David Fincher and David Prior’s anthology essay series “Voir” is only six episodes, but fully half of those came from Taylor Ramos and Tony Zhou. Their skill with the form comes as no surprise to fans of their YouTube channel “Every Frame a Painting,” which almost served as a proof of concept for a show like “Voir” — and that millions of people would be interested in videos exploring just how the grammar of filmmaking impacts its meaning. When done well, video essays combine the thrill of knowing a secret and the joy of learning more about a long-held passion. Zhou and Ramos spoke to IndieWire about how the process of creating that joyful learning shifted and expanded when working on “Voir.”
“YouTube was very constricting because of things like copyright and Dmc,” Ramos said. “The license that Netflix and [David Fincher] gave us, it was very, ‘Oh, we can do anything and everything!
“YouTube was very constricting because of things like copyright and Dmc,” Ramos said. “The license that Netflix and [David Fincher] gave us, it was very, ‘Oh, we can do anything and everything!
- 12/7/2021
- by Sarah Shachat
- Indiewire
1. “The Witcher” Season 2 (available December 17)
Why Should I Watch? It’s been two years since Henry Cavill cast his spell on the world, and the titular Witcher’s long-awaited return to Netflix is finally upon us. I’m going to be honest: I do not remember much about this show. Twenty-four months — especially these past 24 months — is a long time, and I have yet to find the precious eight hours required for my rewatch. But I think that’s Ok? What made “The Witcher” work so well was a beguiling combination of palpable enthusiasm and prioritizing spectacle over sanity. Rarely did “The Witcher” slow down so viewers could process what was going on, when it could simply charge forward into stranger and stranger events. Whether you can keep up with its wild world-building or not, the first eight episodes are an experience to be had, and I don’t doubt...
Why Should I Watch? It’s been two years since Henry Cavill cast his spell on the world, and the titular Witcher’s long-awaited return to Netflix is finally upon us. I’m going to be honest: I do not remember much about this show. Twenty-four months — especially these past 24 months — is a long time, and I have yet to find the precious eight hours required for my rewatch. But I think that’s Ok? What made “The Witcher” work so well was a beguiling combination of palpable enthusiasm and prioritizing spectacle over sanity. Rarely did “The Witcher” slow down so viewers could process what was going on, when it could simply charge forward into stranger and stranger events. Whether you can keep up with its wild world-building or not, the first eight episodes are an experience to be had, and I don’t doubt...
- 12/5/2021
- by Ben Travers
- Indiewire
From executive producers David Fincher and David Prior, Voir is a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen. From intimate personal histories to insights on character and craft, each episode reminds us why Cinema holds a special place in our lives.
As told by Walter Chaw, Drew McWeeny, Taylor Ramos, Sasha Stone & Tony Zhou, check out this preview below.
In June of 1975, the blockbuster was born when director Steven Spielberg’s Jaws hits theaters to an unsuspecting movie going public. The summer blockbuster spawned a series of movies and literally made people afraid to go into the water. Bruce the Shark, as he is known to the die-hard fans, and the sole surviving full-scale model of the 1975 Jaws shark, now lives at the Academy Museum. Based on the 1974 Peter Benchley novel, Jaws was an immediate critical and commercial success,...
As told by Walter Chaw, Drew McWeeny, Taylor Ramos, Sasha Stone & Tony Zhou, check out this preview below.
In June of 1975, the blockbuster was born when director Steven Spielberg’s Jaws hits theaters to an unsuspecting movie going public. The summer blockbuster spawned a series of movies and literally made people afraid to go into the water. Bruce the Shark, as he is known to the die-hard fans, and the sole surviving full-scale model of the 1975 Jaws shark, now lives at the Academy Museum. Based on the 1974 Peter Benchley novel, Jaws was an immediate critical and commercial success,...
- 11/15/2021
- by Michelle Hannett
- WeAreMovieGeeks.com
"I can remember the exact moment I fell in love with movies..." Netflix has unveiled the official trailer for a video essays series titled Voir, a "collection of visual essays for the love of cinema." This project has been in development for years as a secret creation by David Fincher and Awards Daily's Sasha Stone that focuses on why we love films. "From executive producers David Fincher & David Prior, Voir is a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen. From intimate personal histories to insights on character and craft, each episode reminds us why Cinema holds a special place in our lives." There will be six episodes in total, but no info as to which films are covered (yet). As Told By: Walter Chaw, Drew McWeeny, Taylor Ramos, Sasha Stone & Tony Zhou. I'm excited to see this!
