-
All is True (Kenneth Branagh, 2018)
Kenneth Branagh tiene, diría que casi casi por sorpresa, ya listo un nuevo film, All is true, donde además de dirigir, interpreta a William Shakespeare en sus último años de vida, en su retino en Stanford-upon-Avon. Judi Dench encarnará a Anne Hathaway y también está en el reparto Ian McKellen. Del score se encarga Patrick Doyle. All is true, todo es verdad, es el título alternativo de la última obra de Shakerpeare )escrita en colaboración con John Fletcher), Enrique VIII.
Parece que se hará un estreno a finales de año para optar a los Oscars.
https://pmcvariety.files.wordpress.c...0&h=562&crop=1
La imagen me ha hecho pensar en un Peter Greenaway algo sobrio en lo visual.
https://variety.com/2018/film/news/s...ue-1203014587/
http://filmmusicreporter.com/2018/10...s-all-is-true/
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Tripley
Kenneth Branagh tiene, diría que casi casi por sorpresa, ya listo un nuevo film, All is true, donde además de dirigir, interpreta a William Shakespeare en sus último años de vida, en su retino en Stanford-upon-Avon. Judi Dench encarnará a Anne Hathaway y también está en el reparto Ian McKellen. Del score se encarga Patrick Doyle. All is true, todo es verdad, es el título alternativo de la última obra de Shakerpeare 8escrita en colaboración con John Fletcher, Enrique VIII.
Parece que se hará un estreno a finales de año para optar a los Oscars.
https://pmcvariety.files.wordpress.c...0&h=562&crop=1
La imagen me ha hecho pensar en un Peter Greenaway algo sobrio en lo visual.
https://variety.com/2018/film/news/s...ue-1203014587/
http://filmmusicreporter.com/2018/10...s-all-is-true/
Saludos
Esto es maravilloso, se cierra el círculo. :agradable
-
Re: All is true (Kenneth Branagh, 2018)
¿Veremos la cara de Anne Hathaway/Judi Dench cuando reciba la segunda mejor cama que le lega su marido? :D
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Tripley
¿Veremos la cara de Anne Hathaway/Judi Dench cuando reciba la segunda mejor cama que le lega su marido? :D
Saludos
:lol.
Esto puede ser buenísimo, si en Sony dejan a Branagh desmelenarse.
-
Re: All is true (Kenneth Branagh, 2018)
Bueno, parece que Sony ha adquirido el film cuando ya está más o menos terminado.
Pero sí, a ver que visión, más o menos desmelenada, nos ofrece Branagh de Shakespeare.
Branagh por otro lado está en plan estajanovista: un primer Poirot, este film sorpresa, Armetis Fowl y un segundo Poirot listo para rodar en un lapso de cuatro años.
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
-
Re: All is true (Kenneth Branagh, 2018)
-
Re: All is true (Kenneth Branagh, 2018)
Muy buena pinta (y no sólo por la pedazo de fotografía a la que parece que vamos a asistir)
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Tripley
Bueno, parece que Sony ha adquirido el film cuando ya está más o menos terminado.
Pero sí, a ver que visión, más o menos desmelenada, nos ofrece Branagh de Shakespeare.
Branagh por otro lado está en plan estajanovista: un primer Poirot, este film sorpresa, Armetis Fowl y un segundo Poirot listo para rodar en un lapso de cuatro años.
Saludos
Muy cierto; su reconversión en artesano hollywoodiense ha ido según lo planeó: le da pasta de sobra para su compañía teatral, donde hace y deshace a su antojo cómo y con quién le da gana sin tener que depender de inversores, y a la vez, después de los batacazos comerciales de las tres películas tan personales y arriesgadas que hizo en la década pasada, le está permitiendo volver al bardo en el cine.
Hace unos pocos días dijo que (a ver si lo encuentro), el éxito de público y crítica de Cenicienta y Poirot ha ayudado muchísimo, tiene pendiente una miniserie de la HBO donde además es productor y co-guionista, y si All Is True y Artemis Fowl funcionan bien (sobretodo la segunda, evidentemente), le gustaría adaptar Macbeth y sobretodo Ricardo III, proyecto largamente deseado.
Vamos, que vuelve a ir prácticamente a peli por año cómo en los 90 y se encuentra en una segunda etapa de hiperactividad creativa. Pues me alegro mucho, que a sus cincuenta y tantos siga a tope.
:agradable
-
Re: All is true (Kenneth Branagh, 2018)
Sobre la miniserie de HBO, Tripley, aquí te enlazo al hilo que le abrí en su momento...
-
Re: All is true (Kenneth Branagh, 2018)
Veo que el dire de foto no es Zambarloukos, fijo de Branagh desde Thor. Sin embargo, si se encarga de Artemis Fowl.
Curioso.
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Branagh/Doyle
Veo que el dire de foto no es Zambarloukos, fijo de Branagh desde Thor. Sin embargo, si se encarga de Artemis Fowl.
Curioso.
