{"id":24836,"date":"2016-06-24T10:42:45","date_gmt":"2016-06-24T08:42:45","guid":{"rendered":"http:\/\/jameshorner-filmmusic.com\/fr\/?p=24836"},"modified":"2016-06-24T22:59:39","modified_gmt":"2016-06-24T20:59:39","slug":"its-logical-episode-3-rencontres-envoutantes","status":"publish","type":"post","link":"http:\/\/jameshorner-filmmusic.com\/fr\/its-logical-episode-3-rencontres-envoutantes\/","title":{"rendered":"IT&#8217;S LOGICAL &#8211; EPISODE 3: RENCONTRES ENVOUTANTES"},"content":{"rendered":"<div style=\"text-align: justify;\">\n<div>\n\t\t<span style=\"font-size:16px;\">&laquo;&nbsp;<em>It&#39;s logical<\/em>&nbsp;&raquo; est une s&eacute;rie d&#39;articles qui aborde la logique, la coh&eacute;rence, les dimensions visuelles, narratives, symboliques ou encore &eacute;motionnelles, des r&eacute;miniscences et citations remarquables dont James Horner a parsem&eacute; son &oelig;uvre.<\/span>\n\t<\/div>\n<div>\n\t\t&nbsp;\n\t<\/div>\n<div>\n<div style=\"text-align: justify;\">\n\t\t\t<span style=\"font-size:16px;\">[divider]<strong>SNEAKERS, APOLLO 13, ALL THE KING&#39;S MEN<\/strong>[\/divider]<\/span>\n\t\t<\/div>\n<\/p><\/div>\n<div align=\"justify\">\n\t\t<br \/>\n\t\t<span style=\"font-size:16px;\">Au-del&agrave; des colorisations d&eacute;peintes autour du piano, des voix f&eacute;minines &eacute;th&eacute;r&eacute;es de <a href=\"http:\/\/jameshorner-filmmusic.com\/fr\/collaborations\/sally-stevens\/\">Sally Stevens<\/a> et Darlene Koldenhoven, et du chaleureux saxophone de <a href=\"http:\/\/jameshorner-filmmusic.com\/fr\/collaborations\/branford-marsalis\/\">Brandford Marsalis<\/a>, <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=661\"><strong>Sneakers<\/strong><\/a> (1992) propose un th&egrave;me myst&eacute;rieux et envo&ucirc;tant. A chacune de ses apparitions, il accompagne les &eacute;changes entre deux personnages, Bishop (Robert Redford) et Cosmo (Ben Kingsley).<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Ce th&egrave;me appara&icirc;t tout d&#39;abord sous une forme tr&egrave;s rapide d&egrave;s la quatri&egrave;me seconde du <em>Main Title<\/em>, o&ugrave; il reviendra &agrave; deux reprises (1:22, 1:35), telle une signature, un jingle du film et de son histoire. En personnifiant le lien entre Bishop et Cosmo, ce th&egrave;me illustre le c&oelig;ur de l&#39;intrigue, l&#39;histoire dans l&#39;histoire, celle de deux amis, deux g&eacute;nies de l&#39;informatique dont les id&eacute;aux &eacute;taient similaires pendant leur jeunesse mais que la vie a s&eacute;par&eacute;s.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">En effet, &agrave; la fin des ann&eacute;es 60, Cosmo et Bishop (de son v&eacute;ritable nom Martin Brice) infiltrent les r&eacute;seaux informatiques du Parti R&eacute;publicain des Etats-Unis. Suite &agrave; cette action, Cosmo est incarc&eacute;r&eacute; et passera sa vie en prison o&ugrave; il est pr&eacute;tendument d&eacute;c&eacute;d&eacute;, tandis que Martin, qui s&#39;&eacute;tait absent&eacute; acheter des pizzas juste avant l&#39;intervention polici&egrave;re, &eacute;chappera aux autorit&eacute;s et adoptera le nom de Bishop pour &eacute;viter les poursuites.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div style=\"text-align: center;\">\n\t\t<img decoding=\"async\" alt=\"\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/sneakers_cosmo_light.jpg\" style=\"box-shadow: 2px 2px 5px rgba(0, 0, 0, 0.5);\" \/>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Logiquement, vingt ans plus tard, quand Cosmo r&eacute;apparait contre toute attente, les retrouvailles avec Bishop rev&ecirc;tent un caract&egrave;re irr&eacute;el et hors du temps. Dans <em>Cosmo&#8230;Old Friend, <\/em>le th&egrave;me abandonne donc la fougue juv&eacute;nile du morceau introductif et adopte un rythme langoureux o&ugrave; il r&eacute;v&egrave;le ainsi la source d&#39;inspiration du compositeur, c&#39;est-&agrave;-dire une des pi&egrave;ces les plus connues d&#39;Arvo P&auml;rt&nbsp;: <strong>Fratres<\/strong>.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n<div style=\"text-align: center;\">\n\t\t\t<span style=\"font-size:14px;\"><strong>Fratres<\/strong> &#8211; Arvo P&auml;rt&nbsp; <\/span>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t<!