Indiana Jones y El Reino de la Calavera de Cristal (2008) Opiniones y Seguimiento
- Autor Peter Jackson
- Fecha de inicio
Stevie
Freaky Boy
re: Indiana Jones y el Reino de la Calavera de Cristal-MEGAP
GaCkT buenisimo!
GaCkT buenisimo!
G
Guest
Invitado
el jodido enlace a rapidshare, no sólo hay que esperar sino que cada vez lo ponen más chungo, me dice que ahora tengo que meter las letras en las que haya detrás un gato... coño.. ¡y yo no los distingo joder!
Peter Jackson
Pizza Time Dude!
Klopek...ahora mismo paso la partitura a MIDI y la cuelgo...
Peter Jackson
Pizza Time Dude!
Joder el TEMA DE IRINA ES APOTEOSICO!!!!! MISTERIOSO Y SENSUAL COMO PREDIJE!!!
El_Cizañas
Catorceavamente campeón de Europa
Tan sensual como yo?
LA COSA PROMETE!!!!!
LA COSA PROMETE!!!!!
Peter Jackson
Pizza Time Dude!
Tengo secuenciado con el Cubase el tema de Irina en MP3, lo subire a un servidor que podais escuchar todos y descargarlo!
Peter Jackson
Pizza Time Dude!
re: Indiana Jones y el Reino de la Calavera de Cristal-MEGAP
Podeis descargar el MP3 aquí:
http://rapidshare.com/files/111085073/irina_theme22.mp3
Damas y Caballeros: IRINA'S THEME
PD: Es una aproximación...
PD: Es una aproximación...
http://www.youtube.com/watch?v=p7Xv7OzreKM
Podeis descargar el MP3 aquí:
http://rapidshare.com/files/111085073/irina_theme22.mp3
Peter Jackson
Pizza Time Dude!
Re: re: Indiana Jones y el Reino de la Calavera de Cristal-M
Valek dijo:a sus pies maestro
A los pies de ESTE MAESTRO!
E
Eliminado22
Invitado
Me encanta como usa Williams los sintetizadores! Que arriesgado!!!
Christian Troy
Miembro habitual
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Re: re: Indiana Jones y el Reino de la Calavera de Cristal-M
K, ya sabes, que parezca un accidente
PD: Peter, mola el avatar
Valek dijo:
K, ya sabes, que parezca un accidente
PD: Peter, mola el avatar
Peter Jackson
Pizza Time Dude!
re: Indiana Jones y el Reino de la Calavera de Cristal-MEGAP
Review de la BSO:
This is, without a doubt, one of the most eagerly awaited scores since 1999 (remember, The Phantom Menace), and we have it at last between our hands. Without further ado, we present a small analysis of what will perhaps be one of the last blockbuster scores in John Williams' career.
One could choose not to comment on the multiple variations on the Raiders March that punctuate the album of the Kingdom of the Skull of Crystal. Nevertheless, the sum of unexpected variations around the famous theme allows us to appreciate Williams' state of mind on taking on this fourth opus. The orchestration shows an undeniable nostalgia and sound perhaps a bit wiser than those of the Temple of Doom era, the accentuation of the flutes and wood section of the orchestra making the most of the epic flow of the melody, without depriving it of his universal reach. More astonishing is the rendition on the End Credits, true symphonic prowess stretched on for ten minutes, presents an unpublished coda, the maestro is keen to jostle his legendary work as soon as the occasion presents itself. The leitmotiv of Marion Ravenwood follows the same logic, leaving familiar sonorities to fly away itself little by little towards totally new territories. Williams develops intensely thus, a melody that had permeated the whole score for Raiders of the Lost Ark, and the new measures (especially concentrated in the final cue) should appease the fans. While one could expect that the composer navigates without effort on his own inheritance, The Kingdom of the Crystal Skull becomes however an arena for great artistic development by Williams, and this is evident in his treatment of the new three themes.
Respecting the tradition of the series, the score of Indiana Jones 4 always rests on a clash between the themes of the different protagonists, the principal leitmotiv (the famous McGuffin, here a Crystall Skull of unknown power) serving both as the basis of the dispute and of a common objective. On one hand, Williams presents the Good Guys themes, namely for Indy himself (whose exploits logically are illustrated by the Raiders March, which is put through every possible and imaginable tonality, denying sometimes the melody, but keeping only the recognizable rhythm) and his young sidekick Mutt (Shia La Beouf). On the other side, Williams depicts musically the character of Irina Spalko (Cate Blanchett), main baddie of this new episode. If the overall structure remains the same as in the previous scores, the writing itself is more radical than ever, bringing to fruition the different sources of the composer (the jazz of Charles Ives, the operas of Mozart and Wagner, the tortured orchestrations of Bartok) and its last personal experimentations (the concrete music of The War of the Worlds, the exclusively rhythmic usage of the brass in the last Star Wars score. It results a score not only of an expectional textural wealth, but also and especially in perfect contradiction with his era.
