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Back To The Future Part III isn't the most popular film in the trilogy. But Simon argues this sci-fi western deserves more love...
I don't think I'm going out on much of a limb by saying that, in general, Back To The Future Part III is the least talked about film in the trilogy. It shouldn't be, in my personal view, but it's the one that generally puts technology on the back burner, introduces a love story, and visually is the most different.
Personally, I've never thought the labelling of Back To The Future Part III as the least liked film in the series - as some have - is particular fair, though. My 10-year old would go even further. It's his favourite of the lot.
So why then do some not warm to it as much? Well, let's deal with that, before I go onto the film in more detail. »
If you're looking for an utterly independent analysis of Robert Zemeckis' Back To The Future Part II, then it'd be fair to say you're probably in the wrong place. It would be remiss of me from the outset to not acknowledge that, in my youth, I absolutely adored Back To The Future Part II. I wore out two VHS copies of the movie I had (one of them ex-rental, to be fair), and Alan Silvestri's superb score has been resident in my head pretty much ever since (one I seem to have bought four times, across four different formats).
It's only over time that I've come to appreciate the film in any kind of perspective, and the catalyst for that was watching the three films back-to-back in the »
Vienna might be synonymous with Mozart and Strauss, but Sandra Tomek, founder and director of Hollywood in Vienna, perceives equally strong ties to such movie maestros as Max Steiner and Erich Wolfgang Korngold, who established themselves in the Austrian capital before blossoming as key pioneers of the Hollywood film score tradition.
So when Randy Newman receives the Max Steiner Award at the dual Sept. 24-25 event taking place at the city’s storied Vienna Concert Hall, with cousin and fellow film composer David Newman conducting, Tomek views the honor as both a link to the past and a celebration of the present.
“Alfred Newman, David’s father, was a colleague of Max Steiner,” Tomek explains. “And also the Newman family came from Eastern Europe (Russia, to be exact). So there are a lot of ties which are really interesting.”
The award is determined by an international committee of 20 people who »
- Steve Chagollan
Kenneth Lampl and Darren Tate are the composers of Magnolia Picture’s “Frontera”. What makes them so unique? They've never met in person. Join us as we talk with them about their interesting and unique working relationship.
Working partnerships are common in the movie-making industry. Pooling together knowledge and talent is one way to create a more appealing and more complete product. Furthermore, for large projects with lots of work to do and tasks to complete, it makes the burden easier to bear (we all know how helpful it can be to have a shoulder to lean on). What is not common is having such partnerships develop across an ocean and not in person. For Kenneth Lampl and Darren Tate, that's exactly what happened.
- firstname.lastname@example.org (G.S. Perno)
Outstanding Guest Actress In A Drama Series
Outstanding Hairstyling For A Single-Camera Series
Francesca Paris, Department Head Hairstylist
Lisa Dellechiaie, Key Hairstylist
Therese Ducey, Key Hairstylist
(Winner) “Downton Abbey”
Magi Vaughan, Department Head Hairstylist
Adam James Phillips, Key Hairstylist
Kevin Alexander, Department Head Hairstylist
Candice Banks, Key Hairstylist
Rosalia Culora, Hairstylist
Gary Machin, Hairstylist
Nicola Mount, Hairstylist
Theraesa Rivers, Department Head Hairstylist
Arturo Rojas, Key Hairstylist
Valerie Jackson, Hairstylist
Ai Nakata, Hairstylist
Colleen Labaff, Department Head Hairstylist
Kimberley Spiteri, Co-Department Head Hairstylist
Outstanding Hairstyling For A Multi-Camera Series Or Special
Mary Guerrero, Department Head Hairstylist
Kimi Messina, »
- Variety Staff
Composer Alan Silvestri won a pair of Emmys for outstanding score and original main-title theme music for Cosmos: A SpaceTime Odyssey. Accepting the awards Saturday night at the Creative Arts Emmys, he thanked his team, host Neil deGrasse Tyson and "Carl Sagan for still bringing magic to the blue dot." Silvestri earned Oscar nominations for music with The Polar Express and Forrest Gump. His recent work includes The Croods and Flight. Cosmos also earned an Emmy for writing for nonfiction programming, awarded to Sagan's widow Ann Druyan and Steven Soter, and for sound editing. For the full list of
- Carolyn Giardina
Directed by Robert Zemeckis, the film is a true story based on Philippe Petit’s book “To Reach the Clouds,” starring Joseph Gordon-Levitt as the young dreamer who dared the impossible: an illegal wire walk between the World Trade Center towers.
Today is the 40th anniversary of the astounding event, now being brought back to vivid life in the third act climax of the film.
