Sentences with phrase «films and music there»

What concerns me here is when this issue is set alongside the movie industry lobbying over illegal downloads of films and music there appears to be a double standard.

Not exact matches

He quotes Salieri's envious description of Mozart's music in the film Amadeus: «Displace one note and there would be diminishment.

With the advent of the professional youthworker, there also came the danger that the church as a whole and parents of teens in particular would feel that they couldn't do the discipling job, that we needed people who watched the same films, wore the same clothes, could bear to listen to the same music, and could actually get as far as Level 2 on a computer game.

The minister said that there would also be waivers for shipment of imported music and films production equipment.

I can't even begin to describe the guest list — other than the head of any arts, music, film etc organisation you can think ofwas there — from Sir John Tusa, Alan Yentob and Sir David Putnam to Michael Wolff, Sir Christopher Grayling and Mark Thompson (and loads more).

There are films, plays, comedy shows, music events and a whole lot more at this community - focused location that gives plenty of reasons to come along and have some fun.

Sugar Club is Dublin's most creative nightspot, where the very slick theatre - style venue hosts an array of events from music to comedy to classic film - themed nights and there's even some saucy cabaret and sexy burlesque dancing shows to heat up your evening.

Bluegrass music is at the heart of the film, as it was of «Bonnie and Clyde,» and there are images of chain gangs, sharecropper cottages, cotton fields, populist politicians, river baptisms, hobos on freight trains, patent medicines, 25 - watt radio stations and Klan rallies.

The film doesn't hold your hand, and while Cave may drop a first name here or there, or make mention of a band or hit single, there's nothing on screen spelling out for you a traditional Behind the Music - friendly history of Nick Cave.

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.

There is also the not unimportant matter of the need to communicate to people all over the globe the complexities of American life, thus contradicting the deliberate «pro-American» falsifications spread by the US film and music industries, media and government (see the delusional State of the Union address), as well as its «anti-American» counterpart abroad (which portrays a contented, prosperous population solidly backing official chauvinism and militarism).

Before Talkies there was an amazing array of silent films set to music, and we've discovered these in the FilmOn library vaults.

What is most interesting about the film are the number of cameos from famous stars of stage and screen including Rodgers and Hammerstein who perform There's Music in You.

Borrowing a name from a Roxy Music tune (I'm assuming that the film makers got sued because it has been re-titled as Addicted To Her Love) the film is interesting and develops quite well, yet there's a ton of little things that just drag it down.

The whole film is a lively lesson in music history that should stimulate renewed interest in Native American artists and convince other documentary filmmakers that there is still much more to explore.

There's a real joy to this film, a love of the music and an appreciation of the band's eccentric humor.

If you're wondering why there are shouts of jubilation from film buffs and aficionados of pre-swing-era music it's because the Criterion Collection has released a beautiful Blu - ray and DVD of King of Jazz (1930), The movie features Bing Crosby's first appearance onscreen, as part of the Rhythm Boys trio, jazz giants Joe Venuti and Eddie Lang, and a spectacular rendition of George Gershwin's «Rhapsody in Blue» by Paul Whiteman, the orchestra leader who commissioned the piece just six years earlier.

Of course, there are plenty of books and articles on film noir's use of the voice - over, but Miklitsch takes a different approach, primarily focusing on sound effects and music's contribution to the overall dark ambience of the films of this period.

Despite writing the book and screenplay of «Fast Times At Ridgemont High» (1982), the film that established the parameters of»80s teen movies; despite establishing or redefining a host of contemporary film stars; despite major box office success, despite an Oscar, despite his role as a pop music shaman — there's little written about Crowe's work as a writer and director.

Additionally, in no particular order, there were vocal supporters of the Ralph Jones «incongruously great score to «Slumber Party Massacre ``; «Phantasm» «s heavily «Exorcist «- indebted score from Fred Myrow and Malcom Seagrave; Danny Elfman «s channelling of Bernard Herrmann for «Nightbreed ``; Wojciech Kilar «s bombastic, often recycled music for «Bram Stoker's Dracula ``; John Harrison's score for Romero's anthology film «Creepshow ``; Richard Band «s better - than - deserved compositions for the terrible «Troll ``; the great Lalo Schifrin «s score for the original «The Amityville Horror ``; a more recent example in Climax Golden Twins» music for Brad Anderson «s now cultish «Session 9 ``; Pino Donaggio's terrific work with de Palma's «Dressed to Kill ``; Gene Moore's classic church organ scares in «Carnival of Souls ``; and while we've featured Bava fils above, we could easily have found room for his father Mario Bava, probably with the funky original music by Libra for his final film «Shock.»

There are two alternate soundtracks with which you can enjoy the film: an audio commentary by Tim Burton and a music - only track isolating Danny Elfman's score and songs in full Dolby TrueHD 5.1.

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.

Still, if you typically like live - action Disney fare, you may find it all innocuous fun, but as a film, there is little more to it that regurgitated themes from the previous films wrapped around music video style montages all meant to make you tap your toes and have a reasonably enjoyable time.

