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sinceileftyoublog · 1 year ago

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Small Isles Interview: A Blurry Ecosystem

Photo by Dustin Aksland

BY JORDAN MAINZER

Sometimes, dreaming big pays off--literally, in Jim Fairchild's case. The former Modest Mouse and current Grandaddy lead guitarist and now prolific film composer has been releasing music with collaborator Jacob Snider over the last few years under the moniker Small Isles. The project's debut LP, The Valley, The Mountains, The Sea, was a score to something that didn't tangibly exist: an imagined Rick Moody-written sequel to The Ice Storm adapted into a film by Ang Lee. When I spoke with Fairchild and Snider in 2021, they mentioned collaborating with string player Sienna Peck on an upcoming EP. What I couldn't have foreseen was Fairchild's ultimate endgame: for his imaginary film scoring and real film scoring to develop a symbiotic relationship.

That is, at this point, Fairchild is able to use what I called "filmless music" as a starting point. He'll imagine a film, score it, see where it takes him, and either scrap it, use it for the Small Isles record he's currently working on, or even use it for the real film score he was hired to do. Other times, his professional film scoring will yield sounds that are appropriate for the heady universes he's conjured with Small Isles. Last year, Small Isles released two EPs. The first, which was the Peck collaboration the duo spoke to me about a few years back, was Out in The Sunset, a score to an imagined follow-up to Joe Talbot's The Last Black Man in San Francisco. And the latest, Everything on Memory (Modern Recordings/BMG), released last month, was truly wild. Fairchild dreamed that Donald and Stephen Glover--the creative team behind the TV show Atlanta--wrote a movie in response to Modest Mouse's classic The Moon & Antarctica track "3rd Planet", directed by none other than Christopher Nolan.

As neither Fairchild's dreams nor his creations are hyper specific, the finished Small Isles products often resemble their inspirations more in vibes than anything else. Such is the case with Everything on Memory, a sonic collage of guitars, synthesizers, strings, and wordless vocals. Some songs, like "This Much I Know" and "The Rest is History", sound like your schema of what a film score is, juxtaposing plucky guitars with dramatic, sweeping strings, and in the case of the latter, solemn-sounding piano. Others are more experimental, like the pulsations of "Sure I'm Happy", the bubbly bass thuds of "Dewdrop Daybreak", and the rounded bass and sinewy synths of "Unfulfilled Potential". The EP, and Small Isles songs in general, however, reflect their increasingly hyper-specific touchpoints by juxtaposing moments small and big, giving them equal emotional weight and importance. Last month, I spoke with Fairchild over the phone about Small Isles to date, including Everything on Memory, the project's first live show at Hotel Cafe in November, the formative nature of Modest Mouse, and Terrence Malick. Read our conversation below, edited for length and clarity.

Since I Left You: All Small Isles material so far is scores to imaginary movies. At the same time, you've done actual film scores. Do you take what you learn from film scoring and apply it to these imaginary works?

Jim Fairchild: I've been into film scores since I was a teenager. I scored my first film when I was 17 or 18. It was a student film. Jason [Lytle] from Grandaddy brought over his 4-track, and we assembled a bunch of music one day, and it ended up being a score for his student film. I did a bunch of work in the early 2010s as we were writing Modest Mouse's Strangers To Ourselves. I really had a taste for it. I loved doing it. Once our son was coming along, I set a challenge for myself to figure out how that could become the majority of my music-making life. One way to do it would be to imagine a movie you want to score. The first Small Isles record was me imagining Rick Moody had written a shadow/companion piece to The Ice Storm, which Ang Lee directed. I imagined it taking place in early 2020s California. I started picturing what that would look like.

With the Out in The Sunset EP, I was scoring a follow up to The Last Black Man in San Francisco. I imagined the same team who made that, making this movie about kids from different backgrounds in San Francisco realizing they had more similarities than what societies would suggest to them. The objective was always, "I'm going to start sending this music to directors, and they'd hopefully see this music could accompany visual mediums, and maybe I'd get hired." It worked.

