Details for this torrent 


Soundtrack - The End of Violence [EAC-FLAC] [RePoPo]
Type:
Audio > FLAC
Files:
29
Size:
338.13 MB

Tag(s):
Wim Wender soundtrack lossless flac repopo ry cooder dj shadow sinead o\'connor tom waits michael stipe rem vic chesnutt raul malo los lobos whiskeytown roy orbison eels howie b.
Quality:
+1 / -0 (+1)

Uploaded:
Jul 24, 2009
By:
repopo



*******************************************************************************
                   Original Soundtrack - The End of Violence
*******************************************************************************

CD: Various - The End Of Violence

01. Ry Cooder / Define Violence    [0:03:21.27]
02. Ry Cooder / Shouldn't You Know    [0:00:33.05]
03. Spain / Every Time I Try    [0:05:15.20]
04. DJ Shadow / Untitled Heavy Beat (Parts 1 & 2)    [0:03:02.25]
05. U2 featuring Sinead O'Connor / I'm Not Your Baby    [0:05:49.33]
06. U2 featuring Sinead O'Connor / Strange World    [0:00:36.07]
07. Tom Waits / Little Drop Of Poison    [0:04:03.40]
08. Martin Medeski & Wood / Disrobe    [0:04:38.58]
09. Michael Stipe featuring Vic Chesnutt / Injured Bird    [0:03:49.00]
10. Raul Malo / Bailare (El Merecumbe)    [0:04:11.50]
11. Los Lobos / Me Estas Matando    [0:03:47.40]
12. Latin Playboys / Mr. Wobble    [0:04:04.25]
13. Whiskeytown / Theme For A Trucker    [0:04:29.37]
14. Whiskeytown / Unintentional Prayers    [0:00:21.45]
15. Roy Orbison / You May Feel Me Crying    [0:04:17.00]
16. Eels / Bad News    [0:02:55.45]
17. Howie B. / Don't Even Know She Got One    [0:04:33.25]
18. Howie B. / In A Heartbeat    [0:00:09.48]

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                              THE ALLMUSIC REVIEW
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by Daniel Browne

The soundtracks to director Wim Wenders' films have a reputation for being more 
enjoyable and coherent than the films themselves. While it's not a perfect, 
mind-blowing whole like the Until the End of the World soundtrack, this one is 
no exception. The music here falls into four distinct categories. There's a 
string of edgy instrumentals that complement the noir-ish atmosphere of the 
movie, courtesy of Ry Cooder (who wrote the score), DJ Shadow, Medeski, Martin & 
Wood, the Latin Playboys, and Howie B. A pair of fun, traditional-sounding Latin 
numbers from the Mavericks' Raul Malo and Los Lobos reflects the film's Los 
Angeles setting. Of the maudlin college radio acts on hand, the Eels carry the 
day. Their moth's-wing-fragile "Bad News" mops the floor with draggy 
contributions from Spain and Whiskeytown. That leaves the big star turns. U2's 
collaboration with Sinead O'Connor is spare and spooky; it pushes the millennial 
tension of the Pop album to its logical limits and beyond. Tom Waits' "Little 
Drop of Poison" finds him in cracked cabaret mode, doing what he does best: 
muttering surreal pearls of wisdom ("a rat always knows when he's in with 
weasels") and playing every instrument with sloppy relish. Michael Stipe's duet 
with Vic Chesnutt is a bit of a letdown, a listless ramble set to acoustic 
guitar. The album's high point is the posthumous appearance of Roy Orbison. 
Brian Eno provides the tasteful backdrop to one of Orbison's most majestically 
miserable songs and most deliriously emotive vocal performances. The recovery of 
this lost treasure is worth the price of admission all by itself, and reason 
enough for Wim Wenders to have made The End of Violence. 


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                       SOME TRACKS REVIEWED AT ALLMUSIC
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ME ESTAS MATANDO (LOS LOBOS)

by Matthew Greenwald

With its waltz-time tempo and classic Mexican balladry, "Me Estas Matando" 
("You're Killing Me" in English) is yet another fabulous example of Los Lobos' 
abilities as soundtrack contributors, this time from the film The End of the 
Violence. A gentle pop waltz, the heavy romanticism of the piece is gracefully 
underlined by a fabulous and authentic Mexican folk/pop feel. 

