Mark Ruffalo is returning to the stage in a one-night performance of the new play Ironweed: An Evening of Art & Humanity.
Ruffalo will star opposite Jessica Hecht in a performance set for May 17 at the Brooklyn Academy of Music. The play is based on William Kennedy’s Pulitzer Prize-winning novel, which was first published in 1983, and conceived of by Jodie Markell, who directs, and Brad Gilbert, who is the producer.
In addition to the onstage cast, the performance will include excerpts from the audio recording of the play, which is set to be released in fall 2024 and features Norbert Leo Butz, Kristine Nielsen, John Magaro, Michael Potts, David Rysdahl, Frank Wood and Katie Erbe, as well as songs by Tom Waits and an original score by Tamar-kali.
The play is set on All Hallow’s Eve in Albany in 1938. Francis Phelan, played by Ruffalo, returns to his hometown after being...
Ruffalo will star opposite Jessica Hecht in a performance set for May 17 at the Brooklyn Academy of Music. The play is based on William Kennedy’s Pulitzer Prize-winning novel, which was first published in 1983, and conceived of by Jodie Markell, who directs, and Brad Gilbert, who is the producer.
In addition to the onstage cast, the performance will include excerpts from the audio recording of the play, which is set to be released in fall 2024 and features Norbert Leo Butz, Kristine Nielsen, John Magaro, Michael Potts, David Rysdahl, Frank Wood and Katie Erbe, as well as songs by Tom Waits and an original score by Tamar-kali.
The play is set on All Hallow’s Eve in Albany in 1938. Francis Phelan, played by Ruffalo, returns to his hometown after being...
- 4/15/2024
- by Caitlin Huston
- The Hollywood Reporter - Movie News
There’s no doubt that John Ridley’s Shirley is trying to make a statement about marginalized peoples’ role in shaping America and their power when it comes to making their presence known to those who would never see them otherwise. But the film also uses one of our greatest and most complex Black leaders to make that statement, and it’s cheaper for it, reducing the arc of Shirley Chisholm’s life to a handful of easy platitudes and inspirational movie clichés. In the end, this sub-Sorkin-esque political potboiler sidelines her most meaningful community work to the fact that she tried and failed to run for president.
The film’s first scenes speed run through roughly a decade of Chisholm’s political life, largely glossing over her time as a teacher and years of activism for equal rights. Much of that time saw her struggling to be heard as a woman of color.
The film’s first scenes speed run through roughly a decade of Chisholm’s political life, largely glossing over her time as a teacher and years of activism for equal rights. Much of that time saw her struggling to be heard as a woman of color.
- 3/15/2024
- by Justin Clark
- Slant Magazine
As a proud Brooklynite, composer Tamar-kali will often walk around her neighborhood and see a mural of America’s first Black congresswoman Shirley Chisholm. Other times, she’ll take a walk around the Shirley Chisholm State Park and be reminded of an incredible legacy.
Chisholm’s story is the subject of “Shirley,” a new film produced by and starring Regina King, directed by John Ridley and coming to Netflix on March 22. It is one that Tamar-kali is proud to tell through music. Her score was a suite of themes generated around Chisholm’s relationships with underpinnings of determination, ambition and, most importantly, her love of country. “She was a disruptor,” Tamar-kali says.
The film follows Chisholm in the late ’60s into the early ‘70s when she goes on the campaign trail, seeking the presidential nomination. “I hadn’t used a wider palette compared to my previous films ‘John Lewis: Good Trouble...
Chisholm’s story is the subject of “Shirley,” a new film produced by and starring Regina King, directed by John Ridley and coming to Netflix on March 22. It is one that Tamar-kali is proud to tell through music. Her score was a suite of themes generated around Chisholm’s relationships with underpinnings of determination, ambition and, most importantly, her love of country. “She was a disruptor,” Tamar-kali says.
The film follows Chisholm in the late ’60s into the early ‘70s when she goes on the campaign trail, seeking the presidential nomination. “I hadn’t used a wider palette compared to my previous films ‘John Lewis: Good Trouble...
- 3/7/2024
- by Jazz Tangcay
- Variety Film + TV
The team of Trent Reznor and Atticus Ross leads all nominees for the second annual Society of Composers and Lyricists Awards, the organization of scorers and songwriters active in visual media.
The composing duo (who won an Oscar 10 years ago for “The Social Network” and an Emmy last year for “Watchmen”) received three nominations. They were cited for outstanding original score for a studio film for both their 2020 films, Netflix’s “Mank” and Disney-Pixar’s “Soul.” They share the “Soul” nod with composer Jon Batiste, who contributed the jazz threaded throughout the film.
Reznor and Ross received a third nomination, for outstanding original song for visual media, for their song “(If Only You Could) Save Me,” written for “Mank.”
Scl’s list is notable for the dominance of women composers in the category of outstanding original score for an independent film — three of the five nominees: Lolita Ritmanis for the...
The composing duo (who won an Oscar 10 years ago for “The Social Network” and an Emmy last year for “Watchmen”) received three nominations. They were cited for outstanding original score for a studio film for both their 2020 films, Netflix’s “Mank” and Disney-Pixar’s “Soul.” They share the “Soul” nod with composer Jon Batiste, who contributed the jazz threaded throughout the film.
Reznor and Ross received a third nomination, for outstanding original song for visual media, for their song “(If Only You Could) Save Me,” written for “Mank.”
Scl’s list is notable for the dominance of women composers in the category of outstanding original score for an independent film — three of the five nominees: Lolita Ritmanis for the...
- 2/1/2021
- by Jon Burlingame
- Variety Film + TV
As voting opens for the Oscar shortlists on Feb. 1, the picture is slowly coming into focus: Academy composers and songwriters are faced with one of the most diverse batches of scores they’ve ever heard.
The approximately 350 members of the Academy music branch are sifting through dozens of films to try and single out 15 scores and 15 songs worthy of placement on its shortlists, which will be revealed Feb. 9. These preliminary choices will be narrowed down to five final nominees in each category, to be announced March 15.
