me happier than to have folks take a second look at these songs."
Riceball
Master Member
I agree with Gunn on this wholeheartedly, both of my kids love singing "The Escape (Pina Colada) even though it's way before their time and only my son actually saw the film but both like the song. It was a bit of a gamble using songs from the 70s and 80s but it's one that paid off and it helped introduce a new generation of listeners to some (now) classic songs, songs that don't rely on auto tuning, or use canned beats pulled from a catalog of beats.
That song reminds me of my youth….and what colossal a-holes both the people in that song are.
Guess it just proves that there really isn't much to complain about in this movie!
Almost literally dragged myself by the hair to go watch this as I was sure I was going to totally hate it due to the excessive amount of comic-book movies that have been spewing out these past few years.
Just came back from seeing it now, and what can I say except boy, was I wrong !
First 2 posts in the thread said it all :cheers, so I skipped the rest :lol
I am going to say "I am Groot" to my youngest every time he says something dumb, oh so many times :lol
Just came back from seeing it now, and what can I say except boy, was I wrong !
First 2 posts in the thread said it all :cheers, so I skipped the rest :lol
I am going to say "I am Groot" to my youngest every time he says something dumb, oh so many times :lol
At least two scenes come to mind that could have gone horribly wrong had they not been executed with perfection:
The scene where the four characters are getting zapped by the gem ... if I wasn't 100% invested in the characters I would have laughed my ass off at the sight.
Also when Rocket in a closeup is looking tearfully at Groot and says, "you're going to die." Again, if these characters weren't alive for me, I would have laughed... instead that scene chokes me up every time - including now when I'm thinking about it.
The most telling thing about GotG is that ...
well, while I was impressed by Winter Soldier my first thought was, I can't wait to own the Blu-Ray.
after GotG my thought was, I want to watch this in the theater again ... and again!
The scene where the four characters are getting zapped by the gem ... if I wasn't 100% invested in the characters I would have laughed my ass off at the sight.
Also when Rocket in a closeup is looking tearfully at Groot and says, "you're going to die." Again, if these characters weren't alive for me, I would have laughed... instead that scene chokes me up every time - including now when I'm thinking about it.
The most telling thing about GotG is that ...
well, while I was impressed by Winter Soldier my first thought was, I can't wait to own the Blu-Ray.
after GotG my thought was, I want to watch this in the theater again ... and again!
Yep, I thought about that handholding scene too how it could have gone horribly wrong.
Everything was handled correctly to make that deliver. Even Star Lord's "We're the GOTG, b****!" worked. Which is saying quite a bit with a line like that!
Rocket's grieving felt especailly authentic. His startled reaction at being "petted" also rang true. Not used to an act of kindness.
A good example of a fail where due diligence was not done was when Anakin turns to the darkside, the audience was laughing. I was actually embarrassed for Lucas at that point. Two films to build up to that moment and people were laughing.
I think the thing everyone is kind of realizing now is that the rich world of the "comicbook" has been immeasurably improved by the computer graphically enhanced universes of the cinema. I rememeber a pre Starwars age when every sci fi film (apart from 2001) looked, lets be honest but kind , fairly unconvincing. So comics were literally about the only way you could illustrate such imaginative work,and readers enjoy it but alot of people were always very bias about the artwork ,writing and format and saw it as a kind of low brow and juvernile form of entertainment. Of course now the computer revolution has taken over and helped refine the world in so many ways its all now so main stream and the standards of effects work in the cinema is absolutely mind blowing, even to ten years ago. I think the first "Iron Man" represented the coming of age of the graphic novel on screen for me and was the break through for many and lets face it ,it now attracts huge audiences. If you look at this years box office top ten performers are all virtually "graphically enhanced" productions. This year has been a very strong one for me, with some of my favorite films ever, such as Guardians, Edge of Tomorrow, The Winter Soldier and Days of Future Past. Even the ones that didn't quite hit the mark for me such as Dawn OTPOTA and Godzilla storywise were incredible to watch on the cinema.
And the real beauty for me, the icing on the cake as it is, is that the Studios have finally woken up to the fact that the people they need to create those films ,all those directors, writers and effects geniuses are the very same souls that know exactly what to do with the universes they are given to make, and they do so for the love of the imaginative medium and that is worth more than gold for the rest of us.
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