-------------------------------------------------------------------------------
                          THE AURA OF INSIGNIFICANCE
                         An interview with Wim Wenders
-------------------------------------------------------------------------------

Wim Wenders is to German cinema what Federico Fellini was to Italian cinema; a 
genius with the vision of a decadent and lusty Titan. His themes are often 
anxiety, alienation and male wanderlust and each scene that he slices onto the 
celluloid canvas is a work of art in itself, a mosaic that once pieced together 
is like a sweeping opera of the Cistern chapel. At 52-years-of-age, Wenders is 
surfing on the wings of his latest cerebral and surreal picture, 'The End Of 
Violence' which traverses the concrete edge of life and violence in Los Angeles.

It is strange indeed to view this wunderkind as his mind's eye caresses the 
freeways and lurid Mecca of Hollywood as opposed to his usual European landmarks 
of angels, gargoyles and emotional temperament. It is a departure and yet does 
not lose any of its raw power despite its proximity to the superficial film 
industry.

"Hollywood film-making has become more and more about power and control," he 
muses. "It's not really not about telling stories. That's just a pretence. But 
ironically, the fundamental difference between making films in Europe versus 
America is in how the screenplay is dealt with. From my experience in Germany 
and France, the script is something that is constantly scrutinised by the film 
made from it. Americans are far more practical. For them, the screenplay is a 
blueprint and it must be adhered to rigidly in fear of the whole house falling 
down. In a sense, all of the creative energy goes into the screenplay so you 
could say that the film already exists before the film even begins shooting. You 
lose spontaneity. But in Germany and France, I think that film-making is 
regarded as an adventure in itself," Wenders concludes.

Since 1967 the native Dusseldofian, former medical student, philosopher, author 
and director has wrapped his European and Western audiences in the warm glow of 
his monumental and surreal twisted visions. Who could forget the scenes within 
Faraway So Close as his angel walked the grey sepia tinted streets in search of 
himself, or the intimate and desperate actions of his heroine - played by 
Nastassja Kinski in his road movie Paris, Texas or even the rich, mystical and 
symphonic visual poetry of his 1987 fantasy portrait and winner of Best Director 
Prize, Cannes, Wings Of Desire. Wenders has always had the ability to touch you 
in a way that is complex and surprising. He is a masseur of the senses, and a 
dialogue calligrapher of the soul. His characters are pained and restless who 
shift through worlds blotted by shades of grey. They seek redemption and solace 
in the cities they inhabit and from the people that move - sometimes fleetingly 
- through their lives, a fact that is re-confirmed through The End Of Violence.

Although The End Of Violence is an essay in which characters debate through 
their actions and thoughts what their definition of violence is, it is also the 
culmination of two and a half years of discussion on the topic of screen 
violence.

"The whole craft, art and business of film-making have been thoroughly reshaped 
by the extensive and explicit use of violence," Wenders interjects. "It has 
almost become a necessary ingredient. Movies try to top each other in goriness 
or killing and it is as if everybody's resistance level is constantly raised. 
It's something that affects my professional life a lot.

"Normally you start off with a story and inside that story a certain number of 
characters appear and get developed according to the needs of the plot. We did 
the opposite. We had a theme, violence, and we agreed that we wanted it to 
remain the subject on the film. How do you write a story about violence instead 
of using it to tell a story? So we first invented a set of characters who had 
nothing in common. The story slowly emerged out of their different biographies 
and out of the only element they shared: an encounter with violence."

Casting the likes of Bill Pullman, Andie MacDowell and Gabriel Byrne as the lead 
characters, Wenders chose each of the actors - very carefully - and for a number 
of reasons. Dragging himself into the cinema throughout the course of one week 
to see two films that slide in at the opposite end of the extreme spectrum, 
Independence Day and David Lynch's Lost Highway, Wenders knew that Pullman would 
slip into the role of the Hollywood producer with ease and grace.

