Love and Mercy - News and Reviews - First clip is out.

[Bittersweet-Sanity]

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[Andrew G. Doe]

Delighted to see someone finally getting their due recognition...

Agreed, after all this time its great to see Melinda in the spotlight.

I wasn't referring to Melinda. Her role in Brian's life since the mid-eighties has long been recognised and rightly appreciated.

Who were you referring to?

Gloria Ramos.

[rab2591]

Glad she got her due as well. Really shows how willing the filmmakers were to get things factually accurate in this film.

[Misterlou]

Delighted to see someone finally getting their due recognition...

Agreed, after all this time its great to see Melinda in the spotlight.

I wasn't referring to Melinda. Her role in Brian's life since the mid-eighties has long been recognised and rightly appreciated.

Who were you referring to?

Gloria Ramos.

I think he could have been talking about Brian as well.

[guitarfool2002]

I've been happy to see the work of the set designers, researchers and consultants/directors (like Darian and Mark, two familiar names here), prop department staff, and all related people getting praised for the accuracy and attention to detail in the historical scenes. I remember this time last summer there were various still photos and even one cel video leaking out, and there were "concerns" that certain details like the accuracy of the type of car shown on the beach would scupper the film. Those things ended up, I guess, not having much effect if any at all on the overall scope of what was going on that viewers would see in context in the final released cut. Just as predicted. The people who did this work and who set up the historical scenes beautifully did a magnificent job, I'd hope they get an official nod for their efforts with nominations and awards. Well deserved.

[Pretty Funky]

All the whoo haa about that car on the beach. Turned out to be a couple of seconds during the opening sequence. 

[Chocolate Shake Man]

If you like ambitious, you should also consider Kurosawa's Ran and Robert Altman's Nashville. Talk about ambitious movies!

I appreciate Kurosawa's work, my favorite is probably IKIRU.  Out more grandiose films, I would have have to settle in with SEVEN SAMURAI.  I'm nearly 40 and still never seen NASHVILLE.  I do love Altman though, very much.  I have a personal love for THE PLAYER.

Sorry about going off topic but I do love to talk movies.

I just saw Ikiru for the first time the other night and it's a beautiful, beautiful movie. It's instantly in my personal top 100 and I would also put it ahead of Ran, even though that's also breathtaking. My favourite Kurosawa's, though, remain Throne of Blood and Rashomon. I must say, I don't think I've seen Seven Samurai all the way through. I have a distinct memory of taking it out of the library about 15 years ago, but I don't recall much of it so not sure if I watched it entirely or not. Either way, I should definitely see it. Kurosawa is shaping up to be one of favourite filmmakers.

The Player is great but definitely see Nashville. It's not to everyone's tastes but I think it's one of the greatest movies ever made.

[Andrew G. Doe]

Award nominations, IMHYEO...

Paul Dano (can you be nominated for playing, essentially, half a role ?) - best actor

Paul Giametti - best supporting actor (and best supporting wig)

Teresa Cowles - best supporting bimbo

Production design

Sound design

Original (adapted ?) soundtrack (please, release that as a download if nothing else)

[Andrew G. Doe]

Delighted to see someone finally getting their due recognition...

Agreed, after all this time its great to see Melinda in the spotlight.

I wasn't referring to Melinda. Her role in Brian's life since the mid-eighties has long been recognised and rightly appreciated.

Who were you referring to?

Gloria Ramos.

I think he could have been talking about Brian as well.

Nope. Maybe I've missed something these last few years, but my impression was that he'd, admittedly belatedly, been granted his due in the wider context of the world outside this forum.

[filledeplage]

I've been happy to see the work of the set designers, researchers and consultants/directors (like Darian and Mark, two familiar names here), prop department staff, and all related people getting praised for the accuracy and attention to detail in the historical scenes. I remember this time last summer there were various still photos and even one cel video leaking out, and there were "concerns" that certain details like the accuracy of the type of car shown on the beach would scupper the film. Those things ended up, I guess, not having much effect if any at all on the overall scope of what was going on that viewers would see in context in the final released cut. Just as predicted. The people who did this work and who set up the historical scenes beautifully did a magnificent job, I'd hope they get an official nod for their efforts with nominations and awards. Well deserved.

Agree, 100%!  What an amazing job on detail.  The studio, the pool scenes etc., absolutely merit recognition. 

