Sentences with phrase «while filming the music»

They first met while filming the music video for the Cars song «Drive» in 1984...

Not exact matches

Even the iPhone has its own film festival, while YouTube itself just held its own inaugural music awards.

While Waits remains somewhat of an anomaly in the music industry — he also acts, scores films and plays and was a regular guest on Bob Dylan's Theme Time Radio Hour show — he serves as an example of a truly multimedia artist, able to promote his work in one medium through the use of others.

While I found Miller's book inspiring and enjoyed Taylor's music, I really do not see how «Blue Like Jazz» could be filmed.

We love revisiting the favorite films from our childhood or teen years — tell me I'm not the only one that has watched a Disney movie while officially an adult... (I still love Cinderella and Sleeping Beauty — those drawings, the music!

While such differences do not seem unsolvable, one major controversy has erupted preceding the first round of negotiations in July, when the French government, supported by several other member states, insisted on a «cultural exception»: The audiovisual sector, i.e. the film and music industries, should be excluded from free trade negotiations.

While it will be some time before 3D printing becomes as widely available, precedents from music and film sharing platforms suggest that the more accessible content is made for consumers, the less likely they are to resort to illegal downloads.

I love writing music, playing it, programming it, listening to it and I enjoy dabbling in film once in a while.

I'm a humble simple, neat, not fashionable, talks little, deep loving, affectionate, music, film, tasty food loving and any thing more while we talk.

The film doesn't hold your hand, and while Cave may drop a first name here or there, or make mention of a band or hit single, there's nothing on screen spelling out for you a traditional Behind the Music - friendly history of Nick Cave.

The music is quite twisted and cool, the film definitely has the most unique take on a classic, and it succeeds in getting a point across while pleasing exploitation fans.

While you don't want to focus on a film's score / soundtrack, Tarantino also uses music from his favorite films and repurposes them in clever ways to make the point that he's not just a serious film buff — he's an original filmmaker.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the longWhile the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the longwhile never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

Music was rich and full, while effects came across as accurate and dynamic; we got positive bass response throughout the film.

But at least Bruce Wayne gets a ridiculous Rocky-esque training montage (sans John Cafferty motivational music) while almost every single woman in the film is either abducted or murdered.

By the time Great Balls of Fire was released, X had announced their breakup (though the band would stage several reunions throughout the 1990s), and while Doe began recording and touring as a solo act, he also devoted an increasing amount of his time to his acting career, so much so that by the end of the 1990s Doe's film work had outstripped music as his primary livelihood.

Crowd Radio - TV is a completely new model utilizing both Radio and TV to generating awareness for recording artists, film - makers, music videos, films, TV shows, and creative media projects seeking financial support while building a strong loyal fan base at the same time.

While I can deny that Astaire and Rogers can dance well and the music is fun, the film as a whole is not very good.

Sandbox was nominated for a Juno Award, East Coast Music Awards, and a Casby Award.Smith has mixed sound for such films as The Weight of Water and Serendipity.He had been a long - time friend of Trailer Park Boys director Mike Clattenburg, and met Robb Wells (Ricky), and John Paul Tremblay (Julian) while sound mixing on the original TPB feature.

One thing I will say about this movie is that is quite possibly one of the emotional films that I've seen in a while, and one of those reasons is because of the music, the music in this movie are brilliantly done and the film has little to none of it, but they know when to use it to the films advantage, and it works incredibly well when it is used.

It is best read as a paean to the power of music — while it is playing, the film is at its most persuasive.

«Valencia» (which was the code name for the film while it was being made) is just wonderful, explosive action / horror music, pounding and thunderous, brassy and exciting.

While not quite as polished and satisfying overall as Chicago, the strength of the music, production and commentary on the ups and downs of the music industry do make for an interesting, thoughtful, and enriching experience to justify making a film version of, despite some of the more dated aspects of the original material.

As a result, Siren City provides an insightful look into some of the more neglected areas of film noir study, while furthering larger discussions about film sound and film music as a whole.

The movie also features appearances by Rebecca Henderson (from «Appropriate Behavior «-RRB-, Heather Lind («Boardwalk Empire») and Michael Chemus («Captain Phillips «-RRB- Dean Wareham and Britta Phillips (from the band Luna) composed the movie's score (they wrote some music for previous Baumbach films and Wareham has a hilarious cameo in «While We're Young»).

Love, which reunites Haneke with Piano Teacher star Isabelle Huppert, is about a retired music teacher who has a stroke, while Rust and Bone, Audiard's first film since A Prophet, features Marion Cotillard as an aqua park employee who loses her legs in an accident involving an orca.

Postscript: While Tarantino sadly never provided any hints as to his musical selection for the film (and disregard any reports saying they do), he did select Claude King's 1962 hit, «Wolverton Mountain» as the intermission music.

From its idyllic, adventurous setting to the selection of music and Alexandre Desplat «s tremendous score, it somehow felt like a classic kids» film (arguably more so than «Fox») airing on TV on a Sunday afternoon, while also featuring some of the most exciting filmmaking of 2012 so far.

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.»

