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Melissa Maerz: Jeff,
When the Emmy nominations were announced this morning, I was sitting at my desk, shouting, “Hodor! Hodor! Hodor!” Game of Thrones dominated with 19 nominations! Hot pie for everyone! I’d quibble with the fact that Noah Hawley’s fantastic update of Fargo didn’t get a best drama nod, especially since it was the runner-up with 18 nominations, and The Good Wife was unjustly ignored in that category, coming off its best season ever—it might be the only network drama that I truly loved—but the rest of the list was pretty solid. Among the smartest choices »
- Melissa Maerz
We’re delighted to announce that Miramax and Park Circus will give two world premiere screenings of Paul Thomas Anderson’s Academy Award-winning There Will Be Blood at Camden’s Roundhouse, alongside Jonny Greenwood’s score performed live by the London Contemporary Orchestra, conducted by Hugh Brunt.
The shows are on the 6th and 7th August, with tickets are on sale now for what sounds like a tremendously unique event that’ll draw together an orchestra of over 50 musicians, including Jonny Greenwood himself, who will play the Ondes Martenot section. His work as a film composer includes Bodysong, We Need To Talk About Kevin, Norwegian Wood and The Master.
The London Contemporary Orchestra have been performing Greenwood’s orchestral works since 2008, and in 2012 recorded that unforgettable score for The Master. I’ve got full confidence for an amazing screening and not only because of the talent involved, but also having »
- Dan Bullock
Film scores aren't just for playing in the background any more. Ivan looks at how they're taking centre stage...
Film soundtracks have always been a strange medium. The music relies on movies for their full meaning. They're so integral to a film and its mood that to listen to them away from the big screen can seem strange to many. Others, meanwhile, take the chance outside of the cinema to pore over them in detail, or use them for background music while running or working (How to Train Your Dragon's on now, if you're wondering). It's only in recent years that another way of listening to them has become popular again: with your eyes.
Do a quick Google for "film with live score" and you'll discover a whole heap of events currently happening around the UK in which orchestras accompany a screening. Why the sudden trend? Is it »
(Cbr) If you ever wondered how actor Clark Gregg prepared himself for Agent Coulson’s death scene — or, rather, “death” scene — in "The Avengers," you only need to listen to Kcrw’s “Guest DJ Project.” Hint: It’s music, but any additional information is probably above your clearance level. For this week’s episode of the Los Angeles radio show, the star of Marvel’s "Agents of S.H.I.E.L.D." compiles a track list that includes Parliament-Funkadelic’s “Give Up the Funk (Tear the Roof Off the Sucker),” Public Enemy’s “Caught, Can We Get a Witness” and Radiohead’s “Go to Sleep.” “I find that when I have powerful or emotional scenes, that really the kind of doorway into that stuff is a playlist,” he explains. “And I have one called ‘Dropping In’ on my phone that I have to get some headphones that really fill my ears and blast some stuff, »
- Kevin Melrose, Comic Book Resources
“Austin City Limits” is humming an interesting tune: The PBS musical staple is about to celebrate its 40th anniversary with a landmark two-hour TV special. Yet its top producer sees a day when digital transmission of video and audio plays a significantly greater role in how the show operates.
“The day may come when as many or more people will be watching our show online as will be watching it on TV,” said Terry Lickona, the show’s longtime producer. “Acl,” as it is often called, has already begun streaming its taping sessions, which often make it to television in edited form six months later. “It’s difficult to experiment, but I think that sense of immediacy and immediate gratification is something people want to experience, and so why not make that possible?” Even so, he acknowledged, PBS “is our home base, and hopefully always will be.”
With that in »
- Brian Steinberg
A film we're already touting as a possible Best Picture nominee, Paul Thomas Anderson continues to keep the veil tightly closed on his forthcoming "Inherent Vice." We do know that the movie is deep in post-production, with Jonny Greenwood having already completed recording his score, but we reckon just as he did with "The Master," PTA is taking his time, showing the film to close friends and colleagues and making sure everything is just the way he wants before he shows it off to the world. And while a December 12th release is already slated, unless you're in the lucky places that get that limited release opening, you'll be waiting until 2015 to see this one. Box Office Mojo reveals that Warner Bros. won't put "Inherent Vice" into nationwide expansion until January 9, 2015 where it will be up against "Taken 3" and the comedy "Kitchen Sink." The news isn't a huge shock and »
- Kevin Jagernauth
Comics Alliance a brief very selective snapshot of Spider-Man convoluted history
Mnpp says good morning to Rami Malek (The Master, Short Term 12). What do you make of him? I haven't yet formed an opinion. No discernible projected persona yet though that could well be an advantage at this early stage of his career.
