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The Fountainhead - Title Sequence

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Not if that music accompanied it ... blech. It looks like some Sunday afternoon Sundance channel time killer ...

I'd love to see a new film made, and I think there's enough interest to pull it off and make the Fountainhead film.

But whatever film that sequence opens (and with that cast ... Keira Knightley? I mean she's a good actress, but way wrong for Dominique ...) isn't the Fountainhead I'd like to see.

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I didn't like it. The music set the tone - and it made the FH to seem like it is, I dunno, like a story about "the architect next door". The FH is a dramatic and powerful story, and that music did NOT match that at all. The shots of the buildings were okay, but Keira Knightly?!?!?! No way! She does not have the presence necessary to play any part in that movie.

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The music should be technically challenging, but not for its own sake. Melodies and countermelodies should exhibit ascension, and harmonies must provide foundation, but movement.

The pop idiom is wrong, too. Rock, folk, country, or another ephemeral form would aesthetically downplay the theme of the creator as a prime mover. The music must be European-orchestral in nature, without any "ethnic" instruments (bagpipes, eastern flutes, etc.). However some alternate methods of making sound could be used: a Violin melody could be enhanced with a bowed Vibraphone, and muted Trumpets could provide an upper harmony to a Horn melody, etc.

The harmonic language should be neo-Romantic, but some elements of 20th century hyperchromatic tertian harmony could be used, especially for tension-building (think Shostakovich, Stravinsky). However, heroic themes would borrow harmonically from American composers like Copland or Dello Joio.

And, if I had anything to do with a Fountainhead movie, the scene with the young composer meeting Roark at the Monadnack site would be set with the most beautiful melody in the entire film - simple, pastoral but not humble, triumphant, but in a benevolent (non-combative way) - and that would be the only time such a melody would happen in the film. (Think of the coffee shop scene from Heat, or the mood set by Cristof when Truman is reunited with his father.)

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