- 11/11/2021
- by Alex Billington
- firstshowing.net
Starz announced that the next drama in the “Power” franchise, “Power Book IV: Force,” will premiere Feb. 6, 2022.
The show stars Joseph Sikora, reprising his “Power” role of Tommy Egan as he leaves New York after losing Ghost (Omari Hardwick). He sets out to close an old wound he has been haunted by for decades, but he ends up caught in a labyrinth of family secrets and lies and finds himself in Chicago’s drug game — between the city’s two biggest crews. Over the course of the first season, Tommy will use his outsider status to his advantage, breaking and rewriting local rules on a quest to become the biggest drug dealer in Chicago.
Isaac Keys, Lili Simmons, Gabrielle Ryan, Shane Harper, Kris D. Lofton, Anthony Fleming III, Lucien Cambric and Tommy Flanagan also star in the series from Courtney A. Kemp and Curtis “50 Cent” Jackson. Kemp executive produces the...
The show stars Joseph Sikora, reprising his “Power” role of Tommy Egan as he leaves New York after losing Ghost (Omari Hardwick). He sets out to close an old wound he has been haunted by for decades, but he ends up caught in a labyrinth of family secrets and lies and finds himself in Chicago’s drug game — between the city’s two biggest crews. Over the course of the first season, Tommy will use his outsider status to his advantage, breaking and rewriting local rules on a quest to become the biggest drug dealer in Chicago.
Isaac Keys, Lili Simmons, Gabrielle Ryan, Shane Harper, Kris D. Lofton, Anthony Fleming III, Lucien Cambric and Tommy Flanagan also star in the series from Courtney A. Kemp and Curtis “50 Cent” Jackson. Kemp executive produces the...
- 11/11/2021
- by Katie Song and Danielle Turchiano
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: M. Night Shyamalan on the set of Old (2021). Berlinale has announced that the one and only M. Night Shyamalan will serve as the Jury President for the festival's 2022 edition. In a statement, Shyamalan said: "I have always felt like an independent filmmaker within the system of Hollywood. It is exactly those things in us that are different and unorthodox that define our voice. I have tried to maintain these things in myself and cheer others on to protect those aspects in their art and in themselves. Being asked to be a part of Berlinale is deeply meaningful to me. It represents the highest imprimatur for a filmmaker. Being able to support and celebrate the world’s very best talent in storytelling is a gift I happily accepted.”David Fincher is partnering with Netflix...
- 10/20/2021
- MUBI
From The Expendables to the Fast & Furious franchise, Jason Statham has starred in some of the biggest and baddest action movies ever made. And while some actors let a double do their dangerous on-set stunts, Statham has been doing most of his own ever since the start of his career.
As such, he’s earned the rep required to criticize other action films, which he has. In a resurfaced interview which has been making the rounds lately, Statham can be found giving his two cents on the uninspired, lacklustre and above all inauthentic action found in modern day blockbusters, particularly those produced by Marvel.
“A lot of the modern action movies I see—Marvel Comics sort of things,” the actor says, “I think it’s just a little, any guy can do it.” In what proved to be a particularly painful blow, he went on to say that “even his...
As such, he’s earned the rep required to criticize other action films, which he has. In a resurfaced interview which has been making the rounds lately, Statham can be found giving his two cents on the uninspired, lacklustre and above all inauthentic action found in modern day blockbusters, particularly those produced by Marvel.
“A lot of the modern action movies I see—Marvel Comics sort of things,” the actor says, “I think it’s just a little, any guy can do it.” In what proved to be a particularly painful blow, he went on to say that “even his...
