Sentences with phrase «pop music score»

Its beautiful pop music score portrays an honest, heartbreaking, often funny, exploration of love and it's consequences on individual identity.

The film, told almost entirely through song and a beautiful pop music score, portrays an honest, heartbreaking, often funny, exploration of love and its consequences on individual identity.

It was a fascinating production in which the weaker aspects of the source material — a significantly dumbed - down Cliff Notes - worthy version of the Victor Hugo novel and a high - fructose pop music score — were deftly camouflaged by Trevor Nunn's innovative theatrical direction and by the extraordinary energy of the ensemble cast.

A machine learning system turns lyrics into song by composing a pop music score to suit the words it's given.

Not exact matches

I don't why people now say that they miss the old daft punk.Sure Get Lucky was more of a mainstream type of pop music but I think the whole album together is just a a revision of their albums and to me it's an excellant dance music, electronica and with some songs like Touch and Within It just adds some soul to make a well rounded album and all the people givbing a score of 7 and below well they're just people who listen to Katy Perry and Justin bieber whole day... well Prism is okay... good perhaps.

I don't why people now say that they miss the old daft punk.Sure Get Lucky was more of a mainstream type of pop music but I think the whole album together is just a a revision of their albums and to me it's an excellant dance music, electronica and with some songs like Touch and Within It just adds some soul to make a well rounded album and all the people givbing a score of 7 and below well

Before the first episode of the series even aired, he also won a small role in Brian De Palma's 1976 horror picture Carrie, and at the early peak of his Kotter success he even recorded a series of pop music LPs — Can't Let Go, John Travolta, and Travolta Fever — scoring a major hit with the single «Let Her In.»

Insurgent trades Divergent's dreamy alt - pop music for a swelling score by Joseph Trapanese, who collaborated with big - name electronic acts on the Tron: Legacy and Oblivion scores.

As it turns out, the relative skill with which Tully has been assembled — with kudos to cinematographer Eric Steelberg for his dusky color palette; editor Stefan Grube for some metronomically precise cutting in a series of domestic montages; and, yes, Reitman the Younger for using pop music more adroitly than usual (notably a suite of Cyndi Lauper songs to score a nighttime drive to Brooklyn) and actually locating and maintaining a non-obnoxious tone for the duration — is beside the point.

Michael Giacchino also delivers an amazing feel - good music score to match the pictures that pop off the screen.

Dialing up Arcade Fire, Of Monsters and Men, and The Lumineers (and practically every other contemporary band you can think of that writes rousing, lighter - raising pop hymns), the two - thirds mark of the movie is essentially defined by sequences serving as launch pads for yet another life affirming music moment (the score by Theodore Shapiro also employs the help of autumnal indie pop troubadour Jose Gonzalez to mildly better effect).

The 5.1 DTS - HD master audio is attention - grabbing with music from serene choir song to bold dance - pop tunes to a terrific score.

Not that there isn't music: the score by Radiohead's Jonny Greenwood stands out as the year's best, though on first viewing it doesn't appear as vital to the film as the pop scores in Anderson's last three films (one sequence excepted).

It's a pretty loud mix which is marked by John Debney's sappy score and a light, somewhat eclectic blend of recognizable pop tunes from the likes of John Fogerty, ZZ Top, and C+C Music Factory.

The soundstage widens slightly for Brion's score as well as the pop songs selected by music supervisor Hal Willner (and to put a little reverb on Brennan's impromptu vocal performance near the end of the film), but it never draws attention to itself.

It's become something of an axiom of modern film music that music for any kind of serious film set in the modern day will not have a traditional orchestral score - were Oliver Stone to make Born on the Fourth of July today, I seriously doubt he would have John Williams score it - and so he turned to Craig Armstrong, still primarily known for his instrumental pop music and song arranging for popular singers.

She's only 28 years old and this is her first film score — she's probably best known as Micachu of the experimental pop band The Shapes — which makes her the rare woman composing music for movies today.

Though the uncompressed PCM track is monaural only, the dialogue recordings are generally clean (if uneven) and the music is nicely presented, whether it's the brittle synth - and - sax stylings of the score by L.A. session musicians Gabriel Black and Lance Ong or the party - pop beats of Texas punk band Refugee.

