El Megapost de las bandas sonoras
- Autor xasvi
- Fecha de inicio
Hinomura Krycek
Bayofilo
La de Mad Max tb es puta mierda?
Peter Jackson
Pizza Time Dude!
Joder esa de DEADPOOL es horrenda eh?
BSO'S hechas con MACS. Que ganas de pegar tiros a los productores.
BSO'S hechas con MACS. Que ganas de pegar tiros a los productores.
KLopeK
Rey del forochateo. De absoluta y rigurosa moda
Y pinta de zorra.
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Pocas trompetas?
Hinomura Krycek
Bayofilo
Es muy Yonki XL, y parece de 007 con tanto chan chan chan. No he encontrado ni una trompeta.
KLopeK
Rey del forochateo. De absoluta y rigurosa moda
No sólo es mierda lo que hace este sinvergüenza hijo de puta metido a compositor, sino que escuchad hacia mitad del nuevo track. Oímos un churro mix de intento de plagio del tema de Batman de Goldenthal y las notas de Gollum de ESDLA. No es broma, ahí está. Hasta Doug Adams -máximo experto en anilladas y la obra de Shore- lo ha puesto en tuiter.
Elliott
Desconozco
jajaja vaya MORATADELAZA (aunque yo no lo llamaria plagio ni de lejos)
ahora, esto oido a toda pastilla en la sala con FX a tope y super/bat-hostias como panes pues claro... MOLA MAZO, EH
ahora, esto oido a toda pastilla en la sala con FX a tope y super/bat-hostias como panes pues claro... MOLA MAZO, EH
Elliott
Desconozco
debio ver de pequeño BATMAN Y ROBIN y se le pego algo
lo de Gollum, bah, demasiadas anilladas oyes
lo de Gollum, bah, demasiadas anilladas oyes
Edgtho
Miembro habitual
Menuda basura
Edgtho
Miembro habitual
Estoy revisando algunas soundtracks de este juntaletras al que se le aparecio la virgen con Mad Max y ... juraría que estas notas me suenan de algo (quitando todos esos tambores e historias)
Por si no salen, es a partir del minuto 4:40
Por si no salen, es a partir del minuto 4:40
Hinomura Krycek
Bayofilo
Mad Max es un refrito de 301. De ahi que comentara que no entendia por que os molaba Junkie en Mad Max y en 301 no...
Dr_X
Miembro habitual
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George Miller habla sobre Mortadela XL: George Miller on 'Mad Max' Sequels, Secret Talks With Stanley Kubrick
QUESTION: In Fury Road, the line between diegetic and non-diegetic sound gets almost gray sometimes, with the Doof Warrior and the drums and the fight sequence with the guitar. So I was wondering if you could talk a little about the workflow with Junkie XL, Ben Osmo, and how that all came together?
That's a long story. The brief part of it was, we had a wonderful sound crew. And for me this was a silent movie with sound. Initially, believe it or not, I didn't want to have music. I thought the guitarist, the Doof Warrior and the drummers and the sound of the vehicles would be enough of a soundscape to basically tell the story. And then there would be music, once the characters started to find some affiliation, particularly Max and Furiosa, and Max in particular was more humanized. I thought we'd bring in some musical element. And so it's a great opportunity, this movie, for sound. And there was a lot of work in that regard. But then I heard some music. Someone from Warner Bros. sent me some music Junkie XL that he had written, this is Tom Holkenborg or Antonius… He's got a very long and wonderful Dutch name. I can't remember all the middle names, but Antonius Holkenborg. And he's extraordinary. He's a kind of polymath. He's a lawyer: he studied as a lawyer while he was doing his music. He's big into sound design and he mixes so much of his own stuff. And he can write any kind of music when tasked to do it. He can write beautiful, lyrical music and long progressions of intense, intense action. He's the first composer I've ever worked with — and I've been very privileged to work with great composers — who can actually explain to me the mathematical underpinnings of musical progression which is wonderful. He can show me Mahler and say, "This is the mathematical progression." Musicologists do this all the time. And so he was someone who was very, very significant in that process. And he brought on guys like Chris Jenkins, who mixed the music and the dialogue, and Gregg Rudloff, who did the effects and whatever — and everybody was really aware of the opportunities we had. I'm not even describing a process, but at least the personnel. But a lot of thought was put into it. And silence is very incredibly important. I'll just give you one thing. At the end of that chase we just saw, in the test screenings I thought there was a tendency for the audience to applaud, and then the applause would fall away. And then you see that there's a shot of Max as he wakes up out of the sand. It holds for a very long time. And I thought, why are they not applauding, continuing with applause, which is a lovely thing to have in the cinema? And I realized it didn't become completely silent. There was a little sound, little, sustained, droning sounds that had continued right through into the next scene. So that caught the audience's ear and it led to an expectation of something else about to happen, rather than we were coming to a full stop. And by making it completely silent, with not one bit of sound, it sort of gave permission for the audience to applaud. And that was really interesting to me. I didn't think a sound I could barely hear influenced the way that the audience would respond to them.