[sea of tunes]

Sorry about going off topic but I do love to talk movies.

I just saw Ikiru for the first time the other night and it's a beautiful, beautiful movie. It's instantly in my personal top 100 and I would also put it ahead of Ran, even though that's also breathtaking. My favourite Kurosawa's, though, remain Throne of Blood and Rashomon. I must say, I don't think I've seen Seven Samurai all the way through. I have a distinct memory of taking it out of the library about 15 years ago, but I don't recall much of it so not sure if I watched it entirely or not. Either way, I should definitely see it. Kurosawa is shaping up to be one of favourite filmmakers.

The Player is great but definitely see Nashville. It's not to everyone's tastes but I think it's one of the greatest movies ever made.

I don't get to indulge my love of movies nearly as much as I once did (kids).  But I share your same passion.  I'm still very pleased that L&M was made with a certain level of artistry and with an aim much higher than the standard biopic.

[sea of tunes]

Teresa Cowles - best supporting bimbo

 

soundtrack (please, release that as a download if nothing else)

I've been hoping against hope for the same thing since release day.  Starting to give up hope though, honestly.

[Nile]

soundtrack (please, release that as a download if nothing else)

I've been hoping against hope for the same thing since release day.  Starting to give up hope though, honestly.
[/quote]

Maybe I´m a damn fool but I believe Bill Pohlad about soundtrack coming out.. Can´t find a link right now but I know I read somewhere that it´s coming out!

[sea of tunes]

Maybe I´m a damn fool but I believe Bill Pohlad about soundtrack coming out.. Can´t find a link right now but I know I read somewhere that it´s coming out!

http://consequenceofsound.net/2015/06/interview-director-bill-pohlad/

COS: Your film handles Brian’s auditory hallucinations in a really incredible way. Was the idea to stitch together bits and pieces of Wilson’s music into a sort of haunting dissonance something you and [composer] Atticus Ross came up with together?

BP: Yes. That was one of the exciting things for me as a filmmaker. Brian suffers from hallucinations, but they’re not visual hallucinations, which would be the normal thing. When you’re making a film, you can go to all those tried-and-true visual references to try and express those hallucinations, but this is auditory. I would talk to Brian and read things about those types of hallucinations and what they’re like, and I was really intrigued by the notion of trying to represent those.

The overall understanding I got from Brian and Melinda is that Brian hears these really complex melodies and arrangements in his head, and it’s part of his genius, but he also can’t turn them off. They became part of his madness as well. In trying to express all that, one thing that popped into my mind was “Revolution #9” off the Beatles’ White Album. That was something I was focusing on. When I was meeting sound people, Atticus was one of the first guys I talked to about that notion, and he picked up on it immediately. His experience, the things he’s done in the past as a producer and a composer, really lent itself to that kind of thing. He definitely took it and ran with it. That was really exciting.

COS: Please tell me you’re going to release a soundtrack of that score.

BP: We are. We’re working on it now. Unfortunately, these things get complicated when you’ve got a lot of bits from different songs and different eras, but we’re working through it, and it should be out soon after the film.

[hideyotsuburaya]

there's the following line heard in LOVE & MERCY:

"yeah.....who's going to fold our clothes?"

it's at the very ending of the scene where (younger) Brian insists he cannot tour and needs to stay home and in the studio to produce music.  as Dennis & Carl walk away one says they can't imagine Brian not coming along with their tour of Japan.  the above quote finishes the exchange.

I'm not certain exactly who says that line about the clothes (it doesn't matter) and no doubt it's said in jest, but WHATEVER COULD THEY HAVE MEANT BY THAT WISECRACK?!

BTW the film's still playing at 5 different theatres in my vicinity, and the one I attended last Friday (my 3rd viewing) with my son had by far the largest audience (go figure).  from what I saw L&M was received quite well everywhere

[Andrew G. Doe]

To me, means Brian's a bit of a mother hen on tour.

