“Look at all of you…it really is magical, isn’t it?” – John Williams
This past weekend, fans were treated to 3 nights of some of the most iconic music in Hollywood movie history, conducted by “the maestro” himself, John Williams. Williams, still going strong at 91, appeared on stage, like a spritely Jedi master…with hundreds of light sabers lighting up the Hollywood Bowl in his honor. We’re guessing this is something he has gotten used to, considering that Saturday night marked an impressive 100th performance at the Bowl for Williams, a run that began in 1977.
The first half of the performance with the LA Philharmonic, conducted by Gustavo Dudamel, was a selection of well-known scores curated by John Williams, as pieces that are special to him, including Hooray for Hollywood, The Cowboys, and Vertigo. Dudamel then launched into some memorable pieces composed by Williams such as Star Wars: The Phantom Menace...
This past weekend, fans were treated to 3 nights of some of the most iconic music in Hollywood movie history, conducted by “the maestro” himself, John Williams. Williams, still going strong at 91, appeared on stage, like a spritely Jedi master…with hundreds of light sabers lighting up the Hollywood Bowl in his honor. We’re guessing this is something he has gotten used to, considering that Saturday night marked an impressive 100th performance at the Bowl for Williams, a run that began in 1977.
The first half of the performance with the LA Philharmonic, conducted by Gustavo Dudamel, was a selection of well-known scores curated by John Williams, as pieces that are special to him, including Hooray for Hollywood, The Cowboys, and Vertigo. Dudamel then launched into some memorable pieces composed by Williams such as Star Wars: The Phantom Menace...
- 7/10/2023
- by Melissa Thompson
- WeAreMovieGeeks.com
Star Wars, Harry Potter, The Game Awards and Hayao Miyazaki’s films with Studio Ghibli.
Once again, the Hollywood Bowl is back to thrill audiences with evenings for the upcoming “Music from the Stage and Screen.”
The Hollywood Bowl 2023 season offers more than 20 classical programs including Gustavo Dudamel, Music & Artistic Director of the Los Angeles Philharmonic, returning for his 14th Hollywood Bowl season.
June 24: Harry Potter and the Deathly Hallows Part 2 in Concert
The 2023 season offers the epic finale to the Harry Potter Film Concert Series with Harry Potter and the Deathly Hallows Part 2, bringing the final chapter to the big screens as the Hollywood Bowl Orchestra performs the dazzling score by Alexandre Desplat
Wizarding World and all related trademarks, characters, names, and indicia are © & Warner Bros. Entertainment Inc. Publishing Rights © Jkr. (s23)
https://www.hollywoodbowl.com/events/performances/2303/2023-06-24/harry-potter-and-the-deathly-hallowstm-part-2-in-concert
June 25: The Game Awards 10–Year...
Once again, the Hollywood Bowl is back to thrill audiences with evenings for the upcoming “Music from the Stage and Screen.”
The Hollywood Bowl 2023 season offers more than 20 classical programs including Gustavo Dudamel, Music & Artistic Director of the Los Angeles Philharmonic, returning for his 14th Hollywood Bowl season.
June 24: Harry Potter and the Deathly Hallows Part 2 in Concert
The 2023 season offers the epic finale to the Harry Potter Film Concert Series with Harry Potter and the Deathly Hallows Part 2, bringing the final chapter to the big screens as the Hollywood Bowl Orchestra performs the dazzling score by Alexandre Desplat
Wizarding World and all related trademarks, characters, names, and indicia are © & Warner Bros. Entertainment Inc. Publishing Rights © Jkr. (s23)
https://www.hollywoodbowl.com/events/performances/2303/2023-06-24/harry-potter-and-the-deathly-hallowstm-part-2-in-concert
June 25: The Game Awards 10–Year...
- 6/11/2023
- by Michelle Hannett
- WeAreMovieGeeks.com
So much of our collective love of horror is grounded in the visual: A splash of gore, an inventive creature design, an image so startling and unexpected it lingers long after the lights come back up. It’s only right for a genre that takes our greatest fears and gives them shape (perhaps even The Shape). But there’s a frightening power in the unseen as well, and many of horror’s crowning achievements have demonstrated that nothing sweetens a scare or ratchets the tension of a chilling set piece quite like a good instrumental score.
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
- 10/19/2022
- by Erik Adams
- Indiewire
In our 100th episode, Edgar Wright takes us on a musical journey through some of his favorite cinematic needle drops.
