Linkin Park lacks life onstage
The concert CD/DVD set
shows the band's absence
of originality and freshness
during live performances
By Steven Neuman
Freelance Reporter
There was a time when a concert
film was a huge undertaking, requir
ing the placement of heavy film cam
eras, months of post-event sound
mixing, ed
iting of
footage and,
most of all,
an artistic
vision. This
was the process that spawned
"Woodstock: 3 Days of Peace, Music
and Love."
However, with the increased sophis
tication of digital technologies, the
recording industry is now proud to
bring you a not-so-very-special DVD
release of Linkin Park live in concert.
There is nothing particularly bad
about the DVD or the matching live
REVIEW
album that comes with it — Linkin
Park puts on a good show, after all —
yet there is nothing particularly good
about the double disc set either. As a
media-based culture, we've become so
jaded by the barrage of televised con
certs, music specials, high-definition
flat screens and Dolby Digital 5.1 sur
round sound that this concert DVD
just seems like another DVD of some
random television special.
The DVD doesn't break much new
ground because the shots basically re
peat this same pattern: Moving from
a close-up of one of the band mem
bers, to the lead singer, to the crowd,
to the band as a whole and back to a
close-up again. After about five min
utes it becomes increasingly tedious.
To the credit of the DVD producers,
the 5.1 digital surround sound is spec
tacular, and you can hear every note
so beautifully that the crowd seems to
be right in your living room. Also,
DVD director Kimo Proudfoot shows
glimpses of vision, but these are
drowned out by zooming long shots
and the pre-fab mass-production of
the rest of the concert.
Linkin Park performs admirably,
trying their best to look hard-core and
playing their hits and standards to the
adoring crowds. Yes, that's right:
crowds, plural. "Live in Texas" is not
actually one concert as it is made to
appear, but the combination of two
separate events. Sure, they are live in
I louston — but they are live in Irving,
Texas, as well.
Aside from the illusion created by
the DVD, the "live album" barely
sounds live because the music seems
a little too pristine for a live recording.
Turn to LINKIN PARK, page 12
NAQOYQATSI
continued from page 8
his or her own interpretations re
garding what exactly the film is
"about." This is not to say the con
tent is totally subjective, either.
Roger Ebert, reviewing the film Oct.
25, 2002, said the following of the
series of films: "They're ritualistic
grief at what man has done to the
planet." Ebert is partly correct.
However, his words seem to label
Reggio's films as overtly pessimistic
and fails to grasp the possibility that
the film might provoke change. The
path of humanity is not set, after all.
The "qatsi" series of films are a re
flection of life and its evolution, as
if the filmmaker's ideas were trying
to hold up a mirror for all of us to
see. That is, if anyone cares to look.
Where image manipulation tech
niques were used in the first two
films — for example, film was accel
erated or slowed down, or a series of
quick cuts would be employed —
"Naqoyqatsi" distinguishes itself by
being the first to employ extensive
digital manipulation of the film im
agery. Nearly everything is filtered or
computer-generated. Digitized com
puter models enter and walk a Hol
lywood red carpet; Earth is shown as
one big computer; and the camera
dives into endless fractals, a digital
wormhole and warps through space
like something out of "Star Trek."
BENICIO
DEL TORO
NAOMI
WATTS
FROM THE DIRECTOR OF THE
ACADEMY AWARD NOMINATED FILM
AMORES PERROS
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Sat & Sun Mat 2:30
returning: THE CREATURE PROM r_
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One of the most breathtaking scenes
shows famous paintings, one after
another, melting into each other. As
the film progresses, it seems to go
faster and faster, matching the
themes quite nicely.
Finally, not enough can be said
about Glass' magnificent scoring. His
music is ineluctably linked to all 89
minutes of the film, and seems to help
provide the aforementioned requiem
for change. Glass' role as composer
should not be underestimated. In the
panel discussion with the filmmakers
included on the extras of the DVD, it
becomes clear how instrumental (pun
intended) a role he has in the creation
of these movies. This time Glass' or
chestra is aided by the cellist Yo-Yo Ma.
Ma's cello mastery is virtually undeni
able, and adds a melancholic tinge to
the progression of the film.
On the DVD, the filmmakers claim
this series of films was never intended
to be a trilogy. Contrary to others, who
feel the idea is tired, or a relic of the
past, there is still room for further ex
ploration. Fourteen years passed be
tween the second and third film, so
why not make another even if it takes
another 14 more? "Naqoyqatsi" is a
film that is both alive and vibrant.
Watch it with friends, and watch it on
DVD, with Dolby Digital 5.1 surround
sound to get the most out of your
viewing experience.
Contact the Pulse editor
at aaronshakra@dailyemerald.com.
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