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Articles & Info (not Simon-specific)
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| Peithon |
Date: Wednesday, 08-Aug-12, 9:27 PM | Message # 91 |
Rip Snorter
Messages: 341
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http://www.tvguide.com/special....1050641
Where We Left Off: Patrick Jane got close to a Vegas cocktail waitress named Lorelei (guest star Emmanuelle Chriqui), who was actually a Red John disciple who promised to take Jane to meet his nemesis. Although it was all a ruse that got Wainwright killed, the CBI does have Lorelei in custody, giving them a link to Red John.
What's Next: Jane promised last season to make Lorelei "sing like a bird," and creator Bruno Heller says Jane will show a darker side in his interrogation efforts. But now that the FBI is certain Red John is still alive, Jane and the whole team will have even more Feds (guest stars Polly Walker and Ivan Sergei) breathing down their necks. |
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| sylvia5993 |
Date: Wednesday, 08-Aug-12, 11:22 PM | Message # 92 |
Bee's Knees
Messages: 538
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There is an article by Connor Davey under WHAT CULTURE that is titles "5 Reasons to be EXcited for the Mentalist Season 5". Now there is a fan.
http://whatculture.com/tv....n-5.php |
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| Fran |
Date: Thursday, 09-Aug-12, 7:39 PM | Message # 93 |
 Fair Dinkum
Messages: 4127
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Quote (Fran) I've had a reply from Channel 5 on Facebook to my comment about their FAQ page still saying they don't have the rights to Season 5:
"thanks for letting us know. We've flagged this with our Customer Services team, who'll update the page shortly."
So, things are looking increasingly hopeful
The FAQ page still hasn't been updated. Past experience has taught me that we can't rely on Channel 5 staff's responses via Facebook, Twitter, Email or Phone, so I'm still feeling a little uncertain about the situation. I wish they weren't so damned incompetent  |
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| Fran |
Date: Thursday, 09-Aug-12, 8:14 PM | Message # 94 |
Fair Dinkum
Messages: 4127
Status: Offline |
Warners lot- 6th August
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| Wand612 |
Date: Thursday, 09-Aug-12, 8:23 PM | Message # 95 |
Jillaroo
Messages: 62
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Nice. Thanks! Good luck with your channel 5 issues. |
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| sylvia5993 |
Date: Thursday, 09-Aug-12, 11:07 PM | Message # 96 |
Bee's Knees
Messages: 538
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The Citroen is back on the Warner lot, welcome home Simon. |
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| Fran |
Date: Friday, 10-Aug-12, 5:08 PM | Message # 97 |
Fair Dinkum
Messages: 4127
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Finally, Channel 5 have confirmed on their FAQ page that they will be showing Season 5:
"Series 4 of The Mentalist concluded on Friday 1st June. We have acquired the broadcast rights to Series 5 and it is likely that this series will be transmitted later in 2012. Please keep an eye on our website or the TV Guide on the site for updates."
At last I'm a happy bunny (or a happy dragon)  |
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| Fran |
Date: Thursday, 16-Aug-12, 10:23 AM | Message # 98 |
Fair Dinkum
Messages: 4127
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I found this on tumblr by 'onlysentimentalist' - don't know how accurate it is!
Here's the translation of the french interview of Simon Baker
(So the first two questions are about the season 4.)
The third season ended on a dramatic turn of events : Jane kills Red John. What’s going to happen now?
Who told you that Red John is really dead? When the creator of the show proposed me this final, I said “Okay”, while informing him that we must respect the public. I didn’t want that the people turn off their tv saying “Okay, the bad guy is dead”. We must cast doubts.
How evolves your character after he killed Red John?
So far, Jane had never succumbed to his base instincts, as that of vengeance expeditious. For that season, we wanted that his internal compass goes in every sense. He solves cases too easily, it was necessary that he must be confronted to emotional barriers. You will see that Patrick Jane is not a nice guy. I like this ambiguity by the way. Nothing annoys me more than a detective who takes its victims by the hand. Him, he does not hesitate to hustle them.
In this sense, he looks like Doctor House…
These heroes have never met each others, but I ran into Hugh Laurie a couple of times. We look alike : we are both as asocial as our characters. Jane assumes its share of shade, his defects, his singularity. I think that the french people likes his authenticity.
The show is appreciated in France. And we can say that is reciprocal, because you have thought to move here…
My wife dreams about it! Me too besides, but I don’t think it’s a good idea. It would be jump into the lion’s den! The majority of the fiery statements that I receive comes from your country. And in the P.S, the same question comes every time : “What’s your phone number?”
Exactly, it’s the question that our lady readers would like to ask you…
I have a memory lapse! [laugh] Most seriously, I intend to turn an episode in France. It would be a way to thank the public of his fidelity. The plot will take place in Paris. It’s important that the place be easily identifiable; which not means that we will fight with croissants under the Eiffel tour, but we can’t avoid some cliché.