[hideyotsuburaya]

a figurative observation to be sure, though with a literal sound (to me)  if delivered casually.

using the expression "straight as a die"  by the screenwriter (or perhaps director) was a perceptive choice, no doubt part of Murry's tool-and-die background vocabulary

I like the lines they gave Melinda, both "well at least the master door lock-out is working" and "well at least the loudspeaker is working" (pardon me if my quotes are just close enough)

[guitarfool2002]

I'd also single out Elizabeth Banks for much deserved praise and possibly a few industry nods as well for her portrayal of Melinda. Her performance, and certain aspects of it, are things I noticed and actually took to heart more on the repeat viewings. That first time in the theater seeing it, there was so much it was a bit overwhelming. On repeat viewings, you have a chance to catch the nuances and look for the little details even closer. More to come on that, coming after repeat viewings and some time for it all to sink in.

There are quite a few key scenes throughout the film where the actors say more with their facial expressions and body language than 4 pages of dialogue could have conveyed. Specifically, Dano, Jake Abel, and Elizabeth Banks who has one of the most crucial and satisfying scenes in the film's climax. It's fitting that Giamatti's Landy spends most of the time on screen talking, that looked to be a great portrayal of his actual demeanor and personality. All talk, all hustle, until someone shuts him up.

And when Banks confronts Landy who was ranting and raving outside the office door, all full of insults and bravado and his pseudo-machismo testosterone-fueled bullying trip...it was *that* scene that I think generated one of the bigger audience reactions both at the shows I saw and from other reports from viewers. Banks strikes the perfect pose and shoots the perfect look at the doctor as she swings open the door. It's not overblown, it's not overacted, it's not getting into "Mommie Dearest" territory...

Rather, it's the perfect, even understated to a degree, facial and body expression of the words "Checkmate, you asshole." that effectively put an end to this bullying by a power-mad and ego-driven "professional" who thought he could intimidate yet again someone he felt wouldn't be up for a face-to-face confrontation. He was the big man when the blinds were drawn and the door was closed, but as soon as that door opened, it was "checkmate, you asshole", and he got both owned and served (papers, that is...) and walked away with his entourage in tow and his tail between his legs. As it needed to be.

It's a great scene, as much of what would be called a "crowd pleaser" as anything in the film. And this checkmate was won without a word of dialogue. That is solid acting. It could have gone into parody, but instead the performance showed both power and empowerment through body language and a close-up of a facial expression. And it was the satisfaction of the good guys winning one.

[puni puni]

More clips from the film can be seen here https://www.youtube.com/watch?v=H5CUWzn-iYs

[Wirestone]

Well, it's soon after the film, and the soundtrack ain't out.

Speaking of which, I wonder how those MIC session notes are coming? It's only been two years now.

I really dislike being played for things that don't come out.

If you don't have the rights, if you don't have the time, don't promise the product.

[sea of tunes]

I share your frustration, Wirestone.  I still have my fingers crossed.

[Ang Jones]

I'd also single out Elizabeth Banks for much deserved praise and possibly a few industry nods as well for her portrayal of Melinda. Her performance, and certain aspects of it, are things I noticed and actually took to heart more on the repeat viewings. That first time in the theater seeing it, there was so much it was a bit overwhelming. On repeat viewings, you have a chance to catch the nuances and look for the little details even closer. More to come on that, coming after repeat viewings and some time for it all to sink in.

There are quite a few key scenes throughout the film where the actors say more with their facial expressions and body language than 4 pages of dialogue could have conveyed. Specifically, Dano, Jake Abel, and Elizabeth Banks who has one of the most crucial and satisfying scenes in the film's climax. It's fitting that Giamatti's Landy spends most of the time on screen talking, that looked to be a great portrayal of his actual demeanor and personality. All talk, all hustle, until someone shuts him up.

And when Banks confronts Landy who was ranting and raving outside the office door, all full of insults and bravado and his pseudo-machismo testosterone-fueled bullying trip...it was *that* scene that I think generated one of the bigger audience reactions both at the shows I saw and from other reports from viewers. Banks strikes the perfect pose and shoots the perfect look at the doctor as she swings open the door. It's not overblown, it's not overacted, it's not getting into "Mommie Dearest" territory...

Rather, it's the perfect, even understated to a degree, facial and body expression of the words "Checkmate, you asshole." that effectively put an end to this bullying by a power-mad and ego-driven "professional" who thought he could intimidate yet again someone he felt wouldn't be up for a face-to-face confrontation. He was the big man when the blinds were drawn and the door was closed, but as soon as that door opened, it was "checkmate, you asshole", and he got both owned and served (papers, that is...) and walked away with his entourage in tow and his tail between his legs. As it needed to be.

