Hans Zimmer, the two time Oscar winner and four time Grammy winner, is one of the most prolific film score composers of all time. With a career spanning over 40 years, from “The Lion King” to “The Dark Knight” trilogy to the “Dune” movies, he shows no signs of slowing down. As for retirement, don’t expect it any time soon.
“Are you kidding me? I’ve played all my life. Why would I stop playing? Why would I stop living a playful life? Why would I stop trying to, you know, invent things? Why would I? I mean, there are good reasons because, as soon as I sit down and there is the blank page and I’m supposed to write something, I’m like ‘Oh my god, I have no idea how to do this,” Zimmer told IndieWire. “After two weeks I want to phone the director and give...
“Are you kidding me? I’ve played all my life. Why would I stop playing? Why would I stop living a playful life? Why would I stop trying to, you know, invent things? Why would I? I mean, there are good reasons because, as soon as I sit down and there is the blank page and I’m supposed to write something, I’m like ‘Oh my god, I have no idea how to do this,” Zimmer told IndieWire. “After two weeks I want to phone the director and give...
- 3/15/2024
- by Vincent Perella
- Indiewire
Ali Suliman as Chik, Mark Wahlberg as Michael, Nathalie Emmanuel as Olivia and Simu Liu as Leo in Arthur The King. Photo Credit: Carlos Rodriguez
Geez, the movies have really gone to the dogs. Sure, lots of folks constantly use that as an insult to modern cinema, but with this weekend’s big release it’s a bit true (so pardon the “groaner dad-joke” of a pun). With lots of kiddies enjoying either the end or the beginning of “Spring break”, there’s got to be more for them in the multiplex other than the further adventures of that Kung Fu Panda. And so, it’s the canine stars to the rescue, with this new “good boy” joining the ranks of Rin Tin Tin, Lassie, and even Beethoven. Plus he’s got a bit of an advantage since his tail is a true one (or at least “inspired by true...
Geez, the movies have really gone to the dogs. Sure, lots of folks constantly use that as an insult to modern cinema, but with this weekend’s big release it’s a bit true (so pardon the “groaner dad-joke” of a pun). With lots of kiddies enjoying either the end or the beginning of “Spring break”, there’s got to be more for them in the multiplex other than the further adventures of that Kung Fu Panda. And so, it’s the canine stars to the rescue, with this new “good boy” joining the ranks of Rin Tin Tin, Lassie, and even Beethoven. Plus he’s got a bit of an advantage since his tail is a true one (or at least “inspired by true...
- 3/15/2024
- by Jim Batts
- WeAreMovieGeeks.com
If Sergio Leone had ever signed on to make one of those ‘70s Blaxploitation oaters that once provided steady employment for Fred Williamson, it likely would have looked and sounded much like “Outlaw Posse,” a wildly uneven but cumulatively entertaining shoot-‘em-up that finds Mario Van Peebles doing triple duty as director, screenwriter and star. Quadruple duty, actually, if you count his credit as an executive producer.
“Outlaw Posse” has nothing to do with Van Peebles’ previous entry in this genre, 1993’s wild and woolly “Posse,” which suggests the multitasking filmmaker is tipping his Stetson to the multitude of ‘60s Spaghetti Westerns that, ahem, borrowed titles and eponymous characters from better known yet totally unrelated horse operas. But, then again, maybe not. Indeed, the film will probably be enjoyed most by folks not given to undue consideration of such trifling matters as lineage, logic and arrant anachronisms.
It’s 1908, and...
“Outlaw Posse” has nothing to do with Van Peebles’ previous entry in this genre, 1993’s wild and woolly “Posse,” which suggests the multitasking filmmaker is tipping his Stetson to the multitude of ‘60s Spaghetti Westerns that, ahem, borrowed titles and eponymous characters from better known yet totally unrelated horse operas. But, then again, maybe not. Indeed, the film will probably be enjoyed most by folks not given to undue consideration of such trifling matters as lineage, logic and arrant anachronisms.
It’s 1908, and...
- 2/29/2024
- by Joe Leydon
- Variety Film + TV
Adam Sandler heads off into space for Netflix’s cerebral-sounding sci-fi drama, Spaceman. There’s a brand new trailer to watch!
Update 17th January 2024: A new trailer has landed for Spaceman, Chernobyl director Johan Renck’s upcoming sci-fi film. Starring Adam Sandler, it’s coming to Netflix on the 1st March, and following on from the likes of Uncut Gems and Punch-Drunk Love, it looks like a more introspective, thoughtful performance from an actor better known for his broader-than-a-motorway comedies.
