Sentences with phrase «end of the film music»

Danna is a composer at the top end of the film music spectrum at the moment, one able to bring his own ideas to the table and execute them expertly.

Not exact matches

By the time we see a concert performance of said music near the end of the film, it's like an entirely new beast has presented itself.

Despite snatches of songs here and there, it is not until the end that the film bursts into a flood of music with a symphonic performance by Mr. Cave and the Bad Seeds at the Sydney Opera House: a grandiloquent finale in which his agonized introspection finds transcendent release.

By the time Great Balls of Fire was released, X had announced their breakup (though the band would stage several reunions throughout the 1990s), and while Doe began recording and touring as a solo act, he also devoted an increasing amount of his time to his acting career, so much so that by the end of the 1990s Doe's film work had outstripped music as his primary livelihood.

Through the personal lives and music of Sderot's diverse musicians, and the personal narrative of the filmmaker, who ends up calling the town home, the film chronicles the town's trauma and reveals its enduring spirit.

The film definitely tries to cover as much ground as it can (It begins when Charlie is 5 in a London music hall and plows through the rest of his life, ending shortly before his death in Vevey, Switzerland, on Christmas Day 1977, at the age of 88) but in doing so abandons depth and development — so much so that the film inevitably feels like a bunch of glossy broad strokes.

Similarly the music choices of the film feel intentional, with songs often starting at the tail end of scenes and bleeding into the next in a way that contrasts rather than unites these scenes.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

«Empire Records» is a microcosm movie, one of those films where in a single day, in a single music store, every conceivable thing happens to every conceivable character, and at the end of the day, they are all a lot wiser, as the endless list of music credits scrolls up the screen.

The fun music video for Eels» catchy (but profane) end credits song «Mr. E's Beautiful Blues» (3:53) features most of the principal cast interacting with the band (and mouthing along) in scenarios inspired by the film.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

For me, the best viewing experience for this film would be at the end of a day long music festival, outdoors in a field on a beautiful summers evening just after sunset.

Add to this already faulty film the fact that it is told in quarters, three of which take place in the 1980s, and you often end up feeling as if you are watching the basketball game from hell with retro music on.

The film has the odd interesting loose - end, uses music unpredictably and it is properly grotesque in places, such as the first scene in which we see the Brufort family chewing on the various limbs and body parts of their victims.

There's that great scene near the end of the film where Chris is showing these young musicians old records in his music shop, introducing them to Mance Lipscomb and the like.

A music video with that now - classic version of Tears For Fears» «Mad World» that was used at the end of the film

Although other films might've depicted a fun - filled female - bonding sequence as a throwaway montage backed by an En Vogue song, Story transformed it into a full - fledged music video set to Bell Biv DeVoe's 1990 mega-hit «Poison,» complete with MTV - and BET - style corner - screen end credits, resulting in one of Think Like a Man Too's most memorable scenes.

It was a very bad year for Hollywood films, and not much better for so - called U.S. «independents», with Whiplash being arguably the most overrated film of the year, totally misrepresenting both jazz music and jazz education, while typifying in its Hollywood - ending what is wrong with Sundance existing as a professional calling - card festival.

DVD Extras: Music videos for «Iron Man» by Nico Vega and «Fade» by Egyptian, the film's trailer, a selection of deleted scenes including an equally unsatisfying alternate ending and a mind numbing audio commentary with writer / director Matthew Leutwyler, director of photography David Jones and writer Gillian Vigman.

I think that for who is listening and watching the film, it takes you back to the beginning, and somehow that scene [where the music is used again] is the beginning of the story, because the plot of the film is really the end.

Though the film uses the pop - styled first half of Hancock's «Main Titles» for the original English language mono mix, Antonioni, or perhaps an executive, chose to substitute Hancock's livelier «End Title» music in place of the more subdued variation, which was slightly edited and placed over the film's End Credits.

While the end credits song won't shatter pre-conceived notions that Radio Disney music is of a one - track sound and it couldn't be further from the sensibilities of the first film, the tune lands just north of bearable.

«He's A Pirate» became the piece of music that every Pirates film ends with.

Notably, this time the bounty of material is handled with lightness and confidence, minimizing the sense of overload and hectoring that has hampered his other densely populated features — epitomized by the rhetorical uses of an American flag toward the end of Nashville, the pretentious or mock - pretentious uses of music in A Wedding, and an overreliance on 11th - hour violence to goose the dramatic effects of these and many other films, including The Long Goodbye and Short Cuts.

The soundstage widens slightly for Brion's score as well as the pop songs selected by music supervisor Hal Willner (and to put a little reverb on Brennan's impromptu vocal performance near the end of the film), but it never draws attention to itself.

As the film draws towards its finale, so Howard finally really releases the shackles and allows the music to go full - pelt - «It's God» with a soaring trumpet theme; «The Final Climb» reprises a couple of earlier themes, Howard once again combining conflicting emotions with real class; and finally, a lovely end credits piece which is very recognisably from this composer, and one of the album's certain highlights.

On the complete other end of the spectrum but covering the same demographic, the tiny independent film Old Goats — now available on DVD from Music Box Films — is described on the movie's Facebook Page as «a gentle comedy about the indignities of aging.»