- 7/6/2020
- by Tim Brinkhof
- We Got This Covered
For his entire reign of power, Adolf Hitler used cinema to communicate with his public. Over 1,000 films were produced under the Third Reich, and half of those were unexpectedly musicals or comedies. Hitler’s propaganda minister, Joseph Goebbels controlled the German film system, channeling the Nazi’s ideologies through movie theaters and into the minds of the public. Watching Hitler’s Hollywood, a new documentary about the era of Nazi propaganda cinema, one can’t help but be reminded of the conciseness and clear-eyed vision of Tony Zhou’s Every Frame a Painting, a stellar series of video essays about movies. Each episode delivers its entire thesis and conclusion in a matter of minutes. Meanwhile, director Rüdiger Suchsland’s Hitler’s Hollywood, a deeply cine-literate essay film which borders on overly dry, makes and remakes its point, over and over again, too often repeating itself.
The documentary asks the question:...
The documentary asks the question:...
- 4/11/2018
- by Tony Hinds
- The Film Stage
The Snarling is new horror comedy from Director Pablo Raybould and Producer Ben Manning, which debuted at the Horror-on-Sea Film Festival on Saturday 20th January. The screening was the official launch of The Snarling (and screening of the final release version). I got chance to talk with actor Laurence Saunders a few questions about what we can expect from The Snarling, the characters he plays and how he prepared for the role.
What can we expect from The Snarling?
A lot of laughs. It’s a comedy horror. One review said The Snarling was “laugh a second,” which is quite a lot of laughs. I’m not sure if it’s technically possible to achieve a laugh a second, it might be dangerous and lead to deaths in the audience. I guess we’d prefer it if the deaths remained on screen.There are scary moments too. Things that’ll make you jump.
What can we expect from The Snarling?
A lot of laughs. It’s a comedy horror. One review said The Snarling was “laugh a second,” which is quite a lot of laughs. I’m not sure if it’s technically possible to achieve a laugh a second, it might be dangerous and lead to deaths in the audience. I guess we’d prefer it if the deaths remained on screen.There are scary moments too. Things that’ll make you jump.
- 1/23/2018
- by Philip Rogers
- Nerdly
A channel loved by film buffs has ceased production. Every Frame A Painting, which featured analysis of auteur directors and criticism related to filmmaking techniques, has been officially shuttered by its co-creators more than a year after it post its last video.
The two movie nerds behind Every Frame A Painting, Tony Zhou and Taylor Ramos, announced the shutdown of their channel in a blog post Zhou shared via Medium. While several factors contributed to the channel's demise, the ultimate rationale for its discontinuation is a simple one: Its hosts no longer have the proper passion for their shared project. "In the past year, we’ve both started new jobs and taken on other freelance work," wrote Ramos in the Medium post. "Things started piling up and it took all our energy to get through the work we’d agreed to do. When we started this YouTube project, we gave...
The two movie nerds behind Every Frame A Painting, Tony Zhou and Taylor Ramos, announced the shutdown of their channel in a blog post Zhou shared via Medium. While several factors contributed to the channel's demise, the ultimate rationale for its discontinuation is a simple one: Its hosts no longer have the proper passion for their shared project. "In the past year, we’ve both started new jobs and taken on other freelance work," wrote Ramos in the Medium post. "Things started piling up and it took all our energy to get through the work we’d agreed to do. When we started this YouTube project, we gave...
- 12/4/2017
- by Sam Gutelle
- Tubefilter.com
“Every Frame a Painting,” a YouTube channel which attracted many cinephiles by focusing on the artistry of cinema, has ended. Creator and narrator Tony Zhou, alongside his fellow “Frame” writer and editor Taylor Ramos, published a “Postmortem” for the show on Dec. 2, alongside a script for a never-completed final video which was a thoughtful peek behind the curtain of the artists’ workflow.
“Every Frame a Painting is officially dead. Nothing sinister; we just decided to end it, rather than keep on making stuff. The existing videos will, of course, remain online. But there won’t be any new ones,” reads the introduction to the script.
Near the beginning of the script itself, Ramos outlines why the duo have stopped producing videos. “In the past year, we’ve both started new jobs and taken on other freelance work.
“Every Frame a Painting is officially dead. Nothing sinister; we just decided to end it, rather than keep on making stuff. The existing videos will, of course, remain online. But there won’t be any new ones,” reads the introduction to the script.
