
English: 
Interviewer: "Why the hero with a thousand faces?"
Joseph Campbell: "Well because there's a certain
typical...
hero sequence of actions."
Apollo - June 21th of 1969
Neil Armstrong: "Thats one small step for men,
Apollo - June 21th of 1969
one giant leap for mankind."
Joseph Campbell: "Which can be detected in stories from all over the world,
and from many, many periods of history."
Falcon Heavy - February 6th of 2018
Joseph Campbell: "A hero properly is someone who has given his life
to something bigger than himself,
or other than himself."
Joseph Campbell: "And I think it's essentially, you might say, the one deed
done by many, many, different people."

Spanish: 
el viaje de Cooper es el viaje del héroe.
El viaje mitológico, que consiste en
partir del mundo ordinario, cruzar el
umbral a lo extraordinario, conseguir lo
que se partió a buscar y regresar con
ello para compartirlo
esta estructura narrativa que nos ha
acompañado durante milenios se basa en
la premisa de que el desarrollo personal
e individual de cada uno es lo que
revitaliza a la comunidad. Pero el viaje
del héroe de la vida de Cooper tuvo un
parón inesperado
y ahora tiene hijos y
responsabilidades y aceptar la llamada a

Catalan: 
el viatge de Cooper és el viatge de l'heroi.
El viatge mitològic, que consisteix en
partir del món ordinari, creuar el
llindar a l'extraordinari, aconseguir el
que es va partir a buscar i tornar amb
això per compartir-ho
aquesta estructura narrativa que ens
ha acompanyat durant mil·lennis es basa en
la premissa de que el desenvolupament personal i individual de cada un, és el que
revitalitza a la comunitat. Però el viatge
l'heroi de la vida de Cooper va tenir una
aturada inesperada
i ara té fills i responsabilitats,
i acceptar la crida a

English: 
Joseph Campbell: "Giving themselves, sacrificing themselves for...
to an other."
"The Music of Interstellar"
Cooper's journey is the hero's journey.
The mythical journey that consists in setting out from the known world,
cross the Threshold into the unknown,
get what was being looked for
and return with it to share it.
This narrative structure
that has accompanied us for millennia
is based on the premise that each one's personal and individual development
is what revitalizes the community.
But the hero's journey in Cooper's life
had an unexpected stop.
Murphy: "Dad?"
And now he has children and responsibilities,
and accepting the call to adventure prevents him from taking care of her daughter,

English: 
Interstellar's music
Cooper's journey is the hero's journey.
The mythological journey, which consists of
leaving the ordinary world, crossing the threshold to the unknown, finding what
one was looking for, and come back with it to share it. 
This narrative structure that has accompanied us for millennia is based on
the premise that the personal development of each individual is what
brings life to a community. But Cooper's hero's journey was 
unexpectedly interrupted.
and now he has children and responsibilities, and accepting the call to adventure

Catalan: 
l'aventura li impedeix tenir cura de la seva filla,
 l'impedeix ser qui ell sap que ha de ser: un pare
La vida d'en Cooper està en desordre
per quan hagi fet el seu viatge i estigui
de veritat preparat per tenir fills i
assentar-se, els seus fills no el necessitaran
o hauran mort
aquest és el dilema d'en Cooper, és el
conflicte emocional central de tota la
trama, i aquest és el seu tema:
.

Spanish: 
la aventura le impide cuidar de su hija,
le impide ser quien él sabe que debe ser un padre
La vida de Cooper está en desorden
para cuando haya hecho su viaje y esté
de verdad preparado para tener hijos y
asentarse, sus hijos no le necesitarán
o habrán muerto
ese es el dilema de Cooper, es el
conflicto emocional central de toda la
trama, y este es su tema:
.

English: 
it prevents him from being who he knows that has to be: a father.
Cooper: "After you kids came along you mom she said
something to me I never quite understood.
She said: 'now...
...we're just here to be memories of our kids.' "
Cooper's life is untidy.
By the time he's done his journey
and is prepared to have children and settle
his children won't need him anymore...
Murphy: "You go."
...or they'll have died.
Tom: "Louis sais that I have to let you go,
so,
I'm letting you go."
That is Cooper's Dilemma.
That's the main emotional conflict
in the whole plot,
and this is its theme.

English: 
prevents him from taking care of his daughter, from being what he knows a parent should be.  
Cooper's life is not ordered
by the time he's finished his journey and is finally ready to have children and
settle down, his children won't need him anymore,
or they'll be already dead
This is Cooper's dilemma.
It's the main emotional conflict of the entire plot,
and this is its theme:
Theme of Cooper's Dilemma

Spanish: 
la primera vez que lo oímos es según
empieza la película, con el título
.
y le damos sentido la siguiente vez que
suena, cuando Cooper acepta la llamada a
la aventura y abandona a su familia
.
es un tema compuesto por una figura pero
que suena dos veces:
primero en modo mayor
y luego en modo menor
cada vez que suena, suena de las dos
maneras, primero de una y luego de otra
para que os hagáis una idea de lo
"in your face" que es esto, es como si en el

English: 
The first time we hear it is at the beginning of the movie, with the title 
Theme of Cooper's Dilemma
and we make sense of it the second time it's played, when Cooper accepts the call 
to adventure and abandons his family
Theme of Cooper's Dilemma
The theme consists of a pattern that is repeated twice: 
First in the Major mode
and then in the minor mode
every time it's played, it's played in both ways: First one and then the other 
just so you can picture how "in your face" this is, it's as if 

English: 
The first time we hear it
is as the movie begins, with the title.
And we make sense out of it the next time it sounds,
when Cooper accepts the call to adventure
and leaves his family.
Cooper: "I love you. Forever. You hear me?
And I'm coming back.
I'm coming back."
It is a theme that consists in one figure
that sounds twice.
First in major mode...
...and then in minor mode.
Every time it sounds, it does in two ways
first one, and then the other.
In order for you to know how "in your face" this is,

Catalan: 
la primera vegada que ho sentim és quan comença la pel·lícula, amb el títol
.
i li donem sentit la següent vegada que
sona, quan Cooper accepta la crida a
l'aventura i abandona a la seva família
.
és un tema compost per una figura però
que sona dues vegades:
primer en mode major
i després en mode menor
cada vegada que sona, sona de les dues
maneres, primer d'una i després de l'altra
perquè us feu una idea del "In your face" que és això, és com si en el

