Scream to Scream, Scene by Scene: END CREDITS of Scream 2 (1:47:39-1:55:31)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!



SCENE 31 (End Credits) of Scream 2
Length: 7min 52secs


Cue inappropriate end credits song!

Randomly, this song that plays over the beginning of the end credits is, much like in the original, one of my favourite songs from the whole soundtrack. Along with D'Angelo's "She's Always In My Hair" from the opening scene, and "Your Lucky Day in Hell" by The Eels, Collective Soul's "She Said" is definitely a keeper. I know ranking Collective Soul alongside The Eels is considered sacrilege by many, but I just like it, okay? Reminds me of that great alt-rock period of the 1990s. Sigh.

Now, what I don't understand is what a song about an aging lush is doing as the big triumphant end scene. Anyone care to explain? Watch the video below, which features clips from Scream 2 interspersed. Using images of Neve Campbell's Sidney as they sing lyrics about "time isn't fair to a woman her age" and "she's seen better days" and you'll see how much they misread the lyrics. The video is so deliciously '90s though that I have to love it. Underwater ballet dancer putting on Ghostface mask!


Curious, too, that they chose a far more triumphant song choice to accompany the big end credits crane camera move, as opposed to the original which used a much darker track. If they never made another Scream movie then this would have been a very fitting ending. Apart from the lyrics.


I've said multiple times how wonderful and vivid the colours are in Scream 2, especially compared to the lower budget aesthetic of the original, so here is one last reminder.



Can we get a round of applause for Mr Craven and Mr Williamson, please? I think they deserved it after helping to bring the life one of the greatest ever sequels and one damn good film in general. I do still love that Kevin Williamson is perhaps the only horror film writer of the last few decades to actually be a name. Says a lot about the impact these movies had, I say. And even if Scream 4 didn't do the sort of business that everyone was hoping, the fact that so much press was made out of his return made me happy.


I like that the cinematographer gets the first credit title card after the screen goes to black. Like his own little ovation now that the curtain has closed.




The "return" of Ghostface in the credits has been taken by fans as meaning that he/she will be back. There was not one at the end of Scream 4. Make of that what you will.

Oh! It's time for the cast credits. For reason I get a real kick out of seeing these. One last reminder of all the awesome actors and characters. One last chance to go "awww" at their subsequent death.














I'm glad that Jamie Kennedy got upgraded to the main credits rather than the strange non-alphabetical order section that he was dumped in during the original's end credits. Meanwhile, would it had hurt them to add an extra slide for Omar Epps/Phillip Pavel/Christopher Doyle? I mean, they were all somewhat vital characters who died so it's almost like they're saying their deaths weren't important enough. They were just nothing characters. Hmmm.


And with that we are DONE! Complete! Finished! No more!

er... until we start on Scream 3. Oh Jesus. It will never end!

Scream:
Intro, Scene 1 Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14, Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, Scene 31 Scene 32, Scene 33, End Credits

Scream 2
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14. Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30

Let's Talk (Talk Talk)

This is the music video for Darren Hayes' new single "Talk Talk Talk". It's a great, catchy tune, but I adore the video most of all! Reminds me a lot of Kylie Minogue's "The One" video mixed with the fantasy sequences of The Imaginarium of Doctor Parnassus. And, hey, there's even some Beatles references in there, too! Sounds like a bizarre combination, sure, but watch the video and decide for yourself.

Tina Turner: Beyond Thunderdome

It turns out that I had never seen Mad Max: Beyond Thunderdome. I had somehow tricked my mind into thinking I had by having listened to the soundtrack so many times over the course of my life. Sitting down to watch the film last night though it became quickly evident that I'd never seen it. Isn't it great how things like that happen?

As it turns out, Beyond Thunderdome isn't anything special. The third instalment of the Mad Max trilogy is a rare beast, indeed. Directed by George Ogilvie with George Miller on action sequence duties (he dropped out of directing the film after the death of producer Byron Kennedy), I appreciated how completely bonkers this movie was for a supposedly quite mainstream action flick. Those early scenes in Bartertown are insane what with their pig shit farming and that "Thunderdome" fight sequence (hailed by Roger Ebert as "the first really original movie idea about how to stage a fight since we got the first karate movies".) I like that they didn't curb the imagination for this film, despite it being a much bigger budgeted American-focused sequel.

