Regístrate gratis¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.
Blu-ray, DVD y cine en casa
Regístrate gratis!
Registro en mundodvd
+ Responder tema
Página 21 de 58 PrimerPrimer ... 11192021222331 ... ÚltimoÚltimo
Resultados 501 al 525 de 1450

Tema: Mad Max: Fury Road (George Miller, 2015)

  1. #501
    Cruzado Cinéfilo Avatar de Nomenclatus
    Fecha de ingreso
    07 ago, 07
    Mensajes
    9,740
    Agradecido
    10072 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Pues si trancurre la mayor parte en el desierto, por mí bien. De hecho, de la Trilogía antigua, la 2 es mi parte preferida,y con diferencia.

    Que la mayor parte de una misma peli, transcurra en un único entorno, no tiene por qué ser negativo. Hay montones de obras de arte cinematográficas con esa característica (La Noche de los Muertos Vivientes, Asalto a la comisaria del Distrito 13, Zulu (1964), La Cosa, etc....).
    Última edición por Nomenclatus; 04/05/2015 a las 11:50
    Campanilla, Zack, mineapolis y 6 usuarios han agradecido esto.
    "Como te ves, yo me ví, como me ves te verás. Todo acaba en esto aquí. Piénsalo y no pecarás."

    Osario de Wamba

  2. #502
    gurú Avatar de Dr.Gonzo
    Fecha de ingreso
    11 ene, 12
    Mensajes
    5,700
    Agradecido
    12299 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    De hecho, la imagen icónica que todos tenemos de Mad Max surge a raíz de la segunda. Ahí es donde se forma lo que todos identificamos con Mad Max: desierto, coches loquísimos y tribus salvajes post apocalípticas.

  3. #503
    Senior Member Avatar de ChuacheFan
    Fecha de ingreso
    30 nov, 11
    Mensajes
    12,888
    Agradecido
    19167 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por mineapolis Ver mensaje
    El día del estreno tengo pensado levantarme chillando: "what a day, WHAT A LOVELY DAY!!" y luego ya ir al cine.

    En serio, tengo MUCHAS ganas de ver esta película. Solo hay una pequeña cosa que astilla mi hype, y es la variedad. No me malinterpreteis, me encanta todo lo que han enseñado, pero tampoco quiero una hora y media de esas motos persiguiendo esos coches. O al menos no siempre en ese desierto que han enseñado en todos lados. No he visto las originales, 0, ni siquiera imagenes sueltas, así que no sé tampoco qué esperar en ese sentido.


    PD: Este comentario se podría resumir en




    Pues sería muy oportuno .

    Yo la verdad es que le tengo unas ganas locas a la peli , estoy hypeado al máximo, pues creo que será un peliculón de la leche.
    Nomenclatus, mineapolis, MIK y 1 usuarios han agradecido esto.

  4. #504
    maestro Avatar de WillHunting
    Fecha de ingreso
    09 abr, 09
    Mensajes
    1,040
    Agradecido
    942 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Yo es que sigo viendo el trailer y la piel de gallina, la madre que los parió. Luego ves Los Vengadores o casi cualquier blockbuster de ahora y me parecen videojuegos. Si Fury Road tiene éxito, que está por ver, con su calificación R y su aroma old school, sería una gran noticia para nostálgicos del cine de acción hecho a la antigua usanza como un servidor.
    Nomenclatus, mineapolis, DaRLeK y 7 usuarios han agradecido esto.

  5. #505
    sabio Avatar de MOISES82
    Fecha de ingreso
    06 nov, 12
    Mensajes
    2,224
    Agradecido
    2980 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Max , no puede ser Max si su Interceptor V8 y el Paramo.
    Ojala sea un gran exito y como comenta el compañero WillHunting , esto sea el regreso del cine de la vieja escuela y dejen un poco de lado lo puramente comercial
    Nomenclatus y Akákievich han agradecido esto.

  6. #506
    Senior Member Avatar de Lobram
    Fecha de ingreso
    20 mar, 09
    Ubicación
    Ambarino
    Mensajes
    7,640
    Agradecido
    9330 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Si hay una peli este año que se merezca todo el éxito del mundo, esa es Mad Max Fury Road. Por el director, por el reparto, por cómo han gestionado los efectos especiales, por lo put.. que las han pasado en temas de seguridad como consecuencia de lo anterior, porque han conseguido hacerla con una calificación R, por los millones de problemas de producción que han tenido incluso con unas lluvias tremendas que no se veían en años y que obligaron a trasladar la producción a otro país...

