Exclusive: Deadline has an exclusive track recorded for Netflix’s Russian Doll, which is set for digital release on a Seasons 1 & 2 soundtrack tomorrow via Gardener Recordings, as the show returns for its second season.
In its first season, debuting in 2019, Russian Doll introduced viewers to a woman named Nadia (Natasha Lyonne), who is caught in a time loop as the guest of honor at a seemingly inescapable party, one night in New York City. She dies repeatedly, and always restarts at the same moment at the party, as she tries to figure out what is happening to her.
Season 2 is set four years after Nadia and her fellow looping human Alan (Charlie Barnett) discover a time portal that sends them both on an era-spanning adventure through the past. Now, once again, the two must search for a way out of the loop together. Wong’s latest soundtrack release features dream-like...
In its first season, debuting in 2019, Russian Doll introduced viewers to a woman named Nadia (Natasha Lyonne), who is caught in a time loop as the guest of honor at a seemingly inescapable party, one night in New York City. She dies repeatedly, and always restarts at the same moment at the party, as she tries to figure out what is happening to her.
Season 2 is set four years after Nadia and her fellow looping human Alan (Charlie Barnett) discover a time portal that sends them both on an era-spanning adventure through the past. Now, once again, the two must search for a way out of the loop together. Wong’s latest soundtrack release features dream-like...
- 4/19/2022
- by Matt Grobar
- Deadline Film + TV
Switching gears from contemporary drama to what Variety once dubbed “oaters,” Tim Sutton’s “The Last Son” finds fresh life in a well-worn genre: Its striking visuals are accompanied by an oddly appropriate score led by droning, heavily distorted guitars; its occasional narration is winsome in a way that Westerns do best; and its evocation of an endlessly mythologized era feels authentic. But then Sutton goes and overplays his hand, the effects of which aren’t as disastrous as being caught cheating in a poker saloon, but they do leave you wondering what might have been.
“The Last Son” opens with lyrical narration and airy background music courtesy of Phil Mossman that brings to mind “The Assassination of Jesse James by the Coward Robert Ford,” though the comparisons mostly end there: Sutton’s movie isn’t elegiac so much as brutal. The voiceover returns to add mood and context from time to time,...
“The Last Son” opens with lyrical narration and airy background music courtesy of Phil Mossman that brings to mind “The Assassination of Jesse James by the Coward Robert Ford,” though the comparisons mostly end there: Sutton’s movie isn’t elegiac so much as brutal. The voiceover returns to add mood and context from time to time,...
- 12/9/2021
- by Michael Nordine
- Variety Film + TV
In a rare moment of light, everyday pleasure in the otherwise perma-brooding “Funny Face,” two young Brooklyn lovers build sandwiches from international deli ingredients, accompanied by Serbian butter and sour watermelon pickle, and eat their creations with relish on a bench overlooking the shore. Whether intended or not as a reference to an almost century-old Rodgers & Hart lyric — “We’ll go to Coney/And eat baloney/On a roll” — it’s a tender evocation of a New York City that is currently passing before its inhabitants’ eyes, as diverse, independent populations and businesses are increasingly flattened in the name of hollow corporate gentrification.
That’s hardly an incidental theme of Tim Sutton’s stylish, plainly impassioned fifth feature, in which two young outsiders — a Muslim woman shaking off the oppressive minding of her elders, and an unhinged, mask-wearing victim of property redevelopment — meet, fall in love, and rage against the capitalist machine.
That’s hardly an incidental theme of Tim Sutton’s stylish, plainly impassioned fifth feature, in which two young outsiders — a Muslim woman shaking off the oppressive minding of her elders, and an unhinged, mask-wearing victim of property redevelopment — meet, fall in love, and rage against the capitalist machine.
- 2/23/2020
- by Guy Lodge
- Variety Film + TV
Filmmaker Tim Sutton has a dark view of the world. He’s shown that in previous features, but really doubles down with his newest work. Take any one scene from Donnybrook, Sutton’s new release that opened this weekend, and you’ll see an example of this. Grim and joyless, this portrait of desperate violence and working class Middle Americans is often tough to watch. Well acted and just as disturbing as intended, it’s a very singular vision of society. For some, it may make for an utterly hypnotic experience, while for others, it may be just too much to handle. For yours truly, the truth is somewhere in between. The movie is a gritty drama about the lengths people are willing to go in order to dig themselves out from the pits they’ve fallen into. Specifically, three people in “Jarhead” Earl (Jamie Bell), “Chainsaw” Angus (Frank Grillo...
