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I love Perturbator, but his music has no business being anywhere near Blade Runner. Same as Carpenter Brut or any of the other synthwave artists that litter my Spotify playlists. Tone is way more important for a soundtrack like Blade Runner's rather than trying to recapture '80s nostalgia.
Jehde fucked around with this message at 08:37 on Oct 11, 2017 |
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Oct 11, 2017 08:33
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Ah, this music in this movie is poo poo. It needed more epic Beat's – why didn't they get Pendulum to do it, or the Hotline Miami guy? Also it was too long and they had flying cars but they didn't even end the movie with a fistfight on top of one during rush hour? This, is some loving failery.
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Oct 11, 2017 09:15
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As long as we're making fan edits I would have made the last shot K slowly dying in the snow instead of Deckard and his daughter
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Oct 11, 2017 09:31
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I'm not even saying it needed driving pulsing beats like a lot of Perturbator's music has, just that the atmosphere that those artists clearly have a handle on nailing seems more appropriate for a setting like Blade Runner's than what Hans Zimmer is capable of. For example, Trent Reznor does film scores but they aren't all exclusively filthy industrial stuff like a lot of Nine Inch Nails stuff. He's got a good grasp on certain moods. That doesn't mean everything he does is exactly like what he's most known for. Not every movie would benefit from a Perturbator score or a Trent Reznor score. I would never suggest that because that would be ludicrous. But in the same vein, not every movie benefits from a Hans Zimmer score. Just because he's worked on lots of different projects doesn't mean he needs to be everywhere or is capable of setting all different types of moods. Junkie XL had a career before Mad Max: Fury Road, and a career that suggested that he would be a great choice for scoring that movie. Turns out he was! https://www.youtube.com/watch?v=UIyRXvHmXxo
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Oct 11, 2017 09:37
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Zimmer's score was good but I actually am heartbroken we won't ever hear Johanssen's score for this. He was easily one of the highlights of Arrival. ... Or El-P's. https://www.instagram.com/p/BZXlj8RlLkJ/
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Oct 11, 2017 09:46
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El-P absolutely would've taken this movie from a 9/10 to an 11/10 
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Oct 11, 2017 09:54
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DorianGravy posted:I interpreted that a different way: she cried because, on some internal level, she could see what a terrible person Wallace was, but she felt trapped in a situation she had no control over. Whether by design or simple societal pressures, she felt she had no choice but to do what he said. She saw how helpless and afraid the new replicant was, and she knew that, despite the nice clothes and faux-authority, she was really the same thing. When she killed Joshi, she did two things: she both cried and seemed to relish the killing, showing the conflict within her. Yeah I can definitely see your point as well! Luv was definitely a big focus of my rewatch and man she's so complex and doing so much in every scene. I went to see it again in IMAX and man it is so beautiful. Of course I noticed the color story telling in first watch but it's really all over the place (The whites, blues and greys is the "real" world of 2049 and its representatives, the orange is the world of original Blade Runner and the people from it [which sure raises a lot of questions about Wallace [[and Luv always has white on while inside the Wallace headquarters]] and interestingly while the doorway to Sapper's room is orange, the interior of his house is blue/white/grey] . . . okay I'll stop here], and the streets of LA which are seem to suck away all color except neons and holograms, and I'm really sure there's more to the rare greens, and the fact that K is "the man in the green jacket" [it's okay if anyone thinks this is bullshit, I used to think color storytelling was bullshit but was slowly indoctrinated into it]). I also spent a lot of time focusing on Joi. I actually think a lot of different interpretations people have on her are solid and valid. My personal one is . . . well even as I write it out I doubt myself so maybe I don't have a solid theory either way, but Joi certainly becomes more personable and seems more awake after she goes into the rain and notices the water drops hitting her hand (I am never totally sure she is ever really sentient because there's some really strong arguments against it, but one thing that is a strong argument for, is that it stood out to me is that Sapper acknowledges the snow; K ignores snow initially, and ignores the rain, but after being awoken, one of the first things we see him do is acknowledge the snow; and Dr. Stelline at the end is scene making the snow moments after K acknowledges it again as he lay down to whatever his fate is there. It seems like the acknowledgement of the weather is representative of a marker of sentience in the theme). From the point she gets the emulator and feels the rain, she starts to take initiatives that are more than holographic steaks, starts to get jealous, and starts to make plans and suggest things to a K and act as his emotional surrogate (of course you could easily counter that this is because this is what K needed) before he begins to feel. I think Joi coming to life is at least real to K, and that is his miracle (although I do think it's open to interpretation the other way). Wow this post has become kind of a mess, oh well.
