17 items from 2017
Ray Bradbury adapted to the screen is always something to check out; this Jack Smight- directed trio of stories bound together by a mystery man wearing the graffiti of the title at least works up a little ethereal-cereal excitement. Husband and wife Rod Steiger and Claire Bloom spout ominous dialogue as they face various futuristic threats.
1969 / Color / 2:35 widescreen / 103 min. / Street Date September 19, 2017 / available through the WBshop / 21.99
Cinematography: Philip H. Lathrop
Art Direction: Joel Schiller
Film Editor: Archie Marshek
Original Music: Jerry Goldsmith
Directed by Jack Smight
Ray Bradbury must have had some frustrating times as a screenwriter, although the three times I saw him in person he never »
- Glenn Erickson
War for the Planet of the Apes review, Andy Furlong.
The Planet of the Apes franchise has always managed to merge socio-political issues with gripping scintillating sci-fi from the very beginning. While the Franklin J. Schaffner original released one year before the moon landing and during the height of the Cold War conflict grappled with space exploration and the sense of impending nuclear doom that was etched in the societal psyche at the time. It still managed to craft these themes into a story that, although was influenced by these elements, they still felt secondary to a plot that had the power to capture the imagination of the viewer whether you were aware of these components or not. »
- Andy Furlong
Ryan Lambie Jul 7, 2017
To tie in with the Into The Unknown exhibition, on now at London's Barbican, we look at how sci-fi has become a major cultural force...
It's not always easy being geeky. The celebrated genre writer Ray Bradbury knew this all too well; as a kid growing up in the 1920s and 30s, he was intoxicated by all things otherworldly and imaginative: classic horror movies, pulp sci-fi stories about Mars, comic strips detailing the exploits of Buck Rogers. Eventually, Bradbury's peers teased him mercilessly, until, in a bid to fit in, he ripped his Buck Rogers comics to shreds. But far from helping the young Bradbury draw a line under his obsessions, the destruction of his beloved comics left him feeling unhappy and soulless.
• Guardian Great interview with Holly Hunter about The Big Sick and her career. (People are already mentioning "Oscar nom!" in regards to her supporting work as Zoe Kazan's mother in the romantic comedy)
• Pajiba on what the new Defenders posters might remind you of
• Screen Crush picks the 25 best Lgbt films of the past 25 years. Happy to see Pariah and Bound mixed in with the usual titles like Brokeback Mountain and such. And the past few years have been so good for Lgbt cinema. I mean: Carol, The Handmaiden, Moonlight, Tangerine. #Blessed
• Esquire Fun article by Tyler Coates on how he finally learned to love RuPaul's Drag Race which he had avoided for years and even bad-mouthed in print
• Theater Mania you don't see this often but there's an actual age restriction on the Broadway adaptation of George Orwell's "1984". No one under 13 will be admitted due to its intensity. The show stars Tom Sturridge, Reed Birney, Olivia Wilde, and Tfe fav Cara Seymour (who previously did that lovely guest spot for us). I'm seeing it soon so will report back.
• IndieWire has issues with the "orientalism" of the new Twin Peaks. Add this to the onling Sofia Coppola controversy and... well... People I don't know what to do with all the outrage anymore at everything. There's got to be a line where, as an adult, you're just okay with what you're seeing and discarding the parts that irk you, or filing them under "I don't know about that but whatever" if they're not harmfully intended. Artists will always have their own peculiar obsessions and they'll always draw from a wide variety of influences (at least the good ones will) to craft their own stories and nobody really owns history; pop culture and the arts are giant beautiful melting pots of ideas and aesthetics from all over the world. Oh and also the Laura Dern hairstyle is not proprietarily Asian as the article seems to imply. I know this because I was obsessed with silent film star Louise Brooks as a teenager (Pandora's Box & Diary of a Lost Girl 4ever!). It was originally called the 'Castle Bob,' because Irene Castle (a famous NY dancer) debuted the then-shocking look in 1915. It was a very controversial look but became a sensation in the 1920s with flappers and silent film stars. Hollywood's first popular Asian American actress Anna May Wong, who the article references as an influence on Dern's look, actually had to get her hair cut like that because it was so popular.
