¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.
Re: Bandas sonoras
Lo mismo ocurrió con The Betsy también de Barry y The Salamander de Goldsmith, en la que algunos fragmentos tuvieron que reconstruirse tirando de oído y del VHS (parece mentira, descubrir obras que no conocíamos de estos compositores tantos años después)
http://www.tadlowmusic.com/2013/04/the-salamander/
"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
Entrevista de Graham Norton a James Newton Howard en la emisora BBC RADIO 2.
Saludos.
"And at the instant he knew, he ceased to know"
Re: Bandas sonoras
Recordemos por un momento lo que pudo haber sido:
Curiosamente, el (sonriente) cameo de Howard Shore cómo director de orquesta se mantuvo en la película.
Avanzamos unos cuantos años, y contemplamos cómo Jackson hizo un destrozo musical en el Hobbit Un Viaje Inesperado, sustituyendo muchos de sus temas por tracking de la trilogía anillera, dando así al traste con el magistral y coherente tapiz temático que Shore ha creado a lo largo de 6 películas. Menos mal que los CD respetan íntegramente lo creado por el compositor.
"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
¿Realmente que pasó con Shore en King Kong? ¿Se fué? ¿Lo echaron? ¿Ambas?
Re: Bandas sonoras
La versión oficial fue el manido "diferencias creativas", pero aún a día de hoy no sabe si hubo bronca con Jackson, fue imposición del estudio o qué diantres ocurrió.
Son, (o eran, no sé), amigos cercanos, personas de carácter afable, de modo que lo primero se me hace extremadamente raro. Tiene más pinta de follón con el estudio si atendemos a que salió del proyecto sólo unas pocas semanas antes del tope de fecha para la finalización del proyecto , y JNH fue elegido in extremis, teniendo menos de 4 semanas (). semanas para escribir y grabar 3 horas de música.
La obra de JNH eso si, es considerada por todos cómo una de las cumbres de su carrera, aunque el asunto no deja de provocarme tristeza.
"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 marcha de grandes compositores siempre duele y más cuando ya habían grabado material.
Si no me equivoco, Wolfgang Petersen es uno de los directores que más compositores a reemplazado. Caso sangrante fue el de Troya con el estupendo score de Gabriel Yared.
Re: Bandas sonoras
Iniciado por Fincher
Dolió mucho más en este caso por que el resultante de Horner fue un absoluto horror.
"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 hay color
Re: Bandas sonoras
Es una maravilla.
"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
El motivo de la estructuración del score expandido de Dick Tracy por parte de Intrada:
At request of composer, Intrada presents original 1990 score album intact from digital album master, then features unedited cues as scored in picture sequence plus treasure trove of additional material. Elfman fans should be delirious! To prepare all the new material for this lavish 2-CD set, Intrada engaged original scoring engineer Dennis Sands to create brand new 2016 state-of-the-art stereo mixes from Disney’s 32-track digital session masters. Hear stunning array of new details! Fascinating to enjoy Elfman’s original album (a masterful presentation itself) then hear unedited versions of the cues with all-new clarity following their original 1990 mixes. All those additional cues and alternates are even more icing on the cake. Notes by Jeff Bond, rich graphic design by Kay Marshall, Joe Sikoryak with flipper-style cover art enhance this fabulous package. Early-ish Danny Elfman at his rousing, symphonic best! Steve Bartek, Jack Hayes headline orchestrators, Shirley Walker conducts. Intrada Special Collection 2-CD release available while supplies and interest remain!
"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
Tiene sentido:
My guess is Danny considers the original programming to be as good as it gets as far as a listenable album and the rest of the cues are being made available to people to do with as they please.
"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
Debo ser el unico que prefiero el score de Horner al de Yared.
El de Yared no es malo pero estaba completamente desfasado o anticuado con el tono de una pelicula de look bastante moderno
El tema de Aquiles de Horner es magnifico ( de lo mejor de sus ultimos 15 años) y visto el resultado doble merito para el poco tiempo que le dejaron a James para componerlo.
Re: Bandas sonoras
¿Alguien se había percatado de esto? ¿O se trata de un bootleg?
http://elitesoundtracks.com/index.ph...roduct_id=2289
Finally!, Danny Elfman's complete score the hit 1990 Sam Raimi movie, Darkman. Originally released as a 30min or so CD, this score was desperate need for an expanded or complete version for many years. Now this complete edition from LScores shows why this score from Danny Elfman was one of his best works to date, such driven action cues & comical motifs are what makes this score so much fun and not to be missed.
