Recuento final:
Finalmente se ha estrenado en 1854 (que no 1500) cines de Estados Unidos. No está nada mal.
132 cines (que no 124), por su parte, exhiben Megalópolis en nuestro país.
Recuento final:
Finalmente se ha estrenado en 1854 (que no 1500) cines de Estados Unidos. No está nada mal.
132 cines (que no 124), por su parte, exhiben Megalópolis en nuestro país.
"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.
Video ensayo de 41 minutos que sostiene que es una gran película. Mañana lo veo. A dormir.
"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.
Ganazas jaja, se me va a hacer larga la espera hasta el domingo.
Bueno, pueden estar tranquilos los críticos: al menos la película se ha quedado con una duración estándar (desgraciadamente por lo que veo por aquello de "comprimida"). Si hubiese durado cerca de lo que dura "La puerta del cielo" de Cimino, alguno se pega un tiro en la sala .
Milena Canonero ya estuvo en "Titus" de Julie Taymor, así que ya es expertísima en este arte de las extravagancias.
Ha obtenido una D+ en Cinemascore,la misma calificación que Borderlands.
Muy mala, un gazpacho que ni emociona ni cautiva, cansa y no funciona la mezcla forzada de algo moderno en una supuesta Roma 2.0.
En resumen, un coñazo.
Esto es fascinante, reseñas de una estrella conviviendo con reseñas de cuatro y cinco estrellas. Y no para la cosa (de momento), en ese sentido. Si eso se traduce en que la gente está yendo/ va a ir a verla, maravilloso.
"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.
Otto+, si tienes la oportunidad de verla en salas, intenta aprovechar pese a que el doblaje no te haya cuadrado a priori.
"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.
Opinión de la peli con mini spoilers de esta chanantada...
"Es peligroso, Frodo, cruzar tu puerta. Pones tu pie en el camino, y si no cuidas tus pasos, nunca sabes a dónde te pueden llevar" -Bilbo Bolsón-
It's not that this film is tightly made - it is ALL over the place - but I was with it the whole way through, fascinated at times, and enjoyed being trapped in Coppola's wild imagination for nearly two and a half hours.
That will NOT be the case for most viewers. The two people next to me in the theater left halfway through and the couple behind me remarked as the closing credits rolled "I wonder how many people are going to make it all the way through this one".
(...)
Yes, you are of course right, this movie does not even try to be the kind of film that the average filmgoer could easily understand. That's kind of the point, I think, and a big part of the reason that Coppola has wanted for decades to get this movie made (according to some accounts, he first mentioned the project back in 1983).
Imagine someone who has been on a life-long diet that consisted of nothing but burgers and hot dogs. Imagine offering that person a plate of escargot. The person would have absolutely no idea what it is, or even how it's eaten. They would look at it with a puzzled look in their face and just politely ask if they could just get a cheeseburger or a hot dog instead.
The point of any avant-garde project is precisely to break the established rules and try something new that nobody has even imagined was possible. That is probably what Coppola has spent all of these decades trying to get done. The fact that he succeeded just in getting it made (with his own money) and given a small theatrical release is probably more than enough to make him incredibly happy.
Incidentally, I have now seen Megalopolis more than once... if you can appreciate what Coppola has done here, it is perfectly possible you may find yourself enjoying it even more on a 2nd viewing. There's a lot of details and Easter eggs that I'm sure even the most attentive viewers might not notice on their first viewing.
Plus, there's the fact that the scenes in full IMAX aspect ratio probably won't look as impressive once this becomes available for watching at home.
All in all, this might just be the most mind-blowing theatrical experience of the year, in my book at least. Glad to know I'm not completely alone in this; we may never see a project as quixotic as this ever again.
Proyecto quijotesco... interesante definición.
The analogy on food is a good one, that here makes sense. I should add to what I said last night that the movie is somewhat all over the place, and does cut in a way that will get on the nerves of most moviegoers.
It is OK for people to not like this, but I did. In fact I think I saw the movie of the year yesterday in this and it is everything I hoped.
Driver was incredible, as well as all the supporting cast. Some being pushed into performances we might not have seen from them previously. The themes of the movie are not easy, and many will walk away thinking it is just crazy, but it has social, political, and environmental themes going on which a modern population would rather dismiss. This movie is not for now, it will come around again and more people will recognize it in years to come, I am convinced of that.