How do those two relate to each other? I have a lot more siloed approaches to music. I could see how Modest Mouse bled into the stuff I was making for TV in the early 2010s, but it was fragmented. But making the Small Isles stuff, I'll start assembling samples and think, "That could be really handy for this type of mood." And as I'm scoring things, I'll think, "That's a great sound that could appear on Small Isles tracks." I want it to be an ecosystem where the lines get blurry. Where do the roots of the tree stop and become another tree? As much as a gift as it is to be in a band like Modest Mouse, it starts to have less to do with making music. I want to make music, to be in the studio investigating that process as much as possible.

SILY: At the time we talked about your debut album, I didn't fully realize subsequent Small Isles material would follow the same idea. Now, with Everything on Memory, you're scoring a film you dreamed up, a Donald and Stephen Glover-written film, directed by Christopher Nolan, in response to Modest Mouse's "3rd Planet", a song from before you even joined Modest Mouse!

JF: Dreams are absurd, right?

SILY: Right! How vivid was this dream?

JF: There was a lot of the movie in the dream. It's gone now. All of this is impressionistic. I have two albums that I'm going to make next year sort of "dreamed up." I don't know where they came from. I have them outlined.

In the dream, it was pretty real. Donald and Stephen Glover were giving DVD commentary, and maybe [Modest Mouse lead singer] Isaac [Brock] was also weighing in. [laughs] I don't remember much of it, but I remember these small, intimate moments that felt Terrence Malick-like, but also these massive celestial moments that dealt with the bigger shit Isaac is talking about in that song.

SILY: "3rd Planet" is a world-building, impressionistic song, the type that makes a teenager have an existential crisis. I was a teenager when I first heard it, and I remember the lyrics blowing my mind.

JF: It still does, dude! I was talking about that song with a friend who is making a video for this EP. I've played that song, I don't know, certainly no fewer than 300 times live, and I was still getting choked up at the enormity of it. He's written many great lyrics, but that one is like, "What the fuck?!?" It's truly existentially magnificent.

SILY: I remember seeing some of the lines scrawled out on a paper-covered wall in my college dorm, just being like, "What the fuck?" A lot of millennials probably have that sort of relationship with that song. I want to ask, though, what has been your relationship with the work of the Glovers and Nolan?

JF: I don't really know Christopher Nolan's work that well. I'm more familiar with the Glovers, particularly those first two seasons of Atlanta. Shortly before our son was born was when those seasons came out. My wife and I were watching it, and I was thinking, "I guess this is the best TV show ever made." A big part of all of this is the suspension of disbelief. Life is fucking surreal. And a lot of times, when you ingest surreal media, whether movies or music, it's constantly reminding you how surreal it is. The thing about Atlanta I loved so much is that it was fucking crazy but not constantly raising its hand saying, "Look how crazy we're being!" You get dropped into these moments that are totally fucking surreal.

Where Nolan came into play is his willingness to collapse the conventional constructs of time. There's a relationship between the way I think about Atlanta and his movies. The bigness thing, too. As I get older, this contributes to the way I think about music and make it. I'm an older dude with a young kid, and now I realize those big moments are real. Getting a #1 song is a tremendous accomplishment, and you should soak those moments up. But the moments where you're holding your kid's hand walking down the street are as big. The collapse of relative scale. I realize how lucky I am to have made it this far at all, to be alive still. A lot of our friends and contemporaries didn't. I really appreciate that. I want to bask in that. It sounds so dumb coming out of my mouth, but life is beautiful. Once you start realizing that all moments can be fairly profound and great--even the bad stuff--the flimsy nature of the relativism of time creeps in.

SILY: You've already mentioned Malick, and I feel like you just described The Tree of Life to a tee, small moments having the same ripple effects as the creation of the universe. On the surface, it might seem absurd, but it's very real even if technically different in scale. Is there anywhere specific where any of these touchpoints, from Modest Mouse to cinema, manifest on Everything on Memory? Or is it more a general vibe?

