The Internet Archive discovers and captures web pages through many different web crawls.
At any given time several distinct crawls are running, some for months, and some every day or longer.
View the web archive through the Wayback Machine.
Content crawled via the Wayback Machine Live Proxy mostly by the Save Page Now feature on web.archive.org.
Liveweb proxy is a component of Internet Archive’s wayback machine project. The liveweb proxy captures the content of a web page in real time, archives it into a ARC or WARC file and returns the ARC/WARC record back to the wayback machine to process. The recorded ARC/WARC file becomes part of the wayback machine in due course of time.
Alejandro González Iñárritu's Oscar-nominated Birdman – the feverishly unhinged and darkly comic tale of Riggan Thomsen (Michael Keaton), a one-time Hollywood action hero looking for a Broadway comeback – rewrites a lot of cinematic rules, as does its head-turning score. Using just drums and cymbals, four-time Grammy winner and newbie film composer Antonio Sanchez plunges us into both Thomsen's inner (and outer) turmoil and his surrealistic flights of fancy.
“I don’t know if we were consciously thinking about something that was groundbreaking," Sanchez says. "You always want to try to do something new; nobody’s interested in repeating tried and true themes and forms. I have to give the credit to Alejandro for imagining that such a score could actually work. How he thought up a movie could go with that music is absolute genius. Luckily for me, I was the one chosen to perform it."
Sanchez is no stranger to jazz aficiandos: Since 2002 he's been a member of the Pat Metheny Group, and his resume also includes recordings by Chick Corea, Gary Burton and Michael Brecker, among others. In addition, he leads his own band, Migration, which will issue an adventurous hour-long piece, Meridian Suite, later this year. Birdman is, of course, exposing Sanchez's work to a new and wider audience, and during a recent afternoon the drummer-composer sat down with MusicRadar to talk about how his involvement with the film came together.
Why did Alejandro think that having the drums as the primary sound source for the score would work?
“He thought that because the film is a comedy, in essence, and because comedy requires rhythm, that drums would be the perfect way to achieve that goal. Also, I think it was because of the way he wanted to shoot, with the long shots around the corridors of the theater. The forward motion of what the drums could provide was what he was looking for.
“Plus, he wanted something that wouldn’t cater to an audience’s expectations. That’s something that’s always bothered me about a lot of scores, the way you’re spoonfed everything you’re supposed to feel at every moment. Drums are a little more abstract in that way."
People don’t usually think that drums can evoke moods and express feelings like other instruments. You prove otherwise with Birdman.
“That’s true – people don’t think of the drums in that way. I think they're a very untapped resource. Anytime you hear percussion in a film score, it’s usually part of a larger orchestral score. And I do love that kind of thing, but I think drums and percussion are highly underrated sources for evoking and producing different sets of emotions. There’s a very wide range to what drums can do, but you don’t always get a chance to hear it.
“The piano is very good for evoking feelings, but you can’t really change the instrument’s sound. A piano is a piano. A drum set, on the other hand, is so customize-able. You can have three drums or you can have 10. You can have two cymbals or you can have 20. You can hit drums with your hands, with sticks, with brushes, branches – anything you want. We tried a bunch of different things in Birdman to see what would work.”