Entrevista a Alan Silvestri:
He ojeado el canal y no está mal, con algunas entrevistas a compositores, lo que no suele ser muy habitual.
Eso sí, sin subtitulos
Entrevista a Alan Silvestri:
He ojeado el canal y no está mal, con algunas entrevistas a compositores, lo que no suele ser muy habitual.
Eso sí, sin subtitulos
Última edición por Fincher; 19/11/2016 a las 09:25
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
Fortuna y Gloria.
Has corrido riesgos. Has cometido errores. ¡Y ahora, una última victoria!
Nuestro podcast:
https://www.ivoox.com/podcast-voces-metropolis_sq_f12312831_1.html
https://open.spotify.com/show/72q1UBW7MWhrbAcxxHi81y
Policía de mundodvd silenciada
Qué Elfman, Doyle y Newton Howard no tengan ningún Oscar es de vergüenza ajena, por nombrar a los grandes nombres que más me duelen de las últimas décadas. En el primer caso, recuerdo que Tripley comentó que "no creo que hubiese muchas partituras mejores que Batman en 1989". Quizá Enrique V de Doyle (otra vergüenza que Branagh estuviese nominado delante y detrás de las camaras y Doyle no.).
En cuanto a JNH... para qué poner ejemplos. Debió ganarlo ya con su monumental Wyatt Earp en el 93, en mi opinión.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Madre mía... Allied de Alan Silvestri es de las peores bandas sonoras de este año 2016. Texturas sonora sintética de relleno.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Salvo el bello End Credit del final en Allied
Lo único medio salvable, si.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Edad de los compositores cuando ganaron su primer Oscar (la conclusión, por estadística, es que se ha de estar en el cénit de la trayectoria, aún saboreando el primer gran impulso de la irrupción dentro de la industria, 10-12 primeros años de plazo a un nivel notificable y de exhibición, cuando se logra la estatuilla).
En el reciente caso de Desplat, me estaba preocupando el hecho de que estaba estrellando contínuamente balones una y otra vez en el poste (léase nominaciones) y no acababa de marcar gol, aunque lo hizo al final en ese plazo óptimo de 10-12 años dentro de la industria norteamericana.
PD: A pesar del análisis, no, ya no me considero gran seguidor de este tipo de certámenes.
Alexandre Desplat 54
Jerry Goldsmith 48
John Williams 39
Ludovic Bource 41
Trent Reznor-Atticus Ross - 46 y 43
Michael Giacchino - 42
A.R. Rahman - 43
Dario Marianelli - 44
Gustavo Santaolalla - 54
Jan A.P. Kaczmarek - 51
Elliot Goldenthal - 48
Howard Shore - 55
Tan Dun - 43
Stephen Warbeck - 45
James Horner - 44
Anne Dudley - 41
Gabriel Yared - 47
Rachel Portman - 36
Hans Zimmer - 37
Alan Menken - 39
Dave Grusin - 54
Herbie Hancock - 46
Bill Conti - 41
Vangelis - 39
Michael Gore - 40
Georges Delerue - 54
Michel Legrand - 40
John Barry - 33
Maurice Jarre - 38
Luis Bacalov - 61
John Corigliano - 62
Elmer Bernstein - 44
Howard, Elfman y Newman exceden la edad óptima, aunque estoy convencido de que alguno de ellos acabará ganándolo en competición. Ahora bien, se suele decir que las estadísticas existen para romperse ....
Wyatt Earp es del 94 (Tombstone, del 93) y ahí creo que la galardonada debería haber sido Entrevista con el Vampiro aun teniendom a ese western como rival.
A mi es que Wyatt Earp me parece una de las cumbres sinfónicas de finales del S. XX, así, cómo lo lees. Por lo demás, plenamente de acuerdo.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Sin Oscar pero felices. "Porque la vida puede ser maravillosa" que decía Montes. ¿Y quién lo necesita?
"¿Y nosotros cuántos de esos acumulamos, John?"
Mancini y Hitchcock se quedaron muy lejos de la carrera del Oscar. Ni siquiera empezó pese a la complicidad del inicio.