Perdón, fijo desde Sleuth, no Thor.
-
Re: All is true (Kenneth Branagh, 2018)
Tal vez el factor de ser rodajes casi unidos ha podido influir.
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Leído en FSM, de hoy mismo:
"I saw the film today. I loved it, but I suspect you need to be fairly familiar with Shakespeare and his era to fully enjoy the film. It's not a mass audience genre piece like Shakespeare in Love, it's a beautifully observed chamber drama about Shakespeare's final days and his family struggles. It's pretty obvious "Blackadder" co-writer Ben Elton did an enormous amount of research, based on my admittedly vague general knowledge of that period of Shakespeare's life.
Doyle's score is lovely but subtle, with a central melody that gets turned into a song over the end credits, performed by his daughter Abigail.
I hope we get an album, even if it's download-only, but the film itself seems to be vanishing without a trace, sadly. It is only playing for one week on one screen each in LA and NY, and when I saw it today in Santa Monica there were only about ten other people in the audience".
:agradable:agradable:agradable
-
Re: All is true (Kenneth Branagh, 2018)
Pues parece que Branagh se ha puesto un poco críptico y que quiere cerrar sus adaptaciones shakesperianas haciendo una "académica" pieza de cámara (por lo que leo además de en lo estético, en lo dramático y referencial parece que se pueden seguir estableciendo paralelismos con La ronda de noche de Greenaway).Y por lo que se dice para que Doyle está igual de sutil.
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Pues es curioso, porque todo eso que comentas a mí no me parece para nada malo. Todo lo contrario, de hecho.
Tiene pinta de que ha cogido el dinero de sus proyectos de estudio y ha hecho una peli de Shakespeare en completa libertad, sin cortapisas de ningún tipo.
Y bien que hace, claro.
Así, si el film se la pega, no le importará ni será un desastre como en la década pasada (además tiene Artemis Fowl de colchón) . Ha hecho la peli que quería cómo quería y punto.
-
Re: All is true (Kenneth Branagh, 2018)
Branagh/Doyle a mi tampoco me parece nada malo. Si lo comparo con Greenaway siempre será en el buen sentido en hacer algo críptico, culterano, incluso pedante, pero lleno de referencias culturales y visuales. Y parece que por estética, época y lo que se intuye de la historia, la cosa puede ir por ahí.
y como bien dices, ya está Branagh currando para los estudios (también en general con buenos resultados) para poder permitirse estos ejercicios.
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Variety la pone a caldo por ser, literalmente, demasiado densa, discursiva, pomposa, revisionista y autoconsciente.
Jojojojo.
-
Re: All is true (Kenneth Branagh, 2018)
jejejejeje, tratándose del tema que trata para mí todos esos calificativos son halagos.
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
All Is True de Patrick Doyle, se editará de la mano de Sony:
https://www.swiatksiazki.pl/media/ca...9906497031.jpg
1. The Globe
2. Hamnet’s Grave
3. Ten Thousand More
4. The Trial
5. The Visitation
6. Southampton
7. Love, Not Ambition
8. Clever Lad
9. It Grieves Me
10. A Little Boy
11. Stay A Moment
12. Plague
13. What You Deserved
14. The Ovation
15. Fear No More – Abigail Doyle
16. I Know A Bank
17. Fear No More (Reprise)
-
Re: All is true (Kenneth Branagh, 2018)
Tripley... :ansia
Doyle back in true form. Back to the melodic, old-school Doyle/Branagh roots
-
Re: All is true (Kenneth Branagh, 2018)
Vaya, no he estado siguiendo este hilo. Por lo que parece, Branagh vuelve a Shakespeare. ¿Se sabe si lo que va a contar van a ser cosas más o menos hipotéticas, en la línea de Anonymous, o hechos ciertos? Imagino que un poco de cada...
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Jane Olsen
Vaya, no he estado siguiendo este hilo. Por lo que parece, Branagh vuelve a Shakespeare. ¿Se sabe si lo que va a contar van a ser cosas más o menos hipotéticas, en la línea de
Anonymous, o hechos ciertos? Imagino que un poco de cada...
Tratrándose de Shakespeare, sí, yo diria que un poco de cada (o un mucho de especulación, que anda que no se ha escirto sobre él desde unas bases documentales tan parcas)
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Branagh/Doyle
Tripley... :ansia
Doyle back in true form. Back to the melodic, old-school Doyle/Branagh roots
Sí, habrá que estar atentos. Viendo los cortes puede que haya mucho lirismo (esa tumba de Hamnet), pero también si se dice que vuelve como antes, seguro que hay fanfarrias :agradable
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Ya se puede escuchar All Is True de Patrick Doyle. Maravillosa. Os dejo el enlace oficial, legal y gratuito de Youtube Music para que podais escucharla.
-
Re: All is true (Kenneth Branagh, 2018)
Parece que es el score completo (36 minutos), ya que el film tiene muy poca música. Sería la segunda vez que esto sucede en la carrera de Branagh tras Sleuth (2007), que contaba únicamente con 30 minutos de música original.
