Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
En los 70 tenemos:
French Connection
Dirty Harry
The Godfather
The Godfather II
American Graffiti
Chinatown
The Excorcist
Jaws
One Flew Over The Cuckoo's Nest
Taxi Driver
Rocky
Carrie
The Omen
Star Wars
Close Encounters of the third kind
Annie Hall
Superman
Grease
Apocalypse Now
Manhattan
No sé, no quiero soltar la mítica de Fororoches, pero vamos cerrando el hilo![]()
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Hombre, en los 40-50 también la media de buenas pelis es algo superior. 60-80, no tanto. Pero vamos, que en todas las décadas hay oro. Dicho lo cual...
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Me permito añadir, Synch, a tu lista: Mi vida es mi vida, Escalofrío en la noche, La última película, La naranja mecánica, Deliverance, La aventura del poseidón, La huella, El golpe, Serpico, Chacal, Asesinato en el Orient Expres, El coloso en llamas, El jovencito Frankenstein, El fantasma del paraíso, Shampoo, Como plaga de langosta, Nashville, Tarde de perros, El hombre que pudo reinar, Marathon Man, Network un mundo implacable, El cielo puede esperar, El cazador... y probablemente, muchas más que olvido injustamente. Para mí, los 70 son LA década.
Y si tuviera que elegir una segunda, su antecesora, los 60: Psicosis, Lawrence de Arabia, 2001 una odisea del espacio, El hombre que mató a Liberty Vallance, El apartamento, El graduado, Viridiana, Doctor Zhivago, Cleopatra, El tiempo en sus manos, Que fue de Baby Jane, Teléfono rojo, volamos hacia Moscú, 8 1/2, The Innocents, Hasta que llegó su hora... buff
Yo tengo el año 1979 como un año redondo, ya que de ese año son cinco películas de esas que para mí son del o más:
Saludos35. 1979 Bob Fosse: All that jazz, empieza el espectáculo
36. 1979 Ridley Scott: Alien, el 8ª pasajero
37. 1979 Robert Benton: Kramer contra Kramer
38. 1979 Woody Allen: Manhattan
39. 1979 Iván Zulueta: Arrebato
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"
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)