Twelve people have walked on the moon, but only one man has ever, or will ever, walk in the immense void between the World Trade Center towers. Guided by his real-life mentor, Papa Rudy (Ben Kingsley), and aided by an unlikely band of international recruits, »
- Michelle McCue
TriStar Productions announced today that principal photography has been completed on The Walk, which stars Joseph Gordon-Levitt as French daredevil Philippe Petit, the man who pulled off an incredible feat by walking between the Twin Towers in New York on a tightrope. USA Today has the first two photos from director Robert Zemeckis' true story adaptation, which you can check out below, along with more details from the production.
Philippe Petit's illegal high-wire act was chronicled in the James Marsh documentary Man on Wire, an event which took place exactly 40 years ago tomorrow. Director Robert Zemeckis reveals his new film will give viewers a whole new perspective.
"We always see the most boring angle in high-wire walking: We're just looking up. Now we can put people up there."
After eight years in development, the film was shot in 3D, which is one of the reasons TriStar Productions chairman »
Space was in demand in more than one way on Monday as hundreds of Emmy voters packed The Paley Center for Media for an out-of-this-world event highlighting “Cosmos: A Spacetime Odyssey”. After a screening, host Neil deGrasse Tyson, executive producers Ann Druyan and Mitchell Cannold and composer Alan Silvestri took part in a Q&A. (Listen to the full podcast below). -Break- Join the fiery discussion of the Emmys in our forums -renowned scientist, explained that a chance encounter with Seth MacFarlane led to the program airing in primetime: “Seth said ‘Why don’t I bring it to Fox?’ And at that second I thought that was the worst idea I’d ever heard. But then I began to think: ‘If 'Cosmos' appears on Fox that would be an extraordinary pathway for exposure.’ So about 12 seconds later I realized it was the most brilliant idea I’d ever heard. »
For years, the Emmy judging process in the music categories was decried as biased against newcomers, a “popularity contest” in which, year after year, the same composers were nominated and inevitably won.
No more. Today the 360-member TV Academy music branch has the most rigorous voting process in the entire Academy, one in which every single entry is viewed and judged by a minimum of six fellow branch members — and which presumably has leveled the playing field to give others a chance at Emmy gold.
The result is that 23 of the 41 nominees in the five music categories are first-timers, ranging from A-list film composers (Alan Silvestri for “Cosmos”) and top music producers (T Bone Burnett for “True Detective”) to busy TV composers (James Levine for “American Horror Story: Coven”) and little-known songwriters (on everything from “Saturday Night Live” to Disney Channel and Comedy Central series).
“It’s probably the fairest »
- Jon Burlingame
This morning was like Christmas for TV and Emmy fanatics, and among the nominees this year, as usual, were a slew of former Oscar winners. In the acting categories this year, it was no surprise to see Matthew McConaughey chalked up for his work in HBO's "True Detective" just four months after completing a near run of the movie awards season table that culminated in a Best Actor Oscar win for "Dallas Buyers Club." Will HBO's decision to put the show in the drama series category rather than miniseries hold him back from an Emmy, given the potential bounty of goodwill for Bryan Cranston and the final season of "Breaking Bad?" We'll soon find out. Joining McConaughey in the category was "Usual Suspects" and "American Beauty" star Kevin Spacey, nominated a second-straight year for Netflix's "House of Cards. In the supporting actor ranks, Jon Voight, Oscar winner for 1978's "Coming Home, »
- Kristopher Tapley
Far be it from me to make any grand sweeping statements on the year in film this early, but as of July 2014, I would argue it’s already been a fascinating year for scores. Just look at blockbusters. We’ve heard both the invigoratingly new and the depressingly dull. Ambitious combinations have even produced a commendable failure here and there. Hollywood studios almost always take the safe road in their big-budget franchises, but the music attached to those tentpoles feels less restrained and not nearly as beholden to manageable cliches.
Thus far we’ve had a tremendous grab bag in film music (and I say this as someone who hasn’t yet seen Under the Skin), but what’s been the best to come out of it? Without further ado…
Captain America: The Winter Soldier isn’t a great movie, but it »
- David Klein
“My name’s Forrest Gump. People call me Forrest Gump.” It’s with those words that Tom Hanks introduced audiences to one of his most famous roles, a southern savant whose life story has become one of the most iconic movies to grace the silver screen. The 1994 Robert Zemeckis classic, released 20 years ago today, went on to win the hearts of audiences and critics across the world and nabbed 16 nominations come Oscar time, including one for Alan Silvestri's memorable theme.
You’ve probably watched it a dozen times – we know we have – but in celebration of the film’s big anniversary we thought we'd share 10 things you might not know about Forrest Gump. Find out what you might've missed after the cut! »
- Daniel Bettridge
When it comes to the musical score of a film, there’s nothing more important than the main theme. It’s the audible hook that will subtly grab the attention of the audience, making sure that they’ll be humming it inside their head for weeks to come. Themes like Star Wars or Superman all have a primal connection to the mind of the viewer, creating an understated link between the film and its audience.
