Tema: Bandas sonoras

Iniciado por PrimeCallahan

Dicen que hasta aparece el tema de The Shadow (Goldsmith) y el The Fly (Shore) en los dos temas de Hero y Anti-Hero

Por cierto, apuntemonos un Desplat pa Diciembre, aunque servidor lo sabia en cuanto vio Decca...

http://filmmusicreporter.com/2017/11...track-details/

Y vuelve a colaborar con Renée Fleming tras la estupenda El origen de los guardianes.

Iniciado por Yeruid

Y vuelve a colaborar con Renée Fleming tras la estupenda El origen de los guardianes.

Gran banda sonora del frances

Contando para poder escuchar su nueva colaboracion con Del Toro

Tras pasarme dos días oyendo sin descanso el trabajo del pelirrojo solo puedo afirmar el mismo axioma que he tuiteado esta tarde:

Lo que ha hecho Elfman devolviendo sus temas originales a Superman y Batman en #LigaDeLaJusticia no es un ejercicio de nostalgia. Sino de buen gusto e inteligencia.

De Desplat en diciembre también se editará Suburbicon:

https://www.amazon.com/Suburbicon-Or...rbicon+desplat

Saludos

Iniciado por Tripley

De Desplat en diciembre también se editará Suburbicon:

https://www.amazon.com/Suburbicon-Or...rbicon+desplat

Saludos

La banda sonora esta disponible en los habituales digitales

Muy entretenida.

Sí, muy evocadora de los 50

Saludos

Para B/D, November 17th

Track list:
1. Prelude
2. Where Is Winston?
3. Full English
4. A Telegram From The Palace
5. One Of Them
6. Winston And George
7. First Speech To The Commons
8. The War Rooms
9. From The Air
10. I Wouldn't Trust Him With My Bicycle
11. Radio Broadcast
12. History Is Listening
13. An Ultimatum - Dario Marianelli
14. Dynamo
15. We Must Prepare For Imminent Invasion
16. The Words Won't Come - Dario Marianelli
17. Just Before The Dawn
18. District Line, East, One Stop.
19. We Shall Fight

De marianelli también tiene que salir Paddington 2

https://www.amazon.co.uk/s/ref=nb_sb...ton+marianelli

Saludos

Paddington 2 ya está disponible en streaming y compra digital, adivina qué, ¡ORO!

Como no podía ser de otra forma. Yo diría que Marianelli nunca defrauda.

Saludos

Diciembre 1990. Habla Danny Elfman:

"I detest contemporary scoring and dubbing in cinema," Mr. Elfman said. "Film music as an art took a deep plunge when Dolby stereo hit. Stereo has the capacity to make orchestral music sound big and beautiful and more expansive, but it also can make sound effects sound four times as big. That began the era of sound effects over music. It's easier to let sound effects be big and just jump out and do everything than it is to let music do the same thing."


Jojojojo...

Mr. Elfman's rock-and-roll background and lack of formal schooling have made him an object of scorn to some of Hollywood's more traditional film composers, and, he thinks, an object of envy to others. His dark, dense and ambitious 75-minute score for "Batman," though essential to that film's runaway success, was not even nominated for an Academy Award, which many of Mr. Elfman's admirers attributed to such resentments among his peers.

"It's a very elitist community, much more so than any other aspect of film," Mr. Elfman said of the small group of musicians who make their living scoring films. "It's not unusual for a director to direct a film having no film-school training and to turn in a brilliant film. It's not unusual for a writer who doesn't come from a literary background to write a brilliant script.

"But it's unheard of for a composer not to have formal musical training and write an orchestral score. Guys like me are supposed to write synthesizer-based scores or pop scores; we're not supposed to dive into the sacred well. I made the mistake of being honest early on and saying I had no training, and I know there are people who have a low opinion of me for that reason."


Jijijiji...

Que se lo digan a Alan Silvestri o Trevor Rabin

Las portadas de las bso de esta nueva trilogía son sosas de narices.

