gotchaLeoCobb wrote: ↑December 2nd, 2020, 1:38 pmCritics quotes about 2001 in 68... Time changes everything. With TENET will be the same thing (but of course I'm not saying that TENET is 2001).A Borges man wrote: ↑December 1st, 2020, 11:53 pmWho are you quoting?LeoCobb wrote: ↑December 1st, 2020, 11:32 pm“So completely absorbed in its own problems – its use of colour and space, its fanatical devotion to science-fiction detail – that it’s somewhere between hypnotic and immensely boring.”
“Three unreconciled plot lines are simply left there.
“Some extra scripts seem required.”
[SPOILER] Discussion/Speculation Thread
don't disagree Inception has a more clear emotional thorough-line, but the Spy genre is inherently removed, lacking the sort of backstory like Inception. And the mode of storytelling he's going for doesn't suit that (i do think inception is slightly better). Nolan obviously knows that, and finds emotion in more interesting places here. Also, in The Nolan Variations he says JDW did have input on the script, at least in how to play up certain aspects. it was his idea to make Neil/Protag the emotional center rather than Protag/Kat. unclear if Nolan rewrote but my assumption is he did slightly.Vader182 wrote: ↑December 1st, 2020, 9:29 pmSure sure, but DiCaprio has been clearly credited by Nolan for the emotional throughline and emotional arc of the film and pushing Nolan to do months of rewrites.
I've said it before, but Tenet is probably close to what Inception would've been if Nolan didn't have DiCaprio to make the more more inviting. Tenet is a movie uniquely difficult for an audience to invest in.
-Vader
Totally random realization but the moment the
Is the same music as the beginning of Trailer 2, the one that came out in Dec 2019; It's just super faint.
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Yep!! Wish it would’ve been included in the released soundtrackDylanHoang wrote: ↑December 7th, 2020, 9:54 pmTotally random realization but the moment theIs the same music as the beginning of Trailer 2, the one that came out in Dec 2019; It's just super faint.
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Re: the Tallinn sequence
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Protagoneil is canon. But now it’s also Protagoneives.
hell yeah
Few things upon a second viewing.
1. Score is great. Familiar Nolanesque motifs, but also kind of a cyberpunk/industrial sound to it that fits with the film. Props to Ludwig. Zimmer currently crying and eating ice cream on his bed while staring at a picture of Nolan.
2. The part from the beginning of the truck chase scene to when the protagonist wakes up after his car explodes will go down as one my favorite sequences in Nolan's filmography so far. Nolan's sheer creativity and imagination makes that chilling.
3. Unfortunately that's followed up by the final action set piece, which is kind of ... boring. Like, I get it. It was interesting and smart to make the teams wear different colors. Also the explosions and environmental effects going forward or backward depending on who you're following was clever. But it never really amounts to much.
Why did I never actually feel the stakes of the situation at any point during that sequence? Maybe because Nolan has you so preoccupied with figuring out which direction you're going in that you don't have time or space to worry about who's getting shot at or dying.
1. Score is great. Familiar Nolanesque motifs, but also kind of a cyberpunk/industrial sound to it that fits with the film. Props to Ludwig. Zimmer currently crying and eating ice cream on his bed while staring at a picture of Nolan.
2. The part from the beginning of the truck chase scene to when the protagonist wakes up after his car explodes will go down as one my favorite sequences in Nolan's filmography so far. Nolan's sheer creativity and imagination makes that chilling.
3. Unfortunately that's followed up by the final action set piece, which is kind of ... boring. Like, I get it. It was interesting and smart to make the teams wear different colors. Also the explosions and environmental effects going forward or backward depending on who you're following was clever. But it never really amounts to much.
Why did I never actually feel the stakes of the situation at any point during that sequence? Maybe because Nolan has you so preoccupied with figuring out which direction you're going in that you don't have time or space to worry about who's getting shot at or dying.
It was my least favorite as well but not because I was bored by it as much as I was and still am confused by it. Admittedly I've only seen it twice but I still don't get fully what happened in the final set. I've tried reading other people's interpretations of it and then translate to what I saw and still don't quite get it. I think now that I own the movie I am definitely going to be doing a lot of stopping and rewinding during this part of the movie.Cilogy wrote: ↑December 21st, 2020, 12:02 pm
3. Unfortunately that's followed up by the final action set piece, which is kind of ... boring. Like, I get it. It was interesting and smart to make the teams wear different colors. Also the explosions and environmental effects going forward or backward depending on who you're following was clever. But it never really amounts to much.
Why did I never actually feel the stakes of the situation at any point during that sequence? Maybe because Nolan has you so preoccupied with figuring out which direction you're going in that you don't have time or space to worry about who's getting shot at or dying.