QUESTION: In Fury Road, the line between diegetic and non-diegetic sound gets almost gray sometimes, with the Doof Warrior and the drums and the fight sequence with the guitar. So I was wondering if you could talk a little about the workflow with Junkie XL, Ben Osmo, and how that all came together?
That's a long story. The brief part of it was, we had a wonderful sound crew. And for me this was a silent movie with sound. Initially, believe it or not, I didn't want to have music. I thought the guitarist, the Doof Warrior and the drummers and the sound of the vehicles would be enough of a soundscape to basically tell the story. And then there would be music, once the characters started to find some affiliation, particularly Max and Furiosa, and Max in particular was more humanized. I thought we'd bring in some musical element. And so it's a great opportunity, this movie, for sound. And there was a lot of work in that regard. But then I heard some music. Someone from Warner Bros. sent me some music Junkie XL that he had written, this is Tom Holkenborg or Antonius… He's got a very long and wonderful Dutch name. I can't remember all the middle names, but Antonius Holkenborg. And he's extraordinary. He's a kind of polymath. He's a lawyer: he studied as a lawyer while he was doing his music. He's big into sound design and he mixes so much of his own stuff. And he can write any kind of music when tasked to do it. He can write beautiful, lyrical music and long progressions of intense, intense action. He's the first composer I've ever worked with — and I've been very privileged to work with great composers — who can actually explain to me the mathematical underpinnings of musical progression which is wonderful. He can show me Mahler and say, "This is the mathematical progression." Musicologists do this all the time. And so he was someone who was very, very significant in that process. And he brought on guys like Chris Jenkins, who mixed the music and the dialogue, and Gregg Rudloff, who did the effects and whatever — and everybody was really aware of the opportunities we had. I'm not even describing a process, but at least the personnel. But a lot of thought was put into it. And silence is very incredibly important. I'll just give you one thing. At the end of that chase we just saw, in the test screenings I thought there was a tendency for the audience to applaud, and then the applause would fall away. And then you see that there's a shot of Max as he wakes up out of the sand. It holds for a very long time. And I thought, why are they not applauding, continuing with applause, which is a lovely thing to have in the cinema? And I realized it didn't become completely silent. There was a little sound, little, sustained, droning sounds that had continued right through into the next scene. So that caught the audience's ear and it led to an expectation of something else about to happen, rather than we were coming to a full stop. And by making it completely silent, with not one bit of sound, it sort of gave permission for the audience to applaud. And that was really interesting to me. I didn't think a sound I could barely hear influenced the way that the audience would respond to them.
Atreus
Snake Plissken
Ah, que Chopped XL es abogado. Pues la próxima vez que acuda al juzgado de guardia se entregue a sí mismo.
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Respeta a uno de los músicos más relevantes de nuestro tiempo, creador del sonido del futuro cine.
Hinomura Krycek
Bayofilo
No veo trompetas XL.
Hinomura Krycek
Bayofilo
Hinomura Krycek
Bayofilo
STAR WARS HEADSPACE TRACK LIST:
1. C-3P0’s Plight Kaskade
2. Help Me! GTA
3. Force TroyBoi
4. Cantina Boys Baauer
5. Jabba Flow: Rick Rubin Re-Work (feat. A-Trak) Shag Kava
6. R2 Knows (feat. Barry Drift) Claude VonStroke
7. NR-G7 Rick Rubin
8. Ghomrassen Bonobo
9. Bounty Hunters Röyksopp
10. Sunset Over Manaan ATTLAS
11. R2 Where R U? Flying Lotus
12. Druid Caravan of Smoke Shlohmo
13. EWOK PUMPP Rustie
14. Scruffy-Looking Nerfherder Galantis
15. Star Tripper Breakbot
STAR WARS |– H E A D • S P A C E –|