Bernard Herrmann (I) - News Poster


Hollywood Burns Release Must-Hear Track From Upcoming Album Invaders

Just last week, I wrote a piece about Hollywood Burns and their upcoming album Invaders. Today, the retro-infused synthwave artist has released the first track from that album and, readers, it’s a fucking banger. Dubbed “Scherzo No. 5 in Death Minor”, the song starts with an homage to Bernard Herrmann’s Psycho overlain with theremin “Oooohs” […]

The post Hollywood Burns Release Must-Hear Track From Upcoming Album Invaders appeared first on Dread Central.
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Oscar-Nominated Music Scores Find Life Beyond Big Screen, Thanks to Radio and Concerts

Oscar-Nominated Music Scores Find Life Beyond Big Screen, Thanks to Radio and Concerts
Classical radio station Kusc has programmed Film-Music Week starting Feb. 12, with a movie theme playing every hour during the workday, as part of the station’s pre-Oscar buildup.

It’s a reminder that a film score has life beyond the big screen.

Robert Kraft, who heads production-management company Kraftbox Entertainment, says, “A great composer knows what a movie needs and he or she provides emotional amplification. But their score can also work as a stand-alone, because these are often great works of art, performed by great musicians.”

This year’s five Oscar nominees will all be heard on Kusc film week, aka Kusc at the Movies: Carter Burwell, “Three Billboards Outside Ebbing Missouri”; Alexandre Desplat, “The Shape of Water”; Jonny Greenwood, “Phantom Thread”; John Williams, “Star Wars: The Last Jedi”; and Hans Zimmer, “Dunkirk.”

Many of them have already been part of the regular Kusc rotation, along with such classic and current composers as Miklos Rozsa, [link
See full article at Variety - Film News »

Film Review: ‘The Green Fog’

Film Review: ‘The Green Fog’
To close its 60th anniversary edition last spring, the San Francisco International Film Festival had the excellent idea of commissioning Guy Maddin (along with his “Forbidden Room” collaborators, siblings Evan and Galen Johnson) to make a San Francisco-centric feature. “The Green Fog” compiles bits from about 100 San Fran-set movies and TV shows into a quasi-narrative pastiche that ostensibly pays tribute to Hitchcock’s “Vertigo.” Only faint echoes of that classic can be detected here, but this ingenious gizmo will nonetheless delight Maddin fans, or anyone else who enjoys games played with and about old movies. “Green Fog” is making its regular theatrical debut with short runs at San Fran’s Roxie and New York’s IFC Center. The film’s short (62-minute) runtime is its principal hurdle to wider exposure.

While there’s only one fleeting, incidental actual shot from “Vertigo” here, “The Green Fog” is suffused with a very Hitchcockian sense of intrigue, romance and suspense
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Review: Vertigo Remade: Guy Maddin, Evan Johnson & Galen Johnson's "The Green Fog"

  • MUBI
There's a new genre in town. The first example of it I can name is Bill Morrison's Spark of Being (2010), which retells the story of Mary Shelley's Frankenstein using aged found footage. In this version, as Morrison puts it, the movie itself is the monster, assembled from pieces of the dead.I may be missing earlier and later examples of this form, but so far as I know Guy Maddin and colleagues Evan and Galen Johnson are the first to respond to that celluloid gauntlet, with The Green Fog, a remake of Hitchcock's Vertigo (1958) using footage culled from ninety-eight feature films and three TV series shot or set in the San Francisco area. I guess the movie is also in the genre of city symphonies, and has a nodding acquaintance with Thom Andersen's pirate-video documentary Los Angeles Plays Itself (2003).The Madden/Johnsons have several advantages over Hitchcock:
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Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’

Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’
“Aside from George Lucas, nobody deserves more credit for the success of `Star Wars’ than John Williams,” says Mark Hamill.

It’s a pretty bold statement from the actor who plays Luke Skywalker in five of the eight “Star Wars” movies, including a leading role in “The Last Jedi,” now the biggest-grossing movie of 2017. But then, perhaps more than most actors, Hamill appreciates the role of music in movies.

Hamill’s interest was sparked as a child, first taking note of Carl Stalling’s name as composer on old Warner Bros. cartoons, then Bernard Herrmann’s on the fantasy films of special-effects wizard Ray Harryhausen. “I saw ‘Jason and the Argonauts’ on a double bill with ‘7th Voyage of Sinbad,'” Hamill tells Variety. “I could hum the main-title themes from the time I saw them.

