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Exclusive Interview – Composer Dominic Lewis on DuckTales, The Man in the High Castle, and more

Alex Moreland chats with composer Dominic Lewis

So, first of all, how did you first get involved with DuckTales?

How did I get involved? Well, I had a meeting with the head of Disney TV, a long time ago, two years ago, and we’ve been trying to work together for a long time, but my schedule just wasn’t aligning with what they needed. Eventually, DuckTales came around, they offered it to me, and I jumped at the chance, with it being a large part of my childhood and very close to my heart, so it was great to get involved with it.

When something is so close to your childhood like that, how did that influence the way you approached it?

It is a weird one, because you don’t want to mess with people’s memories and something close to their heart really, so you do have to tread very carefully.
See full article at Flickeringmyth »

Pinewood Pictures hires Imogen Bell as head of production

Pinewood Pictures hires Imogen Bell as head of production
Bell has worked on My Summer of Love, Brothers of the Head and Moon.

Imogen Bell has joined Pinewood Pictures as its new head of production.

Bell (below) was previously a freelance line producer, production manager and production co-ordinator for independent film and television productions.

Her credits include My Summer Of Love and Four Last Songs, which she worked on with Chris Collins for BBC films.

Her other projects include the award-winning Moon and Brothers Of The Head, and Heartless, Better Things, Wild Target, Mr Nice and Blitz.

Recently Bell has also worked as a producer within UK advertising agencies.

In a statement, Bell said: “I’m thrilled to have the opportunity to work for Pinewood, a company that continues to contribute so much in our industry and a leader in pathing the future. The Pinewood Pictures portfolio is testament to the strength of the team and I look forward to being part of it; supporting and developing
See full article at ScreenDaily »

Pinewood Pictures Hires Imogen Bell as Head of Production

Imogen Bell has joined Pinewood Pictures, the production arm of the British studio facilities company, as its head of production.

Over the past 17 years, Bell has worked as a freelance line producer, production manager and production co-ordinator across film and television on a host of independent productions, including “My Summer of Love,” “Brothers of the Head” and “Moon.”

Her appointment at Pinewood Pictures is part of the company’s push to increase its “U.K. and international presence in independent film financing and production,” managing director Yu-Fai Suen said. Recent productions for Pinewood Pictures have included “Their Finest,” “Mindhorn” and “The Collection.” Current titles in production include “Show Dogs,” “Journey’s End” and “Where Hands Touch.”

Bell began in commercials, then quickly moved into feature films, working with producer Chris Collins on “My Summer of Love” and “Four Last Songs” from development through delivery for BBC Films. Other notable credits include “Heartless,
See full article at Variety - Film News »

The Art Song, Part 1: Lieder

A major glossy magazine that used to be devoted largely to music -- but long ago fell under the spell of Hollywood celebrity -- still continues to cover music, specializing in listicles that seem designed mainly to provoke ire in those who care more about music than does said magazine (named after a classic blues song, in case you can't guess without a hint). This summer it unleashed a list of songs that, with that aging publication's ironically weak sense of history, managed to overlook the vast majority of the history of song. To put it bluntly, if you're claiming to discuss the best songs ever written and you don't even mention Franz Schubert, you're an ignoramus. My ire over this blinkered attitude towards music history festered for months, so I finally decided to do something about it by writing about some of the timeless songs omitted in the aforementioned myopic listicle.
See full article at CultureCatch »

Lisa Della Casa obituary

Swiss soprano renowned for her beauty and singing of Strauss

When the Swiss soprano Lisa Della Casa, who has died aged 93, made her Covent Garden debut in the title role of Richard Strauss's Arabella on the Bavarian State Opera's visit to London in 1953, she won all hearts with the beauty of her singing and of her appearance. This role became her trademark, and when the Royal Opera decided to stage its own production of the work in 1965, Della Casa was, of course, the Arabella, with Georg Solti in the pit.

The producer was Rudolf Hartmann, who had done much to launch Della Casa's career on an international level. That career had begun in 1941 in the Swiss town of Solothurn-Biel, where she made her debut in the title role of Madama Butterfly. She joined the Zurich Opera House in 1943, appearing as the First Boy in The Magic Flute, later ascending
See full article at The Guardian - Film News »

Prom 5: BBC Philharmonic/Mena – review

Royal Albert Hall, London

First performed in Berlin in 2009 and now given its UK premiere by the BBC Philharmonic under Juanjo Mena, Kaija Saariaho's Laterna Magica takes its name and inspiration from Ingmar Bergman's autobiography.

Bergman's discovery of the magic lantern, an early form of projector that uses multiple drawings or photographs to create the illusion of movement when its handle is turned, triggered his first experiments with film. Saariaho, accordingly, rings changes on ideas of stasis and speed in a score that deploys constantly shifting tempi and rhythms beneath orchestral sonorities of considerable refinement.

Fragments of Bergman's text, whispered by the players, are added to the textures. Pervasive horn chords, meanwhile, refer specifically to the unforgettable seepage of red through Cries and Whispers, though the music does not replicate the film's gruelling tone. The BBC Philharmonic played it with great finesse for Mena, who was very much
See full article at The Guardian - Film News »

Portrait of the artist: Richard Wilson, actor

'I soon realised that "I don't believe it" would be the price I had to pay for One Foot in the Grave's success'

What got you started?

I got into drama accidentally, in a rather unusual way. My primary school had a stage in its gymnasium. Once you had passed the 11-plus, it was considered a privilege for you to stay behind after school, move all the chairs out of the way and turn the gymnasium into a theatre. You'd go and have your tea, then come back and see a show, and put all the chairs away again.

What was your big breakthrough?

Doing [the 1987 TV series] Tutti Frutti was a big landmark for me as an actor – and later, One Foot in the Grave. But as a director, the big moment came when I was asked to direct a mime-play in my final year at Rada. I was good at mime,
See full article at The Guardian - TV News »

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