Active Member
I'm not sure what you mean. I just watched the movie and credits. I can watch the credits just fine without any interruptions on the Netflix app on my Amazon Fire Stick. There were no advertisements. You sure you don't have some setting checked for credits promotion or something?Originally Posted by WorzelG
Active Member
I’ll have a check, I just watched it on my iPad with the Netflix app, I’ll check the settings and see if watching it on tv helps
Active Member
Ah ok. I rarely use the mobile app. I always watch on my TV. I don't really watch movies on my phone or tablet. No ads on my Netflix TV app. I also prefer watching YouTube on my YouTube TV app. I usually use my tablet to search YouTube for stuff as it is much easier to search. I then send it to the TV app to watch with a click of a button as I got my YouTube phone app and TV app linked. I'm the weirdo who brings my laptop and HDMI cable when traveling. That way I can hook my laptop to the TV at the hotel with the HDMI and watch what we want.
Last edited by neorev; 12-06-2020 at 04:13 AM.
Stubby Member
The original song isn’t in the credits BTW
its in the film itself
Active Member
Oh which bit was that then? I’ve only seen it the once and I was being distracted quite a bit by my son!
Stubby Member
yeah it was playing on radio iirc. also i wanted to watch the credits too and it skipped to an ad as well
RA-MEN ROPPAI
As already pointed out by neorev, it's a setting you have to disable. Under "Account" there should be something called "Test Participation", click that off. You can also go to netflix.com/DoNotTest and do it there (while logged in, of course).
Throbbing Member
With most of recent movies, I have a feeling "shit, I've seen this NEW movie before..." - but not with Extraction, The Lighthouse, or MANK. :-)
So, this is how it sounds like when Trentticus forgets login to computers and just jams around for a week with what is available at the time, right? :-) I listened to the whole bandcamp thing today, not something to lie (edit: LAY, haha) down with on headphones for the whole 3,5 hours, but interesting change because otherwise I would never look for similar music on my own.
Beautiful cinematography, and as a hobby photo fan I had a feeling with some outdoor shots they're at least partly in infrared? (see: infrared photography) Probably just some clever image manipulation.
Only one minus, I catched myself thinking "I wish there was a bit of SILENCE for a change", because there seemed to be some "noise" and music all the time.
And, the final quote with "trap that I regularly repair whenever there seems to be danger of some opening" reminded me of NIN "smash it apart just for the fuck of it".
Hollywood Butt Double
I watched this for the second time in three days tonight, and I liked it even more this time around.
But Netflix needs to get its shit together. Look what it thought I was watching when I paused for a refill (though in its defense, the description is correct).
Full disclosure: I... uh... did watch that like a week ago.
Last edited by caca; 12-06-2020 at 11:23 PM.
Active Member
San Simeon Waltz reminds me of their work for Mid90s.
Throbbing Member
Chris Stuckmann review (6 minutes):
"...score is AMAZING, it sounds just like an older film"
RA-MEN ROPPAI
Redcode RAW
Matador de Froot Loops
Loved the score, great listening experience!
Is it worth a watch?
EDIT: Just watched the review, going to watch anyway...
Last edited by henryeatscereal; 12-07-2020 at 03:30 PM.
Throbbing Member
It is surely not the only reason that the songs are this short. So slightly off topic. But shouldn't Mank boost their Spotify revenue a little? At a rate of 0.004 cent per stream it is 0.28 cent for the whole album (1:33 h in length) compared to 0.032 cent for Ghosts VI (1:10 h).
Or is there a catch in having so many short songs on streaming services?
Active Member
Daniel Pemberton actually wrote an article in the Guardian complaining about Netflix cutting off end credits
https://www.theguardian.com/tv-and-r...-to-watch-them
I looked for that Test Participation thing and couldn’t find it in app settings. Never mind
Throbbing Member
This soundtrack is incredible to me. I'm biased, probably, as I love big band/swing/old-timey stuff in general, so for TR/AR to do something along those lines is just right up my alley. I love everything about this though; from the warmth and richness of the sound, to the effort they put into using older instruments and arrangements, to the tunes themselves. They've really topped themselves; the music fits the film perfectly and flows effortlessly. It's really easy to listen to this thing front to back and I've already done so several times. There are upbeat tunes, introspective/moody ones, and rowdy-big-band grooves all packed into one experience. Just a gem. Can't wait to buy this thing on vinyl.
Highlights: All This Time, (If Only You Could) Save Me, San Simeon Waltz, Way Back When.
Last edited by Mr. Blaileen; 12-09-2020 at 11:35 AM.
Active Member
https://moviemusicuk.us/2020/12/08/m...-atticus-ross/
well now we know! Basically some people in the ‘film score community’ whatever that is, think it was mostly Conrad Pope, the orchestrator who made this score what it is. This guy doesn’t and gives it a great review. But my opinion is, if Conrad Pope can write an Oscar winning score, why doesn’t he? Film scoring isn’t like pop music where you need a beautiful creator. I don’t get what these orchestrators would get out of writing a score and letting someone else take credit. According to this guy there are people that believe Danny Elfman didn’t score Batman, anyway strange crowd
Last edited by WorzelG; 12-08-2020 at 11:32 AM.