Shame then about that second act, which is a complete and utter disaster. Despite a lovely bit with a buried QANTAS jet, the entire passage featuring Helen Buday as the leader of some outback clan of lost children is terminally dull. It's at this point where it went from being a twisted fantasy film and became family friendly drivel. Thanks then to George Miller for at least amping up the energy in that final action sequence. I could have done without Angry Anderson's dopey slapstick, but you take what you can get of Miller's skill. Much like Babe: Pig in the City and Happy Feet, Mad Mad: Beyond Thunderdome is almost unbelievable as a major motion picture, but it is and I respect it a hell of a lot more than I would a gentrified, watered down continuation of the Mad Max story, which it easily could have been.


However, I don't think I've ever met someone who didn't think the film's greatest asset was Tina Turner. Coming directly on the heels of her brilliant Private Dancer comeback album in 1984, Turner's performance as "Auntie Entity" is by far the film's strongest part. She has such presence, clothed in her overflowing and yet risque, heavily shoulder padded chainmail outfit and with a head of hair that defies logic, Turner is a breath of fresh air. It's a shame she never tried to make a career out of her acting as she was also the best thing about Tommy some years prior.

Of course, Beyond Thunderdome's largest imprint upon the world has been Turner's theme song "We Don't Need Another Hero (Thunderdome)". Not just one of my favourite Turner songs, but one of my favourite songs period and one of the greatest ever original soundtrack songs of all time. Proof that a choir can make any song ten times better, it certainly helps that the production team behind "What's Love Got to Do With It" did such a bang up job in the first place. And how about those vocals? Turner's other soundtrack addition was the Grammy-winning "One of the Living" and it too is a doozy. Watch them below along with my all time favourite Turner tune, "Better be Good to Me".


TINA TURNER-WE DON'T NEED ANOTHER HERO by pierrot77

It's interesting to note that the Mad Max films are one of only three trilogies to be found within the history of Australian cinema. Unless I'm forgetting something, which could very possibly be the case, the Alvin Purple movies were first with it's third film releasing in 1984. Beyond Thunderdome rounded out the Mad Max trilogy in 1985 - and, for the record, it made $36mil at the American box office - whilst Paul Hogan's Crocodile Dundee series is the most recent trilogy I can recall. Are there any I have forgotten? Will we get a third Wog Boy?

Taylor Dayne on Sorority Row

Last night I watched The House on Sorority Row. It's a slasher flick from 1983, one of the most well-known, and is actually one of the better ones of the era. In fact, I was quite surprised by how good it actually was. So many horror films of that time were just plain lazy, and yet The House on Sorority Row is very technically proficient and is impressively written, something that I found quite easy to recognise once getting past the ridiculous red paint gore effects.

Director Mark Rosman and cinematographer Tim Suhstedt do some really inventive things for what is such a typical genre effort. Yes, the movie is about an unknown masked assailant stalking and stabbing their way through the girls of a sorority house on the night of their graduation night party. Early scenes utilise daylight and colour very well, making a start contrast with the final two thirds of the movie. Even during the night time sequences, the film is slashed with vivid pinks and blues that stand out amongst the washed out colours of its contemporaries. The final chase sequence, and especially the sequence in the attic, is superbly edited with the hallucination sequence being quite memorable. It's strange, almost surreal nature, creates a fabulous off-kilter atmosphere that almost looks like a long-lost horror sequel to Xanadu as directed by Dario Argento!


Written by Rosman, with additional dialogue (whatever that means) by Bobby Fine, there's a good amount of a build up and back story. The prank subplot that kicks the movie in motion is well-executed and there's some fun dialogue between the girls and Lois Hunt's "Mrs Slater". Thankfully, this film isn't the movie it's poster (above left) appears to promise, which is some soft-core porno erotic "where nothing is off limits" in a sorority house. The poster is clearly trying to sell it as just that, but there's only one (sorta) sex scene and only one brief nude scene. It's a curiously tame movie that appears to be more interested in actual scares and mystery. In the end, I was very impressed and it's so much better than, say, Prom Night, Happy Birthday to Me or Cheerleader Camp. B



Sure, I could've done without the creepy clown costume at the end, but that was but a brief moment that I can forgive it. I certainly wouldn't want that bloody music box in my house thought. I would throw it in the bin.