    Es que son muchísimas cosas.

    Tenemos que ir al cine todos y aportar nuestro granito para que sea un éxito. Se lo merecen!!!.
    Nomenclatus, Zack, Kapital y 8 usuarios han agradecido esto.

  7. #507
    Keyblade Master Avatar de TheMadHatter
    Fecha de ingreso
    21 mar, 12
    Mensajes
    23,290
    Agradecido
    58891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Nuevo Featurette

    Nomenclatus, Zack, mineapolis y 4 usuarios han agradecido esto.

  8. #508
    Senior Member Avatar de Kapital
    Fecha de ingreso
    02 mar, 09
    Mensajes
    13,258
    Agradecido
    21891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Con permiso de "Star Wars", la película del año. Brutal como pinta esta obra magna de ese viejo Miller.
    Última edición por Kapital; 07/05/2015 a las 20:56
    Nomenclatus, mineapolis, MIK y 3 usuarios han agradecido esto.

  9. #509
    sabio Avatar de MOISES82
    Fecha de ingreso
    06 nov, 12
    Mensajes
    2,224
    Agradecido
    2980 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por Lobram Ver mensaje
    Si hay una peli este año que se merezca todo el éxito del mundo, esa es Mad Max Fury Road. Por el director, por el reparto, por cómo han gestionado los efectos especiales, por lo put.. que las han pasado en temas de seguridad como consecuencia de lo anterior, porque han conseguido hacerla con una calificación R, por los millones de problemas de producción que han tenido incluso con unas lluvias tremendas que no se veían en años y que obligaron a trasladar la producción a otro país...

    Es que son muchísimas cosas.

    Tenemos que ir al cine todos y aportar nuestro granito para que sea un éxito. Se lo merecen!!!.
    Nomenclatus, Lobram y Akákievich han agradecido esto.

  10. #510
    Keyblade Master Avatar de TheMadHatter
    Fecha de ingreso
    21 mar, 12
    Mensajes
    23,290
    Agradecido
    58891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Mel Gibson no se perdió la premiere de Mad Max: Fury Road en Hollywood

    Mel Gibson Attends ‘Mad Max’ Premiere in L.A.



    Campanilla, Nomenclatus, Zack y 7 usuarios han agradecido esto.

  11. #511
    The Clairvoyant Avatar de Fincher
    Fecha de ingreso
    05 ago, 12
    Mensajes
    3,694
    Agradecido
    9392 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Dos estupendos actores, dos magníficos directores, tres hachas juntos

    Quiero más producciones así, de esas que te cogen del cuello y/o de las p****** y no te sueltan hasta que acaban y encima pides más.

    Echo de menos la mala baba que exhumaban ciertas películas. Ahora lo de para todos los públicos no deja de ser un eufemismo para decir infantilización.

    Que me inquieten más las películas de Don Bluth que todos los blockbusters de los últimos doce años da que pensar
    Campanilla, Nomenclatus, Zack y 7 usuarios han agradecido esto.

  12. #512
    sabio Avatar de Akákievich
    Fecha de ingreso
    13 ago, 14
    Mensajes
    2,816
    Agradecido
    10925 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por mineapolis Ver mensaje
    Solo hay una pequeña cosa que astilla mi hype, y es la variedad. No me malinterpreteis, me encanta todo lo que han enseñado, pero tampoco quiero una hora y media de esas motos persiguiendo esos coches.
    Pues en la noticia del Dailymail sobre la aparición sorpresa de Mel Gibson en el estreno aparece este comentario: "Miller has described Mad Max: Fury Road as an extended chase taking place over three days."

    No te digo ná y te lo digo tó...
    Campanilla, Nomenclatus, mineapolis y 4 usuarios han agradecido esto.

  13. #513
    The Clairvoyant Avatar de Fincher
    Fecha de ingreso
    05 ago, 12
    Mensajes
    3,694
    Agradecido
    9392 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    De hecho Miller ha confesado que prefiere tramas sencillas que estén llenas de subtexto, de ahí que su mayor preocupación sea cómo narrar la película y que esta conecte con el público.