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n<audio class=\"wp-audio-shortcode\" id=\"audio-24836-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Arvo-Pa\u0308rt-Fratres-Extract.mp3?_=1\" \/><a href=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Arvo-Pa\u0308rt-Fratres-Extract.mp3\">http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Arvo-Pa\u0308rt-Fratres-Extract.mp3<\/a><\/audio>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t&copy; Deutsche Grammophon &lrm;&ndash; 457 647-2\n\t\t<\/div>\n<\/p><\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">En puisant dans les couleurs, les rythmes et la ligne m&eacute;lodique de cette pi&egrave;ce dont la premi&egrave;re version date de 1977, James Horner nous renvoie &agrave; la fois &agrave; son titre, <strong>Fr&egrave;res<\/strong> en latin, et &agrave; la signification de la musique minimaliste du compositeur estonien.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Tout d&#39;abord, le titre serait une allusion &agrave; la puissante amiti&eacute; qui unissait les musiciens de Hortus Musicus, groupe compos&eacute; de cordes, de vents et de percussions qui a interpr&eacute;t&eacute; la version originale de l&#39;oeuvre. D&#39;autres sources sugg&egrave;rent que ce titre serait un hommage &agrave; Benjamin Britten dont Arvo P&auml;rt est devenu un admirateur peu de temps avant la disparition du compositeur britannique en 1976.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Dans les deux cas, la notion de lien de fraternit&eacute; est pr&eacute;sente&nbsp;: les liens qui soudent les musiciens du groupe ou le lien musical entre P&auml;rt et Britten. Il semble donc logique que James Horner s&#39;inspire de cette pi&egrave;ce pour souligner la relation entre Bishop et Cosmo, amis complices, devenus presque fr&egrave;res lors de leur jeunesse.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n<div style=\"text-align: center;\">\n\t\t\t<span style=\"font-size:14px;\"><em>Cosmo&#8230;Old Friend<\/em> &#8211; <strong>Sneakers<\/strong> &#8211; Original Soundtrack by James Horner<\/span><font face=\"arial, helvetica\" size=\"2\"><b> <\/b> <\/font>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t<audio class=\"wp-audio-shortcode\" id=\"audio-24836-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Sneakers-Cosmo-Old-Friend-James-Horner-Extract.mp3?_=2\" \/><a href=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Sneakers-Cosmo-Old-Friend-James-Horner-Extract.mp3\">http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Sneakers-Cosmo-Old-Friend-James-Horner-Extract.mp3<\/a><\/audio>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t&copy; 1992 Universal Pictures, under license to CBS (Sony BMG) B0000028UQ\n\t\t<\/div>\n<\/p><\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Par ailleurs, le minimalisme de <em>Cosmo&#8230;Old Friend<\/em> peut s&#39;expliquer par la volont&eacute; de James Horner de transposer la dimension mystique de la musique d&#39;Arvo P&auml;rt, et ainsi d&#39;apporter une dimension intemporelle aussi bien qu&#39;&eacute;nigmatique aux retrouvailles entre les deux personnages.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Durant les cinq premi&egrave;res minutes de <em>Cosmo&#8230;Old Friend<\/em>, le compositeur ne s&#39;&eacute;loigne pas de la tonalit&eacute; de d&eacute;part, la musique est construite autour des silences qui font partie int&eacute;grante du discours, le temps est ainsi &eacute;tir&eacute; au maximum. Jou&eacute; par le triangle et les cordes, le mat&eacute;riel th&eacute;matique exploit&eacute; est unique de par sa mani&egrave;re de favoriser ainsi r&eacute;p&eacute;titions, transpositions et permutations.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Cet ensemble d&#39;id&eacute;es musicales respectueuses d&#39;Arvo P&auml;rt conf&egrave;re &agrave; Cosmo, &agrave; son discours et &agrave; ses id&eacute;aux, une aura myst&eacute;rieuse, inqui&eacute;tante, chim&eacute;rique, contrebalanc&eacute;e par le son feutr&eacute;e du saxophone, incarnation des valeurs de Bishop, qui tente de dialoguer avec son ancien ami.