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Oct 11, 2017 10:06
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why are there so many videos in my youtube recommendations about how this movie is a flop
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Oct 11, 2017 10:23
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The Saddest Rhino posted:why are there so many videos in my youtube recommendations about how this movie is a flop  Although that's to be expected with a 2 hour and 45 minute existential cerebral sci-fi sequel to a cult classic from 35 years ago. I don't even know what Warner was thinking making this thing. I mean, I'm REALLY glad it got made because it's loving beautiful, but they can't have expected it to do well financially, right?
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Oct 11, 2017 10:37
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Steve Yun posted:As long as we're making fan edits I would have made the last shot K slowly dying in the snow instead of Deckard and his daughter
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Oct 11, 2017 12:28
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I'm a fan of the original and saw this last night. I definitely liked it, but I'm not sure how much. It was consistently beautiful, full of places I'd love to explore and loads of interesting ideas. I loved the soundtrack for the most part too and just about everything about it, but in a weird way just sort of didn't get anything from it other than being a audio/visual spectacle. I'm looking forward to seeing it again and maybe 'getting it' more, though. On the downside I found Wallace and Luv to both be off-puttingly hammy, and Luv's one liners seemed a bit out of place. Also there was something sort of slapstick about the end fight and with Harrison Ford just looking sort of confused in the background I found it kinda funny.
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Oct 11, 2017 12:51
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LORD OF BOOTY posted:You realize that would still leave the film a minute longer than the original, right? It's similar because Dunkirk also has a score that provides sound effects to the action going on. Like the waves crashing at the climax? And this didn't sound like a typical Zimmer score at all. You're being obtuse.
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Oct 11, 2017 13:04
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Like, that was actually part of why I landed on that specific number, because I feel like the original did almost as much minus nearly a solid fuckin' hour.
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Regarding the track, its very complementary as to whats going on visually mood wise but its got nothing going to make it unique and soulful. Think about the various pieces that pop up in addition to the moody audio in the original film as opposed to subdued and at times overblown synth in this. That being said Zimmer did okay considering the very late change in musical direction.
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Oct 11, 2017 13:12
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The soundtrack in Blade Runner 2049 was great, the sudden harsh notes made everything feel like a nightmare as opposed to the soft dream like feel of Blade Runner and its floaty saxaphone tones.
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Oct 11, 2017 13:18
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Ora Tzo posted:Regarding the track, its very complementary as to whats going on visually mood wise but its got nothing going to make it unique and soulful. sounds like you saw a completely different movie because this soundtrack made the movie absolutely terrifying at times, most notably at the climax.
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Oct 11, 2017 13:24
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BarronsArtGallery posted:sounds like you saw a completely different movie because this soundtrack made the movie absolutely terrifying at times, most notably at the climax. Yeah it definately did make me feel uneasy. I'm thinking that the cinema's sound system didn't handle the bassy bits well.
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Oct 11, 2017 13:35
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One of the speakers at my theater definitely rattled like gently caress during the bassy bits. Here I thought they'd set it too loud or just had a broken one (they probably still did). But I liked the soundtrack because it frequently bordered on sensory overload and upon reflection that is the way to watch this movie. I actually felt slightly strained afterwards.
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Oct 11, 2017 13:39
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The track titled JOI is really good IMO.
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Oct 11, 2017 13:43
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starkebn posted:Slavery is what society / government wanted for replicants, it's pretty clear Tyrell was pushing the boundaries as an artist / god Agreed, to me Tyrell seems intent on subverting the restrictions society has created for his creations. Not only did he flout the laws banning replicants on earth by openly parading Rachel to the LAPD, he praised and no doubt vicariously enjoyed Roy Batty's antics and from their discussion on longevity it's clear that despite failing he had worked fantastically hard to reverse the death sentence for the Nexus 6 line after the fact, something very much against the spirit if not the fact of whatever laws in the BR universe are in place to limit the dangers posed by replicants. Thanks to Wallace we now know Tyrell created Rachel to be able to breed, either with humans or replicants isn't really properly answered. What in BR might be seen as callousness, Tyrell's reveal to Rachel that she is a replicant, then ignoring her and leaving her to be hunted down like any other skin job, can now be read as a type of match making forcing Rachael and Deckard together. Also whatever the general view of replicants as machines, Tyrell talking with Batty about his shining brightly has always said to me that he sees their real human nature in their endless rebellions and seeks to actively subvert the laws restricting them, giving even greater autonomy to his creations. He's playing within the rules only because it's necessary to allow him to indulge in his acts of creation. In many ways it's an ironic tragedy that Batty kills Tyrell, his creator and failed saviour, but necessary for Roy's own personal growth and eventual redemption. Wallace for all his grandiosity is an insipid pale shadow of Tyrell's towering genius, he can't even re-sequence fertility genes, something Tyrell achieved decades before, producing nothing more than iteration after iteration of his predecessors creation whilst malevolently dreaming of enslaving them all, revelling in his power to murder them at will. I really enjoyed the character of Luv, for me she is a tragic unactualised version of Roy Batty, sharing the same childish emotions of the nexus 6 line, shallow yet strongly held, wanton impulsivity, implying no previous memory implants, wanting to prove to Wallace that she really is the 'best one', sorrowfully missing totally his cynical and disrespectful tone in describing her as such. She's like a very loyal dog owned by an arsehole, but there are nice hints that she is potentially on a journey of her own, as with her tears at the death of the new model, but unlike Batty or K she never takes the steps needed to lift off from what is essentially pure servitude. I like the tragedy involved there, even though I wish she'd have echoed Batty and crushed Wallace's skull.