Con lo fácil que era poner los posters.

Lo que pasa cuando La-la land records rebaja a precio de derribo muchos de sus titulos

Iniciado por Bud White

Las portadas de las bso de esta nueva trilogía son sosas de narices.

Con lo fácil que era poner los posters.

Por lo menos podían haberse esmerado un poco con el campo estelar, que parece que han soplado pintura blanca a través de un colador y ya... :(

Iniciado por PrimeCallahan

Que se lo digan a Alan Silvestri o Trevor Rabin

Trevor Rabin es el HORROR. Malo, malo...

Conrad Pope, sobre las orquestaciones y John Williams:

I'm often asked about JW's sketches, so here goes: JW's sketches AREN't sketches per se--- they are what the Germans refer to as a particell --- a short SCORE. The only composers who come close or equal that, whom I've worked for, are Jerry Goldsmith, Don Davis and William Ross-and, whose sketches I've seen: Bruce Broughton.
In addition to being composers, these gentleman are and were "students" of the craft as well as original, thoughtful orchestrators/arrangers in their own right-- besides being composers! Their kind of "sketch" has dynamics, articulations and is reasonably complete and "orchestrally" conceived--- properly notated durations for the choirs, for the tempi they've chosen, etc.etc., "conductorly savvy", etc. That said, most writers today provide an mp3 and a MIDI sequence---- and call themselves "John Williams" because, after all, isn't THAT the music, isn't it all there ( if you've heard the "sequence"? No, sadly.) A well written short score is a novel, a letter which--- through the individual use of notation - can reveal an artistic soul. That many don't appreciate the coordination of the hand, eye and ear is an ever increasing problem today-- because, frankly, these skills are less relevant in today's music production mill.
As one of my teachers replied to me when I said "Boy, writing music is hard", he said: "Writing music isn't hard, COMPOSING music is hard". I know my rambling this doesn't answer your question directly--- as I can't, but I hope it offer my view into-so called "sketching"--- which everyone does. No matter how you sketch, you always reveal the composer- and musician- you are. JW is "ne plus ultra".

Iniciado por Branagh/Doyle

Trevor Rabin es el HORROR. Malo, malo...

¿No joda que que Fly Boys y The Great Rescue son MALAS?

Dos maravillas, oiga

Y disfruto como un gorrino de Armageddon y Deep Blue Sea

Iniciado por PrimeCallahan

Y disfruto como un gorrino de Armageddon y Deep Blue Sea

yo tambien la verdad.

Y algunas partes de The 6th Day.

No puedo con el, lo siento.

Iniciado por Branagh/Doyle

Mr. Elfman's rock-and-roll background and lack of formal schooling have made him an object of scorn to some of Hollywood's more traditional film composers, and, he thinks, an object of envy to others. His dark, dense and ambitious 75-minute score for "Batman," though essential to that film's runaway success, was not even nominated for an Academy Award, which many of Mr. Elfman's admirers attributed to such resentments among his peers.

"It's a very elitist community, much more so than any other aspect of film," Mr. Elfman said of the small group of musicians who make their living scoring films. "It's not unusual for a director to direct a film having no film-school training and to turn in a brilliant film. It's not unusual for a writer who doesn't come from a literary background to write a brilliant script.

"But it's unheard of for a composer not to have formal musical training and write an orchestral score. Guys like me are supposed to write synthesizer-based scores or pop scores; we're not supposed to dive into the sacred well. I made the mistake of being honest early on and saying I had no training, and I know there are people who have a low opinion of me for that reason."


Jijijiji...

Relacionado con esto:


Lukas Kendall: How do you work with Danny?

