Sentences with phrase «late film composer»

During high school, his tastes diversified; he loved Yellow Magic Orchestra, begun to appreciate Western pop music, and also started to enjoy the work of modernist composers and his protegé, late film composer Jerry Goldsmith.

Telegraphing the emotions we should be feeling through the soggy score by late film composer James Horner (I really feel like a jerk for not liking it more — sorry, James!)

Not exact matches

British composer Harry Escott and artist PJ Harvey have collaborated on An Acre of Land, a new recording that is the theme to Dark River, the latest film UK Quick sex - ukquickies - The best online sex dating and sex contacts service, Get laid, Have sex fun tonight!

Filming started at the end of May and wrapped by late July, at which point Spielberg had just three weeks to get an edited version to composer John Williams.

ComicBook.com has an interview with composer Tom Holkenborg (a.k.a. Junkie XL) about his work on «BvS,» which is the latest ina long line of films featuring the characters.

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.

Journalist Mark R. Hasan (KQEK.com) interviews esteemed horror composer Marco Betrami regarding his latest work, World War Z (2013), scoring action films, collaborator Buck Sanders, and former mentor Jerry Goldsmith.

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.

On the latest Crew Call, the Long Island native and two - time Oscar nominee of The Hurt Locker and 3:10 to Yuma talks with us about his latest work as well as his early days at Yale Music, and how he decided to take the plunge into film scoring thanks to The Omen and Poltergeist composer Jerry Goldsmith.

But he, together with his brilliant editor Peter Hunt (like Bond stalwarts Saltzmann and composer John Barry, invaluable, we'll discuss his contribution later) shook up the language of film to a mad degree to make us, the viewer, step firmly into Harry's irreverent shoes as an outsider, bucking the system, and off - kilter in a paranoid world.

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.

A smart screenplay (by Linda Woolverton), a gifted voice cast (that, it must be noted, is free of the marquee names that now clutter animated feature credits), and superior animation work would have already made for a good film, but what makes Beauty so justly beloved is a generous helping of magic — namely the divine music by the legendary team of composer Alan Menken and the late, great lyricist Howard Ashman.

Composer Michael Giacchino captured the sound of the late sixties jazz orchestra, and meticulously married this unconventional sound to suit and enhance the dramatic needs of the film.

The late and seriously under - appreciated composer Michael Small wrote one of his best scores for the film, providing some stirring symphonic passages and atmospheric synth material.

The late composer enjoyed a lengthy career scoring television and feature films (including - surprise - «Patrick») and though a stereo album of his music was released on CD, the DVD includes an isolated mono score track which allows viewers to not only experience May's gift for enhancing the film's eerie mood, but compare his contributions with that of mixer Fenton, himself still involved with many of Peter Weir's films.

Hop over to the other similarly sterling yakker to hear DP Peter Deming (later cinematographer for David Lynch, Wes Craven, and Sam Raimi), co-screenwriter Richard Jefferies, and composer Terry Plumeri go into all aspects of the production, such as the possibility of a remake, the Chris Walas film The Vagrant (also written by Jefferies), and how the film was so very angry.

Elite's DVD contains a mono isolated score track, and writer / co-producer Bill Condon discusses the unusual agreement between the filmmakers and composers: a copy of the film was sent to The Dream in Germany, and the music arrived a few weeks later, which could only be used in the film and never in any soundtrack album.

Peter Bernstein, orchestrator of the original film and son of the late Ghostbusters composer Elmer Bernstein, will conduct local orchestras for the screening of the classic film starring Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson and Sigourney Weaver.

Using simplistic melodies, Morricone's Crystal Bird score combines strange atonal passages, trilling female voices, and close - miked bass and percussion - a style the composer chose to abandon for Argento's later films - such as The Stendhal Syndrome, and The Phantom of the Opera (1998)- because of the director's own stylistic changes.

It's directed by Peter Hyams, who changes film composers more often than most people change their underpants — a long line of very fine composers have worked on his films, including Jerry Goldsmith, John Barry, Michael Small, David Shire and Bruce Broughton; in the mid to late 1990s, John Debney did three in a row, with this sandwiched between Sudden Death and End of Days.

In late 2017, the trailblazing composer talked to IndieWire about avoiding the creative «straitjacket» of modern film composition, and completing his feature directorial debut after 10 years.

Even frequently recognized composer Alan Menken added nothing to the film's handful of acknowledgements from the Young Artist Awards, Mexican MTV Movie Awards, and dubious of late Annie Awards.

On the fullscreen side, also find «The Final Score: Remembering Michael Kamen» (onscreen title: «The Last Score»), a synthetic 6 - minute interview with the late composer's friend and colleague Blake Neely, who finished the score Kamen started writing for the film at director Forest Whitaker's behest.

In this exclusive interview, the man behind the magical music of «La La Land, Composer Justin Hurwitz, talks about this latest collaboration with former college roommate, director Damien Chazelle, his inspirations for the songs in the film, and his personal all - time favorite movie.

British Academy Award - winning composer profiled in latest episode of The Final Hours of TOMB RAIDER SQUARE ENIX and Crystal Dynamics today announced that Jason Graves, an award - winning composer with an outstanding pedigree across film, television and gaming is penning the original score for TOMB RAIDER.

He took his first photographs of his close friend, the singer - artist - poet Patti Smith, using a Polaroid camera, and later became known for his portraits of composers, architects, socialites, stars of pornographic films, members of the S&M underground and an array of other unique people, many of whom were personal friends.

In collaboration with the Gordon Parks Foundation, this first half of a two - part exhibition focuses on lesser known bodies of work by the late multihyphenate artist — photographer, film director, composer, and writer — Gordon Parks.

British composer George Fenton has written the music for over sixty feature films, including Ghandi (with Ravi Shankar), Dangerous Liaisons and The Madness of King George, and has collaborated with some of the most influential filmmakers of the late 20th century.

They range from the late 1980s, when he was still an undergraduate at Yale University, to those he created in conjunction with his five - part «Cremaster» film cycle, produced between 1994 and 2002, to his current project, «River of Fundament,» his film and live performance collaboration with the composer Jonathan Bepler that was inspired by Norman Mailer's novel «Ancient Evenings.»