Best Original Score
It’s a surprisingly competitive year, making predictions even more difficult. But the music branch likes to reward familiar names, so look for such past winners as Alexandre Desplat (“Grand Budapest Hotel”) for his alternately melancholy and hopeful score for “The Midnight Sky”; Ludwig Göransson (“Black Panther”) for his propulsive, synth-orchestra hybrid for the intense spy thriller “Tenet”; and Howard Shore...
The approximately 350 members of the Academy music branch are sifting through dozens of films to try and single out 15 scores and 15 songs worthy of placement on its shortlists, which will be revealed Feb. 9. These preliminary choices will be narrowed down to five final nominees in each category, to be announced March 15.
Best Original Score
It’s a surprisingly competitive year, making predictions even more difficult. But the music branch likes to reward familiar names, so look for such past winners as Alexandre Desplat (“Grand Budapest Hotel”) for his alternately melancholy and hopeful score for “The Midnight Sky”; Ludwig Göransson (“Black Panther”) for his propulsive, synth-orchestra hybrid for the intense spy thriller “Tenet”; and Howard Shore...
- 1/29/2021
- by Jon Burlingame
- Variety Film + TV
2020 was a year like no other, so it’s fitting that The Hollywood Reporter’s Composer Roundtable was unlike any that had gone before.
On Jan. 8, six of Hollywood’s leading film composers came together via Zoom, across three continents, to talk shop: Ludwig Göransson followed up his Oscar-winning Black Panther score with a thumping, time-shifting soundtrack to Christopher Nolan’s Tenet; Tamar-kali offered up a dissonant, daring soundscape for Shirley that won praise from the likes of Iggy Pop; Trent Reznor and Atticus Ross had a busy year with work that included the wall-to-wall 1940s orchestral score for David Fincher’s Mank and the ethereal, synthetic sound of ...
On Jan. 8, six of Hollywood’s leading film composers came together via Zoom, across three continents, to talk shop: Ludwig Göransson followed up his Oscar-winning Black Panther score with a thumping, time-shifting soundtrack to Christopher Nolan’s Tenet; Tamar-kali offered up a dissonant, daring soundscape for Shirley that won praise from the likes of Iggy Pop; Trent Reznor and Atticus Ross had a busy year with work that included the wall-to-wall 1940s orchestral score for David Fincher’s Mank and the ethereal, synthetic sound of ...
- 1/26/2021
- The Hollywood Reporter - Film + TV
2020 was a year like no other, so it’s fitting that The Hollywood Reporter’s Composer Roundtable was unlike any that had gone before.
On Jan. 8, six of Hollywood’s leading film composers came together via Zoom, across three continents, to talk shop: Ludwig Göransson followed up his Oscar-winning Black Panther score with a thumping, time-shifting soundtrack to Christopher Nolan’s Tenet; Tamar-kali offered up a dissonant, daring soundscape for Shirley that won praise from the likes of Iggy Pop; Trent Reznor and Atticus Ross had a busy year with work that included the wall-to-wall 1940s orchestral score for David Fincher’s Mank and the ethereal, synthetic sound of ...
On Jan. 8, six of Hollywood’s leading film composers came together via Zoom, across three continents, to talk shop: Ludwig Göransson followed up his Oscar-winning Black Panther score with a thumping, time-shifting soundtrack to Christopher Nolan’s Tenet; Tamar-kali offered up a dissonant, daring soundscape for Shirley that won praise from the likes of Iggy Pop; Trent Reznor and Atticus Ross had a busy year with work that included the wall-to-wall 1940s orchestral score for David Fincher’s Mank and the ethereal, synthetic sound of ...
- 1/26/2021
- The Hollywood Reporter - Movie News
Emile Mosseri began crafting the score for “Minari” far earlier than most composers in the filmmaking process. The composer read the script and started writing the music before anything had even been shot. Mosseri was brought on board early because of his previous experience composing the score to “The Last Black Man in San Francisco,” on which “Minari” producer Christina Oh had also worked. “It was this more familial thing. It just organically happened that way,” says Mosseri in an exclusive new interview for Gold Derby. “I’d like to do it that way whenever possible.” Watch the full interview above.
Mosseri’s score evokes feelings of warmth and nostalgia, matching the wondrous spirit at the heart of the A24 film, which tells the story of a Korean-American family who buy a farm in Arkansas. The composer built a full-bodied sound on top of foundational piano melodies, with a 40-string Macedonia orchestra.
Mosseri’s score evokes feelings of warmth and nostalgia, matching the wondrous spirit at the heart of the A24 film, which tells the story of a Korean-American family who buy a farm in Arkansas. The composer built a full-bodied sound on top of foundational piano melodies, with a 40-string Macedonia orchestra.
- 1/25/2021
- by Kevin Jacobsen
- Gold Derby
Nominees for the Hollywood Music in Media Awards are being unveiled Friday, with a packed slate of songs and scores in film, TV and videogame categories. Names in contention range from Alexandre Desplat, James Newton Howard and Trent Reznor/Atticus Ross as returning veterans in the score divisions to stars like Taylor Swift, H.E.R., Brandi Carlile, Travis Scott, Haim and Janelle Monae as nominated songwriters for feature film themes.
Kenny Loggins has been tagged for the HMMAs; Career Achievement in Music honor, which has previously gone to figures including Diane Warren, Smokey Robinson and composer John Debney.
Loggins will perform on the livestreamed awards show, which has been set for 7 p.m. Pt on Jan. 27, to be webcast on the Hmma site in lieu of the traditional live ceremony (which last year took place at Avalon in Hollywood). He’ll be joined in the performance ranks by Andra Day, Rita Wilson,...
Kenny Loggins has been tagged for the HMMAs; Career Achievement in Music honor, which has previously gone to figures including Diane Warren, Smokey Robinson and composer John Debney.
Loggins will perform on the livestreamed awards show, which has been set for 7 p.m. Pt on Jan. 27, to be webcast on the Hmma site in lieu of the traditional live ceremony (which last year took place at Avalon in Hollywood). He’ll be joined in the performance ranks by Andra Day, Rita Wilson,...