It's a great scene, as much of what would be called a "crowd pleaser" as anything in the film. And this checkmate was won without a word of dialogue. That is solid acting. It could have gone into parody, but instead the performance showed both power and empowerment through body language and a close-up of a facial expression. And it was the satisfaction of the good guys winning one.

Great observations.

I got considerable satisfaction from the scene in which Landy storms into Melinda's place of work. His patronising remarks about her having an office and then the tirade of abuse.  Melinda's response was subtly handled. Not immediately confronting but allowing Landy to rant at the closed door, her reaction concealed and only when he had finished his tirade, opening the door as cool as ice and meeting his eyes. It was a symbol of empowerment. Melinda had showed considerable forbearance in that earlier scene in which Landy stood beside her car, commenting on her previous relationship. I'm sure that most women's response to this scene would have been considerable anger - to have this person analysing and assessing her history - none of his business! But then he tried to make it all his business. Had Melinda reacted without restraint at that point, he would have been able to obstruct their relationship at an earlier and more vulnerable stage.

Of course Melinda was involved in the car business but was it significant or symbolic that two of the scenes in which Landy and Melinda had exchanges took place next to cars? In each scene, she was enclosed: firstly in the car, waiting for Landy to take his arm off the car door so she could drive away. You could almost feel her repressed anger and wondered how he, a psychologist, could be unaware of it but then he was enclosed in the bubble of his own overblown ego The second time she was in her office, blinds down, suggesting perhaps that she might be frightened. What a nice slap in the face for Landy that the macho strutting of Landy, the aggression, had not scared her at all. No symbolic flight this time. It was like the moment when the nameless heroine of du Maurier's Rebecca says "I'M Mrs de Winter now!" except that in Rebecca, there weren't the same feminist overtones.

[Fire Wind]

Not gonna get another chance to see the film before the DVD release.  Things keep occuring to me though, regarding symbolism, but working from memory, so could get things wrong.

During the lengthy Good Vibes sessions, some are getting restless, including Dennis, who lines up a domino to flick (from the top of a piano?) across the room, the reference being to Columnated ruins domino.  The camera pans and we now see Carl while the domino, flicked in his direction, flies past him on its trajectory.  Carl is wearing shades, quietly practising his guitar, a nod to the one who'll emerge as leader of the band as Brian falls.

Too much of a stretch?  Nothing in this film seems accidental.  Made me wonder if it was a hinting at a subconscious desire of Dennis to move on, or even back, to a simpler time.

[rab2591]

Not gonna get another chance to see the film before the DVD release.  Things keep occuring to me though, regarding symbolism, but working from memory, so could get things wrong.

During the lengthy Good Vibes sessions, some are getting restless, including Dennis, who lines up a domino to flick (from the top of a piano?) across the room, the reference being to Columnated ruins domino.  The camera pans and we now see Carl while the domino, flicked in his direction, flies past him on its trajectory.  Carl is wearing shades, quietly practising his guitar, a nod to the one who'll emerge as leader of the band as Brian falls.

Too much of a stretch?  Nothing in this film seems accidental.  Made me wonder if it was a hinting at a subconscious desire of Dennis to move on, or even back, to a simpler time.

I do believe what Dennis flicked was a matchbook.

[HeyJude]

I’m certainly hoping they somehow get that Atticus Ross score out. But I’m not counting on it. It’s relatively rare for a film to make it to home video prior to the soundtrack/score being released. They are usually released more or less concurrently or even weeks or months prior to a film’s theatrical release.

My fear is that they will have trouble finding a decent distributor for a soundtrack release once the film’s publicity has died down. Now, there is always some amount of market for film scores. As I mentioned in this or another thread, go to the Screen Archives website where you can get new, deluxe reissues of the most arcane, seemingly niche scores (“Mac & Me”, “Agent Cody Banks”, the score to the He-Man cartoon series, etc.). There will always be a market for the Ross score to some degree.

But I fear the director and/or producers and/or distributors, if they are still getting pushback from someone who won’t sign off on it, will eventually lose steam and interest in spearheading a release.

While specs may change on the Blu-Ray/DVD release bonus features, it also doesn’t bode well in my mind that they didn’t (or couldn’t) get an “isolated score” audio track on there. Either they just didn’t consider it, or, I fear, couldn’t even get a clearance to do *that*.