R.I.P.: defunciones y fallecimientos

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Vaya un palo. :mutriste



Cada vez nos quedan menos, y lo peor es que no parece que venga mucho relevo.
 
joder, Horner era un Dios absoluto de la musica :mutriste

DEP

Y adios tambien a Laura Antonelli, triste final el suyo.
 
James Horner es uno de mis favoritos de la historia estando en mi listado personal como uno de los grandes de las partituras más allá de su famosísimo parabará reconvertido en todo un icono marca registrada.

No me imagino el mundo de las bandas sonoras sin estos temas que son, para mi, un ejemplo de maestría absoluta.

Tiro de IMDB para no dejarme ninguna (y en orden cronológico):

- Commando. Lo más serio y bueno de esa película (el resto es comedia involuntaria).
- El nombre de la rosa.
- Fievel y el nuevo mundo. (una de mis partituras favoritas de la historia)
- Willow (3/4 de lo mismo)
- Danko: calor rojo.
- En busca del valle encantado (lo mismo que Fievel, para mi están a la misma altura las dos)
- Cariño, he encogido a los niños.
- Tiempos de gloria.
- Rocketeer
- Sneakers (tan íntima a la vez tan potente)
- Leyendas de pasión
- Braveheart
- Casper
- Jumanji
- Rescate
- Titanic
- La máscara del zorro
- Enemigo a las puertas (quizás la más parabarera de todas las suyas)

Avatar me gusta pero no está entre mis favoritas.


Pero de todo lo que ha hecho, aún apasionándome ese listado que he hecho, aún pareciéndome de lo mejor que ha hecho hasta la fecha, los dos temas (partituras) que para mi son una marca a fuego en mi son estas dos:



 
Ley de vida, cierto, pero es que hay veces que te lo ves venir por edad, pero como dice Jp1128, esto es un accidente :(
 
que chafado me quede, ahora me entere al leeros, Horner es de los compositores que mas he escuchado en los ultimos 30 años, siempre recordare su Aliens que casi superaba al de Goldsmith y tantas composiciones imprescindibles que nos ha dejado en la historia del cine, era muy joven aun para morir, que desgracia, descanse en paz.
 
Era un compositor que me provocaba una infinita desidia en los últimos 15 años o más, y llevaba bastante tiempo desconectado de sus trabajos. Pero también fue el tipo que me aficionó a las bandas sonoras, allá por los 90 con Leyendas de Pasión o Braveheart (la primera bso que me compré).
 
A partir de Titanic, ya nada reseñable nos dió. Pero lo de ANTES fue TANTOOO, con melodías maravillosas, tatareables, leit motivs grandiosos y una forma de mover la orquesta e instrumentos como lo hacía Johnny. Para mi, lo más parecido a él que habrá jamás. Nos deja con un legado absolutamente brutal: KRULL, ALIENS, CASPER, WILLOW, STAR TREK 2, COCCON, GLORY, LEYENDAS DE PASIÓN, ROCKETTER, APOLO XIII... y así hasta la ETERNIDAD.

D.E.P.










 




Conrad Pope
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Devastated by the news of James Horner’s senseless death. He was a born film composer. His music was like the man: emotional, direct, and imaginative. The notes he wrote breathed life into every frame it accompanied.

To be selfish for a moment, I cannot begin to estimate the impact and influence his life had on mine. I learned so much from James. He was one of my heroes. Indeed, his is one of the two greatest influences on my working, creative life in Hollywood. Without James there is no "me". How does one thank someone for that?

As anyone who worked with and for James can attest, working with and for him could be difficult and, assuredly, always challenging—however, we always knew we were in the service of a genius, a man of vision and a man of enormous passion.

We and Hollywood are so much the poorer for his passing. If there is a bright side to this tragedy it is that he died pursuing his passion for flight. He made every film he scored soar. And he made my life, when we worked together,soar as well.

The poem “High Flight” says:
" Lifting mind, I’ve trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of god."

Below is one of the first cues I orchestrated for James. I remember vividly delvering this cue to John Neufeld at 3 in the morning and playing through it at the piano. I also remember when James first “played it down”.

Vale, James. Thank you for all you’ve given us. For those of us who knew you, the world is a much sadder place.

Thank you for making my life richer, better, more meaningful than it would have been without you and your music."
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James Cameron Pays Tribute to Composer James Horner: 'The Orchestra Loved Him'
By James Cameron | June 23, 2015 4:14 PM EDT

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James Cameron, Leona Lewis and James Horner arrive at the premiere of 20th Century Fox's "Avatar" at the Grauman's Chinese Theatre on Dec. 16, 2009 in Hollywood, California.

  • I was doing a lot of thinking about James when I heard the news and I checked online. The beginning and end of his filmography are films that he did, or would have done, with me. It’s a curious bookend. We both started out on the same film in 1980, and his last listed films are the Avatar sequels, which he would have begun later this year.

    We only worked together three times, and each time it was a decade apart -- Aliens in the mid-eighties, Titanic in the mid-90s and Avatar in ‘08 and ‘09.

    James Horner, Film Composer for 'Titanic' and 'Braveheart,' Dies in Plane Crash

    I met him on Battle Beyond the Stars, which was my first film getting a paycheck. I entered as a junior model builder and ended up three months later as production designer, which could only happen on a Roger Corman production. The score was absolutely the best thing about the film. It was a full-on orchestral score, not some rinky-dink synth score. After that I ran into him a few times and Gale Hurd and I, being Corman alums, watched him skyrocketing.