- 1/15/2021
- by Chris Willman
- Variety Film + TV
The Sundance Film Festival’s 2021 virtual Main Street will play host to a series of conversations about music and the movies, hosted by first-time festival partner Film Music House, with Mary J. Blige, Rufus Wainwright and Colin Stetson (pictured above) among those taking part in the streamed chats Jan. 28 through Feb. 3.
Blige will join Nova Wav and DJ Camper in a conversation on songwriting for films. Wainwright will participate in a panel on the music of the film “Rebel Hearts” with veteran music supervisor Tracy McKnight and Ariel Marx. A panel about music auteurs will feature Stetson as well as Bryce Dessner of the National and Alex Somers.
The confab’s keynote conversations will spotlight Mychael Danna, Jeff Beal, Dan Romer, Miriam Cuter and Rob Simonsen.
The full lineup of names and times for Film Music House programs can be found on Sundance’s Village site, here.
Other programs include...
Blige will join Nova Wav and DJ Camper in a conversation on songwriting for films. Wainwright will participate in a panel on the music of the film “Rebel Hearts” with veteran music supervisor Tracy McKnight and Ariel Marx. A panel about music auteurs will feature Stetson as well as Bryce Dessner of the National and Alex Somers.
The confab’s keynote conversations will spotlight Mychael Danna, Jeff Beal, Dan Romer, Miriam Cuter and Rob Simonsen.
The full lineup of names and times for Film Music House programs can be found on Sundance’s Village site, here.
Other programs include...
- 1/14/2021
- by Chris Willman
- Variety Film + TV
An employed silence. A scratchy phonograph playing a theme inspired by Yiddish music. An exercise in minimalism. Those are some of the components in scores belonging to films flying under the radar as awards season begins — but might not be when all is said and done.
Variety looks at some of those works and the composers behind them.
The Invisible Man
In this classic-movie update, Elisabeth Moss plays the abused, on-the-run wife of a brilliant scientist. Composer Benjamin Wallfisch (“It”) took his initial inspiration from Bernard Herrmann’s famous “Psycho” score, writing solely for string orchestra (including a cello theme for Moss’ character), then added angry, aggressive electronics to depict the husband with the invisibility suit. Yet he also strategically employed silence. “We made bold musical gestures, so that the absence of music is something you feel,” Wallfisch says. “We used unusual mixing techniques, sometimes surrounding the audience with a wall of sound,...
Variety looks at some of those works and the composers behind them.
The Invisible Man
In this classic-movie update, Elisabeth Moss plays the abused, on-the-run wife of a brilliant scientist. Composer Benjamin Wallfisch (“It”) took his initial inspiration from Bernard Herrmann’s famous “Psycho” score, writing solely for string orchestra (including a cello theme for Moss’ character), then added angry, aggressive electronics to depict the husband with the invisibility suit. Yet he also strategically employed silence. “We made bold musical gestures, so that the absence of music is something you feel,” Wallfisch says. “We used unusual mixing techniques, sometimes surrounding the audience with a wall of sound,...
- 1/7/2021
- by Jon Burlingame
- Variety Film + TV
As Martin Scorsese once said, “Music and cinema fit together naturally. Because there’s a kind of intrinsic musicality to the way moving images work when they’re put together. It’s been said that cinema and music are very close as art forms, and I think that’s true.” Indeed, the right piece of music–whether it’s an original score or a carefully selected song–can do wonders for a sequence, and today we’re looking at the 20 films that best expressed this notion this year.
From seasoned composers to accomplished musicians, as well as a smattering of soundtracks, each musical example perfectly transported us to the world of the film. Check out our rundown of the top 20, which includes streams to each soundtrack in full where available.
20. Wendy (Dan Romer and Benh Zeitlin)
19. She Dies Tomorrow (Mondo Boys)
18. The Nest (Richard Reed Parry)
17. Ammonite (Dustin O’Halloran and...
From seasoned composers to accomplished musicians, as well as a smattering of soundtracks, each musical example perfectly transported us to the world of the film. Check out our rundown of the top 20, which includes streams to each soundtrack in full where available.
20. Wendy (Dan Romer and Benh Zeitlin)
19. She Dies Tomorrow (Mondo Boys)
18. The Nest (Richard Reed Parry)
17. Ammonite (Dustin O’Halloran and...
- 12/29/2020
- by Jordan Raup
- The Film Stage
In a year that presents the opportunity for new and diverse voices in the awards race, another one has been added to the mix for best original score. Variety has learned exclusively that neo-classical composer Amelia Warner will helm the music for John Patrick Shanley’s “Wild Mountain Thyme” starring Emily Blunt and Jamie Dornan.
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
- 10/22/2020
- by Clayton Davis
- Variety Film + TV
The author Shirley Jackson led a fascinating life. A full on biopic of Jackson would certainly be worth exploring. However, filmmaker Josephine Decker has something far different and far more unsettling up her sleeve with Shirley, a psychological thriller more so than anything else. That being said, if this is how an auteur can tackle biopics going forward, that’s something to be excited about. Armed with a full throated performance in the title role from Elisabeth Moss, Decker lets her audience have it. This isn’t what you’re expecting and it might turn off some, but for others, it’s going to be a blast. Hitting tomorrow, it’s well worth a watch. This film is a psychological thriller, mixed with a bit of a character study (framed within the body of what might otherwise be a biopic). Renowned and reclusive horror writer Shirley Jackson (Moss) is about to write her masterpiece.
- 6/4/2020
- by Joey Magidson
- Hollywoodnews.com
Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
- 6/4/2020
- by Carlos Aguilar
- The Wrap
Shirley, a fictional portrait of The Haunting of Hill House author Shirley Jackson, is one of the year’s most fascinating movies, and it comes accompanied with an unconventional, hypnotic score courtesy of Tamar-kali (Mudbound). Ahead of Shirley‘s impending release, we’re debuting an exclusive track from the Shirley score. Hear it below. Shirley Soundtrack Milan Records will release the Shirley soundtrack on […]
The post Hear an Exclusive From the ‘Shirley’ Soundtrack, One of the Year’s Best Film Scores appeared first on /Film.