Última edición por Branagh/Doyle; 28/09/2024 a las 17:48
"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.
EN FilmAffinity:
O bien
¿Qué os decía?
"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.
Conrado Xalabarder (MundoBSO).
Es harto difícil, por no decir misión imposible, hacer una valoración o expresar una opinión racionalizada de lo que es una propuesta musical visceral y radical en la que el compositor no es más -y no es poco- que el vehículo a través del que se expresa el director. Coppola utiliza la música no como música tal y como la entendemos sino como parte de la escenografía, de los fabulosos y fastuosos decorados e imaginería visual. La música que evoca al Miklós Rózsa o al Alex North de sus películas de romanos suena aquí porque Coppola convierte la excesiva Nueva York en una megalómana nueva Roma, y junto a ella muchas otras músicas variopintas en estilo que forman un todo deslabazado, caótico y anárquico, completamente imprevisible e imposible de explicar racionalmente. Gusta o no gusta, como tantas veces sucede en el arte.
Y editorial:
Francis Ford Coppola ha sido, es y si le es posible seguirá siendo un cineasta total, dicho en el sentido de director que maneja e integra todos los elementos y recursos que permiten hacer del cine un arte. Sabe dirigir, guionizar, montar, emplear el sonido y la música dramatúrgica y narrativamente, tiene una extraordinaria visión de las posibilidades de la cámara, la escenografía, vestuario... no hay área en la que Coppola no haya mostrado en alguna o muchas de sus películas su maestría, y así lo han reconocido siempre los artistas creadores (que no técnicos) que han colaborado con él.
Me ha gustado muchísimo Megalópolis (24), la película imposible que nadie quería o se atrevía a estrenar. Y es muy posible que con toda la razón: es a mi parecer una obra de arte pero no para todos los públicos. Hay ocasiones, y esta ha sido una de ellas, en que al artista le importa un pimiento el dinero, el público y sobre todo la crítica: pintores, músicos, escritores, escultores... ciertamente para un cineasta esta es una actitud que cuesta mucho dinero, pero Coppola se lo ha podido permitir. No siempre el arte es una expresión comprensible y perfilada. Esta parábola sobre el mundo presente que a Coppola le disgusta y el mundo utópico que le asusta está llena de imprecisiones y trazos desdibujados. ¿Acaso el arte es perfecto? Se ha dicho que el director acudía al rodaje y que ahí mismo escribía el guión, o lo cambiaba. Como tantos artistas que han borrado parte del cuadro, roto páginas enteras del manuscrito o reescrito la partitura con los músicos esperando.
Yo no sabría defender esta película, pues no soy nada bueno racionalizando el arte. Es algo que sí sé hacer en temas de música dramatúrgica y narrativa en cine, pero con esta película (como puede apreciarse en la reseña que he publicado) he desistido de siquiera intentarlo. Coppola es un gran melómano y alguien que ha demostrado saber emplear fabulosamente bien la música en la películas: la trilogía de The Godfather es una de las mejores evidencias. Hice un vídeo explicando, mostrando y demostrando la genialidad musical en la primera parte, decisiones todas ellas de Coppola, no de Nino Rota que era genial compositor pero que muy poco sabía de cine. También hice otro vídeo sobre Bram Stoker's Dracula (92), una perspectiva musical del vampiro absolutamente inédita, y pronto haré otro sobre la no menos brillante -por escalofriante- banda sonora de The Conversation (74), así como de otras películas. Son lecciones de cine.
Allá donde muchos directores la emplean para corregir o mejorar, pues poco más saben hacer con ella, Coppola lleva la música casi siempre a un nivel muy superior y, en el caso de Megalopolis, la transforma magistralmente en parte orgánica de los mismísimos escenarios. En parte orgánica del arte del cine.
"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.
Cinematographer Mihai Malaimare Jr. Comes Full Circle with ‘Megalopolis’
In 2007, Mihai Malaimare Jr. was a 29-year-old cinematographer working in Romania when he got his filmmaking dream job: shooting “Youth Without Youth” for Francis Ford Coppola as Coppola returned to the director’s chair for the first time in 10 years. Coppola wanted to reinvent himself and was looking for a partner who wouldn’t be afraid of trying new things, and in Malaimare, he found a willing and eager co-conspirator. “Even when he had what I thought was a crazy idea, I thought, ‘Well, it’s Francis Coppola so I better try it,'” Malaimare told IndieWire. “Then you try it and realize how much better the scene looks.”
