“See What They Did”?
Recently posted by New York/”Vulture’s Edith Zimmerman.
Update: HE reader Jonathan Hartman reminds that Inception composer Hans Zimmer “already publicly talked about this at the SCL Screening in Los Angeles a week before the film opened. He and Inception‘s sound designer explained the musical concept, and particularly this specific link.
“Edith Piaf is all over the movie, in many scenes where the casual viewer wouldn’t even recognize it. For the record, Nolan has Edith Piaf in the script, but only played as the ‘wake up’ music. It was Zimmer’s manipulation of the material that gave them the idea to incorporate it everywhere.”
Yep, that’s brilliant.
I thought that was pretty cool. The lyrics to that Edith Piaf song really fit the movie itself.
Wasn’t really a fan of the music, actually, but this is clever enough that I hope Zimmer wins the Oscar for it.
La Vie en Rose is a major musical motif in the film. More of an inside joke, I thought.
More of an inside joke, I thought.
not at all.
That’s pretty stellar.
That’s really brainy. The idea came from Nolan, no doubt. The soundtrack is great, BTW. The last track, “Time” is stellar.
Nolan says that he was writing Edith Piaf into the script before he ever cast Marion Cotillard.
It’s a fantastic score. I’m surprised that Zimmer’s only Oscar is for The Lion King of all things.
@ 4th grade army – I listened to “Time” on repeat for a few times when I first got the score off of iTunes. It encapsulates the film for me.
“Time” is great, but it’s also very similar to his “Journey to the Line” template that he revisits occasionally.
It’s a great score, though. First soundtrack album I’ve bought since Inglourious Basterds last year.
Best score in a zillion years. Probably since his own Thin Red Line… which was the best since Days of Thunder… which was the best since Black Rain.
“I’LL BE HOLDING ON” POWER.
…or another way you could look at it is that “Inception” is, by far, the bizarest third act twist to “La Vie en Rose” in cinema history.
Take that, M. Night!
Brilliant and the final mind fuck, especially when you consider the effect that the different dream levels have on the speed of time (the song would appear to be slowed down on deeper levels).
Funny observation in the first post to the Vulture article, too:
“The Vulture post exposing the secret connection between the music of Edith Piaf and Hans Zimmer is posted by Edith Zimmerman?
Impressive attempt, but now I know we are actually still asleep…”
The Thin Red Line score really is a masterpiece. Unbelievably good.
Zimmer rules.
I haven’t heard the actual soundtrack by itself, but if you stay all the way to the end of the end credits, there is also a brilliant mix of the song and the main theme. Now knowing that that main theme is cleverly tied to the song in this way, it makes it even more thrilling, like a dream eating itself.
The good ones borrow, the great ones steal
I actually just noticed that the last “second” of my Inception Soundtrack (“Time” 4:34-4:35) is actually about 4 secs long, and ticks briefly backwards. Can anyone verify?
I don’t have the soundtrack on CD (I’m listening from a rip) but this is the only mp3 I’ve ever had do this, and considering it’s the precise moment that plays over the lingering final shot of the top, it’s a pretty eerie little easter egg.
Damn, I haven’t got any software to play it backwards, and I’m not gonna download any either. So who did go through the trouble of doing it?
JSpuij, if that was in response to my comment, I was actually just referring to what happens when you play the song forwards. By “ticks briefly backwards” I only meant that my iTunes counter, after lingering on 4:35 for two or three seconds, actually jumps back to 4:34 before ending on 4:35 again.
Yep, does the same thing on mine, FWickman. Good catch!
Hans Zimmer is a very iPod friendly composer. The track “Time” mentioned already is no exception. It plays like vintage Moby, in the best way possible. I can see why Nolan went for it. The Son of Mann continues.
Also I must stand up for a great ZImmer score in a middling film: Da Vinci Code.
ZIMMER POWER – I LOVE the score for Black Rain, probably the best thing about the movie. I remember it was even used in the trailers for Silence of the Lambs.
But the best Zimmer score has to be Crimson Tide – that flourish that explodes throughout the movie (especially during the climax)….if that doesn’t want to make you raise your fist Viggo-style while in a crowded sub, I don’t know what will.
Oh my God, the Black Rain score. Haven’t thought about that in years. I wore that CD out when it was released – which is weird, since I was 13 at the time.
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