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Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest... something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."show more

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This scene was inspired by Egyptian civilization 🇪🇬!! The Director: As for the scene where Derrick walks out of the morgue and climbs the small staircase in the City of Silver, the inspiration came from my trip to Egypt in October last year. While standing beneath the massive pillars of a temple, I suddenly thought about incorporating this style into the music. It would give the scene the feeling of witnessing a civilization that has endured for thousands of years. At the time, I immediately sent a message to Music Director Sun, asking him to create a piece of music with that kind of atmosphere and style.

This scene was inspired by Egyptian civilization 🇪🇬!! The Director: As for the scene where Derrick walks out of the morgue and climbs the small staircase in the City of Silver, the inspiration came from my trip to Egypt in October last year. While standing beneath the massive pillars of a temple, I suddenly thought about incorporating this style into the music. It would give the scene the feeling of witnessing a civilization that has endured for thousands of years. At the time, I immediately sent a message to Music Director Sun, asking him to create a piece of music with that kind of atmosphere and style.

Mysteries

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Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

DepressedBergman

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“The inspirational significance that I found for this piece represents the band’s impactful 60 year journey. The band’s music and live concerts represent many decades of sunshine filled positive light and energy, that the music has given to so many people. This logo is meant to pull from GD lore, yet be a contemporary interpretation for where we are now… As an artist I went on my own musical journey while I was creating this piece, that is reflected in the art.” - Chris Benchetler

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People wanna judge Sage as a character because of that "Nananananana" scene like it's the most important scene of her character NO This is. The scene where Sage finally understanding Sonic after many times studying him whether through talking or watching how Sonic interacts with people. She sees his resolve She comes to the conclusion they're one in the same on their goals She goes from wanting the man to die to being sad over the fact that he is dying. Hate me for saying this but I don't care. Sage is the best addition to the series in a long time

People wanna judge Sage as a character because of that "Nananananana" scene like it's the most important scene of her character NO This is. The scene where Sage finally understanding Sonic after many times studying him whether through talking or watching how Sonic interacts with people. She sees his resolve She comes to the conclusion they're one in the same on their goals She goes from wanting the man to die to being sad over the fact that he is dying. Hate me for saying this but I don't care. Sage is the best addition to the series in a long time

BlackBlur #ThankYouToriyama

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Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

🆔 𝐭𝐭𝐭𝐨𝐩𝟏𝟑𝟏 🌕

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Are movies or books better? Each have strengths. Below is a great example of a scene that (for me) was much better in the film. In the book it basically says, "They are in a boat and see some big statues." Yes I know it's more than that, but actually SEEING the big statues, hearing the hushed voices of the characters, the spiritual choir of the background music - all done in reverence is a thing that a movie can pull off, and the book can't as easily. 1/2

Are movies or books better? Each have strengths. Below is a great example of a scene that (for me) was much better in the film. In the book it basically says, "They are in a boat and see some big statues." Yes I know it's more than that, but actually SEEING the big statues, hearing the hushed voices of the characters, the spiritual choir of the background music - all done in reverence is a thing that a movie can pull off, and the book can't as easily. 1/2

Sandy Petersen 🪔

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“I just wrote a country song to capture what I think the essence of country music is for me, which is nostalgia, fun in the summertime, the fiddle and the banjo. It makes me feel a certain type of freedom that pop music doesn’t let me feel.” — Chappell Roan for Amazon Music.

