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Mad Max: Fury Road - Academy Awards 2016 Best Picture Nominee (BIGGEST OSCAR SNUB EVER!!)


BloodBoal

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Meh.

One interesting bit from the article I didn't know about: "Hardy is, after all, signed on to three more films (two of them are prequels)."

Rictus Erectus!

Fantastic character name! The movie is filled with those: Imperator Furiosa, Immortan Joe, The Splendid Angharad, The Organic Mecanic...

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Meh.

One interesting bit from the article I didn't know about: "Hardy is, after all, signed on to three more films (two of them are prequels)."

While this is generally regarded as a reboot it isnt even really that.

Miller himself says that it takes place after Thunderdome, but admits that the chronology doesnt really fit. (Max starts out with the long hair from Thunderdome, but also the Interceptor from Road Warrior)

IMO any real chronological continuity between films should never be made. They are kind of like the Bond films before Casino Royale. Or the Indiana Jones films, which all have dates, but never were intended to follow a serious chronology. They are stand alone adventures with a common main character.

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Is my original name no longer sufficient enough to satiate your craving for exotic names Alvar?

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I know, it annoys me too. You'd be hardpressed to find a 2D showing of any big blockbuster anymore. It's either 3D, IMAX, DB, UltraAVX, Dolby Atmos or one of another million variations of the 3D experience.

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Yeah

Ironically the last 3D film also offered in 2D here was TBOTFA.....which was actually shot in 3D.

That's not irony.

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Yes, you're all building up just enough hype to leave me disappointed when I see it!

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Nux sickness(es) seems to affect his ability of making new blood. (He has radiation scars sculpted into engine plans...)

What I thought, though, was damn, they need to give Max a really big sandwich...

*mentally replays whole movie again*

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It's really impressive how much of a positive reaciton this movie is getting. I don't think I've ever seen such a near-unanimous praise (at least so far...) for any film.

I'm sure the backlash is forthcoming. People will eventually start making a bigger deal of its flaws.

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Yeah this might be the best Mad Max score, oddly enough. I do like Jarre's, but was never a fan of May's.

May's first is too overbearing. But the one for The Road Warrior is rather good. Though many see it is a holy grail and thats far too much praise.

I was watching it the other day on Sky, and that scene karelm posted (the bloke with the Mohawk chasing the kid with the lethal boomerang) struck me as particularly bad. Just wanted the composer to STFU, or at least provide something alien or electronic, while underling the important beats. That's where Jarre and Holkenberg's scores succeed.

I like the track, but what is sophisticated or not about it?

Harmonically it's got more going on than I'd expect for this kind of material. Major/minor dissonances that aren't the usual language of 2010 summer blockbusters, barring throwback scores like Desplat's GODZILLA.

Maybe because he liked the movie

I genuinely like HZ/Junkie's MOS.

Can't understand the attention this score has been getting. To me it's merely a whole load of clichéd, abrasive stock cinematic gestures repeated ad nauseam... Well mixed and produced, however. I suspect that for some, Junkie's name is influencing how the work is perceived.

While I don't think it's worth holding up as a great achievement, I appreciate the wit and personality of some of the sampling (i.e. the beginning of The Escape), and the abrasive panache of tracks like Immorten's Citadel, Spikey Cars and The Bog. It's not great art but it never intends to be.

I'll say whether you or not you like this score's action is dependent on what you thought of the Zod stuff from MOS. That said, the adagio is almost awful as the one Faltermeyer wrote 20 years ago for TOP GUN. No defending that.

Don't understand the antipathy toward the Brian May scores.

I'll take these over Junkie's percussive droning anyday.

THUNDERBIRDS-lite meets THE BOLD AND THE BEAUTIFUL.

Did anyone else notice Verdi's requiem in the movie score? Classy touch to add Dies Irae wrath in the middle of mayhem. Also, was one of the brides the same model in Transformers 3?

That recurrent downwards motif that is heard, for example, here

https://youtu.be/MgYnKu8RYAU?t=19

I think it is sampled, or at least derived, from this instance of Verdi's Dies Irae (at the 6 seconds mark, more or less)

https://youtu.be/ZDFFHaz9GsY=6

I'd like to know what more musically educated and sensible members of this forum make of this

You're both right. Hans threw in a reference to the same figure from the Requiem in Be Prepared from TLK... I know he's a big Verdi fan, so he might've given Junkie an idea.