-
Re: All is true (Kenneth Branagh, 2018)
Se estrena hoy en UK e Irlanda.
Y el 10 de mayo se estrena en USA.
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Branagh/Doyle
Ya se puede
escuchar All Is True de Patrick Doyle. Maravillosa. Os dejo el enlace oficial, legal y gratuito de Youtube Music para que podais escucharla.
Pues si, Doyle en su estado mas clasico, delicioso.
-
Re: All is true (Kenneth Branagh, 2018)
Saw the film yesterday. Was a lovely, quietly moving film with an electric scene between Branagh and McKellan.
Doyle's score was, like the film, quite meditative and elegiac. The 'Fear No More' melody makes a big impact each time it plays. . There are lovely liner notes from Doyle and Branagh in the booklet.
All is True is not an adaptation of a Shakespeare play (though it is the alternative title of Shakespeare's play Henry VIII), but rather tells the story of the last three years of the playwright's life. In 1613 Williams Shakespeare (played by Sir Kenneth himself, in some heavy makeup) returns to his hometown of Stratford to find that his family aren't entirely thrilled to have him back – and what's more Will Shakespeare is struggling to come to terms with the death of his young son, Hamnet.
“I said to [Patrick] 'look, I actually don't know if there's a lot of music in this, a little music or no music at all'. I do know that the film has a meditative quality, a sort of ruminative quality because it's about a man coming back to him home town. We'll have candlelight and begin to experience that total dark and total quiet that the country of that time would have provided. So there's something about silence in the movie, whether it's an illusion of silence that music somehow hints at, or actual silence.”
Many of Kenneth Branagh's films include songs, with Patrick Doyle setting texts by Shakespeare. And All is True is no exception. The film closes with a beautiful setting of the song from Cymbeline 'Fear no more the heat o'the sun'
“It's so simple but in the context of a funeral or the farewell to an individual, I find it unbearably moving, it's so beautiful and simple. Patrick seems to do both – there is both a celebration and a tender ache in the music and in what he brings out of the lyric at one and the same time.
“You you might argue that it comes back to the title of this movie – All is True – the rough and the smooth, and the good and the bad all have their necessary and vital component in our lives. That ability to strike in his music, and the songs particularly, that sort of generous summation of the beautifully messy business of being a human being, is what Patrick Doyle is supreme at.”
:agradable:agradable:agradable
-
Re: All is true (Kenneth Branagh, 2018)
De Hollywood Reporter:
Though we know some things about Shakespeare himself, a good deal else is shrouded in mystery. Where did you and Ben Elton feel comfortable improvising on Shakespeare's life, and where did you draw the line?
Well, I don’t know if we did draw many lines, really. But we improvised certainly around the things that seemed to preoccupy him or literally haunt him, like the death of his son — that seemed to be key. That experience of being in The Winter's Tale was to really witness the real unrelenting obsession with the loss of the child. It's done elsewhere very directly in King John, for example, where there's that famous passage, very painful passage: "Grief fills the room up with my absent child," it begins. It's a very open, raw mission of unquantifiable grief. Twins are separated constantly in Shakespeare's plays, comically and tragically, so [there was] that possibility of a single event having haunted him, which was as much a reason to return home as the loss of income that the burnt theater might have produced. That was the biggest departure: How did Hamnet die? Why did Hamnet die? We liked the idea that the name was similar to perhaps his most famous play, Hamlet, and to turn the idea in that play where a father haunts a son on its head and have a son haunt his father. And also introduce, as that very same famous play does, the idea of what was a disputed suicide through drowning. That was somehow a liberty, but also from Shakespeare's own workshop.
By the same token, the other big leap was to suggest that the private publication of the sonnets could have, through rumor, presented itself to Anne Hathaway and could have enraged and wounded, while still not preventing the arrival of the Earl of Southampton. He didn't go [to visit Shakespeare in Stratford], but many great people did in those three years did. The evidence leads toward the idea that Ben Johnson, his colleague, did go there, and this famous merry meeting that we present in the movie did lead to his collapse. Basically, he got so drunk that it headed Shakespeare into a decline. It's with the potential relationship with Southampton and the fate of Hamnet that we took the greatest departures. I wouldn't say liberties, because I think we were doing exactly what Shakespeare does throughout — including right at the start, with this title, [which refers to] Shakespeare's outrageous suggestion that what he writes in his play The Life of Henry VIII could be described by the title All Is True.
Several reviews have noted that certain characters, such as Anne Hathaway and Henry Wriothesley, aren't necessarily played by actors whose ages correspond to the characters', but they're also veteran Shakespeare actors. How did you go about casting these parts?
