Bit of catch-up here, but yesterday was an interesting day for Duncan Jones fans, as his newest film Source Code dropped a new trailer, and his first film Moon was delivered the tribute of a hip-hop remix album.

First up is the trailer, which is the most direct and to-the-point of the teases yet. Concisely explaining the set-up, plot, and conflict of the film, we’re given a pretty clear idea what to expect. Frankly, I’m still not seeing the edge to this film, the element that really sells it as a uniquely envisioned sci-fi project that I’ve been hoping for. I’m eager to see it (and will hopefully be able to do so at its premiere at SXSW), but I’m still worried that a new director who broke out with such a textured vision has followed up with a project that feels a little too much like a distilled Tony Scott picture. This new look at the film is definitely geared towards clarifying for mainstream viewers, so it’s not the look that’s going to relieve those worries. The doubt’s benefit is all Jones’ though, and I’ll see it regardless of trailers.

Check it out right here…

Also, in case you didn’t catch it yesterday, a duo of hip-hop producers known for their remix and genre-mash-up albums have released a mixtape that turns key cues from Clint Mansell’s wonderful Moon score into hooks, which are turned into full on rap songs. Max Tannone and Richard Rich, composer and lyricist respectively, are the pair, and the 5 song album is very solid. The hooks are an excellent synthesis of the orchestration and more rhythmic percussion, and Dick Rich’s science is tight, if not transcendent. You can listen/download below, or grab it from the official site.

Selene by Max Tannone

Any fan of Del Tha Funkee Homo Sapien (or more specifically Deltron) knows that hip-hop and dystopian sci-fi are often the perfect blend of technology and magic (use my rappin’ so you can all see the hazards), so nab the free download and give it a spin. If you’re worried about copyright, keep in mind that even Duncan Jones couldn’t help but enjoy the tracks, despite his reticence to endorse unauthorized music use at first. Eventually he was promoting it himself.

I have no doubt Mansell sees this as the highest possible compliment, and understands that our current cultural paradigm makes this kind of re-purposed art inevitable, and one shouldn’t complain when it’s actually of a high standard of quality, and will likely serve as more exposure for the original work.

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