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Re: John Carpenter, el director cinéfilo.
Y como no podía ser de otra forma, pasa del resto y va a su bola.
https://www.reddit.com/r/Filmmakers/...about_what_he/
Re: John Carpenter, el director cinéfilo.
Iniciado por Fincher
Joder.
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.
Re: John Carpenter, el director cinéfilo.
Interesante lo de que Dean Cundey dejó pasar Poltergeist (llegó a reunirse con Spielberg) por hacer Halloween II.
La vida...
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.
Re: John Carpenter, el director cinéfilo.
Última edición por Branagh/Doyle; 10/08/2022 a las 11:05
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.
Re: John Carpenter, el director cinéfilo.
Le gusta el 1:33:1/1:37.1 y el scope, pero no el 1:85.1. 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.
Re: John Carpenter, el director cinéfilo.
Muy bien ilustrado. El ejemplo final del artículo es maravilloso y perfectamente descriptivo.
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.
Re: John Carpenter, el director cinéfilo.
Si. Alguien me dijo una vez que Halloween no era una obra maestra por prácticamente haber inaugurado un subgénero o por hacerlo sin mostrar sangre, como se dice en todos lados, sino por su uso del punto de vista y el espacio. Y creo que tenía razón.
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.
Re: John Carpenter, el director cinéfilo.
Mi segmento favorito. Esa lluvia, esas batas blancas. Como Myers se sube al coche (¡el uso del sonido!), y cómo la enfermera se queda atrapada en el interior del mismo por obra y gracia del 2.35.1.... con esa mano rompiendo el cristal.
Y ese Donald Pleasance intepretando a Van Helsing: The Evil is gone!
Ultimamente leo mucho que este film está sobrevalorado. Yo creo que no. Creo que sigue estando a una distancia sideral de todo lo que vino después. Es magnífica.
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.
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