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About LinkBacks¿No hay edición con HDR en ningún lado? ¿Es que Coppola no le ha hecho HDR?
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Megalopolis (Francis Ford Coppola, 2024)
Re: Megalopolis (Francis Ford Coppola, 2024)
¿No hay edición con HDR en ningún lado? ¿Es que Coppola no le ha hecho HDR?
Re: Megalopolis (Francis Ford Coppola, 2024)
Por desgracia no.Iniciado por Ponyo_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.
Re: Megalopolis (Francis Ford Coppola, 2024)
Por lo visto Coppola quiere que la película se siga viendo en cines en Estados Unidos el mayor tiempo posible, y de hecho, planea llevarse la película "de gira", por los cines de su país. De ahí que, de momento, no esté disponible ni en físico ni en digital en Estados Unidos, porque Coppola al parecer no quiere que eso sea así.
Del Hollywood Reporter:
Francis Ford Coppola got a standing ovation at the Dolby Theatre on April 26. He got the AFI Life Achievement Award (see page 42), heartfelt tributes from the likes of Steven Spielberg, Harrison Ford and George Lucas, and, toward the end of the night, a glowing speech from Adam Driver, who hailed Megalopolis — the legendary director’s $120 million self-financed, genre-bending epic that stars Driver and pulled in just $14 million during its blink-and-you-missed-it theatrical run in the fall — as “a piece of art.”
What Coppola didn’t get — and apparently doesn’t want — is a distribution deal that lets anyone actually see Megalopolis on a home screen. It’s not on Netflix, Amazon, iTunes or anywhere else with a play button. It can’t even be found on DVD. For all the hosannas recently lavished on it, Megalopolis has become the most celebrated invisible movie of the year.
There is, it turns out, a (somewhat) logical explanation for the disappearing act. One of the perks of spending $120 million of your own money on a movie is getting to decide exactly how — and where — it gets seen. And according to sources close to Coppola, the last thing the 86-year-old auteur wants is for Megalopolis to be watched on a television set.
“He wants it to play in theaters, the way it was intended,” says one insider.
So, instead of a digital release, Coppola is taking the film on tour. Days after the AFI tribute, he boarded a flight to Boston for a sold-out screening at the Coolidge Theater. Later this month, he’s headed to Detroit.
It may not be the most efficient way to earn back that $120 million, but as Driver reminded the AFI crowd, commerce was never the point. “Believe me, I was there,” he said. “There was no talk about how we could make this more commercial.”
La historia de este film está siendo increíble.
"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.
Re: Megalopolis (Francis Ford Coppola, 2024)
"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.
Re: Megalopolis (Francis Ford Coppola, 2024)
Yo voy a esperar un poco más... Todavía tengo confianza en que cuando haya edición 4K USA, tenga HDR y sea un UHD real...
Peinabombillas
Del it. peinar, bombilla.
1. adj. Dícese de aquel hombre que realiza actividades absurdas o faltas de razonamiento.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
Re: Megalopolis (Francis Ford Coppola, 2024)
Yo a estas alturas pienso que como Coppola no acepte el trato de Criterion lo mejor es que estos entren en sus oficinas y le roben el master.Yo voy a esperar un poco más... Todavía tengo confianza en que cuando haya edición 4K USA, tenga HDR y sea un UHD real...
Así la edición será perfecta. Es lo que tenían que haber hecho con James Cameron.
"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.
Re: Megalopolis (Francis Ford Coppola, 2024)
Por eso creo que es posible una edición UHD en condiciones: Megalopolis es material Criterion 100%, y no veo mejor opción para Coppola, sobre todo a nivel de "prestigio" para editar su proyecto; Y no veo a Criterion a estas alturas editando un UHD falso...
EDITO: Eso sí, creo que veré la película "antes" de tener mi edición... Se me hace bola seguir esperando.
Peinabombillas
Del it. peinar, bombilla.
1. adj. Dícese de aquel hombre que realiza actividades absurdas o faltas de razonamiento.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
Re: Megalopolis (Francis Ford Coppola, 2024)
Alguna de estas 3 ediciones trae al menos subtítulos en español ? Gracias
Re: Megalopolis (Francis Ford Coppola, 2024)
Por desgracia no.
"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.
Re: Megalopolis (Francis Ford Coppola, 2024)
De un entrevista reciente salida del horno a Coppola, por parte de GQ (via Zoom porque Coppola se encuentra en Londres trabajando en su siguiente película).
Cito extracto relevante:
What’s going on with the DVD for Megalopolis? You can’t get it in the States, you can’t stream it anymore.
Because the film is still being shown in theaters. I don’t want anyone to own it. After the election, people are selling out screenings of Megalopolis—the way it was intended to be seen. Being that it was so prophetic or prescient to say America is like Rome—it’s going to maybe lose its republic—now people are rushing to see it in theaters. We sold out three screenings in Boston recently, in Detroit, and people are really lining up. It’s just like what happened with Apocalypse Now. Apocalypse Now was a big flop, it got terrible reviews, everyone said it was the worst movie ever made. And yet people never stopped going to see it. The same thing is now happening with Megalopolis.
"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.
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