Pues el Yelmo que tengo más cerca de casa dice que mañana actualizan la web y ponen la cartelera del viernes, que hay varios estrenos. Si finalmente la exhiben, nuestra intención es ir a verla el sábado.
Pues el Yelmo que tengo más cerca de casa dice que mañana actualizan la web y ponen la cartelera del viernes, que hay varios estrenos. Si finalmente la exhiben, nuestra intención es ir a verla el sábado.
"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.
Se comenta que el score de Golijov está muy bien, está gustando mucho incluso a quienes la película les ha parecido un disparate. Por un lado tenemos música rozsiana a lo Ben-Hur, épica y romántica (hay un tema de amor precioso). Por otro lado tenemos música algo más experimental y sinuosa/neblinosa que recuerda en tramos a la Cleopatra de Alex North, y por último tenemos secuencias donde el tictac de decenas de relojes se combina con una base percusiva para ejemplificar el paso del tiempo.
Parece ser que es un trabajo extenso, y que Coppola emplea la partitura casi sin interrupción en el film (salvo por la secuencia donde una joven cantante pop, cuyo nombre ahora mismo no recuerdo y que tiene un pequeño papel en el film, canta una canción de su autoría).
Por lo visto, Milan Records publicará el score en streaming y compra digital este mismo viernes. Esperemos que también se animen a editar un CD físico.
"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.
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"
Cinesa las tiene ya posteadas.
Pues mi gozo en un pozo. Se estrena en los Yelmo de Alava, Alicante, Sevilla, Cádiz, Las Palmas, Madrid, Málaga, Pontevedra, Santa Cruz de Tenerife, Valencia y Vizcaya. Eso es todo.
Me quedo sin verla en salas, definitivamente.
:(.
PD: Tripley, Bruce, ya contaréis.
Última edición por Branagh/Doyle; 26/09/2024 a las 10:17
"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.
Confirmado, en Almería no se exhibirá Megalópolis. No solo en los Yelmo, sino en los cines de toda la provincia entera.
"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.
Me apena muchísimo que no puedas verla, has estado aquí al pie del cañón desde el principio.
Gracias por tus palabras. Respecto a estar al pie del cañon, verás que risas nos vamos a echar si resulta que al final me acaba pareciendo un desastre, como apuntan mayoritariamente las críticas. Eso si, el entuasiasmo por un nuevo proyecto de Coppola no me lo quita nadie.
Ya contareis.
"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.
Samples del score de Osvaldo Golijov ya están disponibles. El album contiene 82 minutazos de música.
Se editará mañana. En principio, solamente en digital.
Andan comentando en FSM que quizá debería recibir una nominación al Oscar.
Última edición por Branagh/Doyle; 26/09/2024 a las 16:21
"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.
124 salas de cine nuestro país, a lo largo del territorio. Esa ha sido la distribución que Tripictures ha considerado conveniente para el estreno Megalópolis.
Podemos darnos con un canto en los dientes, dada la recepción crítica de la película. Madrid, por supuesto se lleva la palma con 29 cines exhibiendo el film.
En Andalucía, Cádiz hará lo propio en dos cines, Málaga en 4 y Sevilla en 6. Granada la proyectará en un único cine.
Pero nada en el caso de Almería, Jaén, o Huelva.
"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 comparar, El Hombre del Saco se estrenará mañana en 153 salas de nuestro país, y la nueva versión de Emmanuelle, en 155. Ambas podría ir a verlas sin problemas aquí.
"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.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
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"
Pero, pero, pero ESTO ES TREMENDO, EH.
Enlace para que podais escuchar la partitura completa de manera gratuita y legal.
Dejo tres cortes para que vayais abriendo boca, pero ya os adelanto que es todo maravilloso.
"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.
- Proyector EPSON EH-TW9300
- Receptor ARCAM AVR390
- Reproductor UHD PANASONIC DMP-UB9000
- Reproductor BD PANASONIC DMP-BDT700
- Altavoces delanteros MISSION 772
- Altavoces traseros MISSION 77DS
- Altavoz central EMOTIVA AIRMOTIV C1
- Subwoofer EMOTIVA BASX S8
- Altavoces Atmos SVS Prime Elevation
"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.
La eterna ironía de que esté en mi cine cuando no me interesa. Y creo que es uno de los pocos en Cádiz que la tienen..
Y luego las pelis ''limitadas'' o de pocas salas de mi interés, o re-estrenos que me interesan, nada..
Mucha fe tiene mi cine en esta peli. Quizá sea que, al ser el único cine en TODO el Campo de Gibraltar, piensan que vendrá gente a verla.
"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.
No, lo siento. No me sobra tanto la pasta como para desperdiciar el dinero así, cuando sé que no me gustará la película.
Si tuviera el cine a algo que no fuera 20 minutos andando (no conduzco) y las entradas fueran gratis, me lo pensaba. Porque aunque no me guste una peli, la experiencia de ver una peli en el cine si me encanta. Pero por ello soy bastante selecto con lo que voy.
´
Y este mes va a estar cargadito (menos mal que se acerca mi cumple).. tengo planeado Beetlejuice Beetlejuice (no tenía la intención pero recientemente me han entrado ganas tras ver un poquito), Joker Folie á Deux, Robot Salvaje..
Mal mes para mi cartera.
Peinabombillas
Del it. peinar, bombilla.
1. adj. Dícese de aquel hombre que realiza actividades absurdas o faltas de razonamiento.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
Última edición por Branagh/Doyle; 27/09/2024 a las 15:24
"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.
Me cuenta mi conocido que la vio en Melbourne en Agosto que jamás había visto reacciones tan dispares durante la proyección de una película por parte del público; según cuenta, hubo gente que simplemente se levantó y se fue antes de que acabara, gente que se quedó dormida, y gente que cuando se encendieron las luces al final tenía lágrimas en los ojos y que contaba que esta cinta les había llegado a lo más profundo y hecho reír, sorprenderse y conmoverse a partes iguales.
Increíble.
"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.