    He was the obvious choice to do Aliens but we got off to a bad start. It was a time in his career when he was overbooking himself. He recorded the whole score in a day and a half in London and then he was gone. We wound up editing the score ourselves. He got an Academy Award nomination, so he thanked me afterwards but we both allowed that was not the best way to do things.

    Gone But Not Forgotten: Music Stars In Memoriam 2015

    When I was doing Titanic, he had just done Apollo 13 and Braveheart. I thought, “I don’t care what happened, I want to work with James.” We had this very cautious meeting where we were falling all over ourselves to be polite. We laughed about it so much in subsequent years. But we developed a very transparent means of communication which made for a great working relationship. He totally committed himself to the movie. He blocked out his schedule and sat down and watched maybe 30 hours of raw dailies to absorb the feeling of the film.

    I asked if he could write some melodies. I believe that a great score really consists of something you can whistle. If that melody gets embedded in your mind, it takes the score to a different level. I drove over to his house and he sat at the piano and said, “I see this as the main theme for the ship." He played it once through and I was crying. Then he played Rose’s theme and I was crying again. They were so bittersweet and emotionally resonant. He hadn’t orchestrated a thing and I knew it was going to be one of cinema’s great scores. No matter how the movie turned out, and no one knew at that point — it could have been a dog — I knew it would be a great score. He thought he had done only five percent of the work but I knew he had cracked the heart and soul.

    Composer James Horner Dies in Plane Crash: Hollywood Reacts

    My one regret after that production — or the one I remember in this context — is that I didn’t get to go to most of the orchestral scoring sessions. I made it to one. But the orchestra loved him. He always worked with a lot of the same players. Unlike most composers, he also conducted. He was classically trained. It was his room and they were sure to make something great. If I thought maybe there was something that wasn’t supporting the picture, he could turn on a dime and make it work.

    Avatar was in some ways the trickier film. It didn’t lend itself to big, sweeping themes the way Titanic did. He did a lot of research with an ethnomusicologist to find different sounds. He did an awful lot of experimentation. The score is a bit richer than maybe people perceive. You start layering in all the sound design and some of the texture of the score gets lost in the mix. I wound up having to fight for the score, as you typically do. Composers always think the score should be more prominent.

    A couple of months ago, in April, they did a night at the Royal Albert Hall where the orchestra did the entire Titanic score live to the movie. James was there to take his bows. [Producer] Jon Landau and I went to London just for the concert, and we had a kind of reunion. It was emotional and I'm glad that was my last personal memory of James. They had to subtitle the film because when the orchestra was playing, you couldn’t hear the words. I thought, “This is how James would have imagined it.”

    --As told to Kim Masters

    This article was originally published by The Hollywood Reporter.
 
http://hoycinema.abc.es/personajes/20150623/abci-dick-patten-muerte-201506232025.html

Muere Dick Van Patten, el actor de la mítica serie «Con ocho basta»
El intérprete, con estrella en el Paseo de la Fama de Hollywood desde 1985, era «el hombre más amable del mundo» según su publicista

Dick Van Patten, el actor que interpretó al patriarca de la popular serie «Con ocho basta», ha muerto hoy a los 86 años en el hospital Saint John, de Santa Mónica (California). La serie que le catapultó a la fama, compuesta de cinco temporadas, se rodó entre 1977 y 1981.

Según ha declarado Jeff Ballard, el publicista del intérprete, éste habría fallecido tras complicarse la diabetes que padecía.

«Era el hombre más amable del mundo. Un hombre que amaba a su familia. Ya se no hacen tipos así», ha indicado el propio Ballard acerca de la muerte del actor.

Tom Bradford, su personaje en la serie, era un entrañable padre con ocho hijos que logró colarse en el número 33 de la lista de «Los 50 mejores padres de todos los tiempos», confeccionada en 2004 por la publicación especializada TV Guide.

Van Patten retomó el personaje en la película para televisión «Con ocho basta: Reunión familiar» (1987) y en su secuela en 1989. Un actor vinculado de por vida a su personaje, a quien volvió a dar vida en la serie animada «Family Guy» (1999).

Entre sus papeles más recientes se cuentan el de la serie «Siete en el paraíso», «Arrested Development» y «Aquellos maravillosos 70».

Entre la década de los setenta y ochenta actuó en series como «I Dream of Jeannie», «That Girl», «Sanford and Son», «McMillan y esposa», «Love, American Style», «Kolchak: The Night Stalker», «Phyllis», «Maude», «Las calles de San Francisco» y «El hombre de los seis millónes de dólares».

Van Patten tuvo una carrera longeva. Más de seis décadas compartiendo su técnica en diversos medios, desde el teatro, hasta la radio -con más de 600 programas a cuestas-, pasando por la televisión y el cine.

En la gran pantalla se recuerdan especialmente sus comedias con Mel Brooks («Máxima ansiedad», «La loca historia de las galaxias» y «Las locas, locas aventuras de Robin Hood») y las cintas sobre asuntos familiares («Ponte en mi lugar» y «El hombre más fuerte del mundo», entre otras).

Sus memorias, bajo el título de la serie que le dio fama, fueron publicadas en 2009.

Van Patten, que posee una estrella en el Paseo de la Fama de Hollywood desde 1985, estaba casado con Patricia Poole desde 1954, con la que tuvo tres hijos: los actores Nels Van Patten, James Van Patten y Vincent Van Patten.
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