Sentences with phrase «film composers who»

Among the film composers who've incorporated the often - mystical sounds of ancient ethnic music into western civilization's more straight - laced approach to movie scoring, the creative explorations of Mychael Danna has managed to turn soundtracks into a state of Zen.

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).

what a pun - certainly good enough to use in the first line) at seeing that Thomas Newman is scoring an animated family movie - there are few film composers who would seem less likely in the role.

I don't think there are many younger film composers who could write an action score quite like Goldsmith on an OK day, to be honest.

Obviously I love Goldsmith, have nothing but respect for him and think he's among the five greatest film composers who ever breathed, easy.

Jóhann Jóhannsson, the Oscar - nominated film composer who lent his talents to The Theory Of Everything, Mother!

You never quite know what you're going to get from Howard — I don't think there's ever been another major film composer who has gone through such a wide range of styles (of course lots of other film composers have written in a wide range of styles, but not like Howard, with no real sign of consistency of individual voice between them) and such a wide range of quality, with his music as likely to be dull and sometimes worse than that as it is to be compositionally and emotionally soaring and inspired.

Not exact matches

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.

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.

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).

For someone who performs so many roles on this film [writer, director, producer, composer, editor, production designer, art director, costume designer, etc.], it seems like the screenwriting aspect gets talked about the least.

That's pretty prolific for someone who offers up quality work each and every time out, rather than coasting on simplicity like a few other hard - working film music composers out there.

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.

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.

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.

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.

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.

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».

Behind the scenes, the creative team includes frequent collaborators Tom Stern, who served as cinematographer on 13 of Eastwood's previous films, and Deborah Hopper, who has served as Eastwood's costume designer on 17 prior films, editor Blu Murray, who most recently cut «Sully,» and the film's composer, Christian Jacob.

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.

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).

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.

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.

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.

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).

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.

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.

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.

In the face of the Brits, the French hang together: Marion Cotillard and the composer who had 5 films in 2014, Alexandre Desplat.

Legendary composer Philip Glass are one of the very few people who have created an original score for a Woody Allen film.

Composer Justin Hurwitz and lyricists Benj Pasek and Justin Paul contribute a pleasing score, with the kind of earnest verse («Here's to the ones who dream / Foolish as they may seem / Here's to the hearts that ache / Here's to the mess we make») on which Demy films thrived.

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.

Abounding with its director's trademark rich imagery and expressive style, «Orchestra Rehearsal» marks the last collaboration between Fellini and the legendary composer Nino Rota (due to the latter's death in 1979) who provides one of his most beautiful themes in the film's conclusion.

The panel will highlight the contributions of women composers, who are underrepresented in the film scoring industry.

According to Southpaw director Antoine Fuqua — who worked with the composer on the boxing film — he was astonished to learn that Horner wrote another entire score for his next film, a new version of The Magnificent Seven.

«If you look at somebody like Jonny Greenwood, who is such an amazing film composer, I think of him more as a film composer, of course, than as the guy who is in that Radiohead band,» he says.

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.

Caine stars as Fred Ballinger, a retired composer and conductor who has sunk into pleasant apathy; Keitel is Mick Boyle, a filmmaker trying to develop a script for the film that might be his last.

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.

Rob Marshall, the talented filmmaker behind the Academy Award ® - winning musical «Chicago» and Disney's «Pirates of the Caribbean: On Stranger Tides,» helms the film, which is based on the Tony ® - winning original musical by James Lapine, who also penned the screenplay, and legendary composer Stephen Sondheim, who provides the music and lyrics — including an all - new song for the big - screen adaptation.

Michael Giacchino named Composer of the Year by The International Film Music Critics Association (IFMCA), «an association of online, print and radio journalists who specialize in writing about original film and television music.»

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 mid -» 70's through the mid -» 80's saw scores for horror films reach a pinnacle of brilliantly chilling extravagance Sasha and I have chosen 12 composers who gave us goosebumps in 13 films.

Basically faithful recreations of lost fetish loops, narratively strung together by thin bio sketches, the film includes a surprisingly vibrant jazz score by Ryan, who appears in a short composer featurette with musicians.