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Posted: |
Nov 3, 2022 - 3:16 AM
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By: |
Ny
(Member)
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But what Bill Conti does is take it to a much higher level with his perfect scoring of said events.
And he does it time and again throughout the film.
Right, but let's pour one out for the director of photography, editor, sound designer etc. The score is marrying in to all those things, not to mention the acting, directing and so on. Even if they are not standing out to you they are contributing. They must be to some degree if a film is being lifted for you. A score will not do anything for a film if every other department is dysfunctional.
Most viewers consciously notice the stars in a movie, also the action, the emotion, and the story. Score fans notice the score, maybe more than anything else. But if you show a film with very poor sound design to any of those viewers they will be disconnected from the film without knowing why, because they're so used to good sound design.
If you give all the credit to one single department you discredit the others a little bit.
A score taking a film to higher level? Absolutely. To a MUCH higher level? Doesn't sound right to me.
Forgive me for nitpicking at your opinion, I guess this is a pet peeve of mine.
I'm used to seeing good work in film get overlooked, but attributing the success of 12 Monkeys, for example, entirely to the presence of Brad Pitt, as one of the film's producers actually does in the making-of documentary, is gonna get a reaction from me.
I'm afraid to go into the 'rate the last film you saw' thread because of this.
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Oh yes, Ny, don't get me wrong, I appreciate the other aspects of film-making too.
That opening sequence I linked above is very well shot and edited (and acted...Rourke's face conveys quite a lot without actually changing that much before/after the blast).
It's all very clean and clear and shows the viewer everything they need to see, without fuss or convolution (I'm sure we've all said 'who was that?' or 'what happened there?' while watching some badly shot/edited/looped films).
As you said, it's smoother than his GET CARTER, but he does have about 15 years of advancements in filmmaking to rely on for that...plus experience.
But as a score fan, the music is a BIG aspect to me, and I hear it while watching a film AT ALL TIMES*, without it becoming a distraction or taking away from the film (unless it's awful or just plain wrong for the scene/film to me).
As I said, I do like APFTD, despite its poor reviews/reception and I would champion it over better reviewed/received films.
Maybe I have sounded harsh towards it (I never intended that) but still, the music score is a MAJOR PLAYER in my appreciation of it all.
*as opposed to MOST people, who might only hear it when it's either bashing them over the head or getting on their nerves.
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I've only recently watched A Prayer For The Dying. The criticism directed towards the film seems justified to me. It's certainly a watchable film with some qualities that keep you interested to the end. But overall, you don't miss anything if you haven't seen it. Watch Hitchcock's "I confess" instead which deals partly with the same dilemma and certain other catholic aspects.
'They' say, they did 'only' cut about 3 minutes of APFTD. That could certainly be enough to ruin a whole film.
John Scott's unused score might have been more effective within the film but as a stand-alone listening experience it doesn't do much for me. Conti, on the other hand, created a slicker and more beautiful musical texture (on demand by the recutting producer/distributor). Does it make a better film? No, I don't think so.
Why exactly was Rourke's work on the Irish accent criticised? Does it sound fake? I can't tell as I don't know that many Irish folks to notice any mistakes. I thought for a moment he was dubbed until I've read the actor invested a considerable amount of time to learn to talk that way. I felt he did a more than decent job.
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