Ludwig Göransson will compose Tenet
They work well when you use them once or twice, but they do it a lot (especially in Interstellar) and it usually makes me think about the camera itself instead of feeling immersed. Some good examples include the side of the plane getting shot, the wind on the Endurance's pod, and the camera attached to the gurney while Tommy and Gibson are escorting the wounded soldier.AhmadAli95 wrote: ↑May 22nd, 2019, 5:31 pmInteresting. I personally love those types of shots with a passion.
I get what you’re saying but I’m personally not bothered by them at all, and those are great examples. I think it was used a lot in Interstellar because they were referencing NASA’s archival footage. First Man did the same thing.Bacon wrote: ↑May 22nd, 2019, 5:33 pmThey work well when you use them once or twice, but they do it a lot (especially in Interstellar) and it usually makes me think about the camera itself instead of feeling immersed. Some good examples include the side of the plane getting shot, the wind on the Endurance's pod, and the camera attached to the gurney while Tommy and Gibson are escorting the wounded soldier.
In Dunkirk, I really loved the wide mounted shots during the oil sequence (where you see water coming in as the ship tilts and sinks) they look like something straight out of an old silent film.
it's the entire foundational aesthetic of the hyper-immersive effect sought by nolan, neither movie would "be" that movie without that choice. you can't parse it out that way.Bacon wrote: ↑May 22nd, 2019, 5:33 pmThey work well when you use them once or twice, but they do it a lot (especially in Interstellar) and it usually makes me think about the camera itself instead of feeling immersed. Some good examples include the side of the plane getting shot, the wind on the Endurance's pod, and the camera attached to the gurney while Tommy and Gibson are escorting the wounded soldier.AhmadAli95 wrote: ↑May 22nd, 2019, 5:31 pmInteresting. I personally love those types of shots with a passion.
-Vader
Yup.Bacon wrote: ↑May 22nd, 2019, 1:57 pmI love Ludwig's work with Donald Glover, but, honestly, the dude hasn't done a memorable movie score out of all the stuff he's done. No movie score he's done has been bad, and they've all fit the film well, but it'll be interesting to see how Nolan (hopefully) gets him to push his limits
Yeah, everyone can throw around change is good, compare it to Hoyte, but the truth is, a bad score can ruin a film. I'll happily admit this scares me, no matter how good Chris is at maximizing his talent pool.
Sooo, do we know for sure whether Zimmer will be involved or not? It feels kinda sacrilege not to have him. His work in Nolan movies is absolutely incredible.
Do we know if Zimmer is busy with something else? Or will this probably be a collaboration?
Do we know if Zimmer is busy with something else? Or will this probably be a collaboration?
100% scheduling issues. Zimmer has three other films coming out just in the summer next year (and even one on the same day as this), as well as Dune in the fall.
And no way he's invovled in any other way.
Ugh, well that's a bummer : \. I'm sure it'll work out though. Nolan seems to be really involved in every aspect of his movies, and wouldn't work with someone if he didn't feel like they are up to it.
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Maybe Nolan doesn’t wanna interrupt Zimmer from making a masterpiece score for Dune.