JF: The way Small Isles works is with the illumination of narrative, to get away from lyric and conventional song structure, even though these aren't crazy song structures. It's meant to capture vibe. The first thing that happens in "Sure I'm Happy", I start going [plays a whistle melody] on this keyboard right here, then I put it in a guitar amp. What settings did I use? It's probably something like [plays synthesizer]. So I have the whistle. I put that down. The whole song is two chords. That's the vibe. You just start chasing it. It somehow fit within the movie I was picturing. From there, you're asking, "What else is happening with this world?" And then you get a little chord sequence. That's the most fun thing about making this music and scoring, to me. At this point in my life, I kind of want music to be a job, and that job is solving a riddle. There's an answer to this question. It might not be the only answer, but there is one. How do I flesh this vibe out? You just start going down these paths.

SILY: What were you just playing?

JF: It's this old Yamaha keyboard I got for The Sophtware Slump. I got it at Circuit City for $300. I use it all the time.

SILY: Did you use it on this record?

JF: There's some of that, tons of soft synths, tons of guitars. I really love using sounds incorrectly: pulling up soft synths and reversing them, or going in and making them something they're not intended to be. I'm far from the only person who does that--tons of people do that, but I love that interrogation of sound. Sometimes, you know you're within spitting distance of what you want, so you re- or deconstruct it to make it unique to a piece of music, to match to what the aesthetic is.

SILY: Tell me about the core group of players you've been working with.

JF: First, there's my collaborator Jacob Snider. [String player] Sienna Peck, who was on all of Out in The Sunset, plays on one song on Everything on Memory. I had never met Sienna in person until we played this show last month. She played a lot of stuff on the Common Ground score. Laura Andrade played the rest of the strings. My friend Keith Karman, who came into Modest Mouse on the last tour and is now kind of in the band, played bass on a song. Mike Cresswell, my collaborator forever, mixed and mastered it.

SILY: How did you come to work with Temme Scott?

JF: I had this project called Grace Meridian, the last song-focused thing I did on my own. Taylor [Broom, the real name of Temme Scott] and I sing everything simultaneously. I was really into this idea of trying to eliminate the gender perspective. I thought a way to do that would be a man and a woman's voice always singing the same damn thing. We made this EP called Clover to Clover, and I love singing with her. She also sang live and assembled a choir when we did the [Small Isles] show last month.

SILY: What about the engineering?

JF: I engineered tons of it. Jacob engineered tons of it. Andy Petr did some stuff at the last minute. He's someone I want to do more stuff with. I love what he does.

SILY: It seems like there's generally a lot of contrast on the record--for instance, on "People Come Down", the sharpness of the synthesizers with the fluttery strings. Can you talk about the role of contrast throughout the whole EP?

JF: When you say that, the first thing that comes to mind is Atlanta. My intention is not to make outside music. Rather, it's interrogating this general concept of how much can we fit inside that I wouldn't ordinarily turn to. Can a contrasting element be intubated into this composition in a way that's somehow beneficial? It doesn't have to be always harmonious, but beneficial to the vibe. It took a long time to get the horns to exist as a contrasting element in "People Come Down", in a way that felt like it flowed to me.

SILY: When I last spoke with you, you were planning a Small Isles show, or at least thinking about it. You finally played the first Small Isles show last month, as you mention. How did it go?

JF: It was super scary. I had never done anything like that. I knew I needed to get myself the actual challenge to do it, not a hypothetical looming in the distance. So I booked a show. I hit up Sienna and asked, "Can we do this? Can you put together a string section?" She took care of so much. I sent her all of the isolated parts, she recruited SUUVI, this incredible cellist, and they played a lot of double stop stuff. She contracted this copyist to do sheet music. Taylor assembled a choir. I asked her whether she knew any piano players, and she recommended Debbie Neigher, who was amazing. There was no money or rehearsal space or practice space. It's so much different than playing a rock and roll show. With Modest Mouse or Grandaddy, you practice a lot. You get familiar with the material. This band, doors were at 7:30, and there were 10 people on stage, and nobody played a note of music until 6. It was the first time I heard this ensemble make sound together. They just knew how to do it.

