Sentences with phrase «films and music where»

I love to redo my home for each season, including books, films and music where possible.

Not exact matches

With sales of recorded music withering, the hot idea among record labels was to sign artists to so - called 360 deals, where a company didn't just release a band's recordings, but promoted the concerts, sold the merchandise, and shared in profits from websites, fan clubs and film deals.

For example, earlier this year organizers of the South by Southwest music, film and technology conference used Telemetry to monitor foot traffic and see in real time where bodies were aggregating and which venues were most popular.

And, finally having sacrificed my ear in years of «hard service,» I have trouble with films where the background music raises to a crescendo during a crucial explanation, in this case of the dream phenomenon.

And in Bolivia, where I had gone to make a film about missionary activity, the music again was Christian, and again uniqAnd in Bolivia, where I had gone to make a film about missionary activity, the music again was Christian, and again uniqand again unique.

In England, the leading center has been in Cambridge, where Jeremy Begbie's project on theology through the arts in the Centre for Advanced Religious and Theological Studies has sponsored a range of publications, performances and educational initiatives, and is due to culminate in September 2000 with an arts festival embracing new film, drama, sculpture, music, painting and poetry.

If you're unfamiliar South by Southwest is sort of where the tech, music, and film industries all meet in a festival deep in the heart Read More

For instance, I like classical music and opera, great films of the past and present, and dinner parities where I do the cooking and entertaining, and then we all make the rounds to each others house for dinner.

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.

The film gives heavy screen time to the half - Mohawk Robbie Robertson, a good talker who learned his music and rough - and - ready guitar chops not only on Toronto's Yonge Street but on the Six Nations Reserve, southwest of the city, where he was raised.

But it works where it matters: The music is fantastic, and the film invests you in its central relationship.

It's done with such music geek passion that the film comes alive, and you wish this is where «Elizabethtown» had started.

(Oddly, one joke that is given time to breathe — and one of the film's few visual gags — is the bit featured in the trailer where Barinholz gets Poehler's music box stuck up his butt; it works better in the movie than in the trailer, but it's still a juvenile choice for a centerpiece.)

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

«Empire Records» is a microcosm movie, one of those films where in a single day, in a single music store, every conceivable thing happens to every conceivable character, and at the end of the day, they are all a lot wiser, as the endless list of music credits scrolls up the screen.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

So Bulletproof Monk, directed by a music video and commercial director like a feature - length music video or commercial, falls into the category of film where Asians sell Gremlins to white people as opposed to the Adam Sandler / Happy Madison category of film, where Asians are screeching waiters and nail - salon owners.

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.

About the only verifiable fact in the film is the wonderfully fascinating first act which takes place at the premier of The Rite of Spring in Paris where the audience actually did go into a riot over the music and choreography.

Where The Dreamers leaves the feeling that Bertolucci doesn't trust in the music the way that he used to, Rhinoceros Eyes still brims with the possibilities of film to be nurse and companion, teacher and confidant, lover and parent.

In honor of the movie's home video release (and before this weekend's Academy Awards, where it's nominated for Best Animated Feature), I spoke with Molina about the power of the film's music, how physically visiting a place like Monte Alban actually translates into a movie's screenplay, and much more.

Arguably the most conventional of all the documentaries listed, and really we have a film similar to Amy where we come to understand an iconic figurehead in the music industry.

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

«One of the final stages of the process was having a print of the film prepared with the music stripped out for the live mix; the mix in the rehearsals and concert being a constant conversation between the on - stage performances, the film's audio and the room's acoustics, requiring a huge amount of skill and awareness of the moments where a particular element (be it the music, dialogue or sound effects) needs to come to the fore, or be shaded off to make way for another layer.

For Smoczynska, who came of age inside the confines of a nightclub where her parents worked, the film's autobiographical dimension was eventually phased out by the specificity of Robert Bolesto's screenplay and sisters Barbara and Zuzanna Wrońskie's music.

Everyone's favourite characters, much of the surreal narration (delivered with perfect dryness by Stephen Fry), and the original's distinctive theme music, are all present and accounted for — and in an age where CGI has become the slick new medium for special visual effects, an inordinate amount of physical modelling and creature puppetry have been used to give the film a refreshingly organic retro look, as though the crew from the original TV series had been lured back to their old tools by a much bigger budget.

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.

Yes, the kind of movie where the climax of the film hinges on the performance of an all - kid music ensemble performing in front of the U.S. President and the rest of Congress after a State of the Union - caliber address.

It seems like back then, the horror genre in particular inspired composers to really try to write something interesting and different, which makes it all the more ironic that today it's the one genre where film music has truly reached an all - time - high of genericism.

Coming off a decade where the American genre film devolved into lowest - common - denominator investments and blockbusters ballooned skyward on the backs of sequels and franchises, Refn's modest exercise in crime pastiche and car - chase nostalgia parlayed both the exhaustion of Hollywood's narrative resources and — perhaps more importantly — the gathering mainstream curiosity in independent music's preoccupation with the sound and feel of the 1980s (the film's soundtrack has become one of the most popular word - of - mouth successes of the decade).

I think that for who is listening and watching the film, it takes you back to the beginning, and somehow that scene [where the music is used again] is the beginning of the story, because the plot of the film is really the end.

This film, a likely magnet for young audiences, combines great music from Elton John with incredible animation where flowing waterfalls and lush topical surroundings look startlingly real.

