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The soundtrack is so loving good, although I guess you'd call it more of a soundscape. I'm listening to it now, and it's really making me want to go and see the movie again. How long does it normally take movies to hit streaming services these days after release if I don't get the opportunity to go to the cinema again?
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Oct 13, 2017 05:07
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Depends what streaming services you're talking about. If you're talking about like iTunes or other digital stores, 3-5 months depending on how well the movie did at the box office. If you're talking about Netflix... uh lol good luck
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Oct 13, 2017 05:10
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Nah I don't mind paying for it - definitely not going to be waiting for it to appear on Netflix.
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Oct 13, 2017 05:19
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revwinnebago posted: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. While I'm not in favor of this being in the official soundtrack to a Blade Runner movie, this track by M O O N from Hotline Miami is pretty blatantly evoking the end credits theme. https://www.youtube.com/watch?v=ZSzoKL-iO5M Also the Scrap Brain Zone BGM from Sonic 1, but in a different way. https://www.youtube.com/watch?v=NoVY7nvcel0 That level even has the towers that shoot flames in the background.
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Oct 13, 2017 05:48
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Rageaholic Monkey posted: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. I think one of the biggest things that Perturbator has going for him is that not all his music is like that. "Last Kiss" and "Minuit" from "Dangerous Days", "Souls at Zero" from "Uncanny Valley", and "End Theme" from "Terror 404" are all built as slow, building atmospheric songs, not these rhythmic pulsing synth tracks. The fact he goes out of his way to not sound like typical synthwave is why I think he's got a good future. However, I think he still needs some room to grow. Much of "Uncanny Valley" started sounding too similar, "Disco Inferno" with "She Moves Like A Knife" in particular, IMO.
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Oct 13, 2017 07:08
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If you plan on seeing this again, or if you haven't seen it at all, do yourself a favor and see it in a Dolby Cinema at AMC. I just rewatched it in one of those and holy poo poo.
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Oct 13, 2017 07:12
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It's cool if you guys didn't like the score and all but if we're suggesting alternatives would anyone like to name someone who didn't do music for a video game?
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Oct 13, 2017 07:13
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TerminalRaptor posted:
Yeah they were definitely listening through her and tracking her (and thus his) location, right after the scene where they break the antenna Luv storms out of her office on her way to the LAPD station to kill the Chief and user her computer to track K. Pirate Jet posted:It's cool if you guys didn't like the score and all but if we're suggesting alternatives would anyone like to name someone who didn't do music for a video game? Chromatics would be a good example of synth-heavy neo-80s music that isn't as up-tempo and videogamey. https://www.youtube.com/watch?v=sI4IL23M9H8 https://www.youtube.com/watch?v=JCHMpVCsiVQ As much as I like synthwave and italo-disco I'm glad they did a contemporary soundtrack and not something more nostalgia-heavy. The movie is aesthetically a modern take on Blade Runner more than it is a sequel, it's vision of the future matches contemporary cyberpunk despite being in continuity with the original and to have all the songs sound 80s-inspired would feel super out of place. The Zimmer score's roaring bass match the overwhelming brutality of the setting, although some of that might have been the IMAX speakers. Fallen Hamprince fucked around with this message at 07:25 on Oct 13, 2017 |
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Oct 13, 2017 07:22
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Chromatics absolutely worked in Twin Peaks! https://www.youtube.com/watch?v=IGUboLZx3Tk https://www.youtube.com/watch?v=nsr-ORwIfMw Honestly, by this point, Shadow is one of the main songs I associate with the series as a whole. It just worked that well!
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Oct 13, 2017 07:35
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Chromatics' pinned 'Artists' Choice' playlist on Spotify right now is literally titled 'Blade Runner 2049' and is a bunch of synth stuff, only one of which is from a videogame*. It was apparently uploaded by Megan Louise, a collaborator who's the lead singer in a band with Chromatics' founder. *Namely 'Power Core' by Power Glove, from the OST of 80s nostalgia overloaded Far Cry 3: Blood Dragon.
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Oct 13, 2017 07:45
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Fallen Hamprince posted:*Namely 'Power Core' by Power Glove, from the OST of 80s nostalgia overloaded Far Cry 3: Blood Dragon. https://www.youtube.com/watch?v=C--5vxvwcqA
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Oct 13, 2017 07:48
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I think someone posted upthread that their IMAX theatre had distorted sound. I just ran into the same issue after driving 45 minutes to an IMAX theatre for my second rewatch. One of the right rear surrounds was hosed up and buzzed like crazy when things got loud and/or bassy. Sigh. Other than that, the movie held up after a second viewing and the IMAX experience was pretty decent. It sucks seeing the pixels in stuff like the opening text, though. I'd prefer grain to pixels but I'm old
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Oct 13, 2017 08:03
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u_s_eh posted:I think someone posted upthread that their IMAX theatre had distorted sound. I just ran into the same issue after driving 45 minutes to an IMAX theatre for my second rewatch. One of the right rear surrounds was hosed up and buzzed like crazy when things got loud and/or bassy. Sigh. So should I make the extra effort to watch this in IMAX or not? Was it not filmed for IMAX?
