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The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Nuevo proyecto de Branagh con guión propio y financiado de manera independiente. Thriller psicológico, por lo visto. Jodie Comer será la protagonista.
En Agosto empezará la producción en U.K (¿estreno a finales de año?).
Veremos si tenemos a Patrick Doyle a cargo de la música o si repite Hildur Guðnadóttir.
"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.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Se han unido al reparto Patricia Arquette, Michael Sheen, Tom Bateman, Vicky McClure, Michael Balogun, Kristina Tonteri-Young, Karla Crome, Aiysha Hart y Gemma Whelan.
La producción está en marcha en el Reino Unido.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
¡Fantástico reparto!
"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.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Se estrenará el año que viene (ya se ha rodado).
Tom Bateman:
"I'm not allowed to say, but also, even if I was allowed to say, we made a joke that I think I read the script 10 times before I understood 10% of it. I kept saying to him, 'How did you come up with this movie?' Come watch it. It'll be out next year. It's a real web. Nothing is as it seems. Jodie’s character, at the center of it, is going through this thing that makes her own perspective unreliable anyway, so, for that to be your protagonist, it's just a mess."
"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.
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