/Film Joe Quesada talks about planning for binge-watching in series construction with Marvel's Daredevil series (due in 2015)
Playbill because all big 80s and 90s movie hits will eventually become stage musicals (only 107 left to go), 2015 will bring us Bull Durham. If it's any good expect whoever plays Annie Savoy to win the Tony like Susan Sarandon shoulda »
- NATHANIEL R
One month after Radiohead guitarist Jonny Greenwood plays his sinewy score for There Will Be Blood for the first time ever, in London, he will perform the soundtrack live in New York City. Teaming with Wordless Music Orchestra, a New York band comprised of more than 50 musicians, Greenwood will play an early 20th Century amplified keyboard, the ondes Martenot, as the film plays on a 50-foot movie screen in the United Palace Theater; the Wordless Music website claims it's the second-largest movie screen in the city. The performances are scheduled for September 19th and 20th, »
While Jon Brion and Michael Penn wrote some terrific film scores for Paul Thomas Anderson over the years ("Magnolia," "Punch Drunk Love"), it’s now fairly difficult to separate the filmmaker from his Jonny Greenwood-penned scores only two films deep into their collaboration. Greenwood obviously scored “The Master” and the upcoming “Inherent Vice,” but it all started with the Daniel Day-Lewis-starring “There Will Be Blood” that PTA saw as a type of horror. “We talked about how [Kubrick's] 'The Shining' had lots of Penderecki in it,” Greenwood told EW in 2008. “We figured the instruments should be contemporary to the turn of the last century, but not period music. Even though you know the sounds you're hearing are coming from very old technology, you can do things with the classical orchestra that unsettle you, that are slightly wrong, that have some kind of slightly sinister undercurrent.'' Anderson »
- Edward Davis
Three years into its existence, Wme’s Music for Visual Media Dept. is trumpeting major successes for its newbie composers, from Alex Ebert’s Golden Globe win for “All Is Lost” to Junkie Xl’s “300: Rise of an Empire” and “Divergent” scores, to the maestros behind three consecutive top winners at Sundance.
Has it changed the composer representation landscape? The verdict is still out.
If anything, it’s the film-scoring landscape itself that has changed, and Wme is taking advantage of it with its overall deep client base of artists and performers interested in making music for movies.
In early 2011, William Morris Endeavor CEO Ari Emanuel invited Amos Newman — whose experience included 15 years at record labels and four years at film-music-focused Gorfaine/Schwartz Agency — to head up the new department.
Some competitors considered »
- Jon Burlingame
It’s a cruel world. If you didn’t already know this, just check out the “first look” at Inherent Vice from Paul Thomas Anderson. The image of Joaquin Phoenix as burnout SoCal detective Doc Sportello, created by Thomas Pynchon in the novel of the same name, is teeny-tiny. (It’s not unlike our first real look at […]
- Russ Fischer
What’s difficult about making this list is finding a balance between a successful Kubrickian film that either predates or pays homage to Kubrick and, for lack of a better term, is a ripoff. Now that we’ve hit the apex, it’s clear that these are, regardless of influence, quality films. What sets them apart is their ability to evoke Kubrick’s greatness (or inspire it), while delivering a stand-alone masterpiece. If Kubrick took the helm for any of these films, the result wouldn’t delineate too much. Still. Kubrick is a genius because he always kept us guessing.
courtesy of theweeklings.com
10. Fitzcarraldo (1982)
Directed by Werner Herzog
What makes it Kubrickian? It’s a film about extreme obsession and the unreasonable lengths a man will go to when consumed by it. Fitzcarraldo is the story of Brian Sweeny “Fitzcarraldo” Fitzgerald (Klaus Kinski) and his entry into the rubber industry. »
- Joshua Gaul
It is hard to think of a filmmaker today whose work is as excitingly original as Paul Thomas Anderson’s. For the second time in his career, the director is adapting an ambitious work of fiction: Thomas Pynchon’s dark mystery Inherent Vice. However, similar to how the writer/director used Upton Sinclair’s Oil as a loose foundation for There Will Be Blood, Inherent Vice will stray quite a bit from its source material, according to star Josh Brolin.
In a chat with Ireland’s Independent, Brolin revealed that the film is quite different from the novel. “We took it I think in a direction that the book doesn’t necessarily go, hoping it will work,” he said. Pynchon’s novel received a mixed critical reception when it came out in 2009, with some citing is a failed attempt to merge the tropes and atmosphere of pulp fiction with the »
- Jordan Adler
This bold, flawed and admirably out-there adaptation of Michel Faber's 2000 novel about an extraterrestrial stalker opens with a pinpoint of light that may be a distant twinkling star or an approaching headlight – it's impossible to tell. From here we move, via kaleidoscopic invention, to an image of an eye; a constructed gaze, human on the outside, alien on the inside – inner space from outer space. With a brilliant blend of abstraction and precision, this sequence establishes a tension between the intergalactic and the earthly that underwrites the subsequent narrative; an eerie tale of a space traveller inhabiting human form, prowling the streets of Glasgow in search of raw flesh.
