Comments on: Omul lup http://trilema.com/2010/omul-lup/ Moving targets for a fast crowd. Fri, 10 Apr 2026 08:33:29 +0000 http://polimedia.us hourly 1 By: O institutie culturala on Trilema - A blog by Mircea Popescu. http://trilema.com/2010/omul-lup/#comment-133421 O institutie culturala on Trilema - A blog by Mircea Popescu. Mon, 06 Jan 2020 17:33:47 +0000 http://trilema.com/?p=6273#comment-133421 [...] Asai cal face inca si mai tare? Cai stadup comedy. dAImon (apropo de cronica negativa pentru un film prost) : pai te laudai ca nu te uiti la filme decat daca te conving 3 critici si 7 fete fragede. cum ai [...] [...] Asai cal face inca si mai tare? Cai stadup comedy. dAImon (apropo de cronica negativa pentru un film prost) : pai te laudai ca nu te uiti la filme decat daca te conving 3 critici si 7 fete fragede. cum ai [...]

]]> By: Mircea Popescu http://trilema.com/2010/omul-lup/#comment-35382 Mircea Popescu Thu, 11 Nov 2010 11:17:24 +0000 http://trilema.com/?p=6273#comment-35382 De ce, nu se poate decit pe muzica de balet ? De ce, nu se poate decit pe muzica de balet ?

]]> By: Cristi http://trilema.com/2010/omul-lup/#comment-35381 Cristi Thu, 11 Nov 2010 11:09:12 +0000 http://trilema.com/?p=6273#comment-35381 Din articol si comentarii reiese ca ti s-a facut blowjob pe filme de groaza :)) ma ingrozesc sa aud asta :)) Din articol si comentarii reiese ca ti s-a facut blowjob pe filme de groaza :)) ma ingrozesc sa aud asta :))

]]> By: Mircea Popescu http://trilema.com/2010/omul-lup/#comment-19931 Mircea Popescu Fri, 09 Apr 2010 11:11:46 +0000 http://trilema.com/?p=6273#comment-19931 Superb, ce sa mai. Superb, ce sa mai.

