En mi opinion, su trabajo mas bruto y actioner de toda su obra.Cita:
Iniciado por Branagh/Doyle
Versión para imprimir
En mi opinion, su trabajo mas bruto y actioner de toda su obra.Cita:
Iniciado por Branagh/Doyle
A Quiet Place de Marco Beltrami, saldra en digital, el 6 de Abril y en formato fisico, el 11 de Mayo.
https://milanrecords.com/soundtracks...arco-beltrami/
Y James Newton Howard confirma que compondra la tercera entrega de Animales Fantasticos, la fecha de grabacion de la banda sonora de la segunda entrega, es en Agosto
Este fan de Alan Silvestri de toda la vida, ha escuchado Ready Player One y todavía esta viviendo el orgasmo :cuniao Que alguien le ponga un monumento, que es la mayor reivindicación de toda una época de bandas sonoras, que he visto nunca. Y no lo digo por calidad (que también), sino por estilo... demuestra perfectamente que toda una serie de estilos "de antaño" en temas de blockbusters, pueden seguir funcionando maravillosamente bien, por mas que la nueva ola post-zimmer parezca indicar otra cosa.
Aplaudo.
Parece que los sonidos africanos no solo son de Black Panther :cuniao
https://www.youtube.com/watch?v=lFXBPwIdB-4
Mucho interes en escuchar lo nuevo de Lockington.
¿Alguien va a asistir al concierto que Elliot Goldenthal dará en Dublín este próximo Junio?
https://cdn.shopify.com/s/files/1/14...g?v=1522680961
1000 unidades (hasta que otro sello la reedite, que sucederá seguro). Se oyen de maravilla los samples
Fotografias de las sesiones de grabacion de A Quiet Place
http://scoringsessions.com/2018/04/0...a-quiet-place/
Un Patrick Doyle para Mayo y seguramente, este viernes, Varese edite el disco digitalmente
https://www.amazon.com/Sgt-Stubby-Am...+patrick+doyle
Watertower Music editara The Meg de Harry Gregson-Williams en Agosto.
Back Lot Music editara digitalmente para este viernes, Truth or Dare de Matthew Margeson.
Curioso cómo los créditos musicales se reparten en la película de Han Solo:
En este orden:
Han Solo Theme and Original Star Wars Music by John Williams
Score composed and adapted by John Powell
La presencia de los temas originales de Williams en Rogue One era testimonial, a ver cómo es en ésta.
http://store.intrada.com/s.nl?it=A&id=11454 por fin sale en formato de cd:)
¡¡¡¡ Bud white que tal esta the jewel of the nile' ? es que Jack Nitche no e escuchado nada
Suele usar sintetizador en algunos de sus trabajos ( como Starman) pero es una composición muy entretenida con un gran love theme y nunca se hace pesada.
Si te gusta la película ( yo la tengo cariño aunque sigo prefiriendo a distancia Romancing the stone) una gran compra
Recibido hoy Isle of dogs. Ahora mismo disfrutando del ultimo divertimento Desplat-Anderson. A las campanillas y metales de Desplat se le unen las percusiones más japonesas:
http://youtu.be/oqsLonXE7zY
Los cortes 8, 21 y 22, una maravilla.
Mañana a ver si me llega el último Elfman sombrío de la trilogía y pongo foto
Saludos
la foto prometida:
http://i.imgur.com/qS6NNwr.jpg?1
Saludos
Menudos scores para disfrutar este finde... ;D
Peter Rabbit de Dominic Lewis, Rampage de Andrew Lockington, Submergence de Fernando Velazquez, Lost in Space de Christopher Lennertz, God of War de Bear McCreary
Pero ni rastro de Sgt. Stubby de Doyle :(,
Un reportaje de Desplat:
https://www.youtube.com/watch?v=pQTM0qOkmpA
La secuencia inicial de Reencarnación es una maravilla gracias a Glazer, Desplat y Savides.