Once he realized that Herrmann was the same composer who had terrified moviegoers with his music for “Psycho,” he was even
See full article at Variety - Film News »

Hitchcock’s North By Northwest with Live Music by The St. Louis Symphony Orchestra February 24th and 25th

“That wasn’t very sporting, using real bullets.”

Directed by Alfred Hitchcock, nominated for three Academy Awards and celebrated as one of the most popular spy thrillers of all time, North By Northwest comes to life on the big screen at Powell Hall in St. Louis (718 N Grand Blvd). Join the St. Louis Symphony Orchestra as they perform Bernard Hermann’s exhilarating, gentle, pulsating and moving score live!

The performances are Saturday, February 24, 2018 7:00Pm and Sunday February 25th at 3:00Pm. Tickets can be purchased Here

Cary Grant, Eva Marie Saint, James Mason and Martin Landau give fast and furious chase across the country, from the skyscrapers of Manhattan to the dizzying peaks of Mount Rushmore, set to the music of Bernard Herrmann, vibrant VistaVision cinematography — and, in this special presentation with the St. Louis Symphony Orchestra

The post Hitchcock’s North By Northwest with Live Music by The St.
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How Scores to ‘Three Billboards,’ ‘Get Out’ and ‘Murder on the Orient Express’ Tune Up Intensity

How Scores to ‘Three Billboards,’ ‘Get Out’ and ‘Murder on the Orient Express’ Tune Up Intensity
A newcomer and two past Oscar nominees scored 2017’s crop of suspense dramas. Each tells a story — musical and otherwise — vastly different from its competitors but all yield a similar result: intensity. A look at three of the contenders in this year’s awards races.

Get Out

Score by Michael Abels

In scoring “Get Out,” Los Angeles composer Michael Abels looked to writer, director and star Jordan Peele for direction to the social satire in horror-film guise. “In our first meeting, we came up with this idea of ‘gospel horror,'” says Abels, who first came to Peele’s attention via YouTube. After hearing a classical piece by Abels, Peele tracked him down while the film was still in pre-production. “We talked about African-American music and how it usually has elements of hopefulness. He wanted this to be very suspenseful and without that hope.”

According to Abels, Peele looked for an African-American voice to be present, both literally
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From ‘Citizen Kane’ to ‘The Post,’ a History of Newspaper Movie Scores

From ‘Citizen Kane’ to ‘The Post,’ a History of Newspaper Movie Scores
When Steven Spielberg’s “The Post” opens on Friday, John Williams will join an exclusive club: that handful of composers who have successfully tackled one of the most difficult genres to score: the newspaper movie.

The Post” is Williams’ 28th film for the director and could, when the Oscar nominations are announced a month from now, become his 51st. He already has five Academy Awards and is the most-nominated living person.

In general, composers say, newspaper movies are tough assignments. First, they tend to be verbose and expository; and second, they are often as objective as the journalists they depict, and manipulative music may seem out of place. Yet, over the years, some have produced compelling music to complement powerful dialogue.

Orson Welles’ “Citizen Kane” (1941) was the first film score to composed by the legendary Bernard Herrmann, who had spent much of the previous decade working with Welles in radio. Here, the Boston Pops
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Hangover Square

No, it’s not a the-day-after sequel to The Lost Weekend, but a class-act mystery-horror from 20th-Fox, at a time when the studio wasn’t keen on scare shows. John Brahm directs the ill-fated Laird Cregar as a mad musician . . . or, at least a musician driven mad by a perfidious femme fatale, Darryl Zanuck’s top glamour girl Linda Darnell.

Hangover Square


Kl Studio Classics

1945 /B&W / 1:37 Academy / 77 min. / Street Date November 21, 2017 / available through Kino Lorber / 29.95

Starring: Laird Cregar, Linda Darnell, George Sanders, Faye Marlowe, Glenn Langan, Alan Napier.

Cinematography: Joseph Lashelle

Film Editor: Harry Reynolds

Original Music: Bernard Herrmann

Written by Barré Lyndon

Produced by Robert Bassler

Directed by John Brahm

Here’s a serious quality upgrade for horror fans. Although technically a period murder thriller, as a horror film John Brahm’s tense Hangover Square betters its precursor The Lodger in almost every department. We don
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The Wonderful Worlds Of Ray Harryhausen, Volume Two: 1961-1964

Indicator follows up The Wonderful Worlds of Ray Harryhausen, Volume One: 1955-1960 with, wait for it, Volume 2: 1961-1964, featuring three of Harryhausen’s most ambitious productions. Good news for fans, the UK company delivers another robust box set with beautiful transfers and an abundance of extras including newly produced interviews, a small treasure trove of promotional ephemera and a limited edition 80-page book with essays from Kim Newman and Tim Lucas. The set is region free, playable on Blu-ray devices worldwide.

