“I remember the time we visited this tribal area, five days by boat from Guayaramerín, Bolivia, which we were told was cannibalistic,” she recalled. “We spent the night outside, in two hammocks. That night, when I heard a noise near us, I woke up, gasping, ‘Werner, it’s them!’ He sleepily replied, ‘When they come, we won’t hear them.’ He went straight back to sleep. I didn’t.”
—Lena Herzog, in the April 24, 2006 issue of The New Yorker
“The show’s theme song is the insufferably smug sixties folk ditty ‘Little Boxes,’ by the protest singer Malvina Reynolds, an indictment of suburban conformity that you need to hear only once in your life, for historical purposes.”
—Nancy Franklin, writing about “Weeds” in The New Yorker.
“The fear of loss is a path to the Dark Side.”
—Yoda
That is some deep stuff.
Now that I’ve finally gotten around to seeing Episode III, I understand what Anthony Tommasini was getting at in his love letter to composer John Williams. Yes, it is a better score than the ones he turned in before. But why oh why is the man unable to keep from, to put it charitably, “borrowing” from the greatest hits of the 20th century (in this case, from Carmina Burana and Barber’s Adagio for Strings)?
Author of FROM SQUARE ONE: A MEDITATION, WITH DIGRESSIONS, ON CROSSWORDS - hardcover from Scribner and spoken-word adaptation (with rich sound design and original music) from Random House Audio.
