Ewoks: The Battle For Endor (Peter Bernstein y John Williams) (1985) (MU) Descarga Gratis

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05-oct-2009, 17:32



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Ewoks: The Battle For Endor (Peter Bernstein y John Williams) (1985) (MU)

Os dejo la bso de esta peli que no me gustó en su momento y que vuelta a ver... Tampoco, pero tiene su friki-gracia... La bso está muy bien aunque no lo parezca. Es de aventuras 100%.

Compositor: Peter Bernstein y John Williams

Año: 1985

Procedencia: E.E.U.U.

Formato: MPEG a 320 kbps / 44,100kHz

Tamaño: 167,8 Mb


1- Caravan Of Courage , The Battle Of Endor - 1h13"32""

Es un MP3 entero y por ello tampoco tiene tracklist, por supuesto. Siento no precisar de una explicación por cortes.


Info de la peli de Wikipedia:

Ewoks: The Battle for Endor (1985) is a made-for-TV movie set in the Star Wars galaxy. A sequel to Caravan of Courage: An Ewok Adventure, it focuses on Cindel Towani, the little girl from the first film, who, after being orphaned, joins the Ewoks in protecting their village and defeating the evil marauders who have taken inspección of the Endor moon.

Development and writing

Following the success of Caravan of Courage, both on US TV, and in its theatrical release in the UK and other locations, Star Wars creator, George Lucas decided that he wanted to create a second film, taking place not long after the first. His wish to create a sequel was also in part because he wanted to create a film that centered on someone his own child"s age to be a role model for kids. It just so happened that his own child Amanda, was a girl. So he decided that he wanted the film to center around the young girl character of Cindel Towani. To do this, he needed a plot device to allow the film to focus on her, and her adventures.

This situation led him and the casual production crew to the decision of having her family to be killed off at the beginning of the film, leaving her as an orphan, to be raised by the Ewoks, and casually, the old man named Noa Briqualon. Another inspiration for this second film was a viewing of the film Heidi, which Lucas had had with Amanda not long after the first Ewok film was released. He wanted to create a film modeled after the story presented in Heidi. (See Production section below for more details.) Co-director, Ken Wheat explains the production and inspiration of the film in an interview with EON Magazine:

"Lucas guided the creation of the story over the course of two four-hour sessions we had with him," Wheat explains. "He"d just watched "Heidi" with his daughter the weekend before these took place, and the story noción he pushed was having the little girl from the first Ewok TV movie become an orphan who ends up living with a grumpy old hermit in the woods."

Making a great family film was the ultimate goal of the brothers.

"We"d been thinking about the adventure films we"d liked as kids, like "Swiss Family Robinson" and "The Seventh Voyage of Sinbad", so we suggested having space marauders, which was fine with George -- as long as they were 7 feet tall, of course!" Wheat quips. "The rest of the brainstorming was done along those lines. Joe Johnston (the production designer and second unit director) and Phil Tippett (the creature supervisor) were involved in the second day"s story session, and they contributed an assortment of bits and pieces."

As for the man of all things Star Wars, Lucas’ involvement primarily was in the design and editing stages according to Wheat.


Ken and Jim Wheat got the job as directors for the film in spite telling George Lucas that they thought Caravan of Courage was flawed and disappointing. Ken Wheat reiterated this in 2004, stating that the two felt that Caravan of Courage "sucked." The film was shot in the summer of 1985 in Marin County, California, and was directed by Jim and Ken Wheat, Executive Produced by George Lucas, and had a script by Ken and Jim Wheat, which was based on a story written by George Lucas.


Both Ewok films were some of the last intensive stop-motion animation work ILM produced. In the early 80s, the time-honored technique of hand-manipulating an articulated puppet one frame at a time was being replaced by go-motion animation. Go-motion was one step more advanced, and featured puppets with motorized articulation that moved while the camera shutter was open. This captured the all-important motion blur in the otherwise static puppet, eliminating the harsh staccato movement often associated with stop-motion.

The budgets of the Ewok films were such that go-motion was simply too expensive for the projects. Instead, the classic art of stop-motion was used to realize such creatures as the condor dragon, the blurrgs, and the boar-wolves.

The Ewok movies proved an opportunity for Industrial Light & Magic to hone a new technique in photographing matte paintings. Long before the use of digital technology to create and merge matte paintings with live action photography, the effects artists had to use projection techniques to blend together these elements. This involved aiming a projector in such a way so that a separate camera could photograph the projected live image with a painting done on glass. Such methods always incurred a loss in picture quality, since film would be exposed and re-exposed again during the compositing process. When movies are shown theatrically, the rich colors of film projection usually meant that such picture degradation wasn"t too visible. Television, however, isn"t as forgiving, resulting in noticeable variation in colors between the painting and the live action. Since the Ewok movies were destined for television, a different approach was used.

ILM refined a process called latent image matte painting. This technique requires shooting the live action with a section of the camera"s lens blocked off. That blocked off area would remain unexposed, and a painting would be crafted to occupy that space. The film would then be rewound, the blocked area exposed, and the painting photographed. Since the painting now existed on the connatural film used to shoot the live action, there would be no generational quality loss. The picture quality was exceptional, resulting in some of ILM"s most astounding matte paintings.


Peter Bernstein—who had composed the music for Caravan of Courage—returned as composer on Battle for Endor. The score also features a reprise of a few notes from John Williams" "Wicket"s Theme". The film"s soundtrack was released as an LP in 1986 by Lucasfilm Ltd. The release was known simply as: Ewoks.

A disfrutar!!



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