Sentences with phrase «as musical directors»

Serving as musical directors, they were paid a stipend of about $ 2 a month by members of the band, a revenue which they supplemented by giving private music lessons.

From the AMPAS press release: Michael Giacchino will serve as the musical director for the 81st Academy Awards ®, telecast producer Laurence Mark and executive producer Bill Condon announced today.

As musical director, Malowany went into the filmmaking process with a question in mind: «Why can't the audience collaborate as much as we are collaborating to the moment?»

This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.»

Most recently, he served as musical director for Steffani Jemison's Promise Machine (MoMA 2015).

Not exact matches

I'm also involved in musical theatre productions all over the Bay Area as a performer, crew member, volunteer, board member, casting director, choreographer, and director.

Ironically, while supporting himself as a church musical director and classical pianist, he's learned the value of networking: «I must add five new contacts a week now, swapping gigs.

I have choreographed for musicals as the Dance Director for a local Performing Arts Camps for a few summers.

Extras: The Blu - ray includes quite a few extra features, including a detailed, if at times kind of lethargic commentary by director Lloyd; three interlocked featurettes detailing the stage genesis of the property, the vocal training of the actors (including a laugh out loud segment showing the largely incompetent Firth attempting «dance moves»), as well as the source ABBA music; another featurette detailing the making of «Lay Your Love on Me,» a duet between Seyfried and Dominic Cooper that becomes a bit of a production number; deleted scenes (including the cut musical number «The Name of the Game») and a music video of «Gim me!

Functioning in this capacity and as composer and musical director, Previn was honored several times by the Academy Awards folks, earning nominations for Kiss Me Kate (1953), Two for the Show (1955), It's Always Fair Weather (1955), Bells are Ringing (1960), Pepe (1960) and Thoroughly Modern Millie (1967), and winning Oscars for Gigi (1958) and Porgy and Bess (1959).

After the success of 1963's Bye Bye Birdie, Sidney remained with musicals to the end of the 1960s as both producer and director.

Under the aegis of producer Arthur Freed, Sidney became a top director of musical comedies; he also proved adept at such larger than life swashbucklers as Scaramouche (1953).

Certainly, after the bland history lesson of «The Lady» and the joyless family - friendly shenanigans of the «Arthur» trilogy, this is easily the director's most alert, energized and recognizable piece of direction in years — a movie that, with its muscular widescreen imagery, vibrant streaks of color and pulsing musical beats, as well as its occasional tonal missteps and moments of unintentional hilarity, feels unmistakably like the work of its director.

-- a jovial adaptation of Lionel Bart's stage show from the Dickens novel — is the director's only musical, as...

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

Built out of crowd - pleasing elements as durable as a lacquered, sky - high»80s hairdo, writer - director John Carney's coming - of - age musical is a synth - drenched joy: a tuneful, deeply personal ode to the impulse that forges a high school rock band.

One musical interlude wouldn't invite criticism (though Pellington got his start as a music video director), but several undermine the idea's impact: whole songs play out as we watch the characters roam around, and we're intended to discern and hang on every lyric.

Happily, director Phyllida Law, working from Catherine Johnson's excellent screenplay, moves the story along at a spirited pace by including as many musical numbers as possible.

For fans of the earlier movies, not all is lost: Sie's background as a music video director and «Step Up» series helmer is readily apparent, and what «Pitch Perfect 3» lacks in catchy tunes, it more than makes up for in genuinely creative and rousing musical sequences.

11 Paul Giamatti as Kryptonite for Musicians It was bad enough the first time casting directors did this to us on the ill fated musical Rock of Ages.

But with a partly Kickstarter - funded animation based on his play «Anomalisa» currently filming — Kaufman is listed as co-director — probably the film we're anticipating even more from him as writer / director is his much - touted «examination of celebrity as a mental illness» (according to star Jack Black) «Frank or Francis» a musical, which also stars Nicolas Cage, Kevin Kline and Steve Carell.

