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    • CommentAuthorTimmer
    • CommentTimeJul 24th 2017
    I've still not seen Inception. The best thing about Interstellar was the score, the film was a serious bore-fest that I'll not be revisiting.

    The Vangelis-like music you refer to is a Vangelis-ified version of Nimrod from Elgar's Enigma Variations.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorDemetris
    • CommentTimeJul 24th 2017
    Thor wrote
    Just saw DUNKIRK. It's not the allencompassing masterpiece I had been foretold (it certainly doesn't compete with INCEPTION or INTERSTELLAR in Nolan's canon), but it was still very good. Zimmer's score is mostly 'pulse' or sound design -- in many cases the sole bearer of emotional engrossment, but the real goosebump moments was the Vangelis-like music for the [spoiler]private ships' entrance[/spoiler]. I could perhaps see a 30-minute presentation of the score working reasonably well on album; I'll look into that when I get it (it's no doubt longer than that).


    thanks man, yes, people out of excitement, often tend to over-present new things when they come out and blow them out of proportion. thanks for the down to earth, realistic mini review smile
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeJul 24th 2017
    Timmer wrote
    I've still not seen Inception. The best thing about Interstellar was the score, the film was a serious bore-fest that I'll not be revisiting.

    The Vangelis-like music you refer to is a Vangelis-ified version of Nimrod from Elgar's Enigma Variations.


    adored inception and interstellar. you have to watch the first, it's action-full and very intense / clever.
    Love Maintitles. It's full of Wanders.
  1. Inception and Interstellar are completely different movies.

    Personally, I love lots of things about Interstellar, but I get that it's a difficult movie.

    Inception is difficult, too, but for all the right reasons. It's a must-see movie, period.

    Make sure you are wide awake and focused if you watch it.
    It's not a "well, I can finish my book while it runs in the background" kind of movie.
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      CommentAuthorThor
    • CommentTimeJul 24th 2017
    Timmer wrote
    I've still not seen Inception. The best thing about Interstellar was the score, the film was a serious bore-fest that I'll not be revisiting.


    Interesting. INTERSTELLLAR is on my Top 10 list of movies since the year 2000.
    I am extremely serious.
  2. Inception is the best Nolan picture I've seen to date. Masterpiece, that is as fiendishly clever as it is visually arresting.

    As for best score for a Nolan picture: Interstellar, simply because of the organ, the themes, the Glass-like approach. I love it completely.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  3. I think it's an ambitious failure. When it comes to Interstellar I tend to liken it to a language that Nolan didn't yet master (and Hans got the concept much better than the director himself, methinks). As I said many times to a Nolan fanboy who accepts no criticism (because he makes original content and doesn't remake things): it's like Dickens tried to be Rilke.

    Nolan is one of the best post-modern prose directors Hollywood has right now, maybe even the best (in mainstream cinema only Tarantino springs to mind, as I said a post-modernist who doesn't know what post-modernism is though), especially after the loss of Tony Scott, who became one after the experimental BMW ad he did starring James Brown and Clive Owen (Ride the Devil was it called?). Interstellar is an ambitious venture in metaphysical cinema (and even with references to Terrence Malick, namely Days of Heaven in the Earth scenes and I can't help but think that the casting of Jessica Chastain owed a lot to The Tree of Life), where the amount of exposition disallows the viewer to form his own answers, which, to me, is the staple of a metaphysical film. There must be space to fill with personal experience.
    http://www.filmmusic.pl - Polish Film Music Review Website
  4. Inception is, on the other hand, the only film (Nolan's best I think, but I haven't seen Memento yet!) where constant exposition actually works to build the tension.
    http://www.filmmusic.pl - Polish Film Music Review Website
  5. PawelStroinski wrote
    ... especially after the loss of Tony Scott, who became one after the experimental BMW ad he did starring James Brown and Clive Owen (Ride the Devil was it called?).


