The strangest thing about all of this was when I was in college we would watch MTV with the volume turned off and you would be amazed at how U2 videos would sync up with Zeppelin, Oingo Boingo and even Iron Maiden. How did those groups know? It's amazing and I learned a lot about music, booze, and critical thinking in the process.

RJSchwarz
San Diego, CA

I don't think you understand what I am trying to talk about here. Music video synchs such as what you describe are fine for entertanment purposes - or whatever - but there is much more to what I am describing here. One has to look for the game they play, and the clues they drop into the synch, as well as pay attention to which albums are used as favored "dance tracks" for the actors, and which ones are used more for thematic purposes. Elements are drawn from each album on an as-needed basis (typically, they will simply use an artist's entire music catalog). Also, the themes from the albums are borrowed and used to shape the movies to varying degrees. For example, 1941 "is too much," and they used Yellow Submarine as one of the synch albums, which contains the song entitled It's All Too Much. Anyway, if you get the start point(s) down, the synchs become much more precise and informative, and I could sit here and try to decribe them all day long, and really explain nothing to anyone who lacks interest and hasn't looked into the issue for themselves, because people can really only try them and judge for themselves; it's the only way to know. It helps to pay attention to analogy use, which is used in a "magic mirror," alchemical fashion - as and in conjunction with much alchemical and psychological symbolism.

Like right now I am watching Kill Bill Vol. 1, which makes good use of Sgt. Pepper's Lonely Hearts Club Band (The Beatles), Help (The Beatles), Sad Wings of Destiny (Judas Priest), Brittish Steel (Judas Priest), Screaming For Vengeance (Judas Priest), Hell Bent For Leather (Judas Priest), Pornography (The Cure), and Mellon Collie and the Infinite Sadness (The Smashing Pumpkins). As I write this, "Time will pass away" from Help is sung exactly as the words "Four Years Later" flash onto the screen, and then "tell me what you see" is sung when The Bride looks at her now-empty belly. One simply has to start the synch music at the correct start point, which for Kill Bill is when the soundtrack music starts up during the studio logo intro to the movie (which is the case for many movies, including Rosemary's Baby and The Rocky Horror Picture Show).

Oh, I think I understand what you are trying to say. I was mocking the whole concept.

RJSchwarz
San Diego, CA

If you did understand what I was trying to say, you wouldn't waste time just mocking the concept. This is something which can be studied and verified.

For example:

The Beatles music is used to make Rosemary's Baby, and then The Beatles respond by recording The White Album in synchronization with Rosemary's Baby, and with a keen understanding of what that movie is about, much more so than the average movie fan. It is quite obvious to anyone paying attention to the White Album synch that it is no freak of timing. In fact, the more sober critical thinker would have to conclude that the synchronization is quite purposeful. One would have to be quite lazy in one's observations to just ignore what is going on.

The Exorcist is filmed in synchronization with the first four Black Sabbath albums, and then Black Sabbath responds by recording Sabbath Bloody Sabbath in synchronization with The Exorcist (the original version of the movie). This is a common, cross-industrial practice, and Rosemary's Baby even seems to hint at the idea that novels can be written in synchronization with music, though the work involved with verifying such an idea is quite considerable.

This discussion is running in circles.

If this practice was so common, the actual producers, writers, artists, filmmakers and editors would be talking about it. As it stands, it?s only anonymous people posting on messageboards and websites that believe it.

Thanks for bringing this to my attention, Khephra. But I have never read an interview with George Martin or any of the Beatles saying they recorded ?The Beatles? to Rosemary?s Baby.

As far as this synchronization being a useful tool for filmmaking - you have been condescending to us, but haven?t offered any real, helpful advice.

I still see all this as a random, coincidence.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Just watch Porky's in synchronization with The Beatle's White Album, and it becomes very, very plain that these synchronizations are not random. The start point is when the music score begins, as is the case with the Rosemary's Baby synchs with the Beatles albums, and that synch is easy to study and learn from; it's just a matter of paying attention. That's proof. Interviews are not proof, and why would anyone tell you trade secrets you haven't earned yourself? No one is going to talk about something people haven't very clearly uncovered via their own initiative on a large enough scale that wide-spread discussion is inevitable; prior to that, denial will be the rule. This is a big money issue, and there are reasons no one talks about these practices - cult-ural reasons - "big money" taking many analogous forms.

As far as offering advice is concerned. No one has asked a question which can be answered with anything but a book-length response. My advice so far has been very simple and straight-forward, and that advice has been to study the synchronizations themselves which I have recommended. There has been plenty of advice offered on what to look for.

A long explination is not required. You are either toying with the board or somewhat clueless how things work.

RJSchwarz
San Diego, CA

This "advice" business is just a sidetrack and an excuse to start arguements. The proof is in the actual synchs. I'm not going to waste time answering questions designed not to be answered, or offer advice and other such nonsense. Interested persons would simply watch the synch, think, and then ask sensible questions which can be answered directly and to a point. Not this "what can we learn" nonsense, which only invites virtually an infinite array of answers. Anyway, I've answered these questions of yours, and the fact that you ignore my statements only highlights the fact that you want me to waste time.

The proof of how this works is in the synchronizations themselves. Why should I discuss anything with someone who simply wants to argue with me without confirming the truth of what I am stating for themselves? I am correct in my statements about these synchronizations. They are purposeful.

I think the fact that you keep editing to bounce this thread up even though there is nothing new on it shows that you are just toying with the board. So please explain what you hope to get out of this little game.

RJSchwarz
San Diego, CA

Everything Syncs with everything! Just listen to a discman and look out the window and you will see it happen. It does happen but is not coincidence or nesisarily intentional. Our brain just looks for ways to sync things up and thus it appears to be in sync.
The Beatles spent months recording White Album, most of the time working more or less seperate from one annother, to think that they dileberatly syncd it up with something is just folly.

Make Love Not War!

Exactly...There are millions of movies...millions of albums and songs...All the people who created these are just artists trying to get out their art....I don't think they intentionally sync with anything, but it's bored people who have a lot of time that can bring all these together and come up with a conspiracy of sorts.