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Post by The_Cake_of_Roth on Jul 29, 2023 4:32:50 GMT
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Post by The_Cake_of_Roth on Jul 29, 2023 7:11:26 GMT
Good discussion on the film’s score... the most interesting part to me (around the 10-minute mark) is when Göransson talks about the use of synths and how they’re meant to suggest the “impending doom” of the future (electronically-generated music representing dangerous technology/science), and how they’re introduced a little in the beginning but are more emphasized later in the film – cueing the shift from “theory” (a more organic musical landscape) to “practice.”
Also, I can’t get enough of this particular cue, which I’m pretty sure is the one Göransson is talking about when he mentions using 21 tempo changes for one piece that was all recorded live in one take instead of stitching multiple tracks of different tempos together:
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Post by Pavan on Aug 2, 2023 5:01:29 GMT
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dazed
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Post by dazed on Aug 7, 2023 23:09:45 GMT
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sirchuck23
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Bad news dawg...you don't mind if I have some of your 300 dollar a glass shit there would ya?
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Post by sirchuck23 on Aug 8, 2023 0:19:49 GMT
Yep, IMAX is going to milk every atom they can out of this sucker!
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Post by The_Cake_of_Roth on Sept 1, 2023 5:06:13 GMT
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Post by Joaquim on Oct 7, 2023 9:13:42 GMT
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Post by The_Cake_of_Roth on Nov 15, 2023 6:17:31 GMT
This was recorded a month ago, and it’s long, but an interesting conversation with Nolan, Emma Thomas, and Kai Bird (coauthor of the book the film is based on).
One highlight for me was hearing Nolan’s perspective on biopics in general, and how he thinks the biopic isn’t a useful genre because it’s often applied to films that “aren’t quite registering in a dramatic fashion.” He seems to suggest that the best biopics are ones you don’t tend to think of as biopics in the first place (he uses Lawrence of Arabia as an example), so he intentionally looked to the heist film and the courtroom drama as more specific genre frameworks to pull the audience into Oppenheimer’s story. He also talks about how he didn’t include any childhood scenes because, in the context of biopics, he thinks those can often be reductive in terms of how they inform the person’s later years.
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Pasquale
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Post by Pasquale on Nov 22, 2023 1:01:34 GMT
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Post by The_Cake_of_Roth on Nov 23, 2023 21:59:19 GMT
- Cillian Murphy - 1:53:10 (62.75%) - Robert Downey Jr. - 23:50 (13.22%) - Matt Damon - 17:20 (9.61%) - Emily Blunt - 16:50 (9.33%) - Josh Hartnett - 10:59 (6.09%) - Jason Clarke - 10:42 (5.93%) - Benny Safdie - 8:37 (4.78%) - Alden Ehrenreich - 8:30 (4.71%) - David Krumholtz - 8:20 (4.62%) - Tony Goldwyn - 6:51 (3.80%) - Florence Pugh - 5:48 (3.22%) - Dylan Arnold - 5:37 (3.11%) - Matthew Modine - 5:05 (2.82%) - Tom Conti - 4:33 (2.52%) - Dane DeHaan - 3:47 (2.10%) - Gary Oldman - 3:23 (1.88%) - Kenneth Branagh - 3:14 (1.79%) - Jefferson Hall - 3:13 (1.78%) - David Dastmalchian - 3:11 (1.77%) - Rami Malek - 2:47 (1.54%) - Casey Affleck - 2:36 (1.44%)
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Post by The_Cake_of_Roth on Nov 29, 2023 7:59:27 GMT
“Kind of like Inception if every layer of dream was a different congressional subcommittee”
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Post by The_Cake_of_Roth on Dec 1, 2023 6:02:13 GMT
"Chris and Cillian were both so awkward about it" lmao
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Pasquale
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Post by Pasquale on Jan 24, 2024 21:28:24 GMT
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Post by The_Cake_of_Roth on Jan 31, 2024 8:22:17 GMT
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Post by The_Cake_of_Roth on Feb 2, 2024 3:22:07 GMT
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Nikan
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Post by Nikan on Feb 2, 2024 10:06:48 GMT
What a long way did we come... I remember a time where the Oppie above me didn't try to shoot us with every posting. Edit: yo look who earned his stars today
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Post by The_Cake_of_Roth on Feb 8, 2024 19:14:48 GMT
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Post by pacinoyes on Feb 20, 2024 8:15:36 GMT
Red paper, black ink, can't copy it, watermarked .....
