Pues vaya una gaita.
Porque ésta es de las poquitas películas que, ahora mismo, de verdad tengo ganas de ver.
Pues vaya una gaita.
Porque ésta es de las poquitas películas que, ahora mismo, de verdad tengo ganas de ver.
"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.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Tengo unas ganas tremendas de ver esta película pero el estreno es medio insierto en Chile, consulte al Cine y la respuesta que obtuve fue que hay problema con el Distribuidor.
En México el Estreno es el día 12 de Enero, en España el 16 de Febrero, Usa el día de mañana :(
Ojala la película gane todas esas nominaciones.Que posteriormente tenga éxito en taquilla,y que ello permita que los productores le den carta blanca para hacer "En las Montañas de la locura"![]()
Habla James Wallestein.
Ni que hablara el Papa. Mucho se critica a la crítica profesional (a veces con razón y otras sin ella) pero yo el fenómeno youtuber como que no lo aguanto. Y conste que yo mismo tengo en alta estima las opiniones de no profesionales del medio como Rafa Martín y tampoco quiero meter al señor Wallenstein en el mismo saco que a cualquier adolescente con ganas de hacer dinero fácil, pero hora y media de crítica? Es realmente necesario? Donde hemos dejado la capacidad de síntesis? Lo mismo digo de ciertos podcasts. El último de La Órbita de Endor dura 6 horacas para analizar la última de Star Wars, y 5 de ellas serán para destripar la peli a saco, ni breve sinópsis ni leche, te la analizan minuto a minuto.
Personalmente pienso que con ello se acaba diluyendo lo que realmente se quiere expresar.
Bueno y hasta aquí mi pequeña reflexión![]()
Sí, se lo advierten pero es obstinado en alargar las críticas creyendo que así le quedan mejor. Cuando empezó y las hacía de sobre 10 minutos eran mucho mejores.
Tengo ganas de que se estrene ya. Lo que no la veo ganando premios importantes quitando los técnicos. Ojala me equivoque, pero a la gente de la academia de los oscars las cosas fantásticas no les tiran mucho.
Se ha lanzado un tema de la composición de Desplat de manera oficial. Ay dios. DIOS.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Se ha lanzado íntegra en Spotify y demás. Me acaba de llegar la notificación.
Os dejo enlace a la lista de reproducción de Youtube para que la escuchéis completa:
https://www.youtube.com/watch?v=FS3_...dtCER5PDSPPWJx
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Jane, ya me dirás que te parece (la música).![]()
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Alguien de quien me fío:
Saw the film yesterday. Best film of the year and the BEST SCORE OF THE YEAR. Simply beautiful !
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What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Tripleyyyyyy!!!!!!!!!!:
it’s very old-fashioned romantic (in the best possible way), sweeping and swooning away, delightfully fluid and shimmering. A highly unusual touch comes in the form of whistling, performed by the composer himself, heard throughout the score.
![]()
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
"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.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
"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.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
¡Qué ganas tengo de verla otra vez!
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"
Espero que en los Oscar pueda ganar algún premio más después de todas las alabanzas, aunque me alegro de que haya llegado hasta aquí al igual que "Get Out". Parece hasta raro.
Contando los días para el estreno...
Y después de la gala...
Spoiler:
Y no me quiero olvidar de éste hombre:
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Última edición por Derek Vinyard; 08/01/2018 a las 22:01
"¿Qué importa como me llame? Se nos conoce por nuestros actos."