Sentences with phrase «film composer john»

Milwaukee Symphony Orchestra was the place to be in town on Saturday night, with the great film composer John Williams as guest.

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.

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.

Legendary film composer John Williams, the man behind the music for all six Star Wars films and master of the science fictional leitmotif, will return to score Star Wars: Episode VII!

Not exact matches

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.

The movie was nominated for an impressive 13 Oscar Nominations including Best Picture, Best Director (Steven Spielburg), Best Actor (Danny Glover), Best Actress (Whoopi Goldberg), Best Supporting Actress Nominations for Oprah Winfrey and Margaret Avery, along with Best Supporting Actor (Adolph Caesar), and Best Original Musical Score for a Motion Picture (Quincy Jones) which was the first time in any Spielburg produced film that composer John Williams did not compose a film score for a Spielburg movie.

Music and Sound (16:00) heavily features legendary composer John Williams, in which he discusses how the subject matter of the film influenced the creation of the film's score, as well as how the numerous sound effects were researched and created for the film.

Basil Poledouris's lucky break as a film composer came because his old college buddy John Milius gave him a shot at Big Wednesday.

So Cuaron, who used the same writer (Steven Kloves), production designer (Stuart Craig), composer (John Williams) and trio of leads as the previous two films did, ended up putting the best face on a problematic situation.

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

Solo will stay in the Star Wars family with veteran franchise composer John Williams set to write the theme for the standalone film about Han Solo, slated for release on May 25.

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).

Award - winning composers Michael Giacchino (Lost), Wendy Melvoin and Lisa Coleman (Heroes), Nathan Barr (True Blood), Jim Dooley (Pushing Daisies), John Ottman (Superman Returns), and Avatar: The Last Airbender) have all composed for Comic - Con's fan - favorite series and are here to share a behind - the - scenes perspective on creating music for television and film.

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).

Levinson always picks the perfect composer for each film he scores rather than rigidly sticking with the same one, and the roster of composers with whom he has worked is a virtual who's who of the film music business - Alex North, Bruce Broughton, John Williams, Randy Newman, Ennio Morricone, Hans Zimmer, Christopher Young, and others.

«I want to dedicate tonight to Carrie, who is up there right now flipping me the bird,» writer - director Rian Johnson said onstage alongside stars of the film including Daisy Ridley, John Boyega, Lupita Nyong» o, Mark Hamill and Adam Driver, composer John Williams and Lucasfilm's Kathleen Kennedy.

Golden Globe and Critics Choice Award winning «La La Land» composer Justin Hurwitz talks crafting the film's most challenging song, «Start a Fire», and collaborating with superstar John Legend.

But he, together with his brilliant editor Peter Hunt (like Bond stalwarts Saltzmann and composer John Barry, invaluable, we'll discuss his contribution later) shook up the language of film to a mad degree to make us, the viewer, step firmly into Harry's irreverent shoes as an outsider, bucking the system, and off - kilter in a paranoid world.

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.

Extras: New program on the film's cinematography featuring a conversation between Lassally and critic Peter Cowie; excerpt from a 1982 episode of «The Dick Cavett Show» featuring Finney; new interview with actor Vanessa Redgrave on director Tony Richardson, to whom she was married from 1962 to 1967; new interview with film scholar Duncan Petrie on the movie's impact on British cinema; illustrated archival audio interview with composer John Addison on his Oscar - winning score for the film; new interview with the director's - cut editor, Robert Lambert; an essay by scholar Neil Sinyard.

Listening to John Powell's music, though, leads me to realise that it's not that the scores are ultra-modern that puts me off all the nonsense dominated by drum loops and sampled strings which passes as film music these days - it's that the composers aren't very good.

Even with the sacrifice of continuity, the shifting between established composers like John Williams, to Patrick Doyle, Nicholas Hooper, and Alexandre Desplat provides a spectacular mix of auditory delights, and it also gives each film a more distinct flavor.

He also had the good fortune to work with some of the best film composers in the business, ranging from John Barry to Jerry Goldsmith to Ennio Morricone... to Maurice Jarre, for his 1971 western Red Sun, which features the somewhat odd story of a Japenese ambassador who has his priceless samurai sword stolen and so much enlist the help of a gunman - Charles Bronson - to recover it.

If the western film genre were a symphony, John Ford would certainly be its most brilliant composer.

Above all, it's an impressively epic score that firmly declares its love for sweeping melodies a la John Barry, let alone any Hollywood film from the WW2 era worthy of its nobly symphonic salt for two composers signaling their thematic talents.

John Carpenter is an American movie writer, music composer, and director of numerous groundbreaking classic films, including «Assault on Precinct 13», «Halloween», «The Fog», «Escape From New York», «The Thing», «Christine», «Starman», «Big Trouble in Little China», «Prince of Darkness», «They Live», «In the Mouth of Madness», «Vampires», «Escape From L.A.», «Ghosts of Mars», «The Ward», and many more.

Now after an even longer musical history of handling action films and trailer soundtracks form «Full Contact» to «Dishonored 2,» composer John R. Graham impressively carries on the saga's epic musical tradition with «Kingsglaive,» matching its astonishing mo - cap visuals with a score that captures both the characters» emotional stakes as well as the furiously drumming symphonic fury of its hellzapoppin mash - up of steampunk, sword and sorcery and giant monsters.

He was well respected by other composers including John Williams, who stated on Jarre's death,» (He) is to be well remembered for his lasting contribution to film music... we all have been enriched by his legacy.»

Popular singer - composer Bappi Lahiri has dubbed for Elton John's part in the Hindi version of the Hollywood film The Kingsman: The Golden Circle.