English: 
in The Lord of the Rings, every time we heard the hobbits theme, we heard this: 
Hobbits theme in major mode
Hobbits theme in minor mode
It's a dichotomy: two things that cannot be simultaneous, 
but both, first one and then the other, must be played.
Two Coopers: 
the hero and the father
theme of Cooper's Dilemma
apart from this theme, there's another theme for the father-daughter relationship
which we could call "Cooper and Murph's theme" 

Spanish: 
Señor de los Anillos, cada vez que sale el tema de los hobbits, sonará así:
.
.
es una dicotomía: dos cosas que no pueden ser simultáneas
pero ambas, primero una y luego otra, tienen que sonar
dos Coopers:
el héroe y el padre
.
además de este tema
para la relación padre hija
hay otro que podemos llamar "el tema de
Cooper y Murph"

English: 
it's like if in The Lord Of the Rings,
every time the hobbits' theme plays, it sounded like this:
Hobbits' theme in major mode
Hobbit's theme in minor mode
It's a dichotomy.
Two things that can't be simultaneous, but both,
first one, and then other,
have to sound.
Two Coopers,
the hero and the father.
TARS: "Go for main engine start in T-"
TARS: "Eight"
TARS: "Seven"
Murhpy: "Dad!"
TARS: "Six"
TARS: "Five - Main engin start - Four"
TARS:  "Three"
Besides this theme, for the father-daughter relationship
there's another one, that we can call the theme of Cooper and Murph

Catalan: 
Senyor dels Anells, cada vegada que surt el tema dels hòbbits, sonés així:
.
.
és una dicotomia: dues coses que no poden ser simultànies
però totes dues, primer una i després l'altra, han de sonar
2 Coopers:
l'heroi i el pare
.
a més d'aquest tema
per a la relació pare filla
hi ha un altre que podem anomenar "el tema de Cooper i Murph "

Catalan: 
sembla ser que abans de començar a rodar, Nolan va enviar a Zimmer una nota escrita
a màquina en la qual descrivia una escena:
un pare ha de deixar al seu fill per fer una cosa important
el pare li diu "tornaré" i el fill pregunta "quan?"
a més Nolan li va escriure una frase que el propi Zimmer havia dit un any abans
"Quan ets pare ja no et pots veure a través de
els teus propis ulls, sinó a través dels seus "
no li va dir que la pel·lícula tindria
res a veure amb salvar la humanitat,
ni amb l'espai, ni amb forats negres
i Hans Zimmer va compondre això:
.

Spanish: 
parece ser que antes de empezar a rodar
Nolan le mandó a Zimmer una nota escrita
a máquina en la que describía una escena:
un padre tiene que dejar a su hijo para hacer una cosa importante
el padre le dice "volveré" y el hijo pregunta "¿cuando?"
además Nolan le escribió una frase que el propio Zimmer había dicho un año antes
"cuando eres padre ya no te puedes ver a través de
tus propios ojos, sino a través de los suyos"
no le dijo que la película tendría
nada que ver con salvar a la humanidad,
ni con el espacio, ni con agujeros negros
y Hans Zimmer compuso esto:
.

English: 
Apparently, before starting to film, Nolan sent Zimmer a printed note 
in which he described a scene:
"A father must leave his child to do something important,
the father says "I'm coming back", and the child asks "when?" "
Nolan wrote as well a sentence that Zimmer himself had said a year before: 
"As a parent, you can't see yourself through 
your own eyes anymore, but through theirs"
He didn't say the movie would be
related to saving humankind, or to space or to black holes, 
and Hans Zimmer composed this:
Cooper and Murph's theme

English: 
It seems like, before starting to film,
Nolan sent Zimmer a typed letter
in which he described a scene:
The father tells her:
And the child asks:
Apart from that,
Nolan wrote a phrase that Zimmer himself had said one year before:
"𝘞𝘩𝘦𝘯 𝘺𝘰𝘶 𝘢𝘳𝘦 𝘢 𝘧𝘢𝘵𝘩𝘦𝘳, 𝘺𝘰𝘶 𝘤𝘢𝘯 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘴𝘦𝘦 𝘺𝘰𝘶𝘳𝘴𝘦𝘭𝘧 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘺𝘰𝘶𝘳 𝘰𝘸𝘯 𝘦𝘺𝘦𝘴,
𝘣𝘶𝘵 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦𝘪𝘳𝘴."
He didn't tell him that the movie would have to do with saving humanity,
or with space or with black holes,
and Hans Zimmer composed this:
It's a theme based on a pedal note

Catalan: 
és un tema basat en una nota pedal, és a
dir una nota que sona tota l'estona
mentre van canviant l'harmonia i la
melodia
en aquest cas el MI és la nota pedal
.
i amb aquesta nota pedal i amb les dues
primeres notes del tema sorgeix el que
segurament sigui el tema més conegut de
tota la banda sonora:
.
és un tema molt relacionat amb la família de Cooper, en concret amb Murph
és gairebé com la Murph creixent,

English: 
i.e. a note that sounds all the time, while the harmony and melody change.
In this case, E is the pedal note.
And with this pedal note
and with the two first notes of the theme
originates probably the most known theme in all of the soundtrack.
It's the same pedal note from earlier.
It's a theme that's very related to Cooper's family,
specifically with Murph.
It's almost like Murph growing up.

English: 
the theme is based on a pedal note, this is, a note that is played all the time 
while the melody and harmony change 
in this case the pedal note is E 
Cooper and Murph's theme
and from this pedal note and the first two notes of the theme, we get what is
probably the best known theme of the entire OST:
(It's the same pedal note from before)
this theme is very related to Cooper's family, especially with Murph
it's almost like Murph growing up

Spanish: 
es un tema basado en una nota pedal, es
decir una nota que suena todo el rato
mientras van cambiando la armonía y la
melodía
en este caso el MI es la nota pedal
.
y con esta nota pedal y con las dos
primeras notas del tema surge el que
seguramente sea el tema más conocido de
toda la banda sonora:
.
es un tema muy relacionado con la familia de Cooper, en concreto con Murph
es casi como Murph creciendo,

English: 
we hear it when he chases the drone with his children, 
when he listens to his son's recordings from the last 20 years
and when he sees Murph through the library shelf
But on top of that, from the second part of Cooper and Murph's theme, from this: 
Cooper and Murph's theme
we get yet another theme that is basically used to create tension 

English: 
We've heard it when he chases the drone with his children...
...when he listens to his son's recordings from the last twenty years...
Tom: "You're a grandpa."
TOM: "His name is Jessie."
...and when he sees Murph through the bookshelf.
Murhpy: "It was you."
But besides Cooper and Murph's theme second half...
...he makes another theme.
That's basically used to generate tension.
Cooper: "Coordinates."
Dr. Mann: "Do not go gente into that good night.
Old age should brun and rave at close of day."

