Filmska muzika

[Harmonika]

 

[DameTime]

 

[Besni lala]

 

Ja ovo tek sad našao ...

Što ne pričate ? Moćno ...

A film niti sam niti ću gledati!

[Besni lala]

And now for something completely different...

 

 

Una palabra no dice nada
Y al mismo tiempo lo esconde todo
Igual que el viento que esconde el agua
Como las flores que esconde el lodo

Una mirada no dice nada
Y al mismo tiempo lo dice todo
Como la lluvia sobre tu cara
O el viejo mapa de algún tesoro
Como la lluvia sobre tu cara
O el viejo mapa de algún tesoro

Una verdad no dice nada
Y al mismo tiempo lo esconde todo
Como una hoguera que no se apaga
Como una piedra que nace polvo

Si un día me faltas no seré nada
Y al mismo tiempo lo seré todo
Porque en tus ojos están mis alas
Y está la orilla donde me ahogo
Porque en tus ojos están mis alas
Y está la orilla donde me ahogo ...

 

Mnogo volim ovu pesmu.

Ni film mi nije mrzak...

[Besni lala]

 

[Besni lala]

 

Oldie but a goldie ...

 

Spoiler

Jak film - prežive i test vremena.

 

[Besni lala]

 

...pišeš?

Samo razmišljam.

 

Edited December 30, 2022 by Besni lala

[Besni lala]

 

[DameTime]

Zauvek jedan od omiljenih 😍

 

 

[Gojko]

Pozdrav svima... 

Moram  prvo da postavim ovaj komad. Francisco Tárrega u izvodjenju Mike Oldfielda - Étude (Theme From "The Killing Fields")

 

[Besni lala]

 

[Smrtokapa]

Ovoga, koliko vidim, nije bilo na temi.

A i ako je bilo, treba da bude opet.

 

 

[Smrtokapa]

Jedno, da prostite, remek delo iz animiranog žanra:

 

 

[Smrtokapa]

Još pesmica za negativce i radničku klasu:

 

 

 

[Cyber]

Leto 1984. u bioskopu Kozara (u Bezistanu) – Once upon a time in America. Kao da je juce bilo. Gledala opet pre neki dan. Ode Sergio Leone, ode nedavno i genijalni Ennio Morricine - osta Filmčina i osta Muzika! 

 

 

Edited July 21, 2023 by Cyber

[Klotzen]

 

Čitanje teksta pre snimanja 🙂

 

[Besni lala]

 

Bože, već sam je i zaboravio - muzika iz jednog starog filma Pitera vira ...

Gospođica Eithne Pádraigín Ní Bhraonáin kada ne provodi vreme po određenim ustanovama je izuzetna umetnica (IMO)

Edited September 7, 2023 by Besni lala

[Smrtokapa]

Pošto se na kafani puštao Giorgio Moroder, evo nešto i ovde:

 

 

 

[Smrtokapa]

A ako vam je prva asocijacija na svemirske kauboje Džamirokvaj, možete preskočiti ovaj post.

 

 

Ceo saundtrek + još ponešto:

 

[Barka73]

 

 

[Klotzen]

 

Sjajna muzika u uvodnoj špici. Ni jednom nisam premotao špicu zbog ove kompozicije.

[Besni lala]

 

Davno ali nezaboravno 

[Smrtokapa]

 

Milius recruited his friend, Basil Poledouris, to produce the score for Conan; they had had a successful collaboration on Big Wednesday. The film industry's usual practice was to contract a composer to start work after the main scenes had been filmed, but Milius hired Poledouris before principal photography had started. The composer was given the opportunity to compose the film's music based on the initial storyboards and to modify it throughout filming before recording the score near the end of production. Poledouris made extensive use of Musync, a music and tempo editing hardware and software system invented by Robert Randles (subsequently nominated for an Oscar for Scientific Achievement), to modify the tempo of his compositions and synchronize them with the action in the film. The system helped make his job easier and faster; it could automatically adjust tempos when the user changed the positioning of beats. In the montage where Conan grows up, for example, Poledouris had Randles prepare, over the phone, a long accelerando that landed on precise moments in the picture along the way. Poledouris would otherwise have had to conduct the orchestra and adjust his compositions on the fly. Conan is the first film to list Musync in its credits.

Milius and Poledouris exchanged ideas throughout production, working out themes and "emotional tones" for each scene. According to Poledouris, Milius envisioned Conan as an opera with little or no dialogue; Poledouris composed enough musical pieces for most of the film (around two hours' worth). This was his first large-scale orchestral score, and a characteristic of his work here was that he frequently slowed down the tempo of the last two bars (segments of beats) before switching to the next piece of music. Poledouris said the score uses a lot of fifths as its most primitive interval; thirds and sixths are introduced as the story progresses. The composer visited the film sets several times during filming to see the imagery his music would accompany. After principal photography was completed, Milius sent him two copies of the edited film: one without music, and the other with its scenes set to works by Richard Wagner, Igor Stravinsky, and Sergei Prokofiev, to illustrate the emotional overtones he wanted.