Broughton wanders around East and West Berlin, occasionally bumping into East German police (she defeats a dozen in one sequence with an extension cord), and KGB agents in punk attire (the music - drenched movie concludes with the Clash but includes mostly period pop, including one clever sequence scored to «Til Tuesday's «Voices Carry»).

The score likewise veers from propulsive pop to lyrical ancient ballads and choral music.

Special Features New 4K digital restoration, supervised and approved by director Jim Jarmusch, with 2.0 surround DTS - HD Master Audio soundtrack New Q&A in which Jarmusch responds to questions sent in by fans Rarely seen footage of Neil Young composing and performing the film's score New interview with actor Gary Farmer New readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop New selected - scene audio commentary by production designer Bob Ziembicki and sound mixer Drew Kunin Deleted scenes Jarmusch's location scouting photos PLUS: Essays by film critic Amy Taubin and music journalist Ben Ratliff

The music cues have also been through a vicious blender; as whole scenes were paired down to quicken the film's pacing; since no effort was made to adapt the score, cues abruptly stop or pop up and disappear in a jarring musical mulch.

I would spend countless hours playing Beatmania IIDX and Pop»n Music, and I eventually got good enough that I could score AAA on songs (which requires painfully precise timing).

Yoko Shimomura combines memorable pop songs with complex symphonic music, and in doing so has reached the hearts of countless players worldwide, particularly with her KINGDOM HEARTS score.

-- Grammy Awards, «Best Score Soundtrack Album» (Journey); nominated — Academy of Interactive Arts & Sciences, DICE Award «Outstanding Achievement in Music Composition» (Journey) winner — British Academy Awards, «Games / Original Music» (Journey); winner — British Academy Awards, «Games / Outstanding Achievement in Audio» (Journey); winner — Game Audio Network Guild Awards, «Music of the Year» (Journey); winner — Game Audio Network Guild Awards, «Audio of the Year» (Journey); nominated — Game Audio Network Guild Awards, «Best Interactive Score» (Journey); winner — Game Audio Network Guild Awards, «Best Original Instrumental» («Apotheosis», Journey); winner — Game Audio Network Guild Awards, «Best Original Vocal (Pop)» («I Was Born For This», Journey); winner — Game Audio Network Guild Awards, «Best Soundtrack album» (Journey); winner — Game Developer Choice Awards, «Audio of the Year» (Journey); winner — International Music and Sound Awards, «Best Original Composition — Gaming» (Journey); winner — Music and Sound Awards UK, «Best Original Composition — Gaming» (Journey); winner — Original Sound Version, «Composer of the Year [2012]» (Journey); winner — Original Sound Version, «Best In - Game Soundtrack [2012]» (Journey); winner — International Film Music Critics Association, «Best Original Score for a Video Game» (Journey); winner — New York Videogame Critics Circle Awards, «Tin Pan Alley Award for Best Music» (Journey); winner — Hollywood Music in Media Awards, «Best Song — Videogame» (BeatBuddy: Stingin» Swing); nominated

Some songs on the soundtrack have a noticeable Georgian touch to them, and a fair amount of Sniper Ghost Warrior 3's score is inspired by various folk and pop music researched prior to the pre-production of the game score.

Claus» work was featured in notable solo and group exhibitions including Amble Timbre (2016), at The Hollows, Brooklyn, USA, MOTIF (2016) at the Edward Sharpe and the Magnetic zeros COLLECTIVE pop - up in Los Angeles, USA, La Main Qui Dessinait Toute Seule (2015) at the gallery Magda Danysz in Paris, FRANCE, Fils de Fragments in Chateau Royal, Collioure, FRANCE (2015), Fragment of a Leap, at Basu Foundation, Kolkata, India (2015) and Graphic Score for BAM at the Brooklyn Academy of Music, Brooklyn, USA (2013) Claus has been awarded artist residencies at Pioneer Works, Brooklyn, USA (2015), Basu Foundation, Kolkata, India (2015), and Yale Norfolk School of Art, CT, USA (2011).