    Es un cineasta que confía mucho en el cine cómo medio puramente visual, de ahí que las películas de Mad Max tengan tan poco diálogo.
    Campanilla, Zack, mineapolis y 3 usuarios han agradecido esto.

  14. #514
    Senior Member Avatar de Kapital
    Fecha de ingreso
    02 mar, 09
    Mensajes
    13,258
    Agradecido
    21891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Yo ya he leído un par de críticas que la ponen muy bien.
    Campanilla y Akákievich han agradecido esto.

  15. #515
    maestro Avatar de Subwoofer
    Fecha de ingreso
    06 mar, 14
    Mensajes
    1,468
    Agradecido
    1925 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    ¿esta confirmado si esta peli es una secuela de la segunda, de la tercera... un remake, una precuela... Yo juro que todavia no me he enterado. Supongo que en alguna pagina ya se habra dicho.


    Pero ando mirando en google y no me aclaro.
    TV Panasonic 58" GX710
    Frontales: Yamaha NS100
    Central: Yamaha NS-C300
    Traseros: Polk M10

    Subwoofer: XTZ 12.17 EDGE

  16. #516
    Senior Member Avatar de ChuacheFan
    Fecha de ingreso
    30 nov, 11
    Mensajes
    12,888
    Agradecido
    19167 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por Subwoofer Ver mensaje
    ¿esta confirmado si esta peli es una secuela de la segunda, de la tercera... un remake, una precuela... Yo juro que todavia no me he enterado. Supongo que en alguna pagina ya se habra dicho.


    Pero ando mirando en google y no me aclaro.
    Subwoofer, no me hagas mucho caso, pero yo lo que tengo entendido es que va entre la 1ª y la 2ª.
    Subwoofer ha agradecido esto.

  17. #517
    I♥BETIS Avatar de DaRLeK
    Fecha de ingreso
    16 feb, 11
    Mensajes
    3,661
    Agradecido
    6371 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Algunas criticas de Letterbox:

    Ten Good Reasons Why You Should See Mad Max: Fury Road:

    #1. Max. Tom Hardy proves once again why he's fucking awesome.

    #2. Furiosa. Charlize Theron's best role yet. One badass chick that could give Ripley a run for her money.

    #3. The damsels NOT in distress. Women can be hot and strong and not completely helpless? What? You don't say.

    #4. The vehicles. The war rig is love.

    #5. The chase. Ohmygodholymotherfuckingshit.

    #6. The stunts. Massive props to the stunt crew. Surprised no one got seriously injured during filming. Proof that CGI can never beat the real thing.

    #7. The sights. Once you enter the sandstorm, you'll agree—this thing is a beauty.

    #8. The sounds. Pure, theater-rumbling bliss. Junkie XL's music goes perfectly with the chaos.

    #9. The maestro. George Miller is like a mad scientist and a minister, the wedded couple are blockbuster and exploitation, and their offspring is Fury Road—a Frankenstein monster relishing in big-budget, B-movie destruction.

    #10. The madness. The stupendously stupefying, relentlessly intense, off-kilter as fuck, breathtaking, jaw-dropping, oh-so-glorious madness. What a lovely day. What a lovely fucking day indeed. Mad Max: Fury Road comes highly recommended.
    By jvince



    Total blast. a glorious, never-ending acid trip of campy, goregously shot + choreographed pandemonium. Never seen a summer blockbuster this unique and wild.
    By Luke



    A magnum opus. A heavy metal WAGES OF FEAR. I was not let down even one little bit. Miraculous.

    The insta-reactions:

    Was so worried what would happen if FURY ROAD didn't meet my expectations, I didn't stop to think what would happen if it did. AAAAAAAAAHHH!

    FURY ROAD reveals what we thought were the impressive large scale action films of the last 20 years to have actually been total chickenshit.

    George Miller to James Cameron, Peter Jackson, Michael Bay, Alfonso Cuaron, all of Marvel and others: "You're not metal."

    85
    By Chad Eberle
    Zack, Kapital, Lobram y 6 usuarios han agradecido esto.

  18. #518
    gurú Avatar de Dr.Gonzo
    Fecha de ingreso
    11 ene, 12
    Mensajes
    5,700
    Agradecido
    12299 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Y eso en español significa que...........