- 2/16/2019
- by Joey Magidson
- Hollywoodnews.com
There are a lot of movies to see this year at the Toronto International Film Festival — 340, to be exact — but that doesn’t mean it has to be all screenings and no play.
From Thursday’s opening night party for Netflix’s “Outlaw King” to the third annual B.L.A.C.K Ball, as well as Julia Roberts celebrating her film “Ben Is Back” and her new Amazon Prime series “Homecoming,” the fest is packed with cocktail soirees, dinners, and late-night parties.
Here, Variety gives you the ultimate guide to Tiff’s hottest parties…
Thursday, Sept. 6
“Outlaw King” Party: The Netflix film starring Chris Pine, Aaron Taylor-Johnson, and Elizabeth Pugh opens Tiff, Patria, 10:30 p.m.
“Fahrenheit 11/9” Dinner and Party: Dinner for Michael Moore’s new Donald Trump doc, Peter Pan Bistro, 6 p.m.; Premiere party, Speakeasy 21, 11 p.m.
Rbc Tiff Kick-Off Party: hosted by RBCxMusic in partnership with Live Nation,...
From Thursday’s opening night party for Netflix’s “Outlaw King” to the third annual B.L.A.C.K Ball, as well as Julia Roberts celebrating her film “Ben Is Back” and her new Amazon Prime series “Homecoming,” the fest is packed with cocktail soirees, dinners, and late-night parties.
Here, Variety gives you the ultimate guide to Tiff’s hottest parties…
Thursday, Sept. 6
“Outlaw King” Party: The Netflix film starring Chris Pine, Aaron Taylor-Johnson, and Elizabeth Pugh opens Tiff, Patria, 10:30 p.m.
“Fahrenheit 11/9” Dinner and Party: Dinner for Michael Moore’s new Donald Trump doc, Peter Pan Bistro, 6 p.m.; Premiere party, Speakeasy 21, 11 p.m.
Rbc Tiff Kick-Off Party: hosted by RBCxMusic in partnership with Live Nation,...
- 9/6/2018
- by Marc Malkin
- Variety Film + TV
Spanish horror film Para Elisa (For Elisa) will arrive on DVD and VOD on September 1st. But, the DVD-palooza doesn't stop there. Also in this round-up: Honeyspider and Cop Car DVD release details and Howl-o-Scream 2015 details.
Para Elisa: Press Release: "A job at a magnificent house owned by a famous musician seems too good to be true – and it is – in the tension-filled horror film Para Elisa. The acclaimed new Spanish film comes to DVD and VOD on September 1, 2015, from Dark Sky Films.
Desperate for some post-graduation cash, party girl Ana (Ona Casamiquela, Eva) answers a babysitting ad. She arrives for an interview at the elegant home of Diamantina (Luisa Gavasa, Flesh Memories), a former child prodigy pianist who is now an eccentric old woman who collects antique toys and dolls. Ana is disturbed by Diamantina’s odd behavior and horrified to discover that her child, Elisa (Ana Turpin,...
Para Elisa: Press Release: "A job at a magnificent house owned by a famous musician seems too good to be true – and it is – in the tension-filled horror film Para Elisa. The acclaimed new Spanish film comes to DVD and VOD on September 1, 2015, from Dark Sky Films.
Desperate for some post-graduation cash, party girl Ana (Ona Casamiquela, Eva) answers a babysitting ad. She arrives for an interview at the elegant home of Diamantina (Luisa Gavasa, Flesh Memories), a former child prodigy pianist who is now an eccentric old woman who collects antique toys and dolls. Ana is disturbed by Diamantina’s odd behavior and horrified to discover that her child, Elisa (Ana Turpin,...