Still, one of my absolutely favourite parts of The House on Sorority Row was Eileen Davidson as the bitchy sorority sister "Vicki". She appears to be a cousin of Porta de Rossi's "Murphy" in Scream 2! Davidson became better known for her stints on daytime soap operas like The Young and the Restless, Santa Barbra, The Bold and the Beautiful and as "Kristen" in The Days of Our Lives, which even I remember. I knew she looked familiar, but the first name I thought of was actually 1980s/1990s pop singer Taylor Dayne!

Much like Anastacia ten years later, Dayne had a couple of huge selling albums and massive chart-topping singles on the back of a booming voice before disappearing into some sort of black hole. I particularly loved "I'll Be Your Shelter" from her 1990 album Can't Fight Fate.



"I'll Be Your Shelter"
"Can't Get Enough of Your Love" | "Love Will Lead You Back"
Amazing.

Spot the Scream Trilogy Cast Member

Can you see which member of the sprawling cast found within the original Scream trilogy was featured in this 1993 video clip for Dannii Minogue's "This is It"? Aah the things you discover while trolling about Wikipedia. Still, Courteney Cox isn't the only one whose paraded around with music royalty now, is she?


Can you spot her? Find out who it is after the jump!



"Oh gosh, I never thought anybody would actually find out about this!"
Poor Elise Neal!

Top This: Ten Worst Musical Numbers in Cinema

Do you read The Vine? Because you should. Today they are (or, more specifically, @Luke Ryan is) counting down the ten worst musical numbers in films ever.


"Don't Walk Away"
When asked for suggestions, I chimed in with "the animated fish scene in XANADU" and thankfully it made it onto the list at no. 10. The rest of the list, however, is equally awful. In fact, due to not having seen all the films these numbers are from, I have discovered some that are indeed far worse than "Don't Walk Away" in which Olivia Newton John and Michael Beck kiss and inexplicably turn into animated fish. Truly. I mean, I can't believe I ever lived in a world in which I didn't know "Top That" from Teen Witch existed. Can you?


"Top That"
It's just so funky!

Some doozies that didn't make the list? Well, I could list the entire soundtrack to the infamous 1984 Dolly Parton/Sylvester Stallone misfire Rhinestone, but special citation must be given to "Drinkenstein" I think, which is made worse by Dolly's "oh isn't that cute" laugh at the end. I don't believe The Dolly Parton would ever find that amusing in the slightest. What about "Sobbin' Women" from Seven Brides for Seven Brothers? A terrible movie for sure, but much like "Thank Heaven for Little Girls from My Fair Lady Gigi, this travesty of a musical number is so far rendered culturally insensitive by it's woeful lyrics that I kinda can't even fathom it existing in 1954! It's an ode to smackin' yo woman so she don't go astray, after all.


"Drinkenstein"


"Sobbin' Women"
And what about EVERYTHING from Were the World Mine, which is a very good example of how bad Glee truly could be and yet thankfully isn't. And while it feels beneath me to rag on product from the Disney field of dreams, "Bet On It" from High School Musical 2 had me in wild guffaws when I watched it. What's with that ridiculous pool reflection and Zac Efron's silly choreography? Yikes!


"Were the World Mine"


"Bet On It"
In the end, however, I think they got it right by naming "The Penis Song" from The Sweetest Thing as the number one worst. It's a travesty, isn't it? Watching Cameron Diaz, Christina Applegate and Selma Blair sing their way through this ode to giving men false impressions of the size of their manhood - "your penis is too big to fit in here!" - is akin to having your eyes and ears stabbed repeatedly with a rusty switchblade. It's diabolical, really. Not to mention the old lady who would've easily been played by Betty White if made five years later. Thank heavens for small mercies. It's just a shame the Razzie committee didn't bestow any of their illustrious honours onto it. I mean, if "Drinkenstein" can win Worst Original Song then why can't "The Penis Song"?