"Talk about an actor's range, you probably can't stretch much further than 
Bill," he remembers. "When we met for a coffee, I knew he was right for the part 
as a driven, charming, arrogant, slick, hip movie producer who is transformed 
later on into a humble, gentle and caring gardener, somebody who is broken and 
fragile confronted with something entirely knew to him. He had to go from 
cockiness to modesty. Bill made it look easy."

And Andie MacDowell? "I have always liked Andie," Wenders responds. "The first 
time I saw her was in Sex, Lies And Videotapes in Cannes. I was the jury 
president that year and we gave the Palme d'Or to Steven Soderbergh's first 
feature largely on behalf of its leading lady, an unknown actress named Andie 
MacDowell," he pauses. "She left a big impression on me then and I have seen 
most of her films since. Shooting with her was like working with an old 
acquaintance."

Interestingly, Wenders chose to shoot The End Of Violence in Los Angeles for a 
number of reasons. It was a place he viewed as wrapped in the fabrication of 
violence. "Our entire Western culture has shifted from a written one to a visual 
one," he says. "The very idea of violence, for audiences over the world, is 
partly originated by an imagery produced in Los Angeles, in movies and in music. 
As far as politics are concerned, I tend to believe any story in which crime 
control, be it police force, CIA, FBI, etc, has perverted into crime itself, or 
in which crime is finally controlling the controllers. Violence is an unhealthy 
climate, in real life as well as in the movies."

Born in war-time Germany when Adolf Hitler and his Third Reich was quickly 
drawing to its close, Wenders - after completing his schooling - embarked on a 
career in medicine and philosophy. But in 1967 he decided to enrol in the 
Hochschule fur Film und Fernsehen (Film and Television Academy) in Munich. 
Whatever it was that catalysed such a dramatic twist in his path is not exactly 
known, but by the time he had completed his studies he had directed a number of 
short films including Schauplatze, Same Player Shoots Again, Silver City and 
films which focused on articles on film, the biographical and rock 'n' roll for 
the Suddeutsche Zeitung, Twe and Filmkritik. In 1971 he co-founded and 
established the Filmverlage des Autoren with Rainer Werner Fassbinder and a 
group of other directors, releasing a stream of films including The Goalkeeper's 
Fear Of The Penalty, Scarlet Letter, Alice In The Cities, Aus Der Famile Der 
Panzereschsen/Die Insel, a two-part television film in the Ein Haus fur Uns, 
Wrong Move, Kings Of The Road and the 1976 winner of International Critic's 
Prize, The American Friend.

Towards the late '70s he accepted Francis Ford Coppola's offer to direct a film 
in the U.S. based on Dashiell Hammett's biography. Still in the U.S. he shot 
Nick's Movie, a portrait of film-maker Nicholas Ray whom he much admired, and 
Paris, Texas, a haunting tale of nostalgia and the quest for lost happiness. In 
1989 he immortalised Berlin with Wings Of Desire, which was followed by the 
equally epic Until The End Of The World and Faraway, So Close! He was also 
honoured by receiving the Doctor Honoris Causa of the Sorbonne University 
position and today is the President Of the European Film Academy and professor 
at the Hochschule fur Film und Fernsehen.

On the author front, Wenders has been the recipient of books written about him 
and dedicated to him and has published Emotions Pictures; Reflections on The 
Cinema, The Logic of Images: Essays and Conversations, The Act Of Seeing: Essays 
and Conversations, and his book of photographs Einmal: Bilder und Geschicten. 
Another little known fact about Wenders, that he is keen to discuss is the fact 
that he is, in his own words, "a failed painter: I'm a director who thinks very 
much in images and in frames, in the look of the scene, the light on an actor's 
face. So I try not to have too many preconceptions about how the film should 
look before I start shooting. I believe that a film finds its look in the first 
weeks of shooting. I'm opposed to having it all worked out beforehand and then 
trying to force your actors, locations and ambience into that look. I think it 
works better the other way around. For me, the cinematographer is the most 
important collaborator."