Show Notes: Movies Referenced In This Episode
Beyond The Valley Of The Dolls (1970)
Baby Driver (2017)
Reservoir Dogs (1992)
Vanishing Point (1971)
2001: A Space Odyssey (1968)
Deja Vu (2006)
Man On Fire (2004)
The Bourne Supremacy (2004)
The Bourne Ultimatum (2007)
Alien (1979)
The Mexican (2001)
Gremlins (1984)
American Graffiti (1973)
Star Wars (1977)
Jaws (1975)
The Exorcist (1973)
Halloween (1978)
The Amityville Horror (1979)
Dawn of the Dead (1978)
Deep Red (1976)
Suspiria (1977)
Shaun of the Dead (2004)
Monty Python And The Holy Grail (1975)
An American Werewolf In London (1981)
The Long Goodbye (1973)
The Evil Dead (1983)
Face/Off (1997)
The Wizard Of Oz (1939)
Mandy (2018)
The Hallow (2015)
The Nun (2018)
Mulholland Drive (2001)
Christine (1983)
Blue Collar (1978)
Ferris Bueller’s Day Off (1986)
Mauvais Sang (1986)
Frances Ha (2012)
The Lovers On The Bridge (1991)
Holy Motors (2012)
Annette (Tbd)
Goodfellas (1990)
Mean Streets (1973)
Alice Doesn’t Live Here Anymore (1974)
Raging Bull (1980)
Mad Max: Fury Road (2015)
Mad Max (1979)
Babe (1995)
Happy Feet (2006)
Dr. Strangelove...
Show Notes: Movies Referenced In This Episode
Beyond The Valley Of The Dolls (1970)
Baby Driver (2017)
Reservoir Dogs (1992)
Vanishing Point (1971)
2001: A Space Odyssey (1968)
Deja Vu (2006)
Man On Fire (2004)
The Bourne Supremacy (2004)
The Bourne Ultimatum (2007)
Alien (1979)
The Mexican (2001)
Gremlins (1984)
American Graffiti (1973)
Star Wars (1977)
Jaws (1975)
The Exorcist (1973)
Halloween (1978)
The Amityville Horror (1979)
Dawn of the Dead (1978)
Deep Red (1976)
Suspiria (1977)
Shaun of the Dead (2004)
Monty Python And The Holy Grail (1975)
An American Werewolf In London (1981)
The Long Goodbye (1973)
The Evil Dead (1983)
Face/Off (1997)
The Wizard Of Oz (1939)
Mandy (2018)
The Hallow (2015)
The Nun (2018)
Mulholland Drive (2001)
Christine (1983)
Blue Collar (1978)
Ferris Bueller’s Day Off (1986)
Mauvais Sang (1986)
Frances Ha (2012)
The Lovers On The Bridge (1991)
Holy Motors (2012)
Annette (Tbd)
Goodfellas (1990)
Mean Streets (1973)
Alice Doesn’t Live Here Anymore (1974)
Raging Bull (1980)
Mad Max: Fury Road (2015)
Mad Max (1979)
Babe (1995)
Happy Feet (2006)
Dr. Strangelove...
- 6/30/2020
- by Kris Millsap
- Trailers from Hell
When I think about the American New Wave, I’m always traveling through the vast open roads of North America, its forever-changing landscapes and mythical American dreams, with all its bittersweet promise. Sonically speaking, I’m in that space, too. So much of the New Hollywood cinema is vast Americana; Death Valley and desert-hot gas stations, the ultimate nihilistic road movie. But so much of it is everywhere else too; sleek Manhattan apartment blocks, the old Wild West, and the outer regions of space. In my head it’s a mixtape of philosophical and artistic ideas, one of cinema’s counter-culture melting pots where more questions are raised than answered and the plot is not driven by a desire for resolution.This mix was dreamed up as a mixtape: driving across state lines, re-adjusting the radio station on the dashboard as the trip moves further towards a destination that is unknown.
- 10/13/2019
- MUBI
Plenty of people have heard 20th century concert music solely because Stanley Kubrick smuggled it into his movies. The L.A. Philharmonic returned the favor over the weekend, by smuggling the director’s films into the concert hall.