Near the beginning of the script itself, Ramos outlines why the duo have stopped producing videos. “In the past year, we’ve both started new jobs and taken on other freelance work.
- 12/3/2017
- by William Earl
- Indiewire
Mark Allison Sep 12, 2019
Big film scores have changed over the past decade, and Hans Zimmer may be the reason why...
This article comes from Den of Geek UK.
It would seem that for every moviegoing generation, there is a film composer who ascends above all others and comes to encapsulate the sound of their era. In the 1940s and 1950s, the brooding and mysterious tones of Bernard Hermann would define a generation of suspense cinema. Decades later, it was John Williams who ushered in the blockbuster era with a series of bold and iconic melodies, from Jaws through to Superman, Star Wars, Indiana Jones, and Jurassic Park. Today’s cinema has its own musical zeitgeist. When future archaeologists uncover the buried ruins of our civilization, they may well refer to the movies left behind as the "Hans Zimmer period."
Hans Zimmer is a movie composer of singular acclaim. He is...
Big film scores have changed over the past decade, and Hans Zimmer may be the reason why...
This article comes from Den of Geek UK.
It would seem that for every moviegoing generation, there is a film composer who ascends above all others and comes to encapsulate the sound of their era. In the 1940s and 1950s, the brooding and mysterious tones of Bernard Hermann would define a generation of suspense cinema. Decades later, it was John Williams who ushered in the blockbuster era with a series of bold and iconic melodies, from Jaws through to Superman, Star Wars, Indiana Jones, and Jurassic Park. Today’s cinema has its own musical zeitgeist. When future archaeologists uncover the buried ruins of our civilization, they may well refer to the movies left behind as the "Hans Zimmer period."
Hans Zimmer is a movie composer of singular acclaim. He is...
- 10/11/2017
- Den of Geek
Mark Allison Oct 11, 2017
Big film scores have changed over the past decade - and Hans Zimmer may be the reason why...
For every movie-going generation, there is a film score composer who ascends above all others and comes to encapsulate the sound of their era. In the 1940s and 1950s, the brooding and mysterious tones of Bernard Hermann would define a generation of suspense cinema. Decades later, it was John Williams who ushered in the blockbuster era with a series of bold and iconic melodies, from Jaws through to Superman, Star Wars, Indiana Jones, and Jurassic Park. Today’s cinema has its own musical zeitgeist. When future archaeologists uncover the buried ruins of our civilisation, they may well refer to it as the 'Hans Zimmer period'.
Hans Zimmer is a movie composer of singular acclaim. He is one of the only such artists with the clout to fill concert arenas across the world,...
Big film scores have changed over the past decade - and Hans Zimmer may be the reason why...
For every movie-going generation, there is a film score composer who ascends above all others and comes to encapsulate the sound of their era. In the 1940s and 1950s, the brooding and mysterious tones of Bernard Hermann would define a generation of suspense cinema. Decades later, it was John Williams who ushered in the blockbuster era with a series of bold and iconic melodies, from Jaws through to Superman, Star Wars, Indiana Jones, and Jurassic Park. Today’s cinema has its own musical zeitgeist. When future archaeologists uncover the buried ruins of our civilisation, they may well refer to it as the 'Hans Zimmer period'.
Hans Zimmer is a movie composer of singular acclaim. He is one of the only such artists with the clout to fill concert arenas across the world,...
- 10/10/2017
- Den of Geek
From the beginning of Michael Curtiz’s 1950 film The Breaking Point, things are dire for Captain Harry Morgan (John Garfield). Since serving in the military, Harry’s ambition has been to start a fleet of boats to escort sport-fishermen through the waters around Southern California and the Baja Peninsula, but that venture has failed to take off. He has one boat, the Sea Queen, and he’s the only captain in his fleet. When the film begins, Harry has a new client but has to spend the last of his cash to fill up his boat with fuel for the pending excursion. This particular job is a matter of survival, not prosperity.
But his own survival is only a part of this transaction. Curtiz quickly takes us into Harry’s modest seaside home, which, at first, looks as charming as any in an old sitcom. After spending the last of...
