Más que la película en sí, os dejo el cómo se hizo. Espectaculares efectos especiales hechos desde casa.
Awarded "Life's Good" FilmFest's grand prize of $100,000, Nuit Blanche is a Canadian short film directed by Arev Manoukian in 2009.
The film explores a fleeting moment between two strangers, revealing their brief connection in a hyper real fantasy. The story isn't much, but the way it's told is astonishing.
This is a short film with two principal actors and no dialogue. As such, the soundtrack itself is a critical and ever-present character in its own right. The task of setting sound to this film was accomplished by Toronto-based cellist and composer Samuel Bisson. I had an opportunity to chat with Sam and he walked me through the task of scoring such a poignant film.
There are essentially three main components to this work. The first draws heavily from the golden age of cinema soundtracks (30′s, 40′s, and 50′s). This section channels from great era composers such as Max Steiner (Casablanca), and Bernard Herrmann (Citizen Kane). The layered strings ground the work in a time that we all wish still existed, but has long since vanished. After just over a minute, the tone of both score and film change; we enter a new reality. The sound glides from the ethereal of a bygone era to a more visceral present. All of a sudden it dawns upon us; this wasn’t filmed in the 30′s after all.
Aquí podéis ver el corto.
Awarded "Life's Good" FilmFest's grand prize of $100,000, Nuit Blanche is a Canadian short film directed by Arev Manoukian in 2009.
The film explores a fleeting moment between two strangers, revealing their brief connection in a hyper real fantasy. The story isn't much, but the way it's told is astonishing.
This is a short film with two principal actors and no dialogue. As such, the soundtrack itself is a critical and ever-present character in its own right. The task of setting sound to this film was accomplished by Toronto-based cellist and composer Samuel Bisson. I had an opportunity to chat with Sam and he walked me through the task of scoring such a poignant film.
There are essentially three main components to this work. The first draws heavily from the golden age of cinema soundtracks (30′s, 40′s, and 50′s). This section channels from great era composers such as Max Steiner (Casablanca), and Bernard Herrmann (Citizen Kane). The layered strings ground the work in a time that we all wish still existed, but has long since vanished. After just over a minute, the tone of both score and film change; we enter a new reality. The sound glides from the ethereal of a bygone era to a more visceral present. All of a sudden it dawns upon us; this wasn’t filmed in the 30′s after all.
Aquí podéis ver el corto.
3 comments:
muy currado!
La leche! Mesmerizing
está genial!
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