Dude that’s bullshit. I dunno what to say, I have no clue about legal shit like that. As long as you’re not claiming it as yours then you should be fine.
Prologue
After some research I found out that the German law firm that sued me only does filesharing cases. It's almost an automatic process that's why they can send out over 150.000 (!!!) dissuasions per year.
Luckily there are many law firms that specialize in defending these filesharing cases.
Germany is one of the most strict countries when it comes to filesharing. In other European countries like the Netherlands or Belgium it doesn't get prosecuted at all.
In the US I think you would just get a warning - at least that's what I read.
Just singing the papers and paying them would've been the worst thing to do, so I'm happy now that I have a great defense.
Luckily there are many law firms that specialize in defending these filesharing cases.
Germany is one of the most strict countries when it comes to filesharing. In other European countries like the Netherlands or Belgium it doesn't get prosecuted at all.
In the US I think you would just get a warning - at least that's what I read.
Just singing the papers and paying them would've been the worst thing to do, so I'm happy now that I have a great defense.
I like thinking about the opening shots of movies and what motivates the choice of a particular opening shot, and I think it’s interesting how Tenet’s is quite different from the opening shots of Nolan’s other films.
The first images that we see in Following, Memento, and Insomnia are close-ups of either a character’s hands performing an action, or narratively significant elements (in Insomnia, it’s the blood seeping into the shirt).
In the rest of Nolan’s films, the opening shots are usually focused on narratively significant objects, characters, or occurrences, though they’re not always close-ups.
In Batman Begins, we first see a swarm of bats forming the bat symbol – unless you don’t count that, in which case the first shot within the diegesis is the disorienting moving shot of the garden at Wayne Manor where young Bruce and Rachel are playing. The disorienting nature of the shot gives it a dreamlike sensibility, which is of course apt since it turns out to be Bruce’s dream. In The Dark Knight Rises, we first see Gordon speaking at a podium.
The Dark Knight is the most different of the trilogy since the opening shot doesn’t feature any notable symbols, characters, or a character-specific setting like Wayne Manor, and the shot itself doesn’t seem to be framed from the perspective of a particular character (like the dreamlike flashback in BB). It’s just a tracking shot of a cityscape. Still, there’s a kineticism to the shot that gives it purpose other than just establishing the setting – it’s obviously moving towards one particular building, anticipating the shattering of the window. So even if there are no significant symbols or characters in TDK’s first shot, something significant still happens.
In The Prestige, we first see the pile of hats in the woods, whose significance we learn later on. In Inception, we have a close-up of ocean waves, a symbol of the unconscious mind. Interstellar opens with the bookcase, again an object whose significance we learn later on.
In Dunkirk, we initially see a group of soldiers walking under a flurry of German propaganda posters—a shot that immediately establishes the tone of the film with its sense of desolation. The choice to have the soldiers’ backs facing the camera also feels purposeful in that it communicates the film’s approach to character. The film is about the collective (not the individual) experience of survival, and the blank-slate characters serve as an audience surrogate. They are initially presented as faceless because they could be anyone or any of us.
Tenet, on the other hand, feels like the first Nolan film where the opening shot feels weirdly pedestrian. There are no narratively significant characters, occurrences, or symbolic objects featured… it feels like it’s merely there to establish the setting. But part of me wonders if this was deliberate on Nolan’s part – because the film is his take on a Bond movie, the beginning is clearly his attempt at the Bondian “cold open.”
In earlier Bond films especially, the opening shots are not usually very memorable, and only serve to drop the viewer into a particular location where things are normal/peaceful until the action starts (which is exactly what happens in Tenet). After the initial gun barrel sequence in a Bond film, the gun barrel will often open up onto a shot of a setting that doesn’t feature any significant characters, closeups, or important objects, with the camera panning casually. In the case of Tenet, it’s very easy to imagine a gun barrel sequence preceding its very casual opening shot.
The first images that we see in Following, Memento, and Insomnia are close-ups of either a character’s hands performing an action, or narratively significant elements (in Insomnia, it’s the blood seeping into the shirt).
In the rest of Nolan’s films, the opening shots are usually focused on narratively significant objects, characters, or occurrences, though they’re not always close-ups.
In Batman Begins, we first see a swarm of bats forming the bat symbol – unless you don’t count that, in which case the first shot within the diegesis is the disorienting moving shot of the garden at Wayne Manor where young Bruce and Rachel are playing. The disorienting nature of the shot gives it a dreamlike sensibility, which is of course apt since it turns out to be Bruce’s dream. In The Dark Knight Rises, we first see Gordon speaking at a podium.
The Dark Knight is the most different of the trilogy since the opening shot doesn’t feature any notable symbols, characters, or a character-specific setting like Wayne Manor, and the shot itself doesn’t seem to be framed from the perspective of a particular character (like the dreamlike flashback in BB). It’s just a tracking shot of a cityscape. Still, there’s a kineticism to the shot that gives it purpose other than just establishing the setting – it’s obviously moving towards one particular building, anticipating the shattering of the window. So even if there are no significant symbols or characters in TDK’s first shot, something significant still happens.
In The Prestige, we first see the pile of hats in the woods, whose significance we learn later on. In Inception, we have a close-up of ocean waves, a symbol of the unconscious mind. Interstellar opens with the bookcase, again an object whose significance we learn later on.