Muchísimos Oscars y muchísimo talento en esta imagen de los años ´50: Waxman (1º izq), Alfred Newman (2º), Bernard Herrmann (3º), Alex North (2º der) y Hugo Friedhofer (1º der). Entre ellos, el más larguirucho, el productor musical asociado a Newman, Ken Darby.
Wyatt Earp es muy grande pero el fracaso de la pelicula a veces afecta a este tipo de nominaciones.
Newton Howard debio ganar por The Village.
Silvestri es alguien que tambien deberia tener algun Oscar. Mismamente Forrest Gump es una de sus obras cumbre que aun se recuerda.
Y Elfman... bueno, esta claro que tuvo su gran epoca y ni se acordaron de él pero incluso su Score de MIB 1 era superior al de Anne Dudley de The Full Monty.
Los Oscars.. una injusticia tras otra.
Recordando un poco al JNH de Huntsman
JNH told Shawn Murphy to raise the volume of the choir. And not just of the boys choir but the adult choir (Even though it's used in a few cues). James definitely brought something unique here, but he respected his predecesors. There's not only homages to Williams (including Hedwig's Theme being actually used on its B section), but also Doyle (the brass writing), Hooper (the jazz pieces, nervous strings and tinkling percussion) and especially Desplat (muted trumpets, shakuhachi, and taiko drums). He even got to reference The Hunger Games in some cues (with the use of the viola da gamba and the cymbalom).
The score has everything. Magic, fun, darkness, wonder, quirkiness, excitement, emotion, tenderness. It's really complex and it will take some listens to unveil the way James develops the themes and styles he brought to the score. The electronics might seem jarring at the beginning, but they represent the dark magic and characters in the same way JNH did in his previous fantasy scores.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Parece ser que el próximo viernes 25 es el pistoletazo de salida de los nuevos títulos de LLL por el BF.
Ojalá que esta vez haya algo que me mole. Llevo algo de sequía que mi cartera agradece, pero mi frikismo no.
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
Fortuna y Gloria.
Has corrido riesgos. Has cometido errores. ¡Y ahora, una última victoria!
Nuestro podcast:
https://www.ivoox.com/podcast-voces-metropolis_sq_f12312831_1.html
https://open.spotify.com/show/72q1UBW7MWhrbAcxxHi81y
Policía de mundodvd silenciada
Última edición por mineapolis; 23/11/2016 a las 14:42
Kino et al. mi podcast de cine absolutamente impresentable: https://anchor.fm/kinoetal
Mank review (gesto de disgusto), Let them All Talk review (Soderbergh te odia), Soul review
Henry Jackman en Londres, grabando Kong: Skull Island
Y hoy podrian salir detalles de la banda sonora de Rogue One en EW
Siempre me encuentro a 2 Henry Jackman: uno bueno, como el de Rompe Ralph, Kingsman, X-men First Class y uno del monton como esta pasando con las Marvel o la ultima Jack Reacher.
Y el de Uncharted 4?
De lejos, su mejor partitura de este 2016
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Precioso, todo. El entorno, los perros, la casa, todo:
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Entrevista de EW a Michael Giacchino sobre Rogue One:
ENTERTAINMENT WEEKLY: So you were a late addition to the Rogue One crew…
MICHAEL GIACCHINO: Yes, literally the last thing I expected I’d be doing this month would be this. I mean we were literally planning a vacation when I got the call asking if I could come and talk to them about it. At the time, it left me with literally four and a half weeks to write. So it was one of those decisions where you’re like, okay, well… And I was talking to my brother about it. He goes, “Oh, come on. You’ve been writing this score since you were 10! You can do this.”
Four weeks doesn’t seem like enough time.
It’s not really. But you work with the time you have. And I’m not a person that has a bunch of other composers working for me, so it’s just me sitting up here in this room doing it. But I’m pretty good at focusing and getting down to business. I saw the film and I really, really, really enjoyed it, so there was no lack of ideas or inspiration, that’s for sure. The only worry the whole time for me was just the schedule. But I mapped it out and I thought, okay, if I do this much a day and I get this done that will leave me time to go back and improve if I need to before having to orchestrate.
Can you explain why there was a hand-off from Alexandre?
