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Megalopolis (Francis Ford Coppola, 2024)
Re: Megalopolis (Francis Ford Coppola, 2024)
Como te parezca una aberración.presiento que me vas a buscar y dar para el pelo, que llevo meses dando la tabarra con la peli de las narices...Iniciado por Muthur
Hasta las gónadas del asunto... ¡De esta semana no pasa!
"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 qué Warner no subtitula comentarios, de manera sistemática, cuando esos subtítulos están disponibles a veces en copias digitales de iTunes?
Misterios...
Re: Megalopolis (Francis Ford Coppola, 2024)
Visto así, tiene todo el sentido.
En fin...
Cuenta que te ha parecido cuando te llegue la pista de audio.
Gracias por tu tiempo, Repopo.
"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)
Muthur, esta semana has dicho, ¿no? Bien, estaré atento al hilo en cinefilia.
Ya me imagino la reseña: ¿PERO QUÉ COJONES?
"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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