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TRENT REZNOR / ATTICUS ROSS

General Discussions » TRENT REZNOR / ATTICUS ROSS (Posts 121 to 135 of 135)

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      CommentAuthorThor
    • CommentTimeOct 3rd 2011
    I must admit that I can't remember the mix very well -- it might have been too low. All I remember is how excellently it underscored the dialogue scenes and the montage sequences. It was one of the most crucial components that made into a Film (capital F intended), and in many ways the seam that tied everything together. However, the approach here was more in musical colourization than pure narrative storytelling -- which is a no less valid approach than thematically driven scores that are more in-your-face.
    • CommentAuthorJon Broxton
    • CommentTimeOct 3rd 2011 edited
    Yes, but *is* it a valid approach to scoring a film? I would argue that if the score does nothing to enhance the emotion of the film because a) it's too low in the sound mix and b) the music is written in such a way that it's virtually indistinguishable from source music and sound effects... then what purpose does the score serve? What is it's basic function? If you can't hear it, and can't feel it, why is it there?

    Thor, you said "All I remember is how excellently it underscored the dialogue scenes..." - I'm genuinely interested in what you mean by this. I'm thinking about the dialogue scenes such as the one between Zuckerberg and his girlfriend in the bar, the legal scenes between Zuckerberg and the Winkelvi, etc etc.

    Hand on heart, I do not recall there being *any* music in those dialogue scenes and, as I said, I was really really listening - and if it was there, it was either dialed so low or so ambient that it had absolutely no effect on me whatsoever. I'm really genuinely interested in how you feel the music in those scenes was "the seam that tied everything together", because I really don't get it. I would have had the exact same reaction to the film in those circumstances had the film been entirely without music.
    Movie Music UK http://www.moviemusicuk.us
    •  
      CommentAuthorThor
    • CommentTimeOct 3rd 2011
    Jon Broxton wrote
    Yes, but *is* it a valid approach to scoring a film? I would argue that if the score does nothing to enhance the emotion of the film because a) it's too low in the sound mix and b) the music is written in such a way that it's virtually indistinguishable from source music and sound effects... when what purpose does the score serve? What is it's basic function? If you can't hear it, and can't feel it, why is it there?.


    Music in film can also work in a more visceral sense that may be more or less tied to and integrated with the sound effects. BLADE RUNNER is the ultimate example where music bleeds in and out sound effects (both diegetic and non-diegetic). It's more about creating an ambiance with musical qualities. I think that's the case for TSN too.

    Of course, too low mixing is always a problem -- but again, I'll have to see the film again to assess that. I didn't notice it while I was watching.
  4. Timmer wrote
    DreamTheater wrote
    Give me unoriginality any day over dreadful boring drones.

    Give me Space Battleship Yamato any day over The Social Network.


    What's that got to do with it?


    Uhm nothing I guess... I just wanted to derail the thread. Seemed like a good idea at the time. shame
  5. Erik Woods wrote
    Ok... what about Network. The China Syndrome. Dog Day Afternoon.

    -Erik-


    Sorry Erik, I don't mean to pick on you, but I think I can contribute something here.

    You've named 3 films which largely approach grave social issues (nuclear power, media manipulation, whatever-that-third-film-is-about) with very naturalistic, actor-driven filmmaking. Longish shots, actors lead the action, filmmaking clings to real time.

    The Social Network is a bit of a different kettle of fish. It's hard to believe, for example, that the early coding sequence for 'facesmash', as edited, could have played without music. The filmmaking is too decentered from the characters, so montagy (cutting faster than the eye at times), you need music to give it thrust. (Possibly an indication this scene was edited to the music that plays there, which gels with what else is known about this score's conception.)

    I think the score is partly used to grease the rails for zuckerberg's progress... facebook didn't begin seriously, according to the film. It just snowballed from party to party, and it felt good, so they kept going, until finally they ended up in a place where it had all become real and nasty and litigious.

    Now, I'm not saying that it couldn't have been better written, etc etc. I don't know electronica, so I don't know. I am a little surprised to hear it wasn't mixed well in the film. I think the album doesn't work because the music was mixed so well into the film that it had a heft to it I just can't get out of that album.

    One other point. These days, a dialogue heavy film is likely to have a score that is mostly harmonic tissue and rhythm. Melody is out. Discuss. The endless 16ths of every post-Dark Knight score making every exposition scene tremble with caution are surely examples, and it's something that runs through otherwise praised scores like Inception (done really well) and (yes) Tron: Legacy.

    Oh, and just one other thing. 'Hall of the Mountain King' makes much sense when it appears in HANNA. I don't get what such a famous piece is doing in SOCIAL NETWORK in a Wendy Carlos-ized version. I know the scene called for something a bit more outlandish, and boy is it that, but ... well, I probably notice music a bit too much from film to film to just sit back and enjoy it. There has to be a reason. When Kubrick was doing this sort of thing in CLOCKWORK or 2001 or SHINING, there was always good reason, even for the most perverse references. So too with Malick and what he's done with the classical back-catalogue. I'm not sure there's a good reason here - it just sounds cool.
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      CommentAuthorDemetris
    • CommentTimeOct 4th 2011
  7. I'm beginning to get the feeling I spell the end of debate on a subject. (Or show up so late that it might as well be.)
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      CommentAuthorThor
    • CommentTimeOct 4th 2011
    franz_conrad wrote
    I'm beginning to get the feeling I spell the end of debate on a subject. (Or show up so late that it might as well be.)


    No, it's only because you make too much sense!
  9. I saw that The Girl With The Dragon Tattoo was for sale as a digital download on Amazon and it was priced at £7.50. A bargain for 3 hours of music?

    Well, no. I am listening to the clips for the entire release and 50p would be a bargain. Some of the tracks are interesting ambient music with some catchy rhythms and percussion but the rest is distinctly uninteresting.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  10. My review of THE GIRL WITH THE DRAGON TATTOO, if anyone's interested smile

    http://moviemusicuk.us/2011/12/27/the-g … icus-ross/
    Movie Music UK http://www.moviemusicuk.us
  11. Jon Broxton wrote
    My review of THE GIRL WITH THE DRAGON TATTOO, if anyone's interested smile

    http://moviemusicuk.us/2011/12/27/the-g … icus-ross/

    Haven't seen the movie or heard the score, so I can't comment on the content of your review, but if the score is as you describe it, I believe I will be totally in your camp...
    Any way a very elloquantly written 'bash' review.
    Recognizing somebody else's strength doesn't diminish your own (Joss Whedon)
  12. Not that it really matters what I think, but HANNA is a well-crafted score Jon. In roping in that one as evidence of dire times, you run the risk of making it seem like you're on the warpath against a genre of music, rather than a style of storytelling.
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      CommentAuthorBregt
    • CommentTimeDec 28th 2011 edited
    It's not professional to let you lead by too much emotion like you do at the end of the review, because what you say there has nothing to do with the fact that this score sounds like that. wink
    What three C&C releases would you take to the little Island of Misfit Noise?
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      CommentAuthorDemetris
    • CommentTimeJan 5th 2012
    HANNA had an incredible score that worked wonders in the film, hands down.
    http://www.demetrischristodoulides.com/
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      CommentAuthorThor
    • CommentTimeJan 5th 2012
    Demetris wrote
    HANNA had an incredible score that worked wonders in the film, hands down.


    My favourite of 2011.

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