Also Tarantino, George Miller, Daniels, Martin McDonagh, Spike Lee, Shane Carruth, Sarah Polley, Jordan Peele, Ryan Coogler, Ari Aster, Robert Eggers, Woody Allen, James Gunn… the list is huge. This seems like an ill considered point. Yes, Blomkamp probably needs a writer, but there are a ton of great writer/directors. Hell, three of the examples I listed above are nominated for best picture at the Oscars this year alone.
I don’t know if this is the reason, but when a film is getting too expensive, that’s often one of the cost cutting methods used, or at least it used to be.
Guitar music is written on the treble clef, but that’s a bit of a cheat for ease as the guitar actually sounds an octave lower. This intro might just be written at the actual pitch/concert pitch.
I mean, if it’s performed poorly without an understanding of how the beats function within the bar, maybe. But 3/4 and 6/8 should feel fundamentally different. Even if we say that you adjust the tempos so that the quarter of 3/4 is the same as the eight of 6/8, 3/4 should still have a strong beat every three beats and 6/8 should read as a strong and a weak beat. Even if 6/8 were so slow that each eighth felt like a beat it should he Strong weak weak Median weak weak giving an overall impression of two slow beats.
I’m almost embarrassed to admit that I discovered Nickleback in their early days when they were much more post-grunge and loved them. They’ve evolved into something… different.
Yes. The post is asking which film should’ve had a sequel. Hellboy II ended on a note that felt like a perfect set up for a trilogy capping sequel. The sequel never came. Hellboy II should’ve had a sequel.
No, I did not think about getting qualifications like getting a driving licence. What I wondered was how much music theory one should know, before one becomes able to come up with a series of notes that sounds pleasing, like popular Japanese animation songs. I thought that one cannot randomly find such a sequence, but must know the rules (music theory), just like solving a mathematics problem.
Practice. That’s how they do that. They practice making music and finding things that are pleasing. They listen to and play music they like and figure out what they are doing then apply that to their pre-existing understanding. The drawing analogy is apt. Viewing music as a math problem to be solved probably isn’t the best approach.
Put it in 6/8. Write in a minor mode. Use a very stepwise ‘singable’ melody reminiscent of a sea shanty and use aux percussion type stuff instead of a kit. Make it all very danceable.
A Star is Born, The Thing, Cape Fear, The Departed, Heat, True Grit, The Mummy, Dawn of the Dead, Ocean’s 11, Funny Games, Nosferatu the Vampyre, The Jungle Book (better than it had any right to be), Star Wars, A Fist Full of Dollars, The Magnificent 7, The Fly, 12 Monkeys, West Side Story, The Ring, Solaris, Scarface, The Birdcage, and True Lies. Ambulance recently was one of the better Michael Bay films and better than the French original.
I’d argue that it’s just good old fashion non-functional harmony. The chords have nice stepwise voice leading between them and E is established as the tonic more by how long they sit on it at the end of the loop than through anything going on harmonically.
That's usually how I compose as well, but I've always been told I need to start with chord progressions, then put a melody on top of that, so I've been trying it
Both work. The real question is what works for you. I tend to start with chords, but I think it can actually be much more musical to start with melody. And if the melody is strong, it kind of solves your chord problem for you
I think Nolan meant that the fact that the question is unanswered IS the point. The whole film is a metaphor for the filmmaking process and the final shot (much like the ending of Memento, TDK, TDKR, and Dunkirk) is all about whether the emotional catharsis the character experiences is any less valid just because it’s based on something that isn’t true. It’s not a mystery to be solved. The ambiguity is the point of both the scene and the entire film.
Honestly, Tom Cruise has been damn consistent for the last decade or so. M:I 4-6 are all some of the best constructed action films ever. Edge of Tomorrow is also incredible. You are missing out if you haven’t seen them.
What I appreciate about Cruise is his total dedication to his craft. He may be insane, part of a cult and whatnot, but just watching the documentaries about his MI stunts, I can't but to say bravo and just watch.
Yeah, he’s totally dedicated to making the best movies possible. He’s surrounded himself with artists that consistently deliver and consistently works his hardest. He is one actor that, if he’s in the movie, I’ll check it out no matter what.
Isn't that a chromatic mediant? It's also derived from a parallel A minor scale. So you're making it an A minor scale only for a moment, swapping just one note in the scale
Rian Johnson and the Coen brothers come to mind as well. There's tons of writer/director films out there that work.
Also Tarantino, George Miller, Daniels, Martin McDonagh, Spike Lee, Shane Carruth, Sarah Polley, Jordan Peele, Ryan Coogler, Ari Aster, Robert Eggers, Woody Allen, James Gunn… the list is huge. This seems like an ill considered point. Yes, Blomkamp probably needs a writer, but there are a ton of great writer/directors. Hell, three of the examples I listed above are nominated for best picture at the Oscars this year alone.
The Dark Knight Rises is a thematic refutation of basically every idea in The Dark Knight.
Sounds like some synth to me like much of the Titanic soundtrack
I didnt realize how much the soundtrack was synth and sample heavy before lol
I don’t know if this is the reason, but when a film is getting too expensive, that’s often one of the cost cutting methods used, or at least it used to be.
