Sentences with phrase «by film composer»

(Save the World) An entirely new score is premiering in S3, created by film composer Marco Beltrami (Logan, The Hurt Locker, etc.) and Pinar Toprak (Krypton TV series, additional composition for the Justice League film, etc.).

The score was created by film composer Marco Beltrami (Logan, The Hurt Locker, etc.) and Pinar Toprak (Krypton TV series, additional composition for the Justice League film, etc.).

With haunting music by film composer Vangelis completing the mix, Blade Runner transported us into a gorgeous nightmare where androids and humans battled for supremacy.

The score was created by film composer Marco Beltrami (Logan, The Hurt Locker, etc.) and Pinar Toprak (Krypton TV series, additional composition for the Justice League film, etc.).

The Royal Philharmonic Concert Orchestra performs popular scores made famous by film composer John Williams, including Star Wars, Superman, Jurassic Park, Harry Potter, War Horse, Indiana Jones, Jaws and many more.

Not exact matches

I can identify some films by hearing the score and I'll know which composer it is.

Filming started at the end of May and wrapped by late July, at which point Spielberg had just three weeks to get an edited version to composer John Williams.

2 includes appearances by genre - film icons Sonny Chiba, Michael Parks, Larry Bishop, and Sid Haig; Wu - Tang Clan producer and turntablist RZA and filmmaker and composer Robert Rodriguez both contributed to the musical score.

The director was also hurt by the sudden departure of composer Bernard Herrmann (who had scored every Hitchcock's movie since 1957) during the making of Torn Curtain, as Herrmann's music had become a key element of the success of Hitchcock's films.

One of the few saving graces of the film, however, was the score by veteran composer Jerry Goldsmith.

It's composed by Matt Dunkley, a British composer whose name is perhaps most recognisable as an orchestrator of dozens of film scores over the last decade or so, including most of Craig Armstrong's and, more recently, several from Hans Zimmer's stable, though we shouldn't hold that against him.

INDEPENDENT & FOREIGN FILMS Coco Chanel & Igor Stravinsky (R for graphic sexuality and nudity) Romance drama, set in Paris in the Twenties, abut the scandalous affair conducted by a famous French clothes designer (Anna Mouglalis) with the promising classical composer (Mads Mikkelsen) whose penniless, refugee family she let live in her villa after they escaped the Russian Revolution.

If the film comes perilously close to being anti-art, it's because Bateman's directorial chops (or lack thereof) don't offer much of a counterargument, although he's given invaluable assistance this time around by the Coen Brothers» composer Carter Burwell and their sound designer, Skip Lievsay.

Granted by France's Society of Dramatic Authors and Composers, the SACD Award for best French - language film went to Pierre Salvadori's screwball crime romcom «The Trouble with You.»

Superlative work is also done by multiple Oscar - nominees Bruno Delbonnel (the cinematographer who worked with Burton on Dark Shadows in 2012), and Danny Elfman (the composer who has written wonderful scores for many Burton films beginning with Bettlejuice in 1988).

The score is by young British composer Benjamin Wallfisch, perhaps still best - known as orchestrator and conductor for Dario Marianelli, but who has also been making a name for himself as a composer in his own right (and in film terms, last year's Conquest 1453 is perhaps his most popular effort to date).

Between him and Hans Zimmer, the two composers are seemingly going to be working on every other film due to hit theaters by 2012!

Special Features New high - definition digital restoration, with uncompressed monaural soundtrack New interview with British cinema scholar John Hill, author of «Cinema and Northern Ireland: Film, Culture and Politics» Postwar Poetry, a new short documentary about the film New interview with music scholar Jeff Smith about composer William Alwyn and his score «Home, James,» a 1972 documentary featuring actor James Mason revisiting his hometown Radio adaptation of the film from 1952, starring Mason and Dan O'Herlihy Plus: An essay by critic Imogen Sara Smith

Add to that crazy killer baby bit a very suspenseful score by composer Bernard Herrmann and you have a classic film that startles us time and time again with its off - screen shenanigans.

Directed by Oscar ® winner Bill Condon based on the 1991 animated film, «Beauty and the Beast» is produced by Mandeville Films» David Hoberman and Todd Lieberman with eight - time Oscar - winning composer Alan Menken, who won two Academy Awards ® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Rice.

Hostiles Stars: Christian Bale, Rosamund Pike, Wes Studi, Ben Foster, Q'orianka Kilcher, Scott Wilson, Peter Mullan, Adam Beach and Jesse Plemons Director: Scott Cooper Scriptwriter: Scott Cooper based on the manuscript by Donald E. Stewart Composer: Max Richter Cinematography: Masanobu Takayanagi Entertainment Studios Rating: R for violence and themed material Running Length: 133 minutes The Old American West still thrives in film country.

This «Pooh» is a musical homage to the 1960s Pooh short films, adding new songs (by «Book of Mormon» composer Robert Lopez and Kristen Anderson - Lopez) and a lovely revival of the «Winnie the Pooh» title tune, winsomely sung by Zooey Deschanel.

The music is by Oscar - nominated composer Alan Silvestri (the «Back to the Future» films, «Forrest Gump»).

By bringing Lamar on board and employing Ludwig Göransson (a longtime collaborator with Coogler who has also worked with Donald Glover aka Childish Gambino) as the film's principal composer, Marvel are finally broadening their symphonic horizons.

People who love Rabin's film scores will probably love this one too, but those slightly less convinced by the composer overall are unlikely to find this one nearly so impressive as his career highlights.

It's done quite well at the box office though, and was one of three films scored by Trevor Rabin which all appear in the Box Office Top Ten in the same week, at the time of writing this review - quite a feat for the composer.

