"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.
Esperar y no sea diamond jajaja
Que no sea Piece of Magic, por favor.
Es tripictures.
TriPictures será la distribuidora de MEGALOPOLIS en España
https://deadline.com/2024/05/megalop...rs-1235913090/
"Interestingly, we understand these deals are for theatrical rights and that TV and VOD rights have been held back by Coppola’s team, potentially paving the way for a global streamer-type deal down the line."
"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.
Ah. Hombre, pero si realizan un estreno convencional en salas (es decir masivo, y con la ventana temporal clásica), lo cual Tripictures tiene la capacidad de hacer, yo creo que editarla si la editaran. Muy mal tendrían que ir las cosas para que se diese lo contrario.
Said Felipe Ortiz, President of Tripictures: “For Tripictures, it is an honor to have the opportunity to release Megalopolis in Spain. This film is one more masterpiece from the great Francis Ford Coppola that we know will touch all the audiences and remain a legacy in everybody’s mind.”
Última edición por Branagh/Doyle; 13/05/2024 a las 00:54 Razón: Me comí un trozo
"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.
Yo no quiero ser agorero, pero, por ejemplo, la última película de Spielberg por aquí no está editada.
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"
"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.
"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.
Parece ser que Tripictures solo ha negociado derechos de cine,para fisico aun no hay nada negociado por lo que aún hay posibilidades
Eso iba yo a decir. Parece que Coppola ha negociado los derechos con estas distribuidoras en cada país estrictamente solo para su exhibición en cines con la idea de un estreno masivo con una ventana temporal de duración tradicional. Como antaño, vaya. Por tanto, el contrato que han firmado única y exclusivamente cubre eso. Teniendo en cuenta esto, es perfectamente posible que A Contracorriente - por ejemplo- pudiese hacerse con los derechos para editar la película en formato físico en el futuro.
Lo que me intriga es lo que se ha apuntado de "un futuro acuerdo global con un servicio de streaming para transmitir la película". Me inclino por Apple TV+, porque a día de hoy es la plataforma en streaming que mayor calidad de imagen y sonido ofrece, algo que parece ser muy importante para Coppola con esta película en concreto (como certifica el hecho de que decidiese rodarla en 70mm).
"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.
¿Y sabéis en qué salas está estrenando últimamente TriPictures? Me refiero a si es en las pequeñas salas de las capitales(tipo Verdi) o en multicines(Yelmo, etc...).
Yo de momento, me conformo (agradezco enormemente) de que podamos vivir la experiencia en pantalla grande en España. El resto "Dios" dirá.
Y no soy un seguidor de la carrera de Coppola (perdonadme) ya que creo que solamente he visto la trilogía del Padrino de él, pero este proyecto, tanto desde el punto de vista creativo (es suyo totalmente y deseado desde hace décadas), como lo que parece que propone (historia) y como está dirigido (el teaser habla por si solo), es de obligado visionado para mi.
Última edición por jurassicworld; 13/05/2024 a las 12:31
"Es toda una experiencia vivir con miedo, ¿verdad? Eso es lo que significa ser un esclavo".
"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.