Saludos
Revisión de la BSO de Batman '89 (Tim Burton) gracias al compañero Branagh/Doyle!
El Main Title lo tengo grabado a fuego: esos títulos de crédito, en letras amarillas, recorriendo el laberinto que forma el logo de Batman con ese motivo tan brutal y eléctrico (en esa percusión se destila el origen rockero de Elfman eh) que cae luego en el misterio con unas cuerdas que suenan a épica triste (he dicho alguna burrada?), joder, es que fija el tono de toda la puta película en ese tema :descolocao
Giant Bat siempre me pareció que empezaba un poco como a John Williams en algunos motivos intermedios de Star Wars :blink Pasando luego a esas notas que acompañan a la incógnita que supone Batman hasta para los ladrones de Gotham.
Axis Chemical Shootout es de mis favoritos porque además me gusta más aislado que en la película (porque es de esos temas que -me- quedan como disimulados con la acción). Aislado es donde encuentro cojonudas esas trompetas y ese ritmo vacilón en la escena de acción que culminará con la desfiguración de Napier.
Beautiful Dreamer me encanta, con ese punto nana, infantil (pero sin dejar de sonar enfermizo), joder, es bello pero incierto a la vez.
Call Me Joker supone, sino recuerdo mal, el inicio del Joker juguetón y por ello Elfman hace lo propio (no sé si hay oboes por ahí), y de nuevo me suena a algunos temas de Star Wars (tal vez Ep VI), cuando Williams quería aportar misterio en la jungla y similar (bien, o en Indiana Jones). Flowers in the Ally confirma esas semejanzas!
News Theme imita la entradilla musical de un noticiario pero suena muy real :D Seguido del gran Love That Joker en el que Elfman casi se va a los años 20 en la escena en la que el Joker se pasea por el supermercado feliz mientras anuncia sus productos mortales.
Batman to the rescue hace un uso del piano que cuando lo oigo siempre me devuelve al film; mezclado con el tema de Batman pues estamos en pleno recate de Batman a Vicky Vale y antes del puto momentazo...
Descent into Mystery es mi momento favorito no sólo del film, sino que es una de las escenas que más me gustan del cine, en general. Y eso que es completamente estética... Una puesta en escena gloriosa en la que Batman lleva a una torcida de asombro (y muerta de misterio pero con ese gusanillo de que quiere conocer más de ese tipo de negro, EH) Vicky hacia la Batcueva en un in crescendo brutal, enorme, pletórico que culmina con una explosión maravillosamente épica, con esos coros, trompetas y tal, en el momento en el que entramos en la Batcueva. Joder, la he escuchado 8 veces seguidas :D
The Bat Cave vuelve a empezar como algo que me sonaría al Williams juguetón pero Elfman tiene más mala leche (el origen rockero?) porque en ese misterio que destila el tema se nota ese leve matiz sensual de Vicky al estar en la cueva del misterioso alado.
Attack of the Batwing es otra de mis favoritas para escuchar de forma aislada: Batman yendo directo a por el Joker con su cacharro volador y usando el Main Title como base con esas cuerdas esquizofrénicas, enorme!!
March Up The Cathedral con ese órgano para acompañar en las escenas de la imposible iglesia gótica de Gotham.
Shall We Dance vuelve a ser un Elfman disfrazado, casi es un vals de nuevo enfermizo, de un Joker usando todas sus payasadas con Vicky.
Guardian of the Gotham City creo que usa una variación del Main Title pero suena gloriosa, muy cómic, para el preceptivo final en el que el pueblo conoce, y reconoce, a Batman como figura protectora.
Enorme BSO, enorme, joder.
¡Wow, mil gracias!. Tienes otro privado Synch :)
La reedición de las complete recordings de La Comunidad del Anillo por fin ha aparecido en los servicios digitales de streaming y compra (Spotify, iTunes, Google). Incluso se puede adquirir en alta resolución en hdtracks.