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Post by The_Cake_of_Roth on Feb 22, 2024 6:06:06 GMT
Cool video where Göransson demonstrates how the piece was performed live in one take using a click track that the musicians listened to with headphones to navigate the constant tempo changes. I also like how he describes the tempo acceleration as a tool used to express the idea of gradual “mastery” of something, the process of going from student to expert (like Oppenheimer)... I just found that description rather apt since I’ve always thought the piece reminded me of an etude or a practice exercise that you’d play on an instrument featuring repeated scales and melodic patterns that start simple and gradually become more difficult.
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Post by Pavan on Feb 25, 2024 18:18:45 GMT
Did anyone else missed Nathan Crowley besides me? As much as i liked Oppenheimer i thought the production design was, lacking. By all means this category should've been a no brainer or at least win competitive for the film. Nolan's longtime collaborator Crowley even managed to get a nom for Tenet. I think he would've done a much better job.
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Post by JangoB on Feb 25, 2024 19:58:36 GMT
Did anyone else missed Nathan Crowley besides me? As much as i liked Oppenheimer i thought the production design was, lacking. By all means this category should've been a no brainer or at least win competitive for the film. Nolan's longtime collaborator Crowley even managed to get a nom for Tenet. I think he would've done a much better job. Absolutely didn't miss him and didn't find anything about the PD work in Oppy that different from other Nolan stuff. Don't know why this category would be a no-brainer for the film either - Nolan's films very often get nominated for PD (off the top of my head, it's the category his films are most frequently featured in) but are almost never win competitive because he prefers his designs realistic, pragmatic and matter-of-fact while this category is more about achievements that are boisterous, colorful and fanciful. I think Crowley would've done pretty much the same job as Ruth De Jong. Oppenheimer wouldn't have suddenly attained a flashy Dante Ferretti look under Crowley.
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Post by Pavan on Feb 26, 2024 4:13:41 GMT
Did anyone else missed Nathan Crowley besides me? As much as i liked Oppenheimer i thought the production design was, lacking. By all means this category should've been a no brainer or at least win competitive for the film. Nolan's longtime collaborator Crowley even managed to get a nom for Tenet. I think he would've done a much better job. Absolutely didn't miss him and didn't find anything about the PD work in Oppy that different from other Nolan stuff. Don't know why this category would be a no-brainer for the film either - Nolan's films very often get nominated for PD (off the top of my head, it's the category his films are most frequently featured in) but are almost never win competitive because he prefers his designs realistic, pragmatic and matter-of-fact while this category is more about achievements that are boisterous, colorful and fanciful. I think Crowley would've done pretty much the same job as Ruth De Jong. Oppenheimer wouldn't have suddenly attained a flashy Dante Ferretti look under Crowley. All Quiet on the Western Front won last year.
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Post by JangoB on Feb 26, 2024 15:16:27 GMT
Absolutely didn't miss him and didn't find anything about the PD work in Oppy that different from other Nolan stuff. Don't know why this category would be a no-brainer for the film either - Nolan's films very often get nominated for PD (off the top of my head, it's the category his films are most frequently featured in) but are almost never win competitive because he prefers his designs realistic, pragmatic and matter-of-fact while this category is more about achievements that are boisterous, colorful and fanciful. I think Crowley would've done pretty much the same job as Ruth De Jong. Oppenheimer wouldn't have suddenly attained a flashy Dante Ferretti look under Crowley. All Quiet on the Western Front won last year. OK, I'll use another word: showy. I don't think Nolan has ever specifically gone for showy production design which is why his films haven't really been win competitive. This year we have the in-your-face exuberance of Poor Things and the pink doll world of Barbie as the frontrunners, and I don't know how Nathan Crowley being the one to work on Oppy (which, again, I don't see him doing that differently) would've changed any of that.
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Nikan
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Post by Nikan on Feb 26, 2024 15:59:25 GMT
Red paper, black ink, can't copy it, watermarked ..... I expect nothing less from the mind that gave us Memento and Tenet
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Post by Pavan on Feb 26, 2024 17:49:18 GMT
All Quiet on the Western Front won last year. OK, I'll use another word: showy. I don't think Nolan has ever specifically gone for showy production design which is why his films haven't really been win competitive. This year we have the in-your-face exuberance of Poor Things and the pink doll world of Barbie as the frontrunners, and I don't know how Nathan Crowley being the one to work on Oppy (which, again, I don't see him doing that differently) would've changed any of that. Oppenheimer has scope for a showier design, IMO. May not be enough to topple Poor Things or Barbie but it at least would be in conversation with Nathan Crowley at the helm or even Guy Hendrix Dyas who did Inception.
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