- 8/14/2015
- by Tamika Jones
- DailyDead
A corrupt small-town sheriff is on the hunt for two runaway kids who took his car on a joy ride in Cop Car, an unnervingly funny thriller now available on Digital HD and On Demand, and debuting on Blu-ray and DVD on September 29, 2015, from Universal Pictures Home Entertainment.
Starring Golden Globe-winner Kevin Bacon (Footloose, Mystic River) and directed by Jon Watts (the upcoming Untitled Spiderman Reboot), Cop Car is “A midnight movie blast!” according to Russ Fischer of Slashfilm.
When a pair of 10-year-olds find an abandoned cop car in a field and take it for a joyride, it seems like they could kill themselves at any moment. But things only get worse when the small-town sheriff goes looking for his missing car—and the illicit cargo he left in the trunk—and the kids find themselves at the center of a deadly game of cat and mouse they don’t understand.
Starring Golden Globe-winner Kevin Bacon (Footloose, Mystic River) and directed by Jon Watts (the upcoming Untitled Spiderman Reboot), Cop Car is “A midnight movie blast!” according to Russ Fischer of Slashfilm.
When a pair of 10-year-olds find an abandoned cop car in a field and take it for a joyride, it seems like they could kill themselves at any moment. But things only get worse when the small-town sheriff goes looking for his missing car—and the illicit cargo he left in the trunk—and the kids find themselves at the center of a deadly game of cat and mouse they don’t understand.
- 8/10/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Cop Car
Written by Jon Watts and Christopher D. Ford
Directed by Jon Watts
USA, 2015
The first impression we get about the film is the landscape – multiple shots cover the empty Midwestern landscape, the environment shaping the lives for our central characters. The next impression we get is one of youth, as a long and impressively non-intrusive tracking shot follows two young boys, practicing their swearing with each other. This is a film that you fall in love with immediately, as it’s hard to not find yourself in these two. The plot of Jon Watts’s stellar film revolves around two ten-year-old boys, Harrison (Hays Wellford) and Travis (James Freedson-Jackson), who steal an abandoned cop car. To explain much further would be to ruin the surprises, wonder and fun that this film has in store.
The dialogue feels like the conversations you would have with your friends during childhood,...
Written by Jon Watts and Christopher D. Ford
Directed by Jon Watts
USA, 2015
The first impression we get about the film is the landscape – multiple shots cover the empty Midwestern landscape, the environment shaping the lives for our central characters. The next impression we get is one of youth, as a long and impressively non-intrusive tracking shot follows two young boys, practicing their swearing with each other. This is a film that you fall in love with immediately, as it’s hard to not find yourself in these two. The plot of Jon Watts’s stellar film revolves around two ten-year-old boys, Harrison (Hays Wellford) and Travis (James Freedson-Jackson), who steal an abandoned cop car. To explain much further would be to ruin the surprises, wonder and fun that this film has in store.
The dialogue feels like the conversations you would have with your friends during childhood,...
- 1/27/2015
- by Dylan Griffin
- SoundOnSight
The Academy of Motion Picture Arts and Sciences today announced that 114 scores from eligible feature-length motion pictures released in 2014 are in contention for nominations in the Original Score category for the 87th Oscars®. The eligible scores along with their composers are listed below, in alphabetical order by film title: “American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer “Anita,” Lili Haydn, composer “Annabelle,” Joseph Bishara, composer “At Middleton,” Arturo Sandoval, composer “Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer “Bears,” George Fenton, composer “Belle,” Rachel Portman, composer “Big Eyes,” Danny Elfman, composer “Big Hero 6,” Henry Jackman, composer “The Book of Life,” Gustavo Santaolalla and Tim Davies, composers “The Boxtrolls,” Dario Marianelli, composer “Brick Mansions,” Trevor Morris, composer “Cake,” Christophe Beck, composer “Calvary,” Patrick Cassidy, composer “Captain America: The Winter Soldier,” Henry Jackman, composer “The Case against 8,” Blake Neely, composer “Cheatin’,” Nicole Renaud, composer “Dawn of the Planet of the Apes,...
- 12/13/2014
- by HollywoodNews.com
- Hollywoodnews.com
Three hundred twenty-three feature films are eligible for the 2014 Academy Awards, the Academy of Motion Picture Arts and Sciences announced today.