Joel Graves and Matt Costa, both of whom I've known for a long time, played guitar, so I felt comfortable. But a lot of these people I never met until that night. The show wound up being really good. It's totally all bound to them. They came in and knew the stuff. They seemed excited about doing it together and potentially excited to do more.

For "The Rest is History", the final song on Everything on Memory, I had to have sub-tracks there, because we didn't have a drummer. I had these Pro Tools sessions I had made. It was a crazy amount of work. We worked for weeks. Part of it was in 3/4, and there was this piano melody in 5/4 against the 4/4 of the song. I played it one time and had to go through and adjust everything in MIDI to make it make sense for the rest of the ensemble. I played it on loop because I thought there was no way anybody could possibly play it. During practice, we started to play it, and Debbie says, "Hey Jim, I can play that part. I learned it!" I was super apprehensive. In my head, I thought, "There's no way she can play this." It was me geeking out for a day in a half to construct a piano part. And she fucking nailed it! It made me certainly happy and expanded my concept of scoring these imaginary movies. There's so many places to go from here. I've been doing this for so long now that in the worst moments, you think, "What am I gonna do now?" But you haven't cracked open even a fraction of what you can do musically.

I didn't really get to talk to any of Taylor's choir. I had this crazy intense experience with these people musically and then said, "Thanks guys, later!"

SILY: Where do you go from here?

JF: I want to play more shows. Matt Costa recorded the show, so we're looking to send it to some booking agents. I hope people didn't tell me it was good just because they were my friends. A lot of folks seemed really taken by it. It was a unique show, with rock instrumentation but a choir and strings. As I'm working on some additional film scores right now, I have the kernels some imaginary scores. One is a summer movie, and one is a December sort of release. I have them in my head, so I'm starting to make the music for those. I want to get the team assembled for what those will hopefully become, and record them so they're done by the time spring rolls around.

SILY: I'm glad to hear you finally played live. That's where "music as problem solving" usually comes into play, but it seems like your show was the more seamless endeavor than your studio recording!

JF: It was, all down to them. They just fucking knew it. We played three songs from Out in The Sunset and five from Everything on Memory, and we only sound-checked each once. [laughs] It gave me a lot of optimism. I have this idea in my head that there's a lot of places to go musically, and sometimes you're just telling yourself that as an aspiration, but it turns out it's actually true. It's amazing.

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bob-the-movie-man-film-reviews · 1 year ago

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Wonka (PG): A World of Pure Imagination.

#onemannsmovies #filmreview of "Wonka". #WonkaMovie. Superb family musical entertainment. A Christmas gift. Go and see it! 5/5.

A One Mann’s Movies review of “Wonka” (2023). I can’t say that I built up very big expectations for “Wonka” from the trailer. But when my illustrious daughter Jenn (follow her hilarious susiesecondhand on Instagram!) gave it 10/10 I thought “Hello… maybe this is something special after all”. And so it turned out to be! I don’t give out many top marks during the year. But in this case, I just had…

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asgoodeasgold · 1 year ago

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🤣

“Various car things….”

Nope. Carson’s not buying that excuse for one second Henry.

[Pics- DA edits S6:08]

#matthew goode #downton abbey #jim carter #henry talbot #matthewgoode

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such-g00d-luck · 2 years ago

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Downton Abbey characters in their opposite sexes.

Not gonna lie, for me, 'Mrs' Carson wins.

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chernobog13 · 2 months ago

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COUNTDOWN TO SUPERMAN DAY:

Superman Day is this Friday, April 18.

Posters for Atom Man vs. Superman (1950), the second Superman serial from Columbia Pictures.

