Nominees in the categories of discovery of the year, public choice award and the new game music award have been revealed.
Film Fest Gent and The World Soundtrack Academy has unveiled the second and final wave of nominations for the 2023 World Soundtrack Awards, which will take place on October 21 at the Film Fest Gent in Belgium, with Golda, Avatar: The Way Of Water and The Menu among the additional titles represented.
Nominations for discovery of the year, public choice award, Wsa game music award, best original score for a Belgian production and the Sabam Award for best original composition by...
Film Fest Gent and The World Soundtrack Academy has unveiled the second and final wave of nominations for the 2023 World Soundtrack Awards, which will take place on October 21 at the Film Fest Gent in Belgium, with Golda, Avatar: The Way Of Water and The Menu among the additional titles represented.
Nominations for discovery of the year, public choice award, Wsa game music award, best original score for a Belgian production and the Sabam Award for best original composition by...
- 9/5/2023
- by Mona Tabbara
- ScreenDaily
It’s Nicholas Britell versus Nicholas Britell in the Emmys race for the “Succession” (Max) and “Andor” (Disney+) original scores — and the Emmy-winning composer is also competing for the “Andor” theme as well. Not surprisingly, he’s favored to take home wins for both “Succession” and “Andor” in the respective categories. Which is only fitting since this is his last chance at the big musical “Succession” prize after being denied the first three seasons, and his unconventional theme for the critically acclaimed “Rogue One” prequel is a standout.
For score, Britell is up against HBO’s “The Last of Us” (Gustavo Santaolalla) and “The White Lotus” (Cristobal Tapia de Veer), and Netflix’s “Wednesday” (Danny Elfman and Chris Bacon). For main title, he’s up against “Guillermo del Toro’s Cabinet of Curiosities”, “Ms. Marvel”, “The Lord of the Rings: The Rings of Power”, and “Wednesday” (Elfman).
“Andor”LucasFilm ‘Succession...
For score, Britell is up against HBO’s “The Last of Us” (Gustavo Santaolalla) and “The White Lotus” (Cristobal Tapia de Veer), and Netflix’s “Wednesday” (Danny Elfman and Chris Bacon). For main title, he’s up against “Guillermo del Toro’s Cabinet of Curiosities”, “Ms. Marvel”, “The Lord of the Rings: The Rings of Power”, and “Wednesday” (Elfman).
“Andor”LucasFilm ‘Succession...
- 8/18/2023
- by Bill Desowitz
- Indiewire
John Williams, Nicholas Britell and Taylor Swift are all nominated
John Williams, Nicholas Britell and Taylor Swift are among the first wave of nominees for the World Soundtrack Awards (Wsa) 2023.
The winners will be announced at the 23rd edition of the World Soundtrack Awards on October 21 at the Film Fest Ghent in Belgium, during which the annual celebration of film music is held.
Williams is nominated in the film composer of the year category for his work on The Fabelmans and Indiana Jones And The Dial Of Destiny. The veteran composer is up against Volker Bertelmann who won the Oscar...
John Williams, Nicholas Britell and Taylor Swift are among the first wave of nominees for the World Soundtrack Awards (Wsa) 2023.
The winners will be announced at the 23rd edition of the World Soundtrack Awards on October 21 at the Film Fest Ghent in Belgium, during which the annual celebration of film music is held.
Williams is nominated in the film composer of the year category for his work on The Fabelmans and Indiana Jones And The Dial Of Destiny. The veteran composer is up against Volker Bertelmann who won the Oscar...
- 8/4/2023
- by Ellie Calnan
- ScreenDaily
Despite all the musical superstars who entered this year’s Emmy competition, only one – Ed Sheeran – managed to score when the 75th annual Emmy Award nominations were announced Wednesday.
Sheeran was nominated (along with co-writers Max Martin and Foy Vance) for the song “A Beautiful Game” for the season 3 finale of “Ted Lasso,” one of two songs from the popular Apple TV+ series that made it into the music-and-lyrics category.
Emmy’s 550-member music peer group ignored the original songs entered by Dolly Parton, David Byrne, Steve Martin, Kid Cudi, Donald Glover and Lainey Wilson, as well as those from such Oscar-winning tunesmiths as Alan Menken, Steven Schwartz, Robert Lopez and Kristen Anderson-Lopez.
Among the seven music categories, a surprising number of first-time nominees was recognized, and more than one-fourth of all the nominees in the five composition and songwriting categories are women, another positive sign of change in the Hollywood musical landscape.
Sheeran was nominated (along with co-writers Max Martin and Foy Vance) for the song “A Beautiful Game” for the season 3 finale of “Ted Lasso,” one of two songs from the popular Apple TV+ series that made it into the music-and-lyrics category.
Emmy’s 550-member music peer group ignored the original songs entered by Dolly Parton, David Byrne, Steve Martin, Kid Cudi, Donald Glover and Lainey Wilson, as well as those from such Oscar-winning tunesmiths as Alan Menken, Steven Schwartz, Robert Lopez and Kristen Anderson-Lopez.
Among the seven music categories, a surprising number of first-time nominees was recognized, and more than one-fourth of all the nominees in the five composition and songwriting categories are women, another positive sign of change in the Hollywood musical landscape.
- 7/12/2023
- by Jon Burlingame
- Variety Film + TV
In the first episode of “Wednesday,” Jenna Ortega’s title character plays a cello cover of The Rolling Stones’ goth anthem “Paint It Black.” Pulling off such a scene required licensing the song, orchestrating a new arrangement of it, and teaching Ortega how to play it — all while the traditional scoring process was taking place. It’s a fusion of old and new that helped make the show a cultural phenomenon when it debuted on Netflix in November 2022. And while the production team might have made it look easy, it required intense coordination between multiple departments.
That type of collaboration was a recurring theme to be celebrated at IndieWire’s Consider This Event on Saturday June 3. IndieWire hosted nearly 200 TV Academy, guild members, and other industry in attendance for a packed event at NeueHouse Hollywood that included a welcome reception, buffet lunch, items raffled by Rabbit Hole whiskey, Stanley cupware,...
That type of collaboration was a recurring theme to be celebrated at IndieWire’s Consider This Event on Saturday June 3. IndieWire hosted nearly 200 TV Academy, guild members, and other industry in attendance for a packed event at NeueHouse Hollywood that included a welcome reception, buffet lunch, items raffled by Rabbit Hole whiskey, Stanley cupware,...
- 6/4/2023
- by Christian Zilko
- Indiewire
The 2022-2023 season was a very good time to be a Netflix subscriber. Returning favorites like “Stranger Things” shattered viewership records for the streaming giant, while new projects like “Wednesday” and “Beef” proved that audiences are ready to embrace the company’s next big hit.
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
- 6/3/2023
- by Christian Blauvelt and Christian Zilko
- Indiewire
Where were you when the best Coachella set since Beyoncé happened? When Danny Elfman took the stage of Coachella shirtless on April 2022 to perform music from his band Oingo Boingo as well as the scores of “A Nightmare Before Christmas,” “Edward Scissorhands,” and — of course — “The Simpsons,” it set Twitter afire. The sometimes goofy, undeniably epic performance was a delight that reminded people of a universal fact: Danny Elfman rocks.