Catalan: 
l'hem sentit quan persegueix el dron amb els seus fills
quan escolta els enregistraments del seu fill dels últims 20 anys
i quan veu a la Murph a través de la llibreria
però a més, de la segona meitat del tema de Cooper i Murph, d'això:
.
treu un altre tema que s'usa bàsicament
per generar tensió

Spanish: 
lo hemos oído cuando persigue al dron con sus hijos
cuando escucha las grabaciones de su hijo de los últimos 20 años
y cuando ve a Murph a
través de la librería
pero además, de la segunda mitad del tema de Cooper y Murph, de esto:
.
saca otro tema que se usa básicamente
para generar tensión

English: 
And you'll tell me: "and why haven't you named these last two themes?"
That's because Hans Zimmer
is not a "leitmotific" composer.
Knowing these four motifs helps us sail
through the movie a little better.
But what's interesting about this soundtrack,
what made it be nominated to an Oscar
are the textures, the sonorities, not the themes.
John Williams and Howard Shore can mark
fifty leitmotifs for a single movie,
but its sonority is limited to the symphonic orchestra.
Hans Zimmer, instead, uses it all.
"The wall of Sound of Hans Zimmer"
What is sounding here?
To begin with, there's a tick-tack, a not very subtle reference to time,
which will be hours to them, but out of that planet will be 23 years.

Catalan: 
I em direu "i per què a aquests últims dos temes no els hi has posat nom?"
doncs perquè Hans Zimmer no és un compositor leit-motívic
conèixer aquests quatre motius ens ajuda a
navegar una mica millor la pel·lícula però
l'interessant d'aquesta banda sonora
el que va fer que la nominessin per a un Oscar són les textures, les sonoritats
no els temes.
John Williams i Howard Shore et poden marcar 50 leit motivs per a una sola pel·lícula
però la seva sonoritat es limita a l'orquestra simfònica
en canvi Hans Zimmer ho utilitza tot
.
Què està sonant aquí?
per començar està sonant un tic-tac, una referència (no gaire subtil) al temps
que per a ells seran unes hores,
però fora d'aquest planeta seran 23 anys

English: 
You may ask "and why didn't you name these last two themes?" 
well, because Hans Zimmer is not a Leitmotiv-ic composer
knowing these 4 motifs can help us 
understanding the movie a bit better, but the interesting part of this OST, 
what made it become an Oscar nominee, are its textures, its sonority, 
not its themes
John Williams and Howard Shore can make 50 leitmotifs for a single movie
but their sonority is limited to the symphonic orchestra
whilst Hans Zimmer uses EVERYTHING
Hans Zimmer's wall of sound
What can we hear here?
to begin with, there's a "tic-tac", a (not very subtle) reference to time 
which for them will be a couple of hours, but outside the planet it'll be 23 years 

Spanish: 
Y me diréis "y por qué a estos últimos dos temas no les has puesto nombre?"
pues porque Hans Zimmer no es un compositor leit-motívico
conocer estos cuatro motivos nos ayuda a
navegar un poco mejor la película pero
lo interesante de esta banda sonora
lo que hizo que la nominran para un Oscar
son las texturas, las sonoridades
no los temas.
John Williams y Howard Shore te pueden marcar 50 leit motivs para una sola película
pero su sonoridad se limita a la orquesta sinfónica
en cambio Hans
Zimmer lo utiliza todo
.
¿Qué está sonando aquí?
para empezar está sonando un tic-tac, una referencia (no muy sutil) al tiempo
que para ellos van a ser unas horas,
pero fuera de ese planeta van a ser 23 años

Catalan: 
aquest tic tac és la suma de violinistes donant cops amb llàpissos als seus violins
de contrabaixistes picant amb les mans al cos dels seus instruments
i de percussió, és clar
a més del tic-tac, hi ha una textura sonora indefinida
que sona tota l'estona, i que ve com per onades
.
.
s'escolten vents fusta, vents
metalls i cordes (o sigui, la resta de l'orquestra)
però també s'escolta a un cor femení gravat donant l'esquena
als micròfons perquè no s'agafi la seva
veu, sinó la reverb de la seva veu a
l'habitació en què van ser gravades.
I fins i tot en algunes parts de la banda sonora s'escolta a instrumentistes
bufar dins dels seus instruments de vent sense produir nota
i per descomptat, un òrgan
L'òrgan d'Interstellar, però ja parlarem de l'òrgan després
l'important no és cap d'aquests instruments per separat

English: 
this "tic-tac" is the sum of violinists knocking their violins with pencils 
of double bass players clapping on their instruments 
and percussion instruments, of course
apart from the tic-tac, there's an undefined sound texture 
that we can hear all the time, and that comes in waves 
This is a wave
And... can you hear the tic-tac?
we can hear wood-wind, brass-wind and string instruments (that is, the whole orchestra)
but there's also a female choir, recorded while giving their backs to
the microphones in order not to record their voice, but the reverb of their voices 
in the room where they were recorded 
And we can even hear, in some parts of the OST, some wind instrument players 
blowing into their instruments without producing a note
and, of course, a pipe organ
Interstellar's PIPE ORGAN, but we'll talk about the pipe organ later
none of these instruments is important on its own, 

Spanish: 
ese tic tac es la suma
de violinistas dando golpes con lápices a sus violines
de contrabajistas dando
palmadas al cuerpo de sus instrumentos
y de percusión, por supuesto
además del tic-tac, hay una textura sonora indefinida
que suena todo el rato, y que viene como por olas
.
.
se escuchan vientos madera, vientos
metales y cuerdas (o sea, el resto de la orquesta)
pero también se escucha a un
coro femenino grabado dando la espalda a
los micrófonos para que no se coja su
voz, sino la reverb de su voz en la
habitación en la que fueron grabadas.
E incluso en algunas partes de la banda sonora se escucha a instrumentistas
soplar dentro de sus instrumentos de viento sin producir nota
y por supuesto, un órgano
EL órgano de Interstellar, pero ya hablaremos del órgano después
lo importante no es ninguno de estos instrumentos por separado