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
- 12/13/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Original scores from The Boxtrolls, Divergent, Exodus: Gods And Kings and The Grand Budapest Hotel are among 114 scores eligible for nominations in the Original Score category for the 87th Oscars. The noms will be announced on January 15. The eligible scores along with their composers are listed below, in alphabetical order by film title:
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
- 12/13/2014
- by The Deadline Team
- Deadline
Blending science, romance and spirituality all into a movie we called "an intelligent and ambitious adult drama," you might think the soundtrack to "I Origins" would be perhaps somber or restrained. You would be mistaken. Will Bates and Phil Mossman, who have previously collaborated on "Lola Versus," "Generation Um...," "The Normals" and "Another Earth," take composing duties here and deliver something a bit unexpected for "I Origins." So turn up your speakers and read on... "No Time Like The Present" is a surprisingly propulsive and compelling track, that moves steadily in its brisk running time, never losing momentum, but also creating an undercurrent of undeniable atmosphere. And that seems to strike the right tone for "I Origins" which follows a molecular biologist, who makes a discovery that could change everything we know about society and humanity. It's another nice piece of work from a...
- 7/10/2014
- by Kevin Jagernauth
- The Playlist
Are you starved for some smart sci-fi this summer? Us too. Sure, "Edge of Tomorrow" had a fair amount of brains, but always coming second to the explosions, and other than "Under the Skin," not much has really scratched the brainy, emotional science fiction itch that things like "Moon" and "Upstream Color" managed to in recent years. But in a few weeks, that might change, because after the film premiered at Sundance back in January, Fox Searchlight are opening "I Origins," Mike Cahill's follow-up to his cult hit "Another Earth," in theaters, and it's right up that sort of street. To mark the build up to the release of the film, which our Sundance review called "heady and deeply moving, we've been given some exclusive images, as well as details to the soundtrack (by Will Bates of Fall On Your Sword and Phil Mossman with tracks by The Do...
- 6/16/2014
- by Oliver Lyttelton
- The Playlist
Michel Gondry and Gillette: these things don't feel like they belong together, but the filmmaker and company teamed up for the ad "Training Tracks." The sometimes music video director and LCD Soundsystem's Phil Mossman collaborated for a video in which beefy football players, including Champ Bailey, Kayvon Webster, Ben Jarvus Green-Ellis, Giovani Bernard and Mike Golic, Jr., work out in a music studio. The sounds of their sweaty endeavor are captured by the creative duo and mixed into a song. Since most of us are still waiting to see Gondry's fantasy drama Mood Indigo, this is fit to tide us over for now — even if it's missing the usual whimsy of his work. Also in the ad world meets film world (and television) is a clip from Kings of...
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- 9/18/2013
- by Alison Nastasi
- Movies.com
The commercial world provides all kind of opportunities for filmmakers either looking to make their name before leaping to features or established directors trying to keep their skills sharp between gigs, while taking home some extra pocket money. And so today, we bring you a handful of new ads from some filmmakers of note, so let's dive in... First up, Michel Gondry has teamed with Gillette to promote their Clear Gel Deodorant with "Training Tracks." The highly musical spot—fitting for Gondry, who has done more than his share of music videos—features football players Champ Bailey and Kayvon Webster of the Denver Broncos, Ben Jarvus Green-Ellis and Giovani Bernard of the Cincinnati Bengals and Mike Golic, Jr. from Notre Dame, working out in a music studio, with sounds of their work cut into a tight jam. And oh, that music? It's put together by Phil Mossman of LCD Soundsystem fame.
- 9/18/2013
- by Kevin Jagernauth
- The Playlist
Keanu Reeves is making his way back onto the big screen on friday starring in the new film Generation Um… a tale of three friends who form an intimate bond as their deepest secrets from their past are revealed after partying in New York City the night before. Friendships are tested and compromises are made as these three friends are preparing to do it all again tonight. Recently, I got the chance to sit down with both Keanu Reeves and director Mark Mann in a roundtable discussion about the film. Check it out below.
Keanu, your character is kind of a kleptomaniac in the film.
Keanu Reeves: Yes. I steal a camera and some chocolate. (laughs)
When you’re reading it and playing it, what did that bring to the character?
