The proof that this is wrong, of course, is that most movies and TV still look utterly boring and generic.

lol. So all you have to do to learn great composition is watch YouTube videos about the "rule of thirds"? Sven Nyvkist is rolling in his grave pretty fast right now.

So the point of this article is "don't make music that is even mildly ambiguous, otherwise dumb, hysterical articles will be written about it"?

Haven't seen it in a while, but I remember the family quietly exiting the house (I love the fact that there's no score in the entire thing), getting into the car, and driving away in a sea of resting birds, chirping and screeching.

I'd say it's easily one of my favorite endings ever.

Jesus, I thought I had already made that clear. Here's a grandpa statement: "A lot of what has piled up on top of the pop charts for the last decade or so can't be played as a melody on a piano without sounding overly repetitive".

I didn't call him "grandpa" because he was criticizing new things. It was because of the nature of his complaints, particularly regarding melody.

If you had said that you liked Sunn O))) and Burial and Mica Levi and John Cage and etc, I wouldn't have busted your balls. The reason I did is that every one of your detailed, "technical" comments about what you valued in music suggests a conservative (yes!) view of it. If you think melody is such a central concern,…

I'm sure you're "in touch" with new pop music, but when you say things like "it's because of an almost pathological objection to melody—one of the core principles of music", it reveals a conservative, close-mined way of thinking about what music can be.

Sorry, buddy, but everything about your previous message *screams* the "modern music sucks, it's not like the olden days!" line of thinking. Particularly this:

My problem with the video is that it muddles its argument by comparing the very few very memorable main themes of certain movies with the non-thematic, non-melodic, barely there, "just hanging the scene together"-type of score of other movies. That second type is something that exists in pretty much every Hollywood…

Well, I'm glad I don't have it in me to dismiss the entire pop music landscape offhandedly.

What? Whether you like them or not, would you disagree that they are, in a pop music context, quite rebellious and progressive?

Holy shit, this is the most grandpa post I've ever read on the AV Club.

I wrote this as a YouTube comment, but apparently it was considered spam and never showed up. Basically, this video is stupid:

Scorsese and Cuaron are movie nerds, and when you're a movie nerd making movies, you're mostly making them for other movie nerds who enjoy the same shit as you.

I could point you to articles that do what INSIDE JOB does, that are not more technical than it is, and that would take less time to read. The only point I can't argue with is if you'd rather watch/listen than read.

I thought INSIDE JOB was mildly informative and entertaining, but I'm sure I could've read a few articles during those two hours which would've given me a lot more information (and possibly a lot more entertainment) than the documentary. The "info-dump", as you call it, seems like a way to get information to people…

I feel pretty confident that it's the technical challenge of single takes that people get off on (at least based on movie nerds I talk to). That's certainly what I'm usually thinking about when they come up, and I agree with D'Angelo that that's the wrong mindset to be in (with very few exceptions).

If it's just one, it would be a mistrial and he'd have to do it again.