Mineapolis, efectivamente el tema, cuanto menos, inquieta.
Y sí, seguro que la película es una maravilla y que va a tener calidad por los cuatro costados. Yo espero ir el mismo viernes a verla. Qué ansia
Saludos
Mineapolis, efectivamente el tema, cuanto menos, inquieta.
Y sí, seguro que la película es una maravilla y que va a tener calidad por los cuatro costados. Yo espero ir el mismo viernes a verla. Qué ansia
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"
Duplicado
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"
Efectivamente, suena apocalíptico.
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"
Vaya bandas sonoras (y películas) que se estrenan el próximo viernes.
Aunque hace mucho que no me paso por su hilo, tanto por los elogios de mineapolis, como la apabullante filmografía precedente de Villeneuve hacen que no vea la hora de llegar al viernes (espero poder ir a verla en la sesión nocturna)...
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"And at the instant he knew, he ceased to know"
Última adquisición:
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"
Recién recibidas:
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"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.
Añado por que se que MIK me va a preguntar: The Omen nunca ha sonado mejor. Gran trabajo.
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"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.
No creo que os vaya a decepcionar a ninguno, más bien todo lo contrario. Estaré atento al hilo de la película porque va a ser muy interesante (y probablemente polarizado)
Por otra parte, Mondo ha anunciado que el miércoles pondrá a la venta el vinilo de la BSO de Fight Club.
Fight Club - Original Motion Picture Soundtrack 2XLP. Music by The Dust Brothers. Sleeve Design & Packaging by Alan Hynes. Pressed on 2x180 Gram Pink Soap Vinyl. $35
Genial ese diseño estilo Ikea![]()
Kino et al. mi podcast de cine absolutamente impresentable: https://anchor.fm/kinoetal
Mank review (gesto de disgusto), Let them All Talk review (Soderbergh te odia), Soul review
¡Que rápido te ha llegado!Ya nos darás tus impresiones.
Jajaja,me tienes calao.
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Gracias por comentarlo, caerá en breve.
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Hay que reconocer que Mondo es uno de los sellos que mejor sabe como ponernos los... dientes largos.![]()
Magníficas ediciones y ejemplares diseños, que son un ejemplo a seguir y muestran una imaginación y pasión por el mundillo encomiables.
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"And at the instant he knew, he ceased to know"
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"
¿Te vas a comparar Scream 2 sólo por el pequeño aporte de Elfman? A eso le llamo yo fan completista, si señor.
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"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.
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"
Pues ya que mencionáis a Elfman, hoy en la pausa para comer he adquirido MIB3 de nuestro elfo favorito por menos de 3€![]()
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"And at the instant he knew, he ceased to know"
Sí, ha llegado muy rápido.
Primeras impresiones: el bello tema central es muy de Desplat, recordando un poco a La joven de la perla, luego hay temas más introspectivos. Habrá que ver qué tal queda todo en pantalla, pero creo que la música acompañará muy bien a las previsibles escenas acuáticas.
EDITO: el final del corte 6 me ha hecho pensar en Tiburón de Williams
Por aquí está el score completo:
Saludos
Última edición por Tripley; 30/05/2019 a las 19:26
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"
"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.
Al menos tiene una voz y personalidad propias, aunque últimamente se esté despersonalizando más de lo aconsejable.
"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.
Última edición por Tripley; 15/11/2016 a las 01:22
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"
Creo que tengo buena música para escuchar durante varios días
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Última edición por MIK; 15/11/2016 a las 00:57
"And at the instant he knew, he ceased to know"
Espero poder poner este mismo mensaje con la edición expandida de Matrix de Varese! (al fin y al cabo, es la más corta de todas, 78 min)
Vale, ya me callo, te lo prometo, pero si consigo que acabes adorando o al menos apreciando semejante nivelazo en la escritura, cadencias rítmicas y orquestaciones, compartir toda la emoción que siento ahora mismo tras semanas de re-descubrimiento habrá merecido la pena.
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"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.
New Intrada Release: DICK TRACY. Danny Elfman’s exciting score for 1990 Warren Beatty film gets 2-CD release! http://store.intrada.com/s.nl/it.A/id.10632/.f
New Intrada Release: THE BLUE LAGOON. Gorgeous, early Basil Poledouris score gets brand new restoration! http://store.intrada.com/s.nl/it.A/id.10634/.f
Se han quedado en la gloria con el tracklist y secuenciacion de dick Tracy.... es una locura. En FSM ya se andan quejando. En fin, mucho peor es no tener expansión alguna, por supuesto.