As the alt/indie descendant of Natasha Henstridge in Species, Scarlett Johansson is initially predatory, her clipped English vowels and thousand-yard stare effectively suggesting an imitation of life, »
- Mark Kermode
As stars continue to be inspired by the movie almost 20 years on, we take a fond look back at the cast and what they went on to do after Clueless:
Alicia Silverstone (Cher Horowitz)
Prior to Clueless, Silverstone's credits included ABC comedy-drama The Wonder Years and a number of Aerosmith videos. The film propelled her to further fame, and she went on to star in Joel Schumacher's 1997 movie Batman & Robin, crime-comedy Excess Baggage (1997) with Benicio Del Toro and Christopher Walken, and romantic drama Blast from the Past (1999) opposite Brendan Fraser. »
Well, this should be interesting. Not “Saturday Night Live” itself, which I imagine will rebound quite nicely from last week’s fairly disastrous show. Rather, I mean reaction to Lena Dunham, who inspires more conversation than almost anyone else on television, all of which can be accurately described as “passionate.” Dunham, and her HBO “Girls,” seems to touch a nerve unlike anything else in current popular culture, to the point where any rationale online discussion of either seems as likely as my mother waking up tomorrow and suddenly understanding the concept of cloud computing. We’ll see how much “SNL” leans into this whirlwind surrounding Dunham, and how much both the show and the actress try to move away from Hannah Horvath and into other comedic avenues. Jim Parsons declared he was “Not That Guy” in last week’s monologue, but then deployed a bunch of Sheldon Cooper-lite characters throughout the show. »
- Ryan McGee
Director: Paul Thomas Anderson
Writer: Paul Thomas Anderson
U.S. Distributor: Warner Bros.
Arguably among the top five American auteur filmmakers who works on the larger scale, Paul Thomas Anderson has proved once before (with Punch-Drunk Love) that he is comfortable working in comedy. The massive ensemble, presence from composer Jonny Greenwood and cinematographer Robert Elswit ensures another all-round quality effort.
Gist: Based on the Thomas Pynchon novel and set in Los Angeles in 1970, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.
Release Date: December 12th. A major festival play date is possible, but not obligatory.
More Top 200 Most Anticipated Films of 2014 Top 200 Most Anticipated Films for 2014: #18. Christophe Honore’s MetamorphosesTop 200 Most Anticipated »
- Eric Lavallee
The 2013 awards race will finally come to a close on Sunday with the Academy Awards, so naturally there's no time to waste when it comes to looking at Awards Season 2014. Paul Thomas Anderson's last two films, There Will Be Blood and The Master, both racked up multiple nominations, and Warner Bros. is angling for his next movie, an adaptation of Thomas Pynchon's detective novel Inherent Vice, to do the same. The studio has set Inherent Vice to open on December 12th. Currently, its competition will be Ridley Scott's biblical epic Exodus and the family movie Paddington. I'm curious to see if Warners plans to run Vice through the festival circuit before its theatrical release. Hit the jump for more on Inherent Vice and release dates for Entourage and The Intern. Inherent Vice takes place in 1969 Los Angeles, and centers on a pothead/private detective Larry “Doc” Sportello »
- Matt Goldberg
Radiohead axeman Jonny Greenwood may have just finished recording the score, and the film is in post-production, but as per usual, Paul Thomas Anderson isn't rushing to get his latest out in the world. Warner Bros. has set a December 12, 2014 release date for "Inherent Vice," the Thomas Pynchon adaptation, that tells a 1970s Los Angeles-set story about inept, pot-smoking private detective Doc Sportello as he investigates the case of a kidnapped girl, who also happens to be one of his ex-girlfriends (incidentally, we place it right at the top of our Most Anticipated Films Of 2014 list). The cast for this one is bonkers with Joaquin Phoenix, Benicio Del Toro, Owen Wilson, Reese Witherspoon, Josh Brolin, Martin Short, Jena Malone, Kevin J. O'Connor, Katherine Waterston, Timothy Simons, Peter McRobbie, Sasha Pieterse, Joanna Newsom, Maya Rudolph and Eric Roberts all with roles big and small. Of course, the next burning »
- Kevin Jagernauth
Paul Thomas Anderson's "Inherent Vice" is one step closer to being finished, and we'll let Radiohead guitarist Jonny Greenwood explain: "I finished recording a soundtrack last week for Paul Thomas Anderson's next film 'Inherent Vice.' We recorded with the Royal Philharmonic Orchestra, led by Clio Gould—they were fantastic," he told Sinfini Music. So, hooray for that. But could PTA already be brewing another film? Well, Scott Rudin—producer on "There Will Be Blood"—has teased he has another project in the pipeline with the director. Doing an awards season interview with Deadline (via Cigarettes & Red Vines), the producer said in passing, "I think we are a good frontline for the filmmakers we work with, and we’ve had a lot of success being that. I’m really proud of that. This is our third movie with the Coens, we just made our fifth with Wes Anderson, »
- Kevin Jagernauth
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