English: 
that ticking is the sum of violinists hitting their violins with pencils,
cotrabass players slapping their instruments
and percussions, of course.
Apart from the ticking,
there's an indefinite sonorous texture.
that sounds all the time, and that comes by something like waves.
This is a wave.
And... do you hear the tick tack?
There's woodwinds,
brass instruments and strings,
that is, the rest of the orchestra
but there's also a feminine choir.
Recorded with them turning their backs to the microphones
so they don't record their voices, but their voices' reverberation in the room they were recorded.
Even in some parts of the soundtrack,
you can hear instrumentists blow into their wind instruments
without producing notes.
And of course, an organ.
𝘵𝘩𝘦 organ of Interstellar,
but we'll talk about the organ later.
What's important is none of these instruments on their own,

Catalan: 
l'important és que junts formen el que en producció musical es coneix com un mur de so
el "wall of sound" és un concepte
desenvolupat pel productor musical Phil Spector
ell gravava una cançó pop,
però en comptes de baix, guitarra, bateria i veu
posava 2 baixos, 3 bateries, 5
guitarristes, cor i trompetes
després agafava aquest senyal i l'enviaba a una habitació amb càmeres de ressò i gravava el ressò
aconseguia crear una placa immensa de so, un mur en el qual tot quedava apretat
escolteu una cançó produïda per Phil Spector:
i ara compareu-la amb una cançó de
Charlie Puth:
Veieu la diferència?

Spanish: 
lo importante es que juntos forman lo que en producción musical se conoce como un muro de sonido
el "wall of sound" es un concepto
desarrollado por el productor musical Phil Spector
él grababa una canción pop,
pero en vez de bajo, guitarra, batería y voz
ponía 2 bajos, 3 baterías, 5
guitarristas, coro y trompetas
luego cogía esa señal y la mandaba a una
habitación con cámaras de eco y grababa el eco
conseguía crear una placa inmensa de sonido, un muro en el que todo quedaba apelmazado
escuchad una canción
producida por Phil Spector:
y ahora comparadla con una canción de
Charlie Puth:
¿Véis la diferencia?

English: 
what's important is that, together, they make what in music production is known as "the wall of sound" 
the wall of sound is a concept developed by the music producer Phil Spector
he would record a pop song, but instead of bass, guitar, drums and voice, 
he used 2 bass players, 3 drummers, 5 guitars, a choir and trumpets 
then he would send that signal to a room with echo chambers, and record the echo.
this way he created an immense shield of sound, a wall in which everything was pressed together 
listen to a song produced by Phil Spector:
and now compare it to a song by
Charlie Puth:
See the difference?

English: 
what's important is that together, they form
what in musical production is known
as a Wall of Sound.
The Wall of Sound is a concept developed by music producer Phil Spector
He recorded a pop song
but instead of bass, guitar, drums and voice,
he'd put two basses, three drums,
five guitarists, choir and trumpets.
Then, he'd take that signal and send it to a room with echo chambers
and recorded the echo.
He managed to make an immense sound plate,
a wall in which everything was caked.
Listen to a song produced by Phil Spector.
And now, compare it with a Charlie Puth song.
Do you see the difference?

Catalan: 
Charlie Puth té moltíssim buit,
moltíssim silenci i espai
I les Ronettes són una massa informe
anem a escoltar un altre exemple de mur de so: "I will wait" de Mumford and sons
la banda seran quatre músics però aquest
enregistrament no té quatre pistes
té capa rere capa rere capa d'instrument
més instrument, gravant les mateixes
línies, els mateixos acords, fins a generar
el mur
.
el mur és una constant de la banda
sonora d'Interstellar, és aquella força
implacable, és el costat despiatat de la
mare natura a la qual l'ésser humà
s'ha d'enfrontar per sobreviure, 
és aquesta onada gegant de 100 metres,

Spanish: 
Charlie Puth tiene muchísimo hueco,
muchísimo silencio y espacio
Y las Ronettes son una masa informe
vamos a escuchar otro ejemplo de muro de sonido: "I will wait" de Mumford and sons
la banda serán cuatro músicos pero esa
grabación no tiene cuatro pistas
tiene capa tras capa tras capa de instrumento
tras instrumento, grabando las mismas
líneas, los mismos acordes, hasta generar
el muro
.
el muro es una constante de la banda
sonora de Interstellar, es esa fuerza
implacable, es el lado despiadado de la
madre naturaleza a la que el ser humano
se tiene que enfrentar para sobrevivir
es esa ola gigante de 100 metros

English: 
Charlie Puth is more hollow, it has much more silence, much more space 
while the Ronettes are a shapeless mass
let's listen to another wall of sound example: "I will wait" by Mumford and sons
there may be 4 musicians in the band, but this recording doesn't have 4 tracks
it has layer after layer after layer of instrument after instrument, all playing the same 
lines, the same chords, until they create the wall
Theme of Cooper's Dilemma with a wall of sound
The Wall is a constant in Interstellar's OST, it's that
relentless force, the ruthless side of mother nature that human beings 
must fight in order to survive.
It's that giant, 100m-high wave 

English: 
Charlie Puth has a lot of... void, a lot of silence and space,
And The Ronettes are an amorphous mass.
We'll listen to another example of a wall of sound,
"I Will Wait" by Mumford and Sons
Sure, the band is just four musicians,
but that recording doesn't have four tracks.
It has layer after layer after layer of instrument after instrument,
recording the same lines, the same chords.
Until it generates the Wall.
Theme of Cooper's Dilemma in a Wall of Sound
The Wall is a constant
in Insterstellar's soundtrack.
It's that relentless force,
that ruthless side of Mother Nature
which the human being must face in order to survive.
It's that giant 100-meter tall wave,

Spanish: 
ese agujero negro que exige que pagues 50
años de la vida de tus hijos para poder pasar por él
y en esta banda sonora, la
naturaleza, el espacio y la lucha por la
supervivencia son ese muro
pero también
son su opuesto
el silencio
Nosotros, aunque no lo veamos, vivimos en un fluido, que es el aire
de hecho si agitas la mano rápido puedes notarlo
en eso no nos diferenciamos en
nada de un pez que vive en el agua

English: 
that black hole that demands you to pay
50 years from your children's lives to go through it.
And in this soundtrack, nature, space
and the fight for survival are that wall.
But they're also its opposite.
Voice1: "All feeds going manual."
Voice2: "Going manual."
Silence.
Romily: "This gets to me, Cooper. This. *hits the wall*
Millimiters of aluminum, that's it and then nothing
out there for millions of miles won't kill us in seconds.
We, although we don't see it, live in a fluid that is the air.
In fact, if you shake your hand fast, you can notice it.
On that, we don't differenciate at all from a fish that lives underwater,