The post Hear an Exclusive From the ‘Shirley’ Soundtrack, One of the Year’s Best Film Scores appeared first on /Film.
- 5/29/2020
- by Chris Evangelista
- Slash Film
Elisabeth Moss has already delivered one of the year’s best performances thanks to her work in “The Invisible Man,” which debuted in theaters and hit Pvod in March. Now Moss is set to add another towering performance to the list with the upcoming summer release of Josephine Decker’s “Shirley.” The film is based on the novel of the same name by Susan Scarf Merrell and marks Decker’s return after earning raves for “Madeline’s Madeline.” Decker directs from a script by Sarah Gubbins.
The official synopsis reads: “Fred (Lerman) and Rose (Young) move to a small Vermont college town in pursuit of a job for Fred as an assistant professor of literature. The young couple receives an offer for free room and board from professor Stanley Hyman (Stuhlbarg), as long as Rose agrees to spend time cleaning up the home and looking after his wife, acclaimed horror author...
The official synopsis reads: “Fred (Lerman) and Rose (Young) move to a small Vermont college town in pursuit of a job for Fred as an assistant professor of literature. The young couple receives an offer for free room and board from professor Stanley Hyman (Stuhlbarg), as long as Rose agrees to spend time cleaning up the home and looking after his wife, acclaimed horror author...
- 5/8/2020
- by Zack Sharf
- Indiewire
Julia Garner excels as a junior assistant to a predatory media mogul boss in Kitty Green’s powerfully understated #MeToo drama
A performance of few words but immense physical eloquence by Julia Garner anchors this impressively chilling #MeToo-era drama about workplace harassment and abuse. Following a day in the life of a young woman with dreams of making her mark in the film and television industry, it’s a sobering portrait of a dirty little secret that was brought into the news spotlight by the Harvey Weinstein scandal. All the more powerful for its understated tone, this low-key piece packs a hefty punch as it exposes the web of silence that enabled a very modern horror story.
Garner (who won an Emmy for her work on TV’s Ozark) is Jane, a high-achieving college graduate who finds herself on the bottom rung of the ladder as a junior assistant to...
A performance of few words but immense physical eloquence by Julia Garner anchors this impressively chilling #MeToo-era drama about workplace harassment and abuse. Following a day in the life of a young woman with dreams of making her mark in the film and television industry, it’s a sobering portrait of a dirty little secret that was brought into the news spotlight by the Harvey Weinstein scandal. All the more powerful for its understated tone, this low-key piece packs a hefty punch as it exposes the web of silence that enabled a very modern horror story.
Garner (who won an Emmy for her work on TV’s Ozark) is Jane, a high-achieving college graduate who finds herself on the bottom rung of the ladder as a junior assistant to...
- 5/3/2020
- by Mark Kermode
- The Guardian - Film News
There has to be an explanation for what went wrong here. How does a project, co-written and directed by Dee Rees, her follow up to the Academy Award nominated Mudbound, fall so far off the rails? Rees not only once again had the supporting of Netflix, but was adapting the Joan Didian novel The Last Thing He Wanted. Somehow, despite the considerable talents of Ben Affleck, Willem Dafoe, and Anne Hathaway, the movie of the same name is an utter disaster. One of 2020’s worst so far, it seems destined to end the year in a position of dishonor. It boggles the mind how wrong this all went. The film is drama mixing conspiracy thriller, crime, and mystery elements. Taking place in the mid 1980s, we follow journalist Elena McMahon (Hathaway) as she investigates what will eventually become the Iran Contra controversy. Along with a fellow veteran D.C. journalist...
- 2/22/2020
- by Joey Magidson
- Hollywoodnews.com
There is untold damage that sexual predators like Harvey Weinstein have perpetrated upon the world. It begins, of course, with the victims, but it doesn’t end there. The impact it has on those who observe these actions is palpable and horrific as well. Filmmaker Kitty Green dramatizes this in The Assistant, a searing fictionalized account of what operating in the shadow of someone like Weinstein can do to a young woman. Hell, it even shows how a virus like that can infect everyone in the circle, regardless of gender. Opening this week, it’s a flick that will be a tough sell for the masses, but anyone looking for high quality independent cinema at the start of the year would do well to seek this one out. Just brace yourself. The film is a drama, focusing on a day in the life of a young assistant to a powerful movie executive.
- 1/27/2020
- by Joey Magidson
- Hollywoodnews.com
After getting attention on the festival circuit with her back-to-back first features Thou Wast Mild and Lovely and Butter on the Latch, director Josephine Decker deservedly expanded her audience with Madeline’s Madeline, a genuinely thrilling, endlessly imaginative look at the creative process as well as how mental illness influences artistic expression. With Shirley, she returns to similar themes in an entirely different era while continuing the same inventive, breathless style, even if this time around the narrative arc is a bit more straightforward.
Shirley Hardie Jackson was a deeply influential American writer who penned a handful of novels and hundreds of short stories. She was also intensely reclusive, had bouts of depression, and had to contend with her unfaithful professor husband. As Decker revealed in the introduction at the Sundance premiere, her early 1950s-set film is inspired by the author’s life but is purely fictional, based on Susan Scarf Merrell...
Shirley Hardie Jackson was a deeply influential American writer who penned a handful of novels and hundreds of short stories. She was also intensely reclusive, had bouts of depression, and had to contend with her unfaithful professor husband. As Decker revealed in the introduction at the Sundance premiere, her early 1950s-set film is inspired by the author’s life but is purely fictional, based on Susan Scarf Merrell...
- 1/27/2020
- by Jordan Raup
- The Film Stage
At this year’s Sundance, 118 features will make their debut. Here are five hotly anticipated films that will be in the mix and some of the artisans behind them.