The most enduring images from the film are those of Cronauer on the air, where he churns out bizarre impressions, off - the - wall jokes, and popular songs that have aged better than the quieter types of music that military radio preferred to play.

Each filmmaker / composer team also works closely with an in - house sound designer in an environment where music, score, and sound design are treated as integrated aspects of the overall story world of the film.

In Great Britain, where this tale unfolds, the government had all but banished it from the official airwaves, allotting less than an hour a week to that music during, the film posits, the single greatest era of British pop and rock.

back staging it on pop fashion and art food,, cold play and you being almost as funkadleic as,, kl f our totnes pop band the west country bring out comicness and fun with bil lbalies as standup comedy, but the uncanny, comic connections,, and ideologies,, divine intervention etc has to be confronted,, in this instance,, there, writer,, everything went,, lahlah lah when i found out1999 my first son was deaf,,,, your film baby driver now he is 21 effected,, very deeply as a deaf man him and he would love to meet you,, and help you do baby driver two accompanied rap back, on his life in the deaf community London as an artists and lover of fast cars,, and anti war gang block buster, he has all the locations and sights he just needs u when u next in London,, he is Leonardo Patterson on Facebook but as his mum - an interpreter,, i have to translate he wants to take u top the 32 floor of the shade, an ask u how come sign language music blips u got him quite emotional echoes his child hood with his Jamaican father,,,, he just wants the anti war second mix,, none violent comedy,, with bil bailey unit as a mixed race teenager growing up in south London, he has seen the,, how gangs nonviolence,, have ruined it,, for, cant give any more away he cant work out how to meet your pr,, as he is dyslexic,, soi he is getting me to write this,, Lamborghini,, s are his love,, its cosmic,, could u make a,, deaf teeagers dream come true,, we could meet you clpahm picture house where wesaw bay driver with subitles at thier subtitles for deaf club every Thursday,, can you messge me onfacebook messgenr,, thanks his deaf club,, eevry wed,, would also love avisit,, deaf club central, reards su and,,, leonardo patterson,,,

But the one full - blown production number, «Zara Dil Ko Thaam Lo» («Hold on to Your Heart»), arises where it makes story sense (and nicely mirrors the touchstone «Main Hoon Don» number in the first film), and Akhtar and West make it count in a big way, going all - out with the spectacle, marrying the memorable music with Viabhav Merchant's creative choreography and a stunning, silhouette - driven visual design.

In particular there is a graceful sequence, wittily scored to piece of classical music where Carter discovers his gravity defying jumping abilities and any film with an adorably ugly monster / puppy sidekick who follows Carter everywhere or the simply adorable Collins as the Princess of Mars is not completely without merit.

SF Shorts Where: Red Vic Movie House, 1727 Haight St., 415-668-3994 When: Sept. 8 - 11 Why: San Francisco's International Festival of Short Films features seven mixed - genre programs comprised of cutting - edge music videos, mobile - media footage and innovative short - length films.

As for the possibility of further expansion beyond Park City, Los Angeles, Hong Kong and London (where it has been presenting a film and music festival for several years), Groth is noncommittal.

Where the film truly shines is in its illustrious and extravagant music and production design.

The music is also pivotal with the superb editing from Jonathan Amos and Paul Machliss, whom, along with Wright's direction, can utilise a song such as «Easy» by The Commodores within a particular sequence where the music is just one facet of the overall musicality and movement of the film.

But compare that to the numerous moments across both Guardians films where the Walkman and music play key roles in character development and Baby Groot's dance sequences, and it's clear that Gunn was right and Feige was wrong.

But while previews have eerie music and depictions of spooky creatures, Entertainment Weekly writer Chris Nashawaty says the film «forgets to be scary,» Variety writer Peter Debruge says there are «vacancies where the scares should be,» and Guardian writer Peter Bradshaw wrote that he is «less convinced by [director Guillermo Del Toro's] Halloweeny ghosts» than by other aspects of the film.

Director Hugh Wilson also attempts to add some seriousness to the proceedings, throwing in moments where the music grows more somber and the audience is cued to «feel» for the lead characters; these moments are at odds with the majority of the film, which often asks the viewer to not just laugh with, but at, the over-the-top heroines.

There is a character named Cid, there are strong, spiritual overtones, and there is some eerily familiar sounding music playing over the final credits, but that's about where the similarity between film and game ends.

The film starts off clumsily, a scene in a music shop where Richard (Efron) meets Gretta (Zoe Kazan) features stilted dialogue and an uncomfortably obvious telegraphing of a romantic subplot (though it would turn out to be more of a structural hallmark).

Stockwell knows how to film in the water, except he relies too much on the Blue Crush formula to get from point A to B, filling up precious screen time with undulating bodies and hard - hitting music in place of where much - needed character development should be.

Bousdoukos (who co-wrote the script) enters the film as an amiable slob with a vague attachment to a business that has become a matter of routine, but even as he makes plans to join his journalist girlfriend in China, where she has jumped as a choice opportunity, the transformation of his business from a glorified cafeteria with sleepy clientele to a social of young patrons, energetic music and magnificent cuisine (courtesy of a mad - dog chef with a tendency to end conversations with a well - thrown knife) stirs a new passion in him.

South by Southwest is a nine - day cultural smorgasbord that strives to be everything to everybody: a blogger conference with bands, a music industry jamboree that shows movies, and a plain old film festival where, hours in advance, people were already snaked around the block for the red - carpet opening - night premiere of The Incredible Burt Wonderstone.