All the major cast members from the first serial returned, and were joined by Lyle Talbot, the first actor to portray Lex Luthor on the Silver Screen. Ironically, the previous year Talbot had played Police Commissioner Jim Gordon in the serial Batman and Robin.

#Atom Man vs. Superman #Superman #Kal-L #Clark Kent #Atom Man #Lex Luthor #DC Comics #Columbia Pictures #movie serials

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t0ast-ghost · 11 months ago

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Here’s my thoughts on Star Trek V: The Final Frontier

There’s swear words, star trek, and spoilers oh my!

Start it up:

- “The planet of galactic peace.” Somehow. I don’t believe that.

- This guy on his horse looks like death

- “Let us explore it together.” Come take my hand. Let us take ibuprofen together.

- It’s hard to dislike Sybok when he smiles like that so they have to add in a somewhat evil laugh

- Epic music is a go (Music by Jerry Goldsmith)

- “‘You’ll be able to relax’ you call this relaxing? I’m a nervous wreck. If I’m not careful I’ll end up talking to myself.” Kirk convinced him to come here and now he has to watch his idiot husband climb a rock

- Kirk knows Spock and McCoy are there to catch him when he falls but goddamnit if they aren’t both really tired of his shit

- No but seriously what is with science fiction and thinking ‘yeah there’s a race of cat people’ looking at you too doctor who

- Caithlin Dar is awesome already.. I don’t trust Talbot (edit: haha too bad they’re characters don’t really do anything anyway)

- Scotty narrating is my favourite actually

- UHURA IS AWESOME

- are Uhura and Scotty dating?

- “Admit it. We’re lost!” “All right, we’re lost. But we’re making good time.” Didn’t know I needed Sulu and Chekov to go hiking together but I do

- “Yes uh- yes, we’ve been caught in a blizzard.” *Chekov starts blowing into the microphone* god I love them. He just went with it!

- Bones ringing the triangle out of spite and love

- The husbands sitting down and eating beans. Why would they make star trek about literally anything else

- Coming back strong with the extra wh sound (it was in the last movie when McCoy said whales)

- The trivia panel is telling me that one of the goofs is Kirk calling Tennessee whiskey bourbon and it looks like something Spock would write

- McCoy laughing and talking about Spock’s Vulcan metabolism and Spock indulging by saying he’s also half human and McCoy responding with “well it certainly doesn’t show” to which he knows Spock’ll take as a compliment. Yes I do need old married mcspirk.

- “You know, you two could drive a man to drink.” Then Kirk with all the innocence and nonchalance in the world says, “me? What did I do?” “What did you do? You really piss me off, Jim.”

- McCoy is lecturing Kirk cause he can’t take anymore of his almost dying bullshit

- “I knew I wouldn’t die because the two of you were with me.” “I do not understand.” “I’ve always known I’ll die alone.” I’m about to cry because this is true. He dies in a distant future without either of them. Thinking about it they all somewhat die alone. Maybe Spock was there for McCoy but we never see his death. And Spock dies in an alternate past :(((

- “It’s a mystery to me what draws us together…Other people have families.” “Other people, Bones, not us.” They are each other’s family.

- SPOCK ROASTING A MARSHMALLOW (not sure why they call it a ‘marsh melon’)

- This is the silliest thing they could have possibly put in a movie (this is like a comfort fic but a movie and I am so here for it)

- “God, I liked him better before he died.” McCoy is getting nasty and Kirk is now like ‘well time to sleep’

- “Life is not a dream.” “Go to sleep, Spock.”

- Why is the head Klingons outfit so cunty. Why’re the Klingons so silly?

- They caught Spock in his jammies

- “Well gentlemen, it seems shore leave has been cancelled.” They can’t go on ONE DATE

- Why’re they huddled together on the ship like that?