CD 1 - 1990 Original Score Album
01. Main Title (3:36)
02. After The “Kid” (1:45)
03. Crime Spree (1:54)
04. Breathless’ Theme (2:14)
05. Big Boy/Bad Boys (2:11)
06. Tess’ Theme (1:13)
07. Slimy D.A. (1:41)
08. Breathless Comes On (2:53)
09. Meet The Blank (1:43)
10. The Story Unfolds (1:59)
11. Blank Gets The Goods (2:25)
12. Rooftops (2:01)
13. Tess’ Theme – Reprise (1:16)
14. The Chase (2:56)
15. Showdown / Reunited (4:07)
16. Finale (0:58)
Total Time: 34:59
Unedited And Additional Original Score Cues
17. Main Title – Part 1** (1:08)
18. Main Title – Part 2** (2:25)
19. Flattop’s Entrance** (0:34)
20. Tracy’s Entrance (0:31)
21. Lips Gets Nailed (0:38)
22. And They’re Off** (1:45)
23. Meet Big Boy** (0:33)
24. Lips Needs A Bath* (0:28)
25. Lips Needs A Bath (Alternate) (0:28)
26. Lips Gets A Bath** (0:54)
27. Walnuts (0:39)
28. Breathless Comes On** (1:19)
29. Crime Lab** (0:23)
30. Crime Lab (Alternate)* (0:14)
31. Kid Montage* (1:40)
32. Love One (1:15)
33. Breathless Again** (2:56)
34. Tracy Spies (0:24)
35. Spaldoni Go Boom (1:14)
36. Tracy Gets Nabbed (0:38)
37. Boiler Go Boom!* (Danny Elfman / Shirley Walker) (2:24)
Additional Cues Time: 22:29
CD 1 Total Time: 57:35
CD 2 - Unedited And Additional Original Score Cues (Cont.)
01. Badge* (0:21)
02. Badge (Alternate)* (0:21)
03. Badge (Alternate 2)* (0:21)
04. Slimy D.A**. (1:43)
05. Peach Juice* (0:57)
06. Peach Juice II* (0:38)
07. Peach Juice II (Revised)* (0:38)
08. Peach Juice II (Alternate)** (Danny Elfman / Shirley Walker) (0:24)
09. Meet The Blank** (2:02)
10. Tess Farewell (Alternate) (1:07)
11. Bug Rescued** (1:41)
12. Bug Rescued (Alternate)** (1:41)
13. At The Dock (1:20)
14. Blank Gets The Goods** (1:49)
15. Tess Nabbed* (0:21)
16. Tess Nabbed (Alternate) (0:14)
17. Bait** (0:54)
18. Gasser** (0:57)
19. Fletcher Shot/Framed (1:35)
20. News Montage* (0:16)
21. Crime Spree Montage* (1:54)
22. Jail Cell (0:41)
23. Kid/Tracy Hits the Street (0:43)
24. Chief Gets A Call (0:29)
25. Tracy Finds Tess (A/B)** (0:46)
26. Tracy Finds Tess (A/B/C)** (1:55)
27. Tracy Finds Tess (A/B/C) (Revised)** (2:05)
28. Mine Enemy (Revised)** (0:57)
29. Rescue – Part I (0:22)
30. Rescue – Part II (0:15)
31. Rescue – Part III (0:15)
32. Rescue – Part IV/Rescue – Part V (0:57)
33. Blast Out (0:25)
34. Tracy To The Rescue II** (2:57)
35. Mano A Mano** (2:21)
36. Revealed / Reunited** (2:32)
37. Revealed / Reunited (Revised)* (2:29)
38. Finale (Revised)** (0:58)
39. Finale (Alternate) (0:58)
40. Finale* (1:08)
41. Breathless #1* (0:58)
42. Breathless #2* (0:48)
CD 2 Total Time: 46:22
"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.
looooots of tracks 1 min long or even less.... in 2 cds... with revised following alternate follwing part II tiny tracks... -- How can anyone put this cd and listen to
05. Peach Juice* (0:57)
06. Peach Juice II* (0:38)
07. Peach Juice II (Revised)* (0:38)
08. Peach Juice II (Alternate)** (0:24)
or
25. Tracy Finds Tess (A/B)** (0:46)
26. Tracy Finds Tess (A/B/C)** (1:55)
27. Tracy Finds Tess (A/B/C) (Revised)** (2:05)
or
finale revised
finale alternate
finale
is beyond me, really smile (the last one seems almost a joke)
congrats anyway for the release!
Le fallan las formas, pero...
"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.