Elfman made his film composing debut in 1980 with “Forbidden Zone,” which was directed by his brother Richard Elfman and was based on the work of Danny’s experimental musical theater group “The Mystic Knights of Oingo Boingo.” The Mystic Knights were soon reformed into the (somewhat) more conventional new wave band Oingo Boingo, and their music found a fan in director Tim Burton, who recruited Elfman to score his feature debut “Pee-wee’s Big Adventure.” From there, a partnership was formed,...
Elfman made his film composing debut in 1980 with “Forbidden Zone,” which was directed by his brother Richard Elfman and was based on the work of Danny’s experimental musical theater group “The Mystic Knights of Oingo Boingo.” The Mystic Knights were soon reformed into the (somewhat) more conventional new wave band Oingo Boingo, and their music found a fan in director Tim Burton, who recruited Elfman to score his feature debut “Pee-wee’s Big Adventure.” From there, a partnership was formed,...
- 6/2/2023
- by Wilson Chapman and Alison Foreman
- Indiewire
As the Emmy race begins to heat up, IndieWire’s annual Consider This event will return to Los Angeles on Saturday, June 3 to honor the best artists and craftspeople working in television in both above and below-the-line roles. This year will feature panelists from some of the most acclaimed shows including Showtime’s “Yellowjackets,” Netflix’s “Stranger Things” and “Beef,” Starz’ “P-Valley,” and “Grease: Rise of the Pink Ladies” from Paramount+. The shows will take center stage via panel discussions moderated by IndieWire’s editors. Lunch will be offered, and the event will conclude with a reception.
Emmy voters and television industry insiders can request an invitation to this private event.
Apply To Attend Here
The Consider This Event will put the spotlight on talent from all different aspects of the industry from actors Christina Ricci (“Yellowjackets”), Nicco Annan, Brandee Evans, and J. Alphonse Nicholson (“P-Valley”) to composer Danny Elfman...
Emmy voters and television industry insiders can request an invitation to this private event.
Apply To Attend Here
The Consider This Event will put the spotlight on talent from all different aspects of the industry from actors Christina Ricci (“Yellowjackets”), Nicco Annan, Brandee Evans, and J. Alphonse Nicholson (“P-Valley”) to composer Danny Elfman...
- 5/25/2023
- by Christian Zilko
- Indiewire
Many historic elements involved in the coronation of King Charles III sound almost magical – like the Stone of Destiny.
Royal commentator and British journalist Jonathan Sacerdoti shared the history of the Stone of Destiny. And the important role it will play in King Charles III’s coronation.
The coronation ceremony of British monarchs is a “highly symbolic event, steeped in history, ritual, and tradition, with many elements that have been carried out for centuries.”
“The ceremony has evolved over the centuries,” he told Showbiz Cheat Sheet. “And while King Charles III is making some changes to the proceedings, many key elements remain unchanged, providing a link to the past and a sense of continuity for the British monarchy.”
Stone of Destiny has British and Scottish roots
The Stone of Destiny is symbolic in both British and Scottish history. “The Stone of Destiny, also known as the Stone of Scone, is...
Royal commentator and British journalist Jonathan Sacerdoti shared the history of the Stone of Destiny. And the important role it will play in King Charles III’s coronation.
The coronation ceremony of British monarchs is a “highly symbolic event, steeped in history, ritual, and tradition, with many elements that have been carried out for centuries.”
“The ceremony has evolved over the centuries,” he told Showbiz Cheat Sheet. “And while King Charles III is making some changes to the proceedings, many key elements remain unchanged, providing a link to the past and a sense of continuity for the British monarchy.”
Stone of Destiny has British and Scottish roots
The Stone of Destiny is symbolic in both British and Scottish history. “The Stone of Destiny, also known as the Stone of Scone, is...
- 4/20/2023
- by Gina Ragusa
- Showbiz Cheat Sheet
Emmys: Netflix Kicks Off Campaign Season with ‘Wednesday’ Stunt, Relocates ‘FYSee Space’ (Exclusive)
Netflix, perennially a key player in the Emmy race, is launching its 2023 Emmy campaigns on Wednesday with a, well, Wednesday-themed stunt.
Indeed, many voters and tastemakers will receive a hump-day visit — and hand-delivery of goodies — from a trio associated with the streamer’s hit comedy series: “Lurch,” the Addams family’s butler, who will be driving a class black 1930s hearse; “Wednesday Addams,” the titular teenager with psychic powers; and “Thing,” the sentient disembodied hand.
Additionally, The Hollywood Reporter has learned, Netflix will — for the fifth year in a row, but for the first year at Red Studios at 846 N. Cahuenga Blvd. in Los Angeles — welcome TV Academy members to an elaborate “FYSee Space” at which it will showcase activations and host star-studded panels and performances in promotion of its numerous Emmy hopefuls. The FYSee Space will be open from Friday, May 5 through Friday, May 26.
Netflix’s top Emmy contenders this season — among them Wednesday,...
Indeed, many voters and tastemakers will receive a hump-day visit — and hand-delivery of goodies — from a trio associated with the streamer’s hit comedy series: “Lurch,” the Addams family’s butler, who will be driving a class black 1930s hearse; “Wednesday Addams,” the titular teenager with psychic powers; and “Thing,” the sentient disembodied hand.
Additionally, The Hollywood Reporter has learned, Netflix will — for the fifth year in a row, but for the first year at Red Studios at 846 N. Cahuenga Blvd. in Los Angeles — welcome TV Academy members to an elaborate “FYSee Space” at which it will showcase activations and host star-studded panels and performances in promotion of its numerous Emmy hopefuls. The FYSee Space will be open from Friday, May 5 through Friday, May 26.
Netflix’s top Emmy contenders this season — among them Wednesday,...
- 4/19/2023
- by Scott Feinberg
- The Hollywood Reporter - Movie News
Director Tim Burton made his television directing debut by taking the helm of the first four episodes of the Netflix series Wednesday‘s eight episode first season. And when the time came to choose who would provide the music for the show, Burton went with his frequent collaborator Danny Elfman, who had also never worked in episodic TV before (aside from composing themes). Speaking with IndieWire, Elfman discussed the fact that he brought in a partner to help him face the challenge of composing the score for a TV series.
Elfman said, “I brought on a partner, Chris Bacon, to work with me because I’d never done episodic television. I was afraid that there was going to be a learning curve that was going to be kind of crushing. And it was. It’s like nothing I’ve ever experienced before, you’re dealing with delivering full scores, almost...
Elfman said, “I brought on a partner, Chris Bacon, to work with me because I’d never done episodic television. I was afraid that there was going to be a learning curve that was going to be kind of crushing. And it was. It’s like nothing I’ve ever experienced before, you’re dealing with delivering full scores, almost...
- 12/23/2022
- by Cody Hamman
- JoBlo.com
Jenna Ortega has given the character of Wednesday Addams a comeback as well as The Cramps’ “Goo Goo Muck,” which features in the fourth episode during a quirky dance routine at Nevermore Academy’s annual Rave’N.
According to Billboard, the band’s 1981 cover of Ronnie Cook & The Gaylads’ 1962 single charted up to 134,000 daily streams.
Literally beating to her own drum with characteristically quirky choreography, Ortega keeps Addams’ deadpan gaze while dominating the dance floor and impressing her date Tyler (Hunter Doohan).