- “‘All I ask is a tall ship and a star to steer her by.’” “Melville.” “John Masefield.” “Are you sure about that?” “I am well versed in the classics, Doctor.” “Then how come you don’t know Row, Row, Row Your Boat?” Spock makes the most frowny and tired face imaginable. I think McCoy was justified in biting back there cause imagine you wake up, get in a shuttle, and then get corrected. All I’m saying is Spock was being a bit of a know it all (wouldn’t have him any other way)

- “*laughs* I don’t think I’ve ever seen him happier.” McCoy is so jolly in this one

- The yeoman with Kirk’s jacket is played by Shatner’s daughter

- HE ACTUALLY HAS A SHIRT THAT SAYS ‘go climb a rock.’ omg

- That fucking outfit oh my goodness

- “What’s the matter, Jim?” “I miss my old chair.” And then it switches to Spock who’s going :[

- Love how the Klingons all know who Kirk is. Like he’s THAT important

- Aww Kirk can’t write his diary :((

- Their silhouettes are so cute (34:06) (also they look like how aliens coming out of a spaceship look, I just think that’s neat)

- McCoy has to turn on the lights like, ‘stop sulking in the damn dark.’

- “Imagine that, a passionate Vulcan.” What McCoy? You want Spock to be more passionate?

- “This is Captain Pavel Chekov speaking.” He’s so silly for that. But also it’s probably best he doesn’t say ‘acting captain’ as that would arouse suspicion cause as everyone knows the captain is always the first to go on dangerous away missions

- What’s going on? Why is Uhura dancing ? What.

- What. Was. That. Scene. Why.

- “Spock.” “Yes, captain?” “Be one with the horse.” “Yes, captain.” Oookay

- “Hold your horse, captain.” Good one.

- Spock just. He just nerve pinched that horse.

- Spock does not know how to deal with seeing his estranged brother again (yeah I was spoiled) so, “you are under arrest for seventeen violations of the neutral zone treaty.” Is what he went with

- Sybok complimented and then winked at Kirk HE IS TAKEN

- “We’re going to forego the tractor beam and fly her in manually.” “Manually?” “How often have you done this?” “Actually it’s my first attempt.” Personally wouldn’t trust anyone else to attempt that other than Sulu. He is THAT bitch (/pos)

- EXPLOSION!!!!! CRASHHHH

- whooo space stuff! Sorry the photon torpedo just missing as the enterprise went into warp was cool

- Spock’s got a gun!

- McCoy comes out of the ship and is so confused and looks to Spock and Kirk

- Ohhh no. Sybok is gonna do his thingy magic thing to Sulu and Uhura with Scotty watching ‘em from above

- “What you have done is betray every man on this ship.” “Worse. I have betrayed you. I do not expect you to forgive me.” “Forgive you? I ought to knock you on your goddamn ass.” “If you think it would help.” “You want me to hold him, Jim?” “You stay out of this. Why, Spock? Why?” Lots to think about in this dialogue. But I think McCoy offering to hold Spock is him going ‘Jim you’re overreacting can’t you see he’s already remorseful?’ I could be misreading but if you understand it as the idea of McCoy holding him down is so redundant because Spock is strong enough to get out of his grasp easily but probably wouldn’t resist in this moment then it’s just like aughhhhhh

- Also Kirk asking Spock to shoot someone is bad enough. But the fact that it was his brother…

- Kirk is in disbelief. He didn’t know his own husband has a brother (half brother technically. Same Spock same.)

- “Stop it, Jim! Spock could no more kill his own brother than he could kill you. If you want to punish him for what he’s done, why don’t you throw him in the brig? Besides, we’ve got bigger problems to deal with.” Bones not only defending Spock, but also getting them back on track

- Apparently both Gene Roddenberry and William Shatner didn’t like that Sybok was Spock’s brother. Roddenberry didn’t think that Sarek would have a child with another woman (I kinda agree but also Pon Farr would’ve made him become engaged to a Vulcan before he met Amanda, so it’s not completely unthinkable). And Shatner didn’t like it cause it was too much like ‘a soap opera plot line’ but they went with it so that Spock’s actions made sense with the way he acted towards Sybok. I personally like that Spock has siblings he never told anyone about. It’s funny.