While many of his most famous scores came from the films of Stanley Kramer - Exodus is probably his defining moment as a film composer, and inspired a top - selling soundtrack album, though all releases of it have been dogged by very poor sound.

A great film also, it is the only animation scored by the composer, following the story of a giant alien robot who falls to earth, gets woefully misunderstood by all those in authority, but is befriended by a young boy.

It was the first of four collaborations between Thompson and composer Jerry Goldsmith, coming before The Reincarnation of Peter Proud, Caboblanco and King Solomon's Mines - none of them is a great movie but the quality of the scores go to show the affection Goldsmith must have had for the director (who also made films scored by Dimitri Tiomkin, Bernard Herrmann, Franz Waxman, Elmer Bernstein, John Williams and John Barry - an unbelievable fact which I doubt could be matched by any other director).

Synecdoche, New York's leitmotif is another form of littleness, titled «Little Person» (written by Kaufman and the film's composer, Jon Brion).

What really gives this music a mark above that written by other composers for similar films is that there is no schmaltz, no Hollywood glitz detracting from proceedings.

Loop is a clever little horror short film made by Mali Elfman, daughter of composer Danny Elfman, who has been making movies for the past few years - primarily for the site Fun Size Horror.

Composer Danny Elfman left the film due to a scheduling conflict and was replaced by James Newton Howard.

But where the film doesn't work is that a lovely score by Oscar winning composer Dario Marianelli is buried beneath the other layers.

It comes with three commentary tracks: the first by Scorsese and editor Thelma Schoonmaker, the second by cast & crew (producer Irwin Winkler, composer Robbie Robertson, actor John Turturro (who was an extra in the film), cinematographer Michael Chapman and others) and the third by the «storytellers» (Paul Schrader, Mardik Martin, Jason Lustig and Jake La Motta).

Telegraphing the emotions we should be feeling through the soggy score by late film composer James Horner (I really feel like a jerk for not liking it more — sorry, James!)

What makes this one worth buying is the new commentary with Tim Burton and composer Danny Elfman, as well as the original poem and concept art the film was based on, read by Christopher Lee.

The film, featuring a score by Tony - winning composers Marc Shaiman and Scott Wittman, also stars Lin - Manuel Miranda, Colin Firth, and Meryl Streep, marking Blunt's third collaboration with Streep following The Devil Wears Prada and Into the Woods.

But that's what we were going to get with Hulk until a few weeks before its release date, when someone at Universal thought that instead of one of the least well - suited composers for silly comicbook films they would be better - served by the most well - suited, so they turned to Danny Elfman, veteran of Batman and Spiderman.

About the only thing less likely than a daft comicbook film scripted by James Schamus and directed by Ang Lee would be one scored by Mychael Danna, seemingly one of the least well - suited composers for this sort of thing.

Dated even as it arrived by Bosworth's feathered two - tone mullet and composer Sylvester Levay's scorching soft - metal guitar, Stone Cold tries to bed down among superior action films by cribbing the end of Die Hard wholesale.

I am just astonished that a composer of his standing would agree to do this — I know the argument is that if the composer doesn't do what is asked of him, he will quickly find employment harder to come by, but surely Howard is offered enough movies that he could work on high - profile films without having to compromise himself as distastefully as he has here.

EXTRAS: The Blu - ray release includes Paul Thomas Anderson's 2002 short film «Blossoms & Blood,» a new interview with composer Jon Brion, behind - the - scenes footage from one of Brion's recording sessions, deleted scenes, an essay by filmmaker Miranda July and more.

The film was shot by the great Roger Deakins, surely one of the top cinematographers of the last half a century, with American composer Alaric Jans continuing his collaboration with Mamet that would ultimately stretch to four feature films.

Extras: Two optional English narrations, including one by actor Roy Scheider; audio commentary from 2008 featuring Schrader and producer Alan Poul; interviews from 2007 and 2008 with Bailey, producers Tom Luddy and Mata Yamamoto, composer Philip Glass, and production designer Eiko Ishioka; interviews from 2008 with Mishima biographer John Nathan and friend Donald Richie; audio interview from 2008 with co-screenwriter Chieko Schrader; interview excerpt from 1966 featuring Mishima talking about writing; «The Strange Case of Yukio Mishima,» a 55 - minute documentary from 1985 about the author; trailer; a booklet featuring an essay by critic Kevin Jackson, a piece on the film's censorship in Japan, and photographs of Ishioka's sets.

Whereas a director like Ryan Coogler may have in the past sought out luminaries in film scoring like John Williams, Hans Zimmer, or Thomas Newman — and does in fact have original music by composer, Ludwig Göransson (best known for his work with Childish Gambino)-- his decision for the soundtrack is something that other directors will surely copy.

Produced by Matthew Wilder, known for his work on No Doubt's 10 - times - platinum «Tragic Kingdom,» the album launched the Gruskas to instant tastemaker renown, a cozy spot for two grandchildren of the hugely successful film composer John Williams.

SUPPLEMENTAL FEATURES: three scores: Richard Einhorn's Voices of Light, one by Goldfrapp's Will Gregory and Portishead's Adrian Utley, and one by composer and pianist Mie Yanashita; an audio commentary from 1999 by film scholar Casper Tybjerg; an interview from 1995 with actor Renée Falconetti's daughter and biographer, Hélène Falconetti; and more.

The film's soundtrack, which featured choral music written by leading French film composer Bruno Coulais, hit number one on the French charts.

With sumptuous cinematography by Vittorio Storaro and a seductive score by legendary composer Ennio Morricone, this landmark film has never looked or sounded better.