Bud, ¿pero no hay una orquestada del todo como sí lo hay de Romancing the Stone, no? Edición por cierto de la obra de Silvestri muy difícil de conseguir; la llevo buscando no poco tiempo...Cita:
Iniciado por Bud White
:hailCita:
Iniciado por Synch
Igual la de Returns no te parece tan buena cómo esta, Synch; esperando con ganas tu review :)
Branagh, ¿a tí cuál de los dos Batman de Elfman te parecen mejor? Yo me mojo: gustandome mucho ambas, me quedaría con la primera, pero la segunda me parece mejor orquestada en términos generales, en mi modesta opinión.
Por cierto, no sé si sabías que a Dios, que diga Spielberg, también le gusta mucho tanto el Batman de Burton como el de Nolan.
http://www.indiewire.com/2015/10/ste...-films-112065/
Returns es mejor musicalmente, más compleja, trágica, lírica, llena de matices. ... probablemente sea lo mejor que ha escrito Elfman en su vida junto con 4 o 5 más.
El primer Batman sigue más los cánones de una partitura superheroica típica, más simple, pero mas potente y con temazos de acción.
Returns es más intrincada, orquestaciones más densas, instrumentación más variada (la celesta y el glockenspiel, por ejemplo).
Si no la tienes completa te mando MP si quieres, gana mucho expandida respecto al álbum del 92.
Claro que mí Returns película, aún reconociéndole sus problemas, me parece una obra de arte, la mejor de Burton junto con Eduardo y Ed Wood, una fábula gótica con subtexto político y religioso delicioso, y unos diálogos metafóricos muy afilados.
:abrazo
Jack, ¿leiste el como¡entrado que deje sobre una entrevista que vi de Danny Elfman en el hilo de la saga de Batman?
Cita:
Iniciado por Synch
Lo pongo en el hilo de la saga de Batman, si te parece bien. Buen comentario, compañero.
Lo del tipo de negro me ha matado, EH. :mparto
Es que claro... Son percepciones que uno de niño ni se da cuenta. Pero de adulto... Batman rescata a Vicky, la cual casi la palma a manos del Joker y es rescatada por Batman; además es reportera y tal, y tiene interés en el murciélago, con lo que le va el doble de bien (tiene miedo y tal pero esconde el carrete). Pero a la vez ese señor le pone, es obvio, es normal, nadie sabe quien es, va ahí de negro salvando gente pero parece malote, tiene esos cacharros, la salva, se la lleva en plan salvador en su corcel/coche negro a su cueva/castillo... Y ella en el coche va 33% precavida, 33% con ganas de saber quien es y adonde la lleva y 33% en plan qué tio...Joder, no?.Cita:
Iniciado por Branagh/Doyle
En Batman Forever, Schumacher fue menos sutil con la Kidman y Kilmer :lol
Supongo que conocéis esta comparativa:
https://www.youtube.com/watch?v=ttV5C5evB7Y
Si, es lo mismo que lo de Jaws y la 9ª de Dvorak.Cita:
Iniciado por willycps
No es plagio, es una manera de comprobar que todos tienen fuertes influencias y maestros... lo importante es que estén tamizadas bajo su estilo propio.
Es cómo decir que el Main Title de SW es esto:
https://www.youtube.com/watch?v=V47enEvsafQ
Las diferencias en cuanto a progresión armónica y orquestación no cuentan, claro.
¡Synch, menudos análisis! A ver si me haces alguno de las películas de Verhoeven :P
After Batman, Danny Elfman did a number of action films (Darkman, Dick Tracy, Nightbreed), but it wasn't a dislike of the genre which forced him to call it quits after Batman Returns in 1992. "Personally I love doing those big action films. I had a great time writing the score to Darkman. It was a big, old-fashioned melodrama, and I love big, old melodramatic scores." Instead, it was the interminable sound effects of the genre that turned him off. "It was during the screening of Batman Returns that I decided I want to write music that will do what it was meant to do for a film; I don't want to write music that will compete with an opera of sound effects. Contemporary dubs to my ears are getting busier and more shrill every year. The dubbers actually think they're doing a great job for the music if a crescendo or horn blast occasionally pops through the wall of sound."