I’ll tell you, I actually don’t know an awful lot about that. [The filmmakers] were like, “Do you want to know what happened?” And my response was, “You know what, when this is all over we can sit and talk and have a drink and you can tell me whatever you want. I’d love to hear the story. But for right now I feel like I’d rather just pretend nothing happened and everything is good and I’m just going to come onto this.” And they were like, “Fair enough, fair enough.” So honestly, I don’t know anything about it other than what was purportedly, you know, “schedule issues.”
Wouldn’t it have been useful to figure out what was working – or wasn’t a good fit?
With that amount of time left, I was like, “I don’t want to get wrapped up in any sort of gossip or figuring out what was wrong when all we really need to do right now is figure out how do we just get accomplished what we have to get accomplished?” That’s why I was saying I want to be left out of this, everybody. “Mommy, Daddy, stop fighting and let me just do the work!,” you know. [Laughs]
Did you listen to any of what he had already written?
I was like, “No, I don’t want to. I want nothing, nothing. Let’s just do it.” … I’ve been excited to see this movie very much for the past year or so. And I thought, “Oh wow, Alexandre will probably do a really cool score for that.” And I was honestly looking forward to just seeing that and [hearing] whatever he did. I had never – not even an idea – that I would ever be involved in it. It all happened so fast.
How did it happen? Walk me through …
I got a call one day. I was on a plane next day because I had two days left of Doctor Strange scoring to do in London. And the day after my last day of scoring with Doctor Strange, [Lucasfilm] said can you come out to Pinewood? So I went out to Pinewood Studios and I met with everyone. They showed me the movie. And literally I came home with the movie.
Was it just nonstop from there?
I spent the weekend with my kids and said, “You know what? The next four and a half weeks are going to be brutal. But Monday I’m going to start it,” and Monday I sat down and started it. And there it was: four and a half weeks later, we were scoring.
I know what a hardcore geek you are. Does it stay fun when you’re working under such pressure?
Aside from all that it was really fun to do. It was really fun to come in every morning and just look up at the screen and see Stormtroopers running around. And I thought, “This is pretty cool actually…” Part of me was stressing out about the timeline. But the other part of me was just like, “This is the greatest thing ever! This is so much fun!” So I really tried to just keep all the negativity, whatever, or be away from it, just so I could look at it and enjoy it. I wanted to make something that I would be happy with – even though I’m usually not happy with anything I do. [Laughs] But, you know, always at least to try and shoot for it.
To read more on Rogue One, pick up the new issue of Entertainment Weekly on stands now, or buy it here – and subscribe for more exclusive interviews and photos, only in EW.
When you spoke with director Gareth Edwards, Tony Gilroy, who was brought on for reshoots, and Lucasfilm president Kathleen Kennedy about the music, what specifically do they ask for? What are the conversations like?
What you actually end up talking about is just the emotions. The less you talk about music and the more you talk about emotions, the easier I can understand what I need to do. After seeing the film, I told them what I felt about the movie, what I felt it could use, and what it needed. And we were all on the same page about those things.
Without giving away plot, what were your impressions of it?
It is a film that is in many ways a really great World War II movie, and I loved that about it. But it also has this huge, huge heart at the center of it, and that was the one thing I just didn’t want to discount. Yes, it’s an action movie, and it’s a Star Wars film, and it has all the things that you would come to expect and love about that, but I didn’t want to forget that it was also an incredibly emotional movie as well. That was what really pulled me in. I love working on projects that have an emotional center to them – and not manufactured emotion either, even though, you know, [laughs] it’s a weird thing to say because literally that’s all we’re doing, manufacturing emotion.
And what emotions did it make you feel?
What I liked about this movie is it didn’t feel false to me. It felt real, and I was able to just draw upon those emotions, whether it be sadness, loneliness… All of those things wrap into what we’re doing within the score. That was important to both Gareth, and Tony, and Kathy as well.
Earlier in your career, you wrote intense military music as the score for Medal of Honor and Call of Duty video games. Are there similarities to those scores and what you wrote for Rogue One?
It’s fair to say there is a bit of that feeling in there, for sure. I mean I like to think that I probably have written more World War II music than anyone on the planet after all the Medal of Honors and Call of Duties. [Laughs] But, yeah, hopefully you get a sense of the adventure without losing sight of what’s really important in the film and story. Sometimes everything can just be blown over by bravado, and I was trying really hard not to do that. To use it when you need it, but to also remember that bravado is a dangerous thing.