Also Read:
‘Wednesday’ Sets Netflix Record for Most-Viewed English Series in a Single Week
Ortega mimicked moves from the TV show with Wednesday Addams’ dance style, with loose legs and feet swiveling. She credits Siousxie Sioux, Bob Fosse’s Rich Man’s Frug, Lisa Loring, Lene Lovic, Denis Lavant and archival footage of goths dancing in ’80s clubs with inspiration for designing the dance routine (without acknowledging the...
According to Billboard, the band’s 1981 cover of Ronnie Cook & The Gaylads’ 1962 single charted up to 134,000 daily streams.
Literally beating to her own drum with characteristically quirky choreography, Ortega keeps Addams’ deadpan gaze while dominating the dance floor and impressing her date Tyler (Hunter Doohan).
Also Read:
‘Wednesday’ Sets Netflix Record for Most-Viewed English Series in a Single Week
Ortega mimicked moves from the TV show with Wednesday Addams’ dance style, with loose legs and feet swiveling. She credits Siousxie Sioux, Bob Fosse’s Rich Man’s Frug, Lisa Loring, Lene Lovic, Denis Lavant and archival footage of goths dancing in ’80s clubs with inspiration for designing the dance routine (without acknowledging the...
- 12/2/2022
- by Dessi Gomez
- The Wrap
Created by Alfred Gough and Miles Millar with episodes directed by Tim Burton, James Marshall and Gandja Morteiro, “Wednesday” on Netflix contains all kinds of creepy and not so creepy music, with contributions by Chris Bacon and themes by Danny Elfman. But it’s also packed with popular songs.
From classic guitar-shred anthems like The Rolling Stones’ “Paint It, Black” to Metallica’s “Nothing Else Matters,” to more modern pop songs like Dua Lipa’s “Physical,” the “Wednesday” soundtrack is eclectic to say the least. Certain sonic touches take place with the help of Wednesday’s cello, which she plays fiercely. She also has a phonograph in her room on which she plays scratchy and staticky records.
Wednesday’s latina roots are also honored with songs like “La Llorona,” “Tierra Rica” and more, with some haunting operas sprinkled throughout.
Also Read:
Joe Jonas on Writing the Song ‘Not Alone’ for ‘Devotion': ‘It Was Exciting,...
From classic guitar-shred anthems like The Rolling Stones’ “Paint It, Black” to Metallica’s “Nothing Else Matters,” to more modern pop songs like Dua Lipa’s “Physical,” the “Wednesday” soundtrack is eclectic to say the least. Certain sonic touches take place with the help of Wednesday’s cello, which she plays fiercely. She also has a phonograph in her room on which she plays scratchy and staticky records.
Wednesday’s latina roots are also honored with songs like “La Llorona,” “Tierra Rica” and more, with some haunting operas sprinkled throughout.
Also Read:
Joe Jonas on Writing the Song ‘Not Alone’ for ‘Devotion': ‘It Was Exciting,...
- 11/24/2022
- by Dessi Gomez
- The Wrap
Danny Elfman, the man behind the scores for “Batman” and “Edward Scissorhands,” is reteaming with director Tim Burton to compose the theme for Netflix’s “Wednesday.”
Directed by Burton, the live-action, comedic coming-of-age tale focuses on Wednesday Addams’ teenage years. In addition to composing the theme, Elfman will work on the score for the entire season of “Wednesday” alongside fellow composer Chris Bacon, who has collaborated with Elfman on past projects.
“Wednesday” will star Jenna Ortega, Catherine Zeta-Jones, Luis Guzmán, Gwendoline Christie, Hunter Doohan, Percy Hynes White, Joy Sunday, Emma Myers, Riki Lindhome, Jamie McShane, Georgie Farmer, Naomi Ogawa and Moosa Mostafa.
The series’ logline reads: “The series is a sleuthing, supernaturally infused mystery charting Wednesday Addams’ years as a student at Nevermore Academy. Wednesday attempts to master her emerging psychic ability, thwart a monstrous killing spree that has terrorized the local town, and solve the supernatural mystery that embroiled...
Directed by Burton, the live-action, comedic coming-of-age tale focuses on Wednesday Addams’ teenage years. In addition to composing the theme, Elfman will work on the score for the entire season of “Wednesday” alongside fellow composer Chris Bacon, who has collaborated with Elfman on past projects.
“Wednesday” will star Jenna Ortega, Catherine Zeta-Jones, Luis Guzmán, Gwendoline Christie, Hunter Doohan, Percy Hynes White, Joy Sunday, Emma Myers, Riki Lindhome, Jamie McShane, Georgie Farmer, Naomi Ogawa and Moosa Mostafa.
The series’ logline reads: “The series is a sleuthing, supernaturally infused mystery charting Wednesday Addams’ years as a student at Nevermore Academy. Wednesday attempts to master her emerging psychic ability, thwart a monstrous killing spree that has terrorized the local town, and solve the supernatural mystery that embroiled...
- 12/16/2021
- by Jazz Tangcay
- Variety Film + TV
Danny Elfman has signed on to pen the score and original theme music for Wednesday, Tim Burton’s upcoming Addams Family series for Netflix and MGM Television, alongside Emmy nominee Chris Bacon.
The eight-episode, live-action series directed and exec produced by Burton charts Wednesday Addams’ (Jenna Ortega) years as a student at Nevermore Academy, watching as she attempts to master her emerging psychic ability, thwart a monstrous killing spree that has terrorized the local town, and solve the supernatural mystery that embroiled her parents 25 years ago—all while navigating new and very tangled relationships.
Catherine Zeta-Jones, Luis Guzmán, Gwendoline Christie, Hunter Doohan, Percy Hynes White, Joy Sunday, Emma Myers, Riki Lindhome, Jamie McShane, Georgie Farmer, Naomi Ogawa and Moosa Mostafa will also star in the series from EP-showrunners Al Gough and Miles Millar. Steve Stark, Andrew Mittman for 1.21, Kevin Miserocchi,...
The eight-episode, live-action series directed and exec produced by Burton charts Wednesday Addams’ (Jenna Ortega) years as a student at Nevermore Academy, watching as she attempts to master her emerging psychic ability, thwart a monstrous killing spree that has terrorized the local town, and solve the supernatural mystery that embroiled her parents 25 years ago—all while navigating new and very tangled relationships.
Catherine Zeta-Jones, Luis Guzmán, Gwendoline Christie, Hunter Doohan, Percy Hynes White, Joy Sunday, Emma Myers, Riki Lindhome, Jamie McShane, Georgie Farmer, Naomi Ogawa and Moosa Mostafa will also star in the series from EP-showrunners Al Gough and Miles Millar. Steve Stark, Andrew Mittman for 1.21, Kevin Miserocchi,...
- 12/16/2021
- by Matt Grobar
- Deadline Film + TV
Back in 2012, many were shocked that Men In Black III existed and yet the filmmakers managed to improve on the second and bring the series to a surprisingly warm and fun close…or so we thought. Truth be told, Men In Black: International had a hard time convincing naysayers when it was announced that original stars Will Smith and Tommy Lee Jones would not be returning, this unease was only strengthened when the first trailer hit and the film’s overall marketing felt under-powered. But could this new reboot/sequel find a story that is worth telling and set a new course for this series, based on Lowell Cunningham’s Malibu/Marvel comic? Sadly, lightening has not struck again.