Bad Hair (Midnight)
Costume designer Ceci reconnects with Justin Simien (“Dear White People”) on a satirical horror set in 1989 Los Angeles, where ambitious Anna (Elle Lorraine) hopes to be the next on-air talent for a music video TV show. Her new boss, Zora (Vanessa Williams) wants Anna to change her natural hair, and she acquiesces by getting a weave. One problem: The strands have a mind of their own.
Ceci fully developed the look of each individual role down to the smallest detail. “My intention is that the viewer can readily identify, relate or understand who the characters are and the story being told,” she says. “Before Anna gets her first weave, her wardrobe is reflective of her ethnocentric upbringing coupled with her homespun,...
Bad Hair (Midnight)
Costume designer Ceci reconnects with Justin Simien (“Dear White People”) on a satirical horror set in 1989 Los Angeles, where ambitious Anna (Elle Lorraine) hopes to be the next on-air talent for a music video TV show. Her new boss, Zora (Vanessa Williams) wants Anna to change her natural hair, and she acquiesces by getting a weave. One problem: The strands have a mind of their own.
Ceci fully developed the look of each individual role down to the smallest detail. “My intention is that the viewer can readily identify, relate or understand who the characters are and the story being told,” she says. “Before Anna gets her first weave, her wardrobe is reflective of her ethnocentric upbringing coupled with her homespun,...
- 1/24/2020
- by Daron James
- Variety Film + TV
Hildur Guðnadóttir has had a historic few weeks.
It began Sunday, January 4th, when the Icelandic composer became the first solo woman to win a Golden Globe for Best Original Score for Joker; it continued the Tuesday after that, when she picked up two prizes — one for Joker, one for her music for TV show Chernobyl — at the inaugural Society of Composer & Lyricists’ awards; and it culminated today when she earned an Oscar nomination for Best Original Score.
Amid everything, though, Guðnadóttir had to accompany her husband to the doctor,...
It began Sunday, January 4th, when the Icelandic composer became the first solo woman to win a Golden Globe for Best Original Score for Joker; it continued the Tuesday after that, when she picked up two prizes — one for Joker, one for her music for TV show Chernobyl — at the inaugural Society of Composer & Lyricists’ awards; and it culminated today when she earned an Oscar nomination for Best Original Score.
Amid everything, though, Guðnadóttir had to accompany her husband to the doctor,...
- 1/13/2020
- by Jon Blistein
- Rollingstone.com
Bmi is announcing its annual programs at the Sundance Film Festival, with a substantially packed composer/director panel set for the afternoon of Sunday, January 26 and a “Snowball” headlined by singer Lisa Loeb two nights later.
The Sunday “Music & Film: The Creative Process” roundtable will include nine filmmaker/scorer pairs with movies at the festival, with moderating duties handled by Sundance Institute Film Music Program director Peter Golub and Bmi’s primary liaison to the film world, VP of creative relations Doreen Ringer-Ross.
Happening at Sundance for the 22nd year, the panel will bring together composers and directors from these festival entries: “Uncle Frank” (composer Nathan Barr and director Alan Ball; “Four Good Days” (Ed Shearmur and Rodrigo García; “The Night House” (Ben Lovett and David Bruckner); “Shirley” (Tamar-kali and Josephine Decker); “Promising Young Woman” ( Anthony Willis and Emerald Fennell); “Boys State” (T. Griffin and Amanda McBaine; “Us Kids” (composer...
The Sunday “Music & Film: The Creative Process” roundtable will include nine filmmaker/scorer pairs with movies at the festival, with moderating duties handled by Sundance Institute Film Music Program director Peter Golub and Bmi’s primary liaison to the film world, VP of creative relations Doreen Ringer-Ross.
Happening at Sundance for the 22nd year, the panel will bring together composers and directors from these festival entries: “Uncle Frank” (composer Nathan Barr and director Alan Ball; “Four Good Days” (Ed Shearmur and Rodrigo García; “The Night House” (Ben Lovett and David Bruckner); “Shirley” (Tamar-kali and Josephine Decker); “Promising Young Woman” ( Anthony Willis and Emerald Fennell); “Boys State” (T. Griffin and Amanda McBaine; “Us Kids” (composer...
- 1/9/2020
- by Chris Willman
- Variety Film + TV
Film music has come a long way in the 100+ years since moving images were first accompanied with sound (synchronized or otherwise), but seldom has it ever evolved more radically or aggressively than it did over the last decade. Spurred on by digital technology and/or a general tone of cosmic dissonance, rock and avant-garde musicians like Jonny Greenwood and Mica Levi used narrative projects as inspiration to explore new facets of their genius, while more traditional composers such as Alexandre Desplat and Carter Burwell rose to the challenge by delivering the most beautiful work of their careers. Hans Zimmer went deep into outer space, while Trent Reznor and Atticus Rose plunged head-first into the abyss of being extremely online.
It was a great time to go to the movies, even with your eyes closed.
Earlier this week, IndieWire revealed our list of the 100 Best Movies of the Decade. Now, we...
It was a great time to go to the movies, even with your eyes closed.
Earlier this week, IndieWire revealed our list of the 100 Best Movies of the Decade. Now, we...
- 7/26/2019
- by David Ehrlich, Kate Erbland, Chris O'Falt and Michael Nordine
- Indiewire
There is certainly no pigeonholing Dee Rees, as the writer/director continues to surprise with her project choices, since her 2011 acclaimed indie debut feature, “Pariah.” In addition to the WWII drama “Mudbound,” Rees’ recent credits also include directing an episode of the Amazon sci-fi series “Electric Dreams,” based on the work of author Philip K. Dick, and an upcoming adaptation of Joan Didion’s political thriller “The Last Thing He Wanted.” Now she’s set to leave her mark in another genre, directing a musical fantasy titled “The Kyd’s Exquisite Follies” from her own script.
To be produced by Cassian Elwes, who was also a producer on Rees’ “Mudbound,” the project is described as “a swirling, futuristic roller coaster journey of a young musician who catapults herself from the anonymity of her hometown of Same Ol’, Same Ol’ to the bright lights and plastic sights of the fabled It City,...
