¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.RIP, Sir Pratchett.
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«ESOS QUE VES ALLÍ SON MORTALES -prosiguió la Muerte-. ESTARÁN EN ESTE MUNDO APENAS UNOS CUANTOS AÑOS Y SE LOS PASAN COMPLICÁNDOSE LA VIDA. ES FASCINANTE.» Mort, Terry Pratchett.
El video que he puesto en el hilo de SW va de esto mismo y el chico, que ha estudiado música, lo explica de manera muy amena... te va a gustar mucho, creo (aunque no entiendas la terminología 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.
Fíjate que te doy la razón en ESDLA, que cómo ópera musical es fantástica, pero Jackson la usa demasiado para realzar lo que ya están diciendo, mostrándonos o sugiriéndonos. La música es gloriosa, pero su aplicación horrenda.
Lo de la trilogia de ST de Chris Pine no sé si lo habias notado....
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.
¡FELICES 71!
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Muchas felicidades, ET!!!!![]()
Mi blog: www.criticodecine.es
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.
Mi director favorito, en todas (o casi todas) sus películas encuentro algo estimulante.
Amistad y El color púrpura son quizás las que crean en mi más rechazo, no por malas, sino por maniquea la primera y porque Spielberg no era el más indicado para dirigir la segunda, creo que no estaba cómodo con el material.
Aún así les debo un revisionado a ambas.
A mí me encanta El color púrpura. Si la hubiera dirigido un director negro le habrían llovido los Oscars.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
The Fu*** God.
Nothing more to say![]()
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
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.
¿Opinión a vuelapluma 7 años después? ¿Peliculón?
¿Marty?.
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.
Sí, peliculón. A mi entender, es el Indy IV que, quizás, por excesivo respecto a Lucas como creador, no pudo/quiso rodar en 2008.
Un Spi desmelenado, desprejuiciado y pasándoselo teta con las posibilidades de rodar una animación 3D, con una planificación loca pero brillante, unos encadenados de levantarse y aplaudir y un plano secuencia (EL plano secuencia) que demuestra que es el puto amo.
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.
Y la BSO de Williams, que curiosamente la puse antes de ayer para comer, de 10. Me encanta.
Es muy compleja... ¡transcurren diversas líneas melódicas al mismo tiempo en muchos de los cortes (contrapunto se llama eso) ! En total hay cómo unos 8 temas. 2 para Tintín, 1 para el perro (temazo), 1 para el unicornio, 1 para Red Rackam, otro para Haddock y más que me dejo... por supuesto la maravilla de la Castafiore va a parte. Un lujo.
Adoro el segmento del carterista, tanto musical cómo cinematográficamente.
Esto es oro:
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.
Y nos regala ese flashback con la batalla de barcos y duelo de espadas entre Haddock vs Red Rackham . La piel de gallina con el momento del descenso de Rackham por el mástil con el fuego detrás. Y todo esto rememorado luego en el clímax de la película con el duelo de grúas entre capitán Haddock y Sakharine como si del choque de 2 barcos se tratara.
Y de la planficación de la secuencia de Castafiore qué me decís. Es un no parar. Esta película es cine en estado puro, con Spielberg on fire y donde tampoco Williams se queda corto.
"Because sometimes truth isn't good enough".
Williams tenía 79 años... yo no sé que comen esta gente, de verdad.![]()
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.
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.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
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.
La estética sí, porque la fotografía es majestuosa, no resulta vídeo-jueguera y sí muy cinematográfica.
Lo que digo que no me gusta es los personajes de animación motion capture tipo Polar Express o Beowulf, esa recreación fidedigna del ser humano, pero en sintético, me da grima.
PERO... En esta es distinto, porque los personajes están caricaturizados para reflejar los del cómic. Eso hace que me entren mucho mejor.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
"Because sometimes truth isn't good enough".