The lack of the original stars is unavoidably felt in this film, which seems like a very distant cousin to the series as a result, but in Marvel studios’ Thor and Valkyrie,...
The lack of the original stars is unavoidably felt in this film, which seems like a very distant cousin to the series as a result, but in Marvel studios’ Thor and Valkyrie,...
- 7/4/2019
- by Jack Bottomley
- The Cultural Post
Going international is not a good look for the Men in Black franchise. After a trilogy focused on Will Smith’s character, the series moves on with Men in Black: International, a sequel functioning also as a bit of a reboot as well. Taking a page from the Marvel Cinematic Universe, the film pairs Chris Hemsworth with Tessa Thompson here, hoping that they can replicate their previous chemistry. Can Hemsworth and Thompson make fans forget about Smith and Josh Brolin/Tommy Lee Jones? In a word, no. This would be summer blockbuster is mediocrity personified, as generic an adventure as the big screen has seen this year. The MiB universe deserves far better than this. For this latest installment of the Men in Black franchise, new heroes are followed. On the one hand, we have cocky Agent H (Hemsworth), a once rising star in the London branch of MiB. Then,...
- 6/12/2019
- by Joey Magidson
- Hollywoodnews.com
Here come the Men in Black, but not the ones that you remember. F. Gary Gray’s “Men in Black: International,” a sequel/spin-off to the blockbuster franchise about human bureaucrats managing interstellar immigration services on Earth, has a whole new cast, a whole new style — and no new ideas.
Barry Sonnenfeld’s original 1997 adaptation of the Malibu Comics series “Men in Black” was one of the most unexpected blockbusters of the 1990s. Half the movie was straightforward exposition, but it was funny exposition so nobody cared. Eccentric and clever, and steadfastly refusing to indulge in an action sequence whenever a quirky conversation would do, the film was a rare beacon of wit in a wasteland of otherwise brainless spectacles.
But after two sequels, the “Men in Black” franchise never quite evolved. What started out as a pointed metaphor for America as a melting pot of disparate cultures became a...
Barry Sonnenfeld’s original 1997 adaptation of the Malibu Comics series “Men in Black” was one of the most unexpected blockbusters of the 1990s. Half the movie was straightforward exposition, but it was funny exposition so nobody cared. Eccentric and clever, and steadfastly refusing to indulge in an action sequence whenever a quirky conversation would do, the film was a rare beacon of wit in a wasteland of otherwise brainless spectacles.
But after two sequels, the “Men in Black” franchise never quite evolved. What started out as a pointed metaphor for America as a melting pot of disparate cultures became a...
- 6/12/2019
- by William Bibbiani
- The Wrap
A lifelong fan of Sherlock Holmes, director John Stevenson had a set of specific conditions for taking on the Paramount animated sequel, Sherlock Gnomes. Coming off Kelly Asbury’s 2011 feature Gnomeo & Juliet, the follow-up would retain key elements—namely, a band of charming garden sculptures, who get into a series of comedic misadventures. At the same time, Stevenson’s take wouldn’t be overly goofy or broad. Set in contemporary London, it would show reverence for an iconic literary character, who would be “repositioned to work for a family film.” An interesting and unusual challenge for the director was to take a franchise that began in one genre—the musical romantic comedy—and recontextualize it for another. “That’s not a normal thing to do with any kind of movie, let alone an animated one,” Stevenson says. “But that was the condition for me to work on it, and...
- 12/31/2018
- by Matt Grobar
- Deadline Film + TV
The Hollywood Music in Media Awards, recognizing music in film, TV, video games, commercials, and trailers, today announced nominees for its 2018 edition. Among the nominates films are Bradley Cooper’s directorial debut “A Star Is Born,” “Black Panther,” “BlacKkKlansman,” “Quincy,” and more.
The ceremony will feature presentations, performances, and a special achievement award. Past honorees include Diane Warren, Smokey Robinson, and Glen Campbell.
Hmma nominations are selected by an advisory board and selection committee which includes journalists, music executives, music-media industry professionals comprised of select members of the Society of Composers and Lyricists, The Television Academy, the AMPAS Music Branch, Naras, and performing rights organizations.
The awards will be held at the Avalon Hollywood on Wednesday, Nov. 14. A portion of proceeds benefit Education Through Music – Los Angeles.
A list of the visual media nominees are below:
Original Score – Feature Film
Alexandre Desplat – “The Sisters Brothers” (Annapurna)
Carter Burwell – “The Ballad Of Buster Scruggs...
The ceremony will feature presentations, performances, and a special achievement award. Past honorees include Diane Warren, Smokey Robinson, and Glen Campbell.
Hmma nominations are selected by an advisory board and selection committee which includes journalists, music executives, music-media industry professionals comprised of select members of the Society of Composers and Lyricists, The Television Academy, the AMPAS Music Branch, Naras, and performing rights organizations.
The awards will be held at the Avalon Hollywood on Wednesday, Nov. 14. A portion of proceeds benefit Education Through Music – Los Angeles.
A list of the visual media nominees are below:
Original Score – Feature Film
Alexandre Desplat – “The Sisters Brothers” (Annapurna)
Carter Burwell – “The Ballad Of Buster Scruggs...
- 10/16/2018
- by Rachel Yang
- Variety Film + TV
The 2018 Emmy nominees for Best Main Title Theme Music are so wholly unique that it is impossible to mistake one for another. The nominees include the themes from “Godless” (Netflix), “The Last Tycoon” (Amazon), “Marvel’s The Defenders” (Netflix), “The Putin Interviews” (Showtime), “Somebody Feed Phil” (Netflix) and “The Tick” (Amazon). Emmy voters truly went their own way in this category, with “Godless” being the only show to earn a corresponding Best Series nomination.
From a rollicking Western tune to a jazzy big band number to a cheesy throwback to sitcoms of old, this category has everything you could want in a TV theme song. So which main title theme song will emerge victorious? After reading our breakdown of each of this year’s Emmy nominees, be sure to make your predictions.
“Godless” — Theme by Carlos Rafael Rivera
Carlos Rafael Rivera’s theme for “Godless” feels like an authentic Western theme without being too derivative,...
From a rollicking Western tune to a jazzy big band number to a cheesy throwback to sitcoms of old, this category has everything you could want in a TV theme song. So which main title theme song will emerge victorious? After reading our breakdown of each of this year’s Emmy nominees, be sure to make your predictions.
“Godless” — Theme by Carlos Rafael Rivera
Carlos Rafael Rivera’s theme for “Godless” feels like an authentic Western theme without being too derivative,...
- 7/31/2018
- by Kevin Jacobsen
- Gold Derby
This year’s Emmy race in the music categories takes on greater interest because a win in the song category could instantly give songwriters Benj Pasek and Justin Paul an Egot, having already won Oscar, Tony and Grammy awards.
Pasek and Paul — whose “La La Land,” “Greatest Showman” and “Dear Evan Hansen” songs have catapulted them into the front ranks of American songwriters in the past two years — are nominated for their new song, “In the Market for a Miracle,” written for Fox’s “A Christmas Story Live,” an adaptation of their 2012 stage musical.
They are just two of 28 first-time nominees in the six music categories, announced Thursday morning by the Television Academy for 2017-18 programs. Nearly 60 percent of all the music nominees are newcomers to the Emmy race. Ironically, several musicians were nominated for non-music categories: Donald Glover (“Atlanta”), John Legend and Sara Bareilles all received acting nods — and...
