Tema: Megalopolis (Francis Ford Coppola, 2024)

En ese sentido, a mí la película me gustó mucho por esos contrates, esos momentos la mar de bonitos y naifs junto con otros momentos (o algún breve diálogo) diría de soeces.

Eso sí, necesito un segundo visionado, voy olvidando detalles.

Saludos

Iniciado por Tripley

En ese sentido, a mí la película me gustó mucho por esos contrates, esos momentos la mar de bonitos y naifs junto con otros momentos (o algún breve diálogo) diría de soeces.

Eso sí, necesito un segundo visionado, voy olvidando detalles.

Saludos

Si, es una película que por sus aristas y matices diría que requiere múltiples visionados.

La manera en la que se descubre que

Spoiler:

Cesar le fue infiel reiteradamente a su esposa también es audiovisualmente arrebatadora (Megalon mediante).


El pintalabios en la boca de los cigarrillos... sus Jane Doe, las llama. Su debilidad.

Que gran actor es Adam Driver, y que voz tiene, por el amor de Dios.

A longtime collaborator of Coppola, 2x GRAMMY Award®-winning composer, Osvaldo Golijov was first approached by the iconic director over 20 years ago when Megalopolis was in its earliest stages of inception, the duo since working closely together to bring the musical vision of the modern, reimagined Roman epic to life. Recorded with the Budapest Art Orchestra, the expansive score ranges from grandiose classical melodies to film noir-inspired jazz numbers, featuring solo performances by Yo-Yo Ma, members of the Silk Road Ensemble, and more. Also featured on 32-track collection are two original songs written and performed for the film by Grace VanderWaal as her onscreen popstar character Vesta Sweetwater.⠀

Pushing beyond the confines of traditional cinema, Megalopolis prompted Golijov to deliver a soundscape as grandiose and far-reaching as the film itself. One of the key starting points for the score came from Coppola himself, who requested a “big love theme” that would permeate the film’s many layers. Rooted in largescale orchestral movements, Golijov’s cues are often repurposed by way of specific instrumentation choices, namely the musical saw, glass harmonica, organ and a wide variety of percussion instruments, which he then infused with sound design elements like rhythmic percussive clocks to capture the propulsive nature of the story. Matching the expansiveness of Coppola’s vision, the resulting 32-track collection manages to maintain a clear sonic throughline while also capturing the various intricacies of the onscreen epic.

Golijov pays homage to Coppola’s multitude of influences throughout the soundtrack, noting, “Francis asked for the soundtrack to contain specific references (e.g. Rozsa’s epic Roman music, Herrmann’s scores for Hitchcock, the ‘geometric’ love themes in Prokofiev’s Romeo and Juliet), which I twisted and combined in unexpected ways, so that they might help propel the film on its dazzling journey from ancient history towards the freedom of the unknown.”

Espera. ¿QUE?

¿¡CUATRO HORAS Y MEDIA!?


Although Coppola, by virtue of financing the film himself, presumably had full creative freedom, editor Cam McLauchlin alluded to a four and a half hours director's cut in the film's production notes. McLauchlin said that after the director's cut was produced, it took another eight months before Coppola signed off on the final cut. 

Habrá que ver si se llega a editar.

Saludos

Y seguimos para bingo:


La actriz Whitney Cummings ha compartido en una entrevista reciente la "humillante audición" que tuvo con Coppola para Megalopolis, y que la ha "dejado traumatizada", porque se le pidió improvisar, y eso le pilló totalmente desprevenida.


Whitney Cummings is recalling the “horror” audition she had for Francis Ford Coppola‘s Megalopolis.

The comedian and host of Max’s Fast Friends game show recently said in an interview she had a “humiliating” audition for the epic science fiction film directed and written by Coppola.

“This was such a core trauma for me,” Cummings said on the Good For You podcast.

Cummings said that she had prepared for the audition spending days memorizing lines and when she got to the audition, she noticed the vibes were off.




“Everyone is so quiet. There’s no vibe of, ‘We’re at an audition. Hey, what’s up? Hi, how are you? Nice to meet you,'” she recalled. “It’s just so awkward. I go in, I’m like, ‘So, where do you want to start first?’ And he’s, like, ‘Oh no, no, we’re not going to do the scene.’ I was like, ‘OK, It’s three days of my life.’”

The audition process was different and Coppola asked the actors to improvise scenes with Cummings adding, “He would just throw things at me.”

Cummings said that one of the prompts was to bid farewell to her son going off to war using an English accent. Another thing she was asked to improvise was confront her husband using an Australian accent. All of this made Cummings belief she was being punked, saying, “Because I did the show Punk’d, I was like, if I’m being punked, this is actually genius.”

She continued, “I started glazing over, and then he was, like, ‘That was great.’ I don’t know where I went. I just completely disassociated.”

“I am improvising my head off to just nothing,” she said. “Why am I acting with him? He’s, like, ‘It’s going to be me and we’re going to improvise the scene.’ I’m, like, ‘But you don’t [improvise].’ Has anyone ever told you the truth since Apocalypse Now? Right? Has anyone told you the truth? No.”

By the end of the process, Cummings said she was “so embarrassed” and said the director gave her a “sifne copy of his new book,” adding, “He signed it in front of me as if I had shown up to an autograph signing as if I wanted [it]. Like, thank you. And then gave me a bottle of Francis Ford Coppola wine. It was just so humiliating — that’s the only [word] — and so confounding in that moment.”





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En fin.