Some composers obsess over minimizing their scores in exchange for the drama onscreen, but Carter Burwell always leaves the moviegoer with a sense of time, place and mood, especially in such films as the Coen brothers» Miller's Crossing or Spike Jonze's Being John Malkovich.

Composer John Powell delivers a gripping soundtrack which experiments with electronic and symphonic melodies, without getting in the film's way.

The 41 - year - old actress was joined by Bryce Dallas Howard, Mozart in the Jungle «s Gael García Bernal, Julie Andrews, The Strain «s Mia Maestro, and Scooby - Doo «s Matthew Lillard at the event featuring a special performance by John Williams, one of the greatest film composers of all time.

Hundreds of people gathered in front of Hogwarts castle for a spectacular display of fireworks choreographed to a special performance of music from the «Harry Potter» films conducted live by renowned composer John Williams.

The film has three unknowns in John Magaro, Will Brill and Jack Huston (who has since broken out with his role on «Boardwalk Empire «-RRB- as the leads, which shouldn't be a problem as Chase's depiction of youth with inexperienced talent on his HBO show was stellar, but it also boasts a strong supporting cast with Bella Heathcote as the protagonist Magaro's girlfriend, Christopher McDonald as her father, Molly Price as Magaro's mother, Lisa Lampenelli as his aunt, Brad Garrett as a composer / producer, and Chase's «Sopranos» leading man James Gandolfini, who apparently shines as Magaro's father, «a postwar, post-Depression era parent who has given his kid every advantage that he didn't have growing up.»

Musically, the challenge for composer John Debney was (being serious now) following in the footsteps of Alan Silvestri's genuinely beloved music for John McTiernen's revered 1987 film; he has (and I'm not sure whether this is a compliment or not, really) proved on numerous occasions that he is able to do very good impressions of other film composers, so he was an ideal choice here — and there are times when it's hard to believe this music wasn't written by Silvestri himself, even when not directly quoting the original themes.

Think about it: When you consider the most prominent and acclaimed composers in film history, names like Nino Rota, Ennio Morricone, John Williams, Hans Zimmer, Alexandre Desplat and Danny Elfman come to mind.

Illustrated archival audio interview with composer John Addison on his Oscar - winning score for the film (7:53)

The 12 - minute and 36 - second piece involves Spielberg, Marshall, Kennedy, editor Michael Kahn, sound designer / supervising film editor Ben Burtt, re-recording mixer / additional sound design Christopher Scarabosio, and composer John Williams, We go over editing, sound design, and music.

In this one - hour, nine - minute, two - second show, we hear from Fricke, Ebsen, composers / lyricists Marc Shaiman and Stephen Schwartz, author's great - great - grandson Robert A. Baum, film critic Michael Sragow, film historians Leonard Maltin and Sam Wasson, filmmakers William Friedkin and Rob Marshall, Bert Lahr's son John, actors Ruth Duccini and Margaret Pelligrini, author William Wellman, Jr., costume designer Ruth Myers, makeup artist Charles H. Schram, cinematographer Peter Deming, visual effects supervisor Craig Barron, sound designer Ben Burtt,

The film is being produced by Kathleen Kennedy, J.J. Abrams, and Bryan Burk, and John Williams returns as the composer.

He has a brilliant shot to end the film, only to ignore it for two needless sequences; and he's allowed composer John Williams one of his most trite and manipulative soundtracks, which threatens at times to undo the film's restraint and guile.

In addition to its focus on the tactility of film, his work is infused with the influences of other art forms, including painting, which he studied in college, and music, which features prominently in his collaborations with celebrated composers such as John Adams, Jóhann Jóhannsson, and Steve Reich.

«John Ottman with Film Historian» is a visually static but informative Q&A session with Film Score Monthly's Jeff Bond, who manages to cover several aspects of Ottman's score and career, including the always contentious issue of a film's temporary music track; and the current monetary and artistic demands which have affected the film composer's job.

Veteran sound designer Ben Burtt, composer John Morgan, film historian Rudy Behlmer, and directors Peter Jackson and Joe Dante, among others, describe the revolutionary ideas Steiner and Spivack employed in what remains a standard in blockbuster filmmaking for the action / fantasy genre.

The supplemental section includes Richard Dyer on Nino Rota and Orchestra Rehearsal, a 21 - minute interview speaking about the film's composer and his last collaboration with Fellini; Orchestrating Discord, a 23 - minute visual essay on the film by Fellini biographer John Baxter; 30 images from the «Felliniana Collection», including rare posters and press materials for the film; a 24 - page insert booklet featuring the film essays «In a Nutshell» by Adrian Martin and «Orchestral Rehearsal: In the Picture» by Tony Mitchell, as well as restoration details.

The event reunited the film's cast and crew — including stars Kathy Najimy, Thora Birch, Vinessa Shaw, Omri Katz, and Doug Jones, producer David Kirschner, composer John Debney, designer William Sandell, effects / makeup designer Tony Gardner, and additional effects artist and crew, for a special reception, prop display, two sold - out screenings, and two intimate panels with the cast and crew!

A mere sampling of film composers who began their careers assisting Zimmer include John Powell (The Bourne Supremacy), Harry Gregson - Williams (Kingdom of Heaven), Rupert Gregson - Williams (Wonder Woman), Klaus Badelt (The Time Machine), Lorne Balfe (The Lego Batman Movie), Ramin Djawadi (Game of Thrones), Heitor Pereira (Despicable Me), and Junkie XL (Mad Max: Fury Road).

John Williams, the legendary composer, has in some way contributed to every Star Wars film, even the spinoffs.

I recently spoke with How to Train Your Dragon and How to Train Your Dragon 2 composer John Powell in anticipation of the release of the sequel, and during the course of the interview, Powell mentioned that Katzenberg recently brought up the possibility of making a fourth HTTYD film, extending the series beyond its initially planned end - point.