Sentences with phrase «film composer from»

Composer Lorne Balfe [TERMINATOR GENISYS, CHURCHILL, THE STORY OF GOD WITH MORGAN FREEMAN] is a Grammy Award - winning, EMMY and BAFTA nominated film composer from Inverness, Scotland.

Not exact matches

Creativity will be the keyword of the evening as it will feature film screening and original live music with the performance of composer Pete Drungle on archive images from Gaumont film studio.

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.

The great composer reflects on his varied career that's ranged from David Cronenberg films to «Lord of the Rings» and «Spotlight.»

There's some top - notch string work from composer Alan Silvestri, which adds some pleasing gravitas to proceedings, but the emotional integrity of the film ultimately comes down to a groups of actors audiences have come to know and love.

«I'm thrilled that our film has received seven nominations from the Academy, and that the beautiful work of our editor Jon Gregory, our composer Carter Burwell, my gentle brothers - in - arms Woody Harrelson and Sam Rockwell, and our fearless leader Frances McDormand, have all been recognized so wonderfully.

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

Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

IFMCA member James Southall said that «The Shape of Water» was «yet another from the top drawer of Desplat,» and went on to describe him as «one of the most consistently impressive film composers of the last couple of decades,» who has «managed to be so successful without having to water down his highly - distinctive musical voice at all».

Could it be that in the intervening decade of film culture, Howard and his returning collaborators from previous Brown adaptations — screenwriter David Koepp, cinematographer Salvatore Totino, composer Hans Zimmer — hadn't thought of a single way to give the source material even the measliest spritz of freshness?

Across these, we hear from Branagh, producers Kevin Feige and Craig Kyle, production designer Bo Welch, costume designer Alexandra Byrne, film character designer Ryan Meinerding, Thor / Loki character designer Charlie Wen, co-producer Victoria Alonso, art director Kasra Farahani, screenwriter Don Payne, property master Russell Bobbitt, comic co-creator Stan Lee, suit construction supervisor Shane P. Mahan, composer Patrick Doyle, comic book writer J. Michael Straczynski, and actors Anthony Hopkins, Chris Hemsworth, Tom Hiddleston, Jaimie Alexander, Ray Stevenson, Natalie Portman, Kat Dennings, Stellan Skarsgård, and Colm Feore.

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.

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.

During our chat we touched on why the film is only 58 minutes long and whether there was any intention to extend it, whether Refn believes he should have won the Palme d'Or, why he switched from composer Peter Peter to working with Cliff Martinez, how they had little boosts of money that helped get the film made, why the film is just now coming out instead of closer to Only God Forgives «release, whether Refn ever wanted to stop being filmed, the commercial prospects of an hour long documentary, and much more.

It was a memorable night for my class, following a strong semester with a wide array of guests and films, from documentarian Ondi Timoner (with her Russell Brand feature Brand: A Second Coming) to composer Harry Gregson - Williams (with The Martian), Oscar - winning production designer Adam Stockhausen (with Bridge of Spies), writer Charlie Kaufman and Duke Johnson, who co-directed the offbeat animated feature Anomalisa.

This is serious, intelligent music from one of the finest film composers of the day and is highly recommended.

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.

There are a couple of familiar key tracks here (Hank Levy «s, which gives the film its title, and Duke Ellington «s «Caravan,» among them), but an overwhelming amount of the music in the film is original and from composer Justin Hurwitz, who played in a band with Chazelle at Harvard.

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.

Horror at its most heartrending and operatic, the film boasts career best efforts from leading man Jeff Goldblum and Cronenberg's regular composer Howard Shore.»

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.

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.

Through its programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work.

Directed by Oscar ® winner Bill Condon from a screenplay by TBD based on the 1991 animated film, the film 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.

But the main draw is an audio commentary from writer - director Damien Chazelle and composer Justin Hurwitz, in which it emerges that almost every tune in the entire film, starting with «Another Day of Sun», was at one point or another destined for the cutting - room floor.

I suppose it's sort of damning with faint praise in a way, but it's remarkable that some composers seem to emerge from the production line formerly known as Media Ventures as excellent film composers in their own right who go on to bigger and better things.

Overseen by Keith Clark, a trio of making - of featurettes kicks off with the longest of them, «None of Them Are You: Crafting Anomalisa» (30 mins., HD), a comprehensive overview of the production that includes stills and audio from a performance of the original «sound play» (which also featured Tom Noonan, David Thewlis, and Jennifer Jason Leigh, with the film's composer Carter Burwell conducting an orchestra off to the side), shedding light on its unique staging.

