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[Closed] Recent Viewing Part III

Film, TV & DVD » Recent Viewing Part III (Posts 2461 to 2490 of 7867)

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    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2010
    Christodoulides wrote
    Same here, already in love with the score and whatever Nolan did up to now.


    I really like the score but don't tell jordi
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeJul 22nd 2010
    Well, he reads nothing else but the zimmer thread so we are safe.













    I hope.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2010
    blah blah Philippe Sarde blah blah Bernard Herrmann blah blah Maurice Jarre blah blah throw Jordi off the path blah blah Terence Blanchard blah blah Elmer Bernstein blah blah Rolfe Kent blah blah other composers Jordi shows little interest in blah blah....
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. Timmer wrote
    I look forward to seeing it.


    I hope you both like it smile
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  5. Thomas Glorieux wrote
    Inception
    I especially liked Joseph Gordon-Levitt's character, his fight sequence during the dream is visually awesome


    Yes! That whole bit with him is just excellent - highlight of the film for me, for sure.
    •  
      CommentAuthorBobdH
    • CommentTimeJul 23rd 2010 edited
    Just saw: INCEPTION - Christopher Nolan

    Just got back, and yes, it also blew my mind. Wow. While I was expecting a visual spectacle and suspenseful film with neat Escher-like visuals (the never-ending staircase, for example), I got all this... and then some. That last part is particularly the labyrinthian storytelliing that defies you to pay very close attention, especially since the film is edited like a dreamsequence. A really brave thing to do when you're on a budget and scale like this.

    Hopping from one essential piece of information to the next, often cutting needless transition images out of it (an editing trick Nolan purposefully developed for the film as it's the way you perceive a dream), gives the film the same flow as a lucid dream. It also means Inception moves incredibly fast, with the first act full of exposition. Often a very dangerous thing to do, but Nolan excels in maintaining your interest. I don't fully grasp the film, but he never loses you (even the incredibly annoying kids behind me were silenced all the way through - don't miss a thing!).

    Hans Zimmer's score, meanwhile, works fantastically, really interspersed with the sound effects (listen closely, the Edith Piaff song is more immersed in the score than you might think - and the 'singing' of the broken glass in the hotel room also finds its way to Zimmers music). Still, it's a different beast than on the CD, as the album presentation flows like a soundscape symphony while the film rarely allows for such lenghty indulgences in the moody part (until the final act, that is).

    And then there's the cast. A fine mix of veterans (Caine, Posthlewaite) in small parts, and very convincing young people in essential roles. Ellen Page was a very tricky casting decision in particular, but she pulls it off and gives charm and weight to a character that could very easily become one-dimensional. Marion Cotillard, meanwhile, constantly shifts between deceitful, lovely and dangerous. No mean feat to pull off.

    All in all, Inception is, to me, one of those rare things. A 'true original'. Not like there aren't familiar concepts in it, but Nolan really went above and beyond to create a film that's full of imagination, ideas and where you never know what happens next, up until a climax that had me glued to the screen. I just couldn't look away from it. Truly among the best sci-fi films in a long time. Go. See. It.
    •  
      CommentAuthorNautilus
    • CommentTimeJul 23rd 2010
    Timmer wrote
    Christodoulides wrote
    Same here, already in love with the score and whatever Nolan did up to now.


    I really like the score but don't tell jordi


    biggrin
    • CommentAuthorTimmer
    • CommentTimeJul 23rd 2010
    YIKES!!!! dizzy
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  9. Erik Woods wrote
    [spoiler]Ah but there is a twist... that last frame. [/spoiler] That alone makes me want to go back and watch it!

    -Erik-


    INCEPTION (for what it's worth, just an opinion based on one viewing)

    Not saying this is the only way to read this film, by the way. The material is loose enough that it can support 50 interpretations at least, but this one makes sense of some unusual emphases in it for me.

    [spoiler]I reckon the whole film is a dream. The fact that the resolution of the 4 layers of the dream were unwitnessed for Cobb supports this interpretation (you don't see Sato agree to go back, you don't see him wake up in the blowing-up hospital, you don't see him get out of the underwater car). The editing and mise-en-scene of the period that is meant to be the 'reality' (post- initial Watanabe heist, pre-Cillian Murphy heist) is (intentionally) indistinguishable from the dream reality. Numerous moments throughout - from the manifestation of images of his children during his first phone call to them; to the final appearance of Caine at the airport with all the convenience of a dream's blissful resolution - seem to be getting at this without saying it.