We’ve all heard great themes over the years, whether it was coming out of The Lord of the Rings with Howard Shore’s signature theme in your head or feeling as superheroic as ever when you heard Alan Silvestri’s landmark theme for Captain America: The First Avenger. A great movie theme will stay with you long after you’ve seen the film, bought the DVD and watched it again.
- Matthew Fisher
In case you haven't heard, The Fault in Our Stars is kind of a sad film. The reaction across the pond (where the film has been out for a couple of weeks) has essentially been one long, drawn out ugly-cry, to the point where Slate have even released a handy guide to keeping your eye make-up intact.
Even the movie's stars Ansel Elgort, Nat Wolff and Laura Dern aren't immune, as they admitted in our video interview. We also asked them what other films have made them cry, which sparked a discussion back in the office about the most effective tearjerkers of all time.
Below, Digital Spy staffers reveal the films that are guaranteed to leave them a weeping mess.
Good Will Hunting – Emma Dibdin, Features Editor
While prototypical inspirational teacher movie Dead Poets' Society is arguably a more obvious pick, Robin Williams's similarly inspirational performance here as wry, »
He also said, “I still hope to one day come back and do another Marvel movie, which may or may not happen, but I'm definitely being optimistic about it.”
Of course, Elektra was based on a Marvel character, but not a Marvel Studios film. However, whether or not they're made by Marvel Studios, superhero films based on Marvel characters (and DC characters, for that matter) have the potential to be both character-driven and examples of grand spectacle, which many of them pull off successfully.
Beck said “That movie did pretty poorly at the box office, even though I enjoyed the film very much.” It sounds like he's referring to enjoying the film itself, as well »
Marvel’s Captain America: The Winter Soldier has had a second stellar weekend at the box office.
That makes it two worldwide weekends in a row at over $100 million and nearly half a billion to date as it continues to draw audiences internationally and in North America. With the success of directors Joe and Anthony Russo’s sequel , Marvel/Disney have officially announced Captain America 3 will open on May 6, 2016.
About two years have passed since the alien invasion of New York was repulsed by Nick Fury’s special team – The Avengers. The world is now well aware that extra-terrestrials, godlike beings and monsters may be lurking in the cosmos and that Super Heroes walk among us. The demand for protection of the world’s citizenry has reached a zenith. In response to the world’s justifiable fears, S.H.I.E.L.D. has expanded its presence to enhance the security of Earth. »
- Michelle McCue
Six years don’t seem like that long a stretch of a time, but it’s long enough to create a universe. I should clarify, I mean a cinematic universe. You see, that’s just what they’ve done at Marvel Studios. And what a wondrous place it is! And movie-goers are now able to visit there more than once a year. Hard to believe, but it was back in 2008 that the famed comic book company (lovingly named “The House of Ideas” by Stan Lee himself almost fifty years ago) decided that they should have a more active role in bringing their characters to the silver screen. Media pundits scoffed since several of their biggest properties, namely Spider-Man and the X-Men, were locked down in movie deals with Sony and Fox. But Marvel (with Paramount) initiated their big screen dreams with Iron Man, and they’ve not looked back. That »
- Jim Batts
Earlier on today I got to chat with Henry Jackman who composed the score for Captain America The Winter Solider. Jackman has scored wonderful movies over the years including Kick-Ass, Wreck-It Ralph, Captain Phillips and many more. In this in depth conversation we chatted quite alot about Captain America The Winter Solider and Henry’s work process. He gives an amazing insight to working with the Russo brothers and how the whole score together. All that and theres plenty more in there too including a tale about quite a unique spot where he came up with music for Wreck-It Ralph and Henry also speaks about Alan Silvestri. Here’s a brief sample from the interview and to listen to it in full, just grab our Free podcast. Anyway to listen all you got to do is… Subscribe on iTunes – Click here (Click view in iTunes and the click Subscribe) If you’re already a subscriber, »
- email@example.com (Vic Barry)
(Cbr) Composer Alan Silvestri will not be reuniting with Earth’s Mightiest Heroes when "The Avengers: Age of Ultron" assembles next year. But the Avengers sequel’s score will still have familiar notes for Marvel fans, thanks to Brian Tyler. Tyler, the composer of "Thor: The Dark World" and the recent TV special "Marvel Studios: Assembling a Universe", has been tapped to score "Age of Ultron" for director Joss Whedon and Marvel Studios. Outside of the Marvel Cinematic Universe, Tyler’s scores have been heard in numerous "Fast and Furious" films, as well as the "Expendables" movies. The composer’s other upcoming credits include "Teenage Mutant Ninja Turtles". "Avengers: Age of Ultron" assembles in theaters on May 1, 2015. (Source: Film Music Reporter) »
- Josh Wigler, Comic Book Resources
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