Stubby Member
I hope that Trent is planning to release this soundtrack on vinyl with 1940s period-accurate artwork and packaging. And I predict this and Soul will be nominated for an Oscar, and that Mank will win. It is perfect.
.net (24.24.2.1447)
78rpm!
Active Member
That's a cool read, and I applaud the author for being even-handed in his writing rather than just choosing a side and coming down hard on it. It's totally within his rights to not think the scores for the previous Fincher movies are good, but it seems he didn't see Watchmen. Watchmen is not only one of TR/AR's most active scores, but it was also their first foray into incorporating jazz, which we'll see again to some extent in Soul. I have no doubt that Conrad Pope and Dan Higgins are hugely important in making the Mank score sound so good, but Watchmen + Mank + Soul means Trent and Atticus can actually do this kind of music and didn't just stumble into getting their names put on someone else's score.
Active Member
They clearly never saw the pics of Trent with a sax or trumpet in his school marching band
nincatalog.com
I respect the writer's opinion although I whole heartedly disagree with assessment of TSN, Gone Girl and TGWDTT. TSN, all onto its own, deserves and has received all the accolades due to the sheer impact it made on the film as well as the fact it can stand alone as its own piece of music, should it so desire to do so. Sometimes, these critics get so dug into their own world that they fail to see the outside realm in which other musicians operate. Sure, he recognizes Trent and Atticus' status and their success because of NIN, but has he thoroughly listened to the complexities of NIN music and how some, if not all of their methods transition over to the score work. Maybe, maybe not, but again, I am as bias in writing this as much as he is in critiquing them for only being recognized for being in the popular rock band, NIN.
All that aside, Mank is a great piece of work and as it has been mentioned, it will most definitely be considered Oscar nomination.
(Unused symbol)
Good for pointing out the Watchmen thru-line to Mank and the author's lack of mention. Possibly due to the film vs television snobbery? We'll never know.
Active Member
Yeah, the funny thing is that he claims they don't have an understanding of the function of a score, which may be true through the lens of people who were trained in the medium. But the thing is, Trent in particular never claimed to have that understanding. He makes it clear that their process is to make swatches, send them to the director, get notes, iterate on those notes, and repeat. So ultimately, it's up to the filmmakers how their music is used. If this were a case where the director locks picture and then sends it off to the composer, it would be a different story, but due to their lack of a formal education in this medium, that's not how they operate.
Eh, not everyone sees everything. He probably didn't see Before The Flood or Vietnam War, either, but that doesn't mean he can't speak intelligently about their work he has seen/heard.
(Unused symbol)
Fair, although neither of those won an Emmy. But point taken. And to be clear, I enjoyed his review and thought it was very fair, even if I don't agree with his reviews of the prior works.
Throbbing Member
"There still seems to be a real reluctance on Reznor and Ross’s part to really embrace themes-and-variations film scoring, as if writing a strong repeated melody would somehow lead them too far down a path towards film music conventionality."
Ignoring the heavy motifs in the scores that he didn't like, haha. But good on him for at least admitting he likes something that he was biased against.
Banned
After this absolute shit-fuck of a year we’ve had, soundtracked by such uplifting score work like Waves, Bird Box Deluxe and Ghosts V & VI, this Mank shit has me virtually bouncing off the walls with gusto, it’s so different to what we’re used to hearing from them, and refreshing..
That being said, if you listen close enough, it’s still incredibly sad in certain moments. That “If Only You Could Save Me” track with the female singing is fucking dark if you hone in on what she’s singing about..
Stubby Member
Orchestration for other composers and musicians is what a lot of composers do for work. There are a lot more composers in the world than there are films or orchestras looking for music. When there's a string section on a rock song, that's orchestrated by a composer. It's also very common among bigger composers to have someone else assisting with the orchestrating. It's what a lot of film composers do before getting larger gigs themselves. Thomas Newman, who been nominated for 15 Oscars himself found early work doing orchestration for John Williams on Return of the Jedi. To act is if it's secretly the orchestrators writing everything is pretty disingenuous.
That such claims would be made against Elfman just kind of shows how much their just trying to police against pop and rock musicians, many of whom are legit musically trained, coming into the field.
Last edited by AlanMorlock; 12-08-2020 at 08:10 PM.
Stubby Member
It’s funny because a lot of the Herrmann-esque pieces he applauds are extremely similar in melody, structure and even arrangement to stuff from Gone Girl and GWTDT. The instrumentation is different (orchestral) but it’s a lot more similar than he describes it. it’s also not like they got into scoring in a “music responding to picture” way, the pieces are still pretty loose and cyclical and independent of picture. (the jazz cuts are vastly less recognizable)
which honestly shows me that the problem is mostly with the writer’s thoughts on synth sounds, and not the actual writing itself
Active Member
I agree, particularly about the song. The lyrics could be about Trent himself pre-sobriety
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