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Williams no se fía de Silvestri,jejeje
Igual es por el vino...![]()
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Samples de The Shape of Water, GORGEOUS, fuckin sh*t!
https://soundtracktracklist.com/rele...er-soundtrack/
Ese The Escape de 10 minutos tiene TODA pinta de ser un OUTSTANDING en toda regla.
MENUDOS tracks para The Last Jedi, esos nombres son trasgersores
https://itunes.apple.com/ca/album/st...ack/1311072698
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Giacchino y sus orquestaciones: lo detalla todo él. Ya quedan pocos así (porque no saben, entre otras razones)
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Última edición por PrimeCallahan; 22/11/2017 a las 11:45
¿Y sus colaboraciones con Matt Reeves?
PD: Y sus Misiones Imposibles son muy divertidas...
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Ese Die Another Day
Close Encounters!!
¡David Shire!
Esto ya tiene su tiempo, pero lo pongo porque es divertido:
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Otro John Powell
Bees And Bulls (2:30)
Selection Process (2:00)
Father And Son (2:06)
Finding Home (5:32)
A New Day (2:52)
Flower Festival (4:46)
There's Been A Mistake (2:28)
Lupe And Ferdinand (2:28)
Lipizzaners And Ferraris (2:50)
Ferdinand And Nina (3:24)
Bull Olympics (3:42)
Sunsets In The Training Yard (3:14)
Escape From "The Spa" (3:32)
Highway Chase (3:16)
From Train Station To Arena (5:04)
Madrid Finale (12:14)
Los de Lalaland creo que no me interesan mucho. Paso bastante de los extendidos. Lo único el de David Shire, por curiosidad de conocer qué música había compuesto este estupendo compositor.
Lo de Ferdinand, toda una alegría que vuelva John Powell, uno de los mejores compositores que trabajan ahora en Hollywood y qué poco se prodiga últimamente, mecachis!
Compras que me llegaron el otro día aprovechando el 3x2 en Fnac:
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A New Desplat... and it's GORGEOUS
https://www.youtube.com/playlist?lis..._0jhv4AES3_O6L
Pues uno de los mejores trabajos del frances, su deliciosima orquestacion (The Shape of Water, Elisa's Theme, por poner ejemplos) dotan a la partitura de ese aire de cuento de hadas casi romantico.
Luego tambien obviamente, se encuentran los elementos casi de suspense (The Escape es una GOZADA, con sus reminiscencias a Harry Potter o a su Godzilla, en terminos percusivos, ¿he dicho ya, que adoro el Godzilla desplatiano) o el climax de Rainy Day que es GLORIA bendita dentro del track, se comentaba en filmtracks que tenia cierto parecido a lo que solia componer JNH, pues si.
E inclusive cierto guiño a John Williams y su Jaws aqui
Y ademas, nunca he entendido aquello de que Desplat es muy frio musicalmente, contenido puede, pero ¿frio?
Estoy escuchando el score y a mí me parece muy bonito y con partes, como dices, más de suspense. Y respecto a la frialdad de Desplat, yo tampoco la veo, a no ser que el quiera ser eso, más frío.
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Coincido, The escape es un pepino de tema (con algún toque de bongo que me recuerda a Misión imposible)
Y sí, percusivamente, muy godziliana. Me encanta cuando Desplat usa timbales
Saludos
Última edición por Tripley; 02/12/2017 a las 12:57
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Joseph Loduca poseido por el Silvestri de What Lies Beneath