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Harry Belafonte gave one of the all-time great acceptance speeches at Saturday night’s Governors Awards, citing Hollywood’s often-shameful power to influence attitudes, and challenging the heavy-hitters in the room to instead create works that allow global audiences “to see the better side of who we are as a species.”
The performer, receiving the Jean Hersholt Humanitarian Award, pulled no punches, and his words were all the more effective because of the soft, even tone in his voice and the cautious optimism that concluded his speech.
The occasion was the sixth annual Governors Awards, at the Ray Dolby Ballroom at Hollywood & Highland, an annual gathering that always mixes a celebration of Hollywood’s past, some words of encouragement to the room’s artists, and a heavy dose of awards-schmoozing.
- Tim Gray
Original Score – Feature Film Alexandre Desplat – The Imitation Game Antonio Sanchez – Birdman Jóhann Jóhannsson – The Theory of Everything Hans Zimmer – Interstellar Steven Price – Fury Thomas Newman – The Judge Trent Reznor »
- Sasha Stone
“This will not be a waste of your time,” wrote an anonymous man in an encrypted email to documentary filmmaker Laura Poitras. The person sending her the message had liked her prior documentaries, My Country, My Country and The Oath, about the state of post-9/11 American life, and could trust that Poitras would keep his messages confidential and not reveal them to the authorities – especially since the director had been placed on a watch list as a result of her earlier, critical films. The person sending her messages also turns out to be a soft-spoken twenty-something from a North Carolina military family named Edward Snowden. Although he prefers it if you call him Ed.
Snowden signed these emails Citizenfour, which is also the title of Poitras’s new documentary. Many years from now, Americans curious enough to peer back to this era of paranoia will be thrilled to have a film like Citizenfour available, »
- Jordan Adler
Trent Reznor and Atticus Ross will talk about their work on the score for David Fincher's Gone Girl, Reznor's work with Nine Inch Nails and more as part of the keynote Q&A at the 2014 Billboard/Hollywood Reporter Film & TV Music Conference on Wednesday. Read more Trent Reznor: An Oscar Nom Is Better Than a "Bullshit" Grammy You can watch the livestream here of the chat, moderated by Shirley Halperin, Hollywood Reporter and Billboard music editor, starting at 11:30 a.m. Pt. Reznor and Ross worked together previously on the scores for The Social Network and Girl With the Dragon Tattoo. The music in The Social Network earned Reznor an Academy Award,
- Elias Leight, Billboard
Michael Stevens for 'The Good':
Actor Tyler Perry is audience-friendly as smug, smiling attorney 'Tanner Bolt'.
Actress Kim Dickens seems a natural as the reassuring and professional 'Detective Rhonda Boney' .
Actress Emily Ratajkowski stole my heart as the luscious and needy mistress 'Andie Fitzgerald'.
Graf Orlok for 'The Bad':
Michael, I agree that actress Emily Ratajkowski ("Blurred Lines") is a sweet surprise in this film.
But sorry gang, »
- Michael Stevens
“Gone Girl” (Fox)
“Disarming” was the watchword for Trent Reznor as he scored “Gone Girl.” The music often lies about what’s really happening, much like the film’s central couple — before the truth eventually erupts like a violent geyser.
The Oscar-winning Nine Inch Nails frontman and his regular collaborator Atticus Ross approached the film with the same unorthodox method as their previous collaborations with director David Fincher, splashing up “swatches” of conceptually divined colors they then painted into place.
The canvas for this tale of murder and suspicion beneath the facade of a happy suburban marriage called for a corresponding musical facade — taking inspiration from the inauthentic Muzak found in clinical settings.
“That translated into something that felt disarming, that felt like a saccharine-sweet false presentation of ‘everything’s going to be Ok,’ with an undercurrent of ‘everything’s definitely not Ok,’ ” Reznor says.