- lmao this time Kirk gets to stand on top of Spock to reach something (See patterns of force)

- Spock talking about himself in the third person because he doesn’t want to admit that he couldn’t get out of the brig

- “The bond between these three is strong, difficult to penetrate. This will be quite a challenge.” IT’S CAUSE THEY’RE MARRIED

- It’s funny that- canonically - Sybok can sense a really strong bond between them

- Kirk and McCoy’s ass I mean- oh look it’s Spock. With rocket boots!

- Spock holding onto Kirk and McCoy for their dear lives

- “I believe I overshot the mark by one level.” “Nobody’s perfect.” McCoy keeps saying this to Spock and I think it’s healing. Also flirting.

- They’re lit really nicely

- McCoy is NOT having this “Sounds like brainwashing to me.” You’re so right, back OFF Sybok

- (drawable moment 1:08:17)

- “Your pain is the deepest of all. I can feel it. Can’t you?” OH WAIT WE GET TO SEE MCCOYS PAIN WHAT

- I have no words for this scene. Holy Shit.

- Forced therapy

- Oh they all get to see each others pain cause they’re connected

- Spock gets to see his own birth… why. What.

- young Sarek 😧😳😳😳

- “So human.” YOU FUCKED THE HUMAN SAREK. God he’s such a bitch.

- SPOCK FOR THE WIN!! He’s not leaving

- MCCOYS STAYING WITH HIS HUSBANDS!!! YEAH LETS GOOO! (Personally I don’t think McCoy would go with Sybok at all, but I wasn’t sure what the writers were gonna do and I was scared they would make him leave)

- I know we’ve moved on from this but maybe Sarek saying that Spock was human was like saying ‘he’s got your eyes’ like comparing Spock to Amanda in appreciation. We’ll never know but it’s still a bitchass thing to say.

- Kirk has a plaque with ‘To boldly go where no man has gone before’ what a nerd

- They’re really hot in their uniforms

- hi god

- Kirk wants to ID god. Fair enough.

- There’s McCoy in the corner. Losing his religion

- “I doubt a God who inflicts pain for his own pleasure.” YEAH McCoy’s not standing for this shit

- Oh so Sybok wasn’t the enemy. Yeah that’s a good ending for his character. Saying bye to sock and asking for forgiveness

- “Beam up Spock and Dr. McCoy now.” “Now, just a damn minute-” Kirk said that so fast so that his husbands couldn’t argue with him

- “I am a foolish old man.” “Damn you, sir. You will try.” Spock ain’t fucking around. Also he picked up a couple of words from McCoy

- “I thought I was going to die.” “Not possible, you were never alone.” Throw me out an airlock I need some air

- SORRY the immediate moment after that was SO MUCH WORSE “Please, captain. Not in front of the Klingons.” THEY WERE ABOUT TO MAKE OUT SLOPPY

- “Cosmic thoughts, gentlemen?” “We were speculating. Is god really out there?” They were having a nice quiet conversation and it’s a shame they didn’t show it :(

- KIRK TALKING ABOUT SAM??? Oh no he was implying it was Spock

- this ending- I’m not okay.

Unfortunately I really enjoyed this one. William Shatner made a movie that was so shippy and was oblivious to it the entire time.

I know it took a really long time for me to post this one because I wanted to watch undiscovered country first, I haven’t watched it yet but I felt I needed to finally edit and post this one. I hope you enjoyed my silly little thoughts.

Star trekking across the universe. Get that stuck in your head.

Masterpost

#star trek #star trek v: the final frontier #james t kirk #captain james kirk #spock #s'chn t'gai spock #leonard bones mccoy #doctor mccoy #sybok #nyota uhura #hikaru sulu #pavel chekov #montgomery scott

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kingoftheclaudes · 8 months ago

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Claude Rains Character Masterlist!