The Wonderful Worlds of Ray Harryhausen, Volume 2: 1961-1964

Blu-ray – Region Free


Street Date November 13, 2017

Starring Herbert Lom, Joan Greenwood, Niall MacGinnis, Nigel Green, Lionel Jeffries, Edward Judd

Cinematography by Wilkie Cooper

Produced by Charles Schneer, Ray Harryhausen

Directed by Cy Endfield, Don Chaffey, Nathan Juran

Raging thunderstorms and a tempestuous score from Bernard Herrmann kick off 1961’s Mysterious Island as a water-logged crew of Union
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Flickering Myth Film Class: The Audio/Visual depiction of mental breakdown

In the latest instalment of Flickering Myth’s film class, Tom Jolliffe looks at the audio and visual tools a film-maker can effectively use to portray a characters descent into madness…

In previous film classes (which I should say are merely showcases for films that excel in whatever subject springs to my mind before writing) I’ve covered a range of aspects from the technical to the aesthetic and more. However in this instalment I want to delve deeper into character, and in particular the audio and visual tools a film-maker can use in order to effectively portray a descent into madness.

It’s particularly important that these tools are used creatively when the character in question is generally quiet. When he seems inactive until that inevitable moment when he fully unravels into explosive behaviour. I’ve covered films in previous instalments (and other articles) which I could easily have focused on here.
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8 ways The Twilight Zone influenced modern TV and film

Louisa Mellor Nov 25, 2017

The Twilight Zone casts a long shadow over today’s film and TV. We salute the legacy left by Rod Serling’s seminal series…

“Damn near immortal” is how Stephen King described The Twilight Zone in his 1981 study of creepy fiction Danse Macabre, and who could argue with that. Like any decent horror monster, Rod Serling’s 1960s anthology series keeps coming back from the grave. Only last week it was announced that CBS is planning to resurrect its award-winning show once again. The new series will be the latest of several revivals over the decades, including an upcoming stage production set to enjoy its world premiere at London’s Almeida Theatre this December.

See related Black Mirror series 3 review Black Mirror series 3 interview: Charlie Brooker and Annabel Jones How Black Mirror series 3 is eerily coming true

The Twilight Zone doesn’t just keep returning in its own right,
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78/52 review

Psycho’s shower scene is one of the most iconic scenes ever filmed. But does just one 45 second scene warrant an entire documentary?

Seventy-eight. Fifty-two. Just numbers, sure, but also the precise alchemical formula for creating the most iconic scene in cinematic history. In around 45 seconds, the legendary auteur Alfred Hitchcock used seventy-eight setups and fifty-two cuts to craft Psycho’s shower scene, an unforgettable sequence that transcended the confines of the screen into immortality. Not only are film students destined to pore over it for generations to come, trying to unlock its many secrets, but it has also shaped key areas of our shared cultural consciousness. How? As well as restyling the depiction of violence on screen for future filmmakers to come, the shower scene reimagined the representation of violence onscreen towards women, with Karyn Kusama, director of several thrillers herself, calling it the "first modern expression of the
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16 essential Halloween horror soundtracks

Sean Wilson presents a selection of spooky film scores that make for the ideal 31st October playlist…

The scariest night of the year, Halloween, is upon us once again and, in addition to all the cosplay and trick or treating, a playlist of horror hits is also essential to the big night. Horror allows film composers off the leash like few other genres do, often unleashing an onslaught of symphonic and choral mayhem guaranteed to pull a chill down the spine. This then is a curated selection of fabulously frightening horror music that you need to complete your Halloween.

Psycho (1960) – Bernard Herrmann

Alfred Hitchcock’s seminal horror practically birthed the modern-day slasher movie, throwing audiences for a loop with its terrifying dispatch of Janet Leigh in the shower. The director would later credit “33%” of Psycho‘s impact to regular collaborator Bernard Herrmann’s chilling score, one as starkly monochrome and
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Ten Classic Scary Movies For Halloween

I have known for years, many people will not watch black and white movies, of any kind. It has to be color and no older than 10 years, preferably movies made this year, or last year. I have had people look at me with astonishment when I tell them I not only watch black and white movies regularly but even silent movies. I’ve had people admit they didn’t know movies were being made in 1927, much less 1915.

So for this Hallowe’en, when movie geeks thoughts turn to scary movies here is my personal and eclectic list of great, old, scary movies, filmed in glorious black and white.