- Tim Greiving
This story first appears in the Nov. 14 issue of The Hollywood Reporter magazine. The score for Gone Girl is the third collaboration with director David Fincher for Nine Inch Nails frontman Trent Reznor and English composer Atticus Ross. They began with scoring The Social Network in 2010 — for which they won an Oscar and a Golden Globe — then went directly to work on The Girl With the Dragon Tattoo. For Gone Girl, Reznor and Ross — who will participate in the conference's keynote Q&A on Nov. 5 — worked during a break in Nin's world tour, creating
- Joe Levy
It's been a while since I caught up with Trent Reznor. Since we last spoke he's won an Oscar for composing (with Atticus Ross) David Fincher's "Social Network" score and gone on to collaborate with the director on "The Girl with the Dragon Tattoo" and "Gone Girl." He's also somehow found time to put out a new Nine Inch Nails album and knock out a few tours, though at a recent Las Vegas show he announced that this recent jaunt with Seattle band Soundgarden would be his last for a long time. Is he refocusing and doubling down on his efforts in the world of film music composition? Maybe. Funnily enough, we were speaking on Tuesday, which happened to be a day after Nin's debut album "Pretty Hate Machine" celebrated its 25th anniversary (Oct. 20, 1989), which by anyone's measure is just bonkers to consider. "Head Like a Hole" is a 25-year-old song? »
- Kristopher Tapley
Trent Reznor and Atticus Ross will deliver the Keynote Q&A at the 2014 Billboard + Hollywood Reporter Film & TV Music Conference, taking place on Nov. 5 and 6 in Los Angeles. The two collaborators will discuss their most recent work on the score for Gone Girl. The Hollywood Reporter and Billboard music editor Shirley Halperin will moderate. Gone Girl is the third partnership between Reznor and Ross and director David Fincher, following Girl With the Dragon Tattoo and The Social Network, for which Reznor and Ross won an Academy Award and a Golden Globe. “Each year, we look forward
- Phil Gallo, Billboard
If you didn’t know better, you’d think that Laura Poitras’s "Meet Edward Snowden" documentary Citizenfour was an avant-garde paranoid conspiracy thriller. Hold on, it is an avant-garde paranoid conspiracy thriller. It opens with a blurry tunnel; winking monitors scrolling metadata plucked from Americans’ emails; images of huge, futuristic, otherworldy government surveillance centers; encrypted communications — flurries of characters — that resolve into edgy cyberdialogues between the National Security Agency whistleblower and the filmmaker; and, finally, exacting exchanges between Snowden and journalist Glenn Greenwald high up in a blankly modern Hong Kong hotel, which might or might not be bugged. The music by Trent Reznor and Atticus Ross is like malignantly buzzing wires that eat into your cerebral cortex.The narrative is relatively straightforward. Poitras explains in voice-over that in the summer of 2013, she received a communiqué from a man calling himself “Citizenfour,” who also asked her to alert Greenwald »
- David Edelstein
In this year's New York Film Festival there were two gripping thrillers, both receiving their world premieres at the festival, and, intriguingly enough, both featuring moodily effective scores by Trent Reznor and Atticus Ross. One was David Fincher's novel adaptation Gone Girl and the other was Laura Poitras' documentary Citizenfour; the former fictional, the latter very chillingly real. And although it's likely that Citizenfour ultimately won't reach nearly the amount of viewers that Gone Girl will, it is Poitras' film that is essential viewing for anyone even the least bit concerned about the erosion of civil liberties and individual privacy that has occurred steadily since the Sept. 11 terrorist attacks in the U.S. The changes in America post-9/11 have been the overarching subject of Laura Poitras'...
[Read the whole post on twitchfilm.com...]
In 2010, David Fincher reaching out to the frontman from Nine Inch Nails felt like a 90s reunion, a fan casting list straight out of BuzzFeed’s nostalgia machine. In hindsight, Trent Reznor and longtime collaborator Atticus Ross created something far more dour and steely than “The Facebook Movie” in their score for The Social Network and now two of them have golden statues to show for it. In hindsight, it seems like an inevitable collaboration between a director who found his start music videos and two of the most influential voices in music over the last quarter-century. Toss in table scraps from Fincher’s CGI-consumed Panic Room in a 2005 video for “Only,” and yeah, crazier things have happened.
Fast forward four years, dozens of awards nominations, critical acclaim and a follow-up in The Girl With the Dragon Tattoo, and Reznor and Ross have revealed a ghostly, garbled compositional style influenced »
- David Klein
Trent Reznor’s film scores for David Fincher (done in collaboration with Atticus Ross) are famous for turning the noises of modern American life into jagged, dystopian soundscapes, with Reznor’s buzzes and bloops mirroring Fincher’s tales of a society gone rotten. But can you tell the music apart from its inspiration? Take our Trent Reznor quiz below and try to guess if the noise you’re hearing came from one of Reznor’s scores or a modern household appliance. Every time you get one wrong, imagine this face glaring at you. »
- Nate Jones,Abraham Riesman
Seamless and as darkly riveting as any John le Carré or Graham Greene thriller, Laura Poitras’ Citizenfour puts an indelibly human face on Nsa whistleblower Edward Snowden, while ripping away any mask of pretense that the most massive and sophisticated breach of privacy in American history had grounding in reality, let alone the law.
Almost defiantly avoiding most of the technological gimcrackery we’ve come to expect in advocacy filmmaking, and rushed to completion (though never looking it) in time for its world premiere last night at the 52nd New York Film Festival, Citizenfour is likely to open the eyes — not to say change the minds — of doubters who would like to see Snowden tried for treason.
