El Megapost de las bandas sonoras

Respuesta: El Megapost de las bandas sonoras

A mí "Willow" me encanta incluso como batido. Prefiero a ese Horner que al que se repite a sí mismo.
 
Respuesta: El Megapost de las bandas sonoras

Si, seguro que sus referencias clásicas en 'Willow' son tan inconscientes como las 65 notas de 'Braveheart' que mete en 'El Hombre Bicentenario'.

En el fondo a mí la BSO de 'Willow' me encanta también, porque la conozco desde mucho, mucho antes de saber de todos estos plagios y ya forma parte de mi vida. Pero eso no impide que la critique como al que más.
 
Respuesta: El Megapost de las bandas sonoras

Después de 2 intensas semanas de trabajo esta noche estrenamos la obra de teatro a la que le he compuesto el score: LA VERDADERA HISTORIA DEL TITANIC de Manuel Cabo. A las 22:00 en la SALA FLUMEN de Valencia, entrada gratuita por supuesto!.

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Respuesta: El Megapost de las bandas sonoras

Peter Jackson dijo:
Después de 2 intensas semanas de trabajo esta noche estrenamos la obra de teatro a la que le he compuesto el score: LA VERDADERA HISTORIA DEL TITANIC de Manuel Cabo. A las 22:00 en la SALA FLUMEN de Valencia, entrada gratuita por supuesto!.

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vaya, que lastima Peter, ahora acabo de ver el anuncio, ya no me da tiempo de ir, deseo que tengas mucha suerte en el estreno paisano:palmas
 
Respuesta: El Megapost de las bandas sonoras

Pues la verdad es que estuvo bastante bien, los actores lo hicieron estupendamente, el aforo de la sala estaba casi lleno y el equipo con el que lanzaban el audio era profesional así que se escuchaba toda mi música genial. Estoy muy contento con el resultado. A ver si subo pronto todo el score para que lo escucheis. Apenas son 10 minutos.


Y hablando de otras cosas, Alan Silvestri fue ayer HOMENAJEADO en el "HOLLYWOOD IN VIENNA" un superconcierto que empezó el año pasado con un homenaje a Howard Shore y que este año la figura central era Silvestri con una selección de sus obras y la entrega de un premio.

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Alan Silvestri recibe el premio de manos de Sandra Tomek

Un remix increible!

http://www.youtube.com/watch?v=4Hzh775izyA





Bruce Broughton ( El Secreto de la Piramide)

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Respuesta: El Megapost de las bandas sonoras

Venga Peter, ya estás tardando en compartir tu "Titanic".
:cortina
 
Respuesta: El Megapost de las bandas sonoras

Desde jwfan.com

sobre la bso de WAR HORSE

The ‘Battle Cry’ esque theme from the trailer that many think is just in the finale is actually LACED throughout the whole score quite a bit. In many many different variations. There was also a little Irish sounding bit that came in near the end of the trailer, and that is another MAJOR theme for the score, but is expanded a LOT more than that in most cases. That was just one bar from a probably 6-8 bar theme.

There is a LOT of Celtic, or Upper English music in the score…but it’s not over-done…it mixes in nicely with the gorgeous string writing Williams has done.

The action scenes hark back to old Williams ala Raiders, Far and Away, Last Crusade. I’m telling you…this score is brilliant…can’t give it enough praise.

That piano theme (from the trailer) is the VERY last music you hear in the End Credits. It is interspersed throughout the score a TINY bit, if my memory serves, but it’s not a big theme that is heard often.

You know how a lot of the emotional music from Jurassic Parkactually had very ‘pop-like’ chords (including the main theme and journey to the island) that just perfectly worked because Williams twisted them and molded them into his own frame? A lot of War Horse has that.

What I am saying is that the most emotional music is very chord based…but the progressions Williams uses are wonderful and surprising a lot of the time. Wonderfully done.

I can promise you that if Williams were allowed to unchain himself from modern conventions in film (no, even Williams can’t do that if he wants to continue to work) we would be hearing those same classic setpiece action overtures. But before anyone gets down on the current state of film music, let me clarify thatWar Horse (for the most part) does not follow that trend in writing.

The action pieces in War Horse are pretty neat, and while they don’t use the same style as say, Forest Battle, or Indy’s First Adventure in concert scoring, they certainly come close…and are DIFFERENT than his latest generic action music that has been accompanying most of his films (cue the xylophone and upper woodwinds chirping out endlessly). The few action cues in War Horse have great unique personality.

