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About LinkBacksSobre la música de Kubo:
http://video-cdn.variety.com/previews/kA6QdX9V-plsZnDJi
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Re: Bandas sonoras
Sobre la música de Kubo:
http://video-cdn.variety.com/previews/kA6QdX9V-plsZnDJi
"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
Lecciones de música de cine, capítulo 31, por Conrado Xalabarder. Hoy, Parque Jurásico, de John Williams:
"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
Capítulo 30, The Ghost Writer, de Desplat. ¡Tripleeeeey!
"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
Tripley, por cierto, cuantas más vueltas le doy, (ya he tomado unas cuantas notas), más me parece Mascotas una soberana maravilla de partitura. El estilo legendario de Stalling para los cartoons de la Warner de los años 30-50, lo recupera Desplat aquí pasado por el filtro big band jazzistico, y los resultados son arrolladores.
Ahora estoy escuchando Firewall, aquella peli de acción con su música con Harrison Ford de prota y su familia acosada y secuestrada (2006). Potentísima. Pero es que me pongo a buscar una obra suya mala en toda su trayectoria y no me sale. Floja si, pero mala no.
Qué tío.
"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
Firewall... disfrute SOBERBIO del frances.
No digo mas.
Re: Bandas sonoras
Cómo nadie se pasa por el hilo de la peli, lo pongo por aquí también; he podido ver A United Kingdom de Assante en una escapadita a UK, y aparte de otra PORTENTOSA interpretación de Rosamund Pike, que se come a David Oyelowo, un buen guión comprometido con el delicado tema que trata, un montaje y fotografía excelentes, lo mejor sin suda es la BARBARIDAD de partitura de Patrick Doyle, old school total, en su estilo romántico-trágico de toda la vida.
En definitiva, cine británico de calidad. Un tanto acartonado en cuanto a dirección, pero muy recomendable.
Según su asistente y productora musical de toda la vida Maggie Redford, el CD oficial debe estar al caer. Buen año se presenta para Doyle entre esto y el Orient Express de su amigo Branagh.
"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
Ojalá que se edite ese trabajo de Patrick Doyle. Cómo echo de menos al Patrick Doyle de los 90 sobre todo. El de Sentido y sensibilidad, Henry V, Grandes esperanzas, Carlito's way... tantas joyas
Re: Bandas sonoras
¡Ah! Eres de los míos. Pues entonces tienes que escuchar Cenicienta, una vuelta triunfal a ese sonido clásico tan especial.
"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
En cuanto pueda me veo el vídeo sobre Desplat y su Ghosth writer, que además es mi score favorito del francés.
Efectivamente Mascotas gana en cada audición y lo que tendría que hacer es ver el film. Y sí esos toques jazzístico son un gran complemente a ese homenaje a la música del cartoon clásico que es la banda sonora.
Y Firewall, efectivamente es un trabajo creo que muy notable y eso que parece que lo compuso volando.
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
"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
B/D, ¿que opina sobre SUFRAGETTE de Desplat?, esta bien, pero creo que el frances podia haberlo hecho mucho mejor.
Re: Bandas sonoras
Me gusta mucho más The Danish Girl, por nombrar otra de la tanda reciente, que la que mencionas, Prime. Y te he dicho mil veces que me tutees. Sé que lo haces en señal de respeto y te lo agradezco, pero no es necesario
"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
Opino igual, es mucho mejor The Danish Girl
Re: Bandas sonoras
Pues si que es buena Firewall si, hay un corte de acción de 10:30 minutos (!!!) que es alucinante.
"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 conozco, por supuesto, muy buena. Que vuelva este Patrick Doyle quiero!Iniciado por Branagh/Doyle
Re: Bandas sonoras
¿Te has dado cuenta de mi nick, no?
"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
Muy interesante lo que se comenta sobre el score de Desplat, la creación de esos dos temas al principio separados, uno de "campanillas" que juega al despiste" y otro, el principal, que amenaza, acosa, se vuelve insidioso, y que al final se fusionan en esa temazo que es The truth abouth Ruth, donde el escitors fantasma ha creido triunfar.Capítulo 30, The Ghost Writer, de Desplat. ¡Tripleeeeey!
Spoiler:
Ahora que lo pienso, esa manera de actuar de Desplat se podría relacionar con The Queen y ese temazo que era People princess, donde el tema parece reflejar una sensación molesta con ese clavicordio y ese punteo, que puede representar a los paparazzi respecto a la princesa del pueblo o a dicha princesa respecto a la reina, todo ello envuelto en la elegancia habitual del compositor:
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
"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
Ya se puede realizar el pedido anticipado en Intrada. A la venta el día 24 de este mismo mes.
http://store.intrada.com/s.nl/it.A/i...category=21780
1. Seretse And Ruth (4:07)
2. Policy Of Apartheid (1:43)
3. Wedding Interruption (1:33)
4. The Registry Office (3:54)
5. Because Of Us (1:25)
6. Seretse Is Worried (1:43)
7. Let Him Go (2:20)
8. Equality And Justice (1:21)
9. Pula! (2:43)
10. Learning The Language (2:55)
11. Ruth Must Stay (2:57)
12. Five Year Exile (2:13)
13. Seretse In London (1:37)
14. Neladi Kharma (1:25)
15. Ruth Is Pregnant (2:41)
16. Seretse Address es Parliament (2:07)
17. Ruth Is Alone (4:20)
18. Ruth Returns Home (2:09)
19. Permission To Return (3:29)
20. Independence (3:47)
21. The Future (3:14)
"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
Tripley, je. Roerdenando papelotes me he topado con mi notas sobre La Piel que Habito. No recordaba que le di 5 estrellas al trabajo de Alberto Iglesias, cómo tampoco recordaba que la peli me gustó mucho. Revisadas ambas cosas, me mantengo.
¿Qué opinas?
"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
A mí la piel que habito, como film me gusta mucho y creo que gana con cada revisionado. Y la banda sonora de Iglesias me parece que, como sienpre, encaja a la perfección con las imágenes dle director (y eso que esta vez uno de los temas principales era un tema compuestyo ya con anterioridad por Iglesias)
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
Intrada prepara un lanzamiento para mañana 7 de febrero, "ua película animada de principios de los noventa, que tiene su debut en CD. Un score bastante enorme y grande, muy orquestal, con mucho encanto"...
Ya se sabe que todo puede entrar en ese espectro que han describido, pero Dios, todo indica que es, POR FIN, la BSO de PATOAVENTURAS: LA PELÍCULA de David Newman, y si es eso (espero que sí, porque si no me llevaré un disgusto enorme) dios mío que alegría me entrará..
Re: Bandas sonoras
¿Puede alguien poner fin a su sufrimiento?
"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.
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