  19. #519
    The Clairvoyant Avatar de Fincher
    Fecha de ingreso
    05 ago, 12
    Mensajes
    3,694
    Agradecido
    9392 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por Dr.Gonzo Ver mensaje
    Y eso en español significa que...........
    Que vayas cogiendo sitio de una puñetera vez

    Lobram, WillHunting, mineapolis y 5 usuarios han agradecido esto.

  20. #520
    Senior Member Avatar de Kapital
    Fecha de ingreso
    02 mar, 09
    Mensajes
    13,258
    Agradecido
    21891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por Dr.Gonzo Ver mensaje
    Y eso en español significa que...........
    Que está que te cagas vivo de lo buena que es, XDDDD.
    Lobram, Dr.Gonzo, Otto+ y 1 usuarios han agradecido esto.

  21. #521
    gurú Avatar de Dr.Gonzo
    Fecha de ingreso
    11 ene, 12
    Mensajes
    5,700
    Agradecido
    12299 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Lo que sospechaba desde que subieron el primer trailer

  22. #522
    Anonimo13032017
    Invitado

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Tweets de Josep Parera (colaboró años en Imágenes de Actualidad):

    #MadMaxFuryRoad is a lesson in filmmaking. Every shot is a painting. @wbpictures

    #MadMaxFuryRoad reminded me of David Lean in a sense that you can achieve art through the lens of a master #GeorgeMiller @wbpictures

    After seeing #MadMaxFuryRoad all I can say is that #FastAndFurious movies are for puzzies. Want real women, music and filmmaking? #Go4Max



    scofield, Zack, Kapital y 5 usuarios han agradecido esto.

  23. #523
    Senior Member Avatar de Kapital
    Fecha de ingreso
    02 mar, 09
    Mensajes
    13,258
    Agradecido
    21891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Entrevista con Junkie XL:

    http://www.hitfix.com/motion-capture...-max-fury-road

    The moment I was sent the download link for the "Fury Road" soundtrack, I loaded the entire score onto my iPod specifically so I could play it in my car.

    Big mistake.

    The first time through, I didn't even realize how fast I was going, but around the time we got to track four, "Blood Bag," I glanced at the speedometer and was startled to see I had crept up past 90 MPH. I pumped the brakes, and since then, I've had to fight my own natural inclination to speed up as I have been assaulted by the intense cacophony that is Junkie XL's "Mad Max: Fury Road" score.

    I had about five days to live with the score before my phone rang one morning last week, and I jumped right into what turned out to be a great conversation with Tom Holkenborg, the Dutch composer who is building a reputation for himself as the guy who writes the music that's big enough for Max's trip down the Fury Road or Batman's first head-to-head with Superman.

    DREW MCWEENY: Hi, Tom, how are you, sir?

    TOM HOLKENBORG: Good. How are you?

    DM: Doing well, thanks. First of all, wow. I think the movie is unbelievable, and your score is such an essential part of that experience that I really don’t even know how to pull the two of them apart. I think what you and George did together is truly exceptional.

    TH: Thank you, man.

    DM: Watching it last night, it is such a bizarre, crazy, fever dream of a movie, and it feels like a movie that a 25-year-old would make, saying, "I have something to prove." This is not the film of a 70-year-old guy who's been away from live action for almost 20 years. Can you talk about becoming involved with him and your first reaction to the world he built this time?

    TH: Basically, I was working on "300: Rise of An Empire," and I was finishing it up and I got this phone call from Darren Higman, the vice-president at Warner Brothers. He called me and said, "What are you doing this afternoon or tonight?" It was a Monday, and I said, "Well, you know, I’m just finishing up some mixers, but I’ve got time. What’s going on?" He said, "Well, grab your toothbrush and some toothpaste. You’re coming to Sydney." I said, "Okay. What is it about?" And he said, "Well, I’m in Sydney, and I’m talking to George Miller."

