Load the Eyes Wide Shut DVD into your DVD-ROM and start the DVD, pausing when the first begining credit first flashes and the music score starts up (be exact). Load a CD copy of Abbey Road by The Beatles into your CD-ROM and choose Windows Media Player to play the CD - or load it into a CD player - in repeat-all mode. Left click the Media player window using the mouse pointer, so the play button on your keyboard will be able to start the CD. Hold the mouse pointer over the start button for the DVD player without clicking, and then push the play button on the keyboard to start the CD while also left clicking the mouse to start the DVD as immediately after pushing the play button on the keyboard as humanly possible. Start the DVD as simultaneously with the CD as possible.
Allow the DVD and CD to play simultaneously and confirm that the synchronization between movie and music is precise. Watch and learn. When the movie ends, just let the music continue on and let the main menu play itself out, which will result in the movie starting again in synchronization with the music. Do this as many times as is useful.
This synchronization also works with Clockwork Orange, The Shining, and Full Metal Jacket in echoing loop mode, as it was used in synchronization with the filming of the movies. Sgt Pepper's Lonely Hearts Club Band was also used, but I haven't confirmed that it was used in echoing loop mode, nor have I checked the rest of the Beatle's music catalog with these movies.
It is of course important to get the start point correct. With Kubrick, it is always when the movie score begins (for movies made starting with Clockwork Orange at least). For Clockwork Orange, it is when the orange screen flashes for the first time. For The Shining, it is when the imagery of the reservoir first flashes on screen (pre-orgasmic imagery, the blood splash out of the elevator symbolizing orgasm). For Full Metal Jacket, the music score begins during the Warner Brother's logo screen. For Eyes Wide Shut, it is the first beginning credit.
The Revolver album, by The Beatles, was used as synchronization music for 2001: A Space Odyssey. The start point is right at the beginning, where the black screen and orchestra noise starts.
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"A magic tower has thirteen rooms, and Pisces enters the tower to climb from room to room, only to become Pisces all over again."
Honestly Scorpio, do you really think that all these film-makers are crafting their films around their favourite albums, rather than making sure the film is made in a way that best delivers the film's message? How can you believe that all movie makers are part of some finely tuned conspiracy in which all their films match up somehow with the entire Beatles collection? This is insanity at it's finest.
I have actually studied into this issue, so it is not a matter of belief as much as knowledge.
Culture is a better description than "finely tuned conspiracy." They are a technically superior culture who rules over the "headless masses." They can turn any industry or government they want into a conspiracy, which is "finely tuned" simply because most people are led around like cows with too much money to spend (The Fool).
The synchronization of image to music results in a superior product. You are not thinking about this issue, but you seem to feel your opinion warrants merit anyway. Why would synchronization between film and music interfere with the message? It simply wouldn't.
I never said anything about all films synching with the Beatle's collection. You are not argueing honestly. Naturally The Beatles are likely to be used quite often, given the popularity of the music, and also given the nature of it. Anyway, it helps to look for the hints included in the movies indicating which music may have been used, like the famous walk across the street on the cover of Abbey Road showing up in the Kubrick films in some analogous fashion (the first walk into the Gold Ball Room in the Shining for example).
Again, I have done my homework, and have some idea of what I am talking about. Kubrick seems to make extensive use of Abbey Road, but then I haven't yet tried Sgt. Pepper in "echo mode," nor looked into the possible use of the entire Beatles catalog in the Kubrick films.
Remember, we are talking about the big films here, and there are reasons these films are so popular. The better films need the rythm to seem so beautiful.
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"A magic tower has thirteen rooms, and Pisces enters the tower to climb from room to room, only to become Pisces all over again."
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Quote:
Originally Posted by TeenageProdigy
Honestly Scorpio, do you really think that all these film-makers are crafting their films around their favourite albums, rather than making sure the film is made in a way that best delivers the film's message? How can you believe that all movie makers are part of some finely tuned conspiracy in which all their films match up somehow with the entire Beatles collection? This is insanity at it's finest.
The synchronization of image to music results in a superior product. You are not thinking about this isuue, but you seem to feel your opinion warrants merit anyway. Why would synchronization between film and music interfere with the message? It simply woundn't.
How would it interfere? Each movie needs to be constructed in such a way that each shot, each scene and each character are presented in the best way possible to transmit their individual messages and in the best possible ways to transmit the film's overall messages and themes. ANY constraint at all a film-maker places in which they control their scenes, shots and characters according to some outside influence is bound to result in a message disruption.
For example:
Director: It would be best for the camera to linger on this character's emotions for a few more seconds, but I can't because Back in Black starts then, so I need to move onto the next scene.
Producer: You are an idiot.
Furthermore, the logistical efforts required to film an entire movie to a whole album are mind-numbing. Production and post-production would certainly be under great constraint in order to synchronise dialogue, actions, shots and editing with the album or albums under consideration and it could quite feasibly affect pre-production as well. That is if the synchronisations are indeed all the way through the movie and frequently so. If they aren't frequent and consistent, then you are most likely encountering a common mathematical proposition called 'coincidence'.
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Re: Still Have My Head
Quote:
Originally Posted by TeenageProdigy
Quote:
Originally Posted by Scorpio Shaping Flow
The synchronization of image to music results in a superior product. You are not thinking about this isuue, but you seem to feel your opinion warrants merit anyway. Why would synchronization between film and music interfere with the message? It simply woundn't.
For example:
Director: It would be best for the camera to linger on this character's emotions for a few more seconds, but I can't because Back in Black starts then, so I need to move onto the next scene.
Producer: You are an idiot.
Stanley Kubrick used an echoing loop of the Abbey Road album to make every movie he made after that album's release, starting with Clockwork Orange and finishing with Eyes Wide Shut. This can be verified by anyone who watches the synch using the correct start point for each movie. He also used Sgt. Pepper for many of his movies (have only verified Eyes Wide Shut and The Shining so far).
Non of your ideas make any sense because you haven't thought this out at all; you are just looking for excuses to argue. The synchronization is not a constraint but is rather an enhancement. The actors themselves use the master tape loop to convey their emotions and to dance their act, so it all synchs up and looks better. If you actually watched the synch, you might have some idea of what is going on. You can leave the synch playing all day long, and it works in an obvious, non-coincidental manner. Proper
design is used right from the beginning, the tape loop being used to design the film right from the beginning.
The only reason you guys argue is because my statements make you upset, because these directors and actors make movie fans into Fools. Really, they are a superior class taking an inferior class for a ride at the theater - butchers selling to cattle.
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"A magic tower has thirteen rooms, and Pisces enters the tower to climb from room to room, only to become Pisces all over again."
Kubrick, The Beatles, and the Crimson King
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