I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
"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.
¿Opinión a vuelapluma 7 años después? ¿Peliculón?
¿Marty?.
"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.
Sí, peliculón. A mi entender, es el Indy IV que, quizás, por excesivo respecto a Lucas como creador, no pudo/quiso rodar en 2008.
Un Spi desmelenado, desprejuiciado y pasándoselo teta con las posibilidades de rodar una animación 3D, con una planificación loca pero brillante, unos encadenados de levantarse y aplaudir y un plano secuencia (EL plano secuencia) que demuestra que es el puto amo.
"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.
Y la BSO de Williams, que curiosamente la puse antes de ayer para comer, de 10. Me encanta.
Es muy compleja... ¡transcurren diversas líneas melódicas al mismo tiempo en muchos de los cortes (contrapunto se llama eso) ! En total hay cómo unos 8 temas. 2 para Tintín, 1 para el perro (temazo), 1 para el unicornio, 1 para Red Rackam, otro para Haddock y más que me dejo... por supuesto la maravilla de la Castafiore va a parte. Un lujo.
Adoro el segmento del carterista, tanto musical cómo cinematográficamente.
Esto es oro:
"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.
Y nos regala ese flashback con la batalla de barcos y duelo de espadas entre Haddock vs Red Rackham . La piel de gallina con el momento del descenso de Rackham por el mástil con el fuego detrás. Y todo esto rememorado luego en el clímax de la película con el duelo de grúas entre capitán Haddock y Sakharine como si del choque de 2 barcos se tratara.
Y de la planficación de la secuencia de Castafiore qué me decís. Es un no parar. Esta película es cine en estado puro, con Spielberg on fire y donde tampoco Williams se queda corto.
"Because sometimes truth isn't good enough".
Williams tenía 79 años... yo no sé que comen esta gente, de verdad.![]()
"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.
"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.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
"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.
La estética sí, porque la fotografía es majestuosa, no resulta vídeo-jueguera y sí muy cinematográfica.
Lo que digo que no me gusta es los personajes de animación motion capture tipo Polar Express o Beowulf, esa recreación fidedigna del ser humano, pero en sintético, me da grima.
PERO... En esta es distinto, porque los personajes están caricaturizados para reflejar los del cómic. Eso hace que me entren mucho mejor.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Tintín como peli de animación está muy bien pero como lector y fan de los cómics me decepcionó el que no incluyeran el segundo volumen y resolvieran todo el tema de forma chapucera en el puerto. El secreto del unicornio está muy bien pero obviar el tesoro de Rackham el rojo me decepcionó mucho
Entrevista con Spielberg sobre Duel (1971). También habla de Murder by the Book (1971), el episodio de Columbo que dirigió y que me entusiasma: https://www.empireonline.com/movies/...pielberg-duel/
La novela de Stephen King que Steven Spielberg está deseando llevar al cine (el talisman)
http://www.antena3.com/se-estrena/no...d91ecd30c.html
"Because sometimes truth isn't good enough".