Tema: First Man: El Primer Hombre (Damien Chazelle, First Man, 2018)

Parece ser que esta vez Chazelle no ha escrito el guión y eso se nota.

So on the one hand “First Man,” the first Chazelle feature he has not also written, can feel more anonymous than we might expect from the writer-director of “Whiplash” and “La La Land,” lacking the former’s show-offy technique and the latter’s candy-colored whimsy. But that also makes it feel grand and built-to-last, and from its opening moments (has it ever been more appropriate to go from Universal’s spinning globe to DreamWorks’ boy-in-the-moon?) to closing coda, this might be the purest proof yet that Chazelle is as versatile and “classic” a director as Hollywood has discovered recently. Marshaling career-best contributions from every department, it is for better and worse, Chazelle’s least personal film, while at the same time being his most bravura performance as a conductor of a cinematic orchestra. Or perhaps more appropriately, as pilot of the film’s craft, constantly making minute course-corrections to keep the whole bulky project moving levelly and swiftly before the eagle gently, skillfully, softly lands.

The absolute knockout performance, in fact, comes from DP Linus Sandgren, shooting in deliciously grainy 16mm and 35mm and, when we finally get to the moon, cracking open the widescreen glory of 70mm IMAX. Here the texture of film adds yet another level of antiqued authenticity to the fanatically detailed, fetishizably period-accurate production design, in which Sandgren, also an Oscar-winner for “La La Land,” seems to delight. He’s equally surehanded twisting sinuously around in the impossibly poky interior of the Command Module, bristling with analog dials, knobs and big flashing push-me alarm buttons, or using first-person POV to put us inside an explosion and a parachute ejection, or capturing sedate symmetries and frames-within-frames back on the ground. Often, in the domestic scenes, he’ll shoot from a darkened room through a bright doorway, which has the effect of marooning Neil in a pool of light that hovers in black space, even when he’s earthbound.

But it’s not just pretty pictures. Chazelle also reteams with his regular editor Tom Cross (again, an Oscar-winner for “Whiplash“) and together they control the tempo of the film with a musician’s exactitude, sometimes rushing, sometimes dragging but always for calculated effect. The opening scene, in which a 1961 test flight of Armstrong’s goes awry when he starts to bounce off the atmosphere rather than re-entering, is as exciting a setpiece as we’re likely to get this year, but part of the power of those jagged, shaky climaxes, with the excellent sound design also contributing to the sense of rattling, mechanical peril, is that they always build to an expansive moment of sudden, tremendous calm. And threading through it all, Justin Hurwitz‘s fine score moves elastically from plaintive harp motif to grandly booming symphony to (slightly clichéd) space-waltz, as the mood dictates.

'A week after our editing-room meeting, the director is in a control room at Sony's Barbra Streisand Scoring Stage. He's in his element here, even if his eyes are dark pools and two stress pimples have broken out on his forehead. On the other side of a glass wall, 80 ?or 90 musicians are tuning up, about to record the music for some of the more dramatic moments of First Man. Hurwitz is conducting, and he and Chazelle exchange brief verbal shorthand over an intercom.

"There's that long crescendo …" Chazelle starts.

"We're still giving the second half of the note a dive," Hurwitz cuts in. Then, to his musicians: "Everybody who has a 16th note, touch that downbeat before letting go. It can be almost a niente."

The music soars as, onscreen, a car sweeps across the city at night and Gosling (as Armstrong) stares out the window at the passing landscape, knowing he's leaving his wife for what might ?be the last time.

De jwfan, alguien que ya ha podido verla:

Just out of screening. Let's talk score - it's gonna piss quite a few of you (or at least the FSMers) off because fully orchestral this is not. In fact this film is a lot less music driven than all of his previous ones. The feel overall is very Gravity in that mix between electronics and orchestra, and there's a little bit of that theremin in there too! (You think it's a choir boy but....very nicely done). There are a few fully orchestral cues though which are highlights and there are moments in the film that the score takes center stage


Hurwitz basically apes Blue Danube in one sequence though, I think that scene was meant to be this 2001 homage, it may take some out of it but I loved that.

The film is quite brilliant too. Perfect balance between focusing on Armstrong the man and the space programs



Me pinta fantástico.

“Damien told me a couple of years before we even got to the piano that this score had to sound completely different than anything we’ve ever done,” Hurwitz, a two-time Oscar winner for “La La Land,” says. “So I knew as soon as there was a basic theme composed, I had to basically start learning new things and ways to make it sound different.”

Chazelle suggested a theremin early on, so Hurwitz picked one up and started learning how to play it. He got some vintage synthesizers, like a 1968-model Moog, and began learning by way of YouTube how modular synthesis works.

“It’s this old style of synth where you have to patch it with all these cables,” Hurwitz says. “Then I started playing around with other production stuff, things that we would use to process the orchestra and make it sound different. We knew we were going to record a big orchestra for it because we needed it to be big and emotional, but we didn’t want it to sound like a traditional orchestra.”

Hurwitz had never really produced music in the past, so he had even more to learn in order to develop the music in a unique way. He put all of the strings through a couple of processes that gave it a kind of “shakiness” that he thought felt organic to the way Chazelle and Sandgren were shooting the film.

“Neil is so outwardly steady, but there had to be nerves there and I thought that maybe spoke to how he was feeling,” Hurwitz says. “And also, emotionally, he’s fragile, more fragile than he lets on.”

Hurwitz became something of a mad scientist on the project. For example, he recorded all the strings — violas, violins, cellos — separately and ran them through a rotor cabinet that housed a spinning speaker. He then re-recorded the playback as they moved the cabinet around the room, placing it where the actual players had been.

“That gave it this weird, other-worldly kind of flutter to it,” he says. “Then I put it through a tremolo to give it the second layer of flutter, and then violins, basses, cellos were all given different rates of flutter. So there were all these flutters that were in conflict with each other.”

The result is something, indeed, completely different from his previous collaborations with Chazelle, and an element of the film that accounts for a considerable amount of the story’s emotional impact.

Buenas noches,

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La NASA acaba de liberar cerca de 19.000 horas de audio de la misión del Apollo 11. Todos hemos oído alguna vez las palabras de Neil Armstrong cuando el módulo lunar Eagle del Apollo 11 se posó sobre la luna y se convirtió en el primer hombre de la historia en pisarla, pero ahora podremos saber todo lo que se habló detrás de las cámaras antes y después de ese 20 de julio de 1969.

https://m-genbeta-com.cdn.ampproject...sion-apollo-11

Saludos.