Judi was always first choice to play Anne Hathaway. We'd been in a production of Shakespeare's The Winter's Tale just a few years previously and she'd played Paulina, often cited by actresses as their favorite Shakespeare character — she is remorseless in speaking truth to power. Anne Hathaway's voice we were going to unleash, really, for the first time in this film; it was important for her to be embodied by somebody who could have that fire in her belly. Judi was just someone who had every kind of Shakespearean knowledge, not just with the plays, but she'd worked [in Stratford] so often. And when it came to the age difference, it was meaningless because she's ageless, and we can't start getting worried 120 years into cinema or whatever, when suddenly there's a woman who's much older than the [man], meanwhile we spent 100 years with the bloke being three times the age of the woman. We're allowed that disparity.
Similarly, with Ian McKellan, I discovered that we shared the same experience of hitchhiking to Stratford when we were 16. He said, "Where did you pitch the tent?" And I told him, and he said, "That's exactly where mine was, as well." We were both drawn because we just wanted to see where he lived, what were the houses that he occupied and we wanted to see the temple of his work, the Shakespeare Memorial Theater. For me, it was like landing in a version of heaven. And it was the beginning of trying to put these things together — the place, the work, the man; how did that all go together? And this film really was the latest slice of that conversation.
In its treatment of the women in Shakespeare's life, All Is True seems particularly suited to the #MeToo era. What were the influences behind that?
Ben Elton has twins, and he has always been politically engaged and always has given voice to those who may not be appropriately represented. Here, he was initially very, very drawn by [how,] in a town of 2,500 people back then, and [Shakespeare is] the returning celebrity, it had a tremendous impact: He found that arresting and nicely complicated, and he enjoyed the idea of letting Anne Hathaway, a woman who could not read or write, and Judith, speak. And he felt also that [though] he's a very successful man, his kids are indifferent to his success: Neither literacy nor conspicuous worldly success were going to impede those women from having a say. And we also knew, because we had practiced, that we had some terrific actors. Kathryn Wilder, who plays Judith, was also in that production in The Winter's Tale. It was good that she knew Judi and had got past the intimidation factor so she could act with abandon. And Lydia Wilson, who played Susannah, was similarly ready to speak up for those girls.
Have you had your own coming-to-terms moment with the way Shakespeare treated his family, and particularly the women in his family, over the years?
There's no denying the specifics of the age and the patriarchy in full flight there. For me, I'm drawn to what I would say is the humane and complex nature of his analysis of the human condition. But it never avoids the unsavory. You could talk about how that applies in a play like The Merchant of Venice — is it anti-Semitic? Or The Taming of the Shrew — does that enshrine, record or promote misogyny? But with Shakespeare, across all of the plays, there is this elusive quality: He can't be nailed down. You can take a single play like Julius Caesar and it could be interpreted, depending on how it's directed, as about fascism, Communism or libertarianism, and I think the emphasis on that which one can draw or infer from the plays as being "Shakespearian," it's hard to quantify. So I acknowledge those gaps and those issues at the same time as being unquestionably drawn to like the largest part of what that canon of work represents.
Do you think you could have made this film five or 10 years previously, or did its timeliness play a role? Would it have resonated the same way?
That's a really interesting question, and I think possibly not. And yet, it was not even something that Ben Elton and I discussed — so in that sense, you might say that's fantastic progress, but in the other sense, you might say, that's who Ben Elton is as a writer and maybe how we attempt to approach that which we do. On one level, there's been an acceleration, but I would like to think that we would have maybe done it the same way [years ago], but I'm glad that somehow a fresh air blowing around this kind of treatment was available to us as well.
Why do you keep on being drawn to Shakespeare again and again?
The words have always moved me, from the moment when I was 17 and went to see King Lear. The quote on the program was, "When we are born, we cry that we are come to this great stage of fools." I found that a chilling remark and also very moving. I didn't really understand at 17 why that moved me so much. I didn't really understand when I was 18 and I saw The Winter's Tale why that moved me so much, but it did. And so I was drawn by the emotional impact, but also by the conundrum of it: There was so much in it that I couldn't understand.
Also, I was really compelled by the idea that though I was moved by such things, the world was often indifferent, resistant or condemnatory. And if you've been through the education system, you'd be sometimes in a minority of people who might enjoy Shakespeare, [like many students might respond] to opera or classical music or modern dance or art that is challenging. So I've loved working on something where you really have to justify and prove that it still can matter. I think that's good as an artist, and I also think it's Shakespearean. He lived by the box office. He was supremely alert to the commercial realities — producer, director, writer, actor and plays on and off at the drop of a hat; popularity gone at the drop of a hat. The fickleness of fortune and the fickleness of fame were regular themes in his works, so he had to be very fleet of foot to keep up with those vagaries. And I feel as though, across my time with Shakespeare, we've had to earn our right to be heard. And that's healthy for an artist.
Do you plan to continue adapting work by Shakespeare — will you ever be finished?
I don't know is the answer. This is a business and a world right now in which you can't plan too much. In our business, it's such a changing landscape. But if I could, I would.