English: 
that black hole that requieres you to pay 50 years of your children's lives in order to pass through it
and in this OST, Nature, space and the fight for 
survival are represented by the wall
but they're also its opposite
the Silence
Even if we can't see it, we live in a fluid, the air 
in fact, you can feel it if you shake your hand quickly
in that way, we're not at all different from a fish that lives in the water 

Catalan: 
aquest forat negre que exigeix ​​que paguis 50
anys de la vida dels teus fills per poder passar per ell
i en aquesta banda sonora, la
natura, l'espai i la lluita per la
supervivència són aquest mur
però també són el seu contrari
el silenci
Nosaltres, encara que no el veiem, vivim en un fluid, 
que és l'aire
de fet si agites la mà ràpid pots notar-ho
en això no ens diferenciem en res
 d'un peix que viu a l'aigua

English: 
the only thing that changes is the type of fluid.
And the sound we hear is a vibration transmitted through air.
There's no air in space.
There is no gas that can transmit a body's vibration
to our eardrums.
Thus, we can't hear anything.
We can put air in our ships
and inside our helmets.
The sound comes back as Clooney puts air in the cockpit.
But we don't stop being like a fish that travels through the universe in its own fishbowl.
And on the other side of the fishbowl,
the only thing there is is...
...nothing.
That is, in space, you get to be
isolated from everything, lost in the darkest immensity
and face gigantic celestial bodies
that can destroy you in an instant.
Space is the silence and is the wall.
The human is the balance between those two forces.

English: 
the only difference is the type of fluid, and the sound we hear is a
vibration that is transmitted by air. 
In space 
there's no air, no gasses that can transmit the vibration of a body 
to our eardrums, therefore, we cannot hear a thing. 
We can fill our spaceships and helmets with air
[Sound comes back as Clooney fills the cabin with air]
but we're still like a fish, traveling through the universe inside our own fishbowl
and to the other side of the fishbowl there is nothing. 
This is, 
in space, you alternate from being completely isolated, lost in the darkest immensity,
to facing gigantic celestial bodies that can destroy you in an instant
Space is the Silence, and it's the wall 

Spanish: 
lo único que cambia es el tipo de fluido
y el sonido que escuchamos es una
vibración que se transmite por el aire.
En el espacio
no hay aire, no hay gases que puedan
transmitir la vibración de un cuerpo
hasta nuestros tímpanos,
por lo tanto no podemos oír nada
podemos meter aire dentro de nuestras naves y
dentro de nuestras escafandras
.
pero no dejamos de ser como un pez que viaja
por el universo en su propia pecera
y al otro lado de la pecera
lo único que hay es nada. Es decir, que en
el espacio alternas entre estar aislado
de todo, perdido en la más oscura
inmensidad y enfrentarte a cuerpos
celestiales gigantes que te pueden
destruir en un instante
el espacio es el silencio y es el muro

Catalan: 
l'únic que canvia és el tipus de fluid
i el so que escoltem és una
vibració que es transmet per l'aire.
A l'espai
no hi ha aire, no hi ha gasos que puguin
transmetre la vibració d'un cos
fins als nostres timpans,
per tant no podem escoltar res
podem ficar aire dins les nostres naus i
dins de les nostres escafandres
.
però no deixem de ser com un peix que viatja
per l'univers en la seva pròpia peixera
i a l'altre costat de la peixera
l'únic que hi ha és res. És a dir, que en
l'espai alternes entre estar aïllat de tot,
perdut en la més fosca
immensitat i enfrontar-te a cossos
celestials gegants que et poden
destruir en un instant. 
L'espai és el silenci i és el mur

Catalan: 
l'humà és l'equilibri entre aquestes
dues forces, és la melodia, els temes que
sonen i que hem escoltat abans
però si hi ha una cosa que per a mi destaca
per sobre de les altres en aquesta banda
sonora, a més del so i del silenci
i de les melodies, és l'òrgan
.
Zimmer diu que va triar l'òrgan per la seva
importància per a la ciència perquè, fins
la revolució industrial, era la màquina
més complexa construïda per l'home
funciona circulant aire a pressió per un complex sistema de tubs
cada tub pot fer sonar una nota i tubs de
diferents materials i formes fan
sons diferents, així que un òrgan
pot arribar a tenir més de 15 mil tubs
i ocupar diversos pisos i centenars de
metres quadrats.
Hi ha diversos teclats i desenes de
palanques que pots activar perquè
cert teclat mani l'aire a cert

Spanish: 
el humano es el equilibrio entre esas
dos fuerzas, es la melodía, los temas que
suenan y que hemos escuchado antes
pero si hay una cosa que para mí destaca
por encima de las demás en esta banda
sonora, además del sonido y del silencio
y de las melodías, es el órgano
.
Zimmer dice que eligió el órgano por su
importancia para la ciencia porque, hasta
la revolución industrial, era la máquina
más compleja construida por el hombre
funciona circulando aire a presión por un complejo sistema de tubos
cada tubo
puede hacer sonar una nota y tubos de
distintos materiales y formas hacen
sonidos diferentes, así que un órgano
puede llegar a tener más de 15 mil tubos
y ocupar varios pisos y cientos de
metros cuadrados
hay varios teclados y decenas de
palancas que puedes activar para que
cierto teclado mande el aire a cierto

English: 
It is the melody, the themes that
sound and that we've heard before.
But if there's a thing that, to me, outstands above the rest,
in this soundtrack, apart from the sound,
and silence and the melodies is
the organ.
"The Organ Of Interstellar"
Zimmer says he chose the organ due to its importance to science
Because, up until the Industrial Revolution,
it was the most complex machine built by man.
It works by circulating pressured air through a complex tubes system.
Every tube can produce one note.
And tubes made out of different materials and different shapes
make different sounds.
So an organ can have more than 15,000 tubes.
And occupy several floors and hundreds of square meters.
There are several keyboards
And tens of levers
that you can activate so that a certain keyboard
sends the air to a certain group of tubes.

