Contact Me

Please send email to:

anyeventuality [at] gmail [dot] com 

8 thoughts on “Contact Me

  1. I am enjoying this blog. Its refreshing to hear an intelligent person talk about film and comics.

    I raise my glass to you sir.

  2. Nobody says:

    Cheers! Thanks for the kind words, Frankie.

  3. Glen says:

    Thanks for your thoughts, interesting and well written.

  4. Nobody says:

    Thanks Glen, I appreciate your taking the time to say so!

  5. Hi,

    We’ve browsed through your reviews and thought that they are really original and interesting! We would like to invite you to publish your reviews on, which provides an alternative platform for promising movie reviewers to showcase their talents. In addition, you’ll find a growing community of bloggers who share the same passion for excellent movies! Based on the merit of your reviews, we intend to offer you exclusive publishing privileges on our website!

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  6. Ivan says:

    any updates on the Giacchino/Iglesias score post? I can’t believe nobody in the press/academy realized the similarities.

  7. Nobody says:

    Thanks for asking, Ivan! I haven’t heard anything, although three months ago somebody posted about the issue on the IMDb pages of both Giacchino and Iglesias.

    I asked a friend of mine who is completing a PhD in musicology and she said that plagiarism is extremely difficult to prove in musical composition unless it is a long passage with exactly the same intervals. Merely strong similarities between tunes do not constitute plagiarism.

    This would explain why homages do not constitute plagiarism no matter how obvious they are in trying to evoke or imitate the original. For example, Zimmer’s “Parlay” cue in Pirates 3 uses the same instruments that Morricone used to the same effect in the final duel of Once Upon a Time in the West. Similar though it is, Zimmer’s actual tune is not identical to Morricone’s.

    Furthermore it seems like the Academy’s music committee is pretty picky about original content considering that they disqualified the scores for both True Grit and Black Swan for not being sufficiently original because of their adaptations of hymns and Tchaikovsky, respectively. Admittedly, since those influences are openly acknowledged by their composers, they didn’t really have to do any homework to notice their sources. I don’t know enough about the history of Oscar disqualification to know if the committee’s heightened vigilance in December 2010 came as a result of internal controversy over the March 2010 Winner.

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