Paris, city of love… Is Patrick Jane ready to fall in love again ?
We have played this idea in the fourth season. There’s still a sort of chill when Jane is in the presence of a woman. It’s a charmer. We wanted to revitalize the show. It was time for Patrick to have another obsession than to take revenge on Red John. The only way, was to place him in a romantic situation. Paris would be the ideal place for that.
What’s your level in french ?
Pathetic! I can say “Merde” (Shit) without accent, but it’s not with that, that I can hold a conversation! [laugh] I must say that I train, because I had always dreamed to play with Jean-Paul Belmondo (french actor), my favorite actor! Maybe I will meet him at Paris? The episode that I want to shot here should not be done before two years. By then, I have time to exercise myself.
The Mentalist should have 6 seasons, but you have signed for 7. Does this means that the show will continue?
There will be a season 7. After that, mystery…
Yet, you said that you know the end of the show…
Did I say that? It’s true that I have an idea of the fate that will be reserved to my character for the final episode. But nothing says that this will not change in the meantime.
Have you thought to take out Patrick Jane of his routine, to make him wear jeans instead of his suit for example, or to make him drink coffee instead of tea ?
We think about a few things of this style for the season 5. But don’t insist, I will not say anything more! [laugh] |
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| Fran |
Date: Friday, 17-Aug-12, 11:49 AM | Message # 99 |
Fair Dinkum
Messages: 4127
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Composer in Focus: Blake Neely Interview – July 2012
This is a very long interview, mainly about Blake himself and containing quite a lot of technical talk about composing. But I think the following comments may be of interest to more general Mentalist fans.
Excerpt:
I’m very interested in what the process is in terms of you receiving an episode and scoring it, could you explain that, as well as an idea of the time it takes to score an episode?
In terms of the process, I receive each episode generally on a Friday. The producers, writer, editor, sound supervisor and I all watch the show together and discuss where we should have music start and stop, and what the music should convey. Then I go home and get to work, writing music for these spots. By the next Friday, I have to be ready to record any musicians, then mix all of it and deliver the finished score to the final dubbing mix stage on Monday. So, I usually get nine days. But notice that within this time, another episode comes in. So there’s usually some overlap and it whittles down to about a week for scoring each episode. They mix all of the sound (music, dialog, effects) on a Monday and Tuesday, and then the episode airs on Thursday. So from me watching it to you watching it is just under two weeks.
What is your favorite recurring motif/theme or the piece you are happiest with from the score?
My favorite theme is the first one I wrote for the show, even as the pilot was being filmed. I long ago titled it “Believe (Patrick’s Theme)”, which is on the soundtrack and iTunes. To me (and hopefully to all viewers by now), it represents who Patrick is and reminds us of his loss and internal motivation. And although it sometimes gets imbedded in or around Red John, it is very much not Red John’s theme. Red John has more of a sound motif. Careful listeners will notice that when we see the work of Red John, you will then hear one (or all) of three distinct sound motifs. If Jane discovers this, then we hear the harp theme, which is sometimes used to start “Believe.” The two characters are so tied to one another that often their themes blend together. It’s fun to do. And it’s fun that “Believe” can be played on just about any combination of instruments and have the same effect. So far, I’ve done it on piano, alto flute, strings, bells, and electric guitar.
My second favorite motif seems to be a big fan favorite, because I get emails about it often. It first appeared at the very end of Episode 3 of Season 3. It’s called “Let’s Go,” and was a turning point for me for the sound of the show. I like to turn the corner a bit each season, and this was one of them. In fact, right now I’m spending this month trying to find a way to turn the corner a bit for Season 5. It’s usually subtle but keeps it interesting for me and progressing the show forward. But I am also a big fan of Lisbon and have given her several themes over the years. I’ve always liked “Rain,” which comes back from time to time. Cho, Rigsby, Van Pelt all have their own themes, and I bring them in regularly.
In Season 4 which episode and/or scene did you most enjoy working on and which are you most satisfied with?
First of all, I always love working on our season openers and finales. So without a doubt, those two were among my favorite episodes of the year. For the season opener, I just had no idea how we were going to get Jane out of his predicament, having killed whoever it was in the mall. I was like a kid before Christmas all summer, waiting to see the episode and get started again. When we came to the end of the season, I was so excited the night before the finale spotting session, I didn’t sleep at all. When I saw it and realized how many places I would get to go emotionally — with Emanuelle Chriqui’s character, Vegas, Jane’s descent, Red John, etc. — I was intimidated but thrilled. I like how both of those scores turned out.
But there was an episode early in the season that Simon Baker directed, called “Blinking Red Light” (Ep 407) that I’m really proud of. I loved the story, the performances, the puzzle. Plus, Simon did a wonderful job directing it. That episode was very special to me, and the score was a lot of fun to write. I had fun with the string players, trying various playing techniques and combinations to creep out the sound a bit more on David Paymer’s character.