    Then my heart started racing. It was like, "Fuck, is he talking about 'Fury Road'?" And he was. He was talking about "Fury Road." So before I knew it, I was on a plane. I get there at 7:30 in the morning. Darren picks me up. We go straight to George’s offices, and it’s like 8:30 in the morning, and I’m watching this film completely jet lagged, you know? And it was remarkable. It was very long at that point, and the beginning and the ending wasn’t even shot. It was just the whole middle section of the film. And I came out of there dreaming and thinking "What the hell did I just see?" It was so overwhelming. Then I talked to George and it was supposed to be a quick handshake and then leave the next day. But in that conversation, we were talking about things that we were both interested in, and then I brought up math. He was like, "Math?" I said, "Yeah, you know, I’m very interested in number sequences and how math works in general." And he was like, "Wow, that’s how I approach my films." So we hit it off with this conversation for three or four hours. We got interrupted a number of times by his assistant saying, "George, you have a phone call to make." And he was like, "Oh, we’ll do it later. We’ll do it later." So we talked for hours. He said at the end of it, "Why don’t you just think about this movie and come up with an idea musically with what to do and we’ll talk tomorrow?"

    So the next day, I sat with him and he sat across from me in a chair, and he had his hands folded on top of each other and he was leaning backwards. He was like, "Well, tell me what you feel." I started this two-hour monologue of what I think the movie was and how we should approach it. When I was done, he was quiet for a second. Then he stood up, gave me a handshake, and said "I want you to be my composer on this film."

    DM: Oh my god, man. Having met him a couple of times now this year, something that I had been waiting to do since 1982 when I first saw "The Road Warrior," he strikes me as everything you would hope he would be, but wrapped in a package you wouldn’t expect. There is something very sweet about him and very gentle in conversation. He comes across as this lovely, charming man who has all of that mayhem going on inside of his head. When you look at "Fury Road," and you realize that came out of that sweet little man, it is the craziest dichotomy. There are so many extraordinary sequences in the film, but one of the images that immediately popped out last night… and by the time we saw him the third or fourth time, cheers would erupt every time this character appeared on screen… was The Doof Warrior, that crazy dude on the front of the truck with the guitar.

    TH: (laughs) Yeah.

    DM: That is such a crazy place to go in the film, and I love the way your score wraps around that once it shows up and starts to play with what’s happening between them. The whole thing feels like it’s very operatic from beginning to end.

    TH: That was the first conversation with George, based on those giant scenes. I told him I wanted to make a 2015 version of a rock opera. The worlds that George created, these worlds where everything become tribal and people are in a different place, where they've tattooed themselves and hurt themselves, and they paint their faces. It’s back to this tribal world in the worst possible way, where it's survival of the fittest. At the same time, this movie is an analogy to where we are in the world with all the dictatorships and all the wars and everything that goes on everywhere. When I saw that, I felt we needed music that needed to be so over the top on the score, that builds and builds until it lifts these characters out of the crazy world around them.

    DM: What I love is that even as extreme an image as that is, and you laugh the first time you see it just because it’s so audacious, is that there’s nothing in Miller’s world that isn’t thought out and carefully constructed and serving some real function to the characters, not the filmmaker. I love that this is a war party and the drummer and the guitars are meant to rile these guys up the way, you know, drummers or the bagpipes or any of those military instruments did. It’s a really brilliant way of having both a crazy image and yet something that is truly part of that world. The whole film is full of that stuff.

    TH: Yeah, and he did it really detailed this time. The idea with the score was that the drums and the guitars are always there from the first time we see the war party. But then every now and then, we actually see the guitar player and he gets like a real featured moment. Then, you know, it disappears into the background. There are also moments when the war rig, the big truck with Charlize and Tom Hardy and the girls, when they get stuck a couple of times, you could still hear that rumble in the background of the drums and the guitars approaching, you know, just coming towards them. That was another thing that I wanted to create constantly, that sense that they’re being chased and they’re coming closer and they’re coming closer. I think those moments were really successful, and you get to feel that fear that they’re feeling.

    DM: They sent me the score last week so I had about a week to live with it and drive around with it and play it in the car, and I will admit that may not be the best place to play it. I had a moment during the week where I looked down and I was listening to "Blood Bag" and doing 90 without any effort whatsoever. I just had my foot down, and I was like, "Okay, perhaps I shouldn’t do that. Maybe I don’t want to actually drive like I’m on the Fury Road," but there is an almost undeniable pull to the way the music works in the film. You are always leaning in because there’s that sense that something’s coming and building. You play with dynamics extraordinarily well in this, and there is stuff where it is almost an assault. There’s also stuff that is so lyrical and quiet and unlike anything I’ve heard you do before. I think that mix makes it a really compelling listen on its own even not married to the images.