Another bone is thrown in Devo fans» direction with the inclusion of the 1976 short film In the Beginning Was the End: The Truth About De-evolution (9:43), the music videos for the band's «Secret Agent Man» cover and «Jocko Homo.»

Seeing James Newton Howard's name in the end's musical credits was surprising as the muted music of the film did nothing to heighten tension or encourage the edge it's sorely lacking in.

Plotless, directionless, and snappy in the same way and for the same audience that the music in Disney's Hercules was, The Commitments shows its hand when it ends with an «update» of what each of the characters is doing «now,» a movie - of - the - week contrivance, and just the most obvious one of the multitude that comprise the rest of the film.

«After that we went to L.A. and pulled crew there, did underwater work in San Pedro and ended up in Humboldt County for wide vistas, etc... We've always filmed with the same crew, so this was the culmination of the past five years of music videos.

Nitzsche repeats this piece of music throughout the film and, each time it plays, it gets a little less victorious, a little less triumphant, until the end, when it's about defeat.

And, from the big end of town, there are also new sneak peeks of Freddie Mercury biopic Bohemian Rhapsody, with Rami Maleck stepping into the music icon's shoes in an uncanny fashion; The Predator, the latest take on the alien killers directed by The Nice Guys» Shane Black, who actually featured on - screen in the original film; and Shock and Awe, a new Woody Harrelson and Tommy Lee Jones - starring newspaper flick about the US invasion of Iraq.

The worst example is the main theme song, Paul Jabara's annoying disco opus, «Dance», which is not only a horrendously bad piece of music, but it also makes no sense being the beginning and end song in a film about ambulance drivers.

Films like Bay's Transformers or Paul Greengrass» The Bourne Ultimatum find themselves competing in a never - ending contest of one - upmanship, a film version of the music industry's own Loudness Wars.

Bousdoukos (who co-wrote the script) enters the film as an amiable slob with a vague attachment to a business that has become a matter of routine, but even as he makes plans to join his journalist girlfriend in China, where she has jumped as a choice opportunity, the transformation of his business from a glorified cafeteria with sleepy clientele to a social of young patrons, energetic music and magnificent cuisine (courtesy of a mad - dog chef with a tendency to end conversations with a well - thrown knife) stirs a new passion in him.

First is Sting's dramatic Oscar - nominated end credits anthem «My Funny Friend and Me» (2:54), presented as a hybrid of a music video and the artist's reflections about working on the film (a sterilized abbreviation of production, to be sure).

After the disastrous 1978 film Convoy, Peckinpah had trouble finding work; he even stooped to directing music videos at the very end, and The Osterman Weekend was the only film he released during the last six years of his life.

WE THE PARTY — Specifications Running Time: 104 Minutes Rated: R Street Date: July 31, 2012 Sound: Dolby Digital 5.1 SRP: $ 20.99 for the DVD and $ 26.99 for the DVD / Blu - Ray Combo Aspect Ratio: 16 × 9 1.79 Special Features: Feature - length commentary by writer - director Mario Van Peebles and actors Mandela Van Peebles and Makaylo Van Peebles, 4 music videos from the film («Truth,» «She's a Vegan,» «A Light at the End of the Tunnel,» and «Forever»), and the theatrical trailer.

In part one of our talk, Walter takes questions from other leading sound designers Ren Klyce and Gary Rydstrom about his work, talks about how documentary film has affected modern cinema style, discusses his work in Apocalypse Now and The Conversation, and ends the episode with a discussion of the use of music in The Godfather and The English Patient.

Given that films are text types in their own right, directors can often be seen as adding or discarding scenes and lines or incorporating their own devices into their films, such as Zeffirelli's use of music in his 1968 version of Romeo and Juliet or Brannagh's use of black and white as symbolism in his 1995 version of Othello (such as with Othello's mask in the beginning, and the chess pieces during Iago's soliloquy at the end of Act 1, Scene 3).

The social implications of Digital Rights Management on films and music businesses and how this affects the end user.

That statement threw the door wide open to punish the film and music industries, since their end products also require some other forms of technology to use them.

Of course, the end result is helping writers communicate their passion to the masses, to encourage creative types in spreading their words, messages, and souls via book, film, television, music, or whatever new form of medium is yet to come down the proverbial patOf course, the end result is helping writers communicate their passion to the masses, to encourage creative types in spreading their words, messages, and souls via book, film, television, music, or whatever new form of medium is yet to come down the proverbial patof medium is yet to come down the proverbial path.

Best of all, Festival Sayulita, at the end of January, celebrates Mexican culture with five days of film, music, spirits, and food — balanced with yoga and stand - up paddle events, of course.

In addition, K - pop singer Taeyeon's first solo music video I, and the end scenes of Crouching Tiger Hidden Dragon: Sword of Destiny were also filmed here.

When somebody sits down to write a piece of music or anything creative — like a book or the script for a film — the end goal is to have people hear it, see it, experience it.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

Never Ending Stories presents the first extensive examination of the loop phenomenon in art, films, architecture, music and literature in a context of a museum exhibition, taking a comprehensive interdisciplinary look at the subject at hand by keeping in perspective factors like time, place, form and content.