“I just wrote a country song to capture what I think the essence of country music is for me, which is nostalgia, fun in the summertime, the fiddle and the banjo. It makes me feel a certain type of freedom that pop music doesn’t let me feel.” — Chappell Roan for Amazon Music.

best of chappell roan

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People who follow along will know that from time to time I feature what I call Truth Matters Musical Moments. It’s a nod to my passion for music and two decades of working in recording studios in what I like to call mr reckless years. As a musician I miss those days as I reflect from time to time, but this clip reminded me of the joy of composition and scoring music. It’s an inspiring language that evokes a wide range of emotions, and I miss that. This piece just brought all the joy flooding back, not least not least because of my admiration of fellow Brit Jacob Collier, who is a talent beyond my ability to articulate. I hope you enjoy this as much as I did. Just watch the joy on the faces of the musicians and the audience alike. Jacob is a unique talent indeed. 🎥 TikTok -

People who follow along will know that from time to time I feature what I call Truth Matters Musical Moments. It’s a nod to my passion for music and two decades of working in recording studios in what I like to call mr reckless years. As a musician I miss those days as I reflect from time to time, but this clip reminded me of the joy of composition and scoring music. It’s an inspiring language that evokes a wide range of emotions, and I miss that. This piece just brought all the joy flooding back, not least not least because of my admiration of fellow Brit Jacob Collier, who is a talent beyond my ability to articulate. I hope you enjoy this as much as I did. Just watch the joy on the faces of the musicians and the audience alike. Jacob is a unique talent indeed. 🎥 TikTok -

𝔗𝔯𝔲𝔱𝔥 𝔐𝔞𝔱𝔱𝔢𝔯𝔰

37,146 Aufrufe • vor 4 Monaten

👤You are so careful with your solo music. You have a lot of songs that you make, and then you don’t put out or you delete. What did it mean to get Layover out into the world? 🧸Layover came to me at a time when I felt the need to look back on my journey so far as V of BTS. The word "layover" can mean a stop between destinations, but to me, it’s expressing that my life is not a straight path. I want to say: I can make this kind of music, but I also like many other styles. I love jazz, classical music, and even more alternative music, so I wanted to share that with ARMY and our listeners. I genuinely love music with all my heart, and Layover is that representation of me. 🧸If layover hadn't come out, I think V, as an artist, would have been stuck as a hardcore dancer and singer, unable to share all the different vibrant colours within. I wanted to explore one of those colors a bit more, so I crafted that album with a lot of care.

👤You are so careful with your solo music. You have a lot of songs that you make, and then you don’t put out or you delete. What did it mean to get Layover out into the world? 🧸Layover came to me at a time when I felt the need to look back on my journey so far as V of BTS. The word "layover" can mean a stop between destinations, but to me, it’s expressing that my life is not a straight path. I want to say: I can make this kind of music, but I also like many other styles. I love jazz, classical music, and even more alternative music, so I wanted to share that with ARMY and our listeners. I genuinely love music with all my heart, and Layover is that representation of me. 🧸If layover hadn't come out, I think V, as an artist, would have been stuck as a hardcore dancer and singer, unable to share all the different vibrant colours within. I wanted to explore one of those colors a bit more, so I crafted that album with a lot of care.

ً

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Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Hollywood Golden Age of Cinema

198,315 Aufrufe • vor 6 Monaten

I keep seeing "Completely unrelated but I really love the music in this scene." So completly related, this is the best piece of music in the whole movie. So much emotion and grandure behind this 30 second piece.

I keep seeing "Completely unrelated but I really love the music in this scene." So completly related, this is the best piece of music in the whole movie. So much emotion and grandure behind this 30 second piece.

Cam

11,625 Aufrufe • vor 18 Tagen

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

Kgopolo

53,561 Aufrufe • vor 1 Jahr

‘i see the music scene and the internet in general as kind of like a city street. everyone’s rushing by and shouting shit. as an artist you just want to be sitting on that street, writing your music, to find out if anyone rushing by is compelled enough to stop’ jack on Zane Lowe

‘i see the music scene and the internet in general as kind of like a city street. everyone’s rushing by and shouting shit. as an artist you just want to be sitting on that street, writing your music, to find out if anyone rushing by is compelled enough to stop’ jack on Zane Lowe

bleachers

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Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”

Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”

