4 items from 2015
Kate’s Classical Corner: Hannibal, Ep. 3.07, “Digestivo”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Digestivo” here.
This lovely piece is a fitting choice to accompany Mason’s dinner—he’s always trying to ape Hannibal and Hannibal is a fan of Mozart—but it’s made all the better by being a reference to The Spy Who Loved Me. In this Bond film the villain, Stromberg, »
- Kate Kulzick
Laurent Danielou, who co-founded and ran Rezo Films Intl. for a decade, is teaming with Enrique Gonzalez Kuhn, the boss of Spanish indie distrib Caramel, to launch Loco Films, a new Paris-based sales company dedicated to world cinema and upscale series.
The company has acquired “La Casa,” a cinematic series directed by Diego Lerman (“Refugiado”), which comprises 13 stories spanning more than 130 years, from the beginning of the 20th century until 2029, all taking place in one house.
Loco Films is hosting a market screening for the series on Saturday. Danielou told Variety the series will likely world premiere at a fall festival. “It’s the first series of that scale to come out of Latin America,” pointed out Danielou.
Loco Films has also come on board Valery Todorovsky’s “Bolshoi,” which is currently lensing on location at the Bolshoi Theater in Moscow. Todorovsky previously directed festival players such as “Hipsters” and “The Lover. »
- Elsa Keslassy
Ballet adds a surreal, creepy quality to many films and tv shows. Here are 12 of the most unsettling...
Ballet is not natural. Dancers perform exhausting routines with legs and feet turned out to bizarre angles, arms held just to the point where they really start to hurt (that’s when you know you’re doing it right), backs bending to angles of 90° and more, limbs held stock still while balancing on their toes, in bodies mathematically maintained in a state that contains absolutely not an ounce of fat but can sustain two or three hours of jumping and running around.
And then the female dancers add to all this by putting their entire weight on the points of their toes, feet bruising and bleeding, nails cracking, and the male »
What makes a great drummer?
That's the question asked by Whiplash, which was up for Best Picture at the Oscars (although ultimately, as you more than likely know, didn't prevail). Damien Chazelle's thriller - easily the most exciting (and horrifying) account of music practice in cinema history - goes head to head with Birdman, another percussion-heavy flick. While the two share an instrument, though, their answers to that question couldn't be more different.
For Whiplash, it mostly seems to boil down to one thing: how quickly can you drum? The opening track of the album makes that clear, as we hear a snare drum banged repeatedly by Andrew (Miles Teller), faster and faster. "Can someone clean the blood off my drum kit? »
4 items from 2015
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