Keanu Reeves: Stealing the camera for John was the only thing he could do in order to have that camera.
Keanu, your character is kind of a kleptomaniac in the film.
Keanu Reeves: Yes. I steal a camera and some chocolate. (laughs)
When you’re reading it and playing it, what did that bring to the character?
Keanu Reeves: Stealing the camera for John was the only thing he could do in order to have that camera.
- 5/2/2013
- by Melissa Howland
- WeAreMovieGeeks.com
Ever since Napster hit the scene and forever changed the way we distribute music, the music industry has been fighting a slow death over the past few years and while record labels still exist, they are quickly becoming a dated way to “make it” with YouTube, at home ProTools rigs and countless social media outlets (Twitter, Facebook, Tumblr, Soundcloud) available for artists to truly Diy their careers rather than wait for the elusive record contract to “change their lives.” While established artists like The Chemical Brothers, Phoenix and Daft Punk have taken to the conductor’s podium to create scores for films such as Hanna, Somewhere and Tron: Legacy (can someone also get Muse attached to a project, please?), bands that are not yet well-known are taking their music out of local clubs and putting them onto the silver screen for better (and bigger) exposure. One band, a multi-media group based out of Brooklyn called Fall On Your Sword, caught...
- 6/7/2012
- by Allison Loring
- FilmSchoolRejects.com
Thomas Newman and Michael Giacchino Each Have Four Of The 97 Scores Eligible For Best Original Score
Of the 265 films eligible [1] for Oscars at the 84th Annual Academy Awards in February, 97 of them have been deemed worthy to be nominated for Best Original Score. Thomas Newman (The Adjustment Bureau, The Debt, The Help, The Iron Lady) and Michael Giacchino (Cars 2, Mission: Impossible - Ghost Protocol, Monte Carlo, Super 8) lead all eligible composers with four films this year while Alexandre Desplat (Extremely Loud & Incredibly Close, Harry Potter and the Deathly Hallows Part 2, The Ides of March), Tyler Bates (Conan the Barbarian, The Darkest Hour, The Way), Mark Isham (The Conspirator, Dolphin Tale, Warrior) and Henry Jackman (Puss in Boots, Winnie the Pooh, X-Men First Class) all have three. Other familiar names are on the list too such as John Williams (The Adventures of Tintin, War Horse), James Newton Howard (Green Lantern, Water for Elephants) and Danny Elfman (Real Steel, Restless) who along with Alberto Iglesias (The Skin I Live In,...
- 12/23/2011
- by Germain Lussier
- Slash Film
The Academy of Motion Picture Arts and Sciences has announced that ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®.
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
- 12/23/2011
- by Michelle McCue
- WeAreMovieGeeks.com
I was actually beginning to believe Cliff Martinez's score for Drive may actually have a shot with all the love it has received in the precursor awards, but last night the Academy announced the list of 97 scores eligible for Best Original Score at the 2012 Oscars and, oops, what do you know, both Drive and Attack the Block didn't make the cut. The only other score I had on my current list of predictions for the category to not make the cut was Howard Shore's music for David Cronenberg's A Dangerous Method. Why? Well, I would assume somewhere inside there the rules for requirement weren't met. As per the Academy, "To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of...
- 12/23/2011
- by Brad Brevet
- Rope of Silicon
Yesterday the Academy of Motion Pictures Arts and Sciences released the 97 original film scores that will running for the final five nominations for the Best Original Score category at the upcoming 84h Academy Awards. Billy Crystal will be hosting the annual awards show, which be presented on February 26, 2012. Some how I am not surprised that Attack the Block got nixed, seeing that Tron: Legacy pretty much got the same treatment last year. Glad to see that Henry Jackman’s X-Men: First Class is getting a nod, and of course Trent Reznor and Atticus Ross had to be in it. Check out the full list below.
