- Pista musical; el susodicho cantante amenizando la velada al piano:
http://www.ivoox.com/pista-musical-a...0252004_1.html
- Pista musical; el susodicho cantante amenizando la velada al piano:
http://www.ivoox.com/pista-musical-a...0252004_1.html
Estoy para contar ovejitas y caer sopa antes de llegar a la veintena. Estás en vías de batir el record de pistas, Akákievich, o por lo menos el tuyo en particular. Has ofrecido datos de todas las variantes posibles, pero yo comi mis compañeros ando de Doblaje de Salvador Vidal por lo que me parece oír y bien joven.
Branagh/Doyle, tríptico en mis manos. Gracias por todo Intentaré ver alguna para el próximo finde.
Saludos
Nada, que no hay forma. .
Otto+, ok.
"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.
Akákievich, parece que he dado con una posible solución gracias a la letra de la canción, que es The old fashioned way cantada por Aznavour para la versión de 1974 de Diez negritos, con música de Bruno Nicolai y Carlo Rustichelli.
Es una novela muy adaptada y que se puede poner en relación con Los odiosos ocho. En 1974 también se adaptó Asesinato en el Orient Express, tambien de Christie.
Espero haber acertado
Saludos
Última edición por Tripley; 30/01/2016 a las 01:39
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"
Yeeeeahhh!!!
Ha sido un misterio misterioso, casi casi supero el récord de pistas de Campanilla . Y todo, en realidad, por culpa de Branagh/Doyle, que me dio la idea cuando subió un tema de Los Odiosos Ocho, titulándolo And then they were none... Así que... Put the blame on him
Ha sido un "whodonit" en toda regla, así que turno merecido para Monsieur Tripley Poirot, avant, avant
Merci, Akákievich
Tripley Poirot presenta su nueva propuesta, ideal para ejercutar las células grises
http://www.goear.com/listen/eb97019/-
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"
Suena muy Goldenthal; diría que va a ser o the Good thief o The Butcher Boy, de las poquitas que aún no domino de él.
Otto+, efectivamente suena muy Goldenthal porque efectivamente es una de esas dos opciones. Pista: en la película sale un director, ejerciendo de actor, ganador de dos Palmas de Oro.
Saludos
Última edición por Tripley; 31/01/2016 a las 21:31
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"
Pues se trata de The Good Thief, efectivamente.
"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.
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"
Facilita facilita y así paso turno rápido, que la anterior era de Otto+, y me la apropié like a good thief
http://www.goear.com/listen/4e582fa/joy-of-life-
"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"
Lo tuve que hacer si quería llevar la broma a buen término ... confío en que sabrá comprenderlo.
"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.
Por cierto, esta te la sabes, querido Tripley.
"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"
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"
¿Blanco y en botella?
Si, hay mucho blanco resplandeciente en la película...
"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.
Pensaba hacer la broma de recorrerme toda la filmografía del compositor poco a poco aquí en el juego, pero no sé si acabaríais hasta las narices de mí. De hecho, es muy probable que ya lo estéis.
"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; con alegre voz cantarina:
Pardon, goddess of the night,
Those that slew thy virgin knight;
For the which, with songs of woe,
Round about her tomb they go.
Midnight, assist our moan;
Help us to sigh and groan,
Heavily, heavily:
Graves, yawn and yield your dead,
Till death be uttered,
Heavily, heavily.
"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.
Branagh/Doyle esta cita no me pega mucho con el "Joy of life" de título del tema.
A ver que tal ésta:
Spoiler:
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; 02/02/2016 a las 13:07
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"
Pero esa, es cómo, no sé, demasiado fácil, ¿no?
Is he not approved in the height a villain, that hath
slandered, scorned, dishonored my kinswoman? Oh, that I
were a man! What, bear her in hand until they come to take
hands and then, with public accusation, uncovered
slander, unmitigated rancor—O God, that I were a man! I
would eat his heart in the marketplace.
La anterior que he puesto yo, cómo la que has puesto tú en determinado momento de la película, la canta el compositor, que tiene un pequeño papel en la película.
"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"
¡Cierto! Me encanta el detallito añadido de la dama en la versión en blanco y negro de las lágrimas suspendidas en el borde de los ojos... en cambio, la versión en color es más ira pura, que creo que va más con la fuerte personalidad de la actriz que lo interpreta...
"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.