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This seems interesting: someone detected that the structure of the music score is comprised of palindromes as the title itself and (apparently) the script.
https://www.youtube.com/watch?v=g-hnIStMtbE
That prologue music sounds like you're sitting in a tin box, on a noisy train. Backwards or forwards.
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A charmless and aggressively confusing butt-number with a deafening sound mix and soulless score.
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Tenet had the worst sound mix of Any professional film I've ever seen. The dialogue is too often unintelligible, making the entire film almost incoherent. The music is dialled very high. It's incredibly abrasive and constant. It draws attention to itself in a negative way but that might be the mix in part. My two friends hated the music and i overheard a couple more saying very negative things on their way out.
I thought Zimmer's music in Dunkirk worked fine but this was more up front and aggressive (and challenging? maybe). Ludwig certainly gave the director what he wanted. I'm sure it was very well thought out and has it's own internal logic. But I'll never listen to the CD. I still like his work in general though.
"Almost incoherent" is rather generous. In not one of the film's 150 minutes did I have a clear idea what was going on. Often I had no clue. And even those brief moments of "clarity" were confusing in their stupidity (e.g. breaking into a heavily guarded building by reverse bungee-jumping).
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I liked a lot the movie, thus far, isn't the best Nolan movie (honestly, Inception or Memento are better, even Dunkirk), but i got myself into it, and honestly, isn't that confusing (is a spy movie, with the cliches of spy movies, but with time travel) and for the music of Goransson... i want to listen alone in the soundtrack, but is an agressive, loud score that works well in the movie.
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Score just released.
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Yeah, audio mix in the movie is horrible. Even deaf people like "what is this ?!"
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So, the score WILL BE released on triple vinyl and double CD version by WaterTower.
Credits:
Orchestra contracted by PETER ROTTER
Orchestra Conducted by ANTHONY PARNTHER
Album Mastered by GAVIN LURSSEN and REUBEN COHEN at Lurssen Mastering
Music Business Affairs Executive: RAY GONZALEZ
Art Direction: SANDEEP SRIRAM
“The Plan”
Written by Jacques Webster, Ebony Naomi Oshunrinde and Ludwig Göransson
Performed by Travis Scott
Produced by Ludwig Göransson and WondaGurl
Travis Scott appears courtesy of Cactus Jack/Epic Records
By arrangement with Sony Music Entertainment
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Posted: |
Sep 3, 2020 - 10:06 PM
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By: |
Mephariel
(Member)
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My take on the album. Still need to see the film.
How do I describe this score? Interesting? Sure. Good? Sure. Boring? Sure. Bad? Sure. This score is a mixture of everything, but overall I say it is basically Dunkirk but with an action focus than a suspense focus. The opening of "Rainy Night in Tallinn" is genuinely interesting. It really set the tone and gives you a sense of anticipation like an orchestra starting up. The Bee buzzing riff also simply and effectively convey the sense of being in a puzzle. I think the more reflective work in "Windmills" is good stuff, but the good stuff only appears sparingly. The middle of the score, starting with "747" through "Trucks in Place," is where the sound design really comes in, and most of it are terrible. The cues are experimental, but without originality, cleverness...only repeating Zimmer's previous ideas (specifically the Inception sounds). Cues like "Meeting Neil" and "Priya" are generic and boring pieces that you can find in any score similar to this one. The boring stretch lasted too long for me as the score doesn't really ramp back up until "The Algorithm." The penultimate cue "Posterity" is the best on album and really sums up everything that you need to hear. It contains all the ideas and soundscape of the score in a 12 minutes package, including The Good, The Bad, The Interesting, and The Boring.
When comparing to previous Nolan scores, this one ranks bottom in terms of melodic development. I couldn't really hear more than 1-2 themes, but others claim that there are more out there. The bass region is incredibly strong, and while I haven't seen the film, I can understanding why there were complains. It is hard to imagine hearing dialogue under that sound mix. The end result is a mixed bag for me. On one hand, I can see some of it working in the film, but on the other hand, Göransson is basically playing composer double for Zimmer and his music lacks any sort of real original voice. As one user said, Göransson is basically trying to imitate Zimmer than playing to his own strengths.
Overall score: **
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The reversed video version makes it sound like a fantastic horror soundtrack.
"(The first sound we hear in the film, after all, is that of an orchestra tuning up, before composer Ludwig Göransson — more than ably filling in for Nolan standby Hans Zimmer — thunders in with his own thrilling percussive clatter.)"
That must be the ultimate psych in film score history.
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For a film with as complex a plot as Tenet, having so much unintelligible dialogue is unforgivable. I've read that the sound mix was Nolan's deliberate choice. The logic of that decision is baffling.
Apparently, everyone likes to shit on Nolan's films here. I'm not one of those people. That being said, if Nolan keeps up this shitty sound design, he'll lose me as a fan.
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