Prueba.
Prueba.
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.
Los mensajes en este hilo han dejado de verse... pero solo en este hilo.![]()
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.
Ah, ya entiendo. Se ha creado un hilo específico para la edición digital. Fantástico.
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.
Probaré de nuevo.
¿Entonces no está el nuevo documental sobre la restauración?.
Una pena.
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.
Para clarificar. Compré las 3 primeras en pack en iTunes España, y ahora tengo las nuevas versiones de las 2 primeras, y la versión original de la tercera. Acabo de comprar CODA en la iTunes mexicana (3'50€ al cambio), con sus extras...
Los extras del disco físico de bonus son:
• The Masterpiece That Almost Wasn’t
• Godfather World
• Emulsional Rescue: Revealing The Godfather
• ...when the shooting stopped
• The Godfather on the Red Carpet
• 4 Short Films on The Godfather (The Godfather vs. The Godfather: Part II, Cannoli, Riffing on the Riffing, and Clemenza)
• The Family Tree, Crime Organization Chart, Connie and Carlo’s Wedding Album
• 2008 Credits
• 12 Behind-the-Scenes featurettes (A Look Inside, On Location, Francis Ford Coppola’s Notebook, Music of The Godfather: Nino Rota, Music of The Godfather: Carmine Coppola, Coppola & Puzo on Screenwriting, Gordon Willis on Cinematography, Storyboards – The Godfather: Part II, Storyboards – The Godfather: Part III, The Godfather Behind the Scenes 1971),
• Additional Scenes
• Galleries
• Trailers
• Acclaim & Response
• Additional Material
• The Filmmakers
Los extras nuevos en la edición física son:
• Introduction to The Godfather by Francis Ford Coppola
• Full Circle: Preserving The Godfather
• Capturing the Corleones: Through the Lens of Photographer Steve Schapiro
• The Godfather: Home Movies
• Restoration Comparisons
Ahora, repasando la ficha de iTunes, los extras digitales en El Padrino (primera parte) son:
• Commentary by Francis Ford Coppola (2h57')
• Francis Ford Coppola's Notebook (10'14")
• The Godfather Behind the scenes 1971 (8'58")
• 1974 Network TV Intro (1'36")
• Godfather World (11'18")
• The Masterpiece that Almost Wasn't (29'51")
• Emulsional Rescue: Revealing The Godfather (19'10")
• Riffing on the Riffing (1'39")
• Cannoli (1'39")
• The Godfather: Best Screenplay 1972 (2'26")
• The Godfather: Best Picturer 1972 (1'49")
• Theatrical Trailer (3'40")
• Cosa Nostra & Coppola (1'54")
• The Godfather Around the World (0'53")
• James Caan Screen Test (0'41")
• Gallery: Connie and Carlo's Wedding Album
• Additional Scenes (26'47")
En El Padrino Parte II digital, los extras son:
• Commentary by Francis Ford Coppola (3h22')
• When the Shooting Stopped (14'23")
• GF vs GF Part II (2'16")
• Clemenza (1'44")
• The Godfather on the Red Carpet (4'03")
• On Location (7'02")
• The Godfather Family: A Look Inside (1h13')
• Gordon Willis on Cinematography (3'51")
• The Godfather II, Best Director 1974 (1'51")
• The Godfather II, Best Picure 1972 (1'05")
• Theatrical Trailer (4'07")
• Photo Gallery
• Additional Scenes (23'32")
• Rogues' Gallery
De El Padrino, Parte III, hay dos fichas. Una que ya no está a la venta, con el montaje original en HD, y otra con CODA. La prmera no tiene extras. CODA contiene
• Introduction by Francis Ford Coppola
• The Godfather: Part III (HD/VOSE/2h50'08")
Pues es una pena que los extras nuevos no estén presentes en las ediciones digitales, y que los audiocomentarios de Coppola no estén subtitulados.
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.
¿Repopo, puedes hacerme un favor?. ¿Puedes comprobar si al reproducir el audiocomentario de Coppola en la edición digital de Itunes, a ti también te salta el master de 2008 en vez del actual?.
Curioso...
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.
¿Cómo distinguirlo a plena luz del día? Quiero decir... los matices de color se ven bien a oscuras, pero en mi casa no es así ahora mismo. ¿Alguna diferencia en el montaje que sea indiscutible?
De todos modos, no será raro que se trate del master antiguo. Cuando iTunes presenta un audiocomentario, es sobre un archivo de video totalmente independiente de la película principal, donde sólo están presentes el audio del comentario y los subtítulos correspondientes. Por tanto, me parece muy posible que hayan mantenido el archivo que había ya de antes.
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.
Comprobado. En efecto, en el audiocomentario se dan los detalles de la cabecera y la duración que comentas, por lo que es el master HD previo.
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.
Trilogia del Padrino a 14.99 € en itunes España y los tres titulos actualizados a 4K DOLBY VISION en estos momentos.
¿Hay alguna diferencia con los extras, o con las ediciones ITunes de otros países?
De acuerdo. Comprado el pack. Gracias.
Acabo de colgar el teléfono. Apple me ha confirmado que en el Padrino II existe un problema cuando se visualiza desde el Apple TV (y solo desde el Apple TV), que hace que independientemente de la pista de audio que se tenga seleccionada, y de que las opciones de accesibilidad estén activadas o no en el dispositivo, se escuche una narración de todo cuanto está aconteciendo en pantalla.
Están trabajando para solucionarlo.
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.
Creo que llevo años sin comentar en el foro, pero googleando he llegado a este hilo. Decís que suelen actualizar las pelis digitales pero ¿es factible que pase en esta trilogía en cuanto al audio original? Gracias.