BRIAN TYLER & JOHN CAREY - ESCAPE ROOM 1 i 2
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Po pierwsze to premiera tego filmu jest bodaj za tydzień czy dwa (nie interesuje mnie takie kino wiec nie sprawdzam dokładnie), a po drugie codziennie ginie więcej ludzi w wypadkach drogowych, również rodziny, a prezydent Duda i jego kamraci jakoś nie ubolewają nad tym faktem i nie zawierzają Bozi tych wydarzeń. Żerowanie na tragedii i tyle, no ale to nie górnicy przed którymi dupą trzęsie każdy rząd od 30 lat... Zresztą Migalski ich już dobrze podsumował:
Oczywiście gdyby premiera filmu miała być wczoraj czy dziś - ok. Ale nie dajmy się zwariować.
Oczywiście gdyby premiera filmu miała być wczoraj czy dziś - ok. Ale nie dajmy się zwariować.
#FUCKVINYL
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Jednak tytuł zniknął z zapowiedzi multipleksów (do wczoraj jeszcze był). Dystrybutor nie mógł podjąć innej decyzji. Do kin w Polsce pewnie już nigdy nie trafi.
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Wczoraj o 22 widziałem zwiastun w CC. Tak czy siak dla mnie whatever bo nie oglądam horrorów
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- Ghostek
- Hardkorowy Koksu
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Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Jak dla mnie to decyzja z dupy, bo w sumie chciałem to sobie zobaczyć i pod reckę muzy i z czystej ciekawości. Lipa
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
a to pewne że to ściągnęli? dla mnie to absurd, wczoraj jeszcze przed seansem o 22:30 widziałem trailer
EDIT - a jednak pewne - https://naekranie.pl/aktualnosci/escape ... ny-3906356?
EDIT - a jednak pewne - https://naekranie.pl/aktualnosci/escape ... ny-3906356?
#FUCKVINYL
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Rzecz wydarzyła się w piątek wieczorem. Dzisiaj jest już poniedziałek i managerowie decyzjni wrócili do pracy po weekendzie.
Poprzednie "Escape Room" również nie jest szeroko dostępne. Z kin szybko wypadło rok temu chyba po dwóch-trzech tygodniach.
Poprzednie "Escape Room" również nie jest szeroko dostępne. Z kin szybko wypadło rok temu chyba po dwóch-trzech tygodniach.
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
tragedii nie ma, a nawet można mówić o małym zaskoczeniu jak na tego typu kino - "Movie received mixed reviews from critics, who praised the suspense and thrills, but criticized the familiar plot" - ja tu liczyłem na jakieś 20% max na RT, a tu mamy ok 55
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- Paweł Stroiński
- Ridley Scott
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Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Film jest, można powiedzieć, dobry technicznie
- bladerunner22
- Zdobywca Oscara
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- Rejestracja: ndz sie 21, 2011 14:16 pm
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Jedna z najpiękniejszych piosenek Lady Pank :
''Zabić Strach''
''Zabić Strach''
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Randall D. Larson: You’ve returned to the horror/thriller genre with ESCAPE ROOM. What can you tell me about the film and its musical needs?
Brian Tyler: The thing about ESCAPE ROOM is that it had a unique kind of thriller aspect, but at the same time there’s an element of a classic paranoia film. When you’re sitting down to start writing a score, there’s so many directions you can go. The palette is unlimited in terms of what you can use. There’s all this emotion and intensity and suspense going on, but the idea for me was to limit the instrumentation. I wanted to use analog synthesizers from the early ‘80s, and I wanted to use environmental sounds. There was an element of time running out, so I used a lot of ticking clocks and alarms within the music, and then there was this idea of “the other” that’s kind of soulless, as well. For that I used industrial pistons and gears and power tools and things like that for percussion, and I blended that with live grand piano which reflected the humanity of the characters and worked against those pistons and mechanical sounds. That was really the idea behind the score going into it, before even writing a melody. It was setting it up in a way that can be conceptual and mirror the story.
Randall D. Larson: You worked with one of your assistants, John Carey, bringing him in for the first time as a co-composer. How did the two of you collaborate to develop this score?
Brian Tyler: I’ve known John for a long time. He has a great knack for feeling the way a scene should work. We’re both very interested in the way that harmonies work, how chords are voiced, and what type of inversion chords we’ll get if we do this or that. We get very geeky about the compositional aspect of it. Even when we’re talking about pianos we began thinking of using environmental and industrial sounds; gears and machines and things, it was very much like orchestrating. John’s got a great orchestrational mind. He’s really actually mostly a traditional orchestrational composer and that’s really why I chose to work with him on this. I thought it would be interesting – he’s mostly interested in the John Williams and Bernard Herrmann styles, as I am, but I really thought it would be fun for us to team up and apply those same orchestral techniques to things that weren’t traditional orchestra.
Randall D. Larson: How did you use that sonic structure to develop the suspense, horror, and shock moments in the score?
Brian Tyler: There are these moments of suspense and revelation in the movie, and the thing that I really wanted to work with was the idea of time and tempo and pitch. The tempos in this score accelerate and decelerate a lot. The ticking clock is not steady – it often speeds up and so the tempo and chord changes in the music speed up as well. I felt that there would be an unbalance to the score if I could manipulate the pitch, even within a single cue. All of a sudden the pitch starts falling, and the whole cue starts de-tuning. That does a very weird thing to your brain because if you‘re bending between the notes on a piano, in between quarter notes or even bending the whole cue in between keys, up and down, it gives you a sense of unbalance. It was a way to create a sense of disarray and panic. And then when our characters would strike back and begin winning, then it would actually be quite triumphant. So really all these elements – melody, tempo, pitch – are constantly moving. I felt since the movie is really about solving a puzzle, it’s like these three different things are part of this complex three-dimensional sonic Rubik’s Cube, and the score is always moving and you’re always trying to follow it but it keeps on slipping away from you…
Randall D. Larson: Those bending notes you referred to, is that in effect something like a Shepard Tone or is that something else?