“Stanley Kubrick’s Sound Odyssey” took the Phil, along with the Los Angeles Master Chorale, on a musical voyage through five chapters in the filmmaker’s diverse canon: “2001: A Space Odyssey,” “The Shining,” “Barry Lyndon,” “Eyes Wide Shut” and “A Clockwork Orange.” Selected excerpts of classical works he used in those films’ soundtracks accompanied their attendant scenes on a large screen above the Disney Hall stage.
Malcolm McDowell, who played the amoral lad Alex in “Clockwork,” hosted the evening. He seemed a little stiff when reading the boilerplate script, but far more at ease when he segued into telling ad lib anecdotes. Noting how “2001” struggled to find an audience until someone...
“Stanley Kubrick’s Sound Odyssey” took the Phil, along with the Los Angeles Master Chorale, on a musical voyage through five chapters in the filmmaker’s diverse canon: “2001: A Space Odyssey,” “The Shining,” “Barry Lyndon,” “Eyes Wide Shut” and “A Clockwork Orange.” Selected excerpts of classical works he used in those films’ soundtracks accompanied their attendant scenes on a large screen above the Disney Hall stage.
Malcolm McDowell, who played the amoral lad Alex in “Clockwork,” hosted the evening. He seemed a little stiff when reading the boilerplate script, but far more at ease when he segued into telling ad lib anecdotes. Noting how “2001” struggled to find an audience until someone...
- 11/25/2018
- by Tim Greiving
- Variety Film + TV
Eric Lavallee: Name me three of your favorite “2014 discoveries”…
Heather McIntosh: MaddAddam Trilogy, Margaret Atwood. Volumina for Organ, György Ligeti. Mind Brains (Orange Twin Records)
Lavallee: In Z for Zachariah, Craig Zobel goes from a “Great World of Sound” (pardon the pun) to nothingness. How did you research dystopia, lifeless scapes and survivalism?
McIntosh: The score fits somewhere between pastoral and experimental. Research, I studied a lot of contemporary organ scores, like the Ligeti one above (not that the score really went that far out).
Lavallee: This is your second outing with Craig, your previous collaboration was the cringe worthy essay on victimization. In terms of instrument selection, what did you sprinkle onto Z?
McIntosh: For Compliance, it was cello driven. For Z for Zachariah, Cello is still there, but there is a larger chamber ensemble sound, pump organ, piano, choral ensemble, French horn, and a as always a sprinkling of electronic ambience.
Heather McIntosh: MaddAddam Trilogy, Margaret Atwood. Volumina for Organ, György Ligeti. Mind Brains (Orange Twin Records)
Lavallee: In Z for Zachariah, Craig Zobel goes from a “Great World of Sound” (pardon the pun) to nothingness. How did you research dystopia, lifeless scapes and survivalism?
McIntosh: The score fits somewhere between pastoral and experimental. Research, I studied a lot of contemporary organ scores, like the Ligeti one above (not that the score really went that far out).
Lavallee: This is your second outing with Craig, your previous collaboration was the cringe worthy essay on victimization. In terms of instrument selection, what did you sprinkle onto Z?
McIntosh: For Compliance, it was cello driven. For Z for Zachariah, Cello is still there, but there is a larger chamber ensemble sound, pump organ, piano, choral ensemble, French horn, and a as always a sprinkling of electronic ambience.
- 2/5/2015
- by Eric Lavallee
- IONCINEMA.com
The year has finally drawn to a close. They're celebrating 2015 already in some parts of the globe (I guess our troops in Afghanistan are popping champagne right about now). But before really send 2014 off into the the sunset, a last look at the best of what silver screens had to offer this year...in one guy's opinion, anyway. Following up on yesterday's "If I Had an Oscar Ballot" post, I've run down my top picks in each standard Oscar category below. On the second page, you'll find a list of supplementary awards, stuff that the Academy doesn't recognize (but in a few cases, perhaps should). Feel free to offer up your own favorites in the comments section. And allow me to wish you a Happy New Year as the clock turns. *** Best Visual Effects: "Under the Skin" (Runner-up: "Dawn of the Planet of the Apes") It's a shame this branch can't see past internal politics,...
- 12/31/2014
- by Kristopher Tapley
- Hitfix
As I said a few weeks ago in spotlighting some of the most exciting cinematographers working today, I believe we're quietly going through a golden age for the form. There are some dynamic ideas making their way through the system these days thanks to exceptional artists behind the camera, and hopefully this little feature does its part in celebrating what they have to offer. It has been a staggeringly good year for cinematography, and the last few years haven't been too shabby, either. I frankly had a tough time settling on my own favorites for my imaginary Oscar ballot, but in addition, I'd also spotlight films like "Calvary," "Selma," "Under the Skin," "Cold in July," "Enemy," "The Babadook," "A Most Wanted Man," "Fury" and more. (To say nothing of the films that have shown up on the top 10 shots two-parter yesterday and today: "The Homesman," "The Immigrant," "The Rover," "Nightcrawler,...
