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"
"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.
Pues yo veo la misma película que han sacado un millón de veces.
Yo estoy dentro pero mentiría si no afirmase que perdí parte de mi interés cuando se confirmó que era una adaptación libérrima...
No vas a mejorar o superar al libro, Guillermo.
RIP, Sir Pratchett.
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
"Every record has been destroyed or falsified, every book rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And the process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right." «1984»
Pero el universo de Shelley filtrado por el universo de Del Toro puede dar lugar a algo fascinante, aunque se aleje de la novela.
Si quieres una adaptación fiel al 95%, busca la de Branagh. Eso si, espera travellings circulares y planos secuencia a punta pala. Y produce Coppola.
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Última edición por Branagh/Doyle; 01/06/2025 a las 20:54 Razón: Me comí un trozo
"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.
Mira que me gusta notablemente la versión de Branagh, pero ver a Del Toro con Frankenstein puede ser fascinante a trapo.
"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.
A mí me resulta muy convencional todo lo que veo, teniendo las de Whale y Fisher no era necesario hacer más.
Con todo el barroquismo y estética de del Toro, vaya pintaza más buena, por Dios. Ganas enormes de verla.
Siendo como soy muy fan de Del Toro, no estaba especialmente hypeado, pero hay un montón de imágenes muy potentes en ese trailer, ahora sí que queda apuntada ¿tendrá algún estreno en cines, o directa a Netflix?
Espero que haya estreno en cines
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"
Además, creo que Desplat no ha tenido nunca la oportunidad, hasta ahora, de escribir una partitura gótica, melodramática, y mórbida. No me cabe duda de que aprovechará la oportunidad tanto como lo hizo Doyle en el 94. Es más, si la cosa sale bien, imagino incluso otro posible Oscar.
Veremos.
"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.
Según he leído llevaba 20 años tratando de levantar este proyecto, por lo que ha tenido tiempo para reescribir y redondear el guion. Ahora solo falta que le financien En las montañas de la locura con Tom Cruise... Aunque no veo a Netflix dándole vía libre con un presupuesto elevado... Quizás si este film es un exitazo...
A mi lo que me da mal rollo es que al final todas las pelis que van directas a las plataformas de TV acaban siendo muy flojas, por poner un ejemplo la de "ESTADO ELECTRICO", mucho bombo y al final se queda en nada.... siempre por el guion, que cuando las ves piensas "normal que no haya ido al cine", esperemos que Del Toro tenga un guion bien trabajado
El irlandés cojonuda? La primera hora pasable pero luego es un somnífero de cuidado.
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"
"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.
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"
"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.