No one else in this craft nowadays would dare to apply the wide variety of musical registers that characterize this new Indiana Jones. The reason is very simple: such a work demands of the composer a culture, a level of formation and especially a creative genius that are cruelly lacking in the current generation of film composers, more at ease in the vocabulary of commercial lyricism prone to Hans Zimmer. Owing greatly toMozart, the motive in Major ré of Mutt (The Adventures of Mutt) presents a succession of ultra fast descending chords, that besides being a true challenge for the orchestra's virtuosity, serves as support for the Raiders March facing the sonorous aggressions of Irina Spalko. This last one showcases trully unique musical colors, proving if necessary that Williams is the last very big creator of living themes. Melancholic, noble and threatening, evoking an ambitious and tragic Russia, the leitmotiv of Spalko indicates a complexity of extremely rare writing, with disturbing chromotisms which are perfectly reflected by the unpredicable, yet pertinent, candences. This complexity is dessimulated behind uniform rhythms and accompaniments of canon (?), helping to deeply anchor the melody in the unconscious of the listener. The juxtaposition of the three melodies, that compete among themselves throughout the first half of the album, also features of course phenomenal action cues, that will leave a lasting mark on the saga (Jungle Chase, notably).
We have at last the leitmotiv of the Crystal Skull, and this one risks not being as beloved by the exclusive fans of big sweeping themes (not a direct translation). Based on an inverted and slightly retouched version of the Ark theme, theme that makes an appearance in track 6 (I really can't translate this, too many musical terms -- pour les musiciens, le Crâne de Cristal : arpège si blanche, fa bécarre noire, si noire à l’octave supérieure – l’Arche : fa dièze blanche, fa bécarre noire, si noire à l’octave inférieur), Call of the Crystal is probably the most subtle theme of the series (not a good translation probably, here), and drowns progressively the episode in a mood of pure nightmare. The whole second half of the disc is left thus in a very dark mood, supported by action pieces on the limit of atonality (Serious Robbers and its tribal rythims, Secret Doors and Scorpions and its strident piccolos, Ants! and his strong fight between the orchestra and the percussion). With some very unusual moods (The Journey à Akator allows itself even a Peruvian parenthesis) and full epic touches of which Williams is the consumate master, The Kingdom of the Crystal Skull is therefore a beautiful lesson to be learned by the current generation of rising film composers (can't understand the next portion). Let's just hope they can make the most of this lesson.
Review de la BSO:
This is, without a doubt, one of the most eagerly awaited scores since 1999 (remember, The Phantom Menace), and we have it at last between our hands. Without further ado, we present a small analysis of what will perhaps be one of the last blockbuster scores in John Williams' career.
One could choose not to comment on the multiple variations on the Raiders March that punctuate the album of the Kingdom of the Skull of Crystal. Nevertheless, the sum of unexpected variations around the famous theme allows us to appreciate Williams' state of mind on taking on this fourth opus. The orchestration shows an undeniable nostalgia and sound perhaps a bit wiser than those of the Temple of Doom era, the accentuation of the flutes and wood section of the orchestra making the most of the epic flow of the melody, without depriving it of his universal reach. More astonishing is the rendition on the End Credits, true symphonic prowess stretched on for ten minutes, presents an unpublished coda, the maestro is keen to jostle his legendary work as soon as the occasion presents itself. The leitmotiv of Marion Ravenwood follows the same logic, leaving familiar sonorities to fly away itself little by little towards totally new territories. Williams develops intensely thus, a melody that had permeated the whole score for Raiders of the Lost Ark, and the new measures (especially concentrated in the final cue) should appease the fans. While one could expect that the composer navigates without effort on his own inheritance, The Kingdom of the Crystal Skull becomes however an arena for great artistic development by Williams, and this is evident in his treatment of the new three themes.
