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Sinoc pogledao Korejanskog Parazita. Odlicna prica, odlicna rezija, odlican film.

Tarantinov Hollywood ... ... pogledao pre nekoliko dana ... Prilicno prazan film, bez price i nekog suvislog sadrzaja. Ovaj film za koji je Laura Dern dobila oskara za sporednu ulogu, je dobar jedino da se zaboravi. Ostalo mi je da pogledam Mendesov 1917 i nikako da odgledam Jokera.

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  • 2 nedelje kasnije...
On 10/8/2017 at 3:52 PM, Mikorist said:

johan johansson je dao otkaz još letos.

neki delovi su ostali njegovi.

Hans Zimmer je morao da sedne i odsvira ceo film na istim sintisajzerima koje ima Vangelis. Da bi zvučao isto. Ili bar slično.
To su analogni uređaji sa početka 80ih. Benjamin Walfisch ne ume da svira na tim starudijama pa je to uradio Zimmer.

 Skoro sve je komponovao Benjamin & Johnan... papazjanija. Ali zvuči do jaja.

Spominje Yamaha CS-80 Synth kapiram da je koristio i Yamaha CP80 (onaj sa pedalama na podu).

Evo ceo Vangelisov gear ovde

http://equipboard.com/pros/vangelis

 

Teško da mogu zamisliti veću povezanost između između izvođača i sintisajzera od Vangelisa i Yamaha CS-80. A uopšte me ne čudi njegova vezanost za ovaj sint. To je možda, a rekao bih i sasvim sigurno, najekspresivniji sintisajzer ikada napravljen.  I onda imamo situaciju da ovi današnji muzičari ne znaju da sviraju na tim instrumentima i da moraju da angažuju nekoga ko to ume. Kakav rezultat da očekujemo? 

Sorry, ovo je moj drugi odgovor na ovaj post. Jednostavno ne mogu da prežalim što Vangelis nije radio još jednom na ovu temu.

 

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Zato što imaš uvid u rezultat saundtreka za BR 2049 koji je neuporedivo slabiji od saundtreka za izvorni BR. Međutim, saundtrek za izvorni BR treba posmatrati kao izuzetak i ko može da garantuje da bi Vangelis napravio nešto i približno tog kvaliteta? Uostalom, ukoliko ima želju da komponuje na tu temu (i objavi) šta ga sprečava i ko može da mu zabrani? Muzika živi i stvara se i mimo filma.

Nedavno sam uzeo da slušam Chariots of Fire, a sigurno ima 30 godina da nisam gledao ni film (a imam želju u poslednje vreme), niti slušao tu muziku i moram da kažem da sam bio razočaran efektom: poprilično neubedljivo, uz samo povremene uzlete.

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13 minutes ago, Ras said:

. . . 

Nedavno sam uzeo da slušam Chariots of Fire, a sigurno ima 30 godina da nisam gledao ni film (a imam želju u poslednje vreme), niti slušao tu muziku i moram da kažem da sam bio razočaran efektom: poprilično neubedljivo, uz samo povremene uzlete.

Saglasan za Chariots . . . :thumbsup:

Sa druge strane, i dan danas kada pustim ( a često se nađe na meniju, tj. tanjiru :) ) L'Apocalypse Des Animaux se ponovo oduševim. 

Btw, definitivno treba imati u kolekciji Themes ( svojevremeno izašlo RTB izdanje i vinil i CD ) gde je sublimirano sve iz tog Vangelisovog uspešnog perioda.

(@pakonja, obrati pažnju na ovaj album :rolleyes: )

themes 1.jpg

themes3.jpg

themes2.jpg

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pre 12 časa, prophet reče

Jednostavno ne mogu da prežalim što Vangelis nije radio još jednom na ovu temu.

Zapravo jeste. Postoji 

Blade Runner Trilogy: 25th Anniversary [3 CD]

25th Anniversary Edition

Na njemu postoji treći disk na kome ima nove stvari na temu starog  Blade Runner-a i stare stvari nikada objavljene van Nemo Studios.

recimo jedna od mojih omiljenih stvari sa CD 3

 

 

 

da se smrzneš :D.

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I ovo je odličan ALBUM - iako je adaptacija. Savršenstvo

WWW.DISCOGS.COM

Label: WEA - WEA K 99 262,Full Moon - FM 99 262,Full Moon - FM 99 262-1 • Format: Vinyl LP, Album • Country: Europe • Genre: Electronic, Jazz, Stage & Screen • Style: Score, Electro...

 

 

 

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Citat

Harrison Ford in Blade Runner: 2049 CREDIT:  SUNSET BOULEVARD
The 74-year-old had a professional – and pragmatic – answer to why he wasn’t revisiting his most famous work for Villeneuve’s revamp. Speaking to NPR last year, he explained: “You can never repeat certain things. It’s only once in lifetime. It’s like doing another Chariots of Fire, it’s impossible.”