Also, Paul Dano provides the voice of a gigantic alien space spider, which turns up in Sandler’s interstellar craft to provide much-needed counselling as he pines after his estranged wife (Carey Mulligan). Sounds fabulous, doesn’t it? The new, full trailer looks fabulous too. And sounds it, thanks to a novel reimagining of Beethoven’s Moonlight Sonata.
Have a gander:
Our original story follows…
16th December 2023: In between the squawking,...
Update 17th January 2024: A new trailer has landed for Spaceman, Chernobyl director Johan Renck’s upcoming sci-fi film. Starring Adam Sandler, it’s coming to Netflix on the 1st March, and following on from the likes of Uncut Gems and Punch-Drunk Love, it looks like a more introspective, thoughtful performance from an actor better known for his broader-than-a-motorway comedies.
Also, Paul Dano provides the voice of a gigantic alien space spider, which turns up in Sandler’s interstellar craft to provide much-needed counselling as he pines after his estranged wife (Carey Mulligan). Sounds fabulous, doesn’t it? The new, full trailer looks fabulous too. And sounds it, thanks to a novel reimagining of Beethoven’s Moonlight Sonata.
Have a gander:
Our original story follows…
16th December 2023: In between the squawking,...
- 1/17/2024
- by Ryan Lambie
- Film Stories
In the last two years the documentary landscape has shifted from the golden age of docus to the corporate age of docus, making it increasingly difficult for nonfiction filmmakers with projects that aren’t about celebrities or true crimes to find distribution. But HBO Documentary Films is proving that despite being part of a corporate conglomerate, it still wants content that doesn’t necessarily pertain to bold faced names, salacious murders or cults.
Proof is Irene Taylor’s “Trees and Other Entanglements,” a feature doc that uses trees as the main throughline to tell various subject’s personal stories. Ahead of the film’s Dec. 12 world premiere on Max, HBO has released a trailer.
Taylor uses imagery, photography, and animation to introduce a diverse group of individuals entangled with the trees they love. Subjects include Bonsai master Ryan Neil, photographer Beth Moon, forest restorer Dirk Brinkman, recollector Carolyn Finney, and lumber heir George Weyerhaeuser Sr.
Proof is Irene Taylor’s “Trees and Other Entanglements,” a feature doc that uses trees as the main throughline to tell various subject’s personal stories. Ahead of the film’s Dec. 12 world premiere on Max, HBO has released a trailer.
Taylor uses imagery, photography, and animation to introduce a diverse group of individuals entangled with the trees they love. Subjects include Bonsai master Ryan Neil, photographer Beth Moon, forest restorer Dirk Brinkman, recollector Carolyn Finney, and lumber heir George Weyerhaeuser Sr.
- 11/30/2023
- by Addie Morfoot
- Variety Film + TV
Nineteen sixty-eight has to be considered the apex of psychedelic sexploitation romps, with the release of Candy, adapted from Mason Hoffenberg and Terry Southern’s satirical reworking of Voltaire’s Candide, and Roger Vadim’s Barbarella, based on Jean-Claude Forest’s comic, and partially scripted by Southern (alongside an armada of other credited writers). Both employ a rambling, shaggy-dog structure as an excuse to flagrantly foreground softcore sexual hijinks tinged with a pungent whiff of social commentary, albeit the latter aspect may be easier to discern in Candy’s perverse daisy chain of events.
Southern’s contributions to the Dino De Laurentiis-produced Barbarella can be detected in some of its wittier lines (“A good many dramatic situations begin with screaming!”) and sly pokes at the persistence of class-consciousness. Aside from Southern, the two films are linked by the presence of Anita Pallenberg, style icon and muse of the Rolling...
Southern’s contributions to the Dino De Laurentiis-produced Barbarella can be detected in some of its wittier lines (“A good many dramatic situations begin with screaming!”) and sly pokes at the persistence of class-consciousness. Aside from Southern, the two films are linked by the presence of Anita Pallenberg, style icon and muse of the Rolling...
- 11/21/2023
- by Budd Wilkins
- Slant Magazine
When you’re composing music for a character named Thelonious “Monk” Ellison in the movie American Fiction, it should be pretty obvious where a composer like Laura Karpman might find her inspiration.