- 12/30/2014
- by Kristopher Tapley
- Hitfix
The scores of La Film Critics winner Mica Levi ("Under the Skin"), Hans Zimmer ("Interstellar"), Alexandre Desplat ("The Imitation Game"), Jóhann Jóhannsson ("The Theory of Everything"), and Marco Beltrami ("The Homesman") got under our skin in the best possible ways. 1. It wasn't easy conveying the otherworldly presence of the predatory alien played by Scarlett Johansson, but Levi has come up with the year's most fascinating score. She summons the visceral strangeness of György Ligeti (who Stanley Kubrick used to great effect in "2001: A Space Odyssey," "The Shining," and "Eyes Wide Shut") as inspiration for capturing a range of beautiful, deadly, and horrifying moments. Levi says the idea was to follow the alien and depict her experiences in real-time -- to be "physical, alarming, hot." The score combines organic and processed sounds, with Levi exploring the...
- 12/30/2014
- by Bill Desowitz
- Thompson on Hollywood
Marc Müller put together this amazing tribute to the late, great Stanley Kubrick. The Montage features clips from The Killing, Paths of Glory, Lolita, Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket and Eyes Wide Shut. I’m not sure why he left out the other Kubrick films, but that doesn’t change the fact that this compilation is fantastic. Watch below.
Featured music (in order of appearance):
Johann Strauss II – The Blue Danube
Georg Friedrich Händel – Sarabande
Ludwig Van Beethoven – Symphony #9
Gioachino Rossini – The Thieving Magpie
György Ligeti – Musica Ricercata II
Kubrick’s Poetry from Marc Müller on Vimeo.
The post Video of the Day: Kubrick’s Poetry appeared first on Sound On Sight.
Featured music (in order of appearance):
Johann Strauss II – The Blue Danube
Georg Friedrich Händel – Sarabande
Ludwig Van Beethoven – Symphony #9
Gioachino Rossini – The Thieving Magpie
György Ligeti – Musica Ricercata II
Kubrick’s Poetry from Marc Müller on Vimeo.
The post Video of the Day: Kubrick’s Poetry appeared first on Sound On Sight.
- 9/3/2014
- by Ricky
- SoundOnSight
I loved Gareth Edwards' "Godzilla" so much I went back for seconds. And I'll probably revisit it many times over as it's a captivating directorial accomplishment, in my view, one that puts the anonymous summer actioners that tend to permeate this time of year to shame. I might not go so far as to declare it a work of art, but it is unequivocally the work of an artist, and that makes all the difference in the world. The first time I saw the film, my immediate reaction was that Edwards is our new Spielberg. I realize that sort of praise has become a cliche, wasted on pretenders like M. Night Shyamalan and J.J. Abrams in the past. And indeed, Edwards is very much doing a bit of an impression of the blockbuster maestro with some of his work here; everything from the fiery night train from "War of the Worlds...
- 5/11/2014
- by Kristopher Tapley
- Hitfix
With every awards season comes a flood of “best of” compilations and top ten lists, but film scores can be tricky in that department. After all, different composers are operating on different levels, each one working toward a separate goal in his or her respective picture. Brian Tyler aims for something propulsive and heroic in Iron Man 3, while Saving Mr. Banks’ score apparently features Thomas Newman doing his best Thomas Newman impersonation. Lists can be tough when scores operate so independently of one another
So without further ado, I present my favorite film scores from 2013. Unranked:
Philomena – Alexandre Desplat
Saying Alexandre Desplat likes himself a mean waltz is like saying Johnny Depp likes himself a little eye makeup: they’re both gross understatements. Scoring Stephen Frears’ loose adaptation of Philomena Lee’s search for the son she was forced to give up at birth, Desplat makes his affinity abundantly clear with the title track,...
So without further ado, I present my favorite film scores from 2013. Unranked:
Philomena – Alexandre Desplat
Saying Alexandre Desplat likes himself a mean waltz is like saying Johnny Depp likes himself a little eye makeup: they’re both gross understatements. Scoring Stephen Frears’ loose adaptation of Philomena Lee’s search for the son she was forced to give up at birth, Desplat makes his affinity abundantly clear with the title track,...