    My interpretation of the film: Cobb's associates - Gordon-Levitt, Caine, Hardy, the wife - and enemies - Watanabe and Murphy - are projections of aspects of his subconscious. He is in limbo all along. My explanation is that Ariadne is a talented young psychiatrist who enters into Cobb's fantasy adventure scenario (with appropriately stock supporting characters) to get to the bottom of Cobb. Much in the way Cobb tries to plant an idea in the head of Murphy, and is trying to get over planting an idea in his wife's head, Ariadne is trying to plant an idea in Cobb's head, that it is ok to look into the face of the future. (The children are symbolic of the growth he and his wife were holding back from, living in fantasy, never committing. They were the children he might have had.) Much in the way they try to promote a positive growth of the idea of breaking up the company in Murphy, Ariadne is the one encouraging Cobb to find positive independence from Moll in the critical confession scene.

    Watch Ariadne the next time you see the film - she's more interested in Cobb's emotional state pretty much from the outset. The quest, it's legality, means nothing to her, because she knows the stakes are not real. She drives some of the key decisions (such as the decision to go into Cobb's subconscious, ie the fourth layer), and her presence on the plane is not even necessary, yet she insists on going to keep an eye on Cobb's personal state of mind.

    There could have been less music. It's the right sort of music, but its unrelenting quality throws away a golden opportunity, which was to make the fourth layer of the dream (and possibly other moments) feel like the most real of all, but being more strategically unscored. It's hard to relate to Cobb's temptation to stay with her in the fourth layer when the music is pounding away as it has all along. If however that moment felt more real than any moment prior to that in the film, we might actually share Cobb's confusion instead of, as they've evidently wanted us to do, witness it from Ariadne's perspective. Mol doesn't feel real there, and she could have, and that opens up a wider question for me of where else the film might have benefited from the absence of music.    [/spoiler]
    A butterfly thinks therefore I am
    •  
      CommentAuthorLSH
    • CommentTimeJul 23rd 2010 edited
    Inception

    Wow. Wow. Wow. Wow. And fucking wow.

    That pretty much sums up my reaction to this incredible film.


    Edited to add an extra 'wow'.
    •  
      CommentAuthorNautilus
    • CommentTimeJul 23rd 2010
    Is "Mombasa" used in all the action scenes? Including what is supposed to be the climax in the ice station?

    Is there other track wich we can considere an action track in the cd now you have seen the movie?
    •  
      CommentAuthorBobdH
    • CommentTimeJul 23rd 2010 edited
    Mombasa is used in only one scene, a chase scene in the first half of the film. Other action scenes are scored with variations of the main bombastic theme, as heard in the first track. There is no action music in the film that isn't heard on the album. Don't see it as a wall-to-wall action film, it's very much story driven.

    But, Jordi, stop asking about all the details and ruin the surprise. See it for yourself wink.
  13. I do remember the Mombasa theme being reused later in the film, but since the chase in Mombasa isn't that long, I reckon the second appearance is part of the same suite on album.

    The music doesn't stop for pretty much the entire film, except for SPOILER [spoiler]a HEAT-like gunfight in a HEAT-like urban setting. (Mind you, the scene has nothing on the one is HEAT.)[/spoiler] END SPOILER.
    A butterfly thinks therefore I am
  14. [spoiler]I didn't think any of the gun fights were anything special. They were fine, but I don't think action is really Nolan's strong suit. The hand to hand fighting wouldn't have been much on it's own either, if not for the brilliant zero-gravity stuff.[/spoiler]
    •  
      CommentAuthorDemetris
    • CommentTimeJul 24th 2010
    This score is what i've been playing for the last week or so and it truly is incredible at places. Very inspired for the whole duration, this is for sure.
    Love Maintitles. It's full of Wanders.
  16. Yeah, but by the end of the film, it really has managed to get a bit irritating, despite the obvious quality of the material.
    A butterfly thinks therefore I am
    •  
      CommentAuthorBobdH
    • CommentTimeJul 24th 2010 edited
    I really can't see why everyone thinks that... I thought the usage of music was perfect, especially by the end of the film. In the last act, the score was a big reason why I was glued to the screen. Sure, it carries the film all the way through, but I have no problem with that, as it's one of the things that gives the film that heightened reality quality.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 24th 2010
    franz_conrad wrote
    Yeah, but by the end of the film, it really has managed to get a bit irritating, despite the obvious quality of the material.