But his own survival is only a part of this transaction. Curtiz quickly takes us into Harry’s modest seaside home, which, at first, looks as charming as any in an old sitcom. After spending the last of...
- 8/24/2017
- by Trevor Berrett
- CriterionCast
You can tell it’s film noir — even the cabin cruiser has Venetian blinds. Ernest Hemingway’s favorite film adaptation of his work is this uncompromised story of a good man taking a criminal course on the high seas. John Garfield is again ‘one man alone’ against the system, and the moral quicksand all but swallows up Patricia Neal, Phyllis Thaxter and Wallace Ford.
The Breaking Point
Blu-ray
The Criterion Collection 889
1950 / B&W / 1:37 flat Academy / 97 min. / available through The Criterion Collection / Street Date August 8, 2017 / 39.95
Starring: John Garfield, Patricia Neal, Phyllis Thaxter, Juano Hernandez, Wallace Ford, Edmon Ryan, Ralph Dumke, Guy Thomajan, William Campbell, Sherry Jackson, Donna Jo Boyce, Victor Sen Yung, Peter Brocco, John Doucette.
Cinematography: Ted D. McCord
Film Editor: Alan Crosland Jr.
Original Music: Howard Jackson, Max Steiner
Written by Ranald MacDougall from a novel by Ernest Hemingway
Produced by Jerry Wald
Directed by Michael Curtiz
After...
The Breaking Point
Blu-ray
The Criterion Collection 889
1950 / B&W / 1:37 flat Academy / 97 min. / available through The Criterion Collection / Street Date August 8, 2017 / 39.95
Starring: John Garfield, Patricia Neal, Phyllis Thaxter, Juano Hernandez, Wallace Ford, Edmon Ryan, Ralph Dumke, Guy Thomajan, William Campbell, Sherry Jackson, Donna Jo Boyce, Victor Sen Yung, Peter Brocco, John Doucette.
Cinematography: Ted D. McCord
Film Editor: Alan Crosland Jr.
Original Music: Howard Jackson, Max Steiner
Written by Ranald MacDougall from a novel by Ernest Hemingway
Produced by Jerry Wald
Directed by Michael Curtiz
After...
- 7/22/2017
- by Glenn Erickson
- Trailers from Hell
Late summer is all about reflection over at The Criterion Collection, as the library is spending August offering up a handful of unsung classics and new look at some longtime favorites.
Michael Curitz’s “The Breaking Point,” a mostly overlooked Hemingway adaptation, starring John Garfield and Patricia Neal, will be available on Blu-ray for the first time, while Sacha Guitry’s “La poison” arrives on home video for the first time ever. Elsewhere, Mike Leigh’s revelatory “Meantime” is getting a 2K restoration, all the better to enjoy the early work of Tim Roth and Gary Oldman. That’s not all for Oldman fans, however, as Alex Cox’s “Sid & Nancy” hits the collection with a brand new 4K digital restoration. Finally, Walter Matthau stars in the charming comedy “Hopscotch,” also available on Blu-ray in a 2K digital restoration.
Below is the complete list of August additions, with descriptions provided by Criterion.
Michael Curitz’s “The Breaking Point,” a mostly overlooked Hemingway adaptation, starring John Garfield and Patricia Neal, will be available on Blu-ray for the first time, while Sacha Guitry’s “La poison” arrives on home video for the first time ever. Elsewhere, Mike Leigh’s revelatory “Meantime” is getting a 2K restoration, all the better to enjoy the early work of Tim Roth and Gary Oldman. That’s not all for Oldman fans, however, as Alex Cox’s “Sid & Nancy” hits the collection with a brand new 4K digital restoration. Finally, Walter Matthau stars in the charming comedy “Hopscotch,” also available on Blu-ray in a 2K digital restoration.
Below is the complete list of August additions, with descriptions provided by Criterion.
- 5/16/2017
- by Kate Erbland
- Indiewire
Wikipedia suggests the term “food porn” was coined by feminist critic Rosalind Coward in her 1984 book Female Desire, one year before the film to which it is still best applicable was released. Juzo Itami’s Tampopo is not solely made up of the sort of Instagram-ready, ornate cuisines with which we are inundated with today. Food is often mishandled, tossed off, or even not shown at all, even when it is the subject of the scene (which it often is). But the film expresses best – to borrow the title of another famous book – the joy of cooking, of eating, of considering one’s appetite and all that might fill it. And yes, one of its vignettes deals with a couple who has sex with food, so there’s that, too.