- 3/2/2014
- by David Klein
- SoundOnSight
An epic rebirth to Toho’s iconic Godzilla, this spectacular adventure, from Warner Bros. Pictures and Legendary Pictures, pits the world’s most famous monster against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence.
Check out the new poster and trailer for director Gareth Edward’s Godzilla. If some of the effectively eerie music sounds familiar to you sci-fi fans, it’s from the ”Atmospheres” piece by György Ligeti used 2001: A Space Odyssey.
The Godzilla series was created in 1954. A lizard contaminated by nuclear bomb radiation, mutates into a 300 ft tall dinosaur/monster hybrid.
In the new film’s slick viral marketing, the group at the heart of this incident is called M.U.T.O. So who exactly are they?
Find out at: http://mutoresearch.net/
The film stars Aaron Taylor-Johnson (“Kick-Ass”), Oscar® nominee Ken Watanabe (“The Last Samurai,” “Inception”), Elizabeth Olsen (“Martha Marcy May Marlene...
Check out the new poster and trailer for director Gareth Edward’s Godzilla. If some of the effectively eerie music sounds familiar to you sci-fi fans, it’s from the ”Atmospheres” piece by György Ligeti used 2001: A Space Odyssey.
The Godzilla series was created in 1954. A lizard contaminated by nuclear bomb radiation, mutates into a 300 ft tall dinosaur/monster hybrid.
In the new film’s slick viral marketing, the group at the heart of this incident is called M.U.T.O. So who exactly are they?
Find out at: http://mutoresearch.net/
The film stars Aaron Taylor-Johnson (“Kick-Ass”), Oscar® nominee Ken Watanabe (“The Last Samurai,” “Inception”), Elizabeth Olsen (“Martha Marcy May Marlene...
- 12/10/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Pluralism is the defining feature of music at the end of the 20th century – from the minimalist film music of Michael Nyman to the lush sounds of Toru Takemitsu to the spectralist works that explored sound itself, writes Gillian Moore
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
- 12/4/2013
- by Gillian Moore
- The Guardian - Film News
Our critics' picks of this week's openings, plus your last chance to see and what to book now
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this week
Theatre
The Lion, the Witch and the Wardrobe
With the ever-inventive Rupert Goold both writing and directing, there should be no whiff of mothballs about this staged version of the Cs Lewis classic. Threesixtytheatre, Kensington Gardens, London W8 (0844 871 7693), Tuesday until 9 September.
Chariots of Fire
Sprinting in before the rerelease of the 1981 movie and the Olympics, Mike Bartlett's version promises to be no mere screen-to-stage adaptation. A nifty young cast of rising stars alongside some established talent should make sure this is a show that runs and runs. Hampstead theatre, London NW3 (020-7722 9301), Wednesday until 16 June.
Film
Goodbye First Love (dir. Mia Hansen-Løve)
Two young people pick up the romance that first flowered between...
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this week
Theatre
The Lion, the Witch and the Wardrobe
With the ever-inventive Rupert Goold both writing and directing, there should be no whiff of mothballs about this staged version of the Cs Lewis classic. Threesixtytheatre, Kensington Gardens, London W8 (0844 871 7693), Tuesday until 9 September.
Chariots of Fire
Sprinting in before the rerelease of the 1981 movie and the Olympics, Mike Bartlett's version promises to be no mere screen-to-stage adaptation. A nifty young cast of rising stars alongside some established talent should make sure this is a show that runs and runs. Hampstead theatre, London NW3 (020-7722 9301), Wednesday until 16 June.
Film
Goodbye First Love (dir. Mia Hansen-Løve)
Two young people pick up the romance that first flowered between...
- 5/6/2012
- The Guardian - Film News
Polish composer Krzysztof Penderecki's wild, terrifying, and imaginative music has soundtracked horror classics from The Shining to The Exorcist
If you've seen Stanley Kubrick's The Shining more than a couple of times, or if you've been renewing your relationship with William Friedkin's The Exorcist over Halloween; if you've enjoyed Martin Scorsese's Shutter Island or marvelled at David Lynch's Inland Empire, I've got news for you. You're a Penderecki fan – even if you've never heard of Poland's most famous living composer.
