Campanilla pásate por el hilo de Branagh que anoche revise después de muchos ańos Trabajos de amor perdidos, y aún estoy en una nube.
A mi familia le encantó.
Campanilla pásate por el hilo de Branagh que anoche revise después de muchos ańos Trabajos de amor perdidos, y aún estoy en una nube.
A mi familia le encantó.
"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.
Correcto Akákievich, trabajo de Stephen Endelman para la película donde aparecía Hugh Grant.
Tu turno
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"
Y Tripley, pásate por Adivina la peli por el gif.
"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.
Mil disculpas por la tardanza , me ha sido imposible poner hasta ahora . En compensación, una que creo habremos visto todos al menos alguna vez en la vida:
https://audioboom.com/boos/4852995-
Welcome back, Akákievich.
Creo que se trata de Stargate, de David Arnold (la calidad de sonido del ordenador donde estoy, es perruna, perruna... )
Saludos.
"And at the instant he knew, he ceased to know"
Ouuuhh Yeahhhh!!!
Uno de los más memorables trabajos de Arnold, la peli quizás no haya envejecido del todo bien, o seré yo , pero la última vez que la vi caí K.O.
Cuando quieras MIK!
Última edición por MIK; 23/07/2016 a las 18:26
"And at the instant he knew, he ceased to know"
żPuede ser Evil Dead, de Joseph Do Luca?
"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.
ˇCorrecto!
Se trata del leit motiv de la partitura de la película de Sam Raimi, compuesta por su (por entonces) inseparable Joseph LoDuca.
Por cierto, la versión que tengo es la europea (distribuida por el sello Varese Sarabande en 1993, supongo que reeditada aprovechando que por entonces el sello distribuía el score para la tercera parte de la saga, con tema principal de Danny Elfman), pese a que en Japón (no sé si también en EE.UU.) se lanzó un compacto del mismo sello que incluía además, la música de la segunda parte (que editó en Europa independientemente, el sello TER.)
Spoiler:
Tu turno pues, Branagh/Doyle.
"And at the instant he knew, he ceased to know"
Gracias, MIK
A por la siguiente oca, pues. .
https://audioboom.com/boos/4855244-ajedrez-mental
MIK,
"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.
"And at the instant he knew, he ceased to know"
"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.
B/D, el troll de adivina la banda sonora. Lo mejor es que creo que MIK está disfrutándolo.
"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"
Alguien ha de decirla, no me seais malos.
"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; 25/07/2016 a las 02:45
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.
Pues gracias por el regalo Branagh/Doyle, aunqeu en este caso yo quiero compartirlo con todos los que sean posibles, me parece un grandísimo trabajo de Doyle, en un tono que no suele ser el suyo habitual, así como el film me parece una excelente nueva versión de la obra de Shaffer (aderezada por Harold Pinter)
Nueva propuesta,
https://audioboom.com/boos/4855949-?t=0
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"
Branagh/Doyle ha sido poner el tema y pensar que estoy siendo muy poco agradecido: tras tu regalo "doyleano/branaghiano" yo propongo ésto
Sorry
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"
żżż Sorry??? No entiendo....
Me refería a que la peli parece habernos gustado sólo a nosotros dos, un regalo.
"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, como parece eso, que sólo nos gusta a nosotros (aunque yo hago proselitismo para que guste a más gente), es un regalo. Por eso digo que yo por contra te "regalo" un nuevo tema que no sé yo si te va a gustar mucho.
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"
Última edición por Tripley; 29/07/2016 a las 16:01
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"
Me suena a finales de los 80/principios de los 90, pero.... no caigo.
żAlguna pista, Tripley?
"And at the instant he knew, he ceased to know"
MIK, la datación es perfecta ya que el film es de 1991.
Pista: en el film aparece muy brevemente un ahora afamado director que ha dirigido hace poco al protagonista de este film en una película, para bien o para mal, ineludible.
Saludos
Última edición por Tripley; 09/09/2016 a las 12:59
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"