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"
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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.
Though it initially looked like that’s all the theatrical exposure Eastwood would get, as of yesterday, the film is now set to expand slightly (reportedly to 15 more screens) this Friday. A film like “Juror No. 2” will play just fine on Max, but on the giant Imax-scale screen of the TCL Chinese Theatre at AFI Fest, I found it positively gripping to watch. The demand is clearly there to see it projected.
Es un fragmento del articulo de Variety de ayer Viernes según el cual se han añadido 15 cines más.
Por cierto en este mismo artículo se dice que la película se produjo como un lanzamiento directo para Max con la aprobación del propio tito Clint y que luego se decidió hacer un estreno de prestigio en salas para calificar para los premios.
"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.
Cierto.
Por favor, cuidado con los spoilers!!!
Pues me ha gustado muchísimo.
Una duda sobre el final.
Spoiler:
Me llevé toda la película pensando de qué me sonaba la cara del protagonista y al entrar en este hilo, veo que es el de Un niño grande