Sentences with phrase «time film composer»

«Birdman,» which was # 4 on the Top Ten list, took home Best Cinematography, by Emmanuel Lubezki, and Best Score, by first - time film composer Antonio Sanchez.

Not exact matches

The movie was nominated for an impressive 13 Oscar Nominations including Best Picture, Best Director (Steven Spielburg), Best Actor (Danny Glover), Best Actress (Whoopi Goldberg), Best Supporting Actress Nominations for Oprah Winfrey and Margaret Avery, along with Best Supporting Actor (Adolph Caesar), and Best Original Musical Score for a Motion Picture (Quincy Jones) which was the first time in any Spielburg produced film that composer John Williams did not compose a film score for a Spielburg movie.

If the film comes perilously close to being anti-art, it's because Bateman's directorial chops (or lack thereof) don't offer much of a counterargument, although he's given invaluable assistance this time around by the Coen Brothers» composer Carter Burwell and their sound designer, Skip Lievsay.

That's pretty prolific for someone who offers up quality work each and every time out, rather than coasting on simplicity like a few other hard - working film music composers out there.

Hans Zimmer at the film's premiere; based on the music as heard in the film, this was the first time any of the numerous composers who wrote its music had actually seen the film

Add to that crazy killer baby bit a very suspenseful score by composer Bernard Herrmann and you have a classic film that startles us time and time again with its off - screen shenanigans.

Directed by Oscar ® winner Bill Condon based on the 1991 animated film, «Beauty and the Beast» is produced by Mandeville Films» David Hoberman and Todd Lieberman with eight - time Oscar - winning composer Alan Menken, who won two Academy Awards ® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Rice.

At times, the eagle eyed film enthusiast could be forgiven for thinking that there were about four composers scoring high profile films.

It's done quite well at the box office though, and was one of three films scored by Trevor Rabin which all appear in the Box Office Top Ten in the same week, at the time of writing this review - quite a feat for the composer.

Alexandre Desplat is no stranger to the Academy Awards: The prolific film composer has now been nominated nine times.

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 that's when I heard the very beautiful music of RACHEL PORTMAN for the first time, and rejoice that there's a living film composer able to craft thematic material that contributes so wonderfully to the scoring gestalt.

The 1970s were not in general a good time for film composers, until Star Wars came along at least.

Produced by Matthew Wilder, known for his work on No Doubt's 10 - times - platinum «Tragic Kingdom,» the album launched the Gruskas to instant tastemaker renown, a cozy spot for two grandchildren of the hugely successful film composer John Williams.

Directed by Oscar ® winner Bill Condon from a screenplay by TBD based on the 1991 animated film, the film is produced by Mandeville Films» David Hoberman and Todd Lieberman with eight - time Oscar - winning composer Alan Menken, who won two Academy Awards ® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three - time Oscar winner Tim Rice.

It seems like back then, the horror genre in particular inspired composers to really try to write something interesting and different, which makes it all the more ironic that today it's the one genre where film music has truly reached an all - time - high of genericism.

Cut to Faltermeyer, and for the first time the iconic composer is interviewed for a DVD, regarding his film work.

Fortunately the humour works extremely well and, when combined with composer Les Baxter's lighthearted and whimsical musical cues, gives the film a jaunty pace that the various actors play up to, with Karloff and Jameson displaying some expert comic timing opposite Price, especially in the scenes around the kitchen table.

It comes as no surprise to learn that Porter started his professional career as an assistant to three - time Oscar nominated minimalist film composer Philip Glass.

Nichols works for the first time with composer James Newton Howard, who seems to be extremely busy at the moment (no doubt mostly down to coincidental release scheduling, but this is one of four films he has being released in the US during December 2007).

Not long after the tragic death of the great James Horner in mid-2015, director Antoine Fuqua — whose Southpaw was one of the last films the composer completed work on — revealed that Horner had not only agreed to score his remake of The Magnificent Seven, he had actually already begun to write music for it based on the script (it was still being filmed at the time).

Some composers obsess over minimizing their scores in exchange for the drama onscreen, but Carter Burwell always leaves the moviegoer with a sense of time, place and mood, especially in such films as the Coen brothers» Miller's Crossing or Spike Jonze's Being John Malkovich.

«The numbers are growing for women film composers and it's a really exciting time,» she comments.

The 41 - year - old actress was joined by Bryce Dallas Howard, Mozart in the Jungle «s Gael García Bernal, Julie Andrews, The Strain «s Mia Maestro, and Scooby - Doo «s Matthew Lillard at the event featuring a special performance by John Williams, one of the greatest film composers of all time.

In quite a short time, Nicholas Britell has quickly established his voice as a film composer, breaking out with the score to the 2012 South by Southwest and Cannes film festival premiere Gim me the Loot, and landing his first Oscar nomination earlier this year for the emotionally affecting, poetic music heard in Barry Jenkins» Moonlight.

The 26 - year - old Londoner, classically trained but best known as frontwoman of acclaimed experimental pop band Micachu & The Shapes, is a first - time composer for film, but you wouldn't know it from the finished product, because it's something very special indeed.