As the waves of middle age gently lap against Wenders's creative current there 
is a sense that there is much more to come. There is also the question of 
whether, throughout his tapestry of films, we have glanced into the corridors of 
his own soul; the wanderlust, the alienation and the sense of ambiguity that his 
characters seem to embody and the surreal apocalypse of a world confused about 
where it has been and where it is going. At a guess, The End Of Violence is the 
benchmark for yet another turning point, and this time it appears the auteur is 
preoccupied with the tide of fear, paranoia and the revelation of one single 
incident changing a persons life.

Wim Wenders has changed many people's lives, he's given us the courage and 
belief that change is always possible and that the man or woman who grasps 
redemption regardless of his/her loss of innocence is truly the most human of 
all. The wings of Wim have always been broad and existential, fragile and human, 
vocal and silent, and an experience, that should you miss, would be a tragedy 
within itself.

Full interview taken from  
http://web.archive.org/web/20060919130221/http://www.thei.aust.com/film97/cellin
wenders.html



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                               EAC LOG EXTRACT
-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 24. July 2009, 7:44

Various / The End Of Violence

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d


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                                ACCURIP REPORT
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[Verification date: 24/07/2009 8:33:22]
[Disc ID: 00285395-021e29ab-e60e0f12]
Track	[ CRC    ] Status
 01	[bf51a37f] (08/08) Accurately ripped as in pressing(s) #1
 02	[28c8be74] (08/08) Accurately ripped as in pressing(s) #1
 03	[d64e0699] (08/08) Accurately ripped as in pressing(s) #1
 04	[bb493d16] (08/08) Accurately ripped as in pressing(s) #1
 05	[46a51d06] (08/08) Accurately ripped as in pressing(s) #1
 06	[60bed585] (08/08) Accurately ripped as in pressing(s) #1
 07	[8fe0dd72] (08/08) Accurately ripped as in pressing(s) #1
 08	[1fc5fe8e] (08/08) Accurately ripped as in pressing(s) #1
 09	[ffb64390] (08/08) Accurately ripped as in pressing(s) #1
 10	[3978edbe] (08/08) Accurately ripped as in pressing(s) #1
 11	[ad49ea9c] (08/08) Accurately ripped as in pressing(s) #1
 12	[7384755c] (08/08) Accurately ripped as in pressing(s) #1
 13	[d784ee99] (08/08) Accurately ripped as in pressing(s) #1
 14	[5d8d8d50] (09/09) Accurately ripped as in pressing(s) #1
 15	[1dcb2573] (09/09) Accurately ripped as in pressing(s) #1
 16	[32d44b81] (09/09) Accurately ripped as in pressing(s) #1
 17	[ea997886] (09/09) Accurately ripped as in pressing(s) #1
 18	[3a08035c] (10/10) Accurately ripped as in pressing(s) #1

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                      IMPORTANT: PLEASE READ (A REQUEST)
-------------------------------------------------------------------------------

It's usual to post comments only to complain about a torrent which doesn't work 
in your configuration.  It's normal, after a few hours/days downloading and 
expecting a release, to feel deceived if it doesn't work properly, and 
expressing this is legitimate.

I've often found one comment (negative) on a movie/CD downloaded by 2000+ 
people, and since that single negative feedback, people simply stop downloading 
and therefore, sharing.  But a few times it was due not to the torrent itself, 
but to some issues on the downloader side (not updated codecs, misused 
tools...), and that's unfair for the person who took the time to share it for
free.

IF YOU FIND THIS RELEASE DESERVES TO BE RECOMMENDED TO OTHERS, HELP BY DROPPING 
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Thanks

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Comments

repopo - "IF YOU FIND THIS RELEASE DESERVES TO BE RECOMMENDED TO OTHERS, HELP BY DROPPING
A LINE AFTER YOU'VE CHECKED IT. This way, You'll help in keeping the torrent
alive, almost as much as keeping it in your HDD until a 1:1 ratio is
reached."

I will keep this in mind and will leave a comment after I've checked it. Thank you for your upload. It looks interesting!
Tested it with FLAC-tester. Quality is good. I enjoyed it too! Thanks again!
Thanks bauxiet, very appreciated.
Thank you So Much Can Any One Tell That What If I want Editable Soundtracks Of Movie How can I get???