"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.
RIP, Sir Pratchett.
«¿Me permites una crítica constructiva a la mierda esa que has hecho?»
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«El mal no puede crear nada nuevo, sólo corromper o arruinar lo que las fuerzas del bien han inventado o construido». J.R.R. Tolkien.
«DEI kills ART. It´s ineffective and actually appears to increase prejudice, not reduce it».
«Put a chick in it and make her gay and lame». Cartman as K.K.
"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 sorprende que no haya metido American Graffiti y alguna de De Palma.
Y ha metido "dos y media" de Sternberg, las propias y el remake de una de las suyas...
Y otras dos de Murnau (el mejor), como debe ser. Pocas me parecen.
RIP, Sir Pratchett.
«¿Me permites una crítica constructiva a la mierda esa que has hecho?»
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«El mal no puede crear nada nuevo, sólo corromper o arruinar lo que las fuerzas del bien han inventado o construido». J.R.R. Tolkien.
«DEI kills ART. It´s ineffective and actually appears to increase prejudice, not reduce it».
«Put a chick in it and make her gay and lame». Cartman as K.K.
"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.
Habrá dicho un puñado de películas así a bote pronto hombre, no creo que le haya dedicado dos días a la lista. Además ya sabemos que con las listas, depende del día que tengamos entran unas y salen otras. Por ejemplo, dijo una vez que su favorita de su colega Scorsese era Toro Salvaje, y en cambio ha mencionado otras dos.
No todos los directores son como Tarantino, que se parece más a los que rondamos por aquí, y sí que tendrá muy meditada su lista.
"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.
Del 19 de Agosto:
Imagine if a utopian fever dream collided head-on with the existential dread of modernity, and the wreckage was sculpted into something shockingly beautiful. That's Megalopolis, a film that feels like the child of Fritz Lang and Stanley Kubrick, nurtured by the chaos of our times. It's not just a movie; it's a symphony of contradictions, where towering ambition meets intimate storytelling.
Francis Ford Coppola, somehow still operating at the peak of his powers, delivers a sprawling epic that dares to ask: What happens when the future we dream of becomes the nightmare we can't escape? The narrative dances on the razor's edge of dystopia and utopia, weaving together tales of architects, rebels, and lovers who are all striving to build something that can withstand the weight of time.
The visuals are nothing short of hypnotic: a city that never sleeps, bathed in neon and shadow, where every frame feels like it could be hung in a gallery. Coppola's use of light and architecture is masterful, creating a world that is as much a character as the humans who inhabit it. The score, an electronic odyssey, pulses through the veins of the film, pulling you deeper into its labyrinth.
The performances are just as awe-inspiring. Adam Driver delivers a performance that's both grand and deeply personal, embodying the duality of a man caught between creation and destruction. Nathalie Emmanuel is a revelation, bringing warmth and gravity to a film that could easily have been consumed by its own grandeur.
Megalopolis isn't just a film: it's an experience, one that challenges you to reconsider what cinema can be. It's Coppola's love letter to the future, wrapped in the anxieties of the present, and it's utterly unmissable. A staggering achievement that leaves you breathless, bewildered, and begging for more.
Última edición por Branagh/Doyle; 31/08/2024 a las 12:52
"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.
Yo me quedo con esto:
Para bien o para mal Coppola parece que ha tenido aún la capacidad de hacer algo que consigue forzar las fronteras de lo que consideramos una película.Megalopolis isn't just a film: it's an experience, one that challenges you to reconsider what cinema can be
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.
Dandole vueltas, todas las criticas negativas inciden en la mezcla de tonos, y en que combina DRAMA shakespiriano super serio y trascendente con segmentos gamberros, irreverentes y de un humor negrísimo.
Yo pregunto, ¿mezclar tonos es un problema?. Luego habrá que ver la ejecución, claro. Pero no sé, que se destaque eso tantísimo como un aspecto negativo me parece muy significativo.
"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.
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"
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"
Mira Tripley, crítica negativa del Padrino encontrada vía Google, 20 segundos he tardado.
Arthur Schlesinger para Vogue, escribió (en 1972, se entiende):
An overblown, pretentious, slow, and ultimately tedious three-hour quasi-epic.
Se tarda más en pedirselo a ChatGPT. Que inutiles los de Lionsgate, madre mía.
"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.
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.
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"
Branagh si me es posible y ese dia encuentro sitio para aparcar ya que no es nada facil ire a ver esto
Aparte de esta en este ciclo de Coppola darian estas otras:
-Apocalypse Now Final Cut 4K
-El Padrino 50 Aniversario 4K
-Peggy Sue se casó 35 mm
-La conversación DCP
-Llueve sobre mi corazon 4K
-Legitima defensa 35 mm
-Dracula 4K
-Rebeldes 4K
-La ley de la calle DCP
Las DCP supongo que será 2K
Última edición por Edge-Azel; 31/08/2024 a las 23:55
Rodriguez Marchante escribe para ABC:
Es un caso parecido al de 'La gran belleza', de Paolo Sorrentino (parecido, sin tener nada que ver), que tiene ese comienzo de casi media hora lleno de estruendo, vulgaridad, desconcierto y fealdad en una interminable fiesta que, la primera vez que se pone uno ante ella y sin saber lo que dura y para qué, resulta un peñazo tremendo. En la segunda y posteriores veces que se ve 'La gran belleza', cuando ya se sabe que ese principio embarrado es el precio que hay que pagar para disfrutar el resto, todo encaja admirablemente en su lugar.
Curioso.
"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.
Pues a mi el descomunal inicio de La gran belleza me encajó desde el primer visionado.
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.
Nueva imagen cortesía de Lionsgate.
Tripley... ¿y esos engranajes?.
Mmm...
Y Coppola se ha extendido en una entrevista con Empire sobre el presupuesto del film y el despido de personal durante la producción.
Ahead of the film’s North American debut, Coppola has now spoken with Empire (via Slashfilm) about one of those controversies. One of them was the story that Coppola had fired most of his art department and visual effects team in December 2022.
As a result, this led the rest of those departments to walk away from the production. Coppola explains his rationale and working with production designer Beth Mickle (“Motherless Brooklyn”) who left early on:
“‘Megalopolis’ had a big art-department need because you have to show the world of the future. Ultimately, [Beth and I] really didn’t share the same vision. We [later] disagreed to a degree that it was decided that the best thing would be if I hired a concept artist and came up with frames that showed what I wanted, which I did.”
He goes on to say the overall art department “was frustrated because they felt I was evolving the look of the picture independently of them.”
He says they wanted to do “giant sets and images,” he wanted more of a focus on “costumes and live effects” to make sure they did “some of the work” for the movie. That approach was also more cost-effective as focusing on the art department was putting the film over budget:
“The picture was heading over budget [towards $148 million]. I said, ‘We have to now economise and make it much less expensive.’ The art department had a production designer, five art directors and a supervisor. It was very hierarchical. I said, ‘Let’s fire one of the five art directors,’ and they said, ‘Well, if you do that, we’ll all resign.’ And I did and they did.
I didn’t want to economize. I wanted to get the art department to be smaller, and they didn’t want to be smaller. They wanted all the other departments to be smaller.
I said, ‘Let’s face it, I’m the only one who knows what the director has in mind. I don’t care what you think.’ Also, I’m not only the director — I was also putting up the money. So, to be told that I had to have a huge art department that I didn’t want was absurd to me.”
Coppola then says the fired VFX and art department staff got payback via those press reports: “Then, of course, they bad-mouth us: ‘Oh, this picture is crazy.'”
"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.
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"
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"