The situation on Batman Returns was his worst ever. Elfman wrote his music with dynamics in mind, only to find that everything was flattened out by the dubbing mixer. The film was so poorly dubbed that Elfman believes his music actually hurt the picture; had he known how the sound effects would have been used, he would have simplified his writing. "In the end result, I believe that if 25% of the score and 25% of the sound effects had been dropped, the entire soundtrack would have been infinitely more effective than the busy mess it became." Many composers will argue that a good relationship with a director will help get their score across in the final mix, but unfortunately most directors "don't have good ears, even the brilliant ones. With Tim Burton, I had my best and worst dubs back to back. I've never had a better dub than on Edward Scissorhands, and I've never had a worse dub than on Batman Returns. No director does this consciously, they just lack the audio skills to deal with such a complex science."
As an example of good dubbing, as practiced in the past, Elfman mentions Lawrence of Arabia, where the first several minutes of a huge battle scene are played solely with sound effects, and at a specific cut, the music takes over completely. "The music raises the emotional level enormously, and you're not aware that all the sound effects have stopped, your brain thinks they're continuing. That to me is perfect dubbing." Another example EIfman gives, enthusiasm bubbling, is Hitchcock's sparse use of sound effects. "Hitchcock was wonderful at giving a heightened reality to a scene by being very selective with the sound. We would rarely hear sound effects for action that we did not specifically see, and he would let the music fill in all the holes in our imaginations. It let us imagine these things are there all the time, but we're not hearing everything all the time, and you don't think anything is wrong."
Today, however, "sound people tend to look at each individual moment. They look at five seconds, and if something's missing for a fraction of a second, there tends to be a panic. They don't look at the context over the entire soundtrack and the entire film. Hitchcock's films, if dubbed today might become a whole different animal as the soundtrack would get filled from top to bottom, leaving no room to breathe, and certainly no room for Bernard Herrmann's marvelous scores. There is a point at which all of this starts to wear down on the audience's ears." EIfman compares the experience of dubbing a film to mixing an album - in each case, you tend to scrutinize it moment to moment, looking at every single instant, and if there are major flaws your ear tends to grow accustomed to them just by the repetition. Even if it's wrong, it will start sounding right. However, a major difference is that when you mix an album, you can "A-B" it with another recording just by popping in a different CD and re-aligning your ears. "You might pop in another album for comparison and realize, 'Oh my god, there's no bass!' But it's only by listening to something else that you realize that you almost completely lost your bass, because your ears will compensate for it and make you think you've been hearing it all this time. That's a luxury we have when we're mixing, you can pop in something else at any time and re-adjust your ears to see if you've slipped, but you can't do that on the dubbing stage of a film. You can't just turn on another film and go, 'Beep beep, A-B, whoa! Why does that other movie sound twice as good as ours? Maybe we're doing something wrong here.'"
Elfman isn't critical of any particular sound designer, as much as the entire freight-train dubbing mentality. "They're simply doing their jobs, which is to provide every possible sound. It's the mixer's job to select sounds and ask, 'Do we need to hear everything that you see and don't see all the time?' What contemporary dubbing is doing is taking all our imagination away from us."
Nevertheless, film remains a medium obsessed with creating an audio-visual "virtual reality," a type of sensory overload, to the expense of the story and characters, even though those are what people are going to see. "An audience very seldom realizes when they're hearing a terrible score, any more than they realize when they're watching terrible editing. If they could magically see a scene edited much better, they would notice the difference, and likewise, if they could suddenly, magically see the same scene with a very effective score, they would find themselves unconsciously more involved."