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Gr&acirc;ce &agrave; cette couleur musicale s&eacute;duisante, &agrave; l&#39;interpr&eacute;tation de Ben Kinsley, &agrave; la vision du capitalisme et de la d&eacute;mocratie qu&#39;il propose, le personnage de Cosmo acquiert un caract&egrave;re fascinant&nbsp;; son ombre plane sur tout le film, malgr&eacute; un temps &agrave; l&#39;&eacute;cran tr&egrave;s court.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div style=\"text-align: center;\">\n\t\t<iframe allowfullscreen=\"\" frameborder=\"0\" height=\"315\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/coDtzN6bXAM\" style=\"box-shadow: 2px 2px 5px rgba(0, 0, 0, 0.5);\" width=\"560\"><\/iframe>\n\t<\/div>\n<div align=\"center\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Quand finalement le th&egrave;me se d&eacute;ploie (4:58), c&#39;est pour mieux montrer la radicalit&eacute; du personnage de Cosmo, qui souhaite abolir la notion de propri&eacute;t&eacute; priv&eacute;e, supprimer les banques et les march&eacute;s financiers, car la soci&eacute;t&eacute; et les hommes politiques sont corrompus par l&#39;argent.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">La musique sort alors du minimalisme pour marquer ce d&eacute;sir utopique de changement. Plus tard dans le film, ce passage est repris lorsque l&#39;obsession de Cosmo l&#39;am&egrave;ne &agrave; tirer en direction de son ami pour le contraindre de lui remettre un objet pouvant l&#39;aider &agrave; arriver &agrave; ses fins.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Sur le disque, la derni&egrave;re et courte apparition du th&egrave;me dans la seconde moiti&eacute; de <em>Goodbyes<\/em> (&agrave; partir de 2:00) marque le dernier dialogue entre les deux anciens amis. L&#39;&eacute;lan final et lib&eacute;rateur (2:48) symbolise la victoire de Bishop sur l&#39;emprise de Cosmo.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Trois ans plus tard, le th&egrave;me revient dans <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=750\"><strong>Apollo 13<\/strong><\/a> (1995) &agrave; deux moments pr&eacute;cis.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Tout d&#39;abord, il accompagne les trois cosmonautes lors de leur passage derri&egrave;re la face cach&eacute;e de la Lune, astre fascinant &agrave; l&#39;origine de nombreux mythes et myst&egrave;res depuis le d&eacute;but de l&#39;humanit&eacute;. D&egrave;s les premi&egrave;res secondes de <em>The Dark Side of the Moon<\/em>, des cordes lancinantes et attrist&eacute;es amorcent le th&egrave;me qui appara&icirc;t entre 0:33 et 1:07 et qui revient ensuite &agrave; 2:47.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n<div style=\"text-align: justify;\">\n<div style=\"text-align: center;\">\n\t\t\t\t<span style=\"font-size:14px;\"><em>The Dark Side of the Moon<\/em> &#8211; <strong>Apollo 13<\/strong> &#8211; Original Soundtrack by James Horner<\/span>\n\t\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t\t<audio class=\"wp-audio-shortcode\" id=\"audio-24836-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/The-Darkside-Of-The-Moon-James-Horner-Apollo-13-Extract.mp3?_=3\" \/><a href=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/The-Darkside-Of-The-Moon-James-Horner-Apollo-13-Extract.mp3\">http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/The-Darkside-Of-The-Moon-James-Horner-Apollo-13-Extract.mp3<\/a><\/audio>\n\t\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t\t&copy; 1995 Universal Pictures, under license to MCA (Universal) B000002OW6\n\t\t\t<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">A chaque fois, il souligne la beaut&eacute; myst&eacute;rieuse des &eacute;tendues lunaires visibles &agrave; travers le hublot du vaisseau. Tout comme Cosmo, la Lune appara&icirc;t peu dans le film mais elle est dans toutes les t&ecirc;tes, elle hante les esprits et guide le comportement de chacun.