While most adults in the audience will wonder why Mia would ever seriously consider a relationship with a guy who is so self - centered to get mad at her for desiring to relocate 3,000 miles away to go to the most prestigious music school in the country, the film seems to make the false presumption that younger girls will find it more romantic for the boyfriend to be upset that they will be apart and have to Skype to keep in touch (something he seems to think is the worst possible case scenario, even though he already spends several weeks a year on the road performing gigs).

While the music is hardly as catchy as the Academy Award winning compilations from his 2006 film, Once, a buoyant attitude sometimes fills in here, at least enough to make for an emotionally satisfying final act.

I wrote at the time that his music for Dawn of the Planet of the Apes — while a very fine film score — wasn't one of his most engaging albums, with its dark tone and great length; and while he uses that score as a springboard (and reprises some of its material), Giacchino takes War off in different directions and in doing so solves the problems that led to its predecessor being better within the film than without it.

Soderbergh inverts the typical action movie genre score by ratcheting up the score during the non-fight sequences, applying that retro - 1970s jazzy horn and percussion score by David Holmes (Code 46, Analyze That) during the dialogue and chases, while turning the music completely off when the film gets explosive for the highly brutal moments of close - quarter, melee combat.

While her fellow noughties Disney starlets attracted more fame with their obligatory tween pop careers and ubiquitous music videos, Hathaway has risen to one of Hollywood's most respected and marketable actresses while the likes of Hilary Duff, Lindsay Lohan, and Raven have all fallen far off the short list of actresses given opportunities to star in theatrical fWhile her fellow noughties Disney starlets attracted more fame with their obligatory tween pop careers and ubiquitous music videos, Hathaway has risen to one of Hollywood's most respected and marketable actresses while the likes of Hilary Duff, Lindsay Lohan, and Raven have all fallen far off the short list of actresses given opportunities to star in theatrical fwhile the likes of Hilary Duff, Lindsay Lohan, and Raven have all fallen far off the short list of actresses given opportunities to star in theatrical films.

While its completely predictable, much of its target audience won't be as critical as the critics due to the fact that its a positive, uplifting family - safe film with decent music.

Likewise, there's no cause for complaint about the lossless DTS - HD Master Audio 5.1 mix, which ably adds body to the film's music and effects while keeping the dialogue above it all.

The tone of the movie (music, atmosphere, tension), while not as effective as the 1982 film, is still there and works quite well.

While the Dolby Digital tracks present the film in its original mono mix (in English, French, and Spanish), the clarity is fine and the music sounds as good as mono can.

The soulful main theme, «Trouble Man», wields the idiosyncrasies of the legendary Motown artist while echoing the emotional journey of Robert Hooks» lead character Mr T. Advancing Gaye's outline of soundtracking for a new generation of film and music lovers, Lamar evidently foregrounds his own musical identity while adding nuance to Black Panther's characters via the lead single «All The Stars».

Firstly, the refusal of the late guitarist's estate to sanction any of his music for the film hampers it from the off while the constant use of lookalikes to represent the likes of Eric Clapton, members of The Beatles and Rolling Stones makes the recreation of the elite London rock»n' roll scene in 1966/67 look faintly farcical.

While the film seems like the sort that would cry out for memorable music (many westerns do), the Coens rarely play things by the rules.

While we don't get to hear a lot of their music (most likely because they couldn't get the rights - they don't even say the name «The Beatles» once), the film is so masterfully directed, beautifully shot, and well acted, that I easily became wrapped up in the story and the characters.

Karen Gillan is by far the show - stealer as the film makes it a point to criticize and support her impractically programmed adventuring attire, while giving her multiple dance karate battles set to cheesy 90s music earning her the name Ruby Roundhouse a.k.a. Man Killer.

The film, directed by Steven Soderbergh, would be worth seeing just for Stamp's performance, at once rock - hard and goofily blinkered, and for Peter Fonda's wittily self - parodic turn as the suspected killer, a music producer who coasts on»60s counterculture easiness while his lackeys do the dirty work.

He began work under the guise of producing a non-political film about the musical culture of the country (and there is, in fact, a wealth of local music in the film) while secretly meeting anti-apartheid activists and developing a loose script with the help of local writers, artists, and activists.

Laughably over-staged (talky scenes take place at batting cages, below circus trapezes and while jogging) and populated with stereotypes (Fisher Stevens plays a greasy, deceptive record - label scout), the film seems to have made from a My First Movie do - it - yourself kit purchased by the director (a veteran of music videos, and it shows) from a street vendor on Hollywood and Vine.

If fans of the highly successful film about the rap group who revolutionized music would like to get your hands on one for themselves, send your name and address to [email protected] while supplies last.

It was a very bad year for Hollywood films, and not much better for so - called U.S. «independents», with Whiplash being arguably the most overrated film of the year, totally misrepresenting both jazz music and jazz education, while typifying in its Hollywood - ending what is wrong with Sundance existing as a professional calling - card festival.

Bowie had famously declined to contribute any music, while Miramax head Harvey Weinstein was not only heavy - handed with his editing demands, he allegedly abandoned the film not long after it screened at Cannes.

The unrelenting mood of grief - stricken portentousness is suffocating after a while, and even the consciously lighter moments — Eckhart and Sandra Oh getting stoned before a group therapy session, Kidman's accusatory tone over Eckhart's music taste — are often ground down, leaving the film often feeling like an airless exercise.