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Oct 13, 2017 08:34
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Deakins said it wasn’t filmed for IMAX.
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Oct 13, 2017 08:35
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I'm shocked that none of the movie was done in IMAX, because this was the best IMAX experience I've ever had. I'm gonna be sad when it's out of theaters.
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Oct 13, 2017 13:49
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It wasn’t shot for IMAX or 3D, and the IMAX version is cropped for the format. Deakins had no input on the changes for either alternative format and prefers the movie to be seen in standard 2D. Though everyone who has seen it in IMAX says it’s great.
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Oct 13, 2017 14:26
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Goddamn that was an experience. Because of repeated scheduling snafu's I was about ready to give up and just wait to see it on Netflix or something but seeing this in IMAX was unreal. Having the IMAX sound was a huge part of the effect. I couldn't imagine watching this on tinny little TV speakers. The soundtrack was so oppressive but also... well, I won't say beautiful, but it was close. I'm not going to read the 1,000+ posts that happened after I left this thread but one of the last ones I saw before skipping to the end was this: HUNDU THE BEAST GOD posted:I'm glad to see that Villenueve's instinct for the hellworld is back at the fore. Some of the landscapes in this are actually scary to look at, the looming megaliths, especially. And I totally agree. It was a great mix of totalitarianism terror, environmental horrors that were all too real by the 80s but are now a fact we have to resign ourselves to, and suffocating urban landscapes that recall images of favelas or endless seas of Mexico City exurbs but with way more stifling verticality. The specific American geography of the film was great, too. Snow in LA, San Diego being one giant landfill, Vegas being a nuclear wasteland, etc. Is there ever a point in the film where we can see the sky or stars? It's like everyone in the world is in the same position as the hologram woman who can't escape the living room. The "ceiling" of the sky is so low that we're claustrophobically imprisoned. Though I guess the original movie was like that, too. Probably mentioned a zillion times already but I appreciated that this was still the continued future as imagined in the 80s, not a future extrapolated from our current time. Pan Am and Atari still existing, for example.
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Oct 13, 2017 14:43
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Man this is awesome, I have IMAX tickets for tomorrow morning!
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Oct 13, 2017 15:49
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Weird lingering question: I know there were some scenes were it was definitely snowing, but were there also instances of falling ash? Or was it deliberately ambiguous?
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Oct 13, 2017 15:49
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Grey Fox posted:Weird lingering question: I know there were some scenes were it was definitely snowing, but were there also instances of falling ash? Or was it deliberately ambiguous? Before the movie came out I assumed it was ash but I think it is supposed to be snow throughout.
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Oct 13, 2017 16:35
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turn left hillary!! noo posted:Another question, is this just a case of face blindness (which I do not usually suffer), or did anyone else think at first that Mariette was Kiera Knightley? Mariette was clearly and obviously a future test-tube replicant created from the combined DNA of Kiera Knightley and Zooey Deschanel.
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Oct 13, 2017 16:39
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Can we quit it with the spoiler bars already?
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Oct 13, 2017 16:45
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Blade Runner posted:To be fair(And I'm 100 percent on the side of Joi being a real being who loved K), I think that's because Priss goes off program by trying to kill Deckard and Joi doesn't. The big issue is that Joi never does anything that goes against her inherent nature as a loving being; she loves K, and continues loving K until she is eventually killed. Compare this to every other being who is seen to ascend to sentience; Roy and K are murderers, made for murder, who decide to save a life when they have every reason to try and end it. Pris is a pleasurebot made to love and give pleasure, and tries to kill Deckard. Even Joi's biggest moment of rebellion is still a moment where she is acting out of love for K; she wants to protect him, and so she insists he break the emitter. She never does anything particularly hateful or outside of her inherently programmed nature. The germ for her motivations are programmed (to love K), but her resulting actions and decisions can be seen as breaking away from that initial step. Sentience itself starts from a stew of barely understood gene expression and programmed lower order instincts and reactions. Just because the motivation for something that goes against one's self interest or purpose (to gently caress, to kill, to survive) does that mean anything stemming from that cannot be classified as being sentient or evincing sentience?
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Oct 13, 2017 16:51
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Saw it for a second time in IMAX and I can agree it's the best IMAX experience ever. The deafening sound system really adds to the immersive visual experience. I noticed more on this viewing the many, many close-ups of hands and shots of hands. Hands held out to feel rain, snow, or virtual snow. Hands INTERLINKED and syncing in movement. Hands touching faces or close-ups of holding weapons. My dumb layman's interpretation: Hands and touch determine what is real in a world where realness is ambiguous. Hands are useless in 2049.