Music will also play a big part of the movie, with Chazelle's director's statement describing his intent:» I'd like to make a contemporary musical about LA, starting with the LA we know but slowly building to a vision of the city as romantic metropolis — one that is actually worthy of the dreams it inspires.

The first disc includes the theatrical release of the film, along with an interesting feature commentary track by director Marshall and screenwriter Bill Condon, as well as the deleted musical number «Class,» and a 27 - minute documentary on bringing the musical to the big screen («From Stage to Screen: The History of Chicago»).

As such, director Tom Hooper does perhaps the only thing one could do when approaching a straightforward interpretation of the musical, and that is to focus almost exclusively on the performances within it.

One way of dealing with it would be to have the characters entering the real world, although Chris McKay — animation co-director of The LEGO Movie and director of The LEGO Batman Movie — has previously said it's going to be «this big musical and space action movie», so at this point it's anyone's guess as to what the plot might entail.

Analysis: «Whiplash» writer - director Damien Chazelle returns with a musical, featuring Emma Stone and Ryan Gosling as an aspiring actress and a jazz musician in modern - day Los Angeles — dealing with struggles and fame as their relationship develops.

Then again, it should come as little surprise, given that the director, Tom Hooper, maker of Les Miserables (and, to be fair, the eminently watchable The King's Speech), demonstrated, with that musical melodrama, a tendency towards extremities of overwrought emotion here given far too free rein.

James Franco won Best Actor in a Musical or Comedy for his performance in The Disaster Artist as Tommy Wiseau, the real - life director, writer, and star of the so - bad - it's - good cult film The Room.

The lyrical lad of film - making, in the form of Irish writer - director John Carney (who gave us the wonderfully musical drama in 2007's «Once»), is at it again as he brings the continued inspiration of music and motivation in the engagingly festive coming - of - age musical melodrama Sing Street.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

However the director deftly uses his isolated environment, subtle sound effects and a highly dramatic musical score to create this fear — as opposed to gore and violence.

As the most indefatigable moviegoer of all the Cahiers du Cinema critics who became directors — a distinguished group including Olivier Assayas, Leos Carax, Claude Chabrol, Jean - Luc Godard, Luc Moullet, Eric Rohmer, Andre Techine, and Francois Truffaut, among others — he knows MGM musicals like the back of his hand.

ANNIE Director: Will Gluck Starring: Quvenzhané Wallis, Jamie Foxx, Cameron Diaz, Rose Byrne, Adewale Akinnuoye - Agbaje, Bobby Cannavale One of the movies I remember watching as a child was the 1982 film adaptation of the musical Annie.

The film earned Keaton — also the frontrunner for best actor at the Oscars — a nomination, as well as nods for best picture (comedy or musical) and director.

A different kind of showman emerged in Day - Lewis» gutsy turn as the conceited director Guido in Nine, an overblown, ill - conceived big - screen musical adaptation of the Broadway redo of 8 1/2.

There is also a plug for the Jonathan Larson Performing Arts Foundation: National Marfan Foundation, five deleted scenes and musical performances, as well as a commentary by the director and cast.

As versatile behind the camera as he was in front of it, Attenborough the director dabbled in many different genres - ranging from musicals (A Chorus Line) to horror (Magic) to drama, but his passion was in politics - past and presenAs versatile behind the camera as he was in front of it, Attenborough the director dabbled in many different genres - ranging from musicals (A Chorus Line) to horror (Magic) to drama, but his passion was in politics - past and presenas he was in front of it, Attenborough the director dabbled in many different genres - ranging from musicals (A Chorus Line) to horror (Magic) to drama, but his passion was in politics - past and present.

Writer - director Paul Dalio devastatingly autobiographical «Touched With Fire» (Lakeshore Records) also shows him sparking with musical talent as his score rises with the chiming, child - like wonder of impossible optimism, then plunges to surreal despair in his score's entrancing mood swings that conveys lives gone askew with mental illness, his haunting, religious - like musical portrait making us understand the price that comes with artistic inspiration born from bipolar enthusiasm.

