Sentences with phrase «of film composition»

He studied at the Yale School of Music and in Italy, before learning the trade of film composition with the great Jerry Goldsmith.

Not exact matches

A brilliant documentary film was made in 1984 of Leonard Bernstein conducting an orchestra and singers during rehearsals of his own composition, «West Side Story.»

Still another trend — and this one should have caught Easum's attention, given his interest in «sound tracks» — is the use of music that draws on classical idioms in the composition of musical scores for films of high drama, serious feeling or intense introspection.

VCO is not merely a composition of fatty acids but it also acts as a protective layer over the tear film layers from evaporation.

Such probes have examined the surface composition of lithium films on a molybdenum substrate after the films were exposed to deuterium ions.

That suggests thin films of water have formed at the location in the past, so studying the chemical composition can reveal much more about the martian past.

To vary the composition within each of the 128 thin - film rectangles, a set of additional masks were placed atop the one that defined the grid elements.

«We can deduce concrete clues from this study as to which point defects in which concentration to expect in the given composition of kesterite thin films», says Gurieva.

A group of NUST MISIS's young scientists has presented a new therapeutic material based on nanofibers made of polycaprolactone modified with a thin - film antibacterial composition and plasma components of human blood.

In a second example it will be shown that composition gradients can be obtained by sulfurization of metal films deposited by thermal evaporation.

They are monitoring and comparing growth parameters such as surface temperature, surface morphology, and film composition and structure for their own experiments, and for those of other scientific organizations in the U.S., Europe, and Asia.

Combinatorial depositions with intentional and well - controlled continuous gradients in process parameters (composition, temperature, film thickness, nanoparticle size etc): wide range of thin film chemistries in separate chambers (metals, oxides, nitrides, sulfides); physical vapor deposition techniques (sputtering, pulsed laser deposition); different substrates and supports (glass, metals, glassy carbon, etc).

Using the European XFEL's brilliant X-ray radiation, physicists, chemists, biologists, and other scientists from all over the world will be able to map the atomic details of viruses, decipher the molecular composition of cells, take three - dimensional images of the nanoworld, film chemical reactions, study processes such as those occurring deep inside planets, and more.

Spatially - resolved characterization as a function of position on the thin film, and hence as a function of the graded thin film parameter: chemical composition (XRF, RBS) and crystallographic structure (XRD, Raman); microstructure (SEM, AFM) and surface properties (PES / XPS / UPS, KP); electrochemical (SECM), electrical (conductivity, Seebeck), optical (uv - vis, FTIR, PL) properties.

With an in - depth understanding of lighting and composition, one can create films using hand held phone devices.

It was enjoyable but not a breakthrough composition in terms of the film, sort of just standard fare biopic montage of interviews and old photos with the main thread of the piece being the documentarian's footage of Toback's then newest adventure in film - making.

Sexy Beast manages to be the more visually arresting, as Glazer's talent for composition and impressionistic lighting furthers the intricacies of the film's characterizations rather than resting on sheer showboating.

(I had the additional misfortune of seeing the film in 3 - D, and the seasick compositions are even worse through tinted lenses and forced perspective.)

Visually it was quite striking â $ «Wes Anderson's use of colour and composition of shots was brilliantly done and added stylistically to the off - centre atmosphere and nature of the film.

The awards made some questionable decisions when it came to recognizing this film, and among the most questionable, in my opinion, was a lack of recognition for the score by the great Alfred Newman, who hit some conventions and contrivances, but did what he did best by breaking down a lot of barriers for epic scoring sensibilities at the time to come up with refreshing and stellar compositions whose symphonic beauty is remarkable by its own right, and important in the selling of the sweep of this film.

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

It's a churlish and controlled film, suffused with dolor yet agleam with the prospect of hope, each assiduous and apoplectic composition as neat and orderly as the garments Toller adjusts during his morning routine.

With a really splendid composition of the always elegant and contained Marion Cotillard in the role of a tacky, excessive, clumsy and uncontrolled mother, the film ends in a pseudo-ironic catharsis that she did not deserve... [Full review in Spanish]

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

Still, Antal is a spectacular genre filmmaker reminiscent of Jacques Tourneur in the sense that you recognize his films based on their atmosphere, moody compositions, and elegantly streamlined narratives.