Pasek and Paul — whose “La La Land,” “Greatest Showman” and “Dear Evan Hansen” songs have catapulted them into the front ranks of American songwriters in the past two years — are nominated for their new song, “In the Market for a Miracle,” written for Fox’s “A Christmas Story Live,” an adaptation of their 2012 stage musical.
They are just two of 28 first-time nominees in the six music categories, announced Thursday morning by the Television Academy for 2017-18 programs. Nearly 60 percent of all the music nominees are newcomers to the Emmy race. Ironically, several musicians were nominated for non-music categories: Donald Glover (“Atlanta”), John Legend and Sara Bareilles all received acting nods — and...
- 7/12/2018
- by Jon Burlingame
- Variety Film + TV
Ever since the release of Trainwreck established Amy Schumer as a big screen comedy star, it has been a waiting game to find out how she would fair as an A list leading lady, following that hit. Schumer has already conquered the small screen with Inside Amy Schumer, but now she tries cinemas again with Snatched. It’s out today and represents the best option in theaters this week. Keep in mind, it’s not amazing, but it’s solidly entertaining and more than amusing enough to recommend. Plus, Schumer has gotten Goldie Hawn back on screens, which is an absolute delight. If you’re a fan of either, you should be in for a treat. The film is an action comedy that wants to be as much an adventure as it is a laugh riot. Emily Middleton (Schumer) is the complete opposite of her mother Linda Middleton (Hawn). In...
- 5/12/2017
- by Joey Magidson
- Hollywoodnews.com
If there’s a running theme in this year’s race for score and sound, it’s being unconventional.
For series dramatic score, look for “Chef’s Table’s'” Duncan Thum to get the win for the poignant “Grant Achatz” episode about a Chicago celebrity chef losing his sense of taste while undergoing cancer treatment. However, Thum faces stiff competition from Chris Bacon for the offbeat “Bates Motel” finale, in which Norman (Freddie Highmore) and Norma (Vera Farmiga) face the point of no return, and from Mac Quayle’s eerie “Mr. Robot” opener (“Hello Friend”).
“Fargo” and “The Night Manager,” which go head to head in dramatic score for limited series, movie or special, offer a ’70s vibe and Mediterranean sense of romance, with the nod likely going to “Fargo’s” Jeff Russo.
Meanwhile, “Game of Thrones” and “Fargo” are the definition of unconventional. “Got” should win for series sound...
For series dramatic score, look for “Chef’s Table’s'” Duncan Thum to get the win for the poignant “Grant Achatz” episode about a Chicago celebrity chef losing his sense of taste while undergoing cancer treatment. However, Thum faces stiff competition from Chris Bacon for the offbeat “Bates Motel” finale, in which Norman (Freddie Highmore) and Norma (Vera Farmiga) face the point of no return, and from Mac Quayle’s eerie “Mr. Robot” opener (“Hello Friend”).
“Fargo” and “The Night Manager,” which go head to head in dramatic score for limited series, movie or special, offer a ’70s vibe and Mediterranean sense of romance, with the nod likely going to “Fargo’s” Jeff Russo.
Meanwhile, “Game of Thrones” and “Fargo” are the definition of unconventional. “Got” should win for series sound...
- 8/26/2016
- by Bill Desowitz
- Indiewire
Louisa Mellor Aug 22, 2016
Spoooooon! Here’s what we made of the Peter Serafinowicz-starring pilot for The Tick, now available on Amazon Prime…
“We need superheroes!” says a radio phone-in caller in The Tick pilot, a demand TV and film could scarcely be catering to more fully right now. Superheroes of all stripes—gritty, damaged, ironic or R-rated—aren't something we lack for.
That wasn’t the case thirty years ago when Ben Edlund created satirical comic book hero The Tick, nor when the character appeared in a 1994 Fox animated series or, briefly, a 2001 live-action comedy. The current glut either makes now the perfect time for a revival of Edlund’s character (every dominant cultural product needs a subversive sidekick) or risks it feeling crowded-out and irrelevant.
After all, post-Deadpool and Kick-Ass and The Incredibles and Guardians Of The Galaxy and Adam West on Family Guy and Joss Whedon’s shawarma-eating Avengers,...
Spoooooon! Here’s what we made of the Peter Serafinowicz-starring pilot for The Tick, now available on Amazon Prime…
“We need superheroes!” says a radio phone-in caller in The Tick pilot, a demand TV and film could scarcely be catering to more fully right now. Superheroes of all stripes—gritty, damaged, ironic or R-rated—aren't something we lack for.
That wasn’t the case thirty years ago when Ben Edlund created satirical comic book hero The Tick, nor when the character appeared in a 1994 Fox animated series or, briefly, a 2001 live-action comedy. The current glut either makes now the perfect time for a revival of Edlund’s character (every dominant cultural product needs a subversive sidekick) or risks it feeling crowded-out and irrelevant.
After all, post-Deadpool and Kick-Ass and The Incredibles and Guardians Of The Galaxy and Adam West on Family Guy and Joss Whedon’s shawarma-eating Avengers,...
- 8/22/2016
- Den of Geek
Varèse Sarabande Records will release the Bates Motel - Original Television Series Soundtrack, featuring the original score composed by Chris Bacon, digitally and on CD August 25th. We have all the details you need right here.
Chris Bacon burst onto the film-scoring scene with his full throttled score for Duncan Jones’ hit thriller Source Code. He earned his first Emmy® Award Nomination for the underscore for the second half of NBC’s "Smash" Season 1.
His recent work includes the score to John Putch’s Atlas Shrugged II: The Strike, Season 2 of "Smash," and Stephen Gyllenhaal’s Sworn to Silence.
“In my early conversations with the show's producers about the score's direction, they made it clear that we are not trying to re-create or pay homage to the original Psycho, which was good news because that's one of the most iconic and recognizable scores of all time and my attempts to...
Chris Bacon burst onto the film-scoring scene with his full throttled score for Duncan Jones’ hit thriller Source Code. He earned his first Emmy® Award Nomination for the underscore for the second half of NBC’s "Smash" Season 1.
His recent work includes the score to John Putch’s Atlas Shrugged II: The Strike, Season 2 of "Smash," and Stephen Gyllenhaal’s Sworn to Silence.
“In my early conversations with the show's producers about the score's direction, they made it clear that we are not trying to re-create or pay homage to the original Psycho, which was good news because that's one of the most iconic and recognizable scores of all time and my attempts to...
- 8/14/2014
- by Debi Moore
- DreadCentral.com
We all could really (wheel-y!) learn a thing or two from this pig. Despite being born with malformed hind legs, 6-month-old Chris P. Bacon just rolls with it in a pseudo-wheelchair crafted by his owner, Dr. Len Lucero. The pig was brought to the vet, who resides in Sumterville, Fla., in December after his mother had rejected him and withheld milk due to his deformity. But, "he was full of life," Lucero told The Gainesville Sun. "He had a good heart rate and the attitude of a normal pig." Since being taken in, Chris has also become a viral sensation...
