PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
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Mejoras, sugerencias y cambios del foro · Consulta las novedades y comparte tus propuestas.
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Segunda mano vuelve a abrir. Hemos juntado DVDs y BDs y añadido una forma más cómoda de seguir y valorar los tratos. Aquí tienes los cambios y la guía rápida.
Ponyo_11
Miembro31.648 mensajesdesde 2011
24.563 agradecimientos
Y no pasa nada, eh. A mí me gusta su sonido pero admito completamente que tenéis la razón. Y se puede disfrutar. Pero anda que no conozco yo bastantes scores que tienen justo el sonido que busco, pero que agotan al escucharlo durante un rato.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Holkenborg sobre Furiosa
https://composer.spitfireaudio.com/...-on-returning-to-the-mad-max-saga-for-furiosa
https://composer.spitfireaudio.com/...-on-returning-to-the-mad-max-saga-for-furiosa
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Por cierto, han reeditado digital Predator 2, toca revisitar el Silvestri mas percusivo y mas desmelenado de la saga.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
El viernes
WaterTower con su habitulidad de editar scores una semana antes del estreno.
WaterTower con su habitulidad de editar scores una semana antes del estreno.
Última edición:
Bud White
Miembro11.492 mensajesdesde 2005
11.850 agradecimientos
Llegadas en vinilo. Ediciones cuidadisimas como ya lo fue el vinilo doble de Dial of Destiny.
La verdad es que hay que reconocer que Disney se ha currado mucho en vinilo lo que lleva de saga de Indy.
Ahora a esperar a Raiders y Crystal Skull que tambien se editan en breve en vinilo , ¡¡la segunda por primera vez!!!.
La verdad es que hay que reconocer que Disney se ha currado mucho en vinilo lo que lleva de saga de Indy.
Ahora a esperar a Raiders y Crystal Skull que tambien se editan en breve en vinilo , ¡¡la segunda por primera vez!!!.
Última edición:
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Muy solvente partitura del polaco para la peli de la hija de Shyamalan, eh, como es habitual en el, el nivel de escritura es magnifico.
Vista ayer El reino del planeta de los simios y la verdad es que la partitura de Paesano apenas tiene espacio en la película, está soterrada bajo los efectos sonoros y diálogos. Una pena.
Volví a ver también La guerra del planeta de los simios y la verdad es que no hay color, es la antítesis, ya no entro en la calidad de la música, personalmente me parece superior la de Giacchino, pero es que sobre todo se le da mucho peso, mucho espacio y en el montaje sonoro, lo que le da una presencia y una importancia narrativa que no le dejan tener a la música de Paesano.
Volví a ver también La guerra del planeta de los simios y la verdad es que no hay color, es la antítesis, ya no entro en la calidad de la música, personalmente me parece superior la de Giacchino, pero es que sobre todo se le da mucho peso, mucho espacio y en el montaje sonoro, lo que le da una presencia y una importancia narrativa que no le dejan tener a la música de Paesano.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
A ver, War es un trabajazo de Giacchino cuyo componente dramaturgico y narrativo es importante dentro de la propuesta (la sinergia entre el y Reeves es total), es quizas el mejor score del compositor en la saga, Kingdom de Paesano tiene un componente menos narrativo (que no dramaturgico, esta ahi y mucho), mas ambiental, en la onda del score de su mentor, no tan incesante, pero la idea esta ahi.
Si eso no lo discuto, pero el editor de sonido o el director, han decidido que su música no se escuche, y esté en un nivel muy secundario.
Branagh/Doyle
Miembro23.078 mensajesdesde 2014
54.461 agradecimientos
La mezcla es atroz, si. Una pena, porque el score es estupendo.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Umm, cuando yo la vi, no note problema en la musica, mira que en esto soy muy pijotero, eh
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Ojito que puede que sea bomba
Hans Zimmer compone la serie de Jay Oliva y Zack Snyder, El Ocaso de los Dioses, 20 de Septiembre en Netflix.
Edito: Confirmado por los productores
Hans Zimmer compone la serie de Jay Oliva y Zack Snyder, El Ocaso de los Dioses, 20 de Septiembre en Netflix.
Edito: Confirmado por los productores
Última edición:
willycps
Miembro708 mensajesdesde 2003
419 agradecimientos
La total volatilidad de lo no físico, propia del momento que vivimos.