Hilarious Reads and I Personally Needed the Laughs. You?
• The New Yorker "Tennessee Williams with Air Conditioning"... *fans self* I was cackling so loud by the end of this. Best article in forever.
• McSweeneys "11 Ways That I, a White Man, Am Not Privileged" Oops. Hee!
• Buzzfeed "25 Gay Pride signs that will make you laugh harder than you should" - so many of these are so wonderful I just want to hug all gay people for being funny and able to spell
• McSweeneys "An Oral History of Quentin Tarantino as Told to Me By Men I've Dated"
What places are delivering right now? So, in the early ’90s, right around when Pulp Fiction came out, Quentin Tarantino and Mira Sorvino were dating. I always thought Romy and Michelle’s High School Reunion was a dumb chick flick, but I caught part of it on cable the other day and there was an ad for Red Apple cigarettes in the background of one of the shots! Do you know about Red Apple cigarettes? »
- NATHANIEL R
Anne with an E, based on the popular Lucy Maud Montgomery novel Anne of Green Gables, recently premiered on Netflix with some initial hesitation from critics, which stemmed from the uncertainness of how the famous tale was going to be reimagined. Once critics and fans had a chance to indulge in the entire season of Moira Walley-Beckett’s version, now with a rating of 86% on Rotten Tomatoes, they understood that she was just trying to tell her version from the subtext of the novel, more in between the lines. Vanity Fair went on to say, “The interplay between Anne’s dark and light sides makes for a fascinating update.” Assisting Moira in successfully bringing this adaptation to life were Toronto based composers Amin Bhatia and Ari Posner, whom describe their score for the show as Maritime/Celtic on one hand but classical and dramatic on the other. We decided to speak with Bhatia and Posner about musically bringing this beloved Canadian tale to the small screen and what their process was like.
Did you end up with a specific sonic palette to continually draw from for Anne with an E, or did the sound of the show simply keep evolving and expanding as you continued working on it?
We started with a particular sonic palette but as each episode completed editing, everyone in post-production would refine and develop styles and ideas that would extend that palette in all areas: music, sound design, dialogue and mixing.
Did you all work with the Anne with an E sound designers at all? If so, what was your relationship/interaction like?
The show is very intimate and organic. It takes a lot of care and coordination of music, sound effects, dialogue and mixing to support the story without getting in the way of it or of each other. So yes, we were all in constant communication and we all worked together deciding who covers what and when. The famed team Sound Dogs handled the sound design aspects and they were literally down the hall from our studios. Between them and Technicolor’s re-recording mixers Alan DeGraaf and Tom Murray, we all worked together in “building the barn.”
What was the most challenging scene in season 1 for you all to score and why?
Amin – It’s never the one you expect. Some cues you feel will be a challenge and they come together easier than you thought. But others prove to need several rewrites till it works. A scene where Matthew goes to town to buy Anne a dress inspired me to write a waltz for piano and fiddle but repeated tries were just not “masculine” enough for the scene. I had written the cue for Anne when it should have been for Matthew. Finally I had to abandon it and go with French Horn using flute as a small counter-melody. Even then I had too many layers going and we were running out of time. Huge thanks to mixer Alan DeGraaf for helping simplify it by carving out the basic elements and muting others in the final mix. Again proving the old adage that “less is more”.
Ari – I did many rewrites on a sequence where Matthew brings back a new dress for Anne and she walks into her room and sees it for the first time. The showrunner described it to me as if Anne were seeing the sun for the first time in her life…she has never received a gift even remotely as beautiful as this. It was quite a long sequence and I kept taking it to a more touching emotive place rather than joyous…I’m not quite sure why…it was just instinctual. In the end I pulled it all apart and improvised a piano sketch that covered most of the scene. Then with some tweaking and the addition of strings and tin whistle, the cue finally took shape…and just in time too!
