"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
De la obra clásica que os he (te he),mandado via MP porque creo que os puede gustar como aficionados a las BSO que sois, ni pio eh. Ni tú ni Tripley. Vaya tela. Ni que sea para decir "interesante, me la guardo y la iré escuchando cuando pueda".
Synch si me ha dado las gracias, que conste.
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"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.