    TH: Well, this is a really good example where this is not one of those movies which I have made a lot where a composer comes in four weeks before the deadline and you quickly copy whatever the temporary score is on the movie when you start. This is a cooperation of nineteen months between me and George. I’ve been to Australia a number of times, and during the final process of finishing the score, I was there with my family and assistants for twelve weeks. We packed up the studio. We took everything. We flew it out to Sydney to really work together, you know, very, very closely. George took so much time to actually hang out with me and just talk me through the scenes and how we like to perceive certain things. It was so close that the music that is now in the film is between the two of us, where storytelling and character building was very important, so that all of this is as a result of that. If you just play the score on its own, you feel the film, and you feel the dynamics of the film. You feel the way it rolls, but you also feel the terror of the Immortan, and you also feel the suffering of the women and the heartfelt moments when they come together and realize they might have a solution.

    DM: I feel like with film scores in general, we are in an age where there is a sort of saneness to a lot of what we hear in movie theaters. Part of that is because the same five or six composers have done everything for the last twenty years, it feels like. Part of it is just because I think there is a fear to try new things. This score is very radical. I can’t imagine it was an easy collaboration in the sense that you just automatically got there. There’s stuff that you do that I’m just… listening to it in the car, I love the way that there are actual car sounds and engine noises used as part of the tracks. It’s something you might not notice if you’re watching the movie, because there are so many cars in the film. But you literally use it as an instrument.

    TH: There are a lot of resamples of cars and also from animals because I wanted to make sure that these people came across so primal that I did a lot of resamples of animals like dogs, lions, monkeys, birds. I would slow them down or speed them up, or even edit in foreign languages, you know. Because really we have languages from all over the world recorded, like small phrases, and time stretch can really do weird things with them, and they’re all part of the music. So when you hear it, it becomes this really awkward experience, like "What am I listening to?" There are certain things that will sound familiar, like drums or strings, but even with the strings, we did really weird things where they get out of tune and then we did like sound design versions of them. My favorite era of film scoring is the late '40s going into around '65 with composers like Bernard Herrmann and the earlier work of Morricone. So there are a lot of references in the score to that, too.

    DM: It's interesting you bring up Morricone. One of the things that I’ve been fascinated by recently was when I got a chance to talk to the Wachowskis. They worked with Tykwer on "Cloud Atlas" and, for the very first time, tried a different situation where they recorded the score first and then would play it on set for the actors to interact with. They loved it. They say they're doing that from now on. They did it with Giacchino on "Jupiter Ascending." I know that Leone did that sometimes with Morricone and would play that stuff on set. I think it becomes a radically different experience when the actors are reacting to the sound of that. You guys worked for so long on this. Was there any of that, because you said that when you initially saw it there was no beginning and end yet. So was there any of your work that was done when he went in and shot those sequences, or is this something that was entirely done by you to the finished image?

    TH: I know that George played the music to the actors when they came in to do the ADR to make sure that they felt the complete presence of how they would be in the cars musically but also how the scene would work. When you shoot an action movie like this, you film everything at a pretty slow speed. The cars are not driving 80 miles an hour. They’re driving like 10 miles an hour. So it’s very interesting when you talk to these actors, and I met a few of them when George was doing ADR in Sydney. They had no idea how crazy this movie actually was until they saw it. Even the costuming was crazy and their makeup was crazy, but the way that it’s filmed and then how it’s edited is a whole different ballgame. Once they saw rough cuts of their scenes with the music that I did, they got a whole different idea of how they should have handled the ADR.

    DM: There is a thing that you do several times in the score where it almost feels like strings or certain types of instruments are trying to bleed through the noise and it’s like it comes up out of the subconscious. You just hear a hint of it and then it’s gone again. I thought what was interesting visually this time is that Miller makes Max's ghosts external. He is definitely carrying around everybody he’s ever failed to save or everybody who’s ever died around him. We do see that Max is haunted. We see actual flashes of it this time and interaction with it. I think it’s a slightly different Max. Your score has that feeling of memories bubbling up and things that you’re trying to keep suppressed struggling to the surface. It really is remarkable how thematically you and George seem to work together.

