A ver si recaudan para hacer la segunda, que se titulara THE PAPPY
A ver si recaudan para hacer la segunda, que se titulara THE PAPPY
Anoche llegué tardísimo a mi casa, tan cansada que no me podía dormir. Puse la tele y en un canal estaban dando la peli de Sommers, de la que guardaba un buen recuerdo. Dios. No la recordaba tan bobochorra . El CGI que canta más que la Traviatta, Brendan Fraser en plan el Tío Chulo de los Mojinos Escozíos, los escarabajos caníbales, la momia de la princesa que daba bocados al aire, los chillidos de la Weisz, el hermano tontito, el sicario del malo ...
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
La Momia se estrena hoy en España con 380 copias.
"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.
En Itunes/Apple Music -no se si también en Spotify, acaba de aparecer la partitura de The Mummy de Brian Tyler en su edición Deluxe, con una duración de dos horas y cuatro minutos.
¿Estamos antes el score completo?
Última edición por Branagh/Doyle; 09/06/2017 a las 13:11
"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.
Posiblemente, uno de los mejores trabajos de Brian Tyler: terror, accion y unos COROS y temas (La Momia, Nick, Prodigium...)
A un lado dejo, Power Rangers, GUILTY PLEASURE de este 2017.
Y la Momia de Sommers, GUILTY PLEASURE con todas las letras y de la ley.
Lamento no estar de acuerdo, lo estoy escuchando y es que es todo tan genérico y ramplón, nada que no puedo con este hombre. Pero no es de ahora, ¿eh?, Tyler nunca me ha entrado.
Esta opinión de FSM es la mía tal cual:
I'm suffering my way through the deluxe edition now (which is on Spotify). Lots of temp track influences (especially from the Zimmer school), lots of generic bombast. This might have worked on a thirty minute release but certainly not a two hour one. It's hopelessly banal.
Respecto a Power Rangers, la quité a la media hora. Y para que yo haga eso con un disco...
PD: Nada, será que soy demasiado clásico en cuanto a composición para cine.
"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.
A mi es que va de todo: desde Rosza hasta Örvarsson
No sé, el caso es que luego me pongo Sicario de Johansson, y la gozo cosa mala.
"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.
Arrival, please.
También. Que te quiero decir que no tengo ningún problema con la música electrónica/atonal. Ni con Zimmer, (Interstellar fue lo mejor de su año sin duda).
Pero es que Tyler me parece un músico muy justito, eso es todo.
"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.
Yo solo con Treznor y Ross
Opinion sobre Prisioners, la banda sonora, me gusto MUCHO.
Hans Zimmer fue uno de mis primeros compositores (junto con Jerry y Johnny), luego vinieron Rosza, Tyler, Silvestri, Broughton, Doyle...
¿Alguien sabe si hay escena post-créditos ?
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
"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.
Última edición por Branagh/Doyle; 09/06/2017 a las 15:34 Razón: Suavizar el tono
"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.
Branagh/Doyle : Con todos mis respeto, pero ese chiste (malo malo) esta perfectamente traido. No se muy bien a que te refieres.
Puestos a hacerlo bien, lo suyo hubiese sido emplear daddy, no pappy, que es mucho más vulgar, ni mucho menos el equivalente directo de mummy. Si vas a tocar las narices cada dos por tres troleando, faltando al respeto y haciendo chistes malos, al menos preocupate de hacerlo cómo Imhotep manda.
Última edición por Branagh/Doyle; 09/06/2017 a las 15:54 Razón: Mejor así
"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.
Vaya critica mas tonta a un simple chiste cuando ademas se entiende perfectamente, vulgar o no.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
"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.
Opinión de Conrado Xalabarder en Mundobso. Completamente de acuerdo (negritas mías).
En la línea de las recientes creaciones del compositor, aunque por encima de ellas, esta es una banda sonora que no va mucho más allá del énfasis, que aquí resulta excesivo e impostado. Tiene poca o ninguna sutileza y no satisface otras intenciones que las de impresionar y ocupar los espacios sonoros de modo muy ampuloso pero muy poco explicativo. El tema principal, por ejemplo, es muy reiteradas veces empleado pero solo como cita, no dramáticamente ni como plasmación del poder o el peligro del monstruo. Es un tema que en sí es excesivamente sencillo, sin ninguna sutileza pero, eso sí, es muy efectista: una pequeña frase repetida sin parar, para que quede memorizada forma una melodía con la que podría trabajarse un desarrollo que hiciera el peligro cada vez mayor, o más imprevisible... pero que se limita simplemente a ser recordada. Esta falta de evolución es lo que hace que el conjunto de esta obra sea tan plana y acabe por ser monótona. Temas secundarios para las acciones y referencias exóticas, con coros, simplemente rellenan, pero no la hacen crecer, y además la acaban colapsando: no todo en la película es tan importante para ser tratado musicalmente como si lo fuera, y por ello el resultado acaba por ser muy aparatoso y poco comunicativo. Está, eso sí, impecablemente bien hecha en lo que se refiere a su producción, pero no tiene niguna personalidad y en la mayor parte de las veces opera más como parte de los efectos sonoros que como un elemento de narración.
"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.
Aclaro que la reseña de mi post anterior hace referencia a esta The Mummy (su banda sonora)
"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.