Nocturnal Animals (2016)

All non-Nolan related film, tv, and streaming discussions.
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antovolk wrote:
akv1984 wrote:Interesting thing about the clips, Amy's character loses her Texan accent.
Makes sense since
she left Jake's character some years ago, before moving to LA
I read the book so I do know what happens. I just really liked that nice little touch.

I haven't seen the film yet but I think it would be an interesting fact about the character if she lost her accent purposefully to fit in with the art scene. Accents are really hard to lose especially as you get older.

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Opening title theme: https://soundcloud.com/backlotmusic/way ... rzeniowski
Been wanting to have this on repeat since LFF...gawd level stuff
“The opening is incredibly complex,” Korzeniowski tells EW of the theme, “Wayward Sisters,” which is available to stream exclusively below. “It feels detached until you start thinking about what it actually means.”
Korzeniowski says he and Ford discussed how the opening credits were like a Shakespearean prologue for the dreamy film — and the composer even culled the track’s title from characters in Shakespeare’s MacBeth. “This is an opening of the story — of a fairytale, in a way,” Korzeniowski says.

“Then, as you go deeper, and you analyze Susan, our protagonist — in a way, she gave up everything that is genuine in her, and she got instead her castle,” he adds. “Her concrete, beautiful house and life. And yet she is unhappy. The opening features these incredible women unashamed of themselves, projecting this uncanny energy. There’s something exuberant about this. It’s mesmerizing. There’s obviously a shock factor in the beginning, but once you start watching it, there’s something truly beautiful there. They are everything that Susan is not. They’re opening their true personalities. They let themselves be who they are.”

The “Wayward Sisters” melody threads throughout Nocturnal Animals, and if listening to the track recalls Bernard Herrmann’s scores for Alfred Hitchcock, that’s not an accident.

“The reference to Hitchcock is something that is always very appealing with what Tom does,” Korzeniowski, who also scored Ford’s A Single Man, says. “There’s always this element present in there. But then as we keep working on the particular scenes, it really comes down to wrestling with what you actually can say and what the scene is. So stylistically, I am absolutely conscience of the inspiration, especially if you talk about the simplicity and purity of Bernard Herrmann’s melodies. You don’t need very elaborate orchestrations to appreciate those themes. This is something I aspire to in my own music. … But put it this way: for every scene, Tom has a very specific feeling in mind. How we should understand a scene on a both an production level and emotional level. The balance is often very hard to achieve. We just try many times until we get it.”
http://www.ew.com/article/2016/10/26/to ... mals-score

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I want this movie. And I want it NOW

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antovolk wrote:

can't wait
Image

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With this and Arrival out in one week, it's gonna be a Amy Adams double feature evening.

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fav of the year

9/10

amazing

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This has been my most anticipated this year... Cannot wait to see it.

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Yep, this was really good. From the opening scene alone, I knew I was going to be in for a fascinating ride... It was thoroughly engrossing and says so much by saying so little. The acting is out of control across the board from everybody.
1. The Nice Guys
2. The Witch
3. Sing Street
4. Deepwater Horizon
5. Hell or High Water
6. Captain America: Civil War
7. Nocturnal Animals
8. Deadpool
9. Arrival
10. Sully

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