Por supuesto, pero me da la sensación que a estos directores ya se les ignora en favor de películas más "a la moda". El Irlandés o Cerrar los Ojos me parecen muy superiores a las películas premiadas al Oscar y al Goya respectivamente.
"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.
De Variety.
Can Cannes Save ‘Megalopolis’? Francis Ford Coppola Prepares to Unveil His $120 Million Epic as Controversy Builds
Cito extractos:
Will Cannes turn out to be a redemption tour for Coppola, who has been able to defy the skeptics in the past, or is “Megalopolis” going to be a late-career disaster for an artist who has also produced his share of costly duds along with his masterpieces?
If nothing else, the Guardian story has made the prospect of selling the film to a distributor even more challenging. “It’s a very difficult movie from a marketing perspective,” said one source who has seen the film and thinks it is very impressive. Other more adventurous industry players said there is a way to eventize this marketing conundrum and bill the film as undefinable. After the Los Angeles screening, one attendee said he thought the film was “actively fucking with a risk-averse industry. This is Coppola tearing down the modern temple of Hollywood.”
Initially, Coppola was determined to sell the film himself and forgo working with a sales agent. And after recently firing CAA, he also has been working without a personal agent, sources say. But following the disappointing screening that drew most of the major studio heads, a group that typically doesn’t acquire big-budget movies, Coppola began working with international sales outfit Goodfellas. Ahead of the festival and on the ground in Cannes, Goodfellas has sold the film in multiple foreign territories, including France. Notably, these individual territories do not have rights to paid video-on-demand or streaming options for “Megalopolis,” perhaps by design to lure a big streaming service who could prop the movie up for global subscribers after a theatrical rollout.
Sources say Coppola is looking for a distributor that will release “Megalopolis” in the fourth quarter of 2024, where it will mount an awards-season campaign. A24 or another awards-savvy distributor are seen as ideal fits. But some potential indie outfits have seen the film and don’t feel like there’s much upside — they don’t believe the movie has much Oscars potential beyond technical categories and they fear that Coppola will be an overly demanding partner. If the price for domestic rights drops, however, or Coppola, who put up his own money to make the film, is more interested in a domestic distributor for hire, then “Megalopolis” may become more attractive.
Another buyer also said the negative press following the screening for studio heads coupled with the Guardian piece may even help “Megalopolis” find a home.
“The way that it’s been set up is they had a bozo screening for all the people who really don’t buy movies. They wouldn’t know a Bertolucci movie if it hit them in the butt,” said that buyer. “Now that they’re here, it’s an underdog movie. And everyone is kind of pulling for it.”
Cannes, with its audience of cinephiles, may provide a warmer reception for “Megalopolis” than the one that greeted it at the earlier industry screening. However, Coppola faces another test on Friday at a Cannes press conference, where he will almost certainly be grilled about the Guardian story. How he responds could affect the film’s fate with U.S. distributors.
In the case of “Apocalypse Now,” Coppola ended up having the last laugh. Though some critics were initially dismissive, estimations of the film have only grown over the years and it is now considered to be one of the greatest movies ever made. But even in 1979, Cannes seemed to recognize Coppola’s film for the masterwork that it is — “Apocalypse Now” went on to share the Palme d’Or with “The Tin Drum.” Perhaps “Megalopolis” will have a similarly happy ending.
Oscars. El hijo de su madre quiere intentar ir a por más Oscars... que huevos tienes, Francis.
"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.
Y... efectivamente, allá vamos.
"Es un accidente de tren". Francis Ford Coppola, acusado de acoso sexual a unas horas de proyectar 'Megalópolis' en Cannes
Hubo dos días donde rodamos una escena de celebración al estilo Studio 54 en la que Francis entró en el set para establecer el espíritu de la misma dando abrazos cálidos y besos en la mejilla al reparto y los extras. Era su manera de ayudar a inspirar y establecer la atmósfera del club, que era muy importante para la película. No fui consciente de ninguna queja de acoso o comportamiento enfermizo a lo largo del proyecto"
"Acoso sexual" dicen, y se desmienten ellos mismos en el artículo. La madre que los parió.
Última edición por Branagh/Doyle; 16/05/2024 a las 12:18
"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 fallan los mastuerzos
Última edición por Branagh/Doyle; 16/05/2024 a las 12:57
"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.
No hace tanto tiempo del caso del director Carlos Vermut, que ya está cancelado, funado, marginado profesionalmente y enterrado socialmente por las "valientes" [sic] acusaciones anónimas a un periodista de Lo País de supuestas -pero muy valientes, que quede claro- víctimas.
En el fondo somos unos privilegiados; no todas las generaciones pueden ser testigos de la caída de un imperio... En nuestro caso de la civilización y cultura occidental.
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.
"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.
¿Qué os decía?. Saltó la liebre.
¡Vamos que nos vamos!.
Francis Ford Coppola’s ‘Megalopolis’ Gets Global Screen Commitment From Imax
"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.
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.
No he visto el programa de Cannes, ¿Sabéis a qué hora la proyectan?
"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.
"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.
Una sugerencia así general: Spinof no es una fuente fiable de nada. Si, se que citan a The Guardian, pero Spinof tiene tendencia a coger un articulo, mencionarlo y luego no tener nada que ver con lo que dice el articulo real.
En este caso el articulo de The Guardian no menciona en ningún momento "acoso sexual". Y es un articulo larguisimo del que Spinof ha cogido un misero párrafo.
Pero bueno, es lo habitual con esa web.
El titular del articulo de The Guardia: "‘Has this guy ever made a movie before?’ Francis Ford Coppola’s 40-year battle to film Megalopolis"
https://www.theguardian.com/film/art...le-megalopolis
Pero si el reportaje original de The Guardian lo enlacé yo mismo anteriormente en este mismo hilo, compañero.
Posteriormente he enlazado también el de Espinof con toda la intención precisamente para ilustrar lo que dije de que seguro que los medios digitales de tres al cuarto (como es Espinof, que como bien dices no es fuente fiable de nada) patrios se sumarían, tergiversando las fuentes originales para hacerlas mas afines al tipo de sensacionalismo al que somos afines en España, al acoso y derribo Coppoliano que se lleva practicando al otro lado del charco en los últimos meses desde los mentideros habituales de los grandes estudios, que están acojonaitos perdidos con este mega proyecto independiente.
Y no me he equivocado.
Última edición por Branagh/Doyle; 16/05/2024 a las 22:26 Razón: Erratas
"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.
Mis disculpas, se me debió pasar en su momento.
Lo de Spinof, y otros "medios" no solo de España pero también de fuera, es oir llover y no saber por donde les viene. Ayer un "articulo" donde se habla de una fusión entre Netflix y AppleTV+ en un solo servicio, nueva plataforma de streaming. Claro que la realidad es bien diferente. Comecast lanza una subscripción conjunta, mas económica que por separado, de 3 servicios: Peacock (la suya propia), Netflix y AppleTV+ (algo similar a lo que van a hacer Max y Disney+), pero ni servicio nuevo, ni nueva plataforma de streaming, ni fusión.
Vamos, eso, tergiversar, todavía no se con que finalidad, ni en este caso ni en el de Coppola, ni en ninguno, un articulo original.
Y ya el titular de Spinof sobre Megalopolis cogiendo una frase del principio del articulo de The Guardian y otra de casi el final, sin relación, para crear un titular de mierda (así directamente) no hay por donde cogerlo.
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; 16/05/2024 a las 23:11 Razón: Errata
"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.