Tripley, amigo mío, diría que tú tema pertenece al fantástico y refrescante score de David Hirschfelder para La Modista, divertida, negra y ácida película con una inconmensurable Kate Winslet , que considero no recibió el crédito debido.
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Tripley, amigo mío, diría que tú tema pertenece al fantástico y refrescante score de David Hirschfelder para La Modista, divertida, negra y ácida película con una inconmensurable Kate Winslet , que considero no recibió el crédito debido.
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"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.
Correctísimo Branagh/Doyle. La película de Moorhouse me gustó cuando la vi y en el recuerdo va creciendo por lo rara y arriesgada que es y sí, Winlet está, as usual, tremenda y hasta el otro Hemsworth, cumple. Y como siempre Davis y Weaving magníficos.
Tu turno
Última edición por Tripley; 05/06/2016 a las 21:40
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 no me podía sonar, porque no he visto la película ni oído el score, estoy fatal de lo mío![]()
https://audioboom.com/boos/4656928-horror
Vamos con esto. Podría ser regalillo para Jane, pienso yo.
Inconmensurable trabajo (uno de sus últimos poco antes de morir) de un compositor mítico para los aficionados al género.
¿Quién dijo que los sintetizadores hacían falta para atemorizar?
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"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.
Cuidado que hay trampa.
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"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.
Me suena a James Bernard, pero no le pongo nombre...
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
¡Si! James Bernard.
Si que le pones nombre, mujer. Score compuesto ex-profeso por insistencia del afamado historiador de cine Kevin Brownlow, que quería que el mítico y muy apreciado compositor de la Hammer le pusiese música "a la madre de todas esas películas"
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"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.
¿Te refieres al score de Nosferatu? Para mi vergüenza, no lo he oído...
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
¿Cómo? Aquí te dejo enlace a la lista de reproducción completa en youtube. Que sí, que ya sé que Hans Edermaan hizo la música original, pero esta es brutal también.
https://www.youtube.com/playlist?lis...19CBB5D13FFBCA
Enlace a Spotify, para los que los estéis utilizando.
https://open.spotify.com/album/4zAjGxwcIqZf7OZ54WQG8I
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Última edición por Branagh/Doyle; 05/06/2016 a las 21:31
"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.
Bueno ¿entonces pongo?
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Enlace de lista de reproducción de Youtube corregido.
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"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.
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Yo diría que esto es la Diva cantando entre otros, para Korben Dallas
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"
En un papel escrito para ella ("la primera vez que oí hablar de la diva Plavalaguna fue en la cama"...)antes de que Besson la dejara por... Milla Jovovich.
Ouch.
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Última edición por Branagh/Doyle; 05/06/2016 a las 22:52
"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.
El remix sonoro de la Diva en El quinto Elemento incluía una versión de la famosa "aria de la locura" (Il dolce suono) de la ópera Lucia de Lamermoor de Donizetti. La voz de la Diva la pone la soprano albanesa Inva Mula, que a raíz de esta película, se hizo famosa. La cara la ponía Maïwenn Labesco, a quien, como B/D ha dicho, dejó Besson para irse con Leeloo.
Lo confieso, si no fuera una criatura tenebrosa, me hubiera encantado ser la Diva. Hace poco volví a ver la película y verdaderamente es un personaje raro y un poco mal rollero. Los tipos que van con ella me recuerdan a esos esqueletos enjoyados de las iglesias alemanas que tanto le gusta retratar a Paul Koudunaris. Lo bien que se lo hubiera pasado cierto Fantasma que yo me sé en esa fiesta
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Turno para Tripley.
Última edición por Jane Olsen; 05/06/2016 a las 23:44
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Gracias Jane
Ahora me entero que la Diva era Maïwenn. Efectivamente el personaje es muy extraño.
Nueva propuesta:
https://audioboom.com/boos/4657156-
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"
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
me ha costado caer en lo del
Saludos
Última edición por Tripley; 06/06/2016 a las 00:26
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.
Por cierto, que cómo de costumbre no me haces caso... ¿te llegó el CD de Alexander Nevsky? ¿Todo bien?
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"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.
No, iammatrix, no es It follows.
La película no es para nada de terror, aunque su personaje principal a veces pueda dar un poco de miedo de lo poco empático que es.
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"
Pues venga, es la música de Daniel Pemberton para el Steve Jobs de Danny Boyle, encarnado por el ínclito Michael Fassbender:
Aysss, Campanilla, ¿dónde andarás? Empezamos a tener síndrome de abstinencia![]()
Qué trabajazo más cuidado (¡con un estilo musical distinto para cada acto!). Con esta y con U.N.C.L.E, ya se ha convertido en alguien a seguir para mi.
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"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.