-
Re: All is true (Kenneth Branagh, 2018)
Branagh hace un repaso rapídisimo por varias de sus películas.
https://www.imdb.com/videoplayer/vi796899865
-
Re: All is true (Kenneth Branagh, 2018)
Crítica de Rolling Stone:
Sir Kenneth Branagh has spent a major part of his career interpreting the works of William Shakespeare. His 1989 breakthrough in film featured Branagh as the star and director of Henry V (he won Oscar nominations for both jobs). So it only seems fair that Branagh should be the one to play the Bard in All Is True, directing a mesmerizing meditation on the last days of the greatest writer in the English language.
Such a grandiose statement may lead you to fear that Branagh and screenwriter Ben Elton mean to inflate their film into a bloated, and-then-I-wrote biopic. Nothing of the sort. Little is known for sure about the details of Shakespeare’s life. But as Shakespeare says in the film, “I never let the truth get in the way of a good story.” Neither does Branagh.
The concept here is that the artist whose plays had the largest scope is now leading the smallest life. As All is True begins, in 1613, Shakespeare has returned to his home in Stratford-upon-Avon to retire after years of prodigious productivity. The catalyst is the fire that destroyed the Globe Theater, where Shakespeare’s plays were regularly performed. A spark from a stage cannon during a performance of All Is True, the original title of Henry VIII, reduced the Globe to ashes.
So now Will, as his family calls him, is done with it all. He’s no good at gardening, but gardening is what he’ll do. That and reconcile with the family he neglected for all these years. His wife Anne Hathaway (Dame Judi Dench), eight years his senior, treats him like a guest in his own house. His daughters harbor festering resentments. Susanna (Lydia Wilson), who is publicly denounced as a whore by Puritan society for cheating on her husband (Hadley Fraser), keeps her distance. And the unmarried Judith (Kathryn Wilder) believes her father holds a grudge against her for surviving her twin brother Hamnet, Shakespeare’s beloved only son, who died at 11, possibly from plague. Scholars have speculated about the connection between Hamnet to Hamlet, but Branagh’s film isn’t having it. Yet the ghost of his beloved boy is everywhere in Will’s thoughts and waking dreams.
It’s a telling irony that the women in Shakespeare’s time were never taught to read and write. Yet Dench, in a magisterial performance that never misses a trick, makes Anne a woman you trifle with at your peril. The closest All Is True comes to romance is Will’s relationship with his patron, the Earl of Southampton (Ian McKellen), believed to be the inspiration for several of Will’s most famous poems and sonnets. A conversation between the two men, wittily and movingly acted by Branagh and McKellan, is a high point in a film that cinematographer Zac Nicholson bathes in the autumnal light of time remembered.
Those expecting All Is True to replicate the romp of 1998’s Oscar-winning Shakespeare in Love are at the wrong movie. And Branagh is even less interested in a fawning tribute. Though screenwriter Ben Elton is best known for the farcical zest of his TV sitcom work on Blackadder and Upstart Crow — a teasing kick at the young Bard — All Is True looks with gentle humor and stirring gravity at a lion in winter, who died in 1616 at 52, at home but hardly at peace.
Branagh, who directed five other Shakespeare film adaptations — including Hamlet and Much Ado About Nothing — and appeared in countless more on stage and screen, clearly holds All Is True close to his heart. Modeling his appearance on the best known painting of Shakespeare with an elongated nose accented by long hair on the sides and practically none on top, Branagh is the Bard incarnate. But his real achievement lies in capturing the internal life of an aging genius who claims that he’s so lived so long in fictional worlds of his own imagining that he’s “lost sight of what is real.” Branagh’s performance is a triumph of ferocity and feeling that shuns Shakespeare the literary rock star to find the flawed, touchingly human man inside.
Muy bien, ¿no?
:agradable
-
Re: All is true (Kenneth Branagh, 2018)
Por cierto Tripley, Ben Elton (guionista) y Branagh tienen una relación y amistad de muchos años en el teatro, desde 1986. Y de hecho Elton salió en una peli de Branagh. Era el asistente de Michael Keaton en Mucho Ruido...
https://c8.alamy.com/compes/prtb1m/e...bum-prtb1m.jpg
-
Re: All is true (Kenneth Branagh, 2018)
Pues entonces todo queda en casa.
Por cierto el film en DVD (parece que no hay edición en Blu-ray) se edita en USA en agosto, con subtítulos en spanish
https://www.amazon.com/All-True-Kenn...gateway&sr=8-1
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Tripley
¿DVD solo? Que cosa más rara, sobretodo siendo Sony la madre del Blu Ray y teniendo esta peli la fotografía otoñal tan esplendida que dicen que tiene. :(
-
Re: All is true (Kenneth Branagh, 2018)
Pues parece que solo se edita en DVD. Una pena. En Reino Unido ya está editado, solo en DVD y sin subtítulos (sólo inglés)
Saludos
-
Re: All is true (Kenneth Branagh, 2018)
Habla Patrick Doyle (extracto):
My relationship with Kenneth Branagh is very symbiotic. We seem to be in each other’s minds a lot. Over the years, you become far more comfortable with one another. He gives me a lot of space to find my voice and follow my instincts. He’s grown to be very trustful of me. I think his latest film, All is True, is a marvelous work, and time will prove that it is indeed a masterpiece.