You see, in all those movies, Krzysztof Penderecki's wild, terrifying, and imaginative music, some of the most radical of the 20th century, is used as the musical manifestation of the subconscious. Penderecki's music is the sonic realisation of the horrifying and disturbing realms of imagination that directors like Kubrick or Lynch have created on film. Along with the music of György Ligeti, Penderecki's early...
If you've seen Stanley Kubrick's The Shining more than a couple of times, or if you've been renewing your relationship with William Friedkin's The Exorcist over Halloween; if you've enjoyed Martin Scorsese's Shutter Island or marvelled at David Lynch's Inland Empire, I've got news for you. You're a Penderecki fan – even if you've never heard of Poland's most famous living composer.
You see, in all those movies, Krzysztof Penderecki's wild, terrifying, and imaginative music, some of the most radical of the 20th century, is used as the musical manifestation of the subconscious. Penderecki's music is the sonic realisation of the horrifying and disturbing realms of imagination that directors like Kubrick or Lynch have created on film. Along with the music of György Ligeti, Penderecki's early...
- 11/4/2011
- by Tom Service
- The Guardian - Film News
Getty Composer Alexandre Desplat
Creating the music for “The Tree of Life,” Terrence Malick’s epic spiritual drama that recently won the top prize at the Cannes Film Festival, was a unique challenge for veteran composer Alexandre Desplat.
“It was perilous,” said the four-time French-born Oscar nominated composer (“The King’s Speech,” “The Curious Case of Benjamin Button”) in Cannes last week, where Malick, the reclusive filmmaker, was a no-show at press events. “But it’s good to be in danger,...
Creating the music for “The Tree of Life,” Terrence Malick’s epic spiritual drama that recently won the top prize at the Cannes Film Festival, was a unique challenge for veteran composer Alexandre Desplat.
“It was perilous,” said the four-time French-born Oscar nominated composer (“The King’s Speech,” “The Curious Case of Benjamin Button”) in Cannes last week, where Malick, the reclusive filmmaker, was a no-show at press events. “But it’s good to be in danger,...
- 5/28/2011
- by Anthony Kaufman
- Speakeasy/Wall Street Journal
Sophie Fiennes's documentary about artist Anselm Kiefer's remarkable studio in Barjac, France requires a cultivated mental quiet, says Peter Bradshaw
The last documentary about art released here was Banksy's Exit Through the Gift Shop. This film could not be more different. Where Banksy's film was shot through with humour and spoofery, and explicitly premised on the cynical, alchemical thrill of making shedloads of cash, Sophie Fiennes's piece is a deeply serious meditation on artistic practice and expression: a discourse in which the artist as creator is respectfully restored to the very centre of the process, and not marginalised by the cross-currents of money, fashion or theory.
Wordless for long stretches, Over Your Cities Grass Will Grow could be described as a "participatory documentary" in the sense that the film-maker gets alongside her subject and in some way contributes to the art being created: her camera...
The last documentary about art released here was Banksy's Exit Through the Gift Shop. This film could not be more different. Where Banksy's film was shot through with humour and spoofery, and explicitly premised on the cynical, alchemical thrill of making shedloads of cash, Sophie Fiennes's piece is a deeply serious meditation on artistic practice and expression: a discourse in which the artist as creator is respectfully restored to the very centre of the process, and not marginalised by the cross-currents of money, fashion or theory.
Wordless for long stretches, Over Your Cities Grass Will Grow could be described as a "participatory documentary" in the sense that the film-maker gets alongside her subject and in some way contributes to the art being created: her camera...
- 10/13/2010
- by Peter Bradshaw
- The Guardian - Film News
Sophie Fiennes has directed an intriguing, near-wordless documentary about the work of industrial artist Anselm Kiefer
With infinite patience and care, and a sense of how the movie camera can both record and also participate in the process of making art, Sophie Fiennes has directed an intriguing documentary about the work of 65-year-old artist Anselm Kiefer, who in the early 1990s left his native Germany for Barjac in the south of France where he devised an extraordinary artistic living-space: an atelier, an installation complex, an entire created landscape.
Building almost from the ground up in a derelict silk factory, Kiefer devised an artistic project extending over acres: miles of corridors, huge studio spaces with ambitious landscape paintings and sculptures that correspond to monumental constructions in the surrounding woodland, and serpentine excavated labyrinths with great earthy columns that resemble stalagmites or termite mounds. Nowhere is it clear where the finished product...
