{"id":14498,"date":"2021-11-22T01:47:39","date_gmt":"2021-11-21T22:17:39","guid":{"rendered":"https:\/\/blue-subtitle.com\/blog\/?p=14498"},"modified":"2021-11-22T01:47:39","modified_gmt":"2021-11-21T22:17:39","slug":"%f0%9f%94%a5%f0%9f%94%a5%f0%9f%94%a5crafting-the-sights-and-sounds-of-cmon-cmon","status":"publish","type":"post","link":"https:\/\/blue-subtitle.com\/blog\/%f0%9f%94%a5%f0%9f%94%a5%f0%9f%94%a5crafting-the-sights-and-sounds-of-cmon-cmon\/","title":{"rendered":"\ud83d\udd25\ud83d\udd25\ud83d\udd25Crafting the Sights and Sounds of \u2018C\u2019mon C\u2019mon\u2019"},"content":{"rendered":"<p style=\"text-align: left;\">Monochrome is in vogue this awards season as major contenders including \u201cBelfast,\u201d \u201cThe Tragedy of Macbeth\u201d and \u201cPassing\u201d have all opted for lush black-and-white cinematography. Mike Mills called on \u201cThe Favourite\u201d DP\u00a0Robbie Ryan\u00a0to shoot his latest project, \u201cC\u2019mon C\u2019mon,\u201d with similar rich imagery.<\/p>\n<p style=\"text-align: left;\">\u201cI freaking love black-and-white movies,\u201d Mills says. \u201cIt\u2019s not a binary choice. It\u2019s part of the history of cinema.\u201d The movie, which A24 releases Nov. 19, centers on Joaquin Phoenix\u2019s character, Johnny, a grizzled documentary filmmaker who has never had children, and his precocious, inquisitive 9-year-old nephew Jesse (Woody Norman), who embark on a road trip across the U.S. Mills says there\u2019s something archetypal about the image of the two opposite characters thrust together. \u201cI wanted to play that out \u2014 this documentary strand and this child fable. It felt old, like a drawing.\u201d<\/p>\n<p style=\"text-align: left;\">Mills pointed Ryan to the 1974 Wim Wenders film \u201cAlice in the Cities\u201d as a reference for the specific family dynamic the director was looking for: how older people interact and connect with a kid.<\/p>\n<p style=\"text-align: left;\">The opening scene sees Johnny in Detroit on assignment, interviewing young people and asking them about their fears, expectations and views of the future. Ryan starts out with an intimate close-up of Johnny and his first interview subject. \u201cThe idea was to avoid the wildness and avoid the real world,\u201d Mills says. \u201cBut right in the next shot, we\u2019re out in the Detroit landscape and seeing location shots.\u201d<\/p>\n<p style=\"text-align: left;\">Complementing the visuals is the film\u2019s score by brothers Aaron and Bryce Dessner. Mills brought the composers in early before he had even started shooting. As he had done with Ryan, the DP provided sketches and photos as he came up with ideas.<\/p>\n<p style=\"text-align: left;\">Aaron Dessner\u00a0began to build his arrangement by tinkering on the piano, but ultimately the interview segments helped the score come together. \u201cWe based pieces around the soundscape of L.A., New York, New Orleans and Detroit,\u201d says Dessner. \u201cWe would play a lot of different instruments, process them and drop them in different octaves to create this experimental world.\u201d<\/p>\n<p style=\"text-align: left;\">Mills was drawn to the chord movement, which Aaron Dessner recorded on a Korg MS-20 monophonic synthesizer that was deliberately out of tune. Says Dessner, \u201cWe built this one main theme [\u2018My Anger\u2019] that you hear at the beginning of the movie.\u201d But Mills meant the effect to be subtle, not emotional. \u201cHe didn\u2019t want to push you too hard,\u201d Dessner explains.<\/p>\n<div class=\"post-content-image \/\/  aligncenter wp-image-1235060024 size-large\" style=\"text-align: left;\">\n<figure class=\"o-figure   lrv-u-max-width-100p\">\n<div class=\"c-lazy-image \">\n<div class=\"lrv-a-crop-16x9\"><img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?w=1000\" sizes=\"auto, (min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" srcset=\"https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png 1000w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=150,84 150w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=300,169 300w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=125,70 125w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=681,383 681w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=450,253 450w, https:\/\/variety.com\/wp-content\/uploads\/2021\/08\/Cmon-Cmon.png?resize=250,140 250w\" alt=\"Lazy loaded image\" width=\"1000\" height=\"563\" data-lazy-loaded=\"true\" \/><\/div>\n<\/div><figcaption class=\"c-figcaption lrv-u-font-size-12 lrv-u-font-family-secondary lrv-u-width-100p lrv-u-text-align-left\">\n<div class=\"c-figcaption__inner lrv-u-padding-t-025 lrv-u-width-100p lrv-u-border-b-1 lrv-u-border-color-grey-light lrv-u-flex lrv-u-flex-direction-column lrv-u-padding-b-050\"><span class=\"lrv-u-font-size-14@desktop lrv-u-margin-t-050\">Robbie Ryan looked at \u201cAlice in the Cities\u201d as a reference to frame Johnny and Jesse\u2019s dynamic<\/span><cite class=\"lrv-u-color-grey u-font-family-basic\">A24<\/cite><\/div>\n<\/figcaption><\/figure>\n<div><\/div>\n<\/div>\n<div class=\"article-tags \/\/ a-children-icon-bullet lrv-u-font-family-primary u-letter-spacing-012 lrv-u-line-height-large lrv-u-color-brand-primary\" style=\"text-align: left;\">Source:variety<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Monochrome is in vogue this awards season as major contenders including \u201cBelfast,\u201d \u201cThe Tragedy of Macbeth\u201d and \u201cPassing\u201d have all opted for lush black-and-white cinematography. Mike Mills called on \u201cThe Favourite\u201d DP\u00a0Robbie Ryan\u00a0to shoot his latest project, \u201cC\u2019mon C\u2019mon,\u201d with similar rich imagery. \u201cI freaking love black-and-white movies,\u201d Mills says. \u201cIt\u2019s not a binary choice. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":14499,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7036],"tags":[8852,8851],"class_list":["post-14498","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-crafting-the-and-sounds","tag-crafting-the-sights-and-sounds"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\ud83d\udd25\ud83d\udd25\ud83d\udd25Crafting the Sights and Sounds of \u2018C\u2019mon C\u2019mon\u2019 - blue subtitle<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blue-subtitle.com\/blog\/\ud83d\udd25\ud83d\udd25\ud83d\udd25crafting-the-sights-and-sounds-of-cmon-cmon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\ud83d\udd25\ud83d\udd25\ud83d\udd25Crafting the Sights and Sounds of \u2018C\u2019mon C\u2019mon\u2019 - blue subtitle\" \/>\n<meta property=\"og:description\" content=\"Monochrome is in vogue this awards season as major contenders including \u201cBelfast,\u201d \u201cThe Tragedy of Macbeth\u201d and \u201cPassing\u201d have all opted for lush black-and-white cinematography. 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