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Tema: Megalopolis (Francis Ford Coppola, 2024)

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  1. #1
    We don't care about Avatar de PrimeCallahan
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Madre mia, madre mia, madre mia.

    Esta gente es para darla de comer aparte.

  2. #2
    Vigilante Avatar de Branagh/Doyle
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Cita Iniciado por PrimeCallahan Ver mensaje
    Madre mia, madre mia, madre mia.

    Esta gente es para darla de comer aparte.

    Pues si. Estará Coppola contento.
    "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.

  3. #3
    Vigilante Avatar de Branagh/Doyle
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Extenso reportaje/entrevista con Coppola para Rolling Stone, de ayer mismo.





    What I didn’t want to happen is that we’re deemed some woke Hollywood production that’s simply lecturing viewers. The cast features people who were canceled at one point or another. There were people who are archconservatives and others who are extremely politically progressive. But we were all working on one film together. That was interesting, I thought.


    Bum.
    Última edición por Branagh/Doyle; 26/08/2024 a las 10:18
    "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.

  4. #4
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Had Eleanor been sick for a while, or was this out of the blue?

    She had a noncancerous tumor called a thymoma. Fourteen years ago, when it was discovered, the doctor said, “It’s a little big to take out right now. If she does three months of chemo, then it should make it smaller and I can take it out.” And Eleanor said, “I’m not doing chemo.” She wanted to do what she wanted to do; she made several movies, and ultimately, it just got so big and so painful that she did not want to live anymore.

    How have you been dealing with the grief?

    The most comfort I have is … there’s something that Marcus Aurelius said that’s basically “When you lose a loved one, you should honor them by trying to be more like them. It’s in your actions that they will remain alive.” So I try to do things that she would do. I have some friends who are elderly now, and it’s not my nature to call them up and say, “How are you doing?” That would be her nature, though. So I do things to try to be more like that, to keep her in me.
    Última edición por Branagh/Doyle; 26/08/2024 a las 10:35
    "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.

  5. #5
    Vigilante Avatar de Branagh/Doyle
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    There were reports from the Megalopolis set that you kissed and touched extras in a way some people found inappropriate. Was that a rehearsal thing that got out of hand?


    You’re talking about the Guardian piece, which is totally untrue. If you read that piece, you’ll realize that whoever the sources were — and I honestly don’t know who the sources were — it’s the same people who provided quotes for that Hollywood Reporter piece that said all these people were fired or resigned, and that there was a mass exodus, all of that. And the truth of the matter is, they were looking for some sort of dirt. The young women I kissed on the cheek, in regards to the New Year’s scene, they were young women I knew.

    It’s all so ridiculous. Look at the timing of that article. It’s right before we’re about to premiere the film at Cannes. They’re just trying to damage the picture.



    Why do you think they’re trying to damage the picture?


    There’s a prevailing tendency in Hollywood to say, if you follow our rules, you’ll have a better chance of a success. “Well, what about Francis? He doesn’t follow your rules.” “Well, look, what’s going to happen to him, he’s going to have a failure.” I’m trying to do something different here. Film is change. I mean, the movies that your grandchildren are going to make are going to be nothing like what we see now.




    Now that you’ve finally made Megalopolis, is that it for you?


    No, I’m working on two potential projects right now. One is a regular sort of movie that I’d like someone to finance and make in England, because I don’t have a big history with my wife in England. Everywhere else I go, I’m reminded of her all the time. The other is called Distant Vision, which is the story of three generations of an Italian American family like mine, but fictionalized, during which the phenomenon of television was invented. I would finance it with whatever Megalopolis does. I’ll want to do another roll of the dice with that one.
    "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.

  6. #6
    The Resistance Avatar de sammas 1.0
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)


  7. #7
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Cita Iniciado por sammas 1.0 Ver mensaje

    "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.

  8. #8
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Cita Iniciado por sammas 1.0 Ver mensaje
    Adam Driver haciendo las oposiciones para Batman.

    Menuda fotografía.
    Mi canal en youtube familiar sobre Hot Wheels

  9. #9
    gurú Avatar de Otto+
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    Predeterminado Re: Megalopolis (Francis Ford Coppola, 2024)

    Cita Iniciado por sammas 1.0 Ver mensaje
    Y recuerda mucho a Storaro. Lo que me encanta, claro.

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