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About LinkBacksY ahora esta completa del todo, tenemos los 6 minutos que faltaban en la otra edición.
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Re: Bandas sonoras
Y ahora esta completa del todo, tenemos los 6 minutos que faltaban en la otra edición.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Misión Imposible de Elfman confirmada por La-La-Land para finales de Agosto, Tripley. Darkman también está al caer pero sin fecha de confirmación todavía.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Re: Bandas sonoras
¡Wow!
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
P-pero, p-pero, PERO PERO PERO. UN MOMENTO. ESTO SIGNIFICA QUE... QUE... ¡OH! ¡OH!
Varese has never licensed their perpetuity titles out to other specialty labels to expand, before. This is a monumental first! And hopefully it means that there are many more expansions that can happen now..
¡PATRICK DOYLE! ¡PATRICK DOYLE! ¡PATRICK DOYLE! ¡SU FILMOGRAFÍA COMPLETA Y RESTAURADA DEL PERIODO DORADO (1989-1997, exceptuando Dead Again que ya la tenemos), PUEDE SER UNA REALIDAD!
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
So LLL could maybe collaborate with Varese to give us a premiere release of the film recordings of Rozsa's Eye of the Needle, Elfman's Pee-Wee's Big Adventure, or Horner's Brainstorm! Hell, maybe Kritzerland could give us a complete The Other or David Raksin's magnum opus, Forever Amber (also a Varese-in-perpetuity title)!
¡Las posibilidades son infinitas!
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
¡La-La-Land y Varese trabajando juntos!
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Iniciado por Branagh/Doyle
Misión Imposible de Elfman confirmada por La-La-Land para finales de Agosto, Tripley. Darkman también está al caer pero sin fecha de confirmación todavía.
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"
Re: Bandas sonoras
Joer, un expandido de Deep Blue Sea de Rabin o el Sudden Death de John Debney.P-pero, p-pero, PERO PERO PERO. UN MOMENTO. ESTO SIGNIFICA QUE... QUE... ¡OH! ¡OH!
Varese has never licensed their perpetuity titles out to other specialty labels to expand, before. This is a monumental first! And hopefully it means that there are many more expansions that can happen now..
¡PATRICK DOYLE! ¡PATRICK DOYLE! ¡PATRICK DOYLE! ¡SU FILMOGRAFÍA COMPLETA Y RESTAURADA DEL PERIODO DORADO (1989-1997, exceptuando Dead Again que ya la tenemos), PUEDE SER UNA REALIDAD!
Re: Bandas sonoras
¿La banda sonora de First Man no se ha editado en formato físico? ¿De End Game queda confirmado que la edición "deluxe" será solo en digital?
Re: Bandas sonoras
Por si Otto+ tiene curiosidad, lista completa de partituras orquestadas por Lawrence Ashmore, de la última que realizó a su primera película.
- “As You Like It” (Patrick Doyle)
- Harry Potter and the Goblet of Fire (Patrick Doyle)
- Nanny MsPhee (Patrick Doyle)
- Man to Man (Patrick Doyle)
- Nouvelle France (Patrick Doyle)
- The Passion of the Christ (Jack Lenz)
- Secondhand Lions (Patrick Doyle)
- Calendar Girls (Patrick Doyle)
- Gosford Park (Patrick Doyle) Miramax
- The Shipping News (Christopher Young) Miramax
- Killing Me Softly (Patrick Doyle) MGM/ Montecito.
- Bridget Jones’s Diary (Patrick Doyle / Miramax )
- Magnificent White Horses ( Laurence Rosenthal / IMAX )
- Love’s Labour’s Lost (Patrick Doyle)
- Les Miserables (Basil Poledouris)
- Quest for Camelot (songs and Underscore. David Foster - Carol Bager Sager, Patrick Doyle)
- Great Expectations (Patrick Doyle)
- Donny Brasco (Patrick Doyle)
- Hamlet (Patrick Doyle)
- Pinocchio (Rachel Portman)
- Sense and Sensibility (Patrick Doyle)
- Lassie (Basil Poledouris)
- A Little Princess (Patrick Doyle)
- The Jungle Book (Basil Poledouris)
- Frankenstein (Patrick Doyle)
- Carlito’s Way (Patrick Doyle)
- Cliffhanger (Trevor Jones)
- Arachnaphobia (Trevor Jones)
- Much Ado about Nothing (Patrick Doyle)
- Indochine (Patrick Doyle)
- Dead Again (Patrick Doyle)
- Henry V (Patrick Doyle)
- Amityville III (Howard Blake)
- Agatha (Johnny Mandel)
- The Great Waltz (Arrangements)
- Straw Dogs (Arr. Source Music)
- The Golden Voyage of Sinbad (Miklos Rosza)
- Lady Caroline Lamb (Richard Rodney Bennett)
- Theatre of Blood (Michael Lewis)
- Julius Caesar (Michael Lewis)
- When Eight Bells Toll (Wally Stott)
- Pope Joan (Maurice Jarre)
- Lawrence of Arabia (Maurice Jarre)
- The Fall of the Roman Empire (D. Tiomkin)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Sin antes hablo... si no hay retrasos con el estudio confirmado Darkman para Agosto también. Tripley, prepara la cartera. Si, dos Elfman expandidos en un mismo mes. A mí no me mires, yo no tengo la culpa.