"The Penis Song"
I implore you to read the rest at The Vine and see how low/high Vanilla Ice's contribution to the world of Teenage Mutant Ninja Turtles ("Go ninja / Go ninja, go!") is!

And after all of that, if you just want one more video with a 1980s edge then watch this one. It's the music video for some band called Atomic Tom (they are not a spin-off of Atomic Kitten, featuring that mess of a dishrag Kerry Katona) covering Human League's "Don't You Want Me". The original is an amazing classic, this new version is awful. The video, however, is a hoot as it features an adorkably hot Topher Grace (Definition - clothes on: "aww, ain't he cute!" clothes off: "whoa!") and a hilarious as always Anna Faris (along with some of their co-stars from Take Me Home Tonight) recreating famous moments from 1980s flicks. I don't think I can see Michelle Trachtenberg, but I can see Lucy Punch and Michael Beihn!

Bonus points for Topher Grace taking his shirt off as well as his Risky Business moment. Even more bonus points for Anna Faris looking like Sandra Bernhard as she impersonates Glenn Close's bunny boiler moment from Fatal Attraction. Points off for including Norma Rae, which was from 1979. How'd that slip by? Thanks to the brilliant Jason at My New Plaid Pants for pointing me in the direction of this clip.


"Don't You Want Me"
I want that Human League/Dare tee that Topher Grace is wearing, by the way. Anybody know where I could get my hands on one? Preferably with Topher still inside.

Scream to Scream, Scene by Scene: SCENE 11 of Scream (0:37:24-0:38:19)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!

SCENE 11
Length: 1min 26secs
Primary Characters: Sidney Prescott, Tatum Riley, Deputy Dewey, Mrs Riley, Cotton Weary (Liev Shreiber)
Pop Culture References:

• None
  

Oh look, an American flag! Worth mentioning is that this scene brings us to the Scream franchise's theme song of sorts in Nick Cave's "Red Right Hand" having appeared in all three films of the trilogy. Will it be in Scream 4?


This shot reminds me of why I kinda became obsessed with the USA in the first place. My first real memory of truly wondering "what is this country and why is my country so different?" came through music videos like those for - and I'm not joking - Wilson Phillips' "Hold On" and Julian Lennon's "Saltwater" (ignore the music during the latter since YouTube rules the song and the video can't go together for some reason, blerg). I used to love reading atlases and books about geography and as I read more about America - most of my favourite musicians being from there and all, I was a music fiend before a cinema fiend - I fell in love. Something about how their nature looked so much different to our nature. As I started to watch movies and seeing things like skyscrapers, which living in a town like Geelong I had never seen before, and wondering why Australia was so different.

I've been to America twice now and am planning a third visit (which won't eventuate for a good 2 years or so) and it is this third visit where I intend to finally see some of this part of America. The stuff I was originally so hooked on. I'm sure it can't possibly live up to the nostalgic memories I hold, but I'm willing to take the risk.

So, yes, this shot reminded me of all that. Vividly. Australian towns just don't look like that when I was growing up. Well, not Victorian ones, anyway. Don't get me wrong, growing up here had its own beauty, but much like FBI Agent Dale Cooper in Twin Peaks and his obsessed with Douglas Furs I guess I'm in love with this sort of imagery that Australia just doesn't have. Scream was filmed in Santa Rosa, California, so maybe I should mark that down as somewhere I need to visit. Experience it for myself and soak it all in. It is fascinating that I can drum up so much from one simple shot, to think that as a kid I used to wish I could live in one of these sort of American towns with the two story house (always with the two story houses, you Americans!) and parks that look like Yosemite. I'm sure if I saw these places in person they'd look much the same to what we have here, but I guess old memories die hard and it's why I will always have that yearning for this kind of stuff.


Firstly, I love that Dewey still lives at home. Secondly, don't "Corn Chex" sound like a disgusting cereal? Thirdly, this is Tatum's third hairstyle of the movie. First she had her normal hair with nothing done to it, then she had a ponytail and now plaits. Adorable.