    Beat The Devil

    Great short-film for BMW that one. I have the dvd with all of the ads lying somewhere and that's one of the more entertaining ones. Tony Scott's later visual and editorial style is all over it. Casting Gary Oldman as the devil is a straightforward choice. cool
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  6. Yeah, I saw it, actually, on YouTube. That's about the moment where Scott became a post-modern director. If we looked thematically, he also explored some of the ideas that Enemy of the State started, like exploring multiple points of view (for example looking at events from two timeframes at the same moment in Deja Vu, the use of media/TV coverage in Domino and Unstoppable).
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeJul 24th 2017
    Ralph Kruhm wrote
    Inception and Interstellar are completely different movies.

    Personally, I love lots of things about Interstellar, but I get that it's a difficult movie.

    Inception is difficult, too, but for all the right reasons. It's a must-see movie, period.

    Make sure you are wide awake and focused if you watch it.
    It's not a "well, I can finish my book while it runs in the background" kind of movie.


    both are two of the best films i've ever watched
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeJul 24th 2017
    Interstellar is his top movie by far, imo. I doubt dunkirk is even half as powerful.
    Love Maintitles. It's full of Wanders.
  7. I think Dunkirk is better than Interstellar as a more focused, less (philosophically, not in terms of sheer scale) ambitious and features some of Nolan's best action direction. There were moments in his earlier films where the whole action was falling apart (the final act of The Dark Knight Rises is quite dismal in that way, not just because Marion Cotillard's odd acting, but for example a major scene is quite confusing, in Interstellar the fist fight on the planet is quite awful... in fact that film would have been much better if either that subplot was completely omitted or if Nolan could actually write dialogue).
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorThor
    • CommentTimeJul 25th 2017 edited
    [sorry, I misunderstood one of your points]
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeJul 25th 2017 edited
    Agreed on the planet part. I think Interstellar is a great film, and watching it in IMAX was awe-inspiring, but if he would've excised that Matt Damon planet segment and instead wouldn't have rushed his first act so much, it also would've been much better balanced. That's what keeping me from saying it's one of my favorite Nolan's (that'd probably still be The Prestige). It's flawed, but I admire his ambition.

    Inception, though, is fantastic.
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      CommentAuthorThor
    • CommentTimeJul 25th 2017 edited
    I loved the Matt Damon segment. One of my favourites from the movie.

    Perhaps now's a good time to recommend my good friend Dag's massive, 3-part analysis of INTERSTELLAR which we recently published. Mostly for the hardcore fans, and those who enjoy long reads (albeit with plenty of photos and visual analysis). But also for those who perhaps didn't get or like the film, and are curious about what many of us see in it.

    Part 1: http://montagesmagazine.com/2017/07/chr … -galaxies/
    Part 2: http://montagesmagazine.com/2017/07/chr … dern-myth/
    Part 3: http://montagesmagazine.com/2017/07/chr … f-gravity/
    I am extremely serious.
  8. The planet segment is very relevant for the story, so I would keep it. I just would cut all of his dialogue biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorAidabaida
    • CommentTimeJul 26th 2017 edited
    Every review (even the positive ones) that I've read of Dunkirk talks about how the characters are faceless; a few aren't given names, and the whole movie is about "the tension". Personally, I find it difficult to feel "tension" unless I actually like the characters and give something about whether or not they get killed. No review of Dunkirk, even the 4 star raves, have made it sound like anything more than a stylishly shot non-playable video game.

    Is there something it offers that I'm missing?
    Bach's music is heartless and robotic.
  9. Knowing that actually Nolan pitched the movie as "VR without headset" (a much more important statement regarding the understanding of the music than the whole "Hans recorded my watch" thing going on at the PR circuit), that's actually the point.

    Immersion.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorBobdH
    • CommentTimeJul 26th 2017
    From Nolan himself:

    The empathy for the characters has nothing to do with their story. I did not want to go through the dialogue, tell the story of my characters. The problem is not who they are, who they pretend to be or where they come from. The only question I was interested in was: Will they get out of it? Will they be killed by the next bomb while trying to join the mole? Or will they be crushed by a boat while crossing?

    Films have a sophisticated level of grammar that’s developed over the hundred years of cinema­ to be able to tell the audience everything and have them know much more than the characters. I actually wanted to take a step back and say, “What would you know if you were actually stuck on that beach?” The more I read firsthand accounts, the more apparent it became that part of the terror, part of the real sense of fear and isolation and vulnerability of these men, was not knowing what was happening. Not knowing, lining up on the beach out to sea, if somebody was going to come and get them or not.


