INTERVIEW WITH MARIA SALTO.

María Salto is the director of the programme "Cultivados".

FACEBOOK: http://www.facebook.com/Cultiva2?ref=ts

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HANS ZIMMER

Hans Florian Zimmer,

(born 12 September 1957) is a German film composer and music producer. He has composed music for over 100 films, including award winning film scores for The Lion King (1994), Crimson Tide (1995), Gladiator (2000), The Last Samurai (2003), The Dark Knight (2008), and Inception (2010).

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions.

Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.

In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Black Hawk Down and Hannibal (2001), The Last Samurai (2003), The Da Vinci Code (2006) The Simpsons Movie (2007), Angels and Demonds (2009) and Sherlock Holmes (2009). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard. The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet^. Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production.

HARRY POTTER

JOHN WILLIAMS

John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars Saga, Jaws, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, Schindler's List, War Horse, Home Alone and the first three Harry Potter films. He has had a long association with director Steven Spielberg, composing the music for all but two (Duel and The Color Purple) of Spielberg's major feature films.

Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football, the NBC Nightly News, the rededication of the Statue of Liberty, and the television series Lost in Space. Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate.

Williams has won five Academy Awards, four Golden Globe Awards, seven BAFTA Awards, and 21 Grammy Awards. With 47 Academy Award nominations, Williams is the second most nominated person, after Walt Disney. John Williams was honored with the prestigious Richard Kirk award at the 1999 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music. Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Let’s listen to a report about Superman with some words of the musicians.

JAMES HORNER: Pippin's song

 

Home Is Behind
The World Ahead
And There Are Many Paths To Tread
Through Shadow
To The Edge Of Night
Until The Stars Are All Aligth

Mist And Shadow
Cloud And Shade
All Shall Fade
All Shall...Fade 

HOWARD SHORE

Howard shore composed, orchestrated, conducted, and produced the trilogy's music. He was hired in August 2000 and visited the set, and watched the assembly cuts of films 1 and 3. In the music, Shore included many leitmotifs to represent various characters, cultures, and places. For example, there are leitmotifs for the hobbits as well as the Shire. Although the first film had some of its score recorded in Wellington^, virtually all of the trilogy's score was recorded in Watford Town Hall and mixed at Abbey Road Studios. Jackson planned to advise the score for six weeks each year in London, though for The Two Towers he stayed for twelve. As a Beatles fan, Jackson had a photo tribute done there on the zebra crossing.

The score is primarily played by the London Philharmonic Orchestra, and many artists such as Ben Del Maestro, Enya, Renée Fleming, James Galway, Annie Lennox and Emilíana Torrini contributed. Even actors Billy Boyd, Viggo Mortensen, Liv Tyler, Miranda Otto (extended cuts only for the latter two), and Peter Jackson (for a single gong sound in the second film) contributed to the score. Fran Walsh and Philippa Boyens also wrote the lyrics to various music and songs, which David Salo translated into Tolkien's languages. The third film's end song, "Into the West", was a tribute to a young filmmaker Jackson and Walsh befriended named Cameron Duncan, who died of cancer in 2003.

AVATAR. I SEE YOU

Walking through a dream, I see you
My light and darkness breathing hope of new life
Now I live through you and you through me, enchanted
I pray in my heart that this dream never ends
I see me through your eyes
Breathing new life, flying high
Your love shines the way into paradise
So I offer my life as a sacrifice
I live through your love

You teach me how to see all thats beautiful
My senses touch your world I never pictured
Now I give my hope to you, I surrender
I pray in my heart that this world never ends

I see me through your eyes
Breathing new life, flying high
Your love shines the way into paradise
So I offer my life
I offer my love for you

And my heart was never open
And my spirit never free
To the world that you have shown me
But my eyes could not envision
All the colours of love and of life evermore,
Evermore

I see me through your eyes
Breathing new life, flying high
Your love shines the way into paradise
So I offer my life as a sacrifice
I live through your love
I live through your love

I see you
I see you

HOWARD SHORE: INTO THE WEST

Lay down
Your sweet and weary head
The night is falling
You have come to journey's end.

Sleep now
And dream of the ones who came before
They are calling
From across the distant shore.

Why do you weep?
What are these tears upon your face?
Soon you will see
All of your fears will pass away
Safe in my arms
You're only sleeping.

What can you see
On the horizon?
Why do the white gulls call?
Across the sea
A pale moon rises
The ships have come to carry you home.

Dawn will turn
To silver glass
A light on the water
All souls pass.

Hope fades
Into the world of night
Through shadows falling
Out of memory and time.

Don’t say
We have come now to the end
White shores are calling
You and I will meet again

And you'll be here in my arms
Just sleeping.

What can you see
On the horizon?
Why do the white gulls call?
Across the sea
A pale moon rises
The ships have come to carry you home.

And all will turn
To silver glass
A light on the water
Grey ships pass
Into the West

JAMES HORNER

 

 

The soundtrack album for Titanic was composed by James Horner. For the vocals heard throughout the film, subsequently described by Earle Hitchner of The Wall Street Journal as "evocative", Horner chose Norwegian singer "Sissel". Horner knew Sissel from her album , and he particularly liked how she sang "I Know in Heaven There Is a Castle". He had tried twenty-five or thirty singers before he finally chose Sissel as the voice to create specific moods within the film.

Horner additionally wrote the song "My Heart Will Go On" in secret with Will Jennings because Cameron did not want any songs with singing in the film. Céline Dionagreed to record a demo with the persuasion of her husband René Angélil. Horner waited until Cameron was in an appropriate mood before presenting him with the song. After playing it several times, Cameron declared his approval, although worried that he would have been criticized for "going commercial at the end of the movie"^. Cameron also wanted to appease anxious studio executives and "saw that a hit song from his movie could only be a positive factor in guaranteeing its completion".

AVATAR