Me encanta.
Le denuncian por ser un "tirano" en un proyecto titulado MEGALOPOLIS.
Las piezas encajan, como debe ser.
Me encanta.
Le denuncian por ser un "tirano" en un proyecto titulado MEGALOPOLIS.
Las piezas encajan, como debe ser.
![]()
[I]"Coppola made life even harder for himself: “When he arrived in Atlanta, he was looking for accommodation for his extended family and he wasn’t finding anything he particularly liked. So he bought a drive-in motel which had just closed, and decided to renovate it. So all the way through the shoot, he lived there. The construction noise started at six in the morning.” When Figgis (who opted to stay in a different hotel) asked Coppola how he handled it all, “He said, ‘Look, it’s all the same thing. Movie business, construction business: it’s telling people what you want, and making sure they do it.’”[/I]
“I think Coppola still lives in this world where, as an auteur, you’re the only one who knows what’s happening, and everybody else is there just to do what he asks them to do,”
Adam Driver’s first day on set was particularly memorable, a source suggests. One aspect of the story involves Driver’s character’s body fusing with some futuristic organic material. Rather than using digital techniques, Coppola wanted to achieve the effect through old-school methods, using projectors and mirrors, much as he had done on Dracula, 30 years earlier. “That’s great, except nobody can move,” says the crew member. “So they basically strapped Adam Driver into a chair for six hours, and they literally took a $100 projector and projected an image on the side of his head. I’m all for experimentation, but this is really what you want to do the first day with your $10m actor?” The effect would have been quick and easy to create digitally, they say. “So he [Coppola] spends literally half of a day on what could have been done in 10 minutes.”
The virtual “volume” was abandoned in favour of more traditional “green screen” technology”, according to one source: “His dig at us was always, ‘I don’t want to make a Marvel movie,’ but at the end of the day, that’s what he ended up shooting.”
Es brutal. Brutal...
Última edición por Branagh/Doyle; 15/05/2024 a las 18:04
"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.
Te lo dice el tío de "The Godfather".“He said, ‘Look, it’s all the same thing. Movie business, construction business: it’s telling people what you want, and making sure they do it.’”
Movie business... construction business... pintar casas... todo es lo mismo.
El puto amo.
Última edición por repopo; 15/05/2024 a las 18:07
"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.
Sería bonito que hiciesen por premiarle como último homenaje y reconocimiento. Pero últimamente hemos podido comprobar que a los que dan los premios no se les ablanda el corazón lo más mínimo a la hora de ignorar a viejas leyendas, ahí están como prueba el desprecio a Scorsese en los últimos oscars o Erice en los Goya.
There may be certain messages in the movie that would "alienate" American audiences, hence the distribution issues in the U.S. I was an extra for the movie and there were certain political things that may be controversial, especially because of the antagonist.
Interesante...
"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.
Por supuesto, pero me da la sensación que a estos directores ya se les ignora en favor de películas más "a la moda". El Irlandés o Cerrar los Ojos me parecen muy superiores a las películas premiadas al Oscar y al Goya respectivamente.
"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... efectivamente, allá vamos.
"Es un accidente de tren". Francis Ford Coppola, acusado de acoso sexual a unas horas de proyectar 'Megalópolis' en Cannes
Hubo dos días donde rodamos una escena de celebración al estilo Studio 54 en la que Francis entró en el set para establecer el espíritu de la misma dando abrazos cálidos y besos en la mejilla al reparto y los extras. Era su manera de ayudar a inspirar y establecer la atmósfera del club, que era muy importante para la película. No fui consciente de ninguna queja de acoso o comportamiento enfermizo a lo largo del proyecto"
"Acoso sexual" dicen, y se desmienten ellos mismos en el artículo. La madre que los parió.
Última edición por Branagh/Doyle; 16/05/2024 a las 11:18
"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.
No fallan los mastuerzos
![]()
Última edición por Branagh/Doyle; 16/05/2024 a las 11:57
"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.