“They wanted the music to sound like Beethoven, but I thought I’d take a different tack,” Karpman joked at Deadline’s Sound & Screen: Film live music event before getting serious about how the jazz great himself was part of the process for the movie, which won the Toronto Film Festival’s Oscar bellwether People’s Choice Award in September and hits theaters next month.
“It had to be Monk-influenced,” Karpman said of the score for the first feature from writer-director Cord Jefferson. “There were a couple iterations. I considered arranging a Monk tune, but they loved the original theme I wrote for the protagonist, and that became Monk’s theme.”
In the film from Orion, MRC, T-Street, Almost Infinite and 3 Arts,...
“They wanted the music to sound like Beethoven, but I thought I’d take a different tack,” Karpman joked at Deadline’s Sound & Screen: Film live music event before getting serious about how the jazz great himself was part of the process for the movie, which won the Toronto Film Festival’s Oscar bellwether People’s Choice Award in September and hits theaters next month.
“It had to be Monk-influenced,” Karpman said of the score for the first feature from writer-director Cord Jefferson. “There were a couple iterations. I considered arranging a Monk tune, but they loved the original theme I wrote for the protagonist, and that became Monk’s theme.”
In the film from Orion, MRC, T-Street, Almost Infinite and 3 Arts,...
- 11/10/2023
- by Lynette Rice
- Deadline Film + TV
Wes Cage, the son of actor Nicolas Cage, has unveiled a new solo song titled “The Wolf,” along with an accompanying music video.
The younger Cage is no stranger to music, having fronted the black metal band Eyes of Noctum. He also released a solo single titled “Tell Me Why (Matriarch of Misery)” back in 2014.
In the video for “The Wolf,” Wes gets to show off his own acting chops. As he explained in a press release, “I play the two contrasting incarnations of the same character. His lower self, in his case, is one of destitution, zero self-control, addiction, oblivion and failure, while his higher self is depicted through a being who is of power, elevation, awareness, organization and overall success. Both forces live in us all.”
He continued, “The music we’re doing is part of my essence and always needed to be released. Lyrically, ‘The Wolf’ touches...
The younger Cage is no stranger to music, having fronted the black metal band Eyes of Noctum. He also released a solo single titled “Tell Me Why (Matriarch of Misery)” back in 2014.
In the video for “The Wolf,” Wes gets to show off his own acting chops. As he explained in a press release, “I play the two contrasting incarnations of the same character. His lower self, in his case, is one of destitution, zero self-control, addiction, oblivion and failure, while his higher self is depicted through a being who is of power, elevation, awareness, organization and overall success. Both forces live in us all.”
He continued, “The music we’re doing is part of my essence and always needed to be released. Lyrically, ‘The Wolf’ touches...
- 10/30/2023
- by Spencer Kaufman
- Consequence - Music
26 October 2023 — Directed, written, produced by, and starring Bradley Cooper in the title role, opposite Carey Mulligan, Maestro is a towering and fearless love story chronicling the lifelong relationship between Leonard Bernstein and Felicia Montealegre Cohn Bernstein. A love letter to life and art, Maestro at its core is an emotionally epic portrayal of family and love. Deutsche Grammophon is delighted to be releasing the original soundtrack album for the movie, which has already garnered widespread critical acclaim. All the music in the film was chosen by Cooper, and the new recordings on the soundtrack were made by the London Symphony Orchestra and Yannick Nézet-Séguin, who also worked closely with the actor-director as conducting consultant before and throughout the film-making process.
The album will be released digitally on November 17, 2023, and on CD and vinyl on December 1. A taster track featuring an excerpt from the Finale of Mahler’s Symphony No. 2 “Resurrection”, with soprano Rosa Feola,...
The album will be released digitally on November 17, 2023, and on CD and vinyl on December 1. A taster track featuring an excerpt from the Finale of Mahler’s Symphony No. 2 “Resurrection”, with soprano Rosa Feola,...
- 10/27/2023
- by Music Martin Cid Magazine
- Martin Cid Music
Orchestral performances are typically reserved for more formal occasions… with some etiquette implied. An audience member is expected to dress nicely and sit still, only applauding at the end of a number.
Well, what if we scrapped all the formalities and treated orchestral performances like heavy metal concerts?
The audience at the recent Truck Festival in Oxfordshire did just that. While the Oxford Symphony Orchestra was onstage, the large crowd organized a series of mosh pits, and the surreal clips have been making the rounds on TikTok.
