Soundtrack - The End of Violence [EAC-FLAC] [RePoPo]

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Original Soundtrack - The End of Violence

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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.



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THE AURA OF INSIGNIFICANCE

An interview with Wim Wenders

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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

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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



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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 previou