What is great about your score is sometimes it is very minimal, yet powerful. Like in episode 2 when Anne arrives back to the house and walking upstairs looking at everything. Was your initial strategy that less is more or did it just end up working out this way?
This was definitely the kind of show where less is more. In many cues the rewrite would be to take out the countermelody or simplify the number of instruments playing at the same time. That particular scene for Anne arriving has motifs and textures from both of us. As Anne walks back into the house music is very solemn with some Celtic overtones, then when she goes upstairs and sees her room we change the music to a more magical ephemeral texture for her sense of wonder.
What would you say the main benefit is to having two composers scoring Anne with an E?
First there’s a practical benefit in that there are two of us to handle the show’s deadlines. We divide up the music workload by storyline and we each handle different parts of the organizational aspects, like meetings, scheduling and emails. When one is deep in writing cues, the other deals with emails and organizing things with production.
Secondly there’s a musical benefit in that each of us have a different style of writing but we overlap in our love for orchestral music and melody. So we’re constantly challenging each other with new themes and progressions that can be passed back and forth for development and variation. It keeps the bar high!
What’s the most important element of your studio? What’s your favorite instrument (real or virtual) to reach for?
It’s not any particular instrument. The most important element is the organization. You have to sort out the palette of instruments to use (and not use) in your computer and you have to ensure you have the right players for the real instruments. Then it all needs to be clear in your mind so that as you are composing and playing all the parts, you know every sound or player needed to write and can orchestrate the cues quickly.
Can you remember the first tv show you saw or the first moment where you actually recognized a show’s score?
Ari – As a kid I was quite captured by the songs and score to Mary Poppins and The Wizard of Oz. Of course, it was the songs I noticed first, but because the melodies were also woven into the fabric of the underscore, I started to take notice of the less obvious music as well.
Amin – When I was eleven years old I snuck downstairs to watch the TV premiere of Planet of the Apes while my parents were asleep. They we concerned it was too scary for me and they were right. I had nightmares for weeks about apes invading our house…but I was also banging away on the family piano trying to figure out all the motifs from Jerry Goldsmith’s amazing score.
Learn more about the composers here: http://aminbhatia.com/ http://www.arimusic.com/
Photo credit: Scott Murdoch »
Jerry Goldsmith was already a veteran film composer with numerous iconic scores under his belt by the time he was enlisted to work on Ridley Scott’s Alien (1979). He’d worked in radio and television through the 1950s, contributing music to classic shows such as The Twilight Zone (1959) and Perry Mason (1959) before making the move to film, writing scores for films as diverse in subject matter (and sound) as Stagecoach (1966) and Planet of the Apes (1968) in the 1960s and Chinatown (1974) and The Omen (1976) in the 1970s. Goldsmith’s rich orchestral scores for such films, which were informed and influenced by early 20th century modernist composers, are both experimental and economical in their use and development of thematic material. He explained, “What I really try to do is to take one simple motif of the material for the picture, and a broad theme, and construct it so they always can work »
When Joe Dante was asked about supporting the effort to secure a star on the Hollywood Walk of Fame for Jerry Goldsmith, the director – who had worked with the respected composer on nine films over 20 years – said he was “flabbergasted” to realize Goldsmith didn’t already have one.
On May 9, the Oscar- and Emmy-winning composer of such classics as “Chinatown,” “Planet of the Apes,” “Patton” and dozens more will receive his star, posthumously, on Hollywood Boulevard just east of Highland Avenue. Goldsmith died in 2004.
Few filmmakers would disagree. Paul Verhoeven, who did “Total Recall,” “Basic Instinct” and “Hollow Man” with Goldsmith, recalls: “Every film was a new adventure, as Jerry was able to adapt to the most diverse narratives and styles. He never repeated himself, always looking for new, »
- Jon Burlingame
Jacqueline Bisset’s in a heck of a fix. Her hubby Alan Alda has been seduced by promises of fame and fortune from creepy concert genius Curt Jurgens, and is responding to weird overtures from Curt’s daughter Barbara Parkins. The pianist’s mansion is stuffed with occult books, and he displays an unhealthy interest in Alda’s piano-ready hands. Do you think the innocent young couple could be in a diabolical tight spot? Nah, nothing to worry about here.