In Dunkirk, we initially see a group of soldiers walking under a flurry of German propaganda posters—a shot that immediately establishes the tone of the film with its sense of desolation. The choice to have the soldiers’ backs facing the camera also feels purposeful in that it communicates the film’s approach to character. The film is about the collective (not the individual) experience of survival, and the blank-slate characters serve as an audience surrogate. They are initially presented as faceless because they could be anyone or any of us.
Tenet, on the other hand, feels like the first Nolan film where the opening shot feels weirdly pedestrian. There are no narratively significant characters, occurrences, or symbolic objects featured… it feels like it’s merely there to establish the setting. But part of me wonders if this was deliberate on Nolan’s part – because the film is his take on a Bond movie, the beginning is clearly his attempt at the Bondian “cold open.”
In earlier Bond films especially, the opening shots are not usually very memorable, and only serve to drop the viewer into a particular location where things are normal/peaceful until the action starts (which is exactly what happens in Tenet). After the initial gun barrel sequence in a Bond film, the gun barrel will often open up onto a shot of a setting that doesn’t feature any significant characters, closeups, or important objects, with the camera panning casually. In the case of Tenet, it’s very easy to imagine a gun barrel sequence preceding its very casual opening shot.
I think that the more Nolan can use IMAX, the more he can establish opening shots. It also depends on how the score plays a role in how he wants to communicate that opening.Janky Sam wrote: ↑February 12th, 2021, 9:30 pmI like thinking about the opening shots of movies and what motivates the choice of a particular opening shot, and I think it’s interesting how Tenet’s is quite different from the opening shots of Nolan’s other films.
The first images that we see in Following, Memento, and Insomnia are close-ups of either a character’s hands performing an action, or narratively significant elements (in Insomnia, it’s the blood seeping into the shirt).
In the rest of Nolan’s films, the opening shots are usually focused on narratively significant objects, characters, or occurrences, though they’re not always close-ups.
In Batman Begins, we first see a swarm of bats forming the bat symbol – unless you don’t count that, in which case the first shot within the diegesis is the disorienting moving shot of the garden at Wayne Manor where young Bruce and Rachel are playing. The disorienting nature of the shot gives it a dreamlike sensibility, which is of course apt since it turns out to be Bruce’s dream. In The Dark Knight Rises, we first see Gordon speaking at a podium.
The Dark Knight is the most different of the trilogy since the opening shot doesn’t feature any notable symbols, characters, or a character-specific setting like Wayne Manor, and the shot itself doesn’t seem to be framed from the perspective of a particular character (like the dreamlike flashback in BB). It’s just a tracking shot of a cityscape. Still, there’s a kineticism to the shot that gives it purpose other than just establishing the setting – it’s obviously moving towards one particular building, anticipating the shattering of the window. So even if there are no significant symbols or characters in TDK’s first shot, something significant still happens.
In The Prestige, we first see the pile of hats in the woods, whose significance we learn later on. In Inception, we have a close-up of ocean waves, a symbol of the unconscious mind. Interstellar opens with the bookcase, again an object whose significance we learn later on.
In Dunkirk, we initially see a group of soldiers walking under a flurry of German propaganda posters—a shot that immediately establishes the tone of the film with its sense of desolation. The choice to have the soldiers’ backs facing the camera also feels purposeful in that it communicates the film’s approach to character. The film is about the collective (not the individual) experience of survival, and the blank-slate characters serve as an audience surrogate. They are initially presented as faceless because they could be anyone or any of us.
Tenet, on the other hand, feels like the first Nolan film where the opening shot feels weirdly pedestrian. There are no narratively significant characters, occurrences, or symbolic objects featured… it feels like it’s merely there to establish the setting. But part of me wonders if this was deliberate on Nolan’s part – because the film is his take on a Bond movie, the beginning is clearly his attempt at the Bondian “cold open.”
In earlier Bond films especially, the opening shots are not usually very memorable, and only serve to drop the viewer into a particular location where things are normal/peaceful until the action starts (which is exactly what happens in Tenet). After the initial gun barrel sequence in a Bond film, the gun barrel will often open up onto a shot of a setting that doesn’t feature any significant characters, closeups, or important objects, with the camera panning casually. In the case of Tenet, it’s very easy to imagine a gun barrel sequence preceding its very casual opening shot.
Additionally, I have my own two bits of "Nolanism" insights, spoiled both for length and content.
Last edited by MuffinMcFluffin on February 13th, 2021, 4:58 pm, edited 3 times in total.
Mcfluffy can you pls use spoiler tags, you know where to put them
That's alright!
I like how the title's placement at the beginning helps to separate the Protagonist'sMuffinMcFluffin wrote: ↑February 13th, 2021, 4:46 pm
I think that the more Nolan can use IMAX, the more he can establish opening shots. It also depends on how the score plays a role in how he wants to communicate that opening.
Additionally, I have my own two bits of "Nolanism" insights, spoiled both for length and content.
I know i'm pretty late, but I just wanna share my HD Recreation of the TENET IMAX Prologue What do you think?
https://streamable.com/hp0ss9
https://streamable.com/hp0ss9