Monument\u0101la muzik\u0101l\u0101 ainava: “Avatar 3” komponista episkais darbs<\/p>\n
Komponists, kur\u0161 st\u0101v aiz aizraujo\u0161aj\u0101m ska\u0146u ainav\u0101m D\u017eeimsa Kamerona kinofilm\u0101s “Avatar”, uz\u0146\u0113mies nebiju\u0161i ambiciozu uzdevumu, veidojot m\u016bziku gaid\u0101majai filmai “Avatar 3: Uguns un pelni”. Ne tikai m\u016bzikas apjoms, bet ar\u012b t\u0101s daudzveid\u012bba un dzi\u013cums atspogu\u013co \u0161\u012b pasaules m\u0113roga projekta intensit\u0101ti. Saimons Fr\u0101nglens, kur\u0161 jau bija iesaist\u012bts ori\u0123in\u0101laj\u0101 “Avatar” (2009) k\u0101 aran\u017eieris un dziesmu autors, k\u0101 ar\u012b veidoja m\u016bziku filmai “Avatar: The Way of Water” (2022), atkl\u0101j, ka tre\u0161\u0101 da\u013ca pras\u012bjusi iev\u0113rojami liel\u0101kas p\u016bles gan tehniski, gan tematiski. <\/p>\n
Darba apjoms, kas p\u0101rsp\u0113j ierasto<\/p>\n
Fr\u0101nglens atkl\u0101j, ka kop\u0113jais m\u016bzikas apjoms filmai “Avatar 3” ir iespaid\u012bgs un gandr\u012bz piel\u012bdzin\u0101ms pa\u0161as filmas ilgumam. “M\u016bzikas apjoms, kas mums bija j\u0101rada, p\u0101rsniedz visu, ko esmu dar\u012bjis iepriek\u0161,” vi\u0146\u0161 intervij\u0101 IndieWire nor\u0101da, uzsverot darba m\u0113rogu. Pirm\u0101s ska\u0146darba idejas filmai rad\u0101s pirms septi\u0146iem gadiem, ta\u010du liel\u0101k\u0101 da\u013ca partit\u016bras tika rad\u012bta nepilnu divarpus gadu laik\u0101. Rezult\u0101ts \u2013 neticami 1907 lapas\u0161u no\u0161u. <\/p>\n
\n“Filma ilgst 3 stundas un 15 min\u016btes, un taj\u0101 skan 3 stundas, 4 min\u016btes un 16 sekundes m\u016bzikas. T\u0101tad man ir aptuveni 10 min\u016btes atp\u016btas par labu uzved\u012bbu,” jokojot atz\u012bst komponists. <\/p>\n<\/blockquote>\n
Muzik\u0101l\u0101 daudzveid\u012bba un emociju spektrs<\/p>\n
Viena no galvenaj\u0101m Fr\u0101nglena rado\u0161aj\u0101m probl\u0113m\u0101m bija filmas nep\u0101rtrauktie \u017eanru un to\u0146u diapazona p\u0101rsl\u0113gumi. M\u016bzika aptver visu no int\u012bmiem, romantiskiem br\u012b\u017eiem l\u012bdz pat sirdi ploso\u0161am s\u0113ru. Scen\u0101riji, kas att\u0113lo D\u017eeiku un Neitiri, pras\u012bja atainot att\u0101lumu un tuk\u0161umu p\u0113c zaud\u0113juma, savuk\u0101rt dialogi ar “Tirdzniec\u012bbas v\u0113ju” (Wind Traders) \u013c\u0101va izmantot mot\u012bvus, kas atg\u0101dina 1930. un 1940. gadu Holivudas piedz\u012bvojumu filmu est\u0113tiku. <\/p>\n
Inovat\u012bva instrumentu rad\u012b\u0161ana<\/p>\n
Komponists ne tikai rad\u012bjis m\u016bziku, bet ar\u012b akt\u012bvi piedal\u012bjies unik\u0101lu instrumentu dizain\u0101, kas par\u0101d\u0101s film\u0101. Atbilsto\u0161i D\u017eeimsa Kamerona pras\u012bbai par autentiskumu, Fr\u0101nglens izstr\u0101d\u0101jis instrumentus, kas atspogu\u013co “Tirdzniec\u012bbas v\u0113ju” klana kult\u016bru. Vi\u0146\u0161 tos izt\u0113loj\u0101s k\u0101 senatnes feni\u0137ie\u0161u tirgot\u0101jus, kam piem\u012bt izsmalcin\u0101t\u012bba. “Vi\u0146iem nedr\u012bkst vienk\u0101r\u0161i iedot parastu bas\u0123it\u0101ru un bungas,” skaidro Fr\u0101nglens. “T\u0101p\u0113c es uzz\u012bm\u0113ju da\u017eus instrumentus un nol\u0113mu izgatavot bung\u0101m plastmasu no t\u0101 pa\u0161a materi\u0101la, ko izmanto bur\u0101m. Turkl\u0101t es v\u0113l\u0113jos, lai st\u012bgu instrumenti asoci\u0113tos ar ku\u0123a takel\u0101\u017eu, jo vi\u0146i ir klejot\u0101ji. Vi\u0146iem j\u0101b\u016bt instrumentiem, kas atspogu\u013co vi\u0146u nodarbo\u0161anos.” <\/p>\n