Musically, the challenge for composer John Debney was (being serious now) following in the footsteps of Alan Silvestri's genuinely beloved music for John McTiernen's revered 1987 film; he has (and I'm not sure whether this is a compliment or not, really) proved on numerous occasions that he is able to do very good impressions of other film composers, so he was an ideal choice here — and there are times when it's hard to believe this music wasn't written by Silvestri himself, even when not directly quoting the original themes.

Bernard Herrmann, a masterful composer who has done work for Alfred Hitchcock, namely one of my favorite of his films and all - time scores, North By Northwest.

He has a brilliant shot to end the film, only to ignore it for two needless sequences; and he's allowed composer John Williams one of his most trite and manipulative soundtracks, which threatens at times to undo the film's restraint and guile.

On Skyfall the composer was 10 - time Oscar nominee Thomas Newman who has scored four Mendes films.

His explosive, exciting film Compañeros (1970) is one of my all - time favorite Westerns, featuring one of composer Ennio Morricone's finest scores.

Bava's choice of music (and composer) has sometimes been very uneven: Carlo Rustichelli's romanticized and treacly music for Whip and the Body detracted from the film's pinched, sadistic sequences; Libra's prog - rock score for Shock felt at times like an effects - ridden mimic of Goblin's supernatural score for Dario Argento's Suspiria; and Stelvio Cipriani's muzak for the original Italian version of Baron Blood deserved to be replaced by Les Baxter's more eerie, orchestral score when AIP initially released that film in North America.

A mere sampling of film composers who began their careers assisting Zimmer include John Powell (The Bourne Supremacy), Harry Gregson - Williams (Kingdom of Heaven), Rupert Gregson - Williams (Wonder Woman), Klaus Badelt (The Time Machine), Lorne Balfe (The Lego Batman Movie), Ramin Djawadi (Game of Thrones), Heitor Pereira (Despicable Me), and Junkie XL (Mad Max: Fury Road).

Veteran film composer and five - time Academy Award nominee...

Another a showstopper set at the Griffith observatory, brought to life from composer (and best friend to Chazelle since their time as band - mates at Harvard) Justin Hurwitz, with whom he worked on the film for over a half - decade (even before the breakthrough of Whiplash in the theaters), fleshing out a few concepts from an experimental musical film they had made together in 2009 called Guy and Madeline on a Park Bench.

Along with movie doc usual suspects John Carpenter, William Friedkin, and Martin Scorsese (who brilliantly homaged Hitch in a 2007 mockumentary commercial), relative newcomers Guillermo Del Toro and Eli Roth, as well as assorted lesser known editors, film composers, and others are on hand to explain just why Hitchcock is the most copied film director of all time.

After all, he is a three - time Academy Award winning composer for his work on the films Spellbound (1945), A Double Life (1947), and Ben -LSB-...]

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.

As such, composing for film or television will often involve more dramatic ups and downs in the music to closely match the scene whereas in video games, the composer is usually composing music layers (ambient exploration music, combat music, tension music etc.) that will transition between one another,» he noted, adding, «Trailer music is unique in that the music needs to make a very immediate and direct impact on the audience in a short amount of time.

This time, The Gamesmen talk about Mega Man getting his own movie, the Grand Theft Auto film, the Halo Composer finally winning his case against Bungie, the Monkey Island IP, the number of lines in Fallout 4's script, another elite Xbox One controller, more diversity in gaming, a new -LSB-...]

Three - time BAFTA nominated composer Inon Zur is internationally renowned for his emotionally dynamic original music scores for film, television and popular video game franchises, such as the FALLOUT series, DRAGON AGE series, Disney's FANTASIA, and PRINCE OF PERSIA series.

The festival is always great at innovative crossover projects, this time including speculative works overseen by uber - curator Hans - Ulrich Obrist; a new seven - part film project called River of Fundament by American artist Matthew Barney, with composer Jonathan Bepler; the return of Turner prize - nominated Tino Sehgal; and a new collaboration between Robert Del Naja of Massive Attack and the undefinably brilliant film - maker Adam Curtis.

Highlights include the film work Second - hand Reading (2013), installation O Sentimental Machine (2015) and The Refusal of Time (2012), an immersive work created with composer Philip Miller, projection designer Catherine Meyburgh, choreographer Dada Masilo, scientist Peter Galison and collaborators from around the world.

Experimental performance artist, composer and musician, Laurie Anderson's new film, Heart of a Dog, will screen twice as part of FilmColumbia this weekend and will begin a run at Time and Space Limited in Hudson on November 6th.

A generous hint of his direction could be seen in the 2012 Biennial (then hailed by New York Times critic Roberta Smith as «one of the best Whitney Biennials in recent memory»), which included such unforgettable moments as Werner Herzog's presentation of drawings by Hercules Segers intermixed with filmed performances by the Dutch avant - garde cellist and composer Ernst Reijseger; Dawn Kasper's performative residency in a ramshackle studio of her own creation on the museum's third floor; and the transformation of the entire fourth floor into a long stage for dance, most memorably Michelson's highly concentrated, multipart «Devotion Study # 1 — The American Dancer.»