Yves Support

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$Today's snow full moon heralds the arrival of Put the Bucket Down, the second track from the forthcoming album o\i. “As a side project, I am working on a show with the brain as the central core and there are a number of songs, some on i/o and some on o\i that will be part of that. This is one of those and it's a point in the narrative where we can both read and write thoughts and the person singing is not sure whether he has his own thoughts or not. Is he inside his own mind or inside someone else's?"$

Today's snow full moon heralds the arrival of Put the Bucket Down, the second track from the forthcoming album o\i. “As a side project, I am working on a show with the brain as the central core and there are a number of songs, some on i/o and some on o\i that will be part of that. This is one of those and it's a point in the narrative where we can both read and write thoughts and the person singing is not sure whether he has his own thoughts or not. Is he inside his own mind or inside someone else's?"

Peter Gabriel

16,299 Aufrufe • vor 5 Monaten

For an artist this is one of the most powerful experiences of a career. You absolutely can, perhaps for just a moment, know that you have become timeless. It is the reflection of your music that is the perspective…

For an artist this is one of the most powerful experiences of a career. You absolutely can, perhaps for just a moment, know that you have become timeless. It is the reflection of your music that is the perspective…

Brian Roemmele

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Happy Birthday To Me 🥳!!!! 🎁 🎉 🎂 I thank God for my life and the ability today to be able to write and perform this beautiful piece, inspired by the legendary Ofori Amponsah’s “Damabi”. It has always been my dream to have a song that fits that progression, and I believe it is a gate way to find myself in that league of Legends . May this music live in your hearts for days as you’ve supported good music from Me . #ladiesandgentlemen #OdoAsem .

Happy Birthday To Me 🥳!!!! 🎁 🎉 🎂 I thank God for my life and the ability today to be able to write and perform this beautiful piece, inspired by the legendary Ofori Amponsah’s “Damabi”. It has always been my dream to have a song that fits that progression, and I believe it is a gate way to find myself in that league of Legends . May this music live in your hearts for days as you’ve supported good music from Me . #ladiesandgentlemen #OdoAsem .

Kuami Eugene

230,564 Aufrufe • vor 1 Jahr

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"

Gangster Cinema Central

52,178 Aufrufe • vor 4 Monaten

In Goodfellas, when Joes Pesci's character Tommy shoots Spider, some of the actors wore earplugs to protect themselves from the gunfire. But Pesci refused - he wanted to hear the full blast of the gun, to immerse himself in the moment. He explains... “It was very hard for me to get as close to killing someone as possible in that scene, because it wasn't a contract killing, and it wasn't somebody that had to be…(it was) a kid. And some of the actors, even Bob (Robert De Niro) - they put earplugs in. But I wanted this feeling, this deafening feeling - I wanted to feel that gun ride and feel like it. And the kid that played Spider (Michael Imperioli) threw himself back so violently at the first shot that he went flying against the bar and cut his hand. They had to take him to the hospital. He cut it on a pitcher that fell. I think everybody in that room, including me, felt like I killed that kid.” Quote comes from the commentary track off the Goodfellas Blu-ray

In Goodfellas, when Joes Pesci's character Tommy shoots Spider, some of the actors wore earplugs to protect themselves from the gunfire. But Pesci refused - he wanted to hear the full blast of the gun, to immerse himself in the moment. He explains... “It was very hard for me to get as close to killing someone as possible in that scene, because it wasn't a contract killing, and it wasn't somebody that had to be…(it was) a kid. And some of the actors, even Bob (Robert De Niro) - they put earplugs in. But I wanted this feeling, this deafening feeling - I wanted to feel that gun ride and feel like it. And the kid that played Spider (Michael Imperioli) threw himself back so violently at the first shot that he went flying against the bar and cut his hand. They had to take him to the hospital. He cut it on a pitcher that fell. I think everybody in that room, including me, felt like I killed that kid.” Quote comes from the commentary track off the Goodfellas Blu-ray

Gangster Cinema Central

98,680 Aufrufe • vor 1 Monat