What inspirations will we hear in the music?
It does borrow from traditions that both John [Williams] and George Lucas borrowed from when they made the original Star Wars, you know. George was looking at Flash Gordon, the old serials, and John was looking at [Gustav] Holst and different composers along the way to get a baseline for what he wanted to communicate. There is a wonderful musical language that John put together for the original films. I wanted to honor that vernacular but still do something new with it, something that was still me in a way.
Kathleen Kennedy says they’re trying to break from some of the traditional Star Wars tropes, like doing away with the opening crawl. Sounds like that applies to the music as well?
Kathy said that to me, too — “No one is asking you to do what was done before.” I feel it’s important to be me, but in this universe, we’re working within. That was sort of the challenge. It was never sort of, “Oh, you have to do this, this, and this.” It was always just: “Here are the emotions that we need to cover.”
Did you have a favorite theme?
I really enjoyed working with Jyn’s theme, and tying that into the movie, and having it slowly develop. And it’s sort of a very emotional sweeping thing, which was really nice to do. Now, I feel like there is this interesting sort of thing going on in film scoring where it’s all about restraint. And at times I totally agree with that, but at other times it’s just nice to unleash everything and just let 110 players go for it.
It’s tough to convey music in words, but is there anything you can describe about the elements in your Rogue One music? A teaser before we hear it?
I remember writing to Don Williams, my timpani player, who happens to be John’s brother, actually. And Don has played on everything I’ve ever done. We’ve worked together for years, and he’s just an amazing timpani player. And the timpani is usually something that, you know, that’s an accent here and there, and comes in when needed.
So, heavy on the kettledrums and percussion …
I texted him about a week before the [scoring] sessions and I said, “Don… there is an F-load of timpani in this movie! And it’s complicated and it’s hard.” And he was just like, “Let me at it.” I don’t know that I’ve written more timpani for a film than I have for this. He did an incredible job and it gives this great weight, this great anchor to a lot of the pieces. But it also helps in the more chaotic moments as well.
Are there any other instruments that also take a lead role?
I think that there is perhaps slightly more ethereal things at work in this film too. How you may use an electric guitar… or how you may use any synth additions… It’s a symphonic score but there are these little accents that we added in order to sort of deal with certain story elements in the film.
Did you incorporate many elements of John Williams’ score?
I think absolutely there are a couple of times when you want to hit upon something that was from the past. For me, even as a fan, it was about going, “Oh, this particular idea would be great if we did it here. I would want to see that if I were watching a Star Wars movie.” As a kid who grew up with John’s music and who was catapulted in this direction because of what he did, I had a very specific idea of what I wanted to use and how I wanted to use it. That being said, I’d say the score is 95 percent original but with little moments [of Williams’ classic score] here or there to accent. If I were sitting in that seat and I heard that, it would totally raise the hairs on my neck.
Did you get to do your take on the Imperial March?
[Laughs] Maaaaaaybe.
You don’t want to say?
Well, what’s the fun in knowing what’s there? You want to be surprised, right?
Can you describe the opening title theme? Do you use elements of his work there?
It’s done slightly differently here because it’s not one of the saga films, it’s not one of the trilogies. It’s sort of its own thing and the whole idea from the very beginning was these should be standalone movies. So it’s going to be a slightly different way to get things kicked off.
What do you want people to feel when that music starts?
I think you’ll feel at home.
Imagen superior, señalado por flecha azul: Howard Shore en sus años mozos.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Talmente asombroso. Va a resultar que Drácula existe y es inmortal como Nicolas Cage.
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Habrá que enviarle a bueno de Jack Mord este documento. Ya veo el titular de prensa: ¡Extra, extra! El afamado compositor y director de orquesta Howard Shore, es en realidad un vampiro de casi 700 años de edad!
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Escucha esto, Jane, viene que ni pintado, creo:
Early masterpiece de Shore. No me digas que su música opresiva no casaría perfectamente con una peli de terror en condiciones. Esto es música de género y no la basura que se hace ahora (por norma general)
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-