In one video, we see the crowd moshing to John Williams’ “Indiana Jones Theme,” and in another the crowd jumps up and down to Gioachino Rossini’s “William Tell Overture.”
And it’s not just brutes randomly smashing into each other. Rather, the crowd became a physical orchestra of its own, collaborating as a group so that the pit started churning right as the music hit a turnaround.
Well, what if we scrapped all the formalities and treated orchestral performances like heavy metal concerts?
The audience at the recent Truck Festival in Oxfordshire did just that. While the Oxford Symphony Orchestra was onstage, the large crowd organized a series of mosh pits, and the surreal clips have been making the rounds on TikTok.
In one video, we see the crowd moshing to John Williams’ “Indiana Jones Theme,” and in another the crowd jumps up and down to Gioachino Rossini’s “William Tell Overture.”
And it’s not just brutes randomly smashing into each other. Rather, the crowd became a physical orchestra of its own, collaborating as a group so that the pit started churning right as the music hit a turnaround.
- 7/27/2023
- by Jon Hadusek
- Consequence - Music
When asked about her age, Afro-Indigenous-Venezuelan producer and songwriter Gotopo doesn’t give an exact number. Instead, her answer sounds like one of the lyrics of Sacúdete, her recent debut EP.
“I am older than all the trees that surround me,” she tells Rolling Stone via Zoom one afternoon from a studio in Berlin. “The good thing is I can’t remember my age. That’s why my life works — because I can’t remember exactly that age.”
Such a statement describes Gotopo’s project very well. Since her debut single,...
“I am older than all the trees that surround me,” she tells Rolling Stone via Zoom one afternoon from a studio in Berlin. “The good thing is I can’t remember my age. That’s why my life works — because I can’t remember exactly that age.”
Such a statement describes Gotopo’s project very well. Since her debut single,...
- 7/5/2023
- by Juan de Dios Sánchez Jurado
- Rollingstone.com
The score in any Scream film is just as important for setting the tone as a character’s desire for survival, and Jenna Ortega — who plays Tara Carpenter in the latest two films — thinks the harsher and heavier the better when it comes to a good scare. When recently asked which songs would fit her Scream character best, the Wednesday star named tracks by Deftones and Nine Inch Nails.
“It’s kind of a basic one,” she said in a recent MTV interview (via Louder) about which song perfectly fits the vibe of frantically getting chased by Scream fiend Ghostface. “But it also goes along with this movie: ‘Be Quiet and Drive (Far Away),’ the Deftones song. I feel like, they’re just trying to get away, that could be an interesting one, too.”
Speaking further about which other songs she thinks her Scream character would be sonically defined, Ortega...
“It’s kind of a basic one,” she said in a recent MTV interview (via Louder) about which song perfectly fits the vibe of frantically getting chased by Scream fiend Ghostface. “But it also goes along with this movie: ‘Be Quiet and Drive (Far Away),’ the Deftones song. I feel like, they’re just trying to get away, that could be an interesting one, too.”
Speaking further about which other songs she thinks her Scream character would be sonically defined, Ortega...
- 3/15/2023
- by Cervanté Pope
- Consequence - Film News
The score in any Scream film is just as important for setting the tone as a character’s desire for survival, and Jenna Ortega — who plays Tara Carpenter in the latest two films — thinks the harsher and heavier the better when it comes to a good scare. When recently asked which songs would fit her Scream character best, the Wednesday star named tracks by Deftones and Nine Inch Nails.
“It’s kind of a basic one,” she said in a recent MTV interview (via Louder) about which song perfectly fits the vibe of frantically getting chased by Scream fiend Ghostface. “But it also goes along with this movie: ‘Be Quiet and Drive (Far Away),’ the Deftones song. I feel like, they’re just trying to get away, that could be an interesting one, too.”
Speaking further about which other songs she thinks her Scream character would be sonically defined, Ortega...
“It’s kind of a basic one,” she said in a recent MTV interview (via Louder) about which song perfectly fits the vibe of frantically getting chased by Scream fiend Ghostface. “But it also goes along with this movie: ‘Be Quiet and Drive (Far Away),’ the Deftones song. I feel like, they’re just trying to get away, that could be an interesting one, too.”
Speaking further about which other songs she thinks her Scream character would be sonically defined, Ortega...
- 3/15/2023
- by Cervanté Pope
- Consequence - Music
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