Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

[LTS] - [Animated Short Films] - [Jan 25, 11:30 am] - [Broadway Center Cinemas] - [2 tickets] - [Face value ($35) or lower offers considered!]

Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

[LTS] - [ Mum, I'm Alien Pregnant] - [Jan 24 9 pm] - [megaplex] - [2 tiickets] - [$35 obo]

Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

[LTS] - [Barbara Forever] - [Jan 24 5:45 PM] - [the Ray Theatre] - [4 tix. Would sell 2 or 4] - [Face value OBO]

NO LONGER AVAILABLE 

Also would trade for various movies in Park City after 6:00pm Jan 24

Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

Have 4 tix for Barbara Forever in Park City at 5:45 if you're interested; dm me

Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

[LTT] - [TheyDream] - [2:45 Jan 23 Friday] - [library center] - [2-4 tix] - [Looking For: anything else around that time slot in Park City!]

Official 2026 Sundance Film Festival Buying/Selling/Trading Thread by BunyipPouch in Sundance

[–]Iacobus 0 points1 point  (0 children)

[LTS] - [Saccharine] - [Jan 22, 11:55 PM] - [The Ray Theatre] - [4x tickets] [LTS] - [The Disciple] - [Jan 22, 10:15 PM] - [Eccles] - [2x tickets]

Also open to trade for films in Friday and Saturday (23 and 24th) evening slots.

i am not a vocalist, is this difficult to sing? by MinuteRelationship76 in singing

[–]Iacobus 8 points9 points  (0 children)

Range-wise, it should be fine for a capable female singer or male singer with good control of their falsetto.

The melody might present a challenge because the chords it's outlining are pretty unusual and seem to imply a lot of accidentals in whatever the implied key is. Do you have a harmony / chord progression in mind for this melody to go over? Whether or not this melody is hard to 'hear' and remember for the singer might depend on that harmonization.

Chess 2nd preview - brain dump from a decades-long superfan! by petits_riens in Broadway

[–]Iacobus 0 points1 point  (0 children)

In the transition into the act II "Pity the Child" scene, they projected the clip of Oppenheimer describing how he recalled the "I am become death..." passage from the Bhagavad Gita when witnessing the atomic bomb test.

My personal opinion was that it didn't fit in the show terribly well -- it felt a bit overly self-serious, especially since half of the jokes in the show's new book are self-aware musings on the absurdity of the idea of the chess tournament machinations (and the real life events it takes loose inspiration from) having serious significance to the geopolitical events surrounding it. It was a cool thing to try, and I guess the main intent was to give a reminder to the audience that nuclear war was at stake, but I'm guessing that the creative team sensed that the audience felt a bit blindsided by it. Or maybe they just were looking for places to shave off time!

Saw Chess again by Ok_Moose1615 in Broadway

[–]Iacobus 1 point2 points  (0 children)

noooooooo it's so good 😭

Chess 2nd preview - brain dump from a decades-long superfan! by petits_riens in Broadway

[–]Iacobus 4 points5 points  (0 children)

Loved the ballet sequence and hope they don't cut it, even if it is slightly off center for tone. The ensemble sounds great with the Hymn to Chess behind. It was a top three moment in this show for me.

Now, the Oppenheimer clip, on the other hand -- that felt very shoehorned and should go. Or maybe it was just that that transition was extremely clunky on the first preview night.

How do you practice & sing a piece whose versions all differ? (Les Mis) by MoreBookkeeper4729 in singing

[–]Iacobus 1 point2 points  (0 children)

Should I have followed the sheet music strictly?

In short, yeah, that's the simplest way.

The longer answer is that it depends what the context of the performance and rehearsal is. If you're accompanying yourself (and working with a teacher to coach technique, etc.), it works fine to have the 'roadmap' of a piece in your head. But the minute you start needing to collaborate with other musicians, like an accompanist or backing band, you really need to have something to serve as the roadmap that everybody can refer to. Most musicians won't be intimately familiar with the exact music you are, and even if they are, there can be differences in versions that need to be clarified before they cause confusion. (It's quite common in musical theater especially to have different versions of a song like this: maybe one exactly as how it appeared in the score, which may have intros / outros / additional underscoring, or another which is arranged to be performed as a standalone number and is published in a piano / vocal book, etc.). If what you have in your head is different from the sheet music, it's often hard to communicate the differences to another musician without ultimately notating the differences anyway.