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One thing I didn't understand, what was the purpose of the blood bag?

If you are injured, you need blood. You don't live without blood bags. Blood is life. Today we use a bag of blood to sustain life. In the Mad Max universe they use a human farm (cow) as the bag of blood to sustain life. You didn't follow that?

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One thing I didn't understand, what was the purpose of the blood bag?

 

If you are injured, you need blood.  You don't live without blood bags.  Blood is life.  Today we use a bag of blood to sustain life.  In the Mad Max universe they use a human farm (cow) as the bag of blood to sustain life.  You didn't follow that?

I followed that, but when you need blood, it's because you lost blood. The guy seemed to be fine without it.
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I like the track, but what is sophisticated or not about it?

Harmonically it's got more going on than I'd expect for this kind of material. Major/minor dissonances that aren't the usual language of 2010 summer blockbusters, barring throwback scores like Desplat's GODZILLA.

Is it really all that unique? The language Holkenborg uses is steeped in what we've heard from Zimmer for years, just done in an inferior fashion. In fact much of the score draws from early-2000s Zimmer, and sounds rather dated in parts. I have to admit, I was pretty disappointed with the score when I heard you and TGP champion it. It's a lot more conservative than I was expecting. I was really hoping for some "out-there" stuff, but too much of it is familiar, with the percussion material being MOS leftover bits and the power-anthem/adagio cues being so on the nose that even 90s/00s Zimmer might frown on it.

There are a couple of cool moments that shine though, with some crafty sampling like "Spikey Cars", "Storm is Coming" or "The Bog". More of that descending motif would have been welcomed. But overall I don't really hear that unique a language from Holkenborg, or at least not one I find particularly interesting. Contrary to what TGP said, I actually find a lot of this score to be a bit aimless.

Again, it's not really the sound or musical approach I'm bothered by. It's really the execution. I think Goldenthal would have been a much more satisfying choice. Even for the diagetic music, it would have been cool to hear more wailing guitars, crazier synth work, more punk rock. Either go full out, or go home. And what we got instead sounds pretty dull in comparison.

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Your Dutch pride will be your undoing!

But hey, with guys like Shore and Danna, we have at least 4 Oscars for film music alone. Don't even get me started on the actors!

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Jim Carrey, Ryan Gosling, Keanu Reeves, Ellen Page, Rachel McAdams, Donald Sutherland...even Evangeline Lily! And more!

For directors, we have Cronenberg, Villeneuve and James-freakin-Cameron.

Basically, the moral of the story is, don't mess with Kanadia.

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I like the track, but what is sophisticated or not about it?

Harmonically it's got more going on than I'd expect for this kind of material. Major/minor dissonances that aren't the usual language of 2010 summer blockbusters, barring throwback scores like Desplat's GODZILLA.

Is it really all that unique?

Immortan's Citadel? No, Zimmer has aced that sound, but I'd rather hear explorations of that than the dire Batman minor thirds and or INCEPTION brams.

In 2013-14 I was hoping MOS and ASM2 would provide a new template for the sound of summer blockbusters. A more progressive, humanist, pop savvy soundworld than the Batman trilogy's nihilism. Clearly I was wrong, but this score is a flicker of hope.

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More scores like ASM2 (excluding the dubstep) would certainly be a welcome change of pace for summer popcorn flicks. But this score isn't nearly as daring or explorative of its soundscape as the two scores you mentioned, and it largely draws fromt he weaker elements of MOS

 

Imagine more of this for films like Mad Max:

 

 

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I like the track, but what is sophisticated or not about it?

Harmonically it's got more going on than I'd expect for this kind of material. Major/minor dissonances that aren't the usual language of 2010 summer blockbusters, barring throwback scores like Desplat's GODZILLA.

I have to admit, I was pretty disappointed with the score when I heard you and TGP champion it. It's a lot more conservative than I was expecting.

Contrary to what TGP said, I actually find a lot of this score to be a bit aimless.

You've gotta stop forming expectations based on what we say, because this seems to happen a lot to you.

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Is that Steef's tribute video to Famke?

And in all fairness, it wasn't just you guys, but I've been hearing a lot of surprising cases made for this score elsewhere, so I went in with an open mind and some solid expectations. I guess I just didn't get what I was looking for.

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I'm seeing this tonight.

FINALLY!

If I hate this, I blame you!

This is hate proof. You know what you're getting before hand and it exceeds on what it promises.
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