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
- 12/23/2011
- by Mike Lee
- FusedFilm
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today. The eligible scores along with the composer are listed below in alphabetical order by film title: “The Adjustment Bureau,” Thomas Newman, composer “The Adventures of Tintin,” John Williams, composer “African Cats,” Nicholas Hooper, composer “Albert Nobbs,” Brian Byrne, composer “Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer “Anonymous,” Thomas Wander and Harald Kloser, composers “Another Earth,” Phil Mossman and Will Bates, composers “Answers to Nothing,” Craig Richey, composer “Arthur Christmas,” Harry Gregson-Williams, composer “The Artist,” Ludovic Bource, composer “@urFRENZ,” Lisbeth Scott, composer “Atlas Shrugged Part 1,” Elia Cmiral, composer “Battle: Los Angeles,” Brian Tyler, composer “Beastly,” Marcelo Zarvos, composer “The Big Year,” Theodore Shapiro, composer “Captain America: The First Avenger,” Alan Silvestri, composer “Cars 2,” Michael Giacchino,...
- 12/23/2011
- by NIKKI FINKE
- Deadline Hollywood
With the excellent indie-sci-fi movie Another Earth out in UK cinemas on Friday, we caught up with director Mike Cahill to talk about its making, and what he’s up to next…
Mike Cahill’s excellent sci-fi drama Another Earth is the latest addition to a long line of films, including Monsters, Primer and Moon, whose ideas and quality of acting far outstrip the limitations of their budget.
Based around the concept of an identical planet Earth appearing in our solar system, Another Earth is an emotional tale of loss and redemption, featuring some outstanding performances from Brit Marling (who co-wrote) and William Mapother. Given just how well-shot and edited Another Earth is, we just had to find out how former documentary maker Mike Cahill put this feature together for little more than $200,000.
Here, Cahill explains how he and Marling came up with Another Earth’s concept, how he managed...
Mike Cahill’s excellent sci-fi drama Another Earth is the latest addition to a long line of films, including Monsters, Primer and Moon, whose ideas and quality of acting far outstrip the limitations of their budget.
Based around the concept of an identical planet Earth appearing in our solar system, Another Earth is an emotional tale of loss and redemption, featuring some outstanding performances from Brit Marling (who co-wrote) and William Mapother. Given just how well-shot and edited Another Earth is, we just had to find out how former documentary maker Mike Cahill put this feature together for little more than $200,000.
Here, Cahill explains how he and Marling came up with Another Earth’s concept, how he managed...
- 12/1/2011
- Den of Geek
The premise of "Another Earth" is planet sized in scope, but though the film poses cosmically large questions about existence, it's real subject is the microcosm of one woman's grief. "All of this could be the basis of a two hundred million dollar blockbuster directed by Roland Emmerich," IFC's Matt Singer writes. "But director and co-writer Mike Cahill uses this great concept to tell a very different kind of sci-fi story. 'Another Earth' is not an outward journey through space but an inward journey through a woman's tormented soul."
That woman's fateful choices involve a brilliant composer, whose life she tragically changes on the eve of the discovery of this second Earth. And this very different kind of sci-fi story comes with a very different kind of musical score, by Will Bates and Phil Mossman -- aka Fall On Your Sword. Multi-instrumentalist composers Bates and Mossman (also an...
That woman's fateful choices involve a brilliant composer, whose life she tragically changes on the eve of the discovery of this second Earth. And this very different kind of sci-fi story comes with a very different kind of musical score, by Will Bates and Phil Mossman -- aka Fall On Your Sword. Multi-instrumentalist composers Bates and Mossman (also an...
- 7/28/2011
- by Brandon Kim
- ifc.com
Getty James Murphy of LCD Soundsystem in January
LCD Soundsystem played what was billed as the band’s final show ever Saturday night at Madison Square Garden, throwing what frontman James Murphy called “one big last party.” The show was packed with hits, spectacle and plenty of friends.
(The concert at Madison Square Garden capped off a week where the band had already played four shows—storming through three-hour sets—at Terminal 5. The earlier dates were added after tickets for...
LCD Soundsystem played what was billed as the band’s final show ever Saturday night at Madison Square Garden, throwing what frontman James Murphy called “one big last party.” The show was packed with hits, spectacle and plenty of friends.
(The concert at Madison Square Garden capped off a week where the band had already played four shows—storming through three-hour sets—at Terminal 5. The earlier dates were added after tickets for...
- 4/4/2011
- by Kimberly Chou
- Speakeasy/Wall Street Journal
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