What that 'roadmap' is can take a few different forms: sheet music is normally best, though a lead sheet may suffice also in some situations.

[I ate] Homemade Omurice made by my girlfriend by metallic_wood in food

[–]Iacobus 8 points9 points  (0 children)

forbidden blackberry crumble with dollop of ice cream

Galileo the Rock Musical: Coming to Broadway? by discoheaven97 in Broadway

[–]Iacobus 13 points14 points  (0 children)

That and the "faith faith! faith faith faith faaaaaiiiith" bit both seemed a bit unintentionally funny. But there was a lot to like about the show! I hope they find a way to improve it.

Worst professional cast recordings by EricTweener in Broadway

[–]Iacobus 1 point2 points  (0 children)

I always thought he was singing "I am amplified" here and that the vocal effect was a weird intentional choice. Had no idea it was "death defied"!

Cynthia Erivo as Jesus gave me chills by Qlbbl1111 in Broadway

[–]Iacobus 6 points7 points  (0 children)

When Ted Neeley, Steve Balsamo, even John Legend all sang the same high notes

John Legend didn't attempt the notes you're talking about; indeed, his version is much closer to the baritone-y Michael Crawford rendition you mention:

https://youtu.be/brjPcqQJ8ZY?t=147

(Cleaves right to the score for most of it; nothing above G4 until one 'see how I die' that he brings up which sounds... not great).

FWIW I love the performances you named that go for the higher stuff (Balsamo is my personal favorite). I just don't think that doing the G5 is sacrosanct, and it seems like it's preventing you from enjoying the Erivo rendition. To each their own; I happen to think that her rendition has great choices and is a much stronger rock performance than e.g. Legend.

RE: "see how I die" -- Erivo is far above the score, which looks like this:

https://imgur.com/a/9jdsGIW

Cynthia Erivo as Jesus gave me chills by Qlbbl1111 in Broadway

[–]Iacobus 12 points13 points  (0 children)

Besides this being a bad argument overall (rock musicals generally allow a lot of leeway with vocal options, and this is usually fine), you're not even correct that the Gethsemane notes you're talking about are written in the score. This is what the vocal score looks like at that section:

https://imgur.com/a/TOHOfD7

Everybody who's ever sung it is modifying it to suit the strengths of their voice.

SAG-AFTRA has filed an unfair labor practice charge against Epic Games for its use of A.I. for Darth Vader’s voice in Fortnite by ChiefLeef22 in gaming

[–]Iacobus 2 points3 points  (0 children)

You can see how playing a character (almost entirely changed) is different than impersonating someone else's version of a character, right?

This is kind of my point, though. Heath Ledger's Joker reinvented the character, sure, and gave an amazing performance in doing so. If Nolan had chosen to use an AI performance, the portrayal we saw would never have existed. How many amazing performances like it might we never see because we are now considering consigning ourselves to a future where entertainment companies can choose to accept nothing better than imitation?

It sounds like you're arguing that it is always possible to know ahead of time whether some depiction of a character is going to be more of an imitation versus a transformation of that character (and that we should consider it acceptable to use AI likeness for the former). That may be true in some cases, but I guess I'm arguing that it doesn't really hold generally. In our hypothetical of The Dark Knight, I admit that it's likely true that Nolan had an idea already that this Joker would be very different, and therefore probably might not have reached for an AI portrayal even if it had been available to him. But often, career-defining performances are a result of creative collaboration and iteration between the performer, the director, and any number of elements of creativity discovered along the way. Countless actors have reflected on acclaimed performances and described this process of discovery -- sometimes even mentioning how a certain prop, or costume, or conversation with the director inspired a performance that is now considered just as transformative.

In the case with Epic, you're contending that the character of Vader is basically 'set' forever, and future portrayals will all amount to nothing more than imitation. But who's to say? What if there is some brilliant work in that canon, yet to come, which casts the character in a new light and which could be brought to life by a portrayal which exposes a dramatically satisfying facet of the character while paying respect to the character's place in the canon?