English: 
Humans are the balance between these two forces, the melody, the themes that
we've heard before.
But if there's one thing that stands out 
over the rest in this OST, apart from the sound, the silence, and the melodies,
it's the pipe organ 
Iterstellar's Pipe Organ
Zimmer says that he chose the pipe organ due to its importance in science, since before
the industrial revolution, it was the most complex machine ever built by humans 
it works by pumping high-pressure air through a complex system of pipes 
each pipe can play one note, and pipes of 
different materials and shapes make different sounds, so a pipe organ
can have more than 15,000 pipes, and occupy several floors and hundreds of 
square meters. 
There are several keyboards and tens of
levers that can be activated so that a certain keyboard sends air to a certain 

Catalan: 
conjunt de tubs.
També es poden sincronitzar uns
teclats amb altres de tal manera que en
prémer les notes d'un es baixin les d'un altre
i fins i tot hi ha un teclat en els
peus associat a les notes més greus
l'estètica de l'aparell recorda tripular una nau espacial:
tens un panell de control ple de
tecles i palanques i botons i al teu
voltant una cosa enorme de metres i
metres que obeeix les teves ordres.
Aquest sistema tan vastament complex permet
a un òrgan sonar així:
.
i així
.
i així
.
i així
.
a l'actualitat, l'hereu de l'òrgan
realment és el piano elèctric
que pot produir centenars de sons amb
només prémer un botó

English: 
It can also be possible to 
synchronize some keyboards with others
in a way that when pressing notes from one of them the other's get pressed down too.
There's even a keyboard on the feet asociated to the lowest notes.
The aesthetics of the apparatus reminds of manning a spaceship.
You have a control panel full of keys and levers and buttons.
And around you an enormous thing of meters and meters
that obeys your commands.
This vastly complex system
allows and organ to sound like this:
And like this:
And like this:
And like this:
Nowadays, the heir of the organ is the electric piano,
that can produce hundreds of sounds with the push of a button.

Spanish: 
conjunto de tubos.
También se pueden sincronizar unos
teclados con otros de tal manera que al
pulsar las notas de uno se bajen las de otro
e incluso hay un teclado en los
pies asociado a las notas más graves
la estética del aparato recuerda a tripular una nave espacial:
tienes un panel de control lleno de
teclas y palancas y botones y a tu
alrededor una cosa enorme de metros y
metros que obedece tus comandos. Este
sistema tan vastamente complejo permite
a un órgano sonar así:
.
y así
.
y así
.
y así
.
en la actualidad, el heredero del órgano
realmente es el piano eléctrico
que puede producir cientos de sonidos con
sólo pulsar un botón

English: 
set of pipes. 
Keyboards can also be synchronized 
with each other, so that the keys of one will be automatically played with the keys of the other
and there's even a feet keyboard for the lowest notes
aesthetically, playing this machine is like piloting a space ship:
there's a control panel full of 
keys and levers and buttons, surrounded by an enormous thing of meters and 
meters that obeys your commands. 
This vastly complex system allows
a pipe organ to sound like this:
and like this
and like this
and like this:
Nowadays, the heir to the pipe organ is the electric piano 
which can produce hundreds of sounds just by pressing one button 

English: 
including, as you can see, the sounds of the pipe organ 
but there's yet another reason for the use of the pipe organ in Interstellar 
and apparently it was Nolan who asked Zimmer to use it for a specific reason:
Interstellar's plot turns around one paradox: 
to escape a black hole for the first time 
you must have escaped one before
if Cooper enters one and finds the data that would allow humankind 
to control gravity, and therefore to escape black holes, 
he can't send these data back 
that's where the 5-dimensional beings come into play
they rescue Cooper from Gargantua and put him into the tesseract, 
allowing him to send the data to Murph, and humankind to develop the technology 

English: 
Including, as you can see, the sounds of the organ.
But there's another additional reason to be
for Interstellar's organ.
It seems that it was Nolan who wanted Zimmer to use it,
for a specific raeson.
Interstellar's plot revolves around a paradox:
In order to escape for the first time from a black hole,
you must have already escaped from one.
If Cooper enters one and gets the data that would allow
humanity to control gravity and therefore escape from black holes,
he can't transmit it back.
There's where the five dimensional beings come into play,
who get Cooper out of Gargantua and put him inside the tesseract,
allowing him to send the data to Murph and  humanity to develop the technology.

Catalan: 
incloent-hi, com veieu, els sons de l'òrgan
però hi ha una raó de ser més
 per a l'òrgan d'Interstellar
i és que sembla que va ser en Nolan qui va
voler que en Zimmer l'utilitzés per un motiu concret:
la trama de Interstellar gira
al voltant d'una paradoxa:
per escapar per primera vegada d'un forat negre, 
necessites haver escapat ja abans d'un
si Cooper entra en un,  i aconsegueix les
dades que permetrien a la humanitat
controlar la gravetat, i per tant escapar de forats negres,
no pot transmetre'ls de tornada
aquí entren en joc els éssers de cinc
dimensions que treuen a Cooper de
Gargantua i el fiquen al teseracto
permetent enviar les dades a Murph
i que la humanitat desenvolupi la tecnologia

Spanish: 
incluyendo, como veis, los sonidos del órgano
pero hay una razón de ser más para el
órgano de Interstellar
y es que parece que fue Nolan quien
quiso que Zimmer lo usase por un motivo concreto:
la trama de Interstellar gira
en torno a una paradoja:
para escapar por primera vez de un agujero negro
necesitas haber escapado ya antes de uno
si Cooper entra en uno y consigue los
datos que permitirían a la humanidad
controlar la gravedad, y por tanto escapar de agujeros negros,
no puede transmitirlos de vuelta
ahí entran en juego los seres de cinco
dimensiones que sacan a Cooper de
Gargantua y le meten en el teseracto
permitiéndole mandar los datos a Murph
y que la humanidad desarrolle la tecnología

English: 
but, how did these 5-dimensional beings get 
this technology in the first place? 
They had to enter a black hole and be 
rescued by another civilization that already had the technology. 
but then, how did this civilization get it? Did they enter and were rescued by yet another civilization? 
this is like the paradox of the "first cause", or the "unmoved mover" 
if everything that moves in the physical world
moves because something else has pushed it before, where does movement come from? 
Was there something to give the first push? 
an unmoved mover? a mover that nobody moved? 
this is the first of the Five Ways by St. Thomas Aquinas 
to prove the existance of God: 
there had to be a first mover, that mover is God
In Interstellar, there had to be a 
civilization for which rules did not apply, a "god", or however you
may call it, that was able to transcend the laws of black holes
and develop this technology without help

Catalan: 
però com van aconseguir els
éssers de cinc dimensions
aquesta tecnologia en primer lloc?
van haver d'entrar en un forat negre i ser
trets per una altra civilització que ja
tenia la tecnologia?
però llavors aquesta altra civilització, com la va aconseguir? Va entrar també i va ser treta per una altra civilització?
això és com la paradoxa de la causa incausada o del motor immòbil:
si en el món físic tot el que
es mou, es mou perquè alguna cosa l'ha
empès abans, d'on ve el moviment?
Va haver alguna cosa que va donar la primera empenta?
Un motor immòbil? Un motor que ningú mou?
aquesta és la primera de les cinc vies de
 Sant Tomàs d'Aquino per
demostrar l'existència de Déu: 
Ha d'haver alguna cosa que donés aquest primer moviment, aquesta cosa és Déu
en Interstellar va haver d'haver-hi una
civilització per a la qual no  s'apliquessin les regles,
un "Déu" o com li
vulguis dir, que va ser capaç de
transcendir les lleis dels forats
negres i desenvolupar aquesta tecnologia 
sense ajuda