- 6/11/2013
- PEOPLE.com
We return with another edition of the Indie Spotlight, highlighting the recent independent horror news sent our way. Today’s feature includes details on The Lost Tree and The Visitant, trailers for A Grim Becoming and Horror Hotel, and much more:
Trailer for The Lost Tree: “Michael Madsen (“Reservoir Dogs,” “Kill Bill: Vol. 1,” “Kill Bill: Vol. 2”), Lacey Chabert (“Mean Girls,” “Part of Five”), Scott Grimes (“Robin Hood,” “American Dad”) and Clare Kramer (“Bring It On,” “The Rules of Attraction”) will star alongside Thomas Ian Nicholas (“American Pie,” “American Reunion,” “The Rules of Attraction”) in Brian A. Metcalf’s new horror/drama “The Lost Tree.”
Written, directed and produced by Metcalf, “The Lost Tree” is centered around a man, Noah (Nicholas), who is guilt-ridden for the death of his wife, Emma (Kramer). He travels to an isolated cabin in search of peace and isolation. But he soon learns...
Trailer for The Lost Tree: “Michael Madsen (“Reservoir Dogs,” “Kill Bill: Vol. 1,” “Kill Bill: Vol. 2”), Lacey Chabert (“Mean Girls,” “Part of Five”), Scott Grimes (“Robin Hood,” “American Dad”) and Clare Kramer (“Bring It On,” “The Rules of Attraction”) will star alongside Thomas Ian Nicholas (“American Pie,” “American Reunion,” “The Rules of Attraction”) in Brian A. Metcalf’s new horror/drama “The Lost Tree.”
Written, directed and produced by Metcalf, “The Lost Tree” is centered around a man, Noah (Nicholas), who is guilt-ridden for the death of his wife, Emma (Kramer). He travels to an isolated cabin in search of peace and isolation. But he soon learns...
- 5/26/2013
- by Tamika Jones
- DailyDead
A baby pig born without the use of his back legs has set the Internets on fire this week -- and for good reason: His cuteness is just almost too much to bear.
Chris P. Bacon was born on Jan. 13 with a congenital defect that makes his hind legs nonfunctional, according to Wcvb.
The Hamilton Spectator reports that a young woman brought the pig to a vet in Florida because she could not care for him. Instead of euthanizing hum, the vet adopted the baby animal.
ABC reports that Bacon's new owner, veterinarian Len Lucero of Clermont, Fla., and his son managed to fashion a makeshift wheelchair for the plucky piglet using K'Nex toys.
“I remembered my son had a bunch of K’Nex, and I wondered if I could make him something to walk on,” Lucero told ABC News. “So I just made a real quick wheelchair. We put...
Chris P. Bacon was born on Jan. 13 with a congenital defect that makes his hind legs nonfunctional, according to Wcvb.
The Hamilton Spectator reports that a young woman brought the pig to a vet in Florida because she could not care for him. Instead of euthanizing hum, the vet adopted the baby animal.
ABC reports that Bacon's new owner, veterinarian Len Lucero of Clermont, Fla., and his son managed to fashion a makeshift wheelchair for the plucky piglet using K'Nex toys.
“I remembered my son had a bunch of K’Nex, and I wondered if I could make him something to walk on,” Lucero told ABC News. “So I just made a real quick wheelchair. We put...
- 2/6/2013
- by Meredith Bennett-Smith
- Huffington Post
Glen salutes what, in his view, were the finest movie scores of 2011. Is your favourite on here?
2011 was a great year for film, and the scores that accompanied them have been of a similarly high standard, featuring efforts from some of the best musicians in the business, as well as some great pieces of work from first time composers.
While compiling my list of favourites, I’ve limited entrants to one per composer, and I’ve yet to see The Girl With The Dragon Tattoo, so there may be one or two high profile omissions, but I feel that what’s included below represents some of the finest scores of the year...
Attack The Block: Basement Jaxx & Steven Price
Joe Cornish’s debut was something that I had anticipated since first hearing about it, and while it didn’t disappoint, it didn’t blow me away either. Nevertheless, it...
2011 was a great year for film, and the scores that accompanied them have been of a similarly high standard, featuring efforts from some of the best musicians in the business, as well as some great pieces of work from first time composers.
While compiling my list of favourites, I’ve limited entrants to one per composer, and I’ve yet to see The Girl With The Dragon Tattoo, so there may be one or two high profile omissions, but I feel that what’s included below represents some of the finest scores of the year...
Attack The Block: Basement Jaxx & Steven Price
Joe Cornish’s debut was something that I had anticipated since first hearing about it, and while it didn’t disappoint, it didn’t blow me away either. Nevertheless, it...
- 1/3/2012
- Den of Geek
Way back in the day, The Playlist started as a site focused principally on the places where movies and music met, and in particular, on scores and soundtracks. We've widened our net in the intervening years simply because that sole focus felt too small and we're movie lovers just as much as music lovers, but that interest has never gone away. And how could it? In many ways, we've reached the most interesting time in film scoring in years, with 2011 in particular seeing a number of electronic artists bringing the synth back into fashion in a big way. Between these and last year's Daft Punk-abled "Tron: Legacy" score, has there ever been a time when movie music has been so, well, danceable? But it's not all about the beats: veterans like Alberto Iglesias and Howard Shore pulled in sterling, more old-fashioned work this year, while rising stars like Chris Bacon,...
- 12/14/2011
- The Playlist
Source Code
Reviewed by Duncan Bain
Stars: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright | Written by Ben Ripley | Directed by Duncan Jones
Sophomore directing effort from Duncan “Zowie” Jones, Source Code sees a vastly bigger budget and a broader scope from the visionary that brought us sci-fan favourite Moon. Described by some as “12 Monkeys meets Groundhog Day,” the film is a high tech sci fi thriller wherein Jake Gyllenhaal (Donnie Darko, Brokeback Mountain) finds himself reliving the same 8 minutes of a train journey. To spare yourself my regurgitation of the setup, you may care to watch the first 5 minutes of the film here. Before long, we discover that Gyllenhaal has been sent on a mission to retrieve vital information from this time window in order to prevent a far larger, more destructive terrorist plot – one that is bound for central Chicago with potentially devastating consequences.
Normally, it is pretty...
Reviewed by Duncan Bain
Stars: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright | Written by Ben Ripley | Directed by Duncan Jones
Sophomore directing effort from Duncan “Zowie” Jones, Source Code sees a vastly bigger budget and a broader scope from the visionary that brought us sci-fan favourite Moon. Described by some as “12 Monkeys meets Groundhog Day,” the film is a high tech sci fi thriller wherein Jake Gyllenhaal (Donnie Darko, Brokeback Mountain) finds himself reliving the same 8 minutes of a train journey. To spare yourself my regurgitation of the setup, you may care to watch the first 5 minutes of the film here. Before long, we discover that Gyllenhaal has been sent on a mission to retrieve vital information from this time window in order to prevent a far larger, more destructive terrorist plot – one that is bound for central Chicago with potentially devastating consequences.
Normally, it is pretty...
- 8/10/2011
- by Phil
- Nerdly
Kelly Asbury interview: Gnomeo & Juliet, Spirit, Statham, and why animation is getting too expensive
Director Kelly Asbury tells us about making Jason Statham into a garden gnome, Elton John, Spirit: Stallion Of The Cimarron, and Gnomeo & Juliet…
In a year that’s given us a couple of surprise animated hits, perhaps Gnomeo & Juliet is the least likely. A film made partly in Britain, partly in Canada, and once on the Disney slate, it crosses Shakespeare with gnomes, with a healthy dose of Elton John music. It’s also taken in nearly $200m at the worldwide box office, and has arriving on DVD and Blu-ray in the UK this week.