Malaimare became Coppola’s cinematographer of choice on the movies that followed: “Tetro,” “Twixt,” and now “Megalopolis,” all of them self-financed experiments with which Coppola has attempted to find his own unique style after over 60 years of filmmaking. On “Megalopolis,” Coppola’s boldest roll of the dice yet, the director often found himself at odds with collaborators committed to more conventional methods of production. “We were in a studio in Georgia where a lot of Marvel pictures are made, and Marvel movies are very scene-centric,” Coppola told IndieWire. “I didn’t want it to be scene-centric. I wanted it to be image-centric.”
While Coppola’s differences of opinion with his original art department led to that team leaving the movie, he knew he always had one partner he could depend on. “No matter what kinds of constraints I’m operating under, or what kinds of pressures I put on Mihai, he always comes up with beautiful images,” Coppola said. “You know you’re always going to love the result.” For Malaimare, “Megalopolis” is the logical extension of method he and Coppola developed on “Youth Without Youth.” “It’s a really interesting dynamic, because secretly I enjoy being pushed out of my comfort zone,” Malaimare said. “Sometimes I find myself waiting for it to happen and craving any crazy idea Francis can send my way, because it always produces interesting results.”
Coppola has famously been thinking about and talking about “Megalopolis” for decades, and it’s been a part of his discussions with Malaimare right from the beginning of their association. “The idea with ‘Youth Without Youth’ was to use what were then new digital cameras,” Malaimare said. Among the cameras Malaimare considered was the Sony F900, which Ron Fricke had used to shoot second-unit footage of New York for an abandoned early incarnation of “Megalopolis.” “Fricke shot hours and hours of establishing shots and second unit, and I remember watching that footage to see what the F900 could do visually. Even though it was for a different project, I was becoming familiar with ‘Megalopolis’ and Francis’ concepts for it.”
Over the years as they worked on other films, Coppola would mention “Megalopolis” or share sketches and references for it. “Pieces of information came my way, but not necessarily with the purpose of ‘Let’s prep this film,'” Malaimare said. By the time Coppola was ready to begin serious discussions about “Megalopolis” around a year before they started shooting, Malaimare was ready. “We already had a certain visual style established and it was about trying to improve on that foundation that we already had.” On “Youth Without Youth,” “Tetro,” and “Twixt,” Coppola employed a style heavily influenced by Yasujiro Ozu in which the camera rarely moved; if characters left the frame, the image would cut to a different shot instead of having the camera follow them.
“The idea seemed restrictive, but it forced us to compose better, more like still photography,” Malaimare said. For “Megalopolis,” Coppola wanted to retain that sense of beauty and discipline in the image but bring more movement into it in the form of floating crane moves and dolly shots. He also wanted an increased sense of scale, which led to the decision to shoot for IMAX screens. “We did quite a few camera tests [and] watched all those tests at IMAX headquarters in L.A. The idea was to get familiar with such a huge canvas and try to take advantage of it and figure out what would be the best tool for that. We went through a bunch of cameras and landed on the Alexa 65 as the right tool for such a big screen.”
For Malaimare, one of the pleasures of “Megalopolis” was applying the sense of freedom and experimentation that he felt on smaller films like “Youth Without Youth” and “Tetro” to a sweeping American epic of the type that made Coppola’s reputation in the 1970s. A driving sequence in which several characters are following each other stands out in Malaimare’s mind as an example of Coppola’s organic, playful sensibility. “We started shooting it ‘poor man’s process,’ with just some moving lights outside of the car,” he said. “That evolved into adding a few pieces of moving sets outside the car. Then we added miniatures and statues, and some exterior shots from Ron Fricke. It became a much more complex and interesting approach.”
It makes “Megalopolis” a more interesting experience for the audience as well, as the film is filled with shots unlike any that have ever been seen before on screen. “It’s amazingly rewarding when you find yourself doing something that’s never been done before,” Malaimare said, noting that what makes Coppola interesting is this combination of innovation with a respect for film history. “Francis remembers all these interesting shots from movies of the 1940s, and he’ll show them to me in prep and say, ‘Isn’t it amazing what they did back then? Let’s try to do it as well.’ It’s great when you’re able to do something new and fresh, but combining it with such old techniques.”
"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.