    The only thing to say here is: experience it for yourself. I've heard many accounts of people coming out of, moved to tears over the sheer fact that this battle was fought with such young boys - no matter who they were, the fact of their situation is enough to feel empathy.
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      CommentAuthorBregt
    • CommentTimeJul 26th 2017 edited
    Aidabaida wrote
    Personally, I find it difficult to feel "tension" unless I actually like the characters and give something about whether or not they get killed.

    I'm sure you'll feel tension, fear and the survival sense of the characters when you see the movie. It's the situation they're in that will trigger all those feelings.

    If not, then you are heartless. wink

    EDIT: What Bob and Pawel said!
    Kazoo
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      CommentAuthorAidabaida
    • CommentTimeJul 26th 2017
    PawelStroinski wrote
    Knowing that actually Nolan pitched the movie as "VR without headset" (a much more important statement regarding the understanding of the music than the whole "Hans recorded my watch" thing going on at the PR circuit), that's actually the point.

    Immersion.


    Its an interesting idea.
    Bach's music is heartless and robotic.
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      CommentAuthorDemetris
    • CommentTimeJul 26th 2017
    It's like a cinematic, dramatized documentary then ?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorBobdH
    • CommentTimeJul 26th 2017
    Not necissarily, as documentary filmmakers also try you to sympathize with individuals by taking the angles of a real person and telling it from his/her perspective. In terms of trying to be as faithful to reality: well, that's something every historical film should strive for.

    By the way, it's the exact same thing for the D-Day landing in Saving Private Ryan. Did you know anything of the characters that early in the film? And yet, did the whole thing leave you stone cold?
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      CommentAuthorDemetris
    • CommentTimeJul 26th 2017
    No but it's just the introduction wink not an entire movie on it. Anyway will reserve opinion until I see it but all those different inputs on this are certainly interesting to read.
    Love Maintitles. It's full of Wanders.
  10. Demetris wrote
    It's like a cinematic, dramatized documentary then ?


    My thought exactly. I'm very curious to see this film. I imagine, a film that depicted the sinking of the Titanic without introducing me to any characters, without any background story, with people drowning, freezing, falling to their death, agony and terror being to only emotions enhanced by special sound textures, that would be too dreadful for me to watch.

    Volker
    Bach's music is vibrant and inspired.
  11. The game equivalent is a good one, because what Nolan is trying to do is not make you feel for the characters, but rather with them. You have to fill all the gaps with yourself. This is why RPG games are so immersive. Or FPS. In Call of Duty you don't know anything other than being "Roach", "Soap", "Price", "Jackson" or "Yuri". If you need identification you simply make them yourself. That also explains why the score is everpresent, I think.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeJul 26th 2017
    But certainly it's no great news if movies are turning into games right?
    Love Maintitles. It's full of Wanders.
  12. Because they pick the wrong games to adapt. I wonder if anyone actually picked up any of the classic adventures of the late 80s to mid-90s (hell, Spielberg even wrote one of these!), which were essentially fiction films with you being the character, but you had a backstory, the story was quite often genre (ah, Gabriel Knight and it's horror-thriller story, or the crime Police Quest games, Indiana Jones and the Fate of Atlantis based off a scrapped film script etc. etc.). It was way LONGER to play through them than a two hour movie, puzzles could be tedious (in one game I played I had to go to three museums and look and read on every little painting in them to progress).

    Films should and will try to immerse the audience even more. What's particularly interesting with Nolan is that he does all that in an analog way. He hates 3D with a passion, he never filmed a thing in digital... everything's old-school and yet he's the most successful post-modern Hollywood director on this side of Tarantino and he explores new narratives constantly.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeJul 26th 2017 edited
    3d is crap. Pure crap. Thankfully it died the death it deserved after the avatar resurrection of crappier 3d in the 70's and hope it doesn't come back, ever. Now vr is good for games and porn. Good movies are mostly analogue movies , proper film making and I agree with him. Most modern super hero movies are looking more and more like cheesy and sometimes cheap video game sequences. Shame.
    Love Maintitles. It's full of Wanders.