Your most recent collaboration, All is True examines the adventures and pitfalls of the great William Shakespeare. What were the initial conversations surrounding the musical direction of the film and what did you hope to achieve with this score?
He [Kenneth Branagh] showed me the Chandos portrait of Shakespeare, which was on the wall in his office. It has Rembrandtian lighting — dark on one side, lit on the other. This painting was his inspiration in terms of how Shakespeare would look because he felt it was the most realistic image of him that exists. He then gave me the script, which I read immediately afterward. The night-time film interiors were lit entirely by candlelight. The daytime shots utilized natural light. It's such a creative concept.
Ben Elton’s script — I loved it, and I was extremely moved by it. The family drama was riveting. After the Globe Theater burns down, Shakespeare returns from London to Stratford. He enters into a domestic situation, which is a very well-oiled machine, and he finds it difficult to adapt to this sort of life after his years of career success in London. There’s a lot of tension. The film is very close to the archival evidence of his last few years. He didn't write another play after the Globe burned down. It’s a fascinating story. The actors speak in modern-day language. Of course, there are Shakespearean quotations recited at times by the actors as part of the story. Because the film uses contemporary language, I decided there should be a contemporary score. It’s not a large orchestra — it needed a chamber orchestra. It features strings, solo piano, and harp, with a touch of period instruments from time to time.
Before I began the score, I asked Ken to suggest a poem that would perhaps give me inspiration for a theme. He suggested Oberon's speech from A Midsummer Night’s Dream, "I Know A Bank,” which is read aloud by the actors in the film. Shakespeare's beautiful poetic rhythms formed a wonderful foundation for a melody, which I used in various forms throughout the picture. Inspiration can come at any time. I remember one day, I was sitting in a restaurant in France, and a local band marched into the restaurant and back out again, and I wrote on a napkin one of the themes for Harry Potter and the Goblet of Fire inspired by this moment.
Ken also suggested “Fear No More the Heat O' the Sun" from Cymbeline (also recited in the picture) as another musical inspiration. I composed a song set to those words and, to demonstrate it, I sent the music to my daughter Abigail, and she recorded herself singing it at the end of a very busy day, in her bed on her iPhone! She sent me her vocal, I put it together with the accompaniment, and then I sent the track to Ken – and he loved it. He was very keen to use this for the end titles. I didn’t expect him to actually use her voice; I was merely demonstrating what the sound could be like, but the recording Abi made had a very home-like, natural and calm feel to it, which was ideal for the picture. There was an innocent quality in putting down the melody very simply and quickly. That’s the same quality she recreated in the studio later on.
It's an ongoing working relationship between Ken and myself built upon trust, knowledge, and listening to each other. As he was shooting the film, I was composing music and sending ideas to him. It was like chasing a car, but it was very exciting! It was all filmed in a brief period of time, so it needed to be scored in a short time as well. There’s a lot of piano in the score, which I recorded myself. Ken said at one point, “I think you should own this picture,” so I did everything – conducting, orchestrating, and performing. It was demanding but thrilling.
It sounds like quite the family affair!
Yes! Ken said that Abigail was perfect for the song because he has known her all her life and she is part of the family, which was appropriate for the film.
Over the course of a prodigious career, you have created sophisticated, emotionally impactful music for a broad diversity of feature films, acclaimed theatrical performances, and concert works. To what do you attribute your capacity to traverse numerous styles of music successfully? Where does your aptitude for creative flexibility derive from?
I have no idea where the creative flexibility comes from. Perhaps, it’s because I have a keen interest in all genres of music. I haven’t specifically studied the latest pop trends or the current sounds of dance music, but I cock an ear to it occasionally and certainly enjoy analyzing the construct. Above all, I have a great interest in drama and music, full stop. Before I did Thor, I was perceived as a composer who would thrive on a period costume drama or perhaps a light comedy, not necessarily a large Marvel blockbuster film – although I had written the score to Harry Potter by then, but that’s got a wonderful sweeping and mystical quality — it's not necessarily a big action movie. When Thor came along, I thought I would take a rock and roll approach and fuse it with a symphony orchestra.
Other people told me they were surprised when they heard that that score came from me. It was a very challenging assignment with a lot of input from the studio because the franchise is so strong. This resulted in a lot of changes and notes. I learned very quickly to be less precious as a composer. I was prompted to be very chameleon-like and adaptable. It was a bit like being a part of a huge band. That experience of doing a big tent-pole movie at that time in my career was unexpected but ultimately very good for me.
I enjoy a challenge if the subject interests me. I enjoy going with the flow and seeing what comes along. Luckily, I haven’t been typecast or pegged as a genre-specific composer. Thank goodness! I’ve done light comedies, action movies, costume dramas, historical films — projects filled with magic and very serious pictures. I’ve composed, of course, for many Shakespeare adaptations with Ken. I wrote for Sense and Sensibility with Ang Lee. I collaborated with Alfonso Cuáron on Great Expectations and A Little Princess.