It’s a devastating account of how 9/11 was used to justify the abrogation of civil liberties on an unimaginable, even global scale as the National Security Agency spread a metastasizing net to intercept »
- Jeremy Gerard
The Hollywood Music in Media Awards (HMMAs) have announced the nominees in the Visual Media categories.
Showcasing the best and brightest in musical creation for visual media, the 5th Annual Hollywood Music in Media Awards (HMMAs) will be held at The Fonda Theater in Hollywood on Tuesday, November 4, 2014.
The 2014 HMMAs welcome back celebrity hosts including Oscar nominated actor Eric Roberts, former Matchbox 20 member Adam Gaynor, acclaimed Director/Writer/Producer Andy Fickman and Earth, Wind & Fire’s Verdine White. A portion of the proceeds will benefit Education Through Music – Los Angeles (Etmla). Honorees, performers, and special guests to be announced.
The field of entrants were narrowed down to final nominees by the Hmma advisory board and selection committee. The winners will be voted upon by music-media industry professionals comprised of select members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations, »
- Michelle McCue
Somehow over the years the Hollywood Music in Media Awards have escaped me. The event's fifth annual slate of nominees were announced today, and it's a pretty standard assortment of names we've been considering at the forefront of this year's Best Original Score Oscar race, from Trent Reznor and Atticus Ross to Hans Zimmer to the ubiquitous Alexandre Desplat. The nominees were chosen by an "Hmma advisory board and selection committee," and winners will be voted upon by "music-media industry professionals comprised of select members of the Society of Composers and Lyricists, The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations, film music journalists and music executives," according to the press release. You might raise your eyebrow at something like "Interstellar" being on here when it hasn't been screened for these purposes (or much at all, for that matter). The nominations are also based on hearing music via »
- Kristopher Tapley
Stars: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, David Clennon, Lisa Banes, Missi Pyle, Emily Ratajkowski, Casey Wilson, Sela Ward | Written by Gillian Flynn | Directed by David Fincher
When you control perception you control reality. You become a submerged rudder that secretly steers opinion to your desired location, while society is unaware that their destination was predetermined by an outside source. David Fincher’s latest film Gone Girl emerges itself in the gratuitous glory of playing with this idea. Fincher has crafted a well-dressed B-movie that takes hitchcockian thrills and adds the right pinch of social commentary. Gone Girl is a mystery thriller in every sense of the word, but it doesn’t stop there—it is clearly after more.
- Dan Clark
With "Gone Girl" in theaters, your ears are being treated to yet another untraditional feat of film music composition from Trent Reznor and Atticus Ross. It's their third collaboration with director David Fincher, and maybe their most intriguing. We talked to Reznor recently and hope to go even deeper on the work later in the season, but for now, let's consider the tradition his and Ross' contribution joins. From the moment sound and image collided in cinema, the entire medium was on a crash course with popular music. Soon enough, merely using pre-existing songs transitioned to filmmakers tapping musical acts, rock or otherwise, for actual score composition. The lineage is rich and intriguing and, more to the point, ever evolving (witness Jay Z's collaboration with Baz Luhrmann on "The Great Gatsby" last year). With Reznor and Ross' latest work in theaters, and with other individuals like Mark Mothersbaugh, Jonny Greenwood »
- Kristopher Tapley
David Fincher is a fantastic director who has spent most of his career making movies I don’t particularly care for. Not because they’re bad but just because I’m not interested in the story he’s telling. I wasn’t interested in The Social Network, I had no patience for The Curious Case of Benjamin Button, and I never quite got swept in the madness for The Girl with the Dragon Tattoo. Panic Room was the last film that I was truly excited for and even then I waited for it to be on cable. I’m back in the fold in a big was now though, Gone Girl is an exceptional film and a worthy kick-off to awards season.
First and foremost, a director is responsible for getting the best performances out of his actors and the performances in Gone Girl are superb all the way around. »
- Arthur Tebbel
New York — Trent Reznor might still be slightly uncomfortable with this whole movie composer thing. Even after earning an Academy Award and a Grammy Award with Atticus Ross for their "Social Network" and "Girl With The Dragon Tattoo" scores, respectively, it's clear this was not a career path he imagined transitioning into. The 49-year-old musician best known as the face of the industrial rock band Nine Inch Nails has David Fincher to thank for this unexpected bounty and now Reznor and Ross have re-teamed with the iconic director for his latest critically acclaimed thriller, "Gone Girl." Speaking to HitFix the day after the film opened the New York Film Festival in last month, Reznor described his film scoring career as "incredibly rewarding" and admitted he was initially intimidated when they began working on "The Social Network." The process since that Best Picture nominee hasn't changed much. Like many filmmakers, Fincher »
- Gregory Ellwood
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