Conferencia de Araujo en una universidad catalana (pero impartida en castellano), donde cuenta con humor y desparpajo su vida, trayectoria, metodología de trabajo, y en que consiste exactamente crear la música para un videojuego. Parece buena gente.
¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.Conferencia de Araujo en una universidad catalana (pero impartida en castellano), donde cuenta con humor y desparpajo su vida, trayectoria, metodología de trabajo, y en que consiste exactamente crear la música para un videojuego. Parece buena gente.
Última edición por Branagh/Doyle; 19/04/2016 a las 23:45
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.
¡Correcto Tripley!
Una accidentada producción (las prisas por estrenar en la fecha prevista, se hacen notar) que, por desgracia, nos dejó con una edición bastante incompleta, quedándonos con ganas de escuchar la partitura íntegra.
Tu turno, pues.![]()
"And at the instant he knew, he ceased to know"
MIK, las he encontrado completas, aquí te (os) las dejo:
Primera entrega:
Interludio/Anexo/Expansión:
Segunda entrega:
Al parecer, la primera entrega ganó el premio IFMCA (International Film Music Critics' Association), a la mejor banda sonora original para un videojuego, el premio más importante que puede recibir una composición perteneciente a este gremio.
Última edición por Branagh/Doyle; 19/04/2016 a las 23:44
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.
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
No entiendo porque te sonrojas.
Hazme el gusto con las pelis de Branagh cuando puedas, porfa.
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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.
Borrado.
Última edición por Branagh/Doyle; 20/04/2016 a las 02:00
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.
Borrado.
Última edición por Branagh/Doyle; 20/04/2016 a las 01:58
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.
Borrado
Última edición por Branagh/Doyle; 20/04/2016 a las 02:00
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.
Gracias, MIK. Es verdad que la película era algo decepcionante, pero por los menos Goldenthal cumplía (y Kyle Cooper). Respecto a la BSO es verdad que la edición de Varèse se ceñía a la moda de la media hora y un poquito más de duración, pero también hay que decir que hay por ahí una versión completa.
Nueva propuesta:
http://www.goear.com/listen/9dd2248/-
Saludos
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"
¡Hell yeahhhhhhh!!!!
B]Boss Battle[/B], perteneciente a Scott Pilgrim vs the World, compuesta por Nigel Goodrich. La película tengo entendido que es una de tus favoritas de los últimos años.
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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.
Correctísimo, Branagh/Doyle. La película me pareció una pasada y una excelente adaptación del tebeo original.
El otro díia me acordé de este momento al ver una foto de las nuevas Cazafantasmas (como comenté en su hilo) y ahora pensé en proponer la música de dicho momento.
Tu turno.
Saludos
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"
Veamos. Partitura rechazada (editada más tarde a instancia del propio compositor), debido a que se optó por emplear un estilo sinfónico, coral, melódico y temáticamente variado, que no se había usado hasta entonces a lo largo de la saga a la que pertenece la película.
A los productores no les convenció esta aproximación, y le invitaron amablemente a marcharse, pese a que al director de la película le entusiasmaba la música. Y ya he dicho demasiado, cómo siempre.
Arreglado:
http://www.goear.com/listen/8a0853e/he-is-back-
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Última edición por Branagh/Doyle; 20/04/2016 a las 18:31
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.
Solucionado.
Última edición por Branagh/Doyle; 20/04/2016 a las 18:31
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.
No la oímos...
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
Todo en orden, disculpad. Goear, que solo acepta MP3, y Soundcloud, que elimina casi todo lo que lleve derechos de autor... vaya par.
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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 no he visto la película, pero he estado haciendo un poquito de investigación y ¿puede ser Terminator Salvation?
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
No, no es TS, Jane. Además de ser bastante anterior, la película que nos ocupa pertenece a un género completamente distinto.
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.
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
No me extraña.
Si no te atrae nada, ¿por que no lees el texto? No hay spoilers de la película, es solo un comentario de la banda sonora, sin nada de lenguaje técnico a modo de fábula. Un cuento con James Newton Howard de protagonista Muy, muy bonito. Me ha llegado..
Qué haya final feliz, así, dicho en general, sin detallar nada de nada, no es un spoiler, lo sabemos del cuento.
¿La edad? Hija, tengo 47 años. ¿Qué te parece? ¿Me sigues queriendo?
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Última edición por Branagh/Doyle; 21/04/2016 a las 00:47
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.
Otra pista, la película pertenece al género de terror. Con las indicaciones que os he dado más esto debería bastar para investigar.
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.
Borrado
Última edición por Branagh/Doyle; 21/04/2016 a las 00:47
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.
Pero si seguro que tu también te mueres de ganas de ver Cómo Gusteis, La Flauta Mágica o Morir Todavía (empieza por la última, hazme caso, Thompson y Jacobi están descomunales, y ella bellísima, ademas de que se echa en falta verla más a menudo de prota) y más ahora que ver Enrique V y Cenicienta te ha devuelto la admiración de antaño.
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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.
No me extraña. A mí esta chica ya me da dentera sólo de verla. La muchacha de la perpetua cara de asco. Es que sólo tiene una expresión
.
Me pillas en bragas. Aunque no lo creas, yo no he pasado de Pesadilla en Elm Street III. De Viernes 13 creo que sólo he visto la primera. El slasher no me atrae, lo mío es más el terror gótico.
Última edición por Jane Olsen; 21/04/2016 a las 01:05
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
Jane, me has citado pero debajo no pone nada
¿?
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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.