isn't your standard summer popcorn fare. "The reality of being there, of being in nature, frankly, it frees you up as a filmmaker to just use your eyes, use your ears, and absorb it and try to capture what speaks to you."įor anyone even vaguely familiar with today's Hollywood, it's obvious enough that a silent-movie-inspired epic about the 1940 evacuation of Dunkirk - a seminal moment of retreat and survival for the British but an event not as dearly remembered outside the U.K. "I loved it," said Nolan of shooting at Dunkirk, where much of the production took place. It's an all-out assault - of tracking shots and montage - by one of the movies' most maximal filmmakers. Shot almost entirely with 70mm IMAX cameras from Nolan's atypically spare 76-page script, "Dunkirk" is an often wordless, almost purely cinematic experience of dogfights in the air and close scrapes at sea. When "Dunkirk" hits theaters next Friday, audiences will find a landmark war film but not a traditional one. "What I wanted to do was take what I call the snowballing effect of the third act of my other films, where parallel story lines start to be more than the sum of their parts, and I wanted to try to make the entire film that way, and strip the film of conventional theatrics." "I wanted to experiment with a new rhythm," said Nolan in a recent interview. Having already reversed time ("Memento") and warped its fabric ("Interstellar"), Nolan set out to accomplish something different with "Dunkirk," a movie that crosscuts three story lines (on land, sea and sky) from three different chronologies (one week, one day, one hour) during the famous evacuation. Nolan is cinema's great watchmaker: a filmmaker of Swiss precision capable of bending and shaping time to suit his grandiose, metronomed movies. It's a tick-tock effect woven into the score that originated, fittingly, from Christopher Nolan's own stopwatch. Ps: I have used Rode NT3 and AKG C451 mics on clocks to good effect.A ticking sound runs throughout "Dunkirk" like an omnipresent reminder that time is running out for the 340,000 British and Allied soldiers marooned on the French beach and surrounded by Germans. What? No U47 back 10-12 feet in the room? I can't imagine you'd get anything like a decent sound without that in there as well! I just can't seem to decide which combination I like best.though the Taj Mahal verb preset in the TC-2000 sets it off nicely.you'll need to tighten up the pre-delay however. Then I set my kitchen timer for 58 mintues and hit on the hour. One track on the movement (polarity reversed) Three channels on the chimes in Blumlein (mid/side) The Mojave MA-200 tube mic also goes direct into the Fireface 800. The AKG 414 EB goes directly into the RME Fireface 800 pre as the proximity effect of the close mic'd slightly over-driven Woosh of the pendulum swinging by is amazing with no compression and easily controled by the micing distance. The Cascades ribbons go into a pair of GAP Pre-73's into Joe Meek Twin-Q comps-linked stereo. The "tocks" are less of a problem for the 103. The TLM-103 goes into the UA 610 to warm it up then into the 1176 to control the overly brite upper mid spikes of the "tics". On my mid-century grandfather clock I use:Ī Neumann TLM-103 on the movement (polarity reversed)Ī pair of Cascade Fathead II's (w/Lundahl's) in Blumlein configuration on the chimes in the rear of the cabinet.Ī 1970's AKG 414 EB (C-12 capsule) set in hyper cardioid on the swinging pendulum, mic'd at a distance of 1/8 inch clearance as the 12 inch diameter pendulum swings by creating incredible phase relationships with each "tick" and you should hear the "tocks!"Ī prototype Royer MA-200 tube LCD laying on the bottom of the cabinet looking "up" as the "room mic".
0 Comments
Leave a Reply. |