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Pues también es verdad.
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Re: Bandas sonoras
Pues también es verdad.
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.
Re: Bandas sonoras
Anda Tripley que se nos está llenando la música de cine de pipiolos (por usar tus palabras): Hurwitz, Goransson, Britell, Willis...
Eso es bueno, claro. Si no entra savia nueva, mal asunto.
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.
Re: Bandas sonoras
Qué desparpajo, oye. Había leído brevemente acerca de sus virtudes, no sé si en FSM o en MundoBSO. Leo a Conrado y es lo que barruntaba, música solemne que funciona como contraste para comedia.
Re: Bandas sonoras
Como hacía Bernstein... pero más allá de eso, a mi lo que me ilusiona es ver a chavalillos recién salidos del conservatorio usar tan bien una orquesta. Me da esperanza y me llena de ilusión, leche. A veces entramos en modo apocaliptico con el futuro de la disciplina, y siempre hay esperanza.
PD: En Youtube la tienes entera, Otto+.
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.
Re: Bandas sonoras
Entrar.....y pasar el filtro invisible.
Re: Bandas sonoras
¡Calla! Si lo pasa gente como Brian Tyler...
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.
Re: Bandas sonoras
O James Peterson, The Red Canvas; serán cegatos....
Re: Bandas sonoras
Pero está cañón
Re: Bandas sonoras
Este no pasó el filtro... una y no más. :(
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.
Re: Bandas sonoras
He leído que Willis, a la espera de que lo de la carrera en el cine se consolide, pone música en estos momentos a los actuales dibujos de Mickey Mouse... y oye, seguro que se lo pasa bien.
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.
Re: Bandas sonoras
Sí, están apareciendo nuevos compositores, menos mal.
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
¡Anda, que hay otra banda sonora de Willis prevista para editarse el 17 de Enero!. Se titula, The Personal History of David Copperfield. Pues ya son dos películas hechas entonces.
De momento hay disponible un corte:
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.
Re: Bandas sonoras
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.
Re: Bandas sonoras
Otro film de Ianucci, se viene nuevo tandem.
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
¡P-pero esto es maravilloso!. ¿Quién es este tipo?
Última edición por Branagh/Doyle; 24/12/2019 a las 01:11
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.
Re: Bandas sonoras
¡Estupendo!
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.
Re: Bandas sonoras
Eso me suena bien, sí. Es que pienso en unos cuantos (Pipes, Shapiro, Lennertz, incluso Rolfe Kent) que, aparte de muy desconocidos incluso entre los aficionados (Kent no tanto), o poco promocionados, casi mejor si lo categorizo así, parece que si llegasen a enganchar o encadenar algún éxito más alguna sorpresa podrían subir al escalafón de un Bear McCreary y hacerse notar. ¿Eh? Cuestión de un saltito y un poco de fortuna, más alguna mano que ayude a "estabilizarle"....
Re: Bandas sonoras
¿Y qué ha sido de Javier Navarrete?
Re: Bandas sonoras
Willis repite en un segunda película con el mismo director y eso está muy bien.
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.
Re: Bandas sonoras
Ha vuelto a trabajar en USA. Hace poco hizo Greta, que no está mal.
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.
Re: Bandas sonoras
Pues eso, el tándem.
Re: Bandas sonoras
Por si tienes curiosidad, Otto+, de su obra de concierto:
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.
Re: Bandas sonoras
¿Podríamos decir que Navarrete es nuestro Christopher Young? Me alegro de que siga en la brecha habiendo cumplido los sesenta.
Re: Bandas sonoras
Pues si. Al menos Young hizo hace poco la del cementerio de animales, que llevaba desde 2016 sin hacer nada en cine. :(
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.
Re: Bandas sonoras
Branagh/Doyle, mis mejores deseos para estas fechas para ti y tu familia, unos besotes y adelante. Me despido por tres días por si no nos vemos mañana por la mañana en mi última conexión
A ver si aparece Campa y le podemos cantar lo del anuncio del turrón: "¡Vuelve a casaaa por Navidaaaad", y pásate un momentín por el hilo del juego, nuestro iglú-mantita particular
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