It was an extraordinary privilege to work on Gosford Park with the iconic director, Robert Altman. My daughter Abigail sang two songs in the film and co-wrote one of them with myself and the other with Robert when she was only nineteen, and I was really proud of her. I absolutely adored Robert and his wife Kathryn [Reed]. My wife, Lesley, and I became great friends with them both. We had dinner with Kathryn a few months before she died and had the most wonderful, memorable evening. She was a very sassy and amusing lady, and she said, "I always go where the action is." She made us laugh a lot — we loved her. I must say that I’ve been very lucky in my career and have met some wonderful people.
To date, what music are you most proud of?
The score for Henry V — my first film with Ken — means everything to me and my family because it was my first great opportunity. It was Ken’s first picture, the producer’s first picture, my first, and all the actors'. I’m still very good friends with many of the actors in that film, including Derek Jacobi and his partner Richard Clifford, Emma Thompson and her sister Sophie. I’ve been very lucky to work with great directors, talented actors, as well as brilliant people in every department in film.
I've written many concert pieces, and two of them I am very proud of. The first is the “Violin Romance” from As You Like It, which is dedicated to my wife, and I wouldn't be here without her. The second piece is “Corarsik,” composed for my great friend Emma Thompson's birthday and, thirdly, a Scottish Overture composed for the Glasgow Celtic Connections festival.
I was invited to the Prague Shakespeare Festival this year by my great friends Guy Roberts and Jessica Boone, who established the Prague Shakespeare Company almost ten years ago. They invited people from all over the world. It was brilliantly organized, and it was wonderful to meet all the members of these Shakespeare companies. Imagine all these Shakespeare fans, including myself, in one place for a week! Of course, I was as happy as a pig in muck. It was one long party; it was just amazing! They performed a concert of my music, which was the opening night, and they also held a special screening of All is True. Sony Pictures kindly permitted the organizers to screen the film before its release. It was such a special treat for them. The audience was beside themselves, moved to tears. It made me think of all the work with Ken and all the impact it’s made on the lives of so many. I’ve always loved the work of Shakespeare. I adored it in school, but I never thought that I’d end up being so immersed in his work. I’ve been very fortunate.
As you were saying before, it seems like your love of literature and poetry has influenced your work greatly.
Yes, I certainly love poetry and literature. I read every day. I also love factual reading and historical works, for example, biographies. I’m always studying scores and listening to music.
I was asked to be a music consultant for a wonderful novel by an amazing Scottish writer called William Boyd. The book is called Love Is Blind. He came down to my studio one day and was asking me all sorts of questions about music: "Why does this music move me here?" I would say, "Well that's the suspension. And that's a passing note, and that's a leading note. That's a modulation. That's an interrupted cadence." A lot of that musical terminology ended up in William's novel! So far, the feedback from the musical community has been tremendous. His book is a marvelous read. I cannot recommend it enough. It was such a thrill to go to the last page and see a dedication to myself and my son, Patrick [Patrick Neil Doyle], who also helped. I received so many emails, asking “Oh…is that you?”. It was such fun and a pleasant surprise to contribute to William's book, as it was such a diversification from what I normally do.
In 2017, you took on Murder On The Orient Express, a compelling rendering of the classic mystery thriller based on Agatha Christie's 1934 novel. Your score feels like a voyage in itself, pairing dramatic orchestral performances with rich use of instrumentation from far-flung corners of the world. Can you walk us through the palette you assembled and tell us about the musical experiments that took place to establish the tone of the film?
Yes! In advance of doing a film, I always create a template of various sounds. I assembled a conceptual suite inspired by oriental and occidental music and early classical music. I used various indigenous flute sounds and Turkish instruments, including the zither, the cimbalom, the ney flute, and a small amount of duduk. These timbres were chosen to give you a sense of where you are.
For the Orient Express theme, I used an ostinato motif to symbolize the movement of the train, along with rising arpeggios. For the Armstrong theme, I used delicate piano and solo cello. I had also written this song called “Night Train,” which was later used in the film as a piece for solo piano. It featured nice 1940s harmonies and used these sort-of “woo-woo” calls played by a group of saxophones, which sounded like the train horn. There were two ways I created sounds and resonance for the train. That, and the “chugga-chugga-chugga-chugga” of the string ostinato. You can hear this in the piece, "The Orient Express." I mixed the rhythm of the train with the thematic material of "Poirot's Theme". I drew a little bit of inspiration from a theme in Carlito’s Way — the train at the end, the onscreen pianist.
-
Re: All is true (Kenneth Branagh, 2018)
De los foros de Vi-Control:
In real life, I make my living writing movie press materials, essays that are given out to journalists and get posted on websites.
