Sentences with phrase «film composer in»

Of course, that pairing used to be quite common (though they didn't receive equal billing back then, regardless of the split of work) but since leaving Zimmer's team, Powell has gone on to establish himself as a top film composer in his own right.

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.

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.

Not exact matches

It's helped me develop a sense of storytelling that is so key for not only composers, but anyone that works in film and TV.

Marc Shaiman, the composer of the musical Hairspray, has created a musical short film supporting the overturning of Proposition 8, the amendment outlawing gay marriage in California.

Liberty Media has tasked film composer Brian Tyler to write some new theme music to be used in future F1 broadcasts

If you're looking around for something to watch this Sunday evening that complements the Oscars, the World Science Festival has a great video which features the Coen Brothers, film composer Carter Burwell, Alec Baldwin, and neuroscientist Aniruddh Patel discussing the emotional effects and role of music in film.

On the one hand, emotional manipulation has always been at the heart of our cultural artefacts; in fact, we have always lauded the best artists, writers, film - makers, composers and the like for their seamless skills in moving us and enlarging our horizons.

Christian Henson is a film composers working in the UK.

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.

While Glazer is the cinematic star and Johansson the on - screen one, the third person in this trifecta of awesome is composer Mica Levi and her score for the film.

Sean Wilson reviews the tribute concert in memory of the late Titanic composer... It takes a special composer to stamp a singular and enduring personality over the films they score, but James Horner was that person.

«Pino Donaggio» (15:41) lets the film's composer speak in his native Italian, with English subtitles translating his remarks, about his work with De Palma on this and other thrillers.

- Let's Go Fly a Kite: Cast and crew break out in a rousing, heartfelt tribute to Mary Poppins composer Richard Sherman on the last day of filming.

Thomas Newman is one of the leading film composers of his generation, but it was hard to imagine how Skyfall would turn out — action thrillers are not things that figure remotely prominently in his filmography.

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.

«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.

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).

Like Edmund Halley, who died just a couple of years before seeing his prediction come true about the date when the comet bearing his name would return, the sad note about the film is that Rad (listed as director, producer, writer, editor, composer, production designer and set decorator) died in 2007 before he saw it gain new life.

Hans Zimmer at the film's premiere; based on the music as heard in the film, this was the first time any of the numerous composers who wrote its music had actually seen the film

Rob Cohen makes his first film since the awful Stealth, and reunites with his favourite composer Randy Edelman, who continues in the series which began so strong musically with Jerry Goldsmith's rollicking adventure score, before the considerably - inferior sequel which had its overbearing (but unbelievably popular) Alan Silvestri one.

Explosions in the Sky and composer David Wingo are well known for their sprawling sonic landscapes, and to score the film Prince Avalanche, the collaborators used those skills to create an imaginative and immersive experience.

Shrek director Andrew Adamson is back (though he will not direct the third part, The Voyage of the Dawn Treader, instead handing over to Michael Apted) and so is his favourite composer, Harry Gregson - Williams, whose score for the first film was quite pleasant in places but left little impression.

Petersen has been eclectic when choosing composers in the past, but seemed to get a safe pair of hands here with James Newton Howard, who wasn't exactly the A-lister he is today, but had a solid enough body of work behind him on this kind of film.

Even his music in lower - key films, like the Keira Knightley romance «Last Night,» turned out to be among the composer's highlights.

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 placein 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 placein 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 placeIn» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong placein many of the wrong places.

The film defaults to a low - key soundscape in which composer Jon Ekstrand's airy score and the low hums and drones of the space - station environment provide a sound bed for the crew's conversations.

In a partnership that will remind classic film buffs of Bernard Herrmann and Alfred Hitchcock, composer Danny Elfman and director Tim Burton have forged an enduring relationship between music and motion pictures.

Composer Howard Shore, who won an Oscar for the first film, again provides an elegant score befitting an epic, with haunting soulfulness in emotional scenes.

The film is an elegy on the America that Lasseter, music composer Randy Newman — and even this critic — grew up in, and have watched disappear.

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.

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?

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.

A fan of Requiem for a Dream, Gaghan cribbed that film's composer as well as its cinematographer, Matthew Libatique; joining Gaghan for a screen - specific commentary track, Libatique is not afraid of alienating the viewer in name - checking development techniques — as a «Dawson,» I found myself transcribing terms like «cross process» for future reference.

Out too, of course, is composer Michael Kamen, whose music blessed so many films during his wonderful but all - too - brief career; Wiseman brought along a capable successor in his Underworld: Evolution composer Marco Beltrami.

The score for the film is worth taking note of as well, and you can learn more about it in the special features section with an audio interview with the composer Robert Bellon.

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.

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.

Just as Danny Elfman is the composer - of - choice for superhero / comic - book films in 2003, so he was in 1990.

The film comes in the wake of 2013's heart wrenching Sundance Jury Prize award winner, Blood Brother, a film that seemed to come out of nowhere to wow audiences and critics alike, and apparently even the likes of Terrence Malick and Atticus Ross who came on to Hoover's latest project to executive produce and serve as composer, respectively.

Tilton demonstrates in this video game score that he has all the hallmarks of someone who would be a great film composer — not just the composition itself (which is beyond reproach — the orchestration in particular is so impressive) but also his dramatic sense, which is honed to provide a gripping narrative here.

Sony Masterworks Classic Film Scores In 1972 Charles Gerhardt released his famous Classic Film Score Series featuring the music of some of the greatest composers of the Golden Age of film.

Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.

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).

Douglas Pipes is a film and television music composer based in Los Angeles, whose feature films include the Academy Award - nominated and Sony animated feature MONSTER HOUSE, the Warner Bros / Legendary Films cult hit TRICK «R TREAT, and the Legendary / Universal Pictures Christmas horror comedy KRAMPUS.

Filled with exquisite imagery, the film follows Fred (Caine), a retired longtime composer and conductor, who brings along his daughter (Weisz) and best friend, renowned filmmaker, Mick (Keitel) who is working on his last screenplay, for a brief sojourn in the Swiss Alps.

Since then, Ekstrand has become one of the most prolific film music composers to come out of Sweden in recent years.

Not only do they think they can get this thing looking as good as at least Toy Story 2 (a movie that still holds up), but they also brought in Oscar - winning composer Alan Menken (Beauty and the Beast) to write original music for the film.