He Writes His Own Music, Already
Nothing has been as pervasive or damaging to Elfman's reputation as the constant belief and insistence by others that he doesn't write his own music. Never mind the similarity of style from score to score, the fact that he has continued to write large-scale scores without using Shirley Walker to conduct, who people at one point assumed really wrote Batman; that the scores his Iead orchestrator, Steve Bartek, have done on his own have been completely different from Elfman's music; and the sheer illogic to the assumption that Elfman could have a hidden army of ghost-writers somewhere without anyone naming names or coming forward. Yes, it is true he came up with the theme to Batman while on an airplane, then went into the john and hummed it into a tape recorder. Many composers and songwriters have been known to carry around tape recorders and hum out a melody when it comes to them; some turn over the tape to an orchestrator to flesh out, many write it themselves. Elfman took his tape of him humming the Batman theme, brought it home and wrote it out himself at a piano with pencil and paper.
"I use orchestrators, not arrangers. The difference may seem subtle. but it's not," he explains. "The orchestrator's job is to take music which has been clearly written and balance it for the size orchestra that has been designated. Steve Bartek has been my primary orchestrator on almost every film I've done. He never changes a melody, he doesn't add counterpoint, he does not change or add harmonies. That's the composer's job. He will elect what instrumentation might best express what I'm trying to convey in terms of doubling melodies and dividing the parts of the string section so they can be used most effectively. I don't want to minimize this job, it's very important. It's time-consuming and I, Iike most composers, depend on our orchestrator to complete the final stage of the scoring. John Williams uses orchestrators and he certainly doesn't need to. Prokofiev used orchestrators, though he certainly didn't need to. I use orchestrators for the same reason." To give specific examples, if Elfman wrote three parts for strings, Bartek will decide which individual players will play which note to best balance the orchestra. He might also write out more orchestral parts than are eventually used; for example, the oboe music might include lines from the flute part, so that even though the oboist is not expected to play, his music will include the flute lines in case it is deemed necessary for him or her to "double" (also play) it. It's simply easier to have it all written in advance than to have to rush and have the copyist scribble out new parts on the stage. "We may have the first pass of a cue over-orchestrated, and then have to tacit parts, but better that than under-orchestrated," he explains.
The orchestrator is helpful before the recording, as well as during it. "I have a tendency to overwrite, as you're well aware, and Steve is very helpful in finding train-wrecks before we get to the scoring stage. When I'm moving very fast, he'll be able to help me, like 'tell me where I fucked up by laying it on too dense.' Sometimes Steve will call me up, he'll say, 'Your melody is down there in this very loud section, I think you've got to make a decision between what the trombones are playing or where the melody is.'"
In two rare cases. Elfman has delegated a cue of a score to an outside composer, just to finish on time, Jonathan Sheffer wrote the helicopter music in Darkman (see sidebar p. 16), and Shirley Walker did one of the climactic action cues in Nightbreed. These resulted from Elfman knowing he could write 63 minutes of a 70 minute score in the time allotted, for example and delegating the other 7, often for particularly noisy, sound-effects laden cues he didn't want to deal with, to the outside musician. "The few times that I've asked orchestrators to do an arrangement and take a melody I've written and turn it into an original piece of score, I've always given them composing credit," he states. (For proof, see the end credits of the respective films.) "That same philosophy applied in many films today would leave very long and embarrassing end credits."
Elfman's first film was the aforementioned Pee-Wee's Big Adventure, and he briefly toiled with the idea of doing it the usual "rock and roll method," i.e. playing themes and having an orchestrator take it from there. But he realized. "to really get your voice sounding original, you need to do more than that. I started doing that for two weeks on Pee-Wee, and realized, this isn't going to work. I forced myself to start writing the stuff out." He got by on Pee-Wee by the fact that "it was a very simple score", same for Back to School. "I got up to Beetlejuice and over the course of ten scores got to the point where I could handle more complicated music and I had to push myself to do Batman. Once I got to Batman I had the confidence to hold much denser pieces in my head, because in order to write I have to mentally freeze the entire piece of music and write it down one part at a time. Same thing leading into Dolores Claiborne, I couldn't have done that at the time I did Batman, because at that point I couldn't really do dissonance, I had a hard time holding onto chords with odd voicings and movements, and moving things around in a non-rhythmic way. The key scores for me were Pee-Wee to Beetlejuice to Batman to Dolores, those were the big jumps, for me at least I'm not saying they were great leaps for music-kind.