It makes sense that Villeneuve wouldn’t want to risk treading old ground, even if he did, ultimately, want a score that was a natural successor to Vangelis’s original. While the conductor was the darling of the record and film industry for decades, in recent years he has purposefully drifted from the spotlight.

While he always kept his personal life quiet – all we know is that he has had three major relationships and no children from any of them – in his heyday, Vangelis would host lavish house parties in Paris and London. But in July, his 1,969 sq ft Kensington home was put on the market for £4.5 million. The man who released 21 records between 1970 and 1985, last year brought his first studio album in 15 years, and it was dedicated to and inspired by Nasa’s Rosetta mission.


In February, Rosetta won the Best New Age Album Grammy. But you get the impression Vangelis wasn’t that fussed. He has used the few interviews he has given in recent years – a flurry ahead of Rosetta’s release, but before that approximately one every decade or so – for two main purposes: to celebrate music as a scientific concept humans barely understand, and to decry the music industry for commodifying it.

“The more successful you become, the more of a prisoner you become to the system,” he told Al Jazeera, his first television interview in 20 years, in 2011, “because they don’t allow you to do the things.”

“You become a product. The record company invest in that. If you are Coca-Cola and you want to change the taste, it doesn’t happen. You have to keep it until you die”


In a string of lo-fi videos that were cryptically uploaded onto YouTube earlier this year, Vangelis dwelled further on the subject, in between riddling his interviewer with a spinning top that looked remarkably like that from Inception - the film that earned Zimmer an Oscar nomination for his resonant, Vangelis-like soundtrack.

“You make a book, you make an album, you make a promotion, you make money, and everybody’s happy. But me, never happy. I went through this game but it was not my game.” Instead, Vangelis described his greatest mistress as music, describing it as “the most demanding thing.”

“On the one hand, [music’s] fulfilling and fascinating, but the other things crash you down. Because the music wants you.”


It is music, he claims, that has pushed him to hone the best possible electronic equipment. For Rosetta, he built his own synthesiser system, citing that those made by product engineers had “never been designed properly. They create a lot of problems.” What Vangelis created was a system that would allow him to create an orchestra of synthesisers that he could play in real time, by himself.

Vangelis still has record label contracts, but values his “independence and dignity” highly. While his rock’n’roll lifestyle never extended to drugs (although groupies were on the scene), Vangelis still spends most of his money - and it is, he says, his money, because “nobody will pay for it apart from myself, and I’m proud of that” - on music. He has studios in his homes, and “always has tonnes and tonnes of things” to record with when he travels.

The bulk of Vangelis’s new material since the millennium has been space-inspired. American astronomer Carl Sagan used most of Vangelis’s back catalogue on his landmark 1980 series Cosmos: A Personal Voyage, but it would take more than a decade for him to meet Nasa theoretical physicist Scott Bolton, with whom he has been collaborating ever since.


Vangelis is fascinated by space, and many would argue that you can hear that in his music, which has long been comprised of otherworldly sounds and explorative reverb. But it seems as if the mysteries of the universe and those of music are pieces of the same puzzle for the composer. In 2014, he composed three pieces to celebrate the landing of the Philae spacecraft on Comet 67P, saying, “Mythology, science and space exploration are subjects that have fascinated me since my early childhood. And they were always connected somehow with the music I write".

When these were released as part of Rosetta, two years later, Vangelis gave a 6,000-word Q&A with Greek publication VIMAgazino. He spoke at length about his bamboozling thoughts on the cosmos and the science of music, while referring to a number of Ancient Greek philosophers, giving statements such as “Music is the sole force which can capture the truth because being an intellectual tool it operates absolutely deductively.”

Vangelis in 1976 CREDIT: HULTON ARCHIVE
Among such big thinking, there has been the odd commission. In 2011, Vangelis composed the music for the opening of Qatar’s new amphitheatre. Despite saying that it would be “impossible” to rework the Chariots of Fire soundtrack, he did just that in 2012, adding new pieces for a stage adaptation of the same name.

Vangelis is still revered among musicians. Johannson has picked up on his treatment of space, telling NPR: “He has an incredible way of creating these big resonate atmospheric sound words, he acoustic resonance of space. He does this tremendously well.” Mark Quaill, who lent on Vangelis’s work heavily when soundtracking TV thriller Mr Robot, said: “He showed me that electronics can have soul and life”. In pop, artists from Gary Newman, Janelle Monae, hip-hop duo Run the Jewels, Aphex Twin and Danger Mouse all cite Vangelis as an influence. Bristol trip-hop group Massive Attack played the entire Blade Runner score in full.

Another major composer has also politely paid tribute to Vangelis’s Blade Runner score. In 2013, Zimmer admitted during a Reddit AMA that he would love to have the opportunity to re-score Blade Runner – of all the films already released. “But I love what Vangelis did so much,” he wrote, “so not really”.

