Sentences with phrase «on film composition»
He wrote his first film score in 1965, but it was in the 1970s and «80s that he began to focus on film composition more steadily, composing such works as HARDCORE, STARMAN, THE RAZOR's EDGE, STAND BY ME and THE SEVENTH SIGN.
http://buysoundtrax.stores.yahoo.net/ Not exact matches
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.
Such probes have examined the surface composition of lithium films on a molybdenum substrate after the films were exposed to deuterium ions.
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.
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.
Early in the film I noticed the emphasis on depth in certain set - ups and compositions; then I forgot about it, except when the glasses started to weigh heavily on my nose.
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.
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.
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).
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.
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).
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.
The band's 2011 follow - up Chopped & Screwed, which rearranged the first album as a live collaboration with the London Sinfonietta, was brought to Glazer's attention by his music supervisor, and Levi came on board the film in April 2012, spending nearly a year working on her compositions.
This is important because it's a film that relies so much on the composition to add depth above and beyond the dialogue - driven storytelling.
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.
His compositions will be prominently on display again but the film is receiving a mixed, at best, response.
The film noir slate was particularly rich as was the experience of seeing these film on the big screen — the lighting, the compositions, the close - ups all popped in a way that just doesn't happen when you watch these titles on TV.
But even as the revelations pile up and the screws tighten and you start to sense that terror and violence are inevitable, the movie never loses grip on what it's about; this is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay's themes — which means that when the bloody ending arrives, it seems less predictable than inevitable and right, as in myths, legends and Bible stories.
Jones» definition largely focuses on the films themselves, though it is necessary to expand on this composition so that the entire filmic and cultural practices of hardcore horror can be integrated into dominant accounts.
Despite the intrigue, however, there's a simplicity to the film that's deceptive — such is the attention and focus on mood and composition.
Scored lightly by a series of Brian Eno compositions, The Jacket is an apocalyptic poem of love and loss that's unusually wise about its visual vocabulary — about ways of looking, the line between dreaming and reality, and how eyes on film can be a powerful and elastic metaphor for the audience engaged in a kind of liquid dreaming.
The greatest achievement of the film's psychedelic roller coaster is the potent and passionate music of Junkie XL, whose previous scores on films like «300: Rise of an Empire» and «Divergent» could have never hinted at the masterpiece composition he would create for George Miller.
Composer Michael Giacchino wins two awards — Film Music Composition of the Year and Best Original Score for a Fantasy / Science Fiction / Horror Film — both for his work on the third film in the blockbuster Planet of the Apes trilogy, «War for the Planet of the Apes».
Also, on the plus side the cinematography is done well, and D.O.P. Christopher Ross deserves a lot of credit for how good this film looks, with its bright colours, brilliant shot composition, and breath - taking use of the English Countryside in order to immerse us more in this small seaside town.
On the one hand she, in her Chanel suits and with a studied accent, is as stylised as the White House interiors and the film's picture - perfect composition.
A combination of CGI and physical composition, I can't imagine any other film this year out matching the imagination this film conjures on screen.
Most of the film concentrates on the composition of surrealistic backdrops for commercials that don't seem to be selling anything special.
If anything, there seems to be a laziness in the director's efforts on this one, as the film feels like a pastiche of Spielbergian tropes and visual compositions pulled from Lincoln, Catch Me If You Can, The Terminal and Munich, to name a few.
This coat, which as the night draws in takes on a burnished quality like wet sand at sunset, is but the most resonant and satisfyingly symbolic shade in a film whose color compositions are, from beginning to end, consistently disarming.
Since his first cinematic composition, a collaboration with then - newcomer Richard Band on the low - budget science fiction thriller, LASERBLAST (1978), Joel scored a number of feature and television films throughout the 1980s and «90s, including the sci - fi series SUPER FORCE (1990), Roland Emmerich's early sci - fi thriller MOON 44 (1990), and Jim Wynorski's gentle family comedy, LITTLE MISS MILLIONS (1993).
In this excerpt from an interview on our new release of the film, Ballhaus talks about the influence of Douglas Sirk on its compositions and his occasionally combative on - set relationship with Fassbinder.
The film has been likened — and regarded as a precursor — to rock videos for how inextricable its sound and image are, a by - product of Leone playing Morricone's ready - made compositions on set.
Bad Teacher belongs to a dying breed of films shot in 1.85:1 and not placing that much importance on visual compositions.
Gladly, those 2.40:1 visuals look their best on Blu - ray, showing off the striking colors and irregular compositions that lend the film a dreamlike quality.
What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeaon a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeaOn Dangerous Ground, its very title indicating the source of Ray's critical appeal.
Whether it's the storybook compositions of his recent movies or the surrealist riffs on action films of Bottle Rocket and The Life Aquatic,...
Cagney's a great actor, of course, but both he and Day seemed totally lacking in energy, as did the direction by Charles Vidor — I swear there were only two camera setups through the first 30 + minutes of he film: Day on stage in a flat composition in front of musicians and a solid color backdrop with neither camera nor actors moving much at all and Day and Cagney in her dressing room arguing about something.
He also performs a brief, and somewhat amazing, reading from «Hamlet» and a rather beautiful piece of his own composition on piano during the film's affecting conclusion.
The director and his DP, Harris Savides, shot the movie largely on digital, but the film so often favours steady, patiently held compositions that allow its actors to move around within the frame and interact with each other, showing spatial relations in much the same way that Fincher is drawing connections between the facts of the case.
He has written for film, commercials and video games, including compositions for Street Fighter V, Mobile Suit Gundam: Side Stories, jazz arrangements of CAPCOM's Monster Hunter and Okami series, and big band arrangements for Rooster Teeth's animated series, RWBY, which reached # 1 on the iTunes charts in May 2016.
After his long classical training on composition and orchestration, Pedro learned film scoring in Berklee College of Music.
Grant Kirkhope has since been nominated for several awards in composition for his more recent work on Kingdoms of Amalur: Reckoning, which has gained him some recognition in the film industry, though many retro game fans still recognize him today as one of the geniuses behind games like Banjo - Kazooie, Perfect Dark, Viva Pinata and GoldenEye 007.
This one - year curriculum focuses on technical production skills, creative workflow, interactive game audio, film scoring and music composition.
Brooklyn born and raised Shelley Hirsch is a critically acclaimed vocal artist, composer, and storyteller whose solo compositions, staged multimedia works, improvisations, radio plays, installations and collaborations have been produced and presented in concert halls, clubs, festivals, theaters, museums, galleries and on radio, film and television on 5 continents.
Kasper's compulsion to put herself on display extends not only to living sculptures but photography as well; theatrically staging compositions of her death inspired by slasher films and Weegee-esque murder scenes.
It ranges from a rebus - like experimental film telling a French fairy tale (also on display, incidentally, in a concurrent show at Michael Werner gallery on the Upper East Side), to a full - sized recreation of his own Brussels apartment — the walls studded with words relating to art - making («Canvas,» «Museum,» «Composition,» etc.).
In a static, silent, black - and - white style, with neither narration nor action, these filmed faces evoke photographs, and their tight, close - up composition and formal pose derive from early photo booth portraits made by Warhol in 1963, which are also on view.
Drawing on varied genres including documentary filmmaking, music video, experimental film and theatrical performance, these artworks dispense with straightforward storytelling and unfold in a manner akin to musical compositions.
Susan Philipsz has developed a 24 - channel sound installation (24 pillars in the main hall of Hamburger Bahnhof), which is based on three film music compositions by Eisler.