He estado intentandolo en Audioboom y no me salia por ningun lado la opcion de subir ficheros. Lo volvere a intentar mas adelante.
He estado intentandolo en Audioboom y no me salia por ningun lado la opcion de subir ficheros. Lo volvere a intentar mas adelante.
Una vez estes registrado, entra en tu perfil (a través de una flechita hacia abajo que despliega un menú, situada lado de tu nick en la esquina superior derecha de la pantalla ), y en la página que se te muestra verás una barra azul enorme que pone Record or Upload a Clip. Pichas ahí, y sigues los pasos.
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"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.
Infierno en el Pacífico ( por lo demás peliculón que considero ha de verse sin subtítulos de ningún tipo, tal y cómo se estrenó originalmente, para ponernos en la piel de ambos personajes, de hecho no hacen ninguna falta para entender la trama, es más, muda hubiese funcionado igual de bien, creo yo) tiene uno de los finales más absurdos, inexplicables y abruptos de la entera historia del cine.
Inmersos cómo estamos en un climax malrollero in crescendo, de repente un corte abrupto de plano y una mega explosión salida de la nada lo manda todo a tomar viento, amén de un contundente The End.
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"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.
¿Ninguna pistita sobre el tema..?
"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.
"Listen to them... Children of the night! What music they make..!"
Este compositor Fue nominado 3 veces a los óscar y fue ganador en 1983 de la estatuilla. Y con esto ya es pan comido.
El compositor parece claro, pero la peli... Probemos con Infielmente Tuya![]()
Vale. Me parece que es Bad Boys.
"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.
"Listen to them... Children of the night! What music they make..!"
"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.
"Listen to them... Children of the night! What music they make..!"
"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.
"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.
"Listen to them... Children of the night! What music they make..!"
"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.
"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.
"Listen to them... Children of the night! What music they make..!"
"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.
¿Nadie dice nada? Venga, que es muy facilita y con las pistas que he puesto ya la tendríais que saber...
"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.
"Listen to them... Children of the night! What music they make..!"
Venga, que alguien diga algo...No quiero que este juego se quede atascado quince días...
"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.
"Listen to them... Children of the night! What music they make..!"
Pues no caigo...![]()
"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.
es de la pelicula , Mundo futuro de Fred Karlin. O eso creo
"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.
"Listen to them... Children of the night! What music they make..!"
¿Puede ser Westworld? No se me ocurre nada más con vacaciones de por medio...
"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.
¡Por fin!
Y mira que yo pensaba que la sabías. La serpiente. El fulano del bigotón que se va a pasar las vacaciones de su vida. Y el jodón, me ha faltado decir que en forma de roboto pistolero y calvo, y ya era calvo y en botella.
(El epítome de la seducción masculina...)
(Muestra de la bonita fauna local)
(el jodón en modo cabreado)
Dio para una secuela, la Mundo futuro de la que hablaba Durán en su mensaje anterior, con la mamá de Gwyneth Paltrow investigando los extraños sucesos de la película previa y la desaparición misteriosa de varios líderes mundiales, y entre tanto, fantaseando con el roboto calvo que regresó para hacer un cameo.
Y una serie de televisión, de la que creo, sólo se llegaron a hacer cinco episodios. Ahora anda la HBO o una cadena de esas de moda sacando otra serie nueva.
El autor de la película es Michael Crichton, autor de bestsellers y de algunos clásicos menores de la Sci-Fi. La idea del parque de atracciones futurista y la idea de que cuando una de las atracciones se estropea, se carga a los turistas, cosa que no pasa en otros parques (¡Grande el Dr. Malcolm, grande Jeff Goldblum, lo mejor a no dudar de la cinta![]()
!) la recicló para Parque Jurásico.
Nuestro amigo el Bigotes (no confundir con un personaje de la trama Gürtel) y un colego suyo llegan a Delos, un parque de atracciones super exclusivo y super caro, principalmente destinado a ejecutivos agresivos y a ricachonas viciosas, donde se recrean con todo lujo de detalles distintas épocas históricas (el salvaje Oeste, el Imperio Romano y la Edad Media) y los visitantes interactúan con sofisticadísimos robots, sólo distinguibles de los humanos por un pequeño defecto en sus manos, y que están programados para interactuar con los turistas satisfaciendo sus mínimos deseos. Hasta sexo, incluso. Allí, estos dos elementos, como era de esperar, se comportarán como estudiantes borrachos en el día de San Canuto y uno de ellos acabará cabreando a un roboto que es igualico al Yul Brynner de Los siete magníficos, que se la tendrá jurada.
Que sí, que Parque Jurásico tiene a John Williams. Que sí, que tiene a Spielberg. Que sí, que tiene mejores efectos especiales y más dolarines. Que sí, que tiene a un montón de dinosaurios, a los dos niños más fostiables de la historia del cine, a un gordaco cabrón, un tonito más familiar y al susodicho Dr. Malcolm
. Pero no tiene a Yul Brynner, que me da casi más miedo que el Chuache de Terminator (otro descendiente de esta peli). Ni a la Dama de Acero de El hombre que ríe (si os fijáis bien, la reconoceréis por el fondo en la peli de Crichton):
Ah, y también salió en un capítulo de Los Simpsons:
Cuando quieras.
Última edición por Jane Olsen; 14/07/2017 a las 22:49
"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.
"Listen to them... Children of the night! What music they make..!"
Fantástico post informativo, Jane. Lo cierto es que no la he visto, pero pinta terrorífica (en el buen sentido).
Vamos allá:
https://audioboom.com/posts/6107814-...as-y-la-guerra
"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.