Incluso de lo físico, a veces: mis CDs de la edición especial de The Phantom Menace empezaron a dar errores, porque los discos se habían degradado.
Si quieres tener una copia digital de verdad de tus CDs físicos yo usaría Exact Audio Copy para pasarlos a un formato como FLAC o APE, y almacenarlos en disco duro. Y hacer otra copia en otro disco duro. En un disco duro de 1 TB deberían de caberte esos 2.000 CDs. Ya sé que no descubro nada nuevo, no me da para más.
Besos!
Branagh/Doyle
Miembro23.078 mensajesdesde 2014
54.461 agradecimientos
Osvaldo Golijov sobre la música de Megalopolis.
In March 2003 I received a handwritten letter by Francis that I have kept on top of my piano all these years. He introduced himself and told me he had been working on an ambitious film project and as the son of a classical musician, he was “most interested in the wedding of film and music.” He then invited me to his home in California, to discuss this project of his “over a meal and some wine.”
Soon after, I went to the Napa Valley to visit Francis and we read together the Megalopolis script. He asked if I would compose a Megalopolis Symphony developing in music the themes of the film. I loved the idea and set out to sketch it. Sometime later Francis told me he was shelving the project for a while and would work on a smaller film: Youth Without Youth. I was very happy when he invited me to write the music for it, followed by Tetro, and later B’Twixt Now and Sunrise (together with Dan Deacon). I was even happier when 20 years after the initial letter, Francis invited me to write the score for Megalopolis and sent me the new script: some plotlines and scenes were completely new to me, and some I remembered from 20 years earlier.
In February 2023 I visited the Megalopolis set in Atlanta. Francis's greeting, after several years of not seeing one another, was, “Oh, Osvaldo, we need a big love theme... because the love story is what will hook the audience the first time they see the film, and they’ll come back later to absorb the other layers.” I said, “Great, what kind of love theme?” He replied, “Like Tchaikovsky’s Romeo and Juliet, but geometric.” I laughed because that’s a perfect example of the language Francis uses to convey his vision: utterly surprising yet surprisingly precise.
A few weeks later when the shoot wrapped, Francis showed me an assemblage of the film. As the screening finished, he said, “Think of the music and the film as an adventure. This is my gift to you: you can do whatever you want with the music.” This proved to be true, as long as it was also what he wanted! Fortunately, I have always felt his trust in my work, even in the cues for which I had to write many different versions.
Time that flows and time that stops is a big theme in the film, and, in the words of Fundi, “You can lose it, waste it, and it also flies.” Musically speaking we express time in several ways. Firstly, for Cesar’s time-stopping “superpower” we use the love theme in a few key scenes, but played in a non-realistic, spooky way, by a musical saw. Which brings me to how important it is for Francis to have unusual and specific musical fingerprints for each film. In this case I would say that the color of the musical saw and of the glass harmonica provide those fingerprints for the eerie cues, whereas the organ is featured prominently in the Madison Square Garden sequence.
Another way of expressing time in the soundtrack is by blurring the line between music and sound design: orchestral or percussive clocks that are mixed with sound design clocks, for instance. Francis’s focus on rhythm is natural because rhythm is a manifestation of time, but also because at some point in the scoring process he envisioned the texture of the movie as constant rhythm, mentioning Black Orpheus as an example. So for practically every orchestral cue, he wanted to have a clear rhythmic, propulsive element. Francis said he literally wanted the audience to get into the aisles and dance!
The film takes place in New York sometime in the 21st century, but it is at the same time the Roman Empire.
But what is Roman Empire music? Nobody knows how Rome “sounded,” but we have Hollywood’s Rome. Francis suggested that Miklós Rósza’s music for Ben-Hur had the “Rome believability effect” we were after. I decided to write an entire Roman Suite that would make sense on its own as a piece of music, unrelated to any specific scene, but with all its themes stemming from the Roman themes in the film: a big imperial fanfare that acts as a recurring chorus in the piece; a majestic, heroic, exuberantly paced section, noble at times (for Cesar and Julia), and pompous for others (Crassus, Clodio, Claudettes); and Cleopatra-like interludes, hazy, sensual, and with a certain Egyptian atmosphere. The Madison Square Garden sequence is almost a film within the film, and it contains a lot of music. When Francis showed me that sequence he simply said, “We are in Rome now.”