Track Listing
1. Opening/The Docks (2:20)
2. Muscling Eddie Black (0:29)
3. Meet Durant (1:37)
4. Main Titles (1:35)
5. Facial Recognition (1:12)
6. The Answers Out There (0:15)
7. Love Theme (0:57)
8. Marriage Proposal (0:15)
9. Stack's Dream (1:35)
10. Photosensitive Cells (0:52)
11. Durants Tbugs (1:18)
12. Lab Mayhem (2:40)
13. Julie Transforms (1:11)
14. Payton Wakes (0:23)
15. Weepy Darkman (6:11)
16. Rebuilding (1:45)
17. Failure (1:38)
18. City Of Future Ball (0:45)
19. Dancing/Dick Retires (2:11)
20. Creating Paulie (3:17)
21. Descent Into Madness (6:19)
22. Reunion (1:42)
23. Durant Arrested (1:06)
24. Chinatown (1:49)
25. Double Durant (1:47)
26. Carnival From Hell (3:35)
27. Carnival Rage (0:24)
28. Julie Learns The Truth (1:57)
29. Bellasarious Memorandum (0:26)
30. The Big Picture (0:25)
31. Julie Followed (Unused) (0:26)
32. War At The Warehouse (2:02)
33. Darkman Gets Some (0:58)
34. Face Off (0:53)
35. Warehouse Explodes (1:11)
36. Helicopter Chase Part 1 (1:13)
37. Helicopter Chase Part 2 (1:01)
38. Durant's Last Flight (0:33)
39. Site Rendezvous (1:02)
40. On The Edge (1:49)
41. Final Confrontation (4:03)
42. Finale/End Titles (3:38)
Bonus Cues
43. Payton Wakes (Alternate) (0:22)
44. Dancing/Rick Retires (insert) (0:24)
45. Double Durant (Alternate) (1:47)
46. Durant's Last Flight (Ending Alternate) (0:23)
47. Final Confronation (Alternate) (2:12)
"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
Si lo vemos en las tiendas online será oficial y no bootleg.
Habrá que estar atentos.
Re: Bandas sonoras
No lo listan ni en filmtracks ni en discogs, y no veo mención alguna por parte de Film Score Monthly o Jwfan. Por eso os lo preguntaba, Bud.
"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
Es bootleg.
La página vende completes de Air Force One, alien. .. que sabemos que están en manos de otras compañías.
Darkman saldra algún dia. Seguramente Intrada
Re: Bandas sonoras
Oh. Vaya.
Gracias, Bud.
"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
Banda sonora al completo de Jackie, de Mica Levi, en la página "for your consideration" de Fox:
http://www.foxsearchlight.com/fyc/fi...ie/soundtrack/
Re: Bandas sonoras
Acabo de escuchar las primeras notas musicales del King Kong de Howard Shore. Kong, Troy y Pan, títulos breves en común que comparten desgracias. La de Pan probablemente jamás será grabada (ojalá me equivoque).
Respecto a Dick Tracy, me parece muy bien lo que han hecho, aunque la opción de crear 3 bloques tampoco me parecería nada desdeñable: uno con el programa original (respetado), un subprograma solamente con los nuevos temas, aunque sean muy cortos, y un último con las tomas alternativas (estos dos últimos bloques están fusionados), más que nada por comodidad.
Re: Bandas sonoras
Sólo en 1990:
Spoiler:
He was absolutely on fire from 1989 to 1996.
Yo añadiría que a partir del 2000 empezó a incluir electrónica y disonancias de manera bastante importante, lo que disgustó a muchos. Otros lo llamaron evolución de su estilo.
Última edición por Branagh/Doyle; 19/11/2016 a las 01:53
"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
Darkman. necesita reinvindicación urgente, un tanto opacada a mi juicio en medio de Batman, Dick Tracy y sobretodo Eduardo.
La película la revisé hace poco y me encantó, puro Sam Raimi gamberro, oscuro y brutal. Qué bien rueda este hombre, con esos encuadres psicodélicos y planos secuencia inverosímiles pero divertidos que se saca de la manga. Para poner la guinda, tenemos a (atención) Liam Neeson cómo el vengativo justiciero desfigurado (¡esa voz! ¡esa portentosa voz! y a Frances McDormand (doble) cómo la chica.
No debería estar tan olvidada.
"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
Necesita una edición expandida también cómo el comer, pues el CD oficial son 40 minutos cuando hay más de 70 minutos de música grabada.
"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
Shore dijo que editaría Kong bajo su propio sello y aún estamos esperando (aunque viendo lo que ha tardado en lanzar Seven y que al final ha cumplido con su palabra...)
"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
Elfman en 1990 tuvo un año para enmarcar, precedido por el Batman de 1989 y culminado por el batman vuelve de 1992.
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"
Permisos de publicación
LinkBack URL
About LinkBacks
Citar
