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Re: Kenneth Branagh
Me recordó a Michael Gambon intentando imitar a Richard Harris cuando lo sustituyó en Harry Potter. Luego se relajó, pero al principio era esto.
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: Kenneth Branagh
En los amigos de Peter hay planos secuencia y travellings circulares, ¿eh? Le saca partido a la mansión. Así que eso de amateur...
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: Kenneth Branagh
B/D, no me seas "zorro"Iniciado por Branagh/Doyle
Que ya sabes a lo que me refiero
.
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
Re: Kenneth Branagh
La foto es quizá demasiado rutinaria , eso si. Plana plana. Siempre me sorprendió lo que hizo Mcmillan en Enrique V, con ese grano fino, el elegante uso de los filtros de difuminado y los claroscuros. La fotografía del debut tiene grandes momentos, pese a la evidente carencia de medios. (que se nota descaradamente, sobretodo en el momento cartón piedradel Once More Unto the Breach.
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: Kenneth Branagh
Me encanta, por cierto, cómo no se ve nada de la ofensiva (porque no podía verse nada), pero el discurso y la música hacen el resto.
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: Kenneth Branagh
vs
Joss Whedon:
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: Kenneth Branagh
No puedo ver el vídeo, que no la he visto.
"El único modo de ser feliz es amando. Si no sabes amar, tu vida pasará como un destello" - The Tree of Life
Re: Kenneth Branagh
Pero mujer, la escena es la escena, no cambia nada.
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: Kenneth Branagh
Para mí otro excelente ejemplo de películas complementariasAmbas adaptaciones me encantan y, de nuevo, otra muestra palpable de que con sólo adptarlo bien, Shakepeare aguanto todo.
Saluidos
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"
Re: Kenneth Branagh
Pues como me gusta ir a dormirme tarde, y ya que he visto que estabais en modo rankings, aquí va el mío sobre Branagh (a escala sobre 5):
La Cenicienta (2015): 5
Jack Ryan: Shadow Recruit (2013): 4
Thor (2011): 4
La huella (Sleuth) (2007): 4
La flauta mágica (2006): 3
Como gustéis (2006): 4
Trabajos de amor perdidos (2000): 3
Hamlet (1996): 5
En lo más crudo del crudo invierno (1995): 3.5
Frankenstein (Mary Shelley's Frankenstein, 1994): 3.5
Mucho ruido y pocas nueces (Much Ado About Nothing, 1993): 5
Los amigos de Peter (Peter's Friends, 1992): 5
Morir todavía (Dead Again, 1991): 3.5
Enrique V (Henry V, 1989): 5
Que conste que no soy muy dado a poner notas de forma abierta en publico, ya lo sabeis (me lo guardo mas para mis listas en casa), pero aproximadamente este seria mi veredicto, a falta de revisionar ciertas obras suyas para definirlo mejor.
FUERA DE SERVICIO
"So this is how liberty dies, with thunderous applause." - Padmé Amidala
Re: Kenneth Branagh
Menos mal que te gusta mucho...
O espera, igual lo estoy interpretando mal y 5 es la puntuación máxima.
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: Kenneth Branagh
Sí, las puntuaciones son sobre un máximo de 5
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"
Re: Kenneth Branagh
No he leído el paréntesis. Soy idiota.
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: Kenneth Branagh
Pero se lo pedí yo expresamente.
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: Kenneth Branagh
Los dos cortometrajes de Kenneth Branagh, ambos nominados al oscar, escritos y dirigidos por el:
Swang Song (1992), basado en una obra de Anton Chejov, y que tiene como protagonistas a los insignes Sir John Gieguld y Richard Briers; y Listening (2003), donde Frances Barber y Paul McGann interpretan a una mujer y un hombre que se enamoran durante su estancia en un spa en el que no está permitido hablar.
Spoiler:
Me contais que os parece, porfa.
Última edición por Branagh/Doyle; 14/03/2017 a las 23:33
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: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:33
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: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:34
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: Kenneth Branagh
Última edición por Branagh/Doyle; 14/03/2017 a las 23:34
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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