Here's one of my favorite compositions from the film, «Andrew Void»:

I was once a very harsh critic of Mr. Tarantino, the video store clerk turned auteur, who seemed to be preoccupied with the inventiveness of his in - jokes and visual quotations of scene compositions from other films.

That's right, the ATP Iceland music festival taking place in July of 2016 has officially booked John Carpenter for his first ever live performance of his film scores and new compositions.

The strange lighting effects and often fragmented and dark compositions place this among Fassbinder's most experimental films and one of his most harsh and sincere investigations of minority urban life.

Philip Glass (The Illusionist, Undertow) coats the film with his usual whimsical style, and though the film might be deemed as too slight in its subject matter to merit such heavy - handed compositions, the music is actually completely in keeping with the tragic allusions underneath, with motifs based on magic (wizard hats, old cats, strands of hair, and gold stars tie in to the coven - like relationship of the women) as well as Biblical references (Sheba is short for Bathsheba, the Old Testament woman seduced; Barbara's last name is Covett, and covet she most certainly does).

Music Of Woody Allen Films — an irregular feature about the musical compositions that have helped to make Allen's films sing.

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.»

Renoir's first film in color is one of his most painterly, as many of the compositions here could be framed and hung on a wall.

Almost bereft of dialogue, the films rely on the compositions of the group Tindersticks (and various figures within it) to provide emotional cues.

Rear channels get a nice workout during the abovementioned roller coaster sequence, but in a film lacking anything resembling pyrotechnics, the soundtrack mostly splits its time between reproducing Fenton's noxious compositions and trying to accommodate the whining of both Aniston and Alan Alda (as Nina's pop) in one speaker - busting scene after another.

Escaping into the light only proved how profoundly trapped they actually are — they're still trapped in the same compositions, after all — and although the end of the film does provide an image of something resembling hope, claiming that the film manages to «avoid claustrophobia,» as Potemra did, should make any attentive student of film pause.

More than anything else, in fact, the look and episodic composition of the film reminded me of Wojciech Has's The Saragossa Manuscript, a Polish film based on a Polish writer's French - language novel set in Spain (that's no doubt as European as it gets).

It's a score that re-defines what a science - fiction film can sound like in a way that's reminiscent of Vangelis revolutionary electronic composition for Blade Runner.

The color palette and mis - en - scene composition are fittingly vibrant and epic for a blockbuster film of this scope, and many of the ambitious action sequences are well - executed and impressive, which helps to justify seeing the film on a theater screen.

In Iron Man — the film that kick - started the MCU — Ramin Djawadi's compositions fall into the background of scenes, resulting in a notable absence of feeling.

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.

Like many cinephiles, I was first drawn to Ozu by his serene compositions, the meditative «pillow shots» of train stations and empty rooms that served as scene transitions, and the exquisite way that his films explore the architecture of domestic and urban life.

A combination of low budget, crappy CGI and uninspired shot composition means that this film is not in the least bit flashy to look at.

For all of its superb, shock - and - awe - generating visuals — aided by oft - nominated master cinematographer Roger Deakin's (Sicario, Prisoners, Skyfall, The Assassination of Jesse James by the Coward Robert Ford) singular eye for composition — Blade Runner 2049 often feels like Villeneuve, lured by the promise of revisiting a world created by a visionary filmmaker, not only wanted to put his own, auteurist stamp on said world, creating a continuation of a standalone, sequel - adverse film that «fits» on a narrative, thematic, and visual level, but found himself seduced like so many fans over the decades by the pure power of Scott's world - building and simply couldn't leave.

Before this project, an analysis of gender composition among content creators from the independent film sector had never been undertaken.

Perhaps it's a question of shot selection, as Gray — who has a painterly, shadowy visual style, often reminiscent of the great American films of the 1970s — has stuck to a largely emotional logic in earlier films; his compositions are wide or tight to reflect how characters feel.

Although the driving force of the film is Edward Norton's visceral performance, Kaye makes him the centerpiece of so many now - iconic black - and - white compositions.

From the film's uniquely garish visual compositions (courtesy of cinematographer Christopher Doyle), to its mature and intimate treatment of the main characters» homosexuality, Happy Together is an important film in Hong Kong Second Wave film and international cinema in the past twenty years.

I will say that I was giddy to hear the natural composition of Ennio Morricone in this film.

Music Of Woody Allen Films — a new irregular feature about the musical compositions that have helped to make Allen's films sing.