    TIME, the ending piece of the album (if it's the ending of the movie too) is simply brilliant; i can't think of any way it'd get irritating.
    Love Maintitles. It's full of Wanders.
  19. That piece is mixed a bit loud (somewhat merited by the effect they're after), but it isn't the piece I take issue with. It's the cumulative effect of so much of the film being scored that music feels less effective by the end.
    It's a bit surprising that director with a background in more sound design intensive films (memento, insomnia) would have made this misstep actually. But then big budget films are made under such time pressure that opportunities to sit back and objectively view the flow of the whole film (where you might notice a thing like overscoring) are very rare in late post.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSteven
    • CommentTimeJul 24th 2010
    Couldn't agree more with you, Michael. I think it would have made that last scene much more effective if they hadn't used any music in the non-dream world prior to that scene. It felt a little over-saturated by the end, regardless of the quality and fitting music.
    •  
      CommentAuthorMartijn
    • CommentTimeJul 24th 2010 edited
    Wow, I can't wait to see the film and hear the music (only to find out all the hype and furor on the forum has died down in the meantime... wink )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorBobdH
    • CommentTimeJul 24th 2010
    Steven wrote
    I think it would have made that last scene much more effective if they hadn't used any music in the non-dream world prior to that scene.


    I know you're more making the point that there should've been less music in the film, but if Nolan would've done exactly that, he would've lost his principal of making no distinction whatsoever between the dream world and the real world, and the audience would've been able to know whether it was real or not. I seriously think this would've gone against the impact of the film, it would've made the film a lot 'easier' and less open for discussion.
  23. I think that's just silly. Far better to confuse which layers were real by selectively withholding music than to adhere to a rigorous logic. Part of the film's problem is that for a film about dreams, it adheres to logic at the expense of emotion. There's not enough confusion. A bit of mixing it up aesthetically would have gone a long way.

    Tarkovsky's MIRROR, now that's baffling. NOSTALGIA. SOLARIS. And they didn't use music all the way. wink
    A butterfly thinks therefore I am
    •  
      CommentAuthorBobdH
    • CommentTimeJul 24th 2010
    I don't really get how it's silly? If you specifically use music in the dreamworlds, and no music in the reality, you'd know exactly when you were entering a dream, right? And I happen to have Tarkovsky's Mirror lying here on DVD, thanks for reminding. Have to watch it one of these days for sure.
  25. Oh, we misunderstand each other. I thought they should have shaken it up. Carefully slipped away the music at moments when they wanted it to feel more emotionally real [plus a few other random moments]. (One such moment where being Dicaprio's climactic scene with Cotillard, but those moments could happen in dreams or in reality. (although for me, there is no reality in the film)).
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeJul 24th 2010
    I'm with Michael and Steven... there was far too much music... let me rephrase... far too much music that distracted. I don't mind if there's wall to wall music but Zimmer's score was battling with the sound effects and dialogue for much of the film... the volume level was pushed to the limit where at times I just wanted to cover my ears. I can recall a length sequence where the group was planning the Inception... most of it was dialogue... but Zimmer's score just continued to drone over top of everything to the point where I just wanted the noise to stop so I could concentrate on the dialogue. There were times where I couldn't make out a damn word (didn't help that Watanabe has the very, very thick accent.)

    There were some powerful moments in the score for sure and I really enjoy what I hear on album but I just wish there was less of it.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeJul 24th 2010 edited
    BobdH wrote
    Steven wrote
    I think it would have made that last scene much more effective if they hadn't used any music in the non-dream world prior to that scene.


    I know you're more making the point that there should've been less music in the film, but if Nolan would've done exactly that, he would've lost his principal of making no distinction whatsoever between the dream world and the real world, and the audience would've been able to know whether it was real or not. I seriously think this would've gone against the impact of the film, it would've made the film a lot 'easier' and less open for discussion.


    I don't think so. If they had no music during the real world scenes yet kept the last cue in the film, I don't think that would have diminished the ambiguity in the slightest. In fact, I think it would have helped it since the music could either have represented [spoiler]Cobb finally being reunited with his children, or that it was the dream world all along. You'd simply be asking the question -assuming you're that attentive to the music- why is music now being played in this last scene? I certainly don't think it would have made the ambiguity any less ambiguous, or a particular resolution more obvious than the other.[/spoiler]

    Jaws is a great example where music and a lack of music is used to create misdirection - it works!
    • CommentAuthorTimmer
    • CommentTimeJul 24th 2010
    Very good point on JAWS, it was only in later viewings of the film I noticed that any 'red herring' scene was left un-scored.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeJul 24th 2010
    Timmer wrote
    Very good point on JAWS, it was only in later viewings of the film I noticed that any 'red herring' scene was left un-scored.


    Ah, but there was one red herring scene scored... the fisherman and the dock.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeJul 24th 2010
    Yes but it WAS the shark, everytime the shark isn't present like the kids with the shark fin strapped on it isn't scored.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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