Recently I was hired to write notes on an upcoming Kenneth Branagh film called “All is True,” which is about the last three years in the life of Shakespeare (played by director Branagh). It was a rush job, so in a typical situation, I would only be asked to speak to a handful of people, but Michael Barker, one of the Co-Presidents of Sony Classics had a deep admiration for Patrick Doyle, so he asked me to.
The movie was still shooting when I was hired. Doyle was still in the process of writing the music. I said I didn’t want to speak to him until I could hear some of his music. When he finally sent me some cues, it was the first time I’ve ever heard music by a major film composer before I saw the film. As I had to write about a film I hadn’t seen, it really helped me to hear Doyle’s music. I felt the music told the story to me in a way that none of the other things had done. I finally understood the tone of it, the emotion.
Doyle’s music for “All is True,” is very simple, mainly solo piano (played by Doyle) and chamber strings. There’s a little bit of harp and a sprinkling of instruments that were around in Shakespeare’s time, like Virginal and Bass Recorder, but he and Branagh didn’t want the music to be too period. There is a melody that turns up now and then that ends up being a song, “Fear no more the heat o’ the Sun” (from “Cymbeline”), which is sung by Doyle’s daughter Abigail at the end. (She sang it into her phone and Doyle played it for Branagh, who loved it and insisted she re-record it for the end credits).
When I talked to him, he constantly stopped to have his assistant play me music, and he sang a lot too. He explained to me that he used computers to give Branagh an idea of what he had in mind. He played me some and I said, “that sounds like Spitfire,” and he almost dropped the phone. He thought that was hilarious. Because it was Spitfire. (I was curious about what piano he used to mock this up and he said The Grandeur.)
He said he got a lot of virtual instruments for the film, just to be sure that he would be ready to use more old instruments, but he ended up not using many. But he said it was important for a composer to keep current and add to his collection. Part of the job.
He and Branagh have many plays and 14 films together so they are pretty familiar with the way they like to work. In advance, Branagh gave Doyle two bits of poetry from Shakespeare that appear in the film: “I know a bank,” Oberon’s speech from “A Midsummer’s Dream” (only the melody Doyle wrote for these words are in the film, it’s never sung) and the “Cymbeline” song. He told me that, as a composer, he likes to have “a branch to hang my leaves on.” In other words, he takes lines from the screenplays and uses the rhythms to create music. These two themes are all over the film, but they are altered and orchestrated in so many different ways as to be unrecognizable (to me anyway). Of course, I recognized two uses of “Fear no more the heat o’ the sun” in the cues he sent me because the melodies were identical.
It was quite an experience. I particularly loved all the singing he did, when he was trying to explain to me what the themes to the film were and how he changed and used them. I felt honored that he would take the time to do that for me. (Judi Dench, who plays Mrs. Shakespeare, also offered to recite “The Winter’s Tale” for me, but I am pretty sure she was joking) He had been working on it long before shooting began, ever since Branagh gave him the poems. I loved the song that his daughter sings so much that I had figured out how to play it on guitar. I understood why I was able to do that when he told me he had written it in a few hours.
But it was a huge job for him because he played all the piano parts and conducted the orchestra. He said he told the violinists not to play with vibrato. Play like lutes.
I loved the way his soft, cinematic piano sounded. He said that a little bit of echo gives you the feeling of the past and ethereal thought. It was a real piano, but it reminded me of the way I feel when I play the Malmsjo.
What I took from every word he said, was the immense joy he took in his work and the love he had for music. And for the film too. I felt that he understood what the movie was all about as well as Branagh and screenwriter Ben Elton did. I think that is the mark of a great composer as much as a great actor. To serve the work you need to be brilliant enough to appreciate the work in a deep way.
I found Doyle to be a loveable man, and I could happily have gone on talking to him for hours. But I had to stop and get back to writing. Shortly after our conversation ended, my contact at Sony called and said he needed me to turn it in a week early, that very day.
-
Re: All is true (Kenneth Branagh, 2018)
Cita:
Iniciado por
Branagh/Doyle
¿DVD solo? Que cosa más rara, sobretodo siendo Sony la madre del Blu Ray y teniendo esta peli la fotografía otoñal tan esplendida que dicen que tiene. :(
Es que en las ediciones que hace Sony (ya sea en DVD o en BD), las películas que sean de la marca Sony Pictures Classics hay que diferenciarlas, esto es así porque Sony Pictures Classics es una filial autónomas, entonces las ediciones que hacen de sus películas en vídeo físico (y en vídeo digital también) no las hacen desde Sony Pictures Home Entertainment, sino que las hace la propia filial (en base a lo que ellos estimen por diez mil factores que siendo la filial que es, se escapan) pero al ser propiedad de Sony, pues tienen los logos de Sony y, evidentemente, su distribución.
Por eso la mayoría de sus películas las sacan solo en DVD y se ha dado casos (como la última de Haneke o Una mujer fantástica) que las han sacado solo en BD.
Ya os digo, para ciertas cosas la filial Sony Pictures Classics es toda una incógnita.