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Miller is one of my surviving favorites, so of course I'm interested.
Ha, ha...no, I see you, henry!
This board can be terribly 'ignoring' (is that a word?) sometimes. I often get the feeling people are not interested in reading threads or the actual conversations, perhaps only the headline at most.
And some of us don't "live here". 
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I'm in for. FR sequel as long as Hardy returns.
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Posted: |
Aug 30, 2019 - 9:58 PM
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By: |
joan hue
(Member)
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Henry, on the music side of the board, I posted a topic called Directors And Foreground Music. You may not have noticed it. Anyway, one of the directors Saul Pincus mentions is George Miller. He posted the sentence below which I thought was very insightful. I thought you might enjoy his perspective on Miller's use of film scores.
Paul did mention Mad Max above, so I'll throw my vote in for Dr. George Miller, whose films are both musical and driven (no pun intended) by his own brand of musicality. There's the Mad Max Quadrilogy, but also The Witches of Eastwick, Lorenzo's Oil, Happy Feets 1 and 2, etc.
Miller's images and editorial style – the marriage he creates between the way he shoots and cuts, and the rhythms by which he does this – form a very pure cinematic entity that's resoundingly musical, and unique. His films operate on this heightened level visually, and virtually demand music that's heightened, too – in style, presence, and volume.
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Posted: |
Aug 31, 2019 - 11:23 AM
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By: |
henry
(Member)
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Henry, on the music side of the board, I posted a topic called Directors And Foreground Music. You may not have noticed it. Anyway, one of the directors Saul Pincus mentions is George Miller. He posted the sentence below which I thought was very insightful. I thought you might enjoy his perspective on Miller's use of film scores.
Paul did mention Mad Max above, so I'll throw my vote in for Dr. George Miller, whose films are both musical and driven (no pun intended) by his own brand of musicality. There's the Mad Max Quadrilogy, but also The Witches of Eastwick, Lorenzo's Oil, Happy Feets 1 and 2, etc.
Miller's images and editorial style – the marriage he creates between the way he shoots and cuts, and the rhythms by which he does this – form a very pure cinematic entity that's resoundingly musical, and unique. His films operate on this heightened level visually, and virtually demand music that's heightened, too – in style, presence, and volume.
Thanks joan! I didn't see that thread, it's very interesting.
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