War Horse does NOT have a ton of action material. But that is what is so cool about the ones it does have. Most of the score is so spellbinding and beautiful that when all of a sudden something millitaristic and ugly crashes through the background, it is incredibly striking. The action music in War Horse is less about fun adventure ala Indy, and more about nastiness of war. It’s harsh and brutal in most cases. There is definitely a rhythmic drive (done not with percussion, but more with exciting instrumental figures) but also strong melodic fragments. Again, I can’t give out tooooo much detail about individual cues, but I think that should answer your question a bit.

Obviously I haven’t SEEN War Horse, but I have heard the score, and I think Spielberg might have asked Williams to harken back to his older style with it. Either that, or Spielberg harkened back to HIS old style a little bit, because the action cues are very very focused in it.
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y sobre la bso de TINTÍN

Tintin is your typical ‘quirky’ Williams comedy adventure score. With some accordion, sitar, saxophone thrown in. There are a few memorable action cues, but IMO it doesn’t come close to War Horse in terms of creative and intelligent content – not to mention sheer beauty.
To put it in comparable terms… War Horse = Angela’s Ashes/Raiders/Far and Away/Saving Private Ryan
Tintin = Funny SW Prequel moments/Terminal/SOME Catch Me If You Can/a PINCH of Jurassic Park (my favorite cue from the film)
(not to mention the biggest Hook pirate theme ripoff this side of James Horner)

You have to understand that I must be careful in my answers to not give away actual descriptions of music as that could get me into trouble.

But I will say that the pinch of Jurassic Park is a bit of half-action music…more just intense (I don’t mean scary) and millitaristic brass figures…except in Tintin it’s an actual action cue that is sped up. But it’s only the beginning of the cue. Trust me, if the whole of Tintin was on Jurassic Park‘s level, I wouldn’t be complaining about a thing! It’s a good solid John Williams score. But it’s just that. Whereas War Horse is one that made me go ‘Wow…this is why I wanted to be a composer

There is a lot about Tintin that could be considered Carl Starling…but the Thompsons’ theme is probably the quirkiest and most tongue in cheek. There is nothing blatantly…like…Merry Melodies theme…it’s not THAT cartoony. But the Thompsons’ theme is dorky and quirky.

Tintin is a bit more like his general action music BUT there are several cues that achieve more than that. (There are a lot of moments of excitement in Tintin)

The score does not feel jumpy at all. All of the ethnic instruments are used either to emphasize a brief filmic moment, or to evoke a certain tone in the music. It doesn’t jump from classic Williams orchestra to jazz saxophone from one cue to the next. Think the way Terminal had accordion in the main theme and throughout…it worked because it blended.

Quite the contrary in regard to the themes…each theme is used extensively in Tintin. Almost every cue has at least a touch of the several themes. I wouldnt’ say they are developed that much over time…pretty much what you first hear is what you get from them. Sort of like Indy’s theme…sometimes it is fast and adventurous…sometimes it is slow and thoughtful…but it doesn’t really morph that much over the film.
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Respuesta: El Megapost de las bandas sonoras

mas o menos lo esperado. En TINTIN me imagino la accion loca a lo INDY4 o secuelas HP, y en la otra el Williams de supermelodrama epico emotivo.
 
Respuesta: El Megapost de las bandas sonoras

Joder con TINTIN :babas Qué milagro escuchar hoy en día unos Scherzos aventureros tan buenos. Desde 'Prisoner Of Azkaban', tal vez...
 
Respuesta: El Megapost de las bandas sonoras

Pues a mi si que me mola mucho. Cómo decis es el Williams aventurero puro, y se nota más elaborada y con ganas que alguna de las últimas. Me ha gustado el uso del piano, y los toques franceses y jazzisticos, y prometen los temas de misterio y acción. Quizá no sea una obra tan de temas y melodías retentivas como se esperaba, pero habrá que escuchar entero.
 
Respuesta: El Megapost de las bandas sonoras

Madre mía con el maestro. Esto es Indy puro, con algunos toques a lo Catch Me y La Terminal y ligeras pinceladas de Potter. Pero es que por primera vez en mucho tiempo casi todo recuerda al Williams de los 80-90. Hay mucho de Temple of Doom (a partir del segundo 30 y esos violines del 4:30), algo de Crusade y hasta homenaje a la escena del camión de Raiders (min 3). Ciertamente, no se le ve tan desganado como en la calavera, hay mucha variedad.

¡Y la Castafiore!

P.D.: Elliot tiene que estar de broma.
 
Respuesta: El Megapost de las bandas sonoras

en cada nuevo trabajo del genero se dice que vuelve el Williams de los 80-90. Y no. Nunca volvera.
 
Respuesta: El Megapost de las bandas sonoras

Ni falta que hace. Lo importante es que sus obras suenen trabajadas y frescas, y esos clips suenan deslumbrantes y con toques del Williams de aquella epoca.
 
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