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Re: Kenneth Branagh
"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.
Re: Kenneth Branagh
Iniciado por Branagh/Doyle
No entiendo. ¿El zorro? ¿Qué estoy mucho mas guapo?
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
Re: Kenneth Branagh
"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.
Re: Kenneth Branagh
"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.
Re: Kenneth Branagh
Es off-topic, pero...
"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.
Re: Kenneth Branagh
Ya decía yo que notaba cierta conexión entre nosotras
.
¡Di que sí! Da igual la peli.
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
Re: Kenneth Branagh
Ayer me vi, después de muchos años, Los amigos de Peter. No recordaba demasiado, excepto la revelación final y el uso de las canciones de los 80.
Me ha parecido una comedia "de sonrisa" más que de carcajada, fresca y agradable. Quizás el tono se le va un pelín de las manos a Brannagh en un par de momentos con la que hace de su mujer hollywoodiense, pero nada grave. Se mueve bien en el alambre entre esa comedia y algunas escenas realmente dramáticas (sobre todo las referidas a High Laurie y su mujer).
No está entre las grandes obras de Brannagh, pero demuestra su versatilidad y capacidad de desarrollar personajes y situaciones.
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)
Re: Kenneth Branagh
Pues como me gusta ir a dormirme tarde, y ya que he visto que estabais en modo rankings, aquí va el mío sobre Branagh (a escala sobre 5):
La Cenicienta (2015): 5
Jack Ryan: Shadow Recruit (2013): 4
Thor (2011): 4
La huella (Sleuth) (2007): 4
La flauta mágica (2006): 3
Como gustéis (2006): 4
Trabajos de amor perdidos (2000): 3
Hamlet (1996): 5
En lo más crudo del crudo invierno (1995): 3.5
Frankenstein (Mary Shelley's Frankenstein, 1994): 3.5
Mucho ruido y pocas nueces (Much Ado About Nothing, 1993): 5
Los amigos de Peter (Peter's Friends, 1992): 5
Morir todavía (Dead Again, 1991): 3.5
Enrique V (Henry V, 1989): 5
Que conste que no soy muy dado a poner notas de forma abierta en publico, ya lo sabeis (me lo guardo mas para mis listas en casa), pero aproximadamente este seria mi veredicto, a falta de revisionar ciertas obras suyas para definirlo mejor.
FUERA DE SERVICIO
"So this is how liberty dies, with thunderous applause." - Padmé Amidala
Re: Kenneth Branagh
Menos mal que te gusta mucho...
O espera, igual lo estoy interpretando mal y 5 es la puntuación máxima.
"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.
Re: Kenneth Branagh
Sí, las puntuaciones son sobre un máximo de 5
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"
Re: Kenneth Branagh
No he leído el paréntesis. Soy idiota.
"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.
Re: Kenneth Branagh
Pero se lo pedí yo expresamente.
"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.
Re: Kenneth Branagh
Los dos cortometrajes de Kenneth Branagh, ambos nominados al oscar, escritos y dirigidos por el:
Swang Song (1992), basado en una obra de Anton Chejov, y que tiene como protagonistas a los insignes Sir John Gieguld y Richard Briers; y Listening (2003), donde Frances Barber y Paul McGann interpretan a una mujer y un hombre que se enamoran durante su estancia en un spa en el que no está permitido hablar.
Spoiler:
Me contais que os parece, porfa.
Última edición por Branagh/Doyle; 14/03/2017 a las 23:33
"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.
Re: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:33
"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.
Re: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:34
"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.
Re: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:34
"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.
Re: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:34
"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.
Re: Kenneth Branagh
"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.
Re: Kenneth Branagh
El propio Branagh cómo Romeo, allá por los 80, junto a Samantha Bond cómo Julieta:
"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.
Re: Kenneth Branagh
Kenneth Branagh y Judi Dench en Coroliano, de Shakespeare. 1986
"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.
Re: Kenneth Branagh
Veamos:
Mucho ruido y pocas nueces, Hamlet (9-10) Altísimo nivel, y eso que en una de ellas me tengo que tragar al Keanu
Trabajos de amor perdidos (8-8,5) Nunca la he visto en V.O y necesitaría un revisionado reciente. Me causó una muy grata impresión en su día. Como musical, por encime de otros oscarizados.
Mary Shelley's Frankenstein (7,5-8)
La huella (6) Aunque está dirigida con gran destreza as usual.
Como gustéis (7)
La flauta mágica (6,5) Sé que es mejor de lo que la valoro. Conecté con algunas fases mejor que con otras.
En lo más crudo del crudo invierno (6,5) Otra que tengo ver en V.O y revisarla, la vi en tiempos del Canal+ en casa de un colega.
Los amigos de Peter (-) No la he visto completa ni en V.O. Sin calificar
Henry V (-)
Morir todavía (pendiente) ;)
Jack Ryan (-)
Cenicientea (-)
Thor (-)
PD: Adoro a Michael Keaton en Mucho ruido.... Siempre he tenido una atracción especial por él (igual que por Sam Neill o Kurt Russell por mencionar algunos más).
Re: Kenneth Branagh
Pues tienes que Henry V pero ya. Campanilla le puso un 10, si te sirve de referencia. Y Cenicienta está en Netflix.
"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.
Re: Kenneth Branagh
Henry seguro que me va a encantar; el poderío que derrocha visual y musicalmente me parece achicharrador. Es curioso como ha sido un film que hasta verle aparecer reseñado con asiduidad por el foro ha permanecido oculto en mi memoria.
Cenicienta....mmm....a lo mejor me hago un pequeño maratón de Cenicientas cuando la vea, que mi sobrina aún conserva el VHS de la película de animación (una reliquia, ¿eh?) La del musical de Leslie Caron podría ser el último eslabón del miniciclo.
Eso sí, aún no sé cuando las veré. Probablemente hasta Mayo, nada de nada.
Re: Kenneth Branagh
Por si alguien se pregunta que implica exactamente que el Hamlet de Branagh contemple el texto íntegro, buen resumen:
Audiences may wonder exactly what the "full script" of "Hamlet" consists of. The play exists in three early printings: the First Quarto (now dismissed as a patchwork put together from memory by actors), the Second Quarto (thought to be from Shakespeare's handwritten manuscript) and the First Folio. The Second Quarto has 230 lines that aren't in the Folio, and the Folio has 70 lines that aren't in the Second Quarto. Branagh has used the Second Quarto as his basic text, adding the lines from the Folio; it's quite possible that this complete a version has never been staged before.
Audiences will see the following rarely staged sequences: all of Claudius's masterly manipulation of Laertes; all of the gravedigger scene, including not only the Second Gravedigger but Hamlet's meditation on at least three skulls prior to Yorick's; all of the conversation between Hamlet and his friends as they go to seek the Ghost, including the "vicious mole of nature" speech; the complete accounts of the military maneuverings of Prince Fortinbras (whom Branagh depicts, on slim textual evidence, as an invader); everything involving the visiting Players, including a conversation about companies of child actors, a contemporary issue that today means nothing to anyone but Shakespeare scholars; and sundry added ends of speeches and restored lines.
"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.
Re: Kenneth Branagh
A Cenicienta campanilla le puso otro 10. Eso completa sus dieces para Branagh: Enrique V, Mucho Ruido y Pocas Nueces, Trabajos de Amor Perdidos y Cenicienta.
"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.
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