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Oct 11, 2017 13:53
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BarronsArtGallery posted:sounds like you saw a completely different movie because this soundtrack made the movie absolutely terrifying at times, most notably at the climax. The sea wall track and the final fight scene action combine beautifully. I've listened to the soundtrack a few times now and like it more each time. It might not be a Vangelis glorious original but it is very good and I really like the reworked motifs from the the OOST that infect it.
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Oct 11, 2017 13:59
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Ser Pounce posted:Wallace for all his grandiosity is an insipid pale shadow of Tyrell's towering genius, Wallace made his zillions by making geohell more-or-less sustainable. He is, at bottom, a guy who owns power plants and factory farms. So it's no wonder he couldn't follow up on Tyrell's work.
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Oct 11, 2017 14:25
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It blows my mind people are missing a big point about Blade Runner and most other scifi that involves synthetic humans. Replicants are literally humans. A subset, since they are engineered. But they literally are flesh and bone and have everything humans have. In another fictional universe they would be called clones or have some other scifi name and the question of them being human would've even be there. Other scifi stretches the "what is human" idea a bit with robots that are indistinguishable from humans or some other combination of artificiality and a human mind. But Blade Runner is the most blatant since they are literally just artificially grown humans. Some dummies are fixated on "wait what makes them any different" or "what are they", but that's not the point. The point is they aren't any different but nevertheless born/natural humans treat them like garbage and have a set of beliefs to justify it. We've literally seen this in real life with racism, where a group of people justifies their treatment of another group by saying they aren't human, they're animals, and finding all sorts of bullshit to justify those beliefs. Also lol that people would be worried about having a soul in the late capitalism soulless hellscape that is Blade Runner Earth.
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Oct 11, 2017 14:48
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I disagree that the differences are imagined, it's a question of free will. Replicants are slaves but this movie really focuses on what it means for them to be created. Do Deckard and Rachel really love each other, or is it just programming? How about K and Joi? Is being made to love someone an oxymoron? That's why it's important if Joi actually has a soul or not. Also it seems that K's memory isn't unique but shared by the whole resistance. So there's the whole thing about memories being authentic. Sinding Johansson fucked around with this message at 15:49 on Oct 11, 2017 |
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Oct 11, 2017 15:36
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Sinding Johansson posted:I disagree that the differences are imagined, it's a question of free will. Replicants are slaves but this movie really focuses on what it means for them to have free will. Do Deckard and Rachel really love each other, or is it just programming? How about K and Joi? Is being made to love someone an oxymoron? That's why it's important if Joi actually has a soul or not. Is love in humans anything but chemical programming?
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Oct 11, 2017 15:38
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Serf posted:Is love in humans anything but chemical programming? Well yeah exploring that question is exactly the point of the movie. I personally would say yes.
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Oct 11, 2017 15:46
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Sinding Johansson posted:I disagree that the differences are imagined, it's a question of free will. Replicants are slaves but this movie really focuses on what it means for them to have free will. Do Deckard and Rachel really love each other, or is it just programming? How about K and Joi? Is being made to love someone an oxymoron? That's why it's important if Joi actually has a soul or not. Actually in a lot of ways the way we as human beings love or are attracted to each other is based on the way we are ''programmed'' by a wider society. Thinking that we cant be manipulated into specific relationships or desires just like replicants could be ''programmed'', is naive. K's memory is shared with other replicants the same way you share the implanted memories that are the film blade runner 2049 with the rest of us. This implanted memory is not authentic but it does re-contextualizes to world around you, the same way it does for k when he discovers the birth date on the tree.
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Oct 11, 2017 15:49
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Well yeah I agree that's obviously all true, I think all that comes across pretty straightforwardly in the movie. What's unclear I think is the films conclusion. Why is birth so important? Is it because of its randomness? In conception there's unrealized potential, just as you were born perhaps a million other children could have just as easily been born in your stead had say a different sperm fertilized the egg that would have been you. Your very existence may be predicated on your mother having passed gas at just the right moment after coitus. The difference between having programming (humans) and being programmed (replicants) is significant. Hence the importance of there being a miracle.