To be produced by Cassian Elwes, who was also a producer on Rees’ “Mudbound,” the project is described as “a swirling, futuristic roller coaster journey of a young musician who catapults herself from the anonymity of her hometown of Same Ol’, Same Ol’ to the bright lights and plastic sights of the fabled It City,...
- 6/18/2019
- by Tambay Obenson
- Indiewire
American composer Marco Beltrami will be the guest of honor at the World Soundtrack Awards, part of the Ghent Film Festival, on Oct. 18 in Belgium.
Beltrami, a two-time Oscar nominee (for “3:10 to Yuma” and “The Hurt Locker”), recently scored the horror hit “A Quiet Place” and the Oscar winner for Best Documentary “Free Solo.” Music from both will be performed in a concert by the Brussels Philharmonic.
Festival music director Dirk Brossé, who will conduct, called Beltrami “an all-around composer whose music moves within the most diverse musical styles and genres. Dedicating considerable attention to melody and obsessed by rhythms, Marco offers a rich palette of both acoustic and electronic colors.”
The Ghent Film Festival runs from October 8 to 18 this year. It is widely considered one of the world’s leading events devoted primarily to film music; past concerts have featured such leading composers as Hans Zimmer, Ennio Morricone,...
Beltrami, a two-time Oscar nominee (for “3:10 to Yuma” and “The Hurt Locker”), recently scored the horror hit “A Quiet Place” and the Oscar winner for Best Documentary “Free Solo.” Music from both will be performed in a concert by the Brussels Philharmonic.
Festival music director Dirk Brossé, who will conduct, called Beltrami “an all-around composer whose music moves within the most diverse musical styles and genres. Dedicating considerable attention to melody and obsessed by rhythms, Marco offers a rich palette of both acoustic and electronic colors.”
The Ghent Film Festival runs from October 8 to 18 this year. It is widely considered one of the world’s leading events devoted primarily to film music; past concerts have featured such leading composers as Hans Zimmer, Ennio Morricone,...
- 3/27/2019
- by Jon Burlingame
- Variety Film + TV
Over a single opening weekend, composer Pinar Toprak smashed all previous box-office records for women composers in film. She scored “Captain Marvel,” which made $153 million domestically.
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
- 3/11/2019
- by Jon Burlingame
- Variety Film + TV
“The Wife.” “Eighth Grade.” “Rbg.” “Sicario: Day of the Soldado.” “Mary Shelley.”
Those are just a few of the 2018 films scored by women, but when the shortlist for best original score was announced last month, all of the 15 scores whittled down by music branch members for the first round of Oscar consideration were composed by men.
“It shows that women are not getting the top films,” says Laura Karpman, a composer (“Paris Can Wait”) and governor of the music branch. “And that there is a continued invisibility.”
Karpman pushed hard for the shortlist — this is the first year since 1979 that the music branch has had one, joining a third of the other branches in the practice — explicitly in the hope that it would widen the field. She feels that if there had been a shortlist last year, Michael Abels (“Get Out”) and Tamar-kali (“Mudbound”) would certainly have been on it.
Those are just a few of the 2018 films scored by women, but when the shortlist for best original score was announced last month, all of the 15 scores whittled down by music branch members for the first round of Oscar consideration were composed by men.
“It shows that women are not getting the top films,” says Laura Karpman, a composer (“Paris Can Wait”) and governor of the music branch. “And that there is a continued invisibility.”
Karpman pushed hard for the shortlist — this is the first year since 1979 that the music branch has had one, joining a third of the other branches in the practice — explicitly in the hope that it would widen the field. She feels that if there had been a shortlist last year, Michael Abels (“Get Out”) and Tamar-kali (“Mudbound”) would certainly have been on it.
- 1/4/2019
- by Tim Greiving
- Variety Film + TV
Johannsson received best film composer for the second year in a row.
The 18th annual World Soundtrack Awards have been given out during the 45th Film Fest Gent in Belgium, with Icelandic composer Jóhann Jóhannsson receiving the best film composer award posthumously.
Jóhannsson, who won the same award last year before passing away in February 2018, was honoured this year for his work on Mandy, Mary Magdalene (co-composed with Hildur Guðnadóttir) and The Mercy. Guðnadóttir accepted the prize on his behalf.
The award for best original song written directly for a film went to ‘Black Panther’ from the film of the same name.
The 18th annual World Soundtrack Awards have been given out during the 45th Film Fest Gent in Belgium, with Icelandic composer Jóhann Jóhannsson receiving the best film composer award posthumously.
Jóhannsson, who won the same award last year before passing away in February 2018, was honoured this year for his work on Mandy, Mary Magdalene (co-composed with Hildur Guðnadóttir) and The Mercy. Guðnadóttir accepted the prize on his behalf.
The award for best original song written directly for a film went to ‘Black Panther’ from the film of the same name.
- 10/17/2018
- by Ben Dalton
- ScreenDaily
It was recently announced that composer Pinar Toprak will score Marvel Studios’ Captain Marvel, starring Brie Larson. Toprak will be the first woman to score a major movie for the studio.
Toprak’s recent score can be heard on Syfy’s awesome Superman show “Krypton”.
I’m so thrilled to finally announce that I will be scoring the upcoming Captain Marvel! It’s an incredible honor to be a part of the Marvel Universe. So many thoughts racing through my head. And the main one is gratitude. I have so many people to thank for helping me on this journey but first and foremost, my incredible agents Laura Engel and Richard Kraft for believing in me from day one and Dave Jordan and directors Anna Boden and Ryan Fleck for giving me this opportunity of a lifetime. #captainmarvel
A post shared by Pinar Toprak (@pinartoprakcomposer) on Jun 14, 2018 at 4:39pm...
Toprak’s recent score can be heard on Syfy’s awesome Superman show “Krypton”.
