Harry Potter producer David Heyman adds Methuselah to his list of unconventional takes on the Bible

vlcsnap-2013-11-14-11h09m54s155Methuselah, who was recently played by Anthony Hopkins in Darren Aronofsky’s Noah, wasn’t the only man in the Bible who lived to be over 900 years old. But he lived at least a few years longer than everyone else, so his name has become synonymous with extreme old age.

No one ever tells stories about Seth, Enosh, Kenan or Jared — all of whom lived to be over 900 years old as well — and the fact that Adam and Noah lived to be that old is generally forgotten in films about those characters. It is Methuselah that everyone remembers, simply because he lived longer than any of the rest of them.

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Two months later… a few more thoughts on Star Trek into Darkness

It was two months ago today that Star Trek into Darkness opened to the general public in Australia and other countries overseas, and this past weekend marked the first time that the film slipped out of the weekly top ten at the North American box office. So now seems like as good a time as any to link to a few Star Trek-themed things that weren’t online yet when I last wrote about the film.

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Star Trek into Darkness — first impressions (spoilers!)

This post has taken a lot longer to write than I expected. I saw Star Trek into Darkness on Wednesday night (the studio, in its wisdom, decided to hold this film back from most critics until the last possible second) and began writing this post on Thursday morning, but life got in the way and I couldn’t finish it all in one sitting — and then, whenever I came back to this post, I found that I had more things to say, or different ways of saying what I had already said, and so on, and so on. But here we are now, on Monday, and the film has finished its first weekend in North America (where it slightly underperformed at the box office), and I am finally going to force myself to finish this thing.

So. Here’s the thing about the J.J. Abrams Star Trek movies: He throws so many things at you, so quickly, that you cannot help but miss some details that are actually fairly important, at least on first viewing.

For example, it wasn’t until the second time that I saw his 2009 “reboot” of Star Trek that I realized virtually all of Kirk’s fellow Starfleet cadets had been killed by Nero, except for the ones who were on Kirk’s ship. As you may recall, Starfleet gets a distress call from Vulcan while Kirk is in the middle of being reprimanded by Starfleet authorities — and the disciplinary hearing is put on hold so that all of the recent graduates can board their ships and fly to Vulcan. When all of the ships go to warp speed, the Enterprise accidentally stays behind, because of an error on Sulu’s part — and when the Enterprise finally gets to Vulcan, it finds nothing but a debris field orbiting the planet. Which, when you think about it, means that everyone on all those other ships — including the green alien roommate of Uhura’s that Kirk slept with — is dead, dead, dead. But by that point, the film has forgotten them and moved on to other things; and then, at the film’s conclusion, everyone at Starfleet Academy cheers when Kirk is promoted to captain. Do they make at least a token nod to the fact that they just lost dozens, if not hundreds, of their classmates? Nope.

So, take anything I say in this post with a grain of salt. I have only seen the new film once, and I may have missed all sorts of stuff that won’t register until a second viewing. (One e-pal has already informed me that the movie refers to an incident from the comic-book prequel Countdown to Darkness, but I completely missed that reference as I was watching the film. And I’ve actually read that comic!)

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Twelve-foot gods and the environment: actors talk Noah

I had hoped to have a review of Star Trek into Darkness ready to go live this afternoon, but it’s taking longer to write than I expected, so it will have to wait. In the meantime, here’s a brief update on Darren Aronofsky’s Noah, which I haven’t mentioned here in a while.

Empire posted an “exclusive” interview today with Mark Margolis, who has acted in all of Aronofsky’s films and will play “a fallen angel known as Samyaza” in the new film.

Margolis himself calls his character “a 12-foot god”, and although he doesn’t say what his character will do, exactly, in the new movie, he does talk about what it was like to play the character, who will eventually be rendered in CG:
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Flashback: Almost 20 years of Star Trek reviews!

I grew up with the Star Trek series. When I was six years old and living with my family in Poland, three of my favorite and most-read books were the David C. Cook Picture Bible, C.S. Lewis’s The Chronicles of Narnia, and Stephen E. Whitfield’s The Making of Star Trek, which covered the first two seasons of the original TV show. (I wondered sometimes what Mister Spock, with his emphasis on logic, would make of Lewis’s logic-based arguments for the Resurrection, etc.)

I watched the show in re-runs and saw the first film in the theatre, with my dad, when I was nine years old. On the way home, my dad got me a Star Trek-themed Happy Meal at McDonald’s, and I believe I still have the box and the comic-strip communicator that came with it, somewhere in storage. I was in grade six when Spock died, grade nine when he came back to life, and grade twelve when Kirk & co. went back in time to save the whales. I was in my first (and only) year of Bible school when Star Trek: The Next Generation premiered in 1987 — there were lots of Star Trek fans there — and I was half-way through getting my bachelor’s degree at UBC when the cast of the original series filmed their last movie together in 1991.

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Music for Klingons, part three: Eidelman + Giacchino

The Klingons have been featured one way or another in every Star Trek movie produced to date — whether as actual characters or as starships on a monitor — but there is only one film in which the Klingons truly took centre stage. And that film happens to be one of the few Star Trek movies that was not scored by Jerry Goldsmith or James Horner, the subjects of the first two parts of this series.

The film in question is Star Trek VI: The Undiscovered Country (1991), which served as a bridge of sorts between the original Star Trek TV series (1966-1969) and its follow-up, Star Trek: The Next Generation (1987-1994). The latter series had shown that the Federation and the Klingons would one day get along, more or less, so this film — the last one to feature the entire cast of the original series, and the first one to feature an actor from the later series (though not any of its characters) — aimed to show exactly how the Cold War between these two powers had ended.

And one of the striking features about the soundtrack for this film, composed by Cliff Eidelman, is how up-front it is about its Klingon elements — to the point where it is the only film in the entire series that does not begin with one of the standard Star Trek themes but, instead, begins with a theme that was written for the Klingons.

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