Centrally, the film is about a woman named Tampopo who owns and runs a ramen restaurant that isn’t very good.
Centrally, the film is about a woman named Tampopo who owns and runs a ramen restaurant that isn’t very good.
- 4/26/2017
- by Scott Nye
- CriterionCast
…Let’s hope the dogs don’t die.
On Tuesday, the first poster for Wes Anderson’s newest feature film since 2014’s The Grand Budapest Hotel was released. Whilst not much is known about the story of Isle of Dogs, its poster reveals small details about what to expect, and, more importantly, the influence of Akira Kurosawa on the stop-motion animation.
Set in Japan, the poster’s large, red font places the Japanese title at the center, with its English translation held within the script. Wes Anderson’s posters usually have either one clear defining image at the forefront or a depiction of the ensemble cast, so Isle of Dogs is a slight departure from what Anderson’s audience are used to.
The poster for The Royal Tenenbaums places family at the center while Anderson’s classic Futura font title stayed beneath the family as something that was not meant to draw attention. Moonrise Kingdom...
On Tuesday, the first poster for Wes Anderson’s newest feature film since 2014’s The Grand Budapest Hotel was released. Whilst not much is known about the story of Isle of Dogs, its poster reveals small details about what to expect, and, more importantly, the influence of Akira Kurosawa on the stop-motion animation.
Set in Japan, the poster’s large, red font places the Japanese title at the center, with its English translation held within the script. Wes Anderson’s posters usually have either one clear defining image at the forefront or a depiction of the ensemble cast, so Isle of Dogs is a slight departure from what Anderson’s audience are used to.
The poster for The Royal Tenenbaums places family at the center while Anderson’s classic Futura font title stayed beneath the family as something that was not meant to draw attention. Moonrise Kingdom...
- 4/26/2017
- by Sinéad McCausland
- FilmSchoolRejects.com
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Anatahan (Josef von Sternberg)
Josef von Sternberg called Anatahan his best film. Borne from more than a decade’s worth of frustration with the studio system, it was, as the last picture he completed, his stamp on his time as a director. Even then, when released in 1953, it was only released in a butchered format, and, as it often goes in such cases, was subsequently abandoned by popular consciousness. But a few times each year, cinephiles (at least...
Anatahan (Josef von Sternberg)
Josef von Sternberg called Anatahan his best film. Borne from more than a decade’s worth of frustration with the studio system, it was, as the last picture he completed, his stamp on his time as a director. Even then, when released in 1953, it was only released in a butchered format, and, as it often goes in such cases, was subsequently abandoned by popular consciousness. But a few times each year, cinephiles (at least...
- 4/25/2017
- by The Film Stage
- The Film Stage
It’s about half-way through the month, which means it’s time for The Criterion Collection to reveal their next slate of additions. A clear highlight of the April batch is Francis Ford Coppola‘s newly restored black-and-white drama Rumble Fish, which will feature commentary from the director and much more. There’s also Juzo Itami‘s Tampopo, which has enjoyed as successful theatrical restoration the last year, and features a new video essay by Tony Zhou, as well as a feature-length making of documentary.
Also coming to the collection is the George Stevens romantic dramedy Woman of the Year with Katharine Hepburn and Spencer Tracy, as well as Wim Wenders‘ documentary Buena Vista Social Club. Along with those, we’ll also be getting stand-alone editions of The Young Girls of Rochefort and The Umbrellas of Cherbourg, previously only available through the incredible Jacques Demy set, which is easily my...
Also coming to the collection is the George Stevens romantic dramedy Woman of the Year with Katharine Hepburn and Spencer Tracy, as well as Wim Wenders‘ documentary Buena Vista Social Club. Along with those, we’ll also be getting stand-alone editions of The Young Girls of Rochefort and The Umbrellas of Cherbourg, previously only available through the incredible Jacques Demy set, which is easily my...