Steve Bartek: When Danny works with a director, he sits down and he mocks up all his themes on his computer. His synthesizers and samplers play back the major themes for the director, and they spend weeks sorting through that stuff. When it comes down to starting my involvement, he takes those sequences, of which some are fully fleshed-out orchestrations on the computer and some are merely sketches, and sits down scene by scene and writes it onto paper. He actually takes a pencil writes notes and translates what's in the computer down to notation and in doing that he finishes writing most of the stuff, by adding things here and there that aren't in the computer, making sure he hits things on screen, adding dynamics and color. Then he hands them to me. What I get is usually a fairly fleshed-out sketch not all the time, but most of the time. Sometimes it's too complete; there were some times on Batman he got so many things going that they didn't work together, and I had to sort through them to make sure that what we had would actually work. But he actually does physically write stuff down on paper! [laughs]

LK: Danny said "There's never been a note in one of my scores that I didn't write."

SB: Yeah.

LK: Not even a note?

SB: No. An orchestrator's job is to take someone's stuff and make it be what the composer wants it to be. In doing that, you do sometimes "add notes," but you don't change melodies, you don't change harmonic structures, you don't change the composition. I don't know what you're needling at by saying that...

LK: Well, I mean of course you're not writing the melodies, but I'm just trying-

SB: Right. Well, the problem is that people come to me and give me credit for writing Danny's music. They hint that well, "We know that you really do that stuff" - that's why he's sensitive, that's why [agent] Richard Kraft is sensitive. Danny's gotten lots of flak over it. They can't believe that someone who's a rock and roll singer in an offbeat Los Angeles band can actually write the music that he writes.

LK: I was just wondering to what extent Danny's music requires adjustment, without changing the concept, but making it playable...

SB: No. Concepts are never changed. Concepts are never changed except by him. He's in full control of his creative output. I never assume to go and change things. We've had extra orchestrators; at the end of a project when things have to be done, I farm out some of the orchestration, and at certain points we've had some orchestrators who have totally changed his stuff, and we've had to re-do it. We haven't worked with those orchestrators again, because that's kind of what orchestrators see themselves as, frustrated composers most of the time, and like putting their own two cents in somebody else's music. And it just doesn't work with Danny. When he writes down a certain voicing, he wants that voicing. He doesn't want added notes, he doesn't want this or that, he's fairly specific about what he writes and what he wants to get out of it.


Fin del alegato.


LK: He has mentioned that on a couple of films he has designated a cue to be composed by someone else, and indicated in the end credits.

SB: Yes, he has done that.

LK: Have you ever done that?

SB: I' ve usually been too busy. When he does that is when he doesn't have time to finish. On Nightbreed Shirley Walker did one, Jonathan Sheffer did one on Darkman, those are the two I remember. Danny basically sketched it out for them, gave them a couple of ideas, and said, "Here, go with it, I don't have time to finish these scenes."

LK: So then everyone goes around saying that Jonathan Sheffer wrote the entire score to Darkman.

SB: Right.

Lo pongo aquí también, que entra gente que al otro hilo no.





Ha fallecido a los 84 años de edad Luis Bacalov, compositor, orquestador y director de orquesta dedicado al cine desde 1960, cuando se estableció en Roma (donde ha fallecido) y trabó gran amistad con Ennio Morricone.

Gran, gran figura, minusvalorada aún hoy por la baja calidad de gran parte de su filmografía, que siempre musicaba con si se trataba de la mayor obra maestra jamás rodada; aportando enormemente a cada cinta en la que participaba. Extraordinario músico, con gran sentido dramático. En 1995, ganó el Oscar por Il Postino, en parte por el éxito de la cinta, imponiéndose a Patrick Doyle (Sense & Sensibility), o James Horner (Braveheart), lo que suscitó no pocas críticas. Sin embargo, aún no tratándose de su mejor obra, se trata de un buen trabajo, apacible y simpático.

Imprescindible para el aficionado que se precie de serlo rescatar su obra, porque, cómo en el caso de Pino Donaggio, no importa la peli. La música es gloriosa. Un grande, que mereció estar en primera fila.

Obra maestra absoluta relativamente reciente:





De 1966 (¿es una pasada o no?):



1997:



Y podría seguir y seguir.