Hopefully we'll one day get a chance to hear Danna's musical interpretation on disc; having enjoyed a professional relationship with director Ang Lee, the shift to another film genre — the comic book movie — would no doubt have yielded musical results as intriguing as the director's own memorable attempts to extract deeper character relationships within the stylized framework of Hulk.

The golden age of movie musicals saw four Best Picture winners as the Academy fell in love with the likes of Julie Andrews, and directors like George Cukor and Robert Wise got their big Oscar wins.

Festival director Kristen Bell described as «a blazing, 32 - member aural assault from the darkest depths of Colorado, Itchy - O is a wholly immersive, musical experience on a massive scale.

While the first film suffered from a musical chairs of writers and directors lending their voices and creative inputs (and houses one of the worst MCU villains), this sequel looks like it will certainly serves as a step - up from its predecessor.

Some authors have pointed to a distinct house style in the 1930s (see Thomas Schatz and Paul Grainge), when MGM's Leo the Lion symbolized the opulence and grandeur of musicals (The Brodway Melody of 1938) and epics (Mutiny on the Bounty); Warner Bros. distributed «gritty,» social dramas and gangster films; Universal produced low - budget horror films (Dracula); and Paramount's distinctly «European» flavor, employing emigree directors such as Josef von Sternberg and Ernst Lubitsch.

Ever since the French filmmaker Leos Carax announced Annette as his next film, the project has seemed just too strange to survive the often perilous road to financing and production: an English - language musical from the director of The Lovers On The Bridge and Holy Motors, with original songs by the cult art - pop duo...

Scott Cooper, director of last year's Jeff Bridges - led musical tale of redemption «Crazy Heart,» is reportedly attached to direct a remake of Pablo Trapero «s 2010 thriller «Carancho,» which debuted at the Cannes Film Festival earlier this year in the Un Certain Regard category and has been submitted as Argentina's representative for the Best Foreign Language Film at the Oscars.

Jeannette, the Childhood of Joan of Arc — Bruno Dumont Premiering out of the Directors» Fortnight at the 2017 Cannes Film Festival, Bruno Dumont's punk musical on the childhood of the titular historical figure was described as the jewel of the festival.

KCRW Music Director Jason Bentley will act as the music supervisor and musical director for the documentary and the film's souDirector Jason Bentley will act as the music supervisor and musical director for the documentary and the film's soudirector for the documentary and the film's soundtrack.

«Writer / director Todd Haynes's film, Velvet Goldmine, is his bizarre tribute to an incredibly wild period of musical history that obviously helped him find himself as a teen.»

La La Land, which stars Ryan Gosling and Emma Stone as wannabe stars in a Hollywood - set musical, is Chazelle's third film as a director, after 2009's Guy and Madeline on a Park Bench and 2014's Whiplash; the latter won two major awards at the Sundance film festival and three Oscars, including best supporting actor for JK Simmons.

Other notable films that will screen at TIFF include Tom Ford «s «Nocturnal Animals,» with Jake Gyllenhaal and Amy Adams; «Whiplash» director Damien Chazelle «s musical «La La Land,» with Ryan Gosling and Emma Stone; Peter Berg «s «Deepwater Horizon,» a true - life drama about the oil spill, starring Mark Wahlberg and Kurt Russell; Werner Herzog «s «Salt and Fire,» a drama in which Michael Shannon and Gael Garcia Bernal face ecological disaster in South America; Ewan McGregor «s Philip Roth adaptation «American Pastoral,» the actor's directorial debut; Denis Villeneuve «s sci - fi drama «Arrival,» formerly titled «Story of Your Life,» with Amy Adams and Jeremy Renner; Juan Antonio Bayona «s «A Monster Calls»; «Denial,» Mick Jackson's drama starring Rachel Weisz as a historian sued by a Holocaust denier; Irish director Jim Sheridan «s «The Secret Scripture,» with Vanessa Redgrave and Rooney Mara playing two different ages of a woman who keeps a diary of her time in a mental hospital; and «Mascots,» Christopher Guest «s comedy about the world of sports mascots.