Discussion in 'Visual Arts' started by Deuce66, Dec 21, 2013.
Ok you've got my attention, what is this movie about?
Someone in Hollywood heard my complaint that modern movie trailers reveal too much and took it to extreme.
Clearly it's about a guy in a crummy car who figures out a unique way to get outta that cornfield.
Seriously though, if you don't quite get the answer from the title, I couldn't help you.
Now playing on Ariel Stream: The Gilmore - Even Gods Do
so a wormhole appears in the middle of the road and he suddenly finds himself on another planet, got it
I don't know. I didn't see any aliens in the cornfield. If it's a Christopher Nolan movie I'm in.
I have a feeling this film will aim for 2001 A Space Odyssey greatness but we will be given Prometheus crap. I just hope it doesn't have half the plot holes and contrivances as Nolan's Batman films.
There is more information on the net, if you are interested. We have a year for spoilers, so I won't start now.
Lets wait and see shall we? Just a reminder just because something isn't explained in a movie, that doesn't make it a plot hole. It's something outside the context of the movie or that we can kind of figure out on our own. This has gone on since movies were first made
I'm in regardless....
When this trailer started playing in the theater, I thought it was for a special re-release of The Right Stuff
As mentioned above. How many major plotholes will this movie have? Let's run a book shall we?
After the amateur hour script for that last Batman movie I lost a lot of respect for Nolan.
I hope this impresses.
Because it's not a trailer.
It's a very early teaser, to get people's attention by telling them already now that a Christopher Nolan movie with a space theme will be released late next year.
There will plenty of more descriptive promo campaigns during the next year.
I have to admit I'm curious as to why Jonathan Nolan gets a free ride from the crowd here. He cowrote the screenplays for most of what seems to be getting a lot of the grumpiness. After all, the auteur theory is bogus, isn't it? Pauline Kael said so...
Hey, I fought the "Inception Sucks" battle here. It wasn't an easy stance to take, either!
Well, my take is that it's about a scientist who finds a way to travel vast distances in the universe without using a spaceship. (And I assume, without heavy drugs.)
I just hope it's not as stupid and lame as The Prestige (which I hated), but is instead visually stunning and densely-layered like Inception (which I liked).
My view of those films are exactly opposite, hated Inception, loved The Prestige.
Maybe I should see "The Prestige," as I strongly disliked "Inception," although I do respect the attempt to make an intricate, original genre pic.
"Memento" however was terrific, its implausibility notwithstanding; it was riveting and an unnerving concept beautifully deployed. So I will look forward to whatever is next from Mr. Nolan.
Where do you get that take from? I don't get that from the trailer, especially because the farmer and his son are watching a rocket take off. Maybe there's another trailer I didn't see.
Check the Wikipedia article
Memento - OK premise but would have been great in the hands of David Lynch.
The Prestige - OK
Batman Begins - Excellent
The Dark Knight - The reason the word "overrated" was created. OK
Inception - Terrible. Could have been great in the hands of David Lynch
The Dark Knight Rises - Takes stupidity to a new level.
I haven't seen Nolan's other films. Hopefully Interstellar is great but I doubt it will be.
Eh, different strokes. To tell you the truth, I liked a lot of The Prestige, and I'm a huge fan of the vast history of magic and magicians, particularly at the turn of the century. I just hated the ending, which was a cheat and a total change on the ending of Christopher Priest's novel, which did not end with 100 dead clones in 100 glass boxes filled with water. I just found that completely preposterous and unnecessary. The book's ending wasn't nearly as spectacular but kinda/sorta made sense in a fantasy sort of way.
Inception I thought was a very clever, unusual, complicated movie that tried something extremely unusual: a caper plot combined with science fiction, with elements of horror. It made $817M worldwide, which is almost as much as the Dark Knight movies made, so apparently the audiences agreed with me. Inception also got 86 on RottenTomatoes, which ain't quite chopped liver, vs. 76% for The Prestige.
All the stupid gun battles in Inception ruined it for me, they could have done so many inventive things but instead they just turned it into an overcomplicated action movie.
Your opinion of David Lynch is too high.
I notice a bunch of trailers, movie ads on TV and radio, etc., use Hans Zimmer's great score that is heard near the end of Inception (when Leo heads back home).
Why would the Studio\Nolan\Zimmer allow such an iconic piece of music be used in trailers for other movies? I just don't get it.
I first noticed this practice back in the 80's when music from The Natural was used in the trailer for Tucker: The Man and his Dream (to great effect I might add).
I'm not sure you can ever argue against repurposing any piece of music, iconic or otherwise if money is involved. Besides, this also assumes that whoever holds the rights to the music or performance would feel it is somehow never to be licensed or used outside of its original context, clearly not what is happening here.
Whoever is using the music in the trailer may also be banking on the piece's familiarity with audiences as a factor to lure them into seeing the film itself.
Or not: an example of usage that stuck out for me was the trailer for Pearl Harbor, which used one of Hans Zimmer's most distinctive pieces from The Thin Red Line (note Zimmer wrote the music for both films). It was so effective it may have given the music a second lease on life beyond the original film, judging from how many people asked after it after finding out it wasn't actually used in the newer film.
Another recent example is a trailer for the upcoming film Godzilla. While Requiem for Soprano, Mezzo Soprano, Two Mixed Choirs & Orchestra by György Ligeti is on no one's hit list, there may be still some folks out there that recall its startling use in 2001: A Space Odyssey. I'm assuming it was used because of that rather than its possible place in 20th Century avant-garde orchestral music.
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