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div style=\"text-align: center;\">\n\t\t<img decoding=\"async\" alt=\"\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/apollo13_moon_light.jpg\" style=\"box-shadow: 2px 2px 5px rgba(0, 0, 0, 0.5);\" \/>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">De plus, &agrave; travers ces deux apparitions le th&egrave;me entoure la s&eacute;quence de la coupure du contact radio entre l&#39;&eacute;quipage et la Terre. Il symbolise donc &agrave; la fois la fascination de l&#39;homme face &agrave; la splendeur lunaire, mais &eacute;galement l&#39;interruption du lien vital entre les trois cosmonautes et les techniciens de Houston, du lien cr&eacute;&eacute; par un r&eacute;cepteur de la NASA qui permet &agrave; Marylin Lovell (Kathleen Quinlan) d&#39;&eacute;couter de sa chambre la voix de son mari Jim Lovell (Tom Hanks).<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Enfin, la derni&egrave;re apparition du th&egrave;me a lieu quelques minutes avant la descente vers l&#39;atmosph&egrave;re terrestre, lors d&#39;un tr&egrave;s court passage in&eacute;dit (<em>15m1 Distant Thoughts<\/em>), o&ugrave; Jim Lovell et sa femme semblent deviner mutuellement la pr&eacute;sence de l&#39;autre malgr&eacute; les milliers de kilom&egrave;tres qui les s&eacute;parent. Le commandant essuie le hublot du vaisseau et il contemple la Terre, fascin&eacute;, tandis que sa femme l&egrave;ve les yeux vers le ciel.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div style=\"text-align: center;\">\n\t\t<img decoding=\"async\" alt=\"\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/apollo13_tom_hanks_light.jpg\" style=\"box-shadow: 2px 2px 5px rgba(0, 0, 0, 0.5);\" \/>\n\t<\/div>\n<div style=\"text-align: center;\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">La mise en sc&egrave;ne de <a href=\"http:\/\/jameshorner-filmmusic.com\/fr\/collaborations\/ron-howard\/\">Ron Howard<\/a> sugg&egrave;re un lien quasi t&eacute;l&eacute;pathique n&eacute; de l&#39;intuition de ces deux &ecirc;tres, de leur complicit&eacute; construite lors de plusieurs ann&eacute;es de vie commune. La reprise du th&egrave;me s&#39;accorde donc &agrave; la fois &agrave; ce lien entre Jim Lovell et sa femme, mais &eacute;galement &agrave; une prise de conscience du commandant de la mission spatiale: La Terre est aussi attrayante que la Lune et elle abrite les &ecirc;tres qui nous sont chers.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Ainsi, &agrave; l&#39;image des liens entre les musiciens de l&#39;ensemble Hortus Musicus, entre les deux amis Bishop et Cosmo, la reprise du th&egrave;me dans <strong><a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=750\">Apollo 13<\/a> <\/strong>souligne les attaches entre les protagonistes de l&#39;histoire.<\/span>\n\t<\/div>\n<blockquote>\n<div>\n\t\t\t<span style=\"font-size:16px;\"><em>&laquo;&nbsp;La citation repr&eacute;sente tout un art. Il faut arriver &agrave; ce que l&rsquo;int&eacute;gration de la citation soit envelopp&eacute;e dans sa propre musique sans d&eacute;naturer votre propre musique ou celle de l&rsquo;auteur original. C&rsquo;est fort diff&eacute;rent de l&rsquo;imitation trop souvent pratiqu&eacute;e dans la musique de films. Quand Monet cite des &oelig;uvres des peintres de la Renaissance, il les int&egrave;gre si parfaitement dans sa toile qu&rsquo;elle resplendit d&rsquo;unit&eacute;.&nbsp;&raquo;<\/em><\/span>\n\t\t<\/div>\n<\/blockquote>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Comme pour la citation de l&#39;adagio du ballet <strong>Gayaneh<\/strong> d&#39;Aram Khachaturian (1942), une des pi&egrave;ces favorites du compositeur au point qu&#39;elle finissait par se fondre totalement dans son discours musical, James Horner a envelopp&eacute; une derni&egrave;re fois la ligne m&eacute;lodique langoureuse de <strong>Fratres<\/strong>, plus d&#39;une d&eacute;cennie apr&egrave;s <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=661\"><strong>Sneakers<\/strong><\/a> et <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=750\"><strong>Apollo 13<\/strong><\/a>. Ce fut &agrave; l&#39;occasion du film <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=10315\"><strong>All The King&#39;s Men<\/strong><\/a> (2007), dans un morceau qui n&#39;apparait pas dans le film mais qu&#39;il a tenu &agrave; placer dans l&#39;album&nbsp;: <em>All Our Lives Collide<\/em>.