Kl Studio Classics
1971 / Color /1:85 widescreen / 115 min. / Street Date April 18, 2017 / available through Kino Lorber / 29.95
Starring: Alan Alda, Jacqueline Bisset, Barbara Parkins, Brad(ford) Dillman, William Windom, Kathleen Widdoes, Pamelyn Ferdin, Curt Jurgens, Curt Lowens, Kiegh Diegh, Berry Kroeger, Walter Brooke, Frank Campanella.
Cinematography: William W. Spencer
Film Editor: Richard Brockway
Original Music: Jerry Goldsmith
- Glenn Erickson
The Summer movie season is nearly upon us and with it come a bevy of blockbusters and smaller films looking to occupy your time. The Cinelinx team is eager to see what this Summer season will bring, and have banded together to discuss the films they’re looking forward to most. Come inside to check it out!
Next week, will see the launch of Marvel’s Guardians of the Galaxy Vol. 2, effectively signaling the start of the 2017 Summer movie season. As always, it’s a busy time and packed with films (both small and large) that we’re anxious to see. There’s a lot coming out this Summer, so our team here at Cinelinx decided to take the time to break down the Five films they’re most excited to see this Summer. It was tough to narrow down, but we also gave some quick reasons why certain »
- firstname.lastname@example.org (Jordan Maison)
When you think of a comic shop or a card store, you might think of the fans who shop there or the folks who run it and how they are so passionate about the things they love. Retail shops like these are always the epicenter for focused geek authenticity.
And when you think of Las Vegas, you might think of gambling, or partying, or glitzy entertainment. Vegas isn’t about deep or thoughtful enthusiasm about your passions, it’s about giving vihttp://www.comicmix.com/?p=109466&preview=truesitors a license to be enjoy the moment, and to be both indulgent and shallow without any guilt.
So it’s incongruous, in many ways, that over 400 of the nation’s card/comic shops attend the Gama trade show this past week in Las Vegas. For more than 20 years this event has helped connect, educate and motivate hobby stores. The Expo focuses on card games (Magic: The Gathering, »
- Ed Catto
“Thru the Time Barrier, 552 years Ahead… Roaring To the Far Reaches of Titanic Terror, Crash-Landing Into the Nightmare Future!” … and as Daffy Duck says, “And it’s good, too!” Allied Artists sends CinemaScope and Technicolor on a far-out timewarp to a place where the men are silly and the women are… very female. Hugh Marlowe stars but the picture belongs to hunky Rod Taylor and leggy Nancy Gates.
World Without End
1956 / Color / 2:35 widescreen / 80 min. / Street Date March 28, 2017 / available through the WBshop / 21.99
Cinematography: Ellsworth Fredericks
Makeup: Emile Lavigne
Art Direction: Dave Milton
Film Editor: Eda Warren
Original Music: Leith Stevens
Produced by Richard V. Heermance
Written and Directed by Edward Bernds
“CinemaScope’s first science-fiction thriller.”
First, huh? What about MGM’s CinemaScope attraction Forbidden Planet, which »
- Glenn Erickson
Woody Harrelson stars as Wilson, a lonely, neurotic and hilariously honest middle-aged misanthrope who reunites with his estranged wife (Laura Dern) and gets a shot at happiness when he learns he has a teenage daughter (Isabella Amara) he has never met. In his uniquely outrageous and slightly twisted way, he sets out to connect with her.
The movie had its World Premiere at the 2017 The Sundance Film Festival.
Fox Searchlight will release Wilson in theaters March 24, 2017.
Wamg invites you to enter for the chance to win Two (2) seats to the advance screening of Wilson on March 20th at 7Pm in the St. Louis area.