Here's a handy-dandy guide of all the wonderful characters Claude Rains has portrayed over a nearly seven decade long career. We encourage all to have a gander at all these invisible men, prefects of police, fathers, criminal masterminds, otherworldly beings, and men of history alike! Each link will take you to a picture of that specific character, so even if you're not familiar with them, you can send in propaganda anyhow (such as 'what a lovely wig!', 'astonishing facial hair!', or even 'such a beautiful hat!'). We also realize that two of these characters share a name - John Stevenson (from The Last Outpost and Strange Holiday, respectively), so when submitting propaganda for these characters, please indicate which one! We will try our best to sort through the submissions regardless!

List is in chronological order, however, we are omitting for reasons explained in the pinned post the characters of Clarkis from Build Thy House and The Mayor from The Pied Piper of Hamelin!

(1933) The Invisible Man - Dr. Jack Griffin/The Invisible Man

(1934) Crime Without Passion - Lee Gentry

(1934) The Man Who Reclaimed His Head - Paul Verin

(1935) The Mystery of Edwin Drood - John Jasper

(1935) The Clairvoyant/The Evil Mind - Maximus

(1935) The Last Outpost - John Stevenson

(1936) Hearts Divided - Napoleon Bonaparte

(1936) Anthony Adverse - Marquis Don Luis

(1937) Stolen Holiday - Stefan Orloff

(1937) The Prince and the Pauper - Earl of Hertford/Edward Seymour

(1937) They Won't Forget - D.A. Andrew 'Andy' J. Griffin

(1938) White Banners - Paul Ward

(1938) Gold Is Where You Find It - Colonel Christopher 'Chris' Ferris

(1938) The Adventures of Robin Hood - Prince John

(1938) Four Daughters - Adam Lemp

(1939) They Made Me a Criminal - Detective Monty Phelan

(1939) Juarez - Emperor Louis Napoleon III

(1939) Sons of Liberty - Haym Salomon

(1939) Daughters Courageous - Jim Masters

(1939) Mr. Smith Goes to Washington - Senator Joseph Harrison Paine

(1939) Four Wives - Adam Lemp

(1940) Saturday's Children - Henry Halevy

(1940) The Sea Hawk - Don José Álvarez de Córdoba

(1940) Lady with Red Hair - David Belasco

(1941) Four Mothers - Adam Lemp

(1941) Here Comes Mr. Jordan - Mr. Jordan

(1941) The Wolf Man - Sir John Talbot

(1942) Kings Row - Dr. Alexander Tower

(1942) Moontide - Nutsy

(1942) Now, Voyager - Dr. Jaquith

(1942) Casablanca - Captain Louis Renault

(1943) Forever and a Day - Ambrose Pomfret

(1943) Phantom of the Opera - Erique Claudin/The Phantom

(1944) Passage to Marseille - Captain Freycinet

(1944) Mr. Skeffington - Job Skeffington

(1945) Strange Holiday - John Stevenson

(1945) This Love of Ours - Joseph Targel

(1945) Caesar and Cleopatra - Julius Caesar

(1946) Notorious - Alexander Sebastian

(1946) Angel on My Shoulder - Nick

(1946) Deception - Alexander Hollenius

(1947) The Unsuspected - Victor Grandison

(1949) The Passionate Friends - Howard Justin

(1949) Rope of Sand - Arthur 'Fred' Martingale

(1949) Song of Surrender - Elisha Hunt

(1950) The White Tower - Paul DeLambre

(1950) Where Danger Lives - Frederick Lannington

(1951) Sealed Cargo - Captain Skalder

(1952) The Man Who Watched the Trains Go By/The Paris Express - Kees Poppinga

(1956) Lisbon - Aristides Mavros

(1959) This Earth is Mine - Phillipe Rambeau

(1960) The Lost World - Professor George Edward Challenger

(1961) Battle of the Worlds - Professor Benson

(1962) Lawrence of Arabia - Mr. Dryden

(1963) Twilight of Honor - Art Harper

(1965) The Greatest Story Ever Told - Herod the Great

#claude rains #kingoftheclaudes #kingoftheclaudespoll #reference post

16 notes · View notes