To mark that fact, we got the chance to chat with its director, Kelly Asbury. And here’s how we got on…
One of the interesting by-products of the film already is that it’s got youngsters a little more curious about Shakespeare. Is that one of the ramifications you were looking for?
I always...
In a year that’s given us a couple of surprise animated hits, perhaps Gnomeo & Juliet is the least likely. A film made partly in Britain, partly in Canada, and once on the Disney slate, it crosses Shakespeare with gnomes, with a healthy dose of Elton John music. It’s also taken in nearly $200m at the worldwide box office, and has arriving on DVD and Blu-ray in the UK this week.
To mark that fact, we got the chance to chat with its director, Kelly Asbury. And here’s how we got on…
One of the interesting by-products of the film already is that it’s got youngsters a little more curious about Shakespeare. Is that one of the ramifications you were looking for?
I always...
- 6/7/2011
- Den of Geek
Aaron Zigman is scoring the pilot for the drama A Mann’s World. The project is written, produced and directed by Michael Patrick King who has worked with the composer on both Sex and the City movies. The show follows the complicated life of Allan Mann, a celebrity hair stylist in glamorous Los Angeles as he navigates the complexities of his business, his family life, and his goal to stay young and relevant in a place where looks are everything. The pilot stars Don Johnson, Ellen Barkin, Kelly Hu, Sandra Vergara, Caitlin Crosby and Jr Bourne. The project is Zigman’s first TV credit since he wrote the music for the 2004 Showtime show Crown Heights. Zigman joins a number of composers best known for their feature work who are scoring a TV pilot this season, including Mark Isham, Chris Bacon and Brian Reitzell. NBC is expected to make an announcement...
- 5/11/2011
- by filmmusicreporter
- Film Music Reporter
In this week’s Music in the movies, Glen looks over the scores for such films as Source Code, Submarine and Thor…
We’re not even half way through 2011 yet, and we’ve already heard some spectacular movie scores from seasoned composers and newcomers alike. Here are some of the movie soundtracks released recently that are worthy of your attention.
Source Code – Chris Bacon
Duncan Jones’ follow up to the fantastic Moon saw him work with a larger budget, but also with a property that other people were attached to prior to his involvement. Despite this, many of the themes evident in his debut feature can be seen in Source Code. I really enjoyed the film, and I know a lot is being said about the ending, but I didn’t feel that it derailed the film by any means. It leaves a certain amount to be left to the viewer’s imagination,...
We’re not even half way through 2011 yet, and we’ve already heard some spectacular movie scores from seasoned composers and newcomers alike. Here are some of the movie soundtracks released recently that are worthy of your attention.
Source Code – Chris Bacon
Duncan Jones’ follow up to the fantastic Moon saw him work with a larger budget, but also with a property that other people were attached to prior to his involvement. Despite this, many of the themes evident in his debut feature can be seen in Source Code. I really enjoyed the film, and I know a lot is being said about the ending, but I didn’t feel that it derailed the film by any means. It leaves a certain amount to be left to the viewer’s imagination,...
- 5/9/2011
- Den of Geek
By Annlee Ellingson
(March 2011)
It perhaps should serve as no surprise that director Duncan Jones’ first two movies have been speculative features. He is, after all, the son of Ziggy Stardust himself, glam rocker David Bowie, and for the first 12 years of his life went by “Zowie Bowie.” But cinematically, Jones has been influenced as much by “Starman” as by the authors his father assigned him to read for two hours every night: George Orwell, Philip K. Dick and J.G. Ballard.
Having shaken up the British advertising industry with a controversial spot for Fcuk called “Fashion vs. Style,” featuring two hot women (“Fashion” and “Style”) in a catfight that culminates in a kiss, the one-time philosophy Ph.D. student made his feature debut in 2009 with “Moon.” Sam Rockwell stars as the lone operator of an ore-mining operation on Earth’s sole satellite who discovers he’s actually a clone. The...
(March 2011)
It perhaps should serve as no surprise that director Duncan Jones’ first two movies have been speculative features. He is, after all, the son of Ziggy Stardust himself, glam rocker David Bowie, and for the first 12 years of his life went by “Zowie Bowie.” But cinematically, Jones has been influenced as much by “Starman” as by the authors his father assigned him to read for two hours every night: George Orwell, Philip K. Dick and J.G. Ballard.
Having shaken up the British advertising industry with a controversial spot for Fcuk called “Fashion vs. Style,” featuring two hot women (“Fashion” and “Style”) in a catfight that culminates in a kiss, the one-time philosophy Ph.D. student made his feature debut in 2009 with “Moon.” Sam Rockwell stars as the lone operator of an ore-mining operation on Earth’s sole satellite who discovers he’s actually a clone. The...
- 4/1/2011
- by admin
- Moving Pictures Network
By Annlee Ellingson
(March 2011)
It perhaps should serve as no surprise that director Duncan Jones’ first two movies have been speculative features. He is, after all, the son of Ziggy Stardust himself, glam rocker David Bowie, and for the first 12 years of his life went by “Zowie Bowie.” But cinematically, Jones has been influenced as much by “Starman” as by the authors his father assigned him to read for two hours every night: George Orwell, Philip K. Dick and J.G. Ballard.
Having shaken up the British advertising industry with a controversial spot for Fcuk called “Fashion vs. Style,” featuring two hot women (“Fashion” and “Style”) in a catfight that culminates in a kiss, the one-time philosophy Ph.D. student made his feature debut in 2009 with “Moon.” Sam Rockwell stars as the lone operator of an ore-mining operation on Earth’s sole satellite who discovers he’s actually a clone. The...
(March 2011)
It perhaps should serve as no surprise that director Duncan Jones’ first two movies have been speculative features. He is, after all, the son of Ziggy Stardust himself, glam rocker David Bowie, and for the first 12 years of his life went by “Zowie Bowie.” But cinematically, Jones has been influenced as much by “Starman” as by the authors his father assigned him to read for two hours every night: George Orwell, Philip K. Dick and J.G. Ballard.
Having shaken up the British advertising industry with a controversial spot for Fcuk called “Fashion vs. Style,” featuring two hot women (“Fashion” and “Style”) in a catfight that culminates in a kiss, the one-time philosophy Ph.D. student made his feature debut in 2009 with “Moon.” Sam Rockwell stars as the lone operator of an ore-mining operation on Earth’s sole satellite who discovers he’s actually a clone. The...
- 4/1/2011
- by admin
- Moving Pictures Magazine
Duncan Jones made his presence known in 2009 with Moon, his first feature that astounded audiences with its intelligent science-fiction story and the early signs of a filmmaker to watch. Source Code was written by Ben Riley (Species III) and is Jones. sophomore outing as a feature filmmaker, but is also his first big-budget Hollywood flick. An independent film, Moon had a $5 million budget, a mere drop in the bucket compared to the $30 million upgrade Jones. earned to make Source Code.
Why is the budget so important? Well, its not. One thing Jones made clear to me once I saw Moon the first time, was that he had the ability to make the most of what he had to work with, but also deliver a compelling story without relying heavily on expensive CGI special effects. In Source Code, Jones continues to convince me that he focuses more on his vision and...
