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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.
Re: Megalopolis (Francis Ford Coppola, 2024)
De hace unas pocas horas, fuente privada de la que me fio por completo.
As someone that attended one of the screenings of Megalopolis in Boston less than a month ago, the touring of the film across the U.S, no matter how weird it can seem as a strategy in 2025, is very much a real thing , and in fact is already happening. Coppola intention is absolutely to tour as many repertory theaters across the whole country as he possibly can until at least Christmas, he has made this very clear, in person, at the end of the screenings. The movie put him in debt. His attendance at these screenings both puts butts in seats for the movie, and is helping him chip away at that debt. He is doing everything he can to make the theatrical experience the only way to see Megalopolis for the near future.
The international Blu-ray’s exist because some distribution companies paid Coppola for international rights and home media was part of the deal.
Having said that, he loves physical media, and he is in talks with several boutique labels for a proper, collectors edition release of Megalopolis, perhaps by New Years Eve, or early 2026..
Veremos.
"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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