Última edición por Branagh/Doyle; 17/07/2019 a las 13:59
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Sí está editada. Yo la compré en la Fnac
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"
Re: Bandas sonoras
Sin antes hablo... si no hay retrasos con el estudio confirmado Darkman para Agosto también. Tripley, prepara la cartera. Si, dos Elfman expandidos en un mismo mes. A mí no me mires, yo no tengo la culpa.
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"
Re: Bandas sonoras
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Me cago en la leche como suena esto... el detalle, el rango dinámico, la claridad, la separación estéreo... y al contrario que la remezcla anterior el ruido de fondo (ligerisimo) vuelve a estar ahí, pero también el detalle fino y la cálidez. En grabaciones analogicas, es como el grano en 35mm, esta ahí.
Deja en ridiculo tanto a la antigua promo de Intrada (que tenía clipping y estaba mezclada demasiado alta) como a la anterior edición oficial.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Tom Cruise, el fan del viento madera. En relación a la partitura de la primera Misión Imposible. Elfman estuvo de acuerdo.
As producer and actor, Cruise can be—as one would guess from the little blue-gray lasers beaming out from under his brows—intense. “Hell, yes,” says MI screenwriter David Koepp. “He’s incredibly persistent and focused, and he’ll drive you completely insane because he keeps coming at it and at it and at it. But then you realize that because he’s gone at it, you’re going to go at it.” When Cruise heard a tape of the Mission: Impossible theme to be used for the film, he reportedly ordered it redone, even though an orchestra in L.A. had spent three hours recording the few minutes of music. HE WANTED TO HEAR MORE FLUTES.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
1954, 22 añitos. No dejes que el servicio militar te impida seguir componiendo
Y:
John Williams, one of the most popular and recognizable American composers of our time, recently sat down for a short interview about his time in the U.S. Air Force with Col. Larry H. Lang, commander and conductor of The U.S. Air Force Band.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
No creas, me quedé con ganas de hacer un comentario sobre el Nosfer de Bernard y con escribir alguna que otra cosilla sobre otras BSO fantasmales, pero entre que tengo muy poco tiempo y ganas, que no domino demasiado el tema, que estoy en una zona con mala cobertura, que tengo el ordenador medio escacharrado y escribir desde el móvil es complicado, que la publicidad salta cada tres minutos y me lo pone más complicadoJoer Jane, muchas gracias.
Tu también tendrías que escribir más. Tus reseñas de las BSOs del Fantasma y Drácula fueron antológicas....
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Re: Bandas sonoras
Sería interesante comentar algo sobre la trilogía de Robocop desde el punto de vista musical.
He estado escuchando el trabajo de Poledouris de la tercera, y jolines, me he llevado una gratísima sorpresa. A Poledouris le pasa algo parecido a lo que le pasaba a Goldsmith en los ochenta, que se sacaba de la manga verdaderas obras maestras para castañas pilongas de películas.
Es de alabar la innovación musical que tiene Poledouris en Robocop 3, no quedándose en la complacencia de limitarse a reosquestar los temas, sino que hay una expansión y evolución clara de su trabajo en Robocop. Qué lástima que la calidad cinematográfica de la película no esté a la altura de su música...
Y por cierto, soy de los que no denigran el trabajo de Leonard Rosenman para Robocop 2, que al menos los tuvo bien puestos para componer algo original y completamente antagónico a la esencia musical de la primera.
