With George Hill and Gordon Hayward's departure there was a huge question of where
the Jazz scoring would come from.
Cinematic links are made among graying sideburns, autumn leaves, decaying edifices and the grown - up pleasure of
a jazz score.
The smooth
jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.
The soundmix feels a bit more modern than the cinematography, with a wiretapping making gimmicky use of the discrete surrounds, the various gunshots packing a wallop, and Alberto Iglesias's conspiracy -
jazz score enveloping the viewer.
These early scenes have a Parisian vibrancy about them that is enhanced by a rattling
jazz score.
The great Bernard Herrmann provided the seedy
jazz score — the first time in years that a director did not ask him to copy his work with Hitchcock.
The jaunty modern
jazz score is by Johnny Mandel, with the formidable Gerry Mulligan on baritone sax.
The film is also well - remembered for its brilliant Duke Ellington
jazz score (also unusual at the time) and the focus on Stewart as a character rather than simply focusing on the plot.
Elevator to the Gallows (1958) For his feature debut, 24 - year - old Louis Malle brought together a mesmerizing performance by Jeanne Moreau, evocative cinematography by Henri Decaë, and a now legendary
jazz score by Miles Davis.
Basically faithful recreations of lost fetish loops, narratively strung together by thin bio sketches, the film includes a surprisingly vibrant
jazz score by Ryan, who appears in a short composer featurette with musicians.
And the picture has one of the finest
jazz scores in the movies, written and orchestrated by Eddie Sauter and improvised by saxophone genius Stan Getz.
Featuring a great
jazz score from actor and musician John Lurie (The Lounge Lizards, Fishing With John, Stranger Than Paradise, Down By Law).
The jazz score further amplifies the throwback feel.
And that's aside from the top - notch
jazz score by Duke Ellington, which is in itself reason enough to see the film.
Director of photography Owen Roizman, Oscar - winning editor Jerry Greenberg, and composer Don Ellis (with his innovative
jazz score) make invaluable contributions to the film's effect.
Paul Grabowsky's classy
jazz score is equally beneficial, tenderly instilling an evocative sense of time and place.
A gorgeous
jazz score, a terrific performance by Denzel Washington, a top - notch supporting cast, beautiful costumes, outstanding sets and automobiles, and adept direction by Franklin (One False Move, High Crimes).
Irrational Man is light, but not quite a comedy, even with some comedic elements, and an upbeat, toe - tapping
jazz score.
Peanuts Movie does not capitalize on the nostalgic goodwill we share for this universe, the timing of a November opening to invoke the holiday most closely identified with the franchise, the rich tradition of
jazz score provided by Vince Guaraldi (who is briefly played) and David Benoit over the years (it repeatedly drops in original Meghan Trainor pop songs instead), or the visual possibilities afforded by CGI and 3D.
First - time director James Fargo (Every Which Way but Loose, Forced Vengeance) shoots without any of the style that marked Don Siegel's Harry, and with
the jazz score and trademark loose delivery, you can bet that Eastwood had a major hand in how the film was made, much as he did with Magnum Force, perhaps worthy of sharing co-director credit.
Otomo has also woven in elements from Ridley Scott's Blade Runner (
the jazz score, film noir, the robot - hunting «Marduks»), from Hayao Miyazaki's Laputa: Castle in the Sky (the gentle «Albert II» robots and the climactic emphasis on collapsing verticals), from James Cameron's The Terminator (androids with damaged, half - metal faces) and even from his own graphic novel / film Akira (especially in the final scenes of an individual's destructive power).
With Herzog's boozy direction and Mark Isham's gloomy
jazz score, the film takes on the same hilariously sordid rhythm as the increasingly messy Terence, lurching from languid to leery to hyperactive and back.
Set in a posh Swiss resort and accompanied by an easy - going light
jazz score by Henri Mancini, Blake Edwards» mix of elegance and slapstick was a hit and Sellers was back as Clouseau in A Shot in the Dark (1964), this time without a wife, which gives him time to romance lovely murder suspect Elke Sommers.
