Sentences with phrase «so as a composer»

«Each entry is a fresh creative opportunity to do something new, so as a composer, returning to the series never feels tiring or stale.

Not exact matches

Many songwriters and composers happen to be Christians, but they are generally not referred to as «Christian songwriters» the way that so - called Christian songwriters, such as the one featured in this CNN article, are.

As with sacred Scripture, so with the exercise of the Petrine ministry: the truth or otherwise of a teaching is based on the authority invested in it — in both cases, by God himself, guaranteed by his Holy Spirit — rather than on the identity, oftentimes unknown, of this or that composer (or composers) of a particular text.

The musical interval you're hearing — the pitch gap between the notes — is known as a «tritone,» and it's commonly recognized in music theory as one of the most dissonant intervals, so much so that composers and theorists in the 18th century dubbed it diabolus in musica («devil in music»).

His father was a musician and so, as a high school student, Kurzweil came up with the idea of programming a computer to recognize patterns in music written by composers such as Mozart and Chopin.

Like the composer Stew did in his 2006 rock musical «Passing Strange,» Eagle makes grand narrative connections across «Brick Body Kids...» and does so through his skills as a storyteller and rapper with a sublimely confident flow.

It's composed by Matt Dunkley, a British composer whose name is perhaps most recognisable as an orchestrator of dozens of film scores over the last decade or so, including most of Craig Armstrong's and, more recently, several from Hans Zimmer's stable, though we shouldn't hold that against him.

So Cuaron, who used the same writer (Steven Kloves), production designer (Stuart Craig), composer (John Williams) and trio of leads as the previous two films did, ended up putting the best face on a problematic situation.

It's also nice to finally check in with composer John Williams (whose Indiana Jones theme is the heart - and - soul of the trilogy), who's not so much as mentioned in the omnibus documentary, while Ben Burtt's work on Raiders is justly honoured with revelatory and enthusiastic recollections («This jungle is gonna be so friggin» alien,» was Spielberg's reaction to the animal noises that Burtt had fabricated for the beginning of the movie).

IFMCA member James Southall said that «The Shape of Water» was «yet another from the top drawer of Desplat,» and went on to describe him as «one of the most consistently impressive film composers of the last couple of decades,» who has «managed to be so successful without having to water down his highly - distinctive musical voice at all».

People who love Rabin's film scores will probably love this one too, but those slightly less convinced by the composer overall are unlikely to find this one nearly so impressive as his career highlights.

Just as Danny Elfman is the composer - of - choice for superhero / comic - book films in 2003, so he was in 1990.

His choice of James Newton Howard as his composer will seem so strange on paper, but will heighten the film's core to a new level.

Ryan Reynolds is not the first actor who might come to mind to play her real - life lawyer, Randy Schoenberg (grandson of composer Arnold) but he does a creditable job as the young attorney and family friend who becomes as driven and obsessed as his client — possibly even more so — in pursuing this case.

Crafting a score for a movie where music itself is an essential part of the story can be as challenging as it is a wealth of opportunity, no more so than when seeking to embody an Israeli composer haunted by her parents» Holocaust past.

What I love most about Argo is that Desplat — renowned as a precise, sometimes even clinical, composer — has so successfully written music which conveys a genuine sense of chaos.

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.

This is a score which features numerous magical highlights and many examples of Newman at his finest, but for some reason the album as a whole just doesn't seem to gel quite so well as the composer's usually do.

As the film draws towards its finale, so Howard finally really releases the shackles and allows the music to go full - pelt - «It's God» with a soaring trumpet theme; «The Final Climb» reprises a couple of earlier themes, Howard once again combining conflicting emotions with real class; and finally, a lovely end credits piece which is very recognisably from this composer, and one of the album's certain highlights.

While speaking with EW, Wallfisch noted that «Every now and again, you come across a movie where the storytelling is so powerful, the subtext so visceral, the synergy between director, narrative and actors so palpable, that as a composer you can feel the music being energized by something so much bigger than what's just on the screen.»

Eight - times - Oscar - nominated composer James Newton Howard contributes a perfectly - used and subtle score that doesn't overplay its hand like so many blockbuster ones often do (and the great T. Bone Burnett advised on music as well).

With the aid of cinematographer Roger Deakins («Skyfall») and composer Johann Johannsson («The Theory Of Everything»), Villeneuve parlays Sheridan's words into a beast of a drama that moves with purpose and precision, nearly crossing the finish line without so much as a blemish.

The soundtrack was so good that composer Jerry Schroeder released the entire album as a free download, which can be found here.

Their work on the upcoming Puppet Master reboot has been nothing short of fantastic, going so far as getting Italian horror composer Fabio Frizzi for the soundtrack.

John Williams will forever be known as the composer of a huge number of blockbuster scores, and rightly so, but sandwiched in between them are a number of worthy projects which allowed him to flex his muscles in an entirely different way.

It follows every twist and turn of the action on - screen and so can be a little schizophrenic, but the composer manages to keep it impressively musical and it never seems quite so disjointed as most scores for this type of film are.