<\/span>\n\t<\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n<div style=\"text-align: center;\">\n\t\t\t<span style=\"font-size:14px;\"><em>All Our Lives Collide<\/em> &#8211; <strong>All the King&#39;s Men<\/strong> &#8211; Original Soundtrack by James Horner<\/span><font face=\"arial, helvetica\" size=\"2\"><b> <\/b> <\/font>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t<audio class=\"wp-audio-shortcode\" id=\"audio-24836-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/All-Our-Lives-Collide-James-Horner-All-The-Kings-Men-Extract.mp3?_=4\" \/><a href=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/All-Our-Lives-Collide-James-Horner-All-The-Kings-Men-Extract.mp3\">http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/All-Our-Lives-Collide-James-Horner-All-The-Kings-Men-Extract.mp3<\/a><\/audio>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t&copy; 2006 Sony Pictures Entertainment, under license to Varese Sarabande B014I36IZK\n\t\t<\/div>\n<\/p><\/div>\n<div align=\"justify\">\n\t\t&nbsp;\n\t<\/div>\n<div align=\"justify\">\n\t\t<span style=\"font-size:16px;\">Un titre &eacute;vocateur qui r&eacute;sume bien notre article. Les vies, les destins des personnages de <strong><a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=10315\">All The King&#39;s Men<\/a> <\/strong>se croisent et s&#39;entrechoquent. Tout comme pour Hortus Musicus, <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=661\"><strong>Sneakers<\/strong><\/a> et <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=750\"><strong>Apollo 13<\/strong><\/a>, les liens tiss&eacute;s entre eux au fil des ann&eacute;es constituent la dynamique de l&#39;histoire.<\/span><\/p>\n<div>\n\t\t\t<span style=\"font-size:16px;\">A l&#39;&eacute;coute de <em>All Our Lives Collide<\/em>, nos souvenirs nous renvoient alors soudainement 22 ans plus t&ocirc;t avec le lien qui unissait Spock et Kirk, une des premi&egrave;res amiti&eacute;s mis en musique par James Horner. Quand les deux personnages sont sur le point de se retrouver apr&egrave;s la &laquo;&nbsp;r&eacute;surrection&nbsp;&raquo; de Spock &agrave; la fin de <a href=\"http:\/\/jameshorner-filmmusic.com\/com\/?page_id=9637\"><strong>StarTrek III<\/strong><\/a>, James Horner employait d&eacute;j&agrave; une structure musicale similaire dans la deuxi&egrave;me partie de The Katra Ritual pour &eacute;voquer une rencontre envoutante&#8230;<\/span>\n\t\t<\/div>\n<div>\n\t\t\t&nbsp;\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t<span style=\"font-size:14px;\"><em>The Katra Ritual<\/em> &#8211; <strong>Star Trek III: The Search of Spock<\/strong> &#8211; Original Soundtrack by James Horner<\/span><font face=\"arial, helvetica\" size=\"2\"><b> <\/b> <\/font>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t<audio class=\"wp-audio-shortcode\" id=\"audio-24836-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Star-Trek-III_The-Katra-Ritual_Extract.mp3?_=5\" \/><a href=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Star-Trek-III_The-Katra-Ritual_Extract.mp3\">http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/Star-Trek-III_The-Katra-Ritual_Extract.mp3<\/a><\/audio>\n\t\t<\/div>\n<div style=\"text-align: center;\">\n\t\t\t&copy; 1984 Paramount Pictures, under license to FSM Retrograde FSM-80129-2\n\t\t<\/div>\n<p style=\"text-align: center;\">\n\t\t\t<img decoding=\"async\" alt=\"\" src=\"http:\/\/jameshorner-filmmusic.com\/wp-content\/uploads\/2016\/06\/STIII_Spock_Kirk_light.jpg\" style=\"width: 800px; height: 335px; box-shadow: 2px 2px 5px rgba(0, 0, 0, 0.5);\" \/>\n\t\t<\/p>\n<div style=\"text-align: center;\">\n<hr \/>\n<p style=\"text-align: left;\">\n\t\t\t\tCredits photo :<br \/>\n\t\t\t\tSneakers : &copy; 1992 Universal Pictures<br \/>\n\t\t\t\tApollo 13 : &copy; 1995 Universal Pictures<br \/>\n\t\t\t\tStar Tek II I: &copy; 1984 Paramount Pictures\n\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>&laquo;&nbsp;It&#39;s logical&nbsp;&raquo; est une s&eacute;rie d&#39;articles qui aborde la logique, la coh&eacute;rence, les dimensions visuelles, narratives, symboliques ou encore &eacute;motionnelles, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":24817,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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