    TH: You know what’s interesting too is that that specific thing that you’re talking about is one of my '40s and '50s references. It’s a string group, a small string section that plays nah, nah, nah, nah, nah, nah, nah – nah, nah, nah, nah, nah, nah, nah, you know? They play that and they play it from really quiet to really loud and then they disappear. And basically Max in this movie is a very troubled character. There are certain flashbacks that when we see it for the first time, it doesn’t even make sense what all these flashbacks are. It doesn’t need to make sense. All that it does is it’s saying this is a really troubled character that is haunted by the past and especially in the beginning when he escapes. He has been in so many situations where people die because of his actions or he couldn’t save them, and of course from his initial experience that he had in the first movie where, you know, he loses his daughter. He’s a very troubled character. That theme, that string theme that you mentioned, constantly comes up in the movie to remind him of his past and eventually that string theme becomes less insistent as he becomes more successful in helping these women.

    DM: I love when film music and film works together so well, like it gives you that extra something, that emotional something. It really feels like when score is at its best, score is essential to the character. Not just background noise. Not just, okay, now this sounds nice. But you really are adding that extra something. When you’re reading a novel, for example, you can spend two pages describing how someone feels. You can do that and evoke that in a simple four measure thing that you do, and I find that so essentially valuable. You and George play with dynamics in this to such a degree that it becomes very physical. Your score is a physical thing when you see this in a movie theater because of the way George has mixed this.

    TH: It’s quite remarkable how we did it. I mean, in any scenario this movie is a composer’s dream. Not only because there are so many incredible characters to play around with, but then at the same time, you also have a director that knows when music needs to be heard and other moments when sound effects need to be heard. Not because oh, we need to hear sound effects, no, but because the scoring demands it. He is so very clever when it comes to mixing, when it comes to creating sound effects, when he steers me directionally, about what we need to do thematically. What was interesting, too, is that I know the films that George has done and he’s worked with amazing composers in the past. John Williams. Maurice Jarre. It’s quite remarkable, and I was so surprised that he was open to this really oddball approach to the score because it’s so out there compared to the movies he has done in the past. He was saying, "No, no, no. It has to be like this. It cannot be traditional. It’s not what this world is. It’s not what this movie is." It was interesting that after our initial meeting, I scored three really long scenes. One starts in the beginning of the movie when Furiosa takes a left turn and then she gets chased by these spiky cars and then the war party closes in and then we go all the way into the storm and then the scene ends when Max wakes up in the sand. That was one scene I scored. The second scene I scored was the whole night scene which we call The Night Bog, when it’s dark and they get stuck in the mud and these guys come chasing after them. Then the third scene that I scored was [GIANT HONKING CHARACTER SPOILER REMOVED]. So I sent those three scenes and he had no notes. He approved them right off the bat. He was like, "This is what I want my movie to be." And then from that point on, we went through this amazing collaboration for 17 months by working at other scenes and how thematically these scenes need to be connected. It was an amazing time period.

    DM: I hadn’t seen "Beyond Thunderdome" in a while, and I’ve been rewatching the movies with my kids who are just the right age. They’re becoming action junkies and I honestly think George is going to break their brains when they see the new one. It's funny you mentioned him working with Maurice Jarre. My favorite film of all time is "Lawrence of Arabia," and I did not realize when I saw it as a kid how much "Lawrence" is in "Thunderdome," especially in that score.

    TH: (laughs) Yeah.

    DM: He definitely asked Jarre to do a riff on that. Max is even costumed like Lawrence several times in the film. It’s very strange, but it’s also playful. That’s the thing about George Miller that makes him George Miller. Lots of people can direct action, although I would argue few can do it the way he can, but what makes him extraordinary is that playful, weird, unique sense of humor in the midst of mayhem and carnage and horror. I can’t think of anybody else that would make a movie as funny as "Fury Road" that still has the balls of "Fury Road".

    TH: I agree. He’s got a tremendous sense of humor. It’s fantastic and it's worth remembering that he’s also the director of "The Witches of Eastwick," which is one of my favorite films that he did besides the "Mad Max" trilogy. It's remarkable how he plays with darkness and humor in the film. The balance of this film is slightly different, but he’s very, very good at that. What we have in common is that we’re both nice easy people to get along with, but at the same time, we do have our dark sides. And we use that dark side to fulfill our creative needs. That’s what I really like to do. I have no desire to be a dark person in real life with my wife, my kids and my friends and my family, but I love to be it in my musical world. I can pull out the nastier stuff, so it's great to find a director where I can fulfill that need and serve their film.