- 1/18/2017
- by Jordan Raup
- The Film Stage
In this video essay, Tony Zhou gets deep into why the Marvel Connected Universe — the highest-grossing franchise of all time — sports not one memorable musical theme that people can recall. The answer involves a crippling dependency on temp tracks bordering on the potentially lawsuit-worthy, making this a good look at the general state of Hollywood musical scores beyond the McU.
- 10/27/2016
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Just the other day, Mick wrote about Tony Zhou's latest Every Frame a Painting video, in which Zhou posits that a big part of the reason that Marvel Studios has consistently failed to produce a memorable film score for their blockbusters in that directors fall in love with temporary tracks they put in place when editing, and then simply ask the composers to recreate slight variations of those tracks for the final score. But YouTuber Dan Golding takes issue with that as the main cause for the problem, and in a new video essay responding to Zhou's, he points instead to digital creation of film music is the real culprit.
First of all, I'm extremely impressed at the speed with which Golding was able to produce this response video. It's a well constructed piece, not something he haphazardly threw together, and we don't often see video responses to viral...
First of all, I'm extremely impressed at the speed with which Golding was able to produce this response video. It's a well constructed piece, not something he haphazardly threw together, and we don't often see video responses to viral...
- 9/15/2016
- by Ben Pearson
- GeekTyrant
If the Marvel Cinematic Universe can best be defined by a uniformity of style, its biggest handicap is thus a lack of diversity. Case in point: right now, try humming the themes for Iron Man, Captain America, or Thor. (Not too loudly if you’re at work or in public.) Think about some other superheroes. Try humming John Williams’ Superman tune or Danny Elfman’s Batman score. Notice the difference? It’s the sort of thing you might not even keep in mind that, when finally considered, feels like an obvious gap.
That’s the set-up of Tony Zhou‘s latest video essay, “The Marvel Symphonic Universe,” which explores how many of these scores are just wallpaper — and although it’s (ostensibly) part of a scene’s momentum, said scenes can often function without them. It would be less of a problem if this issue stuck to a series of films that,...
That’s the set-up of Tony Zhou‘s latest video essay, “The Marvel Symphonic Universe,” which explores how many of these scores are just wallpaper — and although it’s (ostensibly) part of a scene’s momentum, said scenes can often function without them. It would be less of a problem if this issue stuck to a series of films that,...
- 9/13/2016
- by Nick Newman
- The Film Stage
The “Every Frame a Painting” series thrives on analyzing the best in cinema in order to illustrate masterful techniques like the magic of visual comedy, composing movement or the power of editing. Yet the channel’s newest video, released today, goes in a different direction, breaking down “temp music” and how it has taken the magic out of rich film scores, using the generally well-received Marvel Cinematic Universe as an example of what can go wrong.
Read More: ‘Ghostbusters’ Trailer Review: Every Frame A Painting’s Tony Zhou Analyzes Comedy Editing
Temp music, as described in the video, is “when you’re editing a film, and you take music from another movie and use it temporarily in your cut.” Unfortunately, in the competitive blockbuster world, composers are often pressured to create music that mimics the feel of the temp music just within legal limits. Because of this, many scores for...
Read More: ‘Ghostbusters’ Trailer Review: Every Frame A Painting’s Tony Zhou Analyzes Comedy Editing
Temp music, as described in the video, is “when you’re editing a film, and you take music from another movie and use it temporarily in your cut.” Unfortunately, in the competitive blockbuster world, composers are often pressured to create music that mimics the feel of the temp music just within legal limits. Because of this, many scores for...
- 9/12/2016
- by William Earl
- Indiewire
The latest episode of Tony Zhou‘s fantastic video essay series Every Frame a Painting takes a look at one of Marvel Studios’ biggest problems. While Marvel gets a lot of things right that others don’t, one aspect consistently criticised of their films is the lack of iconic theme music. But why hasn’t Marvel been able […]
The post The Marvel Symphonic Universe: Why Can’t You Remember A Single Marvel Score? appeared first on /Film.
The post The Marvel Symphonic Universe: Why Can’t You Remember A Single Marvel Score? appeared first on /Film.
- 9/12/2016
- by Peter Sciretta
- Slash Film
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