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About LinkBacksA mí también me ha recordado a DelerueIniciado por cabinessence
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Re: Bandas sonoras
A mí también me ha recordado a Delerue
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
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CLAUDIO: "Lady, as you are mine, I am yours"
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EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Re: Bandas sonoras
Última edición por Branagh/Doyle; 03/06/2026 a las 20:44
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
IT BLOWS MY MIND A WHEELCHAIR-BOUND 94-YEAR-OLD CAN STILL WRITE MUSIC THAT SPURS MY EMOTIONS AND IMAGINATION!!!!!!!!!
I DONT’T GIVE A SHIT ABOUT “MUH MEMORABLE THEMES” OR HOW IT DOESN’T SOUND LIKE “THE OLD STUFF”, CRITIQUES THAT REVEAL MORE ABOUT THE ATTENTION SPAN OF THE LISTENER THAN THE QUALITY OF THE MUSIC!!!!!!!
THIS SHIT FUCKING RIPS!!!!!!!
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
John Williams cruzando el arco de emociones.
Ya no solo desde la dramaturgia y el sense of wonder, pasando por el misterio (las citas de JFK y Revenge of the Sith -¡¡¡¡MUNICH!!!!-) hasta el toque magico spielberiano dentro del plantel musical.
Es gozoso, ver a un tipo de 94 años demostrando que SABE lo que hace.
Re: Bandas sonoras
En silla de ruedas y post derrame cerebral. Es acojonante.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Ya se ha lanzado oficialmente por Back Lot Music en España:
También está disponible en Apple Music, Spotify y demás plataformas y tiendas digitales.
Última edición por Branagh/Doyle; 04/06/2026 a las 08:26
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Me pregunto si John Williams es consciente de las miles de personas en el mundo a las que jamás ha visto ni conocerá, y que sin embargo le tienen un enorme cariño. Porque un día escucharon una melodía suya (en una sala oscura, en unos auriculares, en una tarde difícil) que les cambió algo por dentro.
Que no se muera nunca.
Re: Bandas sonoras
Un profesor de orquestación que tuve me dijo en una ocasión que todo lo que necesitaba saber sobre la materia se encontraba condensado aquí:
Aún pienso en ello de vez en cuando.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Cuidado que está en mono. Es un atentado musicalEstoy disfrutando como un niño con esta pieza. Es ADN Williams, con todos sus tics, pero es que te lleva a otros mundos, literalmente. Este hombre tiene una capacidad increíble de ensoñación, de generar vivencias...
Última edición por Versta2; 04/06/2026 a las 11:25
Re: Bandas sonoras
En Spotify, Apple Music y demás está correcto. Ha debido ser un fallo de codificación de Google. Voy a reportarlo.Cuidado que está en mono. Es un atentado musical
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
En apple music está en glorioso estéreo.
Por lo que sea, me ha venido un aire de cine bíblico de los 60. Los que hayáis escuchado el "Crucifixion" de Alfred Newman en "La Túnica Sagrada" sabréis por dónde voy.
Última edición por cabinessence; 04/06/2026 a las 11:57
Re: Bandas sonoras
Esas cuerdas son muy de Newman, si (que no rozsianas, eso lo hizo en el dial del destino).
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
John Williams: composer, conductor, co-producer
Ramiro Belgardt: co-producer
Shawn Murphy: mixing engineer, recording engineer
Patricia Sullivan: mastering engineer
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Mientras B/D y compañia (servidor se incluye) babean con Williams... me saco la chorra -metaforicamente- con Daniel Pemberton y su Masters of the Universe.
Que el british es uno de los jovenes talentos actuales y de un eclecticismo de asombro, que tan pronto se te pone a componer un score de corte mas o menos tradicional como Enola Holmes, como tan pronto se pone tremendamente variado como en Proyecto Salvacion y va y se dice que quiere hacer un score rock sinfonico y joder, lo he disfrutado, vaya si lo he disfrutado.
La influencia de Queen es una constante, pero a su vez, Pemberton lo hace tan suyo (es un score tan tremendamente feel good) con sus solos de guitarra electrica (cortesia de Brian May), pasando por el elemento coristico y heroico en sus momentos de accion, tambien rockeros e incluso abraza brevemente el 80s synth en varios momentos para ese sense of wonder de la serie de animacion -hay un guiño cojonudo-, madre mia.
No se si se hara una comparacion con el notable trabajo de Bear McCreary en la nefasta serie de Smith (era lo unico rescatable de aquel pifostio), pero tambien es cierto, que hay un elemento de diferencia, a McCreary le toco un empaque dramaturgico (fallido) y le tocaba darle esa epica heavy metal (muy molona, por cierto), que a Pemberton no le ha tocado, no le hace falta, su proyecto pedia un empaque diferente y el tipo ha solventado la papeleta de forma muy, muy buena.
Última edición por PrimeCallahan; 04/06/2026 a las 21:14
Re: Bandas sonoras
Ya se puede hacer el preorder de Disclosure Day de John Williams tanto en vinilo como en CD.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Yo sólo diré, a ver si le dan el sexto oscar de una puta vez a Williams (que algunas de las ganadoras a las que se ha enfrentado en los últimos años es de juzgado de guardia...). Que por desgracia tiene pinta de ser la última oportunidad. Y por lo se escucha, no sería mala ganadora
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Re: Bandas sonoras
“Can you believe this is our 30th movie together?” Spielberg says. “And John just turned 94, and he is as exceptional now as he was at 40. It is just remarkable, the depth and breadth of his career. DISCLOSURE DAY is probably the most restrained score he has ever written for one of our collaborations—at least until it is not. But until those moments, he holds back in a way that is subtle and beautiful and enriches the experience. It is like he is accompanying the film from slightly behind it, pushing it forward. Scoring is usually the last thing we do and I always say it is the reward for finishing a movie—the reward being getting to listen to a new John Williams score."
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Featurette de las sesiones de grabación con John Williams dirigiendo la orquesta sentado en una silla, como Morricone hizo en Los Odiosos Ocho.
94 años.
94.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Ya lo han corregido y está en estéreo de alta calidad.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Sabia que estaríais hablando de ello.
Esto rezuma despedida por los cuatro costados.
No he podido evitar asociar la música a la carrera al completo de Williams y como esta ha hecho feliz a varias generaciones. Al tener ese pensamiento mi vida cinéfila ha pasado por delante de mis ojos y al final se han llenado de lágrimas.
Menudo hijo de perra es el tiempo y que bien se le da ser el asesino perfecto.
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