One night as I was watching the Golden Globe Awards with my mother and brother I said I was cheering for Liev Shreiber to win the award for his performance as Orson Welles in RKO 281. My brother shot me down saying I only wanted him to win because "he was in Scream" and my brother was right. That's the hold that his trilogy had on me for a good long while. I do like seeing Shreiber these days having so much success knowing that the first two Scream movies were pivotal moments in his early career.


"We're checking every cellular accounts in the county. Any calls made to you or Casey Becker are being cross-referenced. It's gonna take some time but we'll find him."
The telephone lingo in Scream is often hilarious. So dated!!


A light, consoling punch by my gal Tatum! I want a light, consoling punch from Tatum. ME!

Intro, Scene 1 Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10

1st of July (But No Fireworks)

It's the 1st of July, half way through the year (a frightening thought), so I thought I'd take a look at the music that have defined my first six months of the year. Did you notice the Kelis reference in the title there? I am so smart. S-M-A-T.

The following songs have all had their moment in the sun on my iPod where I have listened to them on repeat. That is very literally the case with some of the songs on here, which have clocked up so many repetitive spins that I almost grew tired of them due to so many listens. Almost. The honour for "song the year" is definitely, at this stage, a fight between Groove Armada's "Paper Romance", Sophie Ellis-Bextor's "Bittersweet" and Scissor Sisters' "Invisible Light". Although there are several songs that could make a play for the title if I have a sudden change of heart.

Sophie Ellis-Bextor, "Bittersweet [Freemason's Extended Mix]" - Play it loud! Just a pure, unadulterated dance floor orgasm.
Kylie Minogue, "Aphrodite Megamix" - If I had to choose my favourite track from Aphrodite it would be "Too Much", but this megamix featuring several songs from the album is just incredible and was the only thing I listened to for about four days straight.


Scissor Sisters, "Invisible Light" - One of the most euphoric tracks you're ever likely to hear, even ripping of Michael Jackson's "Thriller" is a bonza movie. It is, however, that final minute and 33 seconds that I wish would go on for hours.
M.I.A., "XXXO" - It was this for "Meds & Feds" from M.I.A.'s new album /\/\/\Y/\ for best in show honours, but went with "XXXO" for it's lyric about Quentin Tarantino.


Groove Armada, "Paper Romance" - A total stormer, and an unexpected one at that.
Kelly Rowland, "Commander" - The sub-subgenre that I like to say "Last Night a DJ Saved My Life Dance Floor Anthems" found a new eternal classic in Kelly Rowland's "Commander". Play it long, play it loud.


Goldfrapp, "Rocket [Richard X One Zero Remix]" & Goldfrapp, "Rocket [Richard X Four Eight Remix]" - They are different, and yet both are amazing. Richard X is a God.


Gabriella Cilmi, "On a Mission" - The first song from 2010 to mustre up over 100 listens on my iTunes, fact. It helped that at the time I had limited access to new music, but it's nevertheless an incredible track.
Robyn, "Dancing on My Own" - Crying while dancing is a term used to describe dance songs that deal with themes of loss and woe. This is one of those songs and it is good. So good that one might actually find themselves breaking out a tear if you're really in the zone of the themes.


Ou Est Le Swimming Pool, "Dance the Way I Feel" - Those synths! THOSE BLOODY SYNTHS! Looking forward to the album in August. Have you actually watched the video? It's like Empire of the Sun directed by David Lynch on a break from INLAND EMPIRE. Fluorescent and a bit frightening.
Kelis, "Acapella" - I wanted to include "22nd Century" but apparently Kelis and her record company don't want any marketing for songs that haven't been released as singles and have deleted any knowledge of the song from YouTube. Oh well, "Acapella" is good, too, but "22nd Century" with its extended breakdown in the middle is just glorious and rivals "Invisible Light" as the single musical highlight of the year so far.


Fantasia, "Even Angels" - I adore Fantasia and "Even Angels" was a spectacular modern day R&B song that barely anybody noticed. At least Guy Lodge agrees with me.
Kele, "Rise" - The highlight of Kele's impressive solo album debut, The Boxer.