If I had to pick one single scene from Season 4 that I am proud of, it would probably have to be Patrick setting a flower on the ocean at the end of “Blood and Sand” (Ep 405). It was a very easy scene to write. When I first watched it, I knew exactly what I would use and how I would do it. And that scene still moves me six months later. But then again, I love doing the fun “looking for clues” scenes, like Patrick and the wine bottles. I love writing the darkness of a scene like Stiles in the jail cell getting into Van Pelt’s head. It’s just a great show to score.
Would it be accurate to say that, to make a soundtrack for a character you would have to know him/her very well?
I don’t think you have to know the character absolutely. For me, I need to know what the character’s intentions are in the story and what they are feeling at that moment and try to convey that. Only two people really really know Patrick Jane, and they are Bruno Heller and Simon Baker. When I really get stuck and want to know what to do, I ask Bruno about a scene, and he guides me. But I really think that if I knew too much about the characters, I might give something away. Music is very subliminal and works in odd ways, as you know. So it’s good to keep me in the dark a bit. It helps me keep you in the dark, too.
Was the use of “Wonderful World” in Blinking Red Light your decision? What about “Wanna Fall in Love” in the finale?
The songs are chosen by the producers. I thought they were brilliant uses, too. The one I also enjoyed very much was “Somewhere Over the Rainbow,” which I got to arrange and record with an orchestra and singer. The most fun we’ve ever had with a song, though, was in “Rhapsody in Red” (Ep 322), when we cast, shot and recorded a full orchestra. At the end, Patrick goes over and plays bass in a jam session with other orchestra members. When we were shooting the scene, I taught Simon how to play the Main Title bass theme on the bass. Imagine how surreal it was: the actor who plays the character plays the character’s bass theme on a bass in front of the person who wrote that theme for that character. Wild!
http://reviewbrain.wordpress.com/2012....terview |
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| AgentM |
Date: Friday, 17-Aug-12, 1:26 PM | Message # 100 |
 Bee's Knees
Messages: 576
Status: Offline |
Quote (Fran) the actor who plays the character plays the character’s bass theme on a bass in front of the person who wrote that theme for that character.
Wow, he's even starting to sound like Jane! Interesting article, thanks Fran.  |
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| bee |
Date: Friday, 17-Aug-12, 2:12 PM | Message # 101 |
 Fair Dinkum
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Very interesting article, thanks Fran. I never realised how much thought and work goes into writing a piece of music for each scene. Also the fact that it has to be created in such a short amount of time! Personally 'Believe' is my all time favourite piece of music for the series. It is so sad and so beautifully written and it sums up Jane perfectly. Music is such an integral part of any scene and kudos to Blake Neely, he has become one of my favourite composers.  |
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| sylvia5993 |
Date: Friday, 17-Aug-12, 7:56 PM | Message # 102 |
Bee's Knees
Messages: 538
Status: Offline |
Great article. The music of Blake Neely for the Mentalist season 1 & 2 is available on cd. Amazon carries it. When you listen and are engaged in the music, you can recall scenes of certain episodes and realize just how much the music enhances the stories. In the scene when Jane is interviewing Rebeccah, Red John's accomlice, the music of Peter Bradley Adams is so evocative and profound, it reaches into your whole being to create an immense sence of loss. This was a producer's choice, and it still resonnates with me.
How about you, which music commands your emotions? |
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| lenacr |
Date: Saturday, 18-Aug-12, 11:04 AM | Message # 103 |
 Dinkie-Di
Messages: 181
Status: Offline |
Amazing that the music has to be written, recorded, etc in just under two weeks. I applaud that he gives special mention to 'The Blinking Red Light', Simon's own directing project; indeed, that episode was a masterpiece from many points of view! |
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| June |
Date: Saturday, 18-Aug-12, 4:21 PM | Message # 104 |
 Bee's Knees
Messages: 585
Status: Offline |
I have the music from season 1 and 2 on cd and I listen it often. You can imagine every scene, it's very evocative and you really feel all the emotions. That's what happens with the great soundtracks and this is one of them. I didn't know Blake Neely until "The Mentalist", he's a wonderful composer, a genius. The most series don't give importance to the music, "The Mentalist" is one exception, it's essential, "Believe", "Funeral",... are masterpieces. This is one of the many things that make this show so different to others.
"Red Rover, Red Rover" and "The Crimson Hat" music is insuperable. |
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| Tina |
Date: Sunday, 19-Aug-12, 6:06 PM | Message # 105 |
 Fair Dinkum
Messages: 2066
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I love the soundtrack too. Especially "Believe/ Jane's Theme"! Can't get enough of it. Love to listen to the music on my ipod and just relax. Hopefully there will be another cd. |
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