Última edición por jack napier; 22/07/2019 a las 21:55
"The people who criticized lack of focus on Batman were missing the point of the character of Batman. This guy wants to remain as hidden as possible, and in the shadows as possible, and unrevealing about himself as possible, so all of those things - you know, he’s not gonna eat up screen time by these big speeches and doing dancing around the Batcave"
Tim Burton
Re: Bandas sonoras
La primera RoboCop me parece una obra maestra en todos los aspectos. También esa música de Poledouris, que combina elementos de la orquesta sinfónica tradicional con sonidos electrónicos para representar la naturaleza híbrida del protagonista. Con todo, tiene momentos que me resultan desconcertantes: en ocasiones se perciben aquí recuerdos del euro-western (y lo cierto es que esa Detroit no está muy lejos de ese Viejo Oeste sin ley); en otras, de esas películas japonesas de mechas y superhéores. Por ratos, incluso, me parece oír una banda en una procesión de Semana Santa tocando marchas procesionales y saetas (ya señalamos en otras ocasiones el simbolismo religioso presente en RoboCop).
La segunda... es buena a ratos, a ratos no tanto. Y creo que la banda sonora pertenece a los ratos donde no lo es tanto, básicamente por su falta de relación absoluta con la primera película, esos coros femeninos que parece que cantan "RoboCop, RoboCoooop", lo que me parece un recurso un tanto baratero.
La tercera... es verdad que recuperaba los temas de Poledouris, pero la última vez que intenté visionar la película no pasé más allá de treinta o cuarenta minutos. Mala al nivel de Batman y Robin, de Superman IV y demás y me quedo corta
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Re: Bandas sonoras
Sí, Jane, estoy de acuerdo en todo. Robocop 3 como película es mala como un dolor de muelas, pero musicalmente la encuentro muy reivindicable. Anda que no hay películas malas que no se salvan en nada, que al menos esta sí lo hace. No tan buena como la primera ni de lejos, pero bastante aceptable.
Y sí, lo de los coritos en Robocop 2 es bastante chusquero, parece un grito de guerra o animando a un equipo de fútbol. Pero hay temas que no están nada mal: el propio tema principal, que si quitamos los coros, está bastante bien; y otros como "Robo Memories" (16:02) que recoge bastante bien el conflicto del lado humano y mecánico de Murphy. Es un trabajo muy divisivo, mucha gente la odia, pero yo la encuentro interesante.
Última edición por jack napier; 22/07/2019 a las 22:18
"The people who criticized lack of focus on Batman were missing the point of the character of Batman. This guy wants to remain as hidden as possible, and in the shadows as possible, and unrevealing about himself as possible, so all of those things - you know, he’s not gonna eat up screen time by these big speeches and doing dancing around the Batcave"
Tim Burton
Re: Bandas sonoras
Estoy emocionado.
Mi hijo se ha quedado embobado mirando la foto de arriba. Y ha soltado lo siguiente.
"Así que eso es todo lo que necesitaban antes. Un papel, un lápiz, una silla, y un piano. Y ahora tienen estudios enormes con cacharros valorados en decenas de miles de euros llenos de cables y lucecitas. Programas que pueden previsualizar la obra entera conforme la vas escribiendo, lo que en teoría tendría que facilitar corregir errores y demás. Todo es más limpio y práctico y dejas a los árboles tranquilos. Y sin embargo, el resultado final es mucho peor hoy en día por norma general. Igual que la gente que "canta" gracias al autotune y demás inventos, pero no son cantantes de verdad.
1954... Ahí estaban Rozsa, Tiomkin, Newman, Steiner, Herrmann dandolo todo.
Ben.Hur fue escrita con papel, tinta, y una pluma. Ya está. Y tiempo, mimo, disciplina, dedicación y talento.
Dios santo.
Última edición por Branagh/Doyle; 22/07/2019 a las 22:57
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Re: Bandas sonoras
Donde no hay talento, ni facultades, ni oficio, ni inspiración, no hay cacharrito que valga. Ya lo decía Darth Vader, que era muy listo ("no se ofusque con este terror tecnológico que ha construido"), y cierto Fantasma que era más listo todavía ("hay cantantes insensatas, que se empeñan en alcanzar lo que la naturaleza les ha negado, que se resisten a asumir sus propias limitaciones...").
En el mundo de las artes plásticas es todavía peor (siempre he sostenido que el arte no tiene por qué ser realista, pero que ha de ser al menos verosímil y representar cosas identificables). Mucho conceptualismo, performance y monsergas varias, pero pídeles a estos cerebritos que te dibujen unas telas o un bodegón.
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
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