Answer the Following:
Woody Harrelson is starring in the third installment of the Planet of The Apes, entitled War For The Planet Of The Apes, directed by Matt Reeves. Additionally he directed, produced and starred in an unprecedented live feature film Lost In London in January »
- Movie Geeks
If you want to get technical Julian, it’s a city of Gorillas. Sometimes you just want to do something cool with your TV show and spend a bucket-ton of dough on the special effects; Attack on Gorilla City was just that. The wide forest landscape, the far away shot of Gorilla City, the tour of its arena and the crazy almost feature-film looking gladiator death match between the Flash and Solovar encompassed all of those things. It was truly a spectacle and from the looks of that extra scene at the end, next week is going to be no different. The Flash, by its nature, is special effects heavy but this episode more than others. Now, as we’ve »
- Jessie Robertson
This week's episode of The Flash ended with Jesse Quick arriving on Earth-1 looking for help following her father's kidnap. Now, the team will pay a visit to Earth-2 in order to rescue him, and there are Planet of the Apes jokes aplenty in this extended promo for "Attack On Gorilla City." We also get some new shots of Gorilla Grodd in action, and he's looking good in what looks to be his biggest appearance. What are you guys most excited to see in this instalment of The Flash? Let us know in the usual place. Barry And Team Travel To Gorilla City And Face Grodd – When Jesse Quick (guest star Violett Beane) informs the team that her father (Tom Cavanagh) has been abducted, Barry (Grant Gustin), Caitlin (Danielle Panabaker), Cisco (Carlos Valdes) and Julian (Tom Felton) voyage to Earth-2 on a rescue mission to save Harry from Gorilla City. »
Emma Watts has been promoted to vice chairman of 20th Century Fox Film, the studio announced on Thursday.
Watts will continue to serve as production president, a post she has had since 2007. The promotion clears up Watts’ status at the company, a position that was in question after Stacey Snider took over as its sole chairman last summer. Watts had been a key ally of ousted studio chief Jim Gianopulos. There were mutterings that she did not get along with Snider, and bristled at her management style, but any differences appear to have been resolved.
Fox said her promotion was effective immediately. Watts is seen as having strong ties to the creative community, and played a key role in bringing several Fox hits, such as “Kingsman: The Secret Service,” “Gone Girl,” and “Deadpool,” to the screen.
Dan Berger Tapped as Chief Spokesman for 20th Century Fox
In her new capacity, »
- Brent Lang
9 February 2017 9:00 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
On March 27, 1968, Fox brought Planet of the Apes to Los Angeles for its opening day at the Beverly Theatre, where moviegoers lined up "around the block" and grosses "smashed all opening day marks" at the location. The Hollywood Reporter's original film review is below:
By its appeal to both the imagination and the intellect within a context of action and elemental adventure, in its relevance to the consuming issues of its time, by the means with which it provides maximum entertainment topped with a sobering prediction of the future of human folly, 20th-Fox's release of Arthur P. Jacobs' production, »
- THR Staff
What a Way to Go!
Kl Studio Classics
1964 / Color B&W / 2:35 enhanced widescreen 1:37 flat Academy / 111 min. / Street Date February 7, 2017 / available through Kino Lorber / 29.95
Starring Shirley MacLaine, Paul Newman, Robert Mitchum, Dean Martin, Gene Kelly, Robert Cummings, Dick Van Dyke, Reginald Gardiner, Margaret Dumont, Fifi D’Orsay, Maurice Marsac, Lenny Kent, Marjorie Bennett, Army Archerd, Barbara Bouchet, Tom Conway, Peter Duchin, Douglass Dumbrille, Pamelyn Ferdin, Teri Garr, Queenie Leonard.
Cinematography: Leon Shamroy
Film Editor: Marjorie Fowler
Original Music: Nelson Riddle
Produced by: Arthur P. Jacobs
Directed by: J. Lee Thompson
Want to know what the producer of Planet of the Apes was up to, before that milestone movie? Arthur P. Jacobs was an agent for big stars before he became a producer, which positioned him well for his first show for 20th Fox, What a Way to Go! »
- Glenn Erickson
17 items from 2017
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