I’m so thrilled to finally announce that I will be scoring the upcoming Captain Marvel! It’s an incredible honor to be a part of the Marvel Universe. So many thoughts racing through my head. And the main one is gratitude. I have so many people to thank for helping me on this journey but first and foremost, my incredible agents Laura Engel and Richard Kraft for believing in me from day one and Dave Jordan and directors Anna Boden and Ryan Fleck for giving me this opportunity of a lifetime. #captainmarvel
A post shared by Pinar Toprak (@pinartoprakcomposer) on Jun 14, 2018 at 4:39pm...
- 6/19/2018
- by Michelle Hannett
- WeAreMovieGeeks.com
The second annual “Future Is Female” concert, focusing on women film and TV composers, is scheduled for Sept. 4 at the historic Wiltern Theatre in Los Angeles.
The Hollywood Chamber Orchestra will perform works by a dozen composers active in media music, including Germaine Franco, Tamar-kali (“Mudbound”), Ronit Kirchman (“The Sinner”), Cindy O’Connor (“Once Upon a Time”) and Heather McIntosh (“Compliance”).
Also on the bill will be up-and-coming composers Mandy Hoffman, Tori Letzler, Emily Rice, Perrine Virgile-Piekarski, Tangelene Bolton, Aska Matsumiya and Jessie Weiss.
“While there has been a major rise in film music concerts both domestically and globally, very few feature the musical works of women composers,” organizers said in a statement.
Producer Letzler tells Variety: “I started the ‘Future Is Female’ concert series because I felt passionate about creating a platform to showcase all the talented female composers I know who often go unrecognized. In order to create change and start a dialogue,...
The Hollywood Chamber Orchestra will perform works by a dozen composers active in media music, including Germaine Franco, Tamar-kali (“Mudbound”), Ronit Kirchman (“The Sinner”), Cindy O’Connor (“Once Upon a Time”) and Heather McIntosh (“Compliance”).
Also on the bill will be up-and-coming composers Mandy Hoffman, Tori Letzler, Emily Rice, Perrine Virgile-Piekarski, Tangelene Bolton, Aska Matsumiya and Jessie Weiss.
“While there has been a major rise in film music concerts both domestically and globally, very few feature the musical works of women composers,” organizers said in a statement.
Producer Letzler tells Variety: “I started the ‘Future Is Female’ concert series because I felt passionate about creating a platform to showcase all the talented female composers I know who often go unrecognized. In order to create change and start a dialogue,...
- 6/13/2018
- by Jon Burlingame
- Variety Film + TV
It goes without saying that movie music has come a mighty long way in the last 100 years or so, but the first two decades of the 21st century have nevertheless been an extraordinarily active and evolutionary stretch of time for film scores. Without discounting the bold and formative achievements of old masters like Bernard Hermann and Toru Takemitsu, it’s fair to say that the rise of independent cinema and the challenge of the digital age have provoked a true paradigm shift in how we think about musical accompaniment.
Rock and avant-garde musicians like Jonny Greenwood and Mica Levi have used narrative projects as inspiration to explore new facets of their genius, while more traditional composers such as Alexandre Desplat and Carter Burwell have risen to the challenge by delivering the most beautiful work of their careers. Indeed, some of the very best movie scores in recent memory (including the...
Rock and avant-garde musicians like Jonny Greenwood and Mica Levi have used narrative projects as inspiration to explore new facets of their genius, while more traditional composers such as Alexandre Desplat and Carter Burwell have risen to the challenge by delivering the most beautiful work of their careers. Indeed, some of the very best movie scores in recent memory (including the...
- 2/2/2018
- by David Ehrlich, Kate Erbland, Michael Nordine, Eric Kohn, Jude Dry and Jenna Marotta
- Indiewire
The movie music of 2017 has been every bit as memorable as the movies themselves. From Paul Thomas Anderson and Jonny Greenwood to David Lowery and Daniel Hart, several of the most remarkable director-composer duos in the business returned with their finest collaborations to date. Just as exciting, the year also saw a number of teams galvanizing their previous work together into true partnerships, as Daniel Pemberton has become the best reason to get psyched for a new Guy Ritchie joint, and Tamar-kali has made the wait for Dee Rees’ next film even more excruciating than it would have been otherwise. And then there were true originals like Oneohtrix Point Never mastermind Daniel Lopatin, who brought sounds to the screen that the cinema had never heard before.
Read More:The Best TV Soundtracks of 2017
Here are the 10 best movie scores of 2017, along with selections from each.
10. “King Arthur” (Daniel Pemberton)
Sometimes — but...
Read More:The Best TV Soundtracks of 2017
Here are the 10 best movie scores of 2017, along with selections from each.
10. “King Arthur” (Daniel Pemberton)
Sometimes — but...
- 12/29/2017
- by David Ehrlich
- Indiewire
If you didn’t already know, Dee Rees’ brilliant film Mudbound, was packed with not just women in the crew but women of color — including film composer Tamar-Kali and editor Mako Kamitsuna.
- 12/9/2017
- by Sasha Stone
- AwardsDaily.com
For veteran French composer Alexandre Desplat, “The Shape of Water” provided a rare romantic love story to score. And for Brooklyn punk rocker Tamar-kali, “Mudbound” offered a first-time score about oppression and unity featuring her eclectic musical talents. Not surprisingly, both composers found the appropriate musical metaphors to express water and earth in their scores.
Scoring the Life Aquatic
In Guillermo del Toro’s “The Shape of Water,” everything becomes an aquatic metaphor in this 1962 love story between a mute night janitor named Eliza (Sally Hawkins) and a majestic aquatic creature (Doug Jones) who cannot speak.
“Guillermo’s opening the door to a fairy tale and I tried to figure out how I could bring the audience into that world and capture the sound of water, the sound of impossible love, the sound of danger, the sound of torture,” said Oscar-winner Desplat (“The Grand Budapest Hotel”).
The composer found a...
Scoring the Life Aquatic
In Guillermo del Toro’s “The Shape of Water,” everything becomes an aquatic metaphor in this 1962 love story between a mute night janitor named Eliza (Sally Hawkins) and a majestic aquatic creature (Doug Jones) who cannot speak.
