Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Mola por inesperado los coros de niños y femeninos cuando nadan de camino a la ciudad de los Gungans, muy de cuento, fantasía, cómo dije.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Ahora sí, visto! (aunque justo ahora mismo suena el Metropolis I de Dream Theater en directo porque los domingos sólo Mark Portnoy y John Petrucci logran ese levantamiento de la Fuerza )
Joder, pues muy interesante. Algunas de las infos ya las conocía (muchos libros, muchos años) pero no con toda la saga. De hecho Star Wars es mi BSO favorita junto a la de Lord of the rings pero la de SW me parece que tiene su plus en su uso, en como Williams y Lucas insertan los temas, cuando y donde. A veces veo de nuevo una de las películas y doy con un motivo de otro personaje metido en otro tema, cosas así.
Dicho esto es curioso como en el vídeo cuando habla de esa unión de los temas de Leia, Han y Leia, y el de Leia y Luke, ahí suena el primero como el más hermoso (aunque nunca fue mi idea de como es Leia pero es tan brutal que me da igual), y el tercero como el más profundo. Pero luego en el Spotify (los CD me suenan a antes de 2010 ) o en las películas, HAN SOLO AND THE PRINCESS es antológico, el amor de un sinvergüenza y una princesa. Joder, es brutal.
Dicho esto, ayer comentabas con BruceTimm lo de la BSO de LOTR. Como BSO me fascina igual que SW pero me da algo más en algunos momentos (o me perfora sentimentalmente más, si se quiere), no tanto por su uso, sino por la música en si. No está ni de lejos tan bien insertada.
Dicho esto, me refiero, como decía el otro día al minuto 1:07 y en especial del 1:20 al 1:50. Me mata, joder. Que me mata:
Por eso dichas BSO son mis favoritas. Tocan las teclas. Una por la historia contada (SW), otra por sentimientos (LOTR).
Y eres un mam... Porque ahora he quitado Dream Theater para ponerme SW y LOTR.
Joder. Ya.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Pongamonos en situación: Star Wars se abre con una nave enorme en primer plano, disparos, soldados corriendo, y un tipo enorme de negro con respiración robótica. Eso, en 1977, te cortocircuita el cerebro. Yo lo sé, tenía 8 años cuando la vi en el cine.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Respecto a los droides, cómo Luke no sale hasta un ratejo después, todo pinta que serán ellos los protas...
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Te comento lo del bloque inicial porque hoy lo damos todo por sentado, pero parate a pensar en todo eso en apenas 10 minutos. Es cómo una metralleta. Y cómo contraste, la música romántica del siglo XIX, (¿te das cuenta de que el tema de Leia hace amago de sonar cuando ella le mete el mensaje a arturito? . Es curioso, porque siendo SW tan rompedora, lo suyo hubiese sido pensar que una música experimental/New Age hubiese sido lo suyo, pero Williams supo ver que en realidad el relato más clásico no podía ser.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Es que la narrativa del IV, pese a que es donde triunfa por una brillante edición, con 3 actos clarísimos, utiliza una presentación de personajes y acción secuencial como en la futura LOTR (aunque en el fondo es anterior, claro, ya estaba en las novelas). Así cada presentación es como empezar otra película: Leia y Vader, los droides, Luke, Obi Wan, Han, la Death Star...
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"George Lucas creyó que dado que la película era tan original y diferente en todos sus aspectos -criaturas desconocidas, sitios jamás vistos, sonidos nunca oídos- la partitura debía situarse a un nivel que resultase emocionalmente familiar. No quiso música electrónica, sino que prefirió una dicotomía con la imagen, una banda sonora sinfónica cercana al romanticismo del siglo XIX. Creía que la disparidad de estilos era lo correcto para la película y yo estuve de acuerdo".
John Williams.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
La presentación en doble LP preparada por Williams para su lanzamiento en 1980 sigue siendo una gozada en escucha aislada. Si, falta música, pero cómo álbum fluye fantásticamente,
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Eso eran libretos y notas y no lo de ahora... definitivamente me hago viejo.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
I think Empire's underscoring, and the way it's choreographed with the sound effects and film editing in certain scenes, is an object lesson in tight filmmaking
Scorsese.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Williams exploited the Wagnerian tradition of leitmotif, with characters, situations and ideas all getting their own themes. Aside from a march to represent Luke's heroism, the gorgeous Princess Leia's Theme and a lush melody for Obi-Wan and the Force, there is a fanfare for the Rebels, a brash fragment of music for Darth Vader and the Imperials, not to mention distinctive music for the Jawas and the Tusken Raiders, an Elgar-style interlude for the Throne Room scene, and memorably strange pieces for Mos Eisley's Cantina Band.
I once interviewed Richard Studt, one of the London Symphony Orchestra’s four concert masters during those sessions, and he recalled that the orchestra had been unsure whether the music would work. “We thought it was far too swashbuckling. The style of it was harking back to Korngold’s film scores of the 30s and 40s – very well orchestrated, very busy, bellicose, glorious and overblown music, with a great big love theme in Princess Leia’s Theme,” he said.
(I just came across an interesting interview from 2011 on the website Popdose with Mike Matessino who worked on the 1997 reissue of the Star Wars soundtracks and wrote the extensive sleeve notes. He clearly thinks the score was intended more jovially than people realise, remarking that: " ... with Star Wars Williams absolutely intended – with tongue more in cheek than most people perceive – to recapture the Golden Age approach of Max Steiner and Erich Korngold. I don’t think that when he wrote it he thought that audiences would embrace the work seriously, since you had to go back probably to Ben-Hur to find a score like Star Wars, meaning that it was all orchestral, featured a lot of themes, and was heard throughout most of the film. Star Wars was originally intended – by George Lucas as well – as an homage to a movie genre from the past, but it ended up becoming its own new thing.")
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Synch, supongo que habrás visto esto (puede que hayas visto fragmentos). Supongo que el inglés no te es problema, así si no lo has visto integro o no lo recuerdas ya sabes lo que toca; comentario cuando lo veas.
Documental que profundiza en la grabación y composición de ESB, así cómo en su importancia en la edición de la película.
Última edición por Branagh/Doyle; 18/12/2017 a las 22:26 Razón: Link correcto
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Última edición por Branagh/Doyle; 18/12/2017 a las 23:05
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Spoiler:
Doctor diplomado en infancias violadas cinematográficas y believers Lucasianos.
Dentro de mil años tú no existirás, ni nada se recordará de ti. De Star Wars y George Lucas, probablemente sí.
"Ahora la gente del cine ya no dice "miren qué buenas películas hacemos" sino "miren que buenas personas somos"". (Bill Maher)
Por supuesto que lo había visto Por cierto en el 7:23 está uno de esos putos momentos que dan con la tecla emocional.
En esa edición musical entre Williams, Lucas, Kurtz y Kershner se puede ver, a parte de quien mandaba, el discurso de ambos cineastas: Lucas más cinematográfico, Kershner más personal/momentos/diálogos.
Con el inglés el problema llega en Escocia e Irlanda. Con Gary Moore por ejemplo
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Tienes un privado, Synch.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Empire dura 124 minutos y Williams compuso 117 minutos de música. Es increíble, y funciona casi cómo un ballet por tramos (haz la prueba de quitar las voces).
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Todo el bloque de Hoth es cómo un cortometraje en pequeñito, BSO incluida. Alucinante.
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
¡Pero no me has dicho si quieres la otra o no, Synch!
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
(...)
I read to live in other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.
I read to live, to get away from life!
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim!
I do not read to swim!
(...)
-Stephen Sondheim, Passion-