15 de septiembre
15 de septiembre
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No sé lo que acabo de ver pero en cierto modo ha tenido toda mi inteción desde el minuto 0. Seré yo pretencioso pero huelo ahí un detalle y un buen hacer cinematográfico tipico del director. También veo un cambio tonal increíble. O al menos quizá sea el tráiler. Parece que tiene toques de horror. No sé si light o full, pero le daré una oportunidad igualmente. Me gustaron las dos anteriores. No sé si esta parece que quiere probar algo diferente.
Entre lo que han comentado de lo de Edwards y esto, probablemente sea lo que tiene mas mi interes de la Fox abducida.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Coged esto con pinzas
Patrick Doyle no la musicaliza, Hildur Guðnadóttir es.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Pintaza!
"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.
El trailer parece "The Ring girl meets Poirot".
Vale, me comentan que ni de coña, que Doyle y Branagh son como hermanos, y que lo que ha sucedido es que Doyle está ocupado trabajando en la música de la coronación de Carlos III. Me cuadra perfectamente.
PD: El trailer tiene pintaza.
"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.
Primero Newman con Mendes, y ahora Doyle con Branagh...![]()
"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.
Ok, entro creyendo que es una nueva película y me parece guay, pero no me imaginaba que era de Poirot, ojalá la siguiente sea ABC Murders con ligero giro a alguillo de terror, que seguro le sale bien, luego puede seguir si eso con Testigo Mudo y enlazar para terminar con Telón en este estilo, o sea hasta 6 películas y que salgan el resto lo más cercanas posibles que es un gran director, aunque faltan como 2 más con las mismas ideas.
"I'm stunned. This is a bewildering composer assignment, and I really hope it doesn't mean the Doyle/Branagh collaboration is over."
"I hope Doyle is okay, health wise, as that's the only reason I can think of for them not working together again?"
Pues Tripley, parece que has clavado el sentir general...
"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.
Patrick Doyle y Thomas Newman han alcanzado una edad que en cualquier otra profesión les permitiría estar jubilados (y no lo están porque no quieren). Pero con lo cambiante y caprichosa que está la industria, ¿creéis que están para soportar a cualquier cabezón que no sabe ná de ná de las altas esferas? Falta la energía de la juventud y el ansia de terreno virgen por conquistar). Bastante es que no están juntos en una playa tumbados en una hamaca tomando un daiquiri con sombrillita
"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.