With infinite patience and care, and a sense of how the movie camera can both record and also participate in the process of making art, Sophie Fiennes has directed an intriguing documentary about the work of 65-year-old artist Anselm Kiefer, who in the early 1990s left his native Germany for Barjac in the south of France where he devised an extraordinary artistic living-space: an atelier, an installation complex, an entire created landscape.
Building almost from the ground up in a derelict silk factory, Kiefer devised an artistic project extending over acres: miles of corridors, huge studio spaces with ambitious landscape paintings and sculptures that correspond to monumental constructions in the surrounding woodland, and serpentine excavated labyrinths with great earthy columns that resemble stalagmites or termite mounds. Nowhere is it clear where the finished product...
- 5/16/2010
- by Peter Bradshaw
- The Guardian - Film News
Few films in recent years have yielded such widely differing reactions—among critics and paying punters alike—than Martin Scorsese's Shutter Island. On the very same day that the psychological thriller was ecstatically reviewed by three contributors to Radio 4's Front Row programme, I received a caustic text-message from a London-based friend of mine who's a veteran freelance contributor to numerous respected outlets: "Embalmed tosh. Already penned in - not pencilled - as one of the year's worst."
But there's one group which has been pretty much unanimous in its praise of Scorsese's phantasmagoric potboiler—or rather, one specific aspect of it. I refer to those legions of hapless individuals who clean up movie auditoria, scooping up the remnants of our cheesy nachos and soggy popcorn. Sometimes referred to as "ushers," these folk hover patiently until the public have exited the cinema-screen—which, these days, is usually a matter...
But there's one group which has been pretty much unanimous in its praise of Scorsese's phantasmagoric potboiler—or rather, one specific aspect of it. I refer to those legions of hapless individuals who clean up movie auditoria, scooping up the remnants of our cheesy nachos and soggy popcorn. Sometimes referred to as "ushers," these folk hover patiently until the public have exited the cinema-screen—which, these days, is usually a matter...
- 4/5/2010
- MUBI
Much of the unsettling, gothic feel of Martin Scorsese's new movie, Shutter Island, comes from its soundtrack. Produced by the legendary Robbie Robertson, the soundtrack offers a compilation of atmospheric scores and period radio crooners. Here's how one critic described the movie's music:
But the element that most strikes the senses in Shutter Island is the stunning use of music. Robbie Robertson serves as a super-savvy musical supervisor, supplying some of the great 20th-century modernists — György Ligeti, John Cage, Morton Feldman, and Ingram Marshall’s haunting "Fog Tropes" — and coming up with the greatest use of modernism in an American film since ... ever.
ReelzChannel is giving away copies of the two-disc Shutter Island Soundtrack — enter here.
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Link | Posted 2/23/2010 by reelz
Martin Scorsese | Robbie Robertson | Shutter Island...
But the element that most strikes the senses in Shutter Island is the stunning use of music. Robbie Robertson serves as a super-savvy musical supervisor, supplying some of the great 20th-century modernists — György Ligeti, John Cage, Morton Feldman, and Ingram Marshall’s haunting "Fog Tropes" — and coming up with the greatest use of modernism in an American film since ... ever.
ReelzChannel is giving away copies of the two-disc Shutter Island Soundtrack — enter here.
Next Showing:
Link | Posted 2/23/2010 by reelz
Martin Scorsese | Robbie Robertson | Shutter Island...
- 2/23/2010
- by reelz reelz
- Reelzchannel.com
Hungarian composer György Ligeti died Monday. He was 83. Ligeti passed away in Vienna, Austria, after battling a long illness and spending the last three weeks confined to a wheelchair. Best known for his work on the soundtrack for Stanley Kubrick's cult classic 2001: A Space Odyssey, Ligeti was regarded as one of the world's leading 20th-century musical pioneers. He won early critical acclaim for his 1958 electronic composition Artikulation and the orchestral Apparitions, gaining notoriety for a technique he called "micropolyphony." Ligeti spoke six languages, including his native Hungarian, German, French, and English. His former assistant and editor Stephen Ferguson, says, "He was one of the few avant-garde composers who found his way into the modern program. He reintroduced techniques of polyphony out of the tradition of Bach and Palestrina with a playful and innovative sense of sound. He developed a new sound - cluster sound - which fascinated Kubrick and propelled Ligeti to the top of the great composers of the second half of the 20th century."...
- 6/13/2006
- WENN
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