- Joined
- Jun 19, 2018
In the Alena Kostornaya fan fest, I came across such a comment:
I very often saw such comments "about Gleichenhaus'es cuts". But I never (I speak honestly and openly) did not understand the essence of the claims.
Here new Alena's FP. I don’t hear any “cuts” here, for me there are changes of three musical themes. (Further my interpretation, cuz I'm not a Twilight fan and I have only the most general idea). Their presence and quantity is justified. The first theme: Bella is a human, the sad melody conveys the loneliness of Bella who came to the new city (I watched only the first part and I remember only its beginning), emphasizes the noirness of the story. The second theme: the internal state after turning into a vampire - sadness for the lost human nature, bitterness from the realization of the irreversibility of what happened (Of course, I perceive it differently than English speakers, because I do not understand the words of the song - I just hear the singer’s sad, as if a little tired voice). Third theme: Bella is getting into the taste of her position, realizing and accepting her new nature as a powerful creature.
Transitions between themes are made smoothly. And it's not just about acoustics. Look at the gesture of Alena - how she holds her hand to her neck showing that a vampire bite has occurred. She shows that there have been important changes, which, of course, must lead to changes in the musical theme. The viewer is prepared. I also add that the emotions of musical themes are replaced gradually. Which of course also makes the perception of transitions more natural.
Let me show you what I call "bad cuts". This is the FP of Ilya Yablokov (junior). It is made on the basis of the musical "Notre Dame de Paris". I will give links to moments a few seconds before the cuts, what would you rate the degree of their horror. The first theme is the famous "Belle", part of Quasimodo, it ends with an increase in tonality (after which Claude Frollo's part should enter) emotional crescendo inevitably arises inside us... but suddenly it's primitive and clumsy "stitched" with the end of the song. Hgggrrrr.... Second theme is "Tu vas me détruire" ("You will destroy me"). And we see the same type of "cut" - moment of highest emotional stress "stitched" with repressed whisper "you will destroy me" from the very end (in original song that moment and that). Third theme "l'attaque de Notre-dame".
What kind of emotional drawing these three themes should create, what the choreographer wants to convey to me is not very clear. This is what I call primitive, clumsy, cuts. Daniel never has such bad and primitiv work.
I hope that those who are dissatisfied with the work of Daniel will explain during the discussion in this topic what their criteria are - why they consider his cuts to be bad.
Alena can skate to everything ... even FS with terrible cuts ...
I very often saw such comments "about Gleichenhaus'es cuts". But I never (I speak honestly and openly) did not understand the essence of the claims.
Here new Alena's FP. I don’t hear any “cuts” here, for me there are changes of three musical themes. (Further my interpretation, cuz I'm not a Twilight fan and I have only the most general idea). Their presence and quantity is justified. The first theme: Bella is a human, the sad melody conveys the loneliness of Bella who came to the new city (I watched only the first part and I remember only its beginning), emphasizes the noirness of the story. The second theme: the internal state after turning into a vampire - sadness for the lost human nature, bitterness from the realization of the irreversibility of what happened (Of course, I perceive it differently than English speakers, because I do not understand the words of the song - I just hear the singer’s sad, as if a little tired voice). Third theme: Bella is getting into the taste of her position, realizing and accepting her new nature as a powerful creature.
Transitions between themes are made smoothly. And it's not just about acoustics. Look at the gesture of Alena - how she holds her hand to her neck showing that a vampire bite has occurred. She shows that there have been important changes, which, of course, must lead to changes in the musical theme. The viewer is prepared. I also add that the emotions of musical themes are replaced gradually. Which of course also makes the perception of transitions more natural.
Let me show you what I call "bad cuts". This is the FP of Ilya Yablokov (junior). It is made on the basis of the musical "Notre Dame de Paris". I will give links to moments a few seconds before the cuts, what would you rate the degree of their horror. The first theme is the famous "Belle", part of Quasimodo, it ends with an increase in tonality (after which Claude Frollo's part should enter) emotional crescendo inevitably arises inside us... but suddenly it's primitive and clumsy "stitched" with the end of the song. Hgggrrrr.... Second theme is "Tu vas me détruire" ("You will destroy me"). And we see the same type of "cut" - moment of highest emotional stress "stitched" with repressed whisper "you will destroy me" from the very end (in original song that moment and that). Third theme "l'attaque de Notre-dame".
What kind of emotional drawing these three themes should create, what the choreographer wants to convey to me is not very clear. This is what I call primitive, clumsy, cuts. Daniel never has such bad and primitiv work.
I hope that those who are dissatisfied with the work of Daniel will explain during the discussion in this topic what their criteria are - why they consider his cuts to be bad.