]]> By: Anonimosu http://trilema.com/2010/omul-lup/#comment-19930 Anonimosu Fri, 09 Apr 2010 10:18:22 +0000 http://trilema.com/?p=6273#comment-19930 Dupa wikipedia: In February 2007, director Mark Romanek was attached to helm The Wolfman.[8] In January 2008, Romanek left the project because of creative differences.[10] Brett Ratner emerged as a frontrunner to replace Romanek, but the studio also met with Frank Darabont, James Mangold and Joe Johnston. They were also interested in Bill Condon, and Martin Campbell was interested.[11] Johnston was hired to direct on February 3, 2008, and the film's shooting schedule and budget remained as intended.[12] Johnston hired David Self to rewrite the script.[13] ... However, director Joe Johnston explained that joining the picture three weeks before photography placed limitations on his ability to film without using CG effects. He has stated, “I recognized that there were things that I was going to be able to do from the beginning to the end... and things that I had to rely on post-production for.” In reference to filming Benicio del Toro's actual transformation into the Wolfman, Johnston further explained, “I decided to basically shoot just Benicio, in the sequence where ... he transforms ... and decide in post-production what I wanted the transformation to be. That was really my main reason [for using CG]; it gave me so much more flexibility.” ... Leonard Maltin has panned the film on his weekly television segment, describing Rick Baker's latest werewolf incarnation as "eerily reminiscent of Paddington Bear". ... It was reported that Danny Elfman wrote a dark, melodic, and moody score for The Wolfman, which was rejected by the studio after the film was cut down a half an hour in length and the music became too "wall-to-wall," creating what Johnson called too much repetition. Due to his not being able to come back and re-score (because he was contractually obligated to work on Tim Burton's upcoming Alice in Wonderland feature film), the producers decided rather than to expand on his ideas with a new composer (a path that they would eventually take), to take a gamble and attempt a different composer, along with a completely different approach, which would include extensive re-shooting of scenes. The idea was to quicken the pace and strike a similar tone to the successful Underworld films, turning a slow-paced story into a much faster one. Paul Haslinger subsequently wrote an electronic contemporary incarnation of the Wolfman score, which the studio quickly realized was not appropriate for the 1800's gothic setting. Elfman's score, which was previously recorded, is, as a result, the one that is used in the final film instead.[45] Universal decided to switch back scores close to the last minute, realizing their experiment had failed. It is believed the material Haslinger did record specifically for the studio as his intended version of the score was subsequently destroyed shortly after his removal. Whether Haslinger retained any of his work for personal purposes is currently unknown. There has of late been two versions of the film Universal has known to have shown to test audiences, both however featured Elfman's score in some form. Elfman's original recording, which had been completed for a previous cut of the film, was "fit" to the new version via orchestrator Conrad Pope. Some confusion has surfaced regarding this, as many news sources are claiming Elfman never "completed" his score, sidestepping that he did, in fact, complete it, but has not re-shaped it to fit the studio's ever evolving changes. Dupa wikipedia:
In February 2007, director Mark Romanek was attached to helm The Wolfman.[8] In January 2008, Romanek left the project because of creative differences.[10] Brett Ratner emerged as a frontrunner to replace Romanek, but the studio also met with Frank Darabont, James Mangold and Joe Johnston. They were also interested in Bill Condon, and Martin Campbell was interested.[11] Johnston was hired to direct on February 3, 2008, and the film's shooting schedule and budget remained as intended.[12] Johnston hired David Self to rewrite the script.[13]
...
However, director Joe Johnston explained that joining the picture three weeks before photography placed limitations on his ability to film without using CG effects. He has stated, “I recognized that there were things that I was going to be able to do from the beginning to the end... and things that I had to rely on post-production for.” In reference to filming Benicio del Toro's actual transformation into the Wolfman, Johnston further explained, “I decided to basically shoot just Benicio, in the sequence where ... he transforms ... and decide in post-production what I wanted the transformation to be. That was really my main reason [for using CG]; it gave me so much more flexibility.”
...
Leonard Maltin has panned the film on his weekly television segment, describing Rick Baker's latest werewolf incarnation as "eerily reminiscent of Paddington Bear".
...
It was reported that Danny Elfman wrote a dark, melodic, and moody score for The Wolfman, which was rejected by the studio after the film was cut down a half an hour in length and the music became too "wall-to-wall," creating what Johnson called too much repetition. Due to his not being able to come back and re-score (because he was contractually obligated to work on Tim Burton's upcoming Alice in Wonderland feature film), the producers decided rather than to expand on his ideas with a new composer (a path that they would eventually take), to take a gamble and attempt a different composer, along with a completely different approach, which would include extensive re-shooting of scenes. The idea was to quicken the pace and strike a similar tone to the successful Underworld films, turning a slow-paced story into a much faster one. Paul Haslinger subsequently wrote an electronic contemporary incarnation of the Wolfman score, which the studio quickly realized was not appropriate for the 1800's gothic setting. Elfman's score, which was previously recorded, is, as a result, the one that is used in the final film instead.[45]

Universal decided to switch back scores close to the last minute, realizing their experiment had failed. It is believed the material Haslinger did record specifically for the studio as his intended version of the score was subsequently destroyed shortly after his removal. Whether Haslinger retained any of his work for personal purposes is currently unknown. There has of late been two versions of the film Universal has known to have shown to test audiences, both however featured Elfman's score in some form. Elfman's original recording, which had been completed for a previous cut of the film, was "fit" to the new version via orchestrator Conrad Pope. Some confusion has surfaced regarding this, as many news sources are claiming Elfman never "completed" his score, sidestepping that he did, in fact, complete it, but has not re-shaped it to fit the studio's ever evolving changes.

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