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Grupo Agrocrecimiento

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Dylan Sanchez
Dylan Sanchez

Garbage - The World Is Not Enough (Chilled Out Remix) BEST

Stölzl (chosen by Garbage) drew up a treatment liked by the band, but MGM and Eon (who commissioned the video) did not consider it "Bond enough".[8] Stölzl's reworked storyboard featured Manson as an android clone who kills her human counterpart, a concept the band also liked.[8] He provided a special-effects company with sketches of the android, and a replica was constructed with aircraft and missile parts, tubing, metal and plastic.[21] The android was combined with Manson in post-production to show its mechanical interior.[21] "It reminds me of The Man Who Knew Too Much. Some of the shots look like Stanley Kubrick", recalled Vig. "For us it was just important that the music video was also a Garbage video."[8] "[It's] like a mini-Bond action-packed film, where an android removes evil from the world and sacrifices herself in the process like a kamikaze warrior. That's as close as we'll ever get [to being in a Bond movie]," Manson later said.[23]

Garbage - The World Is Not Enough (Chilled Out remix)

In the eyes of some, "Reality Bites" is a peak-Gen X cinema, filled with a slacker ethos that captures the feelings of disaffected youth culture. In the eyes of others, the setting and tone belay the script's obvious story beats (to say nothing of the deeply problematic AIDS subplot Steve Zahn's gay character must go through). It did well enough at the box office, but Universal Pictures was certainly hoping for their own "Singles". Thankfully, much like that Cameron Crowe classic, the soundtrack to "Reality Bites" was an alt-rock beast. It boasted a rare chart-topping hit from an unsigned artist (Lisa Loeb's "Stay (I Missed You)"), but the album was also decked out in classic rock tracks from U2, alternative-era leanings from The Juliana Hatfield Three, and some surprisingly strong newer cuts from the likes of Lenny Kravitz. Anchored by the unexpected breakout success of "Stay", the soundtrack eventually went double-Platinum, even as the remixed/re-recorded versions of classic songs from Squeeze and The Knack left some listeners a little cold (sometimes reality bites that way, though).

Danny Boyle makes his second appearance on this list, as after breaking through with 1996's dynamic feature "Trainspotting", he wouldn't garner significant acclaim again until 2002's "28 Days Later" revitalized his career. "The Beach" came at quite a unique inflection point for Boyle. It was the first major project Leonardo DiCaprio picked following the supernova success of 1997's "Titanic", meaning people would buy tickets just to see the oft-shirtless heartthrob regardless of the film itself. While the R-rated "The Beach" made money, critics largely dismissed it for its confusing, contradictory script. Yet its soundtrack found Boyle again returning to his love of electronica, and "The Beach" featured a large swath of sounds, ranging from pure pop songs (All Saints' "Pure Shores") to moody textural pieces (Moby's signature "Porcelain") to moody electro (U.N.K.L.E.'s masterpiece "Lonely Soul" featuring The Verve's Richard Ashcroft) to punky Britpop remixes (William Orbit completely converting Blur's "On Your Own" into an almost unrecognizable shape). Given this was a movie about a young man doing an internet search for "paradise" and getting mixed up in criminal trouble on an island, the electronic bent made sense, sounding tropical but modern in equal beats. Even Underworld, the breakout stars from the "Trainspotting" soundtrack, show up here with the surprisingly gentle "8 Ball", proving that when it comes to Danny Boyle's electro soundtracks, it doesn't need fixin' if it ain't broken. 041b061a72

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