Brian Tyler: Yes, in fact I used Shepard Tones in the score quite a lot. The main theme has them throughout the piece. And then, also, I would subtly detune maybe one of the pitches in a chord progression and it would start drifting downward and then it wouldn’t match the rest of the ensemble. It was all a way to keep the audience off balance and maintain quite an unsettling atmosphere.
Brian Tyler: The thing about ESCAPE ROOM is that it had a unique kind of thriller aspect, but at the same time there’s an element of a classic paranoia film. When you’re sitting down to start writing a score, there’s so many directions you can go. The palette is unlimited in terms of what you can use. There’s all this emotion and intensity and suspense going on, but the idea for me was to limit the instrumentation. I wanted to use analog synthesizers from the early ‘80s, and I wanted to use environmental sounds. There was an element of time running out, so I used a lot of ticking clocks and alarms within the music, and then there was this idea of “the other” that’s kind of soulless, as well. For that I used industrial pistons and gears and power tools and things like that for percussion, and I blended that with live grand piano which reflected the humanity of the characters and worked against those pistons and mechanical sounds. That was really the idea behind the score going into it, before even writing a melody. It was setting it up in a way that can be conceptual and mirror the story.
Randall D. Larson: You worked with one of your assistants, John Carey, bringing him in for the first time as a co-composer. How did the two of you collaborate to develop this score?
Brian Tyler: I’ve known John for a long time. He has a great knack for feeling the way a scene should work. We’re both very interested in the way that harmonies work, how chords are voiced, and what type of inversion chords we’ll get if we do this or that. We get very geeky about the compositional aspect of it. Even when we’re talking about pianos we began thinking of using environmental and industrial sounds; gears and machines and things, it was very much like orchestrating. John’s got a great orchestrational mind. He’s really actually mostly a traditional orchestrational composer and that’s really why I chose to work with him on this. I thought it would be interesting – he’s mostly interested in the John Williams and Bernard Herrmann styles, as I am, but I really thought it would be fun for us to team up and apply those same orchestral techniques to things that weren’t traditional orchestra.
Randall D. Larson: How did you use that sonic structure to develop the suspense, horror, and shock moments in the score?
Brian Tyler: There are these moments of suspense and revelation in the movie, and the thing that I really wanted to work with was the idea of time and tempo and pitch. The tempos in this score accelerate and decelerate a lot. The ticking clock is not steady – it often speeds up and so the tempo and chord changes in the music speed up as well. I felt that there would be an unbalance to the score if I could manipulate the pitch, even within a single cue. All of a sudden the pitch starts falling, and the whole cue starts de-tuning. That does a very weird thing to your brain because if you‘re bending between the notes on a piano, in between quarter notes or even bending the whole cue in between keys, up and down, it gives you a sense of unbalance. It was a way to create a sense of disarray and panic. And then when our characters would strike back and begin winning, then it would actually be quite triumphant. So really all these elements – melody, tempo, pitch – are constantly moving. I felt since the movie is really about solving a puzzle, it’s like these three different things are part of this complex three-dimensional sonic Rubik’s Cube, and the score is always moving and you’re always trying to follow it but it keeps on slipping away from you…
Randall D. Larson: Those bending notes you referred to, is that in effect something like a Shepard Tone or is that something else?
Brian Tyler: Yes, in fact I used Shepard Tones in the score quite a lot. The main theme has them throughout the piece. And then, also, I would subtly detune maybe one of the pitches in a chord progression and it would start drifting downward and then it wouldn’t match the rest of the ensemble. It was all a way to keep the audience off balance and maintain quite an unsettling atmosphere.
#FUCKVINYL
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
wywiad z Careyem - https://www.tvovermind.com/scoring-the- ... ohn-carey/
#FUCKVINYL
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Film się dobrze sprzedał więc będzie sequel, oficjalnie potwierdzono, ten sam reżyser, premiera ustalona na 17.04.2020.
#FUCKVINYL
Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
nawet CD-R nie ma, ale winyl oczywiście już na preorderach jakaś plaga z tymi czarnymi trzeszczącymi płytami
#FUCKVINYL
- Ghostek
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Re: BRIAN TYLER & JOHN CAREY - ESCAPE ROOM (2019)
Film to taka wariacja na temat Cube i idei escape roomów. Mocno naciągany i przewidywalny do bólu, ale nieźle zrealizowany i jako rozrywka spełniający pewne kryteria. Stąd też nie dziwi finansowy sukces.
Co zaś się tyczy muzyki, to równie dobrze mogłoby się i bez niej obyć. No niby w kilku początkowych scenach jako tako wybrzmiewa, ale kiedy już akcja przenosi się do budynku, gdzie zamykana jest grupka ludzi, to praktycznie usuwa się w cień. Jedynie w napisach końcowych swoją robotę czyni remiks tematu głównego. Cała reszta to naciągana średnica czemu przysługuje się również fatalny miks muzy w filmie.
Co zaś się tyczy muzyki, to równie dobrze mogłoby się i bez niej obyć. No niby w kilku początkowych scenach jako tako wybrzmiewa, ale kiedy już akcja przenosi się do budynku, gdzie zamykana jest grupka ludzi, to praktycznie usuwa się w cień. Jedynie w napisach końcowych swoją robotę czyni remiks tematu głównego. Cała reszta to naciągana średnica czemu przysługuje się również fatalny miks muzy w filmie.