    DM: My final question. Obviously you know what your next job is [he's writing the score for "Batman v Superman: Dawn Of Justice" for Zack Snyder], and it’s a very big job. One of my pet peeves with what Marvel has done with the Avenger series, and one of the few places I think Marvel truly dropped the ball, was I don’t feel like they gave each of the Avengers a distinct enough sonic signature in their own film, whether it’s a theme or whether it’s a sound or anything. If they had nailed a theme and a sound for each character, then the "Avengers" score could have been a really unique piece of work where you merged all these themes together and played with that cross-over. I just don’t think they had a strong enough sense of what they were doing to pull that off. You’re going into a situation where you’re scoring a film with two of the biggest icons of all time, I would argue, and you are following up a movie that had an incredibly strong sonic signature. The "Man of Steel" score is, no matter what anybody thinks of that film, an adventurous, exciting score. I think it really signs Superman in a different way and made it clear this wasn’t the John Williams Superman. Is there anything daunting about stepping into a thing where you’re dealing with such giant icons?

    TH: The only thing that I can say, because there’s an agreement with Warner Brothers and Zack not to say anything whatsoever about the upcoming film, is that Zack and I had a meeting a long time ago, and Zach was explaining it better than anybody else. I can so relate to that. These movies, and I would include "Mad Max," because I could see a scenario where long after George is not around, like 50 years from now, someone could say, "Oh, Mad Max, that’s so iconic. We should try and make a film for it for the audience in 2085." These are movies, and these are themes, and these are characters that are larger than all of us in this life. The only thing you can do to approach it is to really make it your own and just give it your vision, give it your feeling, give it your intention. Become that character for a month or four or five, musically speaking. Just do the best that you can and give it all your heart. That’s all you can do because you know for sure that at a certain point in time, somebody else will be asked to do that same thing.
    Zack, MIK, Fincher y 2 usuarios han agradecido esto.

  24. #524
    gurú Avatar de Otto+
    Fecha de ingreso
    05 mar, 14
    Mensajes
    6,260
    Agradecido
    24553 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Cita Iniciado por Fincher Ver mensaje
    Dos estupendos actores, dos magníficos directores, tres hachas juntos

    Quiero más producciones así, de esas que te cogen del cuello y/o de las p****** y no te sueltan hasta que acaban y encima pides más.

    Echo de menos la mala baba que exhumaban ciertas películas. Ahora lo de para todos los públicos no deja de ser un eufemismo para decir infantilización.

    Que me inquieten más las películas de Don Bluth que todos los blockbusters de los últimos doce años da que pensar
    De hecho Miller ha confesado que prefiere tramas sencillas que estén llenas de subtexto, de ahí que su mayor preocupación sea cómo narrar la película y que esta conecte con el público.

    Es un cineasta que confía mucho en el cine cómo medio puramente visual, de ahí que las películas de Mad Max tengan tan poco diálogo.
    600% de acuerdo

    Yo lo que pretendo con esta peli es volver a tener 17 ó 18 años y mandar todo a la Luna como muy cerca Que cuando acabe la película, me sienta compungido por tener que volver a la realidad y no poder quedarme a vivir en ese universo sofocante Que me abrase, puesto en una idea simplificada

    Y que lo va a conseguir...
    Campanilla, mineapolis, MIK y 3 usuarios han agradecido esto.

  25. #525
    Keyblade Master Avatar de TheMadHatter
    Fecha de ingreso
    21 mar, 12
    Mensajes
    23,290
    Agradecido
    58891 veces

    Predeterminado re: Mad Max: Fury Road (George Miller, 2015)

    Otro nuevo Poster

    Campanilla, Zack, hd_20 y 4 usuarios han agradecido esto.

+ Responder tema
Página 21 de 58 PrimerPrimer ... 11192021222331 ... ÚltimoÚltimo

Etiquetas para este tema

Permisos de publicación

  • No puedes crear nuevos temas
  • No puedes responder temas
  • No puedes subir archivos adjuntos
  • No puedes editar tus mensajes
  •  
Powered by vBulletin® Version 4.2.1
Copyright © 2024 vBulletin Solutions, Inc. All rights reserved.
SEO by vBSEO
Image resizer by SevenSkins