\u0160ie dizaina elementi tika nodoti m\u0101kslas noda\u013cai render\u0113\u0161anai, un p\u0113c tam rekviz\u012btu meistars Brets Eliots izgatavoja nepiecie\u0161am\u0101s deta\u013cas, izmantojot iespaid\u012bgu 3D printeri. <\/p>\n
Djego un haosa mot\u012bvi<\/p>\n
Citai jaunai grupai film\u0101 \u2013 Uguns cilts (Fire Clan) \u2013 Fr\u0101nglens pie\u0161\u0137\u012bris \u012bpa\u0161u muzik\u0101lu raksturu. “Vi\u0146i ir haosa sp\u0113ki, un es v\u0113l\u0113jos, lai vi\u0146u m\u016bzikai b\u016btu viscer\u0101ls raksturs,” vi\u0146\u0161 st\u0101sta. Iedvesmu vi\u0146\u0161 sm\u0113l\u0101s no mand\u017e\u016bru st\u012bgu instrumenta morinhura, kas sp\u0113j rad\u012bt patiesu niknumu. “Es veidoju strukt\u016bru ap to,” atkl\u0101j komponists. Lai pie\u0161\u0137irtu nepiecie\u0161amo spriedzi, vi\u0146\u0161 izmantoja ar\u012b tritonu, m\u016bzikas interv\u0101lu, ko bie\u017ei d\u0113v\u0113 par “velna interv\u0101lu” t\u0101 saspringt\u0101s ska\u0146as d\u0113\u013c. “Tas nekad nav piln\u012bgi skaidrs. J\u016bs to dzirdat, kad cilts pirmo reizi uzbr\u016bk, un v\u0113l\u0101k tas k\u013c\u016bst par vi\u0146u mot\u012bvu.” <\/p>\n
Or\u0137estra sp\u0113ks un emocion\u0101l\u0101 saikne<\/p>\n
Liel\u0101k\u0101 da\u013ca m\u016bzikas “Avatar 3” tika ierakst\u012bta Losand\u017eelos\u0101, studij\u0101 Fox, ar 215 m\u0101kslinieku l\u012bdzdal\u012bbu, tostarp 100 m\u016bzi\u0137u liels or\u0137estris, kori un solisti. “Es v\u0113l\u0113jos rad\u012bt organisku saj\u016btu, ka m\u016bzika st\u0101sta st\u0101stu,” uzsver Fr\u0101nglens. “Rad\u012bt emocion\u0101lu saikni.” <\/p>\n
Filmas konteksts un gaid\u0101m\u0101 pirmizr\u0101de<\/p>\n
“Avatar: Uguns un pelni” turpina filmas “Avatar: The Way of Water” notikumus, kas nosl\u0113dz\u0101s ar D\u017eeika un Neitiri d\u0113la Netejama n\u0101vi. \u0122imenes s\u0113ras p\u0101rtrauc jauns drauds \u2013 Uguns cilts, naid\u012bga Na\u2019vi grupas ietver\u0101, kuru vada atrieb\u012bg\u0101 Varanga. Galvenaj\u0101s lom\u0101s atgrie\u017eas Sems Vortingtons, Zoi Saldana, Sigurnija V\u012bvere, St\u012bvens Langs un Keita Vinsleta. Filmas bud\u017eets p\u0101rsniedz 400 miljonus dol\u0101ru, un t\u0101s pirmizr\u0101de Latvijas kinote\u0101tros pl\u0101nota 18. decembr\u012b. <\/p>\n","protected":false},"excerpt":{"rendered":"Monument\u0101la muzik\u0101l\u0101 ainava: “Avatar 3” komponista episkais darbs Komponists, kur\u0161 st\u0101v aiz aizraujo\u0161aj\u0101m ska\u0146u ainav\u0101m D\u017eeimsa Kamerona kinofilm\u0101s…\n","protected":false},"author":2,"featured_media":70897,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[16513,18129,89,90,18128,35,39,38,36,37,34,40,103,18127],"class_list":{"0":"post-70896","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-avatar-3","9":"tag-dzeimss-kamerons","10":"tag-entertainment","11":"tag-izklaide","12":"tag-kinomuzika","13":"tag-latvia","14":"tag-latvian","15":"tag-latviesu","16":"tag-latviesu-valoda","17":"tag-latviesuvaloda","18":"tag-latvija","19":"tag-lv","20":"tag-muzika","21":"tag-saimons-franglens"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115696376412217261","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/70896","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=70896"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/70896\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/70897"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=70896"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=70896"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=70896"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}