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Oct 11, 2017 16:00
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Really when you think about it Blade Runner 2049 is about the workers attempting to seize the means of reproduction.
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Oct 11, 2017 16:01
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Serf posted:Really when you think about it Blade Runner 2049 is about the workers attempting to seize the means of reproduction.
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Oct 11, 2017 16:04
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Rageaholic Monkey posted:I liked parts of the score (not all of it), but goddamn, I couldn't help but think how much this already great movie would've been elevated had the score been done by Perturbator or a similar artist: The music, which I love, is extremely nostalgiac (even when the music doesn't sound like the music from the 80s, but what the person thinks from his/her viewpoint as a child, what music was like in the 80s. The score was extremely offputting and nerve wracking. I've had my problems with Zimmer before, but here it was an effective match. edit: Perturbator, more than most artists in the genre, would have been a bad match here. Its pulsing and electrifying. Def not 2049. e2: HAT FETISH posted:Ah, this music in this movie is poo poo. It needed more epic Beat's – why didn't they get Pendulum to do it, or the Hotline Miami guy? Also it was too long and they had flying cars but they didn't even end the movie with a fistfight on top of one during rush hour? This, is some loving failery. haha
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Oct 11, 2017 16:23
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Music talk: Vangelis is still alive. The choice was either for Villeneuve to do his own thing (which clearly is his MO), or just get Vangelis. I'd rather have Vangelis. The thing is that Vangelis' music is way dorkier, and not at all Inception or Stranger Things-like, compared to anything people are posting. Let me remind you of the actual Blade Runner music, and please take a second pass at how much this resembles the music you think makes you nostalgic for Blade Runner: https://www.youtube.com/watch?v=JAwo7DPUFUM Steve Yun posted:As long as we're making fan edits I would have made the last shot K slowly dying in the snow instead of Deckard and his daughter 100% this. Great films can't be afraid to end on a down note.
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Oct 11, 2017 16:36
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I don't remember anything about the music in this film other than it was often loud and disturbing. Also the score was pretty exciting when K attacks the convoy at the end. Not hummable at all so maybe that's the issue people take. I think it was a reasonable fit. I like the ending. Focusing on someone else is good because K believed he was but wasn't actually personally involved in the situation. Funny how Joi kept egging him on to believe he was. Can a sex hologram be not only self aware but insecure? Yes according to this movie. Sinding Johansson fucked around with this message at 16:42 on Oct 11, 2017 |
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Oct 11, 2017 16:39
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There was a distinct lack of terrible saxophones in 2049.
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Oct 11, 2017 16:44
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Rick posted:
Nah man linking snow into the larger water motif is a great point.
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Oct 11, 2017 16:45
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I don't really see why replicants being able to reproduce will result in more slave labor faster. I mean yeah, there's not as much effort on Wallace's part, but a child needs to eat, be protected, taught, etc. It's almost certainly way less efficient. A better plot reason for Wallace's involvement should've been wanting the child killed to maintain his control on the replicant population IMO. Let them reproduce and you don't know how many there are or who they are.
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Oct 11, 2017 16:49
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I like future techno as much as the next hyperdork but it's really just gothy edm and not really fitting for an entire film score. Perfect for a nightclub scene, but thankfully 2049 avoided that cliche.
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Oct 11, 2017 16:49
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Nail Rat posted:A better plot reason for Wallace's involvement should've been wanting the child killed to maintain his control on the replicant population IMO. Let them reproduce and you don't know how many there are or who they are. I think that the historical practice of slavery proves this wrong.
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Oct 11, 2017 16:52
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Serf posted:I think that the historical practice of slavery proves this wrong. Yes for Wallace it promises to externalise the production costs of his slaves with no loss of control thanks to their apparently obedient nature.
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Oct 11, 2017 16:56
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Rageaholic Monkey posted:Well its budget was $150 million and worldwide it hasn't even cracked $100 million yet Apparently they did think it would do well financially. Ridley Scott was kicking around a bunch of different sequels for this one. I doubt any will happen now. quote:Yes for Wallace it promises to externalise the production costs of his slaves with no loss of control thanks to their apparently obedient nature. Is he really externalizing the production cost though? Someone has to raise the kids and get food for them. If someone buys two replicants and breeds them, and pays for the food and upbringing of the children, do they own the child? If so, how does that help Wallace?
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Oct 11, 2017 16:59
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Nail Rat posted:Apparently they did think it would do well financially. Ridley Scott was kicking around a bunch of different sequels for this one. I doubt any will happen now. If this movie has to fail financially to cut off the possibility of a glut of sequels, then so be it.
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Oct 11, 2017 17:00
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