As Rusty and Danny are excusing themselves to leave Reuben’s home, they off-handedly mention that they’ll be robbing Terry Benedict’s places. Quick, active shots give way to occasional breaks in the action for a dialogue and with a vamp it’s easy to structure the music around these breaks without sounding out of place. Soderbergh’s montages in the film work very well with the drum and bass style. Danny Ocean (George Clooney) and Rusty (Brad Pitt) are trying to convince Reuben to join their heist, and as they are discussing the rest of their crew, we are introduced to some of the secondary characters. One particular montage of chronological interest is when we meet Reuben, an old school casino owner played by Elliot Gould who’s recently been muscled out by the antagonist, fellow casino owner Terry Benedict, played by Andy Garcia. Visual and Musical Timing – Drum ‘n Bass Sound in Filmic Time He was awarded the BMI Film Music award for his scores in the first two in 20. After the success of Ocean’s Eleven in 2001, he returned do both sequels Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). Originally a popular DJ in Belfast, Holmes began working with Soderbergh in 1998 with the film Out of Sight. Soderbergh’s versatility in style can be attributed in part to these films, which shows a lighter side to his work as opposed to such award winning films as Traffic (2000) and Erin Brokovich (2000). While these were financial successes, the films were modestly reviewed and generally perceived to be excuses to get these gentlemen and ladies on screen with each other once more.
#Scott schwartz from oceans 11 movie
Directed by the versatile Steven Soderbergh, the movie was very well received as well as an impressive commercial success at home and abroad.Įncouraged, two sequels were made in the following years, Ocean’s Twelve (2004) and Ocean’s Thirteen (2007).
#Scott schwartz from oceans 11 mac
Naturally, the stars George Clooney, Brad Pitt, Matt Damon, Don Cheadle and Bernie Mac have enjoyed being referenced continually as a modern day Rat Pack, and rightfully so. The movie Ocean’s Eleven (2001) was a remake of the 1960 version of the same name, starring the original Rat Pack in Frank Sinatra, Dean Martin, Sammy David Jr., Joey Bishop and Peter Lawford. Always cool, Holmes’ capability to mix these styles and effectively define the mood of the scene allows a contemporary sense of style and class reminiscent of the Rat Pack of old. Soderbergh’s numerous montages pay very close attention to timing, allowing the drum and bass style of Holmes to consistently groove without awkwardness. David Holmes is successful in his portrayal of a modern Las Vegas in that he melds the two worlds in his own compositions by mixing the sounds of a classic acoustic jazz combo with studio produced drum and bass grooves, but by also using external sources with the same variety, using clips from Elvis and Perry Como all the way to the current hip-hop group Handsome Boy Modeling School.
It would be entirely inappropriate for this movie to beat the nostalgic side of Las Vegas into the audience’s head, but even more inappropriate for the film to ignore it. Holmes and the music department take great care in choosing which side of Las Vegas they wish to portray in each given scene. Because it is set in Las Vegas, nostalgia is impossible to avoid. It epitomizes classic Rat Pack versus online poker, Class versus Flash, gangsters versus gangstas. One of the more overt dilemmas in the music of Ocean’s Eleven was the necessary need to reflect on the idea of old guard Las Vegas and the obvious modernity of the time in which the movie is set.
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