And although Lanthimos and regular co-writer Efthymis Filippou took the Best Screenplay award in Cannes, it's the film's sheer all - of - a-piece execution — from pacing and composition, to brilliant use of contemporary composers including (Kubrick fave) Ligeti and Gubaidulina, and expertly modulated performances — which holds you in its steely grip and just never lets go.

He gets plenty of help from composers Lorne Balfe (The LEGO Batman Movie) and Clint Mansell (Moon), whose music provides a bit of propulsion to an opening featuring some story exposition, sleek production design, and some vibrant images, some of which are nods to the anime film.

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.

«The Gift of Music» (9:15) discusses the film's score and original song, with remarks from director Peter Hedges, composer Geoff Zanelli and singer / songwriter Glen Hansard.

Condon, the same Oscar - winning writer of Gods and Monsters, also notes in the commentary track how a few cues from Strange Behaviour were later re-used by the composers in other films.

The release includes most of the same extras from the deluxe DVD, as well as a new interview with composer Jon Brion, a new piece featuring behind - the - scenes footage of a recording session for the film's soundtrack, and a new conversation between curators Michael Connor and Lia Gangitano about the art of Jeremy Blake, used in the film.

«Stepping Into Darkness: The Visual Design of Sicario» focuses on crafting the film's look and defining cinematography, «Blunt, Brolin and Benicio: Portraying the Characters of Sicario» features interviews with the three leads, «Battle Zone: The Origins of Sicario» researches the brutal history of drug violence along the border (it features graphic imagery so beware), and «A Pulse from the Desert: The Score of Sicario,» which runs about 6 minutes, profiles composer Jóhann Jóhannsson.

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.

If you've read Janet Halfyard's excellent score analysis for Elfman's Batman score (published by Scarecrow Press, and also reviewed by MFTM), the featurette basically adds a fat chapter on the composer's transitional period from stage to film; it's already well - outlined in her book, but the DVD's interview fills in some gaps that Elfmanites will find highly informative.

One of Ennio Morricone's early films, the composer's score is given an economical showcase (4:30) in the production featurette, with comments from the director, editor, and composer himself.

Korngold's music is also showcased in Disc 2's Audio Vault, which features the composer performing favourite film themes for a private audience, on piano; and an original radio broadcast of the music, from acetates that sat in the vaults for decades.

And another collaborator from The King's Speech, composer Alexandre Desplat, returns with a score that compliments the film's compassionate tone (it's a little Downton Abbey meets Imitation Game), so a ninth (ninth!)

He didn't directly say so, but the implication was that we might get to hear one final composition from the legendary composer, if a way could be found to turn Horner's early ideas into a proper film score.

He brings that talent as a moderator to bring Burns front and center in a discussion that ranges over all aspects of the film, from its inspirations (Burns initially heard the story told on the public radio show «This American Life») to Soderbergh's conscious shift in style to working with composer Marvin Hamlisch.

The epic sweep and scope of the Western has provided rich fodder for all the great film composers over the years, from Max Steiner to Elmer Bernstein, Ennio Morricone to Jerry Goldsmith.

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.

The ambient electronic material is chilled - out and evocative, but while this composer is perfectly adept at applying that style of scoring to a film (it usually works very well in context), it's very hard to imagine there are too many people who would like it on album as much as similar styles from other composers who are possibly more at home working that way.

His versatility as a composer has led to a busy and varied movie - scoring career taking him across musical boundaries from the acclaimed BAFTA - winning film TOUCHING THE VOID to THE LAST KING OF SCOTLAND.

However, although he was working hand in hand with the lenser of his new visual language (Oscar - winning cinematographer Robert Richardson has filmed every Tarantino film Kill Bill onward), Tarantino wasn't using a composer, instead he selected bits from previous film scores to «score» his films.

Coming up this month are films like «Selma,» the Martin Luther King Jr. biopic; new work from Tim Burton and Nicolas Cage; Reese Witherspoon in her most transformative role to date; a stage - to - screen adaptation of one of the theater's most beloved composers and lyricists; and a contemporary reboot to a musical classic.

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.

But at London's famed Abbey Road Studios this week, director Quentin Tarantino joined composer Ennio Morricone, as the maestro conducted a special recording of the overture from Tarantino's new film, The Hateful Eight, for a limited edition vinyl press.