It's the 21st century, and times they are a changing. Not to be left out, it seems that the animation industry is truly on the cuttingedge of something cool and something unique. is one of those vibrant animation features that is loosening the pseudomonopolized, and sometimes arthritic grasp that Disney has had on the cartoon film industry. With their unique blend of 2D animation and 3D computergenerated effects, breakaway Disney animators Don Bluth and Gary Goldman are redefining the conceptual celine outlet online approach to animation for the next generation. TITAN is also breaking new ground in motion picture music and sound. Instead of traditional animated film music, in which an orchestral underscore is closely related to pop songs by a specific artist or one of the cute and cuddly characters suddenly breaks into song, TITAN features cuttingedge rock music from today s hottest bands. 'The work that the animation team did in creating new environments in space, and their work with colors and 3D, was very visually stimulating to me,' Ballard gleefully notes. It was clear from the beginning that it has a rockandroll sensibility and on occasions the song had to emotionally tie in with the spirit of the lead character celine handbags Cale. At 16, Cale is rebel without a cause, but by the third act he's not necessarily finding a course but is starting off with a new attitude. And the songs are a great reflection of those feelings, so the challenge was to have these contemporary acts, and evolve it into this cutting edge research. So it was also important to find the right name attached to the right theme of the music for the sequences that featured the music. 'There is a big chase scene during the first act of the picture and the song 'Over My Head' by Lit, by itself was working pretty well, but Graeme (Revell) said if I added a little double time beat to it, it would add a couple minutes of underscore to build the song, so it might function better. It was a great act. Lit is very popular right now and they can relate very directly to Cale. Their song has an irreverence that is truly in the spirit of what rock music is. It also reflects Cale's rebelliousness; he's a disenfranchised kid, a space refugee who's become a secondclass citizen.'Lit's music video of the same name, which sounds a bit like something Green Day would do, features the real band members matted into film clips of TITAN, either fighting the evil Drej aliens or floating around inside the CGI produced space suits worn by Cale. Cale, who has begun to show cracks in his tough exterior, clearly enjoys being 'at the wheel' of the Valkyrie for the first time. The song helps create a scene of excitement, even joy. Director Don Bluth comments, balenciaga handbags outlet 'When Cale steps into the Captain's chair, and the song is blaring and the wake angles are racing along side ship, it's not just about the angels; it's about him driving the family car, and the surrogate father saying 'You are okay kid.' So the music, the emotion of the characters and the color scheme of the scene comes together for a beautiful blend of these elements.'Ballard worked closely with Graeme Revell, who composed the TITAN score. Revell came to film scoring from an unconventional background, first as a psychiatric worker and then as a composer and performer of postindustrial newwave music. Apart from earning an Australian Academy Award for Best Score in DEAD CALM, he's composed music for many other major genre films like STRANGE DAYS, THE CRAFT, CROW and THE 13TH WARRIOR. To lend the desired edge to his music, Revell provides an undercurrent of electronic music to the orchestral score. 'That makes it feel a little more related to the songs and the subject matter,' he tells. 'It was almost like writing two scores at the same time.'Revell used his knowledge of world music to provide musical sounds that, like the visuals, will be new to many moviegoers. The musical theme of the Drej is provided by Tuvan chanters, a group of people in Outer Mongolia who stress their vocal cords to get, at the same time, an extremely deep and highpitched resonant tone. Akima's signature music is from a pop singer trained in Indian singing; Gune has a kind of New Age theme; and Stith and Preed's themes have lighter ideas. To enhance the film's soundtrack, Revell collaborated closely with rerecording mixer Christopher Boyes. Boyes recalls, 'This was a tricky film to work on due to the great music that had to be balanced with sound. 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