"It's always amazed me how far and widespread the rumor that I hire other people to write my music has gone," Elfman states. "It's most interesting to me that Steve Bartek, who has orchestrated 95% of my music, never seems to be the one given that credit, which usually gets bestowed on conductors and secondary orchestrators, for reasons which I can't fathom. I've only heard a thousand times that Shirley Walker 'really' wrote the score to Batman, that Bill Ross 'really' wrote the score to Beetlejuice, that Mark McKenzie 'really' wrote the score to The Nightmare Before Christmas - the list goes on and on, and it's very boring."
Elfman's initial response to a request to print his sketches was an emphatic "No way!" and one just has to look at his work to see why he might be defensive. "I'm embarrassed for good musicians to see my written music. My writing is self-taught, and as is with any illiterates learning to write, they often teach themselves in peculiar ways. My uses of sharps or flats often have a random quality as to my ear A-sharp and B-flat have no difference. To a trained musician, of course, they are different, in how they're read. Often I catch myself writing in sharps and realize I should be in flats and switch half-way through a phrase, creating some very confusing looking notation, particularly when changing keys. In that sense, I'm certainly an orchestrator's biggest nightmare.
Also, I'm most comfortable writing in treble clef, even if it means using 15 or 31vb [one or two octaves lower than written] next to the phrase because this requires the least amount of concentration while I'm writing. When I feel alert, I write in bass clef, it just depends on the time of day. My writing is very much like an illiterate person who taught themselves the alphabet and how to type while writing a novel. They may be able to accurately tell their story, but it will be filled with misspellings and grammatical errors. Because of this, they, like myself find the viewing of their original manuscripts to be embarrassing. I can't make up for a dozen years of training that I never had, but musically speaking, I am able to say exactly what I wish to say, though often in awkward ways."
So basically, Elfman is a bad speller. However unlike a self-taught novelist who can use a spell-checker on a computer, there's no spell-checker for writing music with pencil and paper. "Those misspellings stay forever in my music," he says.
"There's a big bitter contingent of people out there who feel like their place is being robbed by people like me," states Elfman the composer, forced back into self-reflexive mode and still paying for the career-defining error of admitting he has no formal education. "The most annoying thing about composers is their inability to accept the possibility that one could be self-taught. That doesn't exist in any other field in film. A director doesn't need to go to film school and no one will question him. But a composer cannot be a composer doing their own music without going through formal musical training. If that's what they think, fine, I don't give a fuck. The fact that there are a lot of composers that on their own would be better orchestrators than me, that's great. I think a good proportion of the composers working out there are really just orchestrators, and haven't a fucking clue what to do with a melody or how to use it or how to do variations on a theme; and/or they're songwriters who do what I'm accused of doing, although I don't, which is just coming up with melodies and hiring a team to adapt it into a score."
Para mi es una de mas mejores bandas sonoras de la historia, por encima de la pelicula, es de las pocas que aguanto escucharlas entera, recuerdo que al año de estrenarse en los cines me la compre en cassete, no tenia CD aun en esos tiempos.Cita:
Iniciado por Synch
borrado por error.
Cita:
Iniciado por Bud White
¿Querías poner el volumen 2, Bud? ¿O su próxima película de animación?
The jewel of the nile es asi, no es que suene sinfonica ni haya otras versiones, la autentica de la pelicula suena asi.Cita:
Iniciado por jack napier
Romancing the stone fue reeditada por lalaland records el año pasado.
Es tambien limitada pero vale 20 dolares
http://www.lalalandrecords.com/Site/RTS.html
ya se habia mencionado? porque he mirado varias paginas atras y no lo he visto.Cita:
Iniciado por Branagh/Doyle