Regardless if I like it or not, and I don't know yet, it's always interesting learning something new. And the science behind this approach is new to me. While the technique may have artistic value, not sure it works for an entire film. Perhaps its something best left for a signature sequence.
Brilliant concept in its simplicity, and worked wonders in the film! It's amazing how often simplicity is confused for laziness, particularly here...
It was a nightmare in the film at times, but plays better as a moodscape album or whatever.
I just have this image in my head now of Hans Zimmer playing Mario 64, getting stuck in Bowser's Infinite Staircase, then thinking, "Hey, hey, what if we ... what if we stretched this out for a whole movie!"
I read Nolan talking about using this approach originally with David Julyan in The Prestige. At least I think I've got that right, I'm too lazy to go check my facts (about the Shepard tone or the composer's name) on the internet.
This post is an example of laziness. Film scoring is not, ANY film scoring is not, even if you don't care for the results.
Apparently needed to clear that up. You're welcome.
I just have this image in my head now of Hans Zimmer playing Mario 64, getting stuck in Bowser's Infinite Staircase, then thinking, "Hey, hey, what if we ... what if we stretched this out for a whole movie!"
As an actual fan of music, I'll take optimism any day of the week. I try to enjoy my hobbies.
Yes, interesting video! I posted it earlier in the Dunkirk-thread and we have been talking about it there as well.
I must admit I'm a bit surprised the -- what's the word? -- condescending comment this score and Zimmer's use of this technique gets. (Perhaps I shouldn't be.)
The use of the Shepard glissando isn't any different than the use of a ostinato or a dissonant or any other compositorial device to gain a certain effect.
The technique is clever and cleverly used in the score. As the video explains, Zimmer is not the first to use it. Ligeti uses it in Etude No. 9. It's in Under the skin, and I'm sure there are cases where other composers used it, perhaps even Chris Young or Goldsmith.