Spanish: 
pero ¿cómo consiguieron los
seres de cinco dimensiones
esta tecnología en primer lugar? tuvieron
que entrar en un agujero negro y ser
sacados por otra civilización que ya
tenía la tecnología?
pero entonces esa otra civilización cómo la consiguió?
entró a su vez y fue sacada por otra civilización?
esto es como la paradoja de la causa incausada o del motor inmóvil:
si en el mundo físico todo lo que se
mueve se mueve porque algo lo ha
empujado antes, ¿de dónde viene el movimiento?
¿Hubo algo que dio el primer
empujón?
¿un motor inmóvil? ¿un motor que nadie mueve?
ésta es la primera de las
cinco vías de Santo Tomás de Aquino para
demostrar la existencia de Dios: 
tuvo que haber algo que diera ese primer movimiento, ese algo es Dios
en Interstellar tuvo que haber una
civilización para la que no se
aplicasen las reglas, un "Dios" o como lo
quieras llamar, que fue capaz de
trascender las leyes de los agujeros
negros y desarrollar esa tecnología sin
ayuda

English: 
But how did the five dive dimension beings
this technology in the first place?
Did they have to enter a black hole and then get
taken out by another civilization that already had the technology?
But then how did that other civilization get it? Did it also enter and got taken out by yet another civilization?
This is like the "uncaused cause" or "motionless engine" paradox:
If in the physical world everything that moves
does so because something pushed it before, where does the movement come from?
Was there something that gave the first push?
A motionless engine? An engine noone moves?
That is the first of the five ways from Santo Tomás de Aquino
to demonstrate the existance of God: there had to be something to give that fist move, that something is God.
In Interstellar there had to be a
a civilization to which no rules applied, a "God" or however you want to name it it.
Which was capable of transcending the laws of black holes
and develop that technology without help.

Spanish: 
es decir, que Interstellar plantea: ¿quién
fue Dios? y la respuesta nos la da JC
que no es Jesucristo, pero casi: es Joseph
Cooper
En el primer planeta se han enfrentado a la naturaleza matando al hombre
En el segundo planeta, al hombre matando al hombre
al que sutilmente llaman "dr. Mann"
y finalmente, en el teseracto, tras
sacrificarse por salvar a toda la humanidad
Joseph Cooper se da cuenta de quién ha hecho esto
Fuimos nosotros. Dios es el ser humano
El ser humano se creó a sí mismo. El ser
humano, que trasciende las leyes del

Catalan: 
és a dir, que Interstellar planteja: 
qui va ser Déu? i la resposta ens la dóna JC
que no és Jesucrist, però gairebé:
és Joseph Cooper
En el primer planeta s'han enfrontat a la
 natura matant l'home
En el segon planeta, a l'home matant l'home
al qual subtilment anomenen "dr. Mann"
i finalment, al teseracto, després de
sacrificar-se per salvar tota la humanitat
Joseph Cooper s'adona de qui ha fet això
Vam ser nosaltres. Déu és l'ésser humà
L'ésser humà es va crear a si mateix. 
L'ésser humà, que transcendeix les lleis del

English: 
That is to say, that Interstellar poses: who was god? And the answer is given to us by JC.
Not Jesus Christ, but alsmot: it's Joseph Cooper.
In the first planet, they have faced nature killing men.
Cooper: "You don't think Nature can be evil?"
Dr. Brand: "Well is a lion evil because it rips a Gazelle to shreds?"
In the second planet, to men killing men,
who is subtly named "Dr. Mann".
Cooper:  "Just what we take with us, then."
Dr. Brand: "Yeah."
And finally, in the tesseract, after sacrificing himself to save all mankind,
Joseph Cooper realises who has done this.
Cooper: "No, they didn't bring us here at all.
We borught ourselves."
It was us. God is the human being.
The human being created itself. The human being, which transcends the laws of

English: 
So Interstellar poses the question: Who was this God? 
and the answer is given by JC 
who is not Jesus Christ, but almost: it's Joseph Cooper
In the first planet they faced Nature killing men
In the second planet, men killing men
(whom they subtley call "dr. Mann")
and finally, in the tesseract, after sacrificing himself to save humankind, 
Joseph Cooper realizes who did all this 
It was us. God is the human being 
Humans created themselves. Humans, who transcend the laws of

Catalan: 
temps, va viatjar al passat 
per rescatar-se a si mateix
Dins el gènere dels viatges
en el temps, aquest tipus de trama es diu
"Cicle causal" o "Bootstrap paradox"
la paradoxa (com deia el meu professor
d'àlgebra de la universitat) aixecar-te
del terre estirant dels cordons de les teves
pròpies sabatilles
i això és el que representa l'òrgan
Nolan diu que ell volia que Zimmer
ho utilitzés per les
connotacions religioses que té,
perquè, en les seves pròpies paraules,
"Representa els intents de l'home
 d'agafar el que no es pot agafar "
és l'instrument que per Zimmer representa el desenvolupament tecnològic
que no és més que la capacitat de l'ésser humà d'adaptar l'entorn a les seves necessitats
hem construït naus espacials, hem
donat a cada persona una eina de
comunicació a través del planeta
tenom microscopis que magnifiquen les
coses 100 milions de vegades, amb els quals
hem fet pel·lícules amb àtoms.
Pel·lícules amb àtoms.

Spanish: 
tiempo, viajó al pasado para rescatarse a
sí mismo
Dentro del género de los viajes
en el tiempo este tipo de trama se llama
"ciclo causal" o "Bootstrap paradox"
la paradoja de (como decía mi profesor
de álgebra de la universidad) levantarte
del suelo tirando de los cordones de tus
propias zapatillas
y esto es lo que representa el órgano
Nolan dice que él
quería que Zimmer lo utilizarse por las
connotaciones religiosas que tiene,
porque, en sus propias palabras,
"representa a los intentos del hombre de
asir lo inasible"
es el instrumento que para Zimmer representa el desarrollo tecnológico
que no es más que la capacidad del ser humano de adaptar elentorno a sus necesidades
hemos construido naves espaciales, hemos
dado a cada persona una herramienta de
comunicación de punta a punta del
planeta
tenemos microscopios que magnifican las
cosas 100 millones de veces, con los que
hemos hecho películas con átomos.
Películas con átomos.