“Guillermo’s opening the door to a fairy tale and I tried to figure out how I could bring the audience into that world and capture the sound of water, the sound of impossible love, the sound of danger, the sound of torture,” said Oscar-winner Desplat (“The Grand Budapest Hotel”).
The composer found a...
- 12/7/2017
- by Bill Desowitz
- Indiewire
In what’s shaping up to be a standout year for female filmmakers, Dee Rees is one of several unapologetic storytellers toppling the patriarchy and earning critical acclaim. For Rees, that’s with Mudbound, a harrowing yet beautifully directed story of two families as they try to survive in the Jim Crow South during and after World War II.
Adapted from Hillary Jordan’s 2008 novel of the same name, Mudbound is a remarkable reflection of America, despite taking place in the late 1940s. “I think people are going to be able to really see themselves in this film,” Rees tells Et.
Starring Carey Mulligan, Garrett Hedlund, Mary J. Blige and Jason Mitchell, the Netflix film shows the interconnected lives of a black family (the Jacksons) and a white family (the McAllans) living and working on the same farmland as both see relatives return home from the war. Rees says it’s the layers of citizenship, posttraumatic stress disorder...
Adapted from Hillary Jordan’s 2008 novel of the same name, Mudbound is a remarkable reflection of America, despite taking place in the late 1940s. “I think people are going to be able to really see themselves in this film,” Rees tells Et.
Starring Carey Mulligan, Garrett Hedlund, Mary J. Blige and Jason Mitchell, the Netflix film shows the interconnected lives of a black family (the Jacksons) and a white family (the McAllans) living and working on the same farmland as both see relatives return home from the war. Rees says it’s the layers of citizenship, posttraumatic stress disorder...
- 11/21/2017
- Entertainment Tonight
Netflix fascinates me, especially when it comes to their hopes at Academy Award attention. This is something I previously wrote about the service: “There’s a notable difference between the types of projects that Amazon and Netflix have been putting out, theatrically speaking. On the one hand, Amazon has been gunning for awards and embracing a theatrical release with things like the Oscar winner Manchester by the Sea. There’s also their burgeoning relationship with an auteur like Woody Allen. It’s a whole concerted effort under their Amazon Studios wing. On the other hand, Netflix has gone for casting a wider net, while only occasionally putting their higher profile films out in theaters, like Beasts of No Nation or this year’s Okja. They only once in a while look at things with an awards type view. So far, they’ve either come up short with would be players like War Machine,...
- 11/14/2017
- by Joey Magidson
- Hollywoodnews.com
Dee Rees is a tall woman of fierce charisma. She’s the kind of director who talks fast, ideas coming so quickly that those less inclined can barely keep up. And yet her output has been slow: After Focus Features snapped up her breakout 2011 feature debut “Pariah” at Sundance, it was four years before HBO Film’s Emmy and DGA-award-winning 2015 biopic “Bessie.”
“There’s an assumption that men who do small personal movies can leap to deliver larger things,” said “Bessie” producer Shelby Stone. “It’s much harder for women.”
Finally, we get to see Rees fulfill her promise with “Mudbound,” a Sundance triumph that set the 2017 festival sales record with its $12.5 million sale to Netflix, and opened AFI Fest November 9 after wowing crowds at seven film festivals.
When Rees received the Sundance Next Fest Vanguard Award in August, her presenter, “Pariah” star Kim Wayans, said it best: “The introverted,...
“There’s an assumption that men who do small personal movies can leap to deliver larger things,” said “Bessie” producer Shelby Stone. “It’s much harder for women.”
Finally, we get to see Rees fulfill her promise with “Mudbound,” a Sundance triumph that set the 2017 festival sales record with its $12.5 million sale to Netflix, and opened AFI Fest November 9 after wowing crowds at seven film festivals.
When Rees received the Sundance Next Fest Vanguard Award in August, her presenter, “Pariah” star Kim Wayans, said it best: “The introverted,...
- 11/13/2017
- by Anne Thompson
- Thompson on Hollywood
Dee Rees is a tall woman of fierce charisma. She’s the kind of director who talks fast, ideas coming so quickly that those less inclined can barely keep up. And yet her output has been slow: After Focus Features snapped up her breakout 2011 feature debut “Pariah” at Sundance, it was four years before HBO Film’s Emmy and DGA-award-winning 2015 biopic “Bessie.”
“There’s an assumption that men who do small personal movies can leap to deliver larger things,” said “Bessie” producer Shelby Stone. “It’s much harder for women.”
Finally, we get to see Rees fulfill her promise with “Mudbound,” a Sundance triumph that set the 2017 festival sales record with its $12.5 million sale to Netflix, and opened AFI Fest November 9 after wowing crowds at seven film festivals.
When Rees received the Sundance Next Fest Vanguard Award in August, her presenter, “Pariah” star Kim Wayans, said it best: “The introverted,...
“There’s an assumption that men who do small personal movies can leap to deliver larger things,” said “Bessie” producer Shelby Stone. “It’s much harder for women.”
Finally, we get to see Rees fulfill her promise with “Mudbound,” a Sundance triumph that set the 2017 festival sales record with its $12.5 million sale to Netflix, and opened AFI Fest November 9 after wowing crowds at seven film festivals.
When Rees received the Sundance Next Fest Vanguard Award in August, her presenter, “Pariah” star Kim Wayans, said it best: “The introverted,...
- 11/13/2017
- by Anne Thompson
- Indiewire
Next week, Netflix enters the Oscar race with the drama “Mudbound.” The film is packed with talent, from director Dee Rees (“Pariah,” “Bessie“) to a cast that includes Jason Clarke, Garrett Hedlund, Carey Mulligan, and Mary J. Blige. And the soundtrack is top notch too, with the multi-talented Tamar-kali lending her talents, and composing the score.
Continue reading Stream 2 Tracks By Tamar-kali From ‘Mudbound’ Soundtrack [Exclusive] at The Playlist.
Continue reading Stream 2 Tracks By Tamar-kali From ‘Mudbound’ Soundtrack [Exclusive] at The Playlist.
- 11/8/2017
- by Kevin Jagernauth
- The Playlist
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