He liked the Roman Suite and we extracted from it cues for many scenes in the film.
Seeing the progression of the film throughout the post-production process has been one of the great privileges of my life, and a powerful lesson in storytelling. There are perhaps two qualities of Francis that continue to inspire me every day in my work: his fearlessness as an artist, and his relentless search for the best way to tell a story. In his own words, film is “all illusion” and the director’s job is “to unlock the combination that creates the emotion in the audience.”
In March 2003 I received a handwritten letter by Francis that I have kept on top of my piano all these years. He introduced himself and told me he had been working on an ambitious film project and as the son of a classical musician, he was “most interested in the wedding of film and music.” He then invited me to his home in California, to discuss this project of his “over a meal and some wine.”
Soon after, I went to the Napa Valley to visit Francis and we read together the Megalopolis script. He asked if I would compose a Megalopolis Symphony developing in music the themes of the film. I loved the idea and set out to sketch it. Sometime later Francis told me he was shelving the project for a while and would work on a smaller film: Youth Without Youth. I was very happy when he invited me to write the music for it, followed by Tetro, and later B’Twixt Now and Sunrise (together with Dan Deacon). I was even happier when 20 years after the initial letter, Francis invited me to write the score for Megalopolis and sent me the new script: some plotlines and scenes were completely new to me, and some I remembered from 20 years earlier.
In February 2023 I visited the Megalopolis set in Atlanta. Francis's greeting, after several years of not seeing one another, was, “Oh, Osvaldo, we need a big love theme... because the love story is what will hook the audience the first time they see the film, and they’ll come back later to absorb the other layers.” I said, “Great, what kind of love theme?” He replied, “Like Tchaikovsky’s Romeo and Juliet, but geometric.” I laughed because that’s a perfect example of the language Francis uses to convey his vision: utterly surprising yet surprisingly precise.
A few weeks later when the shoot wrapped, Francis showed me an assemblage of the film. As the screening finished, he said, “Think of the music and the film as an adventure. This is my gift to you: you can do whatever you want with the music.” This proved to be true, as long as it was also what he wanted! Fortunately, I have always felt his trust in my work, even in the cues for which I had to write many different versions.
Time that flows and time that stops is a big theme in the film, and, in the words of Fundi, “You can lose it, waste it, and it also flies.” Musically speaking we express time in several ways. Firstly, for Cesar’s time-stopping “superpower” we use the love theme in a few key scenes, but played in a non-realistic, spooky way, by a musical saw. Which brings me to how important it is for Francis to have unusual and specific musical fingerprints for each film. In this case I would say that the color of the musical saw and of the glass harmonica provide those fingerprints for the eerie cues, whereas the organ is featured prominently in the Madison Square Garden sequence.
Another way of expressing time in the soundtrack is by blurring the line between music and sound design: orchestral or percussive clocks that are mixed with sound design clocks, for instance. Francis’s focus on rhythm is natural because rhythm is a manifestation of time, but also because at some point in the scoring process he envisioned the texture of the movie as constant rhythm, mentioning Black Orpheus as an example. So for practically every orchestral cue, he wanted to have a clear rhythmic, propulsive element. Francis said he literally wanted the audience to get into the aisles and dance!
The film takes place in New York sometime in the 21st century, but it is at the same time the Roman Empire.
But what is Roman Empire music? Nobody knows how Rome “sounded,” but we have Hollywood’s Rome. Francis suggested that Miklós Rósza’s music for Ben-Hur had the “Rome believability effect” we were after. I decided to write an entire Roman Suite that would make sense on its own as a piece of music, unrelated to any specific scene, but with all its themes stemming from the Roman themes in the film: a big imperial fanfare that acts as a recurring chorus in the piece; a majestic, heroic, exuberantly paced section, noble at times (for Cesar and Julia), and pompous for others (Crassus, Clodio, Claudettes); and Cleopatra-like interludes, hazy, sensual, and with a certain Egyptian atmosphere. The Madison Square Garden sequence is almost a film within the film, and it contains a lot of music. When Francis showed me that sequence he simply said, “We are in Rome now.”
He liked the Roman Suite and we extracted from it cues for many scenes in the film.