There is almost no music in the film (and when there is, it's little more than an ambient throb), and there are long stretches devoid of dialThere is almost no music in the film (and when there is, it's little more than an ambient throb), and there are long stretches devoid of dialthere is, it's little more than an ambient throb), and there are long stretches devoid of dialthere are long stretches devoid of dialogue.

«There is a silent side of the characters, and the music in this film is trying to connect with the silence,» Iglesias said.

There are minor quibbles — particularly with the use of music in certain parts of the film (though you'll never guess that one of the most touching moments is soundtracked to Katy Perry, go figure)-- but by the picture's twisty finale, in which Audiard navigates a late - stage twist with ease and emotion, you know you are in the hands of a master who is directing with the confidence and command that few possess.

Behind the music of Childish Gambino, Chance the Rapper, and the films of Ryan Coogler, there is a 33 - year - old Swede

Les Affamés definitely isn't the gore fest the Romero - type zombie movies usually are, but there are still plenty of jump scares throughout the film, although, to be fair, they mostly do these well, thanks to a sparse use of background music and some well - paced scenes.

Likewise, there's no cause for complaint about the lossless DTS - HD Master Audio 5.1 mix, which ably adds body to the film's music and effects while keeping the dialogue above it all.

The tone of the movie (music, atmosphere, tension), while not as effective as the 1982 film, is still there and works quite well.

There have been short films and music videos, but it has been four years since Spike Jonze «s last feature film, Where the Wild Things Are.

There's a reasonable base of material, but 55 minutes is far too long to present it in its best light, and it's a pity that this film - one which seems most unlikely to have a lengthy soundtrack made up exclusively of original score - is the one whose music has been released, when the infinitely - superior Remember the Titans score is unreleased.

There's a bit on her music near the end, but the interview subjects mostly stick to discussing their experiences on this film and what it meant to them.

There isn't much to the mix: the occasional bit of unidentifiable pop music and dialogue in which the filming location has more of a presence than most.

Although he became a star with three music - oriented films in quick succession — in addition to «Saturday Night Fever,» there were «Grease» and «Urban Cowboy» — Travolta was also quick to credit director Brian De Palma, who cast him in his first major film role in the Stephen King shocker «Carrie.»

There is perhaps 10 - 15 minutes of music in the entire film, and none of it leaves an impression.

There is so much to savor — the sweat suits, the enchanting music, Gene Hackman on a tricycle — and the DVD is also a world of its own, as beautifully packaged as, well, a Wes Anderson film, with Kent Jones's lucid manifesto defining Anderson's particular brand of genius, and a great gallery of production design drawings.

Mary and the Witch's Flower is the new film from Hiromasa Yonebayashi, the director of The Secret World of Arrietty and When Marnie Was There, with music by Takatsugu Muramatsu, based on «The Little Broomstick» by Mary Stewart.

Finally, there's «Operator,» a film that shot all over Chicago last year, and now returns to the Music Box and CCFF for its Windy City premiere, complete with co-writer Sharon Greene, co - writer / director Logan Kibens and star Martin Starr (another returning guest after his CCFF appearance in 2014) in attendance.

It does for me, as there are images, pieces of music, and particular scenes that have stayed with me over the years, and although I hadn't seen the film in about two decades, it amazes me how much of it I still remember.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Next, there is a fourth alternate way in which to experience the film: an isolated score track that loses dialogue and effects but keeps the music by Chuck Cirino.

There's also a series of outtakes and two featurettes, one on the making of the film and the other on the music.

But that's when I heard the very beautiful music of RACHEL PORTMAN for the first time, and rejoice that there's a living film composer able to craft thematic material that contributes so wonderfully to the scoring gestalt.

Blige, who earned a Globe nomination for her supporting role in «Mudbound,» said the Time's Up campaign and the wear - black protest are important «because there's so many women that don't get a chance to speak in other industries that are not the film industry, the music industry.

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.

There's also a 7 - minute featurette on the Theremin used in the score, an 8 - minute featurette about turning Martin Landau into Bela Lugosi, the 13 - minute Pie Plates Over Hollywood, about the film's production design, a sexy music video starring Burton's then - wife Lisa Marie (who plays Vampira), 8 minutes of great deleted scenes, and a theatrical trailer.

It's a dark echo in there, side - by - side with Jimmy's grim dedication to buying up lakefront property and turning this prelapsarian wonderland into an exclusive, members - only club, but the film explores neither beyond their mention and contents itself to wrap up with a few scenes of mayhem, three insipid montages set to horrible music, and the same finale involving the birth of a child it seems like Martin has done now in a good half of his films.

My biggest heros in this art are Bernard Herrmann («Psycho», «Taxi Driver», «Citizen Kane», «Vertigo») and Jerry Goldsmith («The Omen», «Poltergeist», «Basic Instinct»,» Papillon»), both of whom were pioneers in understanding the psychology of film and communicating drama through music, and I'm doing my best to follow in their example, and try to be one of the more considerate film composers out there... so, I was anxious to hear back if they agreed I hit the bullseye, blind.

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.