Christina Aguilera, "Little Dreamer" - Very much a case of an artist, shockingly, leaving perhaps the best song she's ever recorded off an album and making it a "bonus track". Just like Britney Spears' "Quicksand", actually. "Little Dreamer" is a bit classier than that song, which is something Xtina's Bionic could have used.
Paula Seling & Ovi, "Playing with Fire" - Romania's Eurovision entry, lest we forget. It's still great.


As for albums? Well, there are obvious contenders such as Scissor Sisters' Night Work, Groove Armada's Black Light, Janelle Monae's The ArchAndroid, Kylie Minogue's Aphrodite, Kelis' Flesh Tone, Sleigh Bells' Treats, Gabriella Cilmi's Ten and John Adams' compilation on the I Am Love soundtrack that will be definite end of year fixtures.

But there have been some other fine albums from the year. How about M.I.A.'s /\/\/\Y/\, Kele's The Boxer, Marina and the Diamonds' The Family Jewels, the Twilight: Eclipse soundtrack, Robyn's Body Talk, Part I (looking forward to parts 2 and 3 throughout the year), Violent Soho's Violent Soho, Nobody's Daughter by Hole, Acolyte by Delphic and the weird David Byrne/Fatboy Slim concept album about Imelda Marcos, Here Lies Love. They will all be worth remembering and re-evaluating at the end of the year to see how they have held up amongst the other titles listed above.

Since writing this I have discovered the new Chemical Brothers album, Further, as well as Cossus Snufsigalonica by Fear of Tigers. The latter of which is particularly astonishing.

And if you're going to reply with suggestions, feel free, just beware that I will delete any that suggest mopey male singers who play the guitar. That is not accepted at this blog!

These Women's Work

Over at Trespass Mag it is "Women's Week" where we celebrate women (naturally). I was asked to write a piece on some of the best performances from the decade, and since I had recently just wrapped my Design of a Decade countdown it came quite easily. Within the piece I discuss 11 (I didn't know who to cut out) of my favourite performances of the decade including Nicole Kidman in Birth (if I keep hammering it into people's heads that she's great in it then maybe they will actually see it), Tilda Swinton in Julia ("so depraved and ridiculous, it verges on the insane",) Laura Dern in INLAND EMPIRE ("a performance so completely out there that she’s practically orbiting Neptune",) and others. So go on and have a read.

And because I used one of her song titles in the post title and she's just as awesome as all the ladies mentioned within, here is Kate Bush's "This Woman's Work". It's from the John Hughes-directed film She's Having a Baby and despite it being quite sad, the video is a hoot. Maxwell can fuck off with his R&B version that everyone somehow thinks is the original. Blerg.

Not a Music Video

After the one-two punch of incredible-yet-incredibly-violent music videos in the form for "Stress" and "Born Free" (for Justice and M.I.A. respectively) the first feature film of Romain-Gavras was always going to catch people's attention. What better way to announce yourself than by making a movie starring Vincent Cassel and having a trailer that features nothing more than the sound of an air-raid siren over scenes of what looks to be urban warfare? It's called Notre jour viendra and the trailer is below.

notre jour viendra - feature film trailer from ROMAIN-GAVRAS on Vimeo.

Dancing On Her Own

The video clip for what I think is the best song of the year (so far) has finally been released. It is for Robyn's "Dancing On My Own" and the song is beautiful and incredible. The video is your standard "I am in a club, watch me dance, oh no now I'm in a studio somewhere" types, but I love the cinematography of it. It's definitely a "dance while crying" sort of song, which I am almost always guaranteed to fall in love with.

Watch the video below.

Robyn 'Dancing On My Own' (Official Video) from Robyn on Vimeo.

Featuring the Songs of Starship

The first thing I thought of when I saw this poster for High School Musical: China was of Starship's video for "We Built This City". To be perfectly honest, a High School Musical featuring the songs of Starship would surely be a better watch than the other ones we've paid money to hire on DVD been forced to sit through.





I hope that whenever that Mannequin remake comes to fruition that they keep Starship's "Nothing's Gonna Stop Us Now" (an Oscar-nominated song, fyi). And Kim Catrall's face. She's doing a good enough job of keeping her Mannequin face at the moment on the latest Sex and the City poster, so it shouldn't be too hard for them.