Hans Zimmer attends the premiere of Blue Planet II last week CREDIT: GEOFF PUGH
Zimmer has also won an Oscar for his soundtrack work – surprisingly not for the compelling ethereality of Inception or Interstellar, two of his 10 Academy Award-nominated creations – but for The Lion King. But he is an interesting example of what Vangelis could have been had he chosen to pursue the rock star composer career that Zimmer has chased. Zimmer defied stage fright to play arenas earlier this year. Zimmer regularly gives interviews. Zimmer soundtracks televisual heavyweights, such as Attenborough’s Planet Earth II and most of director Christopher Nolan’s recent output.

While Vangelis pontificates about the science of music, and strives to create a synthesiser that feels like a human does, Zimmer delivered a palatable, Hollywood version of his original. It’s probably fair to say that both are happy with the outcome.

source 

WWW.TELEGRAPH.CO.UK

The expansive, ambitious electronic music created by composer Vangelis shaped the sound of the Seventies and Eighties.

 

 

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1 hour ago, Ras said:

Nedavno sam uzeo da slušam Chariots of Fire, a sigurno ima 30 godina da nisam gledao ni film (a imam želju u poslednje vreme), niti slušao tu muziku i moram da kažem da sam bio razočaran efektom: poprilično neubedljivo, uz samo povremene uzlete.

 

1 hour ago, Doktor said:

Saglasan za Chariots . . . :thumbsup:

Iako su prve četiri teme ono po čemu je ovaj album prepoznatljiv, za mene prava stvar počinje od pete numere - 100 meters. Potom fenomenalan prelaz ka pesmi Jerusalem i ta simbolika  je ono zbog čega mislim da je ovaj soundtrack nagrađen.

Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear, oh clouds unfold!
Bring me my chariot of fire!

I will not cease from mental fight,
Nor shall my sword sleep in my hand
Til we have built Jerusalem
In England's green and pleasant land

Tu ustajemo da okrenemo ploču i ono što nam sledi je fenomenalnih 20 min 36 sec u kontinuitetu. Minimalistički komponovano, lepo aranžirano sa izuzetnim slaganjem različitih slojeva instrumenata, pre svega piano i brass, piano i zvona... Po meni to je ono što Vangelisa izdvaja.  I zaista bogata tekstura tonova. Veoma širok frekventni i dinamički raspon, sa dva strahovita dinamička momenta. Emocije, senzibilitet su lična stvar i zbog toga nikada ne ulazim u analize i ne iznosim  takve stavove. Po meni odličan album.

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On 2/25/2020 at 11:33 AM, Doktor said:

Sa druge strane, i dan danas kada pustim ( a često se nađe na meniju, tj. tanjiru :) ) L'Apocalypse Des Animaux se ponovo oduševim. 

Ne čudi, soundtrackovi su mu stvarno dobri a ovaj posebno.

Kad smo kod preporuka, krenuo bih unazad. Od albuma Direct koji je snimio po povratku u Atinu iz Londona. Meni možda njegov omiljen studijski  album. Verovatno i poslednji iz zenita njegovog stvaralaštva. Sam naziv predstavlja kreativni proces u kojem Vangelis sedi u središtu okružen sintovima koji su svi povezani custom MIDI interfejsima i svi priključeni na recorder. Moram reći da sam u nekoliko navrata bio u sličnoj poziciji i da je veoma inspirativna u kreativnom smislu. U mom slučaju je to izgledalo ovako: Hammond B3 sa Leslie, ARP 2600, Fender Rhodes sa svojim zvučnikom, Korg T1, MiniMoog, Prophet 5, Prophet 10, Roland JD 800. Naravno bez međusobne interkonecije, ali svi priključeni i spremni za rad.

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  • 3 nedelje kasnije...

ene , ne mogu da se setim kad pogledah film zadnji put ...... il ih stvarno nisam gledao , il sto sam gledao me se ne dojmilo 

nemm pojma 

elem , sad se seth dobrog jednog , uzivanjac , nesto ne videh da je bio popularan

a i kako bi ...... 

 

The Man Who Killed Don Quixote

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8 hours ago, Koja said:

Nisam čitao ovu temu ranije; sad je videh a baš sam juče napravio listu meni najboljih Sci-Fi filmova. Imao sam listu i od ranije samo je sad ubacih u IMDB. Šta nema na listi, ili nisam gledao ili mi se nije svidelo

Ide od najboljih ka lošijima

https://www.imdb.com/list/ls092314161/

Odiseja je najbolji film svih vremena, ne samo sci-fi nego uopšte. Posle ide Blejd raner (originalni theatrical cut sa naracijom i vožnjom na kraju, ne one Ridlijeve pomije kasnije). Dalje nije bitno ;)

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6 hours ago, Miloš 1210 said:

Odiseja je najbolji film svih vremena, ne samo sci-fi nego uopšte. Posle ide Blejd raner (originalni theatrical cut sa naracijom i vožnjom na kraju, ne one Ridlijeve pomije kasnije). Dalje nije bitno ;)

Prvo ide komplet opus od Tarkovskog, pa Blejd R.

Odiseja jeste bila fenomen i kao takva ostaje posebna i zapamcena. Medjutim, IMO moze nekako (doduse veoma tesko) da se udene u prvih 10. 

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