Directed by the great Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), with a screenplay written by the talented trio of Peter Straughan (The Debt), Hossein Amini (Drive) and Søren Sveistrup («The Killing»), featuring behind - the - scenes work from the likes of editor Thelma Schoonmaker (Raging Bull), cinematographer Dion Beebe (Chicago), composer Marco Beltrami (The Hurt Locker) and production designer Maria Djurkovic (The Imitation Game), and listing Martin Scorsese (Silence, The Wolf of Wall Street) as one of its primary producers, how things turned out so disastrously I have no idea.

Blu - ray Highlight: There's some really good supplemental material on the disc — like audio commentaries with the movie's producers, consultants and composer Cliff Martinez, as well as demonstrations on film processing, editing and dialogue editing — but Soderberg and writer Stephen Gaghan's commentary track is jam - packed with so much great information about making the movie that you'll definitely want to start there.

Extra Special: No mainstream Hollywood composer has so beautifully balanced experimental funk with soaring, lush orchestration as Thomas Newman, the scion of a film scoring family whose humble musical beginnings were spent in bands and writing the funky beat - driven scores of such youth - oriented comedies as «Revenge of the Nerds» «Desperately Seeking Susan» and «Real Genius.»

So, that allows me as the composer to mix styles and fuse them as I wish in order to accompany what the rest of the project is doing.»

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

- the eight protagonists won't have similar stories to each other because the team wants players to enjoy different experiences - the other six protagonists will have jobs different from Orberic (Swordsman) and Primrose (Dancer)- Orberic and Primrose were chosen for the demo because their starting points are closer to other party members - each protagonist will have different starting points, so there may be a gap in the progress difficulty - the team is trying to even things out, but they don't want every character to have the same difficulty, as that would be boring - the demo has surpassed 1 million downloads worldwide - a demo was released because they thought simply publishing screenshots and trailers wouldn't convey this game's fun factor - more than 80 % of the overseas player base found the game interesting - there was one player who won against a high - leveled NPC in a Duel, and another who defeated all bar customers - the team had expected the former, they didn't expect the latter - the music was received very well, which comes from composer Yasunori Nishiki - overseas players complained of hard - to - read text, because the UI was based on the Japanese version, which will be adjusted - the biggest complaints were about slow map movement, and the lack of fast - travel - both of these features have been implemented, with faster movement and fast - travel between cities - players also found the screen too dark, so devs are adding waypoints for paths and also bigger roads - there will be an Event Skip feature, as well as the ability to freely watch events that have been already seen.

Should there be greater representation for video game composers and musicians so as to prevent unfair wages, especially for newer indie games?

Plus, Yuzo Koshiro of Actraiser and Streets of Rage 2 fame handles the composer / arranger duties, so the soundtrack is as good or better than Sonic 1 on the Genesis.

The composer's style can be described as a fusion of orchestral dynamics and electronica sounds broken away from reality, so that the music carries higher values or depicts its object with gravitas.

Working as an assistant composer on the film, he complemented one of the film's most climactic action scenes by creating «The Chase on the Highway»; his electric guitar performance brought so much intensity and drama to the sequence.

The first one is the ever - so - popular Hitoshi Sakimoto, composer of such games as Final Fantasy Tactics, Radiant Silvergun, Murumasa: The Demon Blade, Orge Battle: Let us Cling Together, and you get the idea.

Now, I won't go so far as to say that FFX has the best score of the entire series, but I do believe the inclusion of Masashi Hamauzu and Junya Nakano as composers has invigorated a musical dynasty that has long grown stale.

The only Uematsu track that remains is the Chocobo theme, and it's so thoroughly rearranged on this soundtrack that Uematsu isn't even credited as the source composer for the melody in the soundtrack's packaging.

Just as Cage sought to decentralize the role of the composer and performer and obviate expression, Rauschenberg used Automobile Tire Print to eliminate the artist's hand, deemphasize authorship, and counter the high individualism that was a central tenet of the work of so many of his peers.

I am fascinated by [composer] John Cage, and he says it well: «I have nothing to say, so I say it»... People won't stop painting, just as they won't stop making music or dancing.

Just as a composer orchestrates their musicians, so Bowling acts as composer to his materials; Canvas is cut then stapled or stitched to the surface.

As a composer, Eric's pieces written for So Percussion are featured in «Where (we) Live» (BAM Next Wave 2012); «Five Songs, Dances, and Meditations» written to accompany Martin Kersels» Five Songs (Whitney Biennial 2010); «Imaginary City» (BAM Next Wave 2009); and «Music for Trains» — a site - specific performance on the train and at train stations in Brattleboro and Bellows Falls, VT (2008).

We had a fantastic editor, composer... so that as a film first and foremost, it could be enjoyed by people — to go beyond the people who are already interested in this issue.

My guest on the podcast this week is Joyce Kettering, a composer who became so successful licensing her music that she did the thing that so many dream about — she was able to quit a very good day job as a financial auditor and just dedicate herself to music.