Respecting the tradition of the series, the score of Indiana Jones 4 always rests on a clash between the themes of the different protagonists, the principal leitmotiv (the famous McGuffin, here a Crystall Skull of unknown power) serving both as the basis of the dispute and of a common objective. On one hand, Williams presents the Good Guys themes, namely for Indy himself (whose exploits logically are illustrated by the Raiders March, which is put through every possible and imaginable tonality, denying sometimes the melody, but keeping only the recognizable rhythm) and his young sidekick Mutt (Shia La Beouf). On the other side, Williams depicts musically the character of Irina Spalko (Cate Blanchett), main baddie of this new episode. If the overall structure remains the same as in the previous scores, the writing itself is more radical than ever, bringing to fruition the different sources of the composer (the jazz of Charles Ives, the operas of Mozart and Wagner, the tortured orchestrations of Bartok) and its last personal experimentations (the concrete music of The War of the Worlds, the exclusively rhythmic usage of the brass in the last Star Wars score. It results a score not only of an expectional textural wealth, but also and especially in perfect contradiction with his era.
No one else in this craft nowadays would dare to apply the wide variety of musical registers that characterize this new Indiana Jones. The reason is very simple: such a work demands of the composer a culture, a level of formation and especially a creative genius that are cruelly lacking in the current generation of film composers, more at ease in the vocabulary of commercial lyricism prone to Hans Zimmer. Owing greatly toMozart, the motive in Major ré of Mutt (The Adventures of Mutt) presents a succession of ultra fast descending chords, that besides being a true challenge for the orchestra's virtuosity, serves as support for the Raiders March facing the sonorous aggressions of Irina Spalko. This last one showcases trully unique musical colors, proving if necessary that Williams is the last very big creator of living themes. Melancholic, noble and threatening, evoking an ambitious and tragic Russia, the leitmotiv of Spalko indicates a complexity of extremely rare writing, with disturbing chromotisms which are perfectly reflected by the unpredicable, yet pertinent, candences. This complexity is dessimulated behind uniform rhythms and accompaniments of canon (?), helping to deeply anchor the melody in the unconscious of the listener. The juxtaposition of the three melodies, that compete among themselves throughout the first half of the album, also features of course phenomenal action cues, that will leave a lasting mark on the saga (Jungle Chase, notably).
We have at last the leitmotiv of the Crystal Skull, and this one risks not being as beloved by the exclusive fans of big sweeping themes (not a direct translation). Based on an inverted and slightly retouched version of the Ark theme, theme that makes an appearance in track 6 (I really can't translate this, too many musical terms -- pour les musiciens, le Crâne de Cristal : arpège si blanche, fa bécarre noire, si noire à l’octave supérieure – l’Arche : fa dièze blanche, fa bécarre noire, si noire à l’octave inférieur), Call of the Crystal is probably the most subtle theme of the series (not a good translation probably, here), and drowns progressively the episode in a mood of pure nightmare. The whole second half of the disc is left thus in a very dark mood, supported by action pieces on the limit of atonality (Serious Robbers and its tribal rythims, Secret Doors and Scorpions and its strident piccolos, Ants! and his strong fight between the orchestra and the percussion). With some very unusual moods (The Journey à Akator allows itself even a Peruvian parenthesis) and full epic touches of which Williams is the consumate master, The Kingdom of the Crystal Skull is therefore a beautiful lesson to be learned by the current generation of rising film composers (can't understand the next portion). Let's just hope they can make the most of this lesson.
Peter Jackson
Pizza Time Dude!
Re: re: Indiana Jones y el Reino de la Calavera de Cristal-M
Dussander dijo:
T-1000
Miembro habitual
es una aproximaciónnnnnnnnnnnnnnnnnnnnnnn
El_Cizañas
Catorceavamente campeón de Europa
Aproximación?
Yo diria 'Alejacción'
Yo diria 'Alejacción'
Peter Jackson
Pizza Time Dude!
El_Cizañas dijo:Aproximación?
Yo diria 'Alejacción'
que mamón...
re: Indiana Jones y el Reino de la Calavera de Cristal-MEGAP
Pues este el CrystallSkull theme:
http://ia360934.us.archive.org/3/items/CrystalSullTheme/CrystalSkullTheme.mp3
Que crack, Peter... que toque más terrorífico para el tema de Irina veo!!!!!! Un puto MIDI, joder, enfermossssssssss de mierdaaaaaaaaa!!!!!!!!!!
Pues este el CrystallSkull theme:
http://ia360934.us.archive.org/3/items/CrystalSullTheme/CrystalSkullTheme.mp3
Que crack, Peter... que toque más terrorífico para el tema de Irina veo!!!!!! Un puto MIDI, joder, enfermossssssssss de mierdaaaaaaaaa!!!!!!!!!!
Christian Troy
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Peter, esa aproximacion es indigna del maestro
T-1000
Miembro habitual
re: Indiana Jones y el Reino de la Calavera de Cristal-MEGAP
un respeto a Peter coño!! gañanes que sois unos gañanes!!!
un respeto a Peter coño!! gañanes que sois unos gañanes!!!