The RDJ Sherlock Holmes, Tron, and Disney’s Hunchback all spring to mind
Peter Fonda in Once Upon a Time in the West
Guitar music is written on the treble clef, but that’s a bit of a cheat for ease as the guitar actually sounds an octave lower. This intro might just be written at the actual pitch/concert pitch.
S: Strong beat
This is not correct.
Yes but aurally it may not make a difference depending on the tempo
I mean, if it’s performed poorly without an understanding of how the beats function within the bar, maybe. But 3/4 and 6/8 should feel fundamentally different. Even if we say that you adjust the tempos so that the quarter of 3/4 is the same as the eight of 6/8, 3/4 should still have a strong beat every three beats and 6/8 should read as a strong and a weak beat. Even if 6/8 were so slow that each eighth felt like a beat it should he Strong weak weak Median weak weak giving an overall impression of two slow beats.
I’m almost embarrassed to admit that I discovered Nickleback in their early days when they were much more post-grunge and loved them. They’ve evolved into something… different.
I'm...sorry
Your words mean a lot. Thank you, friend
Hellboy II
There was a Hellboy 2, there wasn't a Hellboy 3. Unless you are counting the reboot?
Yes. The post is asking which film should’ve had a sequel. Hellboy II ended on a note that felt like a perfect set up for a trilogy capping sequel. The sequel never came. Hellboy II should’ve had a sequel.
No, I did not think about getting qualifications like getting a driving licence. What I wondered was how much music theory one should know, before one becomes able to come up with a series of notes that sounds pleasing, like popular Japanese animation songs. I thought that one cannot randomly find such a sequence, but must know the rules (music theory), just like solving a mathematics problem.
Practice. That’s how they do that. They practice making music and finding things that are pleasing. They listen to and play music they like and figure out what they are doing then apply that to their pre-existing understanding. The drawing analogy is apt. Viewing music as a math problem to be solved probably isn’t the best approach.
The first RDJ Sherlock Holmes has a score that’s waaaaay better than the movie as whole.
Put it in 6/8. Write in a minor mode. Use a very stepwise ‘singable’ melody reminiscent of a sea shanty and use aux percussion type stuff instead of a kit. Make it all very danceable.
Sounds like 90’s grunge/alternative to me
Soderbergh dropped Traffic and Erin Brockovich in the same year and both were nominated for best picture.
Not movies, but you should definitely check out Police Squad and Angie Tribeca if you haven’t. They’ll probably tickle your fancy
A Star is Born, The Thing, Cape Fear, The Departed, Heat, True Grit, The Mummy, Dawn of the Dead, Ocean’s 11, Funny Games, Nosferatu the Vampyre, The Jungle Book (better than it had any right to be), Star Wars, A Fist Full of Dollars, The Magnificent 7, The Fly, 12 Monkeys, West Side Story, The Ring, Solaris, Scarface, The Birdcage, and True Lies. Ambulance recently was one of the better Michael Bay films and better than the French original.
Any particular reason(s) why you prefer The Departed to the Infernal Affairs trilogy? I’m partial to the originals
I don’t. I just think The Departed is a remake that isn’t bad which is all the original post was asking
I’d argue that it’s just good old fashion non-functional harmony. The chords have nice stepwise voice leading between them and E is established as the tonic more by how long they sit on it at the end of the loop than through anything going on harmonically.
That's usually how I compose as well, but I've always been told I need to start with chord progressions, then put a melody on top of that, so I've been trying it
Both work. The real question is what works for you. I tend to start with chords, but I think it can actually be much more musical to start with melody. And if the melody is strong, it kind of solves your chord problem for you
I think Nolan meant that the fact that the question is unanswered IS the point. The whole film is a metaphor for the filmmaking process and the final shot (much like the ending of Memento, TDK, TDKR, and Dunkirk) is all about whether the emotional catharsis the character experiences is any less valid just because it’s based on something that isn’t true. It’s not a mystery to be solved. The ambiguity is the point of both the scene and the entire film.
This has nothing to do with music theory…. I’d suggest trying a different subreddit
Audition. I just don't like that kind of stuff
Ichi the Killer was too much for me when I watched it. Miike can push it to the extreme when he wants to.
Funny Games, Ichi the Killer, and Salo come to mind
I’m a huge fan of Catch Me if You Can ,Bridge of Spies and Lincoln. I think they’re all great. Haven’t seen The Fableman’s yet.
Calling the premise a ‘twist’ seems like a stretch.
Honestly, Tom Cruise has been damn consistent for the last decade or so. M:I 4-6 are all some of the best constructed action films ever. Edge of Tomorrow is also incredible. You are missing out if you haven’t seen them.
What I appreciate about Cruise is his total dedication to his craft. He may be insane, part of a cult and whatnot, but just watching the documentaries about his MI stunts, I can't but to say bravo and just watch.
Yeah, he’s totally dedicated to making the best movies possible. He’s surrounded himself with artists that consistently deliver and consistently works his hardest. He is one actor that, if he’s in the movie, I’ll check it out no matter what.
Isn't that a chromatic mediant? It's also derived from a parallel A minor scale. So you're making it an A minor scale only for a moment, swapping just one note in the scale
This is exactly what it is and it is used heavily in modern film scores so it makes sense that the OP registers it as very Zimmer-ish.
Even though it's much more prevalent in the styles of Howard Shore and John Williams.
In Shore’s LOTR stuff for sure