Why is the budget so important? Well, its not. One thing Jones made clear to me once I saw Moon the first time, was that he had the ability to make the most of what he had to work with, but also deliver a compelling story without relying heavily on expensive CGI special effects. In Source Code, Jones continues to convince me that he focuses more on his vision and...
- 4/1/2011
- by Travis Keune
- WeAreMovieGeeks.com
Altered minds, altered states and bags of style – this sci-fi thriller is a superb follow-up for Duncan Jones
With his debut movie Moon, Duncan Jones made a mighty leap; now with this superb follow-up, he has hit the ground sprinting. Source Code is a terrifically exciting and hugely enjoyable sci-fi thriller, written by Ben Ripley. For pure entertainment, there's nothing around to touch it.
Source Code is about conspiracies, altered minds and altered states, far-fetched in the most elegant and Hitchcockian way, and the sheer outrageousness of it all is muscular and streamlined. The film is about modified reality and inner space, and there are points of comparison with Christopher Nolan's Inception. But the world of Source Code seems to me more interesting, and more able to incubate real drama, real suspense and even some real humour.
At its centre is Colter Stevens, played by Jake Gyllenhaal, a Us...
With his debut movie Moon, Duncan Jones made a mighty leap; now with this superb follow-up, he has hit the ground sprinting. Source Code is a terrifically exciting and hugely enjoyable sci-fi thriller, written by Ben Ripley. For pure entertainment, there's nothing around to touch it.
Source Code is about conspiracies, altered minds and altered states, far-fetched in the most elegant and Hitchcockian way, and the sheer outrageousness of it all is muscular and streamlined. The film is about modified reality and inner space, and there are points of comparison with Christopher Nolan's Inception. But the world of Source Code seems to me more interesting, and more able to incubate real drama, real suspense and even some real humour.
At its centre is Colter Stevens, played by Jake Gyllenhaal, a Us...
- 3/31/2011
- by Peter Bradshaw
- The Guardian - Film News
Source Code
Directed by Duncan Jones
Written by Ben Ripley
USA/France, 2011
Splitting the difference between big-ticket pyrotechnics and the burgeoning auteurist touches of director Duncan Jones (Moon), Source Code combines high-concept ambition with appealingly pared-down execution and crackerjack pacing. Its ideas are pilfered equally from a number of speculative-fiction touchstones (particularly 12 Monkeys, Total Recall, and, oddly, Groundhog Day), but it never feels overly derivative. Though it occasionally jettisons logic in the pursuit of its carefully plotted thrills, Jones’s refreshingly unpretentious approach to a potentially overbearing narrative helps to make it solidify him as one of the few working directors with a specific flair for science fiction.
The title refers to a process (conceived by a covert arm of the Us military) by which the final minutes of a recently deceased individual’s life can be re-lived by a third party, with the ability to play out the events differently.
Directed by Duncan Jones
Written by Ben Ripley
USA/France, 2011
Splitting the difference between big-ticket pyrotechnics and the burgeoning auteurist touches of director Duncan Jones (Moon), Source Code combines high-concept ambition with appealingly pared-down execution and crackerjack pacing. Its ideas are pilfered equally from a number of speculative-fiction touchstones (particularly 12 Monkeys, Total Recall, and, oddly, Groundhog Day), but it never feels overly derivative. Though it occasionally jettisons logic in the pursuit of its carefully plotted thrills, Jones’s refreshingly unpretentious approach to a potentially overbearing narrative helps to make it solidify him as one of the few working directors with a specific flair for science fiction.
The title refers to a process (conceived by a covert arm of the Us military) by which the final minutes of a recently deceased individual’s life can be re-lived by a third party, with the ability to play out the events differently.
- 3/31/2011
- by Simon Howell
- SoundOnSight
While next week's "Source Code" will be without a score by Clint Mansell who left the project citing scheduling conflicts and was replaced by Chris Bacon, the composer is certainly busy. Last month he was hired to score the videogame "Mass Effect 3" (take that Roger "video-games-aren't-art" Ebert!) and now he's got another film project on his plate. Film Music Reporter reveals that Mansell has been tapped to tune up the BBC TV production "United." Marking Mansell's first feature television credit, the movie directed by James Strong will tell the inspiring and tragic story of Manchester United's "Busby Babes." They…...
- 3/30/2011
- The Playlist
Duncan Jones’ second film comes to us with a wave of expectation, carrying with it the hopes that the British director can follow up his award scooping debut Moon with something better, something to cement his reputation as one of the most exciting talents of this new century.
Source Code, released on the 1st of April against Zack Snyder’s Sucker Punch, does indeed make good on the promise shown, though the film lacks the soul of Moon it is a very strong and engaging thriller with its head, if not its heart, in the right place.
Beginning with shots of a commuter train thundering towards Chicago in the early morning we see Jake Gyllenhaal’s character Colter Stevens wake with a start, confused and apparently in mid conversation with a woman opposite him whom he does not recognise. His senses are heightened and every detail of the train is...
Source Code, released on the 1st of April against Zack Snyder’s Sucker Punch, does indeed make good on the promise shown, though the film lacks the soul of Moon it is a very strong and engaging thriller with its head, if not its heart, in the right place.
Beginning with shots of a commuter train thundering towards Chicago in the early morning we see Jake Gyllenhaal’s character Colter Stevens wake with a start, confused and apparently in mid conversation with a woman opposite him whom he does not recognise. His senses are heightened and every detail of the train is...
- 3/17/2011
- by Jon Lyus
- HeyUGuys.co.uk
Source Code ****
Reviewed by Duncan Bain
Stars: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright | Written by Ben Ripley | Directed by Duncan Jones
Sophomore directing effort from Duncan “Zowie” Jones, Source Code sees a vastly bigger budget and a broader scope from the visionary that brought us sci-fan favourite Moon. Described by some as “12 Monkeys meets Groundhog Day,” the film is a high tech sci fi thriller wherein Jake Gyllenhaal (Donnie Darko, Brokeback Mountain) finds himself reliving the same 8 minutes of a train journey. To spare yourself my regurgitation of the setup, you may care to watch the first 5 minutes of the film here. Before long, we discover that Gyllenhaal has been sent on a mission to retrieve vital information from this time window in order to prevent a far larger, more destructive terrorist plot – one that is bound for central Chicago with potentially devastating consequences.
Normally, it is pretty...
Reviewed by Duncan Bain
Stars: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright | Written by Ben Ripley | Directed by Duncan Jones
Sophomore directing effort from Duncan “Zowie” Jones, Source Code sees a vastly bigger budget and a broader scope from the visionary that brought us sci-fan favourite Moon. Described by some as “12 Monkeys meets Groundhog Day,” the film is a high tech sci fi thriller wherein Jake Gyllenhaal (Donnie Darko, Brokeback Mountain) finds himself reliving the same 8 minutes of a train journey. To spare yourself my regurgitation of the setup, you may care to watch the first 5 minutes of the film here. Before long, we discover that Gyllenhaal has been sent on a mission to retrieve vital information from this time window in order to prevent a far larger, more destructive terrorist plot – one that is bound for central Chicago with potentially devastating consequences.
Normally, it is pretty...
- 3/16/2011
- by Phil
- Nerdly
Have a look at these new videos from Touchstone Pictures’ Gnomeo & Juliet. Below you’ll find the Music Video with