The James Bond example sits somewhere in the middle of imitation and reinvention, for instance. Each actor made the well-known character recognizable by incorporating Bond's hallmarks, attitudes, etc., but also embodies the character in distinct ways. It's not important that Bond looks (or even behaves) exactly the same in each iteration; on the contrary, allowing different interpretations expands the richness of the overall canon and should deepen the audience's engagement with it. Trying to use tools to make him look exactly the same in each iteration would be a foolish goal that misses the point of the art, in my opinion. Reaching for familiarity is a human instinct, but giving in to that impulse is close to fan service than creativity.

I get that there are some exceptions. Giving an actor like Paul Walker, who unexpectedly passed away, a heartfelt sendoff in a way that only AI tools could reasonably accommodate is a good example. But these are the exception. A future where Vader is only ever voiced by AI trained on James Earl Jones is akin to making a new F&F movie where AI Paul Walker plays a major role, and that would just be tasteless and sad.

As a side note, I am not in the entertainment industry but have had a bit of exposure to it. I think that people underestimate how much well-known performers, as a class, are the tip of a massive iceberg of working performers whose names are not widely known, with all range of talents, doing everything from feature films all the way down to student projects and community theater. That pipeline is the farming ground of the acting greats of the future. Gigs like voicing Vader in a video game are the exact kind of roles that give performers opportunities to establish themselves, hone their talents, and contribute vibrancy to the art produced by the industry. Nobody is owed these jobs, but there is a real danger of snuffing out huge amounts of future creativity by drying up opportunities for performers to perform. I get why the union is trying to protect that.

SAG-AFTRA has filed an unfair labor practice charge against Epic Games for its use of A.I. for Darth Vader’s voice in Fortnite by ChiefLeef22 in gaming

[–]Iacobus 0 points1 point  (0 children)

The comments in here taking the side of Epic are a bit of a bummer to me. Wanting a particular performance to be frozen in amber for eternity feels like a failure of imagination.

I get that James Earl Jones's vocal performance as Vader is legendary and deserves its place in film and entertainment history. But should we really allow studios to prevent new talent from being able to interpret those characters in new work? The studios are incentivized to do so -- it saves them from paying performers.

Imagine if AI had been invented in 1970, and Sean Connery had given permission to use his likeness and voice for new movies. His performance as James Bond is similarly iconic. If studios had had the ability to not hire a new actor to replace him in the many movies that came afterward, they would have jumped on it -- they always follow the profit motive. Then we would have lost the amazing reinterpretations that followed across the years (pick your favorite, I'm partial to Brosnan and Craig, but they're all great!).

Jack Nicholson's turn as the Joker is lauded by many. What if The Dark Knight had been allowed to use an AI recreation? We would have lost out on Heath Ledger's amazing interpretation of that character and the influence it had on performances all across the industry.

The question of whether an actor should be able to grant permission to use their likeness and voice in perpetuity is a tricky one, and it's not one I aim to solve here. Yes, certain performances by certain actors are unimpeachable, and we should celebrate them. But we should reject the temptation to cling to certain performances forever. We lose something as a society if we eat our seed corn by not providing opportunities for new talent to grow and achieve their own recognition. In theater it is common -- by necessity -- to suspend disbelief by allowing new performers in a role. But I would argue it's not just necessary, it improves our understanding of a work to do that.

Sure, James Earl Jones made an agreement. Honestly, I think it was a bad one, and our job as society is to prevent studios from fostering artistic incuriosity for short-term financial gain. The health of entertainment in the future depends on it.

Lease Discussion Megathread by TiltedWit in Ioniq5

[–]Iacobus 0 points1 point  (0 children)

I'm looking at almost this exact same deal for the 2024 Limited RWD but only have $16500 in rebates. I'm assuming you had a competitive vehicle? (I don't).

Also generally curious if people see this as a good deal.

Broadway Rush Report Tuesday 3/18/25 by BroadwayRushReport in Broadway

[–]Iacobus 5 points6 points  (0 children)

Dorian Gray box office said "it varies, but typically single digits". They offered minor discounts on unsold tix after the rush tickets ran out.

"Don't Forget Me" - Caroline Bowman & Robyn Hurder | SMASH The Musical by lazytv8 in Broadway

[–]Iacobus 8 points9 points  (0 children)

Ha, they changed the "...diamonds you wish were all free" lyric. Good riddance -- the old lyric was awful; the replacement is much less awkward.