English: 
time, traveled to the past to rescue themselves 
Within the time-travel genre 
this type of plot is known as "causal loop" or "Bootstrap paradox"
the paradox of (as my university algebra professor used to say)  
Lifting yourself up from the ground by pulling from your own shoe laces 
And this is what the pipe organ represents 
Nolan says that he wanted Zimmer to use it because of 
its religious connotations.
Because, in his own words,
"it represents humankind's attempts to attain the unattainable" 
to Zimmer, it is the instrument that represents technological development 
which is nothing else than humankind's ability to adapt the environment to our needs.  
We've built spaceships, we've given every person a tool
to communicate from one end to the other of the planet 
We have microscopes that magnify things 100 million times, with which
we've made movies with atoms.
Movies. With. Atoms.

English: 
time, traveled to the past to rescue itself.
Inside the time travel genre
this kind of plot is called "causal cycle" or "Bootstrap paradox".
The paradox of (as my algebra teacher from college used to say) lifting yourself
from the floor by pulling from your
shoe laces.
And that's what the organ represents.
Nolan says that it was him who wanted Zimmer to use it because of
the relogious connotations that it has, because, in his own words,
"it represents men's attempts to grasp the ungraspable"
It's the instrument that, to Zimmer, represents the techological development
which is the ability of the human being of adapting the environment to its needs.
We have built spaseships. We have given each person a tool of
comunication from side to side of the planet.
We have microscopes that magnify things a 100 million times, with witch
we've made movies with atoms.
Movies with atoms.

English: 
And our goals include colonizing Mars and finding a cure for cancer 
If we're not our own god, at least we're very close to being so 
And if this is true, then all the responsibility is on us. 
and that's what Interstellar is about. Nobody is coming to rescue us. 
That's what the pipe organ represents. 
That's what this OST represents 
The choice of textures and instruments, and maybe even the leitmotifs, 
they intensify what Nolan is trying to do in this movie: 
translate mankind's myths to the 21st century 

Spanish: 
Y nuestros objetivos incluyen colonizar Marte y
curar el cáncer
si no somos nuestro propio dios al menos
estamos muy muy cerca de serlo
Y si eso es así, entonces toda la responsabilidad
recae sobre nosotros
y de eso va Interstellar, de que no va a venir nadie a salvarnos
el órgano representa eso, esta banda
sonora representa eso
con su elección de texturas y de instrumentos, y quizá hastacon sus leitmotivs
refuerza lo que intenta hacer Nolan
la película:
traducir los mitos del hombre al siglo XXI

English: 
And our objectives include colonizing Mars and to cure cancer.
If we're not our own god, we are at least very, very close to being it.
And if that is so, then all the responsability falls on us,
and that's what Interstellar is about, that no one will come to save us.
The organ represents that, this soundtrack represents that
with its choice of textures and instruments, and maybe even with its "leitmotifs".
It reinforces what Nolan tries to do with the movie:
to translate men's myths to the XXI century.
Joseph Campbell: "The only mith that's gonna be worth thinking about...
...in the immediate future, is one that's talking about the planet.
Not the city, not these people, but the planet and everybody on it.

Catalan: 
I els nostres objectius inclouen colonitzar Mart
i curar el càncer
si no som el nostre propi déu, 
 almenys estem molt molt a prop de ser-ho
I si això és així, llavors tota la responsabilitat
recau sobre nosaltres
i d'això va Interstellar, 
de que no vindrà ningú a salvar-nos
l'òrgan representa això,
 aquesta banda sonora representa això
amb la seva elecció de textures i d'instruments,
 i potser, fins i tot amb els seus leitmotivs
reforça el que intenta fer Nolan
a la pel·lícula:
traduir els mites de l'home al segle XXI

English: 
That's my main thought for what the future myth is gonna be."
I hope you enjoyed, if that's the case I ask you to share it, you already
know that it helps me a lot and if you want to see more, subscribe.
(or "suscribiros", RAE says its also correct now).
I promised this analysis 8 months ago
I've already taken longer that Cooper to save the Earth.
Thanks to all my Patreons who support the channel and allow me to make these kind of videos.
And thanks to Yamaha, who has lended me this piano/spaceship which will be here from now on.
I'll see you next week, altough depending on the gravitational field that affects you
that time can be more or less...
See you soon!
More videos

Spanish: 
espero que os haya gustado, si ha sido
así os pido que lo compartáis, que ya
sabéis que a mí eso me ayuda mucho y si
queréis ver más, suscribíos
(o "suscribiros", que la RAE dice ahora que también es correcto)
este análisis lo prometí hace 8 meses ya
he tardado más que Cooper
en salvar la Tierra
gracias de verdad a todos mis Patreons que apoyan el canal y me permiten hacer este tipo de videos
y gracias a Yamaha, que me ha prestado este piano/nave espacial que a partir de ahora vais a ver aquí
nos vemos la semana que viene, aunque dependiendo del campo gravitatorio que os afecte
ese tiempo puede ser más o menos... ¡Hasta pronto!

English: 
I hope you liked this video, if so, please share it, you 
know it helps me a lot, and if you want to see more, subscribe! 
(and the Spanish Royal Academy now accepts another way to use the imperative form)
I promised to make this analysis 8 months ago 
I've taken more time than Cooper to save the Earth
Thank you sincerely to all my Patreons, who support this channel and allow me to make these videos 
And thanks to Yamaha, who lent me this piano/spaceship that you'll be seeing from now on
See you next week, although, depending on the gravitational field affecting you, 
that time may be more or less... See you soon!

Catalan: 
espero que us hagi agradat, si ha estat
així us demano que ho compartiu, que ja
sabeu que a mi, això m'ajuda molt i si
voleu veure més, subscriviu-vos
(O "suscribiros", que la RAE diu ara que també és correcte)
aquesta anàlisi la vaig prometre fa 8 mesos ja
he trigat més que en Cooper
a salvar la Terra
gràcies de veritat a tots els meus Patreons que donen suport al canal i em permeten fer aquest tipus de vídeos
i gràcies a Yamaha, que m'ha prestat aquest piano / nau espacial que a partir d'ara veureu aquí
ens veiem la setmana que ve, encara que depenent del camp gravitatori que us afecti
aquest temps pot ser més o menys ... Fins aviat!