10. Nosferatu 1922

The Great Grand Daddy of all Dracula movies, and the template for every vampire movie ever made, the first, one of the best and still creepy, even if you’ve seen it repeatedly. A silent masterpiece by Fw Murnau and with
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Hitchcock’s masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us”. That was critic Robin Wood’s astute 1968 evaluation ten years after Alfred Hitchcock’s final collaboration with James Stewart had been released to indifferent box office and unappreciative reviews. Tragic, obsessive and backed by an unforgettable Bernard Herrmann score, it’s one of the director’s most mesmerizing accomplishments. It knocked Citizen Kane off its nearly 50 year perch as the #1 picture of all time in the 2012 Sight and Sound decade poll of critics and filmmakers.
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Joshua Reviews Alexandre O. Phillippe’s 78/52 [Theatrical Review]

It’s hard to imagine one scene of any given film being worthy of feature-length dissection. Yet, it’s even harder to imagine a scene of any given film being as groundbreaking as the infamous “shower scene” in Alfred Hitchcock’s Psycho.

So that’s where 78/52 comes. Director Alexandre O. Phillippe takes to the iconic master of suspense and arguably his crowning aesthetic achievement for one of 2017’s most enjoyable if sleight feature documentaries.

Drawing its title from the number of camera set-ups and edits that were used for this legendary sequence, Phillippe’s film is a critical dissertation that gets a killer (pun only slightly intended) collection of talking heads to bring both a first hand account of the shooting of the sequence as well as a more broadly cultural look at its roots and ultimately its impact. Ranging from Hitchcock’s collaboration with composer Bernard Herrmann to the
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Review: "Journey To The Center Of The Earth" (1959), UK Blu-ray Special Edition From Eureka!

  • CinemaRetro
By Darren Allison

When it comes to good adventure stories, Journey to the Center of the Earth (1959) will arguably feature among the very best. It is one of those films that continue to delight audiences both old and new. In terms of elements it seems to tick all the boxes. At its heart, there is a fine, good natured yet entirely gripping story. A wondrous subterranean vista provides the viewer with monsters, vast underground oceans, villains and plenty of cliff-hanger moments of suspense.

It was perhaps a well-timed stroke of luck that some of the stories penned by Jules Verne were entering a period of public domain status. Two of Verne's adapted novels were to feature James Mason. Disney's adventure 20,000 Leagues Under the Sea (1954) starred Kirk Douglas as a 19th-century whaler and Mason as Nemo, captain of the story’s legendary submarine, the Nautilus. Five years later, Journey to the Center of the Earth
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Portrait of Jennie

David O. Selznick’s marvelous romantic fantasy ode to Jennifer Jones was almost wholly unappreciated back in 1948. It’s one of those peculiar pictures that either melts one’s heart or doesn’t. Backed by a music score adapted from Debussy, just one breathy “Oh Eben . . . “ will turn average romantics into mush.

Portrait of Jennie


Kl Studio Classics

1948 / B&W w/ Color Insert / 1:37 flat Academy / 86 min. / Street Date October 24, 2017 / available through Kino Lorber / 29.95

Starring: Jennifer Jones, Joseph Cotten, Ethel Barrymore, Lillian Gish, Cecil Kellaway, David Wayne, Albert Sharpe.

Cinematography: Joseph H. August

Production Designers: J. MacMillan Johnson, Joseph B. Platt

Original Music: Dimitri Tiomkin, also adapting themes from Claude Debussy; Bernard Herrmann

Written by Leonardo Bercovici, Peter Berneis, Paul Osborn, from the novella by Robert Nathan

Produced by David O. Selznick

Directed by William Dieterle

Once upon a time David O. Selznick’s Portrait of Jennie was an
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How Hans Zimmer changed modern film scores

Mark Allison Oct 11, 2017

Big film scores have changed over the past decade - and Hans Zimmer may be the reason why...

For every movie-going generation, there is a film score composer who ascends above all others and comes to encapsulate the sound of their era. In the 1940s and 1950s, the brooding and mysterious tones of Bernard Hermann would define a generation of suspense cinema. Decades later, it was John Williams who ushered in the blockbuster era with a series of bold and iconic melodies, from Jaws through to Superman, Star Wars, Indiana Jones, and Jurassic Park. Today’s cinema has its own musical zeitgeist. When future archaeologists uncover the buried ruins of our civilisation, they may well refer to it as the 'Hans Zimmer period'.

Hans Zimmer is a movie composer of singular acclaim. He is one of the only such artists with the clout to fill concert arenas across the world,
See full article at Den of Geek »
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