Seeing the progression of the film throughout the post-production process has been one of the great privileges of my life, and a powerful lesson in storytelling. There are perhaps two qualities of Francis that continue to inspire me every day in my work: his fearlessness as an artist, and his relentless search for the best way to tell a story. In his own words, film is “all illusion” and the director’s job is “to unlock the combination that creates the emotion in the audience.”
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
28 de Junio
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Horizon de John Debney, para el 28 de Junio (WaterTower Music)
La segunda llega el 16 de Agosto, también WaterTower.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Clásico
25 de Junio, Intrada
25 de Junio, Intrada
Ponyo_11
Miembro31.648 mensajesdesde 2011
24.563 agradecimientos
La banda sonora de IF (Amigos Imaginarios) de Michael Giacchino es bastante buena. Acompaña a la película de maravilla y acentúa sus momentos emocionales fenomenalmente. Algo que mencionar o destacar, aunque para mí no es negativo, para otros puede serlo, es que la mayoría del score consiste en un leitmotiv que se repite bastante, pero que es muy efectivo, y suena de distintas maneras a lo largo del film. Es pegadizo, bonito y emocional, y como ya he dicho, complementa la idea general del filme, lo que es de apreciar. Aparte del 'leitmotiv'' de tema general (que yo imagino es asociado a la infancia y la imaginación) luego está el tema melancólico que yo asocio con la tristeza y la pérdida.
Bud White
Miembro11.492 mensajesdesde 2005
11.850 agradecimientos
POR FIN.
La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST).
Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.”
Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection.
While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film.
Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release.
TRACK LISTING:
MUSIC COMPOSED AND CONDUCTED BY JOHN WILLIAMS
1. The Sugarland Express – Main Title 1:29
2. Freedom At Last :46
3. The First Chase 2:32
4. Taking The Jump 1:48
5. The Caravan Forms 2:01
6. To The Roadblock 1:27
7. Sugarland Dance 1:38
8. Road Ballad 2:05
9. Out Of Gas 2:24
10. Trading Stamps 1:14
11. Police Cars Move 1:00
12. Along The Route 1:18
13. Man And Wife 2:09
14. Franklyn Falls :29
15. Sealing The Bargain 1:27
16. The Deputies Arrive :55
17. The Onlookers 1:02
18. Open Highway 2:04
19. Pursuit 1:51
20. Over The Next Hill 1:04
21. Setting The Trap 1:41
22. Last Conversation 2:00
23. The Final Ride 3:36
24. The Sugarland Express – End Title 1:45
Total Album Time: 40:31
This is a CD format release.
La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST).
Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.”
Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection.
While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film.
Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release.
TRACK LISTING:
MUSIC COMPOSED AND CONDUCTED BY JOHN WILLIAMS
1. The Sugarland Express – Main Title 1:29
2. Freedom At Last :46
3. The First Chase 2:32
4. Taking The Jump 1:48
5. The Caravan Forms 2:01
6. To The Roadblock 1:27
7. Sugarland Dance 1:38
8. Road Ballad 2:05
9. Out Of Gas 2:24
10. Trading Stamps 1:14
11. Police Cars Move 1:00
12. Along The Route 1:18
13. Man And Wife 2:09
14. Franklyn Falls :29
15. Sealing The Bargain 1:27
16. The Deputies Arrive :55
17. The Onlookers 1:02
18. Open Highway 2:04
19. Pursuit 1:51
20. Over The Next Hill 1:04
21. Setting The Trap 1:41
22. Last Conversation 2:00
23. The Final Ride 3:36
24. The Sugarland Express – End Title 1:45
Total Album Time: 40:31
This is a CD format release.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Giacchino en esta pelicula, demuestra lo que llevo diciendo cierto tiempo, depende con quien trabaje, suelen sacarle de la zona de confort que suelen tenerle muchos directores para demostrar que el lo vale.
Por cierto, su mujer, tambien compositora, ha compuesto la secuela de Inside Out (quizas el mejor score de Giacchino en Pixar), con resultados muy encomiables.
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
Este viernes en fisico y para el 28 en digital
PrimeCallahan
Miembro18.893 mensajesdesde 2013
34.067 agradecimientos
La maldita casualidad hizo que el segundo de Varese fuera en El Ojo de la Aguja de Miklos Rozsa, pelicula con el reciente desaparecido Donald Sutherland.