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Oct 13, 2017 16:58
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Now I'm torn. I was going to do my second viewing in a theater with recliners and food, but now you folks are making me consider IMAX...
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Oct 13, 2017 16:59
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Shageletic posted:The germ for her motivations are programmed (to love K), but her resulting actions and decisions can be seen as breaking away from that initial step.
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Oct 13, 2017 17:15
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feedmyleg posted:Now I'm torn. I was going to do my second viewing in a theater with recliners and food, but now you folks are making me consider IMAX... Go for IMAX! Most movies are best experienced sitting bolt upright anyways. No slouching in the cathedral.
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Oct 13, 2017 17:34
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Did my second viewing in a theater where the speaker kept rattling during Zimmers score. The only way to get past it was to mentally tell myself that it was part of the music
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Oct 13, 2017 17:35
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To be honest even with the speakers functional the huge bass is just kind of annoying - Dunkirk had the same thing and it just made me feel like I was vibrating, which isn't really accomplishing anything.
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Oct 13, 2017 17:39
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Shageletic posted:Can we quit it with the spoiler bars already? Yeah we're good, it's been out long enough.
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Oct 13, 2017 17:47
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Ersatz posted:This is well put, and pretty much why I don't find the "she's programmed" arguments persuasive vis-a-vis Joi. The possibility of her being a philosophical zombie is far more interesting, I think.
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Oct 13, 2017 17:56
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Halloween Jack posted:Eh, I'm deeply suspicious of any argument about personhood in sci-fi that finds recourse in p-zombies and qualia and whatnot. Having a background in computer science also plays a role, I think, in my being less than convinced about robot personhood in general. Ersatz fucked around with this message at 18:02 on Oct 13, 2017 |
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Oct 13, 2017 18:00
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Ersatz posted:I'm a fan of phenomenology to the point that it's become a basic framework through which I see the world. I get where you're coming from, but to me it's important and interesting stuff, and that's immediately where my mind goes if I'm asked to consider whether or not some-thing is actually some-one. Ultimately if it looks like a duck and quacks like one, then it is one. Does the 'how' truly matter? To extend your argument, it looks like a person, acts like a person but some people aren't really people because "philosophical argument".
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Oct 13, 2017 18:07
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Z the IVth posted:Ultimately if it looks like a duck and quacks like one, then it is one. Does the 'how' truly matter? Also, as someone pointed out earlier, a holographic manifestation of a computer program is not a duck. Your "extension" is a fallacious strawman (see my previous post, where I provide the chain of reasoning involved in rationalizing that other human beings are people, and point out the analogical leap required for extending that reasoning to programs running on machines). Ersatz fucked around with this message at 18:17 on Oct 13, 2017 |
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Oct 13, 2017 18:10
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Caustic posted:Saw it for a second time in IMAX and I can agree it's the best IMAX experience ever. The deafening sound system really adds to the immersive visual experience. Your post does remind me of this video about the first movie, which specifically brings up a focus on hands and eyes. It’s a little Cinema 101, but it’s always good to brush up on the basics. https://youtu.be/rVarn-m7o9k
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Oct 13, 2017 18:11
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Ersatz posted:Your question is fully addressed by one of my posts a few pages back. I can't search for it now because I'm at work. Feel free to post it. I read your second statement about reasoning and I still disagree. If you simulated the human brain in a computer - would the resultant input and outputs still constitute personhood? Z the IVth fucked around with this message at 18:21 on Oct 13, 2017 |
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Oct 13, 2017 18:14
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Z the IVth posted:Feel free to post it. The issue with Joi is that the mind = software, brain = hardware analogy required to extend that chain is dodgier than you might think. And the original chain is logically suspect as it is. It's worth pointing out that the film invites these considerations through the discussion that K and Joi have re: base pairs and binary code. Ersatz fucked around with this message at 18:29 on Oct 13, 2017 |
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Oct 13, 2017 18:20
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Z the IVth posted:Feel free to post it. As a consequence, it seems that the ethical thing would be to treat such simulations as persons, despite the possibility that they're simply p-zombies. Ersatz fucked around with this message at 18:32 on Oct 13, 2017 |
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Oct 13, 2017 18:30
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I saw it in both IMAX with XD sound and in 3d, and the IMAX was far superior. The XD sound was amazing, especially at the part at the orphanage with the man yelling "WORK!" at the children. I also went in with the feeling that Deckard is a human the second time, and the entire movie fell into place. I might even go see it a third time (IMAX, XD), as I'll never have another chance to see it in such a perfect way again.
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Oct 13, 2017 18:38
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Pirate Jet posted:It's cool if you guys didn't like the score and all but if we're suggesting alternatives would anyone like to name someone who didn't do music for a video game? But they didn't do music for video games, everything in Hotline Miami was written prior to the game save for a couple tracks I believe. Written for a game or not (this doesn't matter at all), it would still be better than the Zimmer soundtrack.
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Oct 13, 2017 18:58
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