French animated action - adventure, set to a «moody retro
jazz score» about Dino the cat and his contrasting friendships with a stealthy cat burglar...
The Jazz scored maximum points for the protection provided by the bumper to pedestrians» legs.
Phenomenal live
jazz score.
Making that film included witnessing a creative miracle:
a jazz score created by a gifted blind saxaphonist improvising in response to a sighted pianist, first in a church and later in a sound studio.
Not exact matches
Romantic musical «La La Land,» the tale of a struggling actress and a
jazz pianist in Los Angeles, went into the Oscars with a leading 14 nominations and emerged with six, including for its
score and theme song «City of Stars.»
John Stockton says Larry Bird came up to the
Jazz bench pre-game: Bird told them he felt like
scoring 43 points tha... https://t.co/c5Ck7J0xgN
Chris Paul
scored 29 points, 13 of which came in the third quarter, and hit a pair of free throws with 3.4 seconds remaining in the game to lift the Los Angeles Clippers past the Utah
Jazz, 116 - 114, on Friday night in Salt Lake City.
Korver was key in starting the five - game winning streak,
scoring 26 points in a tight win over one of his former teams, the Utah
Jazz.
After the
Jazz took a late two - point lead, Bibby ducked his man, John Stockton, and
scored on a backdoor layup.
The
Jazz were led by Al Jefferson's 26 points and 10 rebounds in defeat while Paul Millsap
scored 10 points to go with 19 rebounds, though his 4 - of - 17 performance from the field wasn't anything to write home about.
The low point came in Game 1 of the Portland - Utah series, when the Trail Blazers
scored an NBA postseason record - low five points in a quarter en route to a 93 - 83 loss to the
Jazz.
There was one quarter that doomed the
Jazz, though — it was the second, in which they
scored just eight points.
Way down yonder in New Orleans they've got dreamy dreams of the playoffs now that the
Jazz has Len (Truck) Robinson, who leads the NBA in rebounding,
scores a bunch and keeps the Pistol happy, more or less
He was second in the league in
scoring behind Jordan, third in assists behind John Stockton of the Utah
Jazz and Tim Hardaway of the Golden State Warriors.
A week later Harper came back with several more poems, and Danielpour produced a
score influenced by
jazz, which he calls «the [one] cultural commodity aside from baseball not inherited from Europe.»
The Bulls for whom he scratched and battled for 10 of his 11 NBA seasons — as a reliable
scoring guard (14.0 points per game), an in - your - jock stopper (four berths on the NBA all - defensive first team) and a willing and able pugilist (he squared off against Wilt Chamberlain)-- were recognized as the Best Team Never to Win It All, the backhanded encomium now affixed to the
Jazz.
Kyrie Irving was a workhorse for the Cleveland Cavaliers Wednesday night against the Utah
Jazz,
scoring 34 points.
No one knew how the
Jazz would
score any points with Gordon Hayward gone and George Hill replaced by Ricky Rubio.
He is the show, and tonight the
Jazz will be relying upon the rookie solely for big time
scoring.
To date, Mitchell leads all rookies (and the
Jazz) in
scoring (18.8 per game), having worked himself into the starting lineup before Thanksgiving.
The
Jazz's defense created easy
scoring opportunities on offense.
He was so good (one night
scoring 37 points with 8 steals) that the
Jazz shut him down early.
Leading the
Jazz in
scoring over this winning streak has put him in a league of his own in NBA history.
Donovan Mitchell
scored 11 of his 29 points in the fourth quarter, Thabo Sefolosha continued to play lockdown defense on James, and the
Jazz took it.
In that same vein,
Jazz fans are not shocked when Donovan Mitchell
scores 27 points in a playoff game.
When is the last time you downloaded some
jazz with its watery improvisation, or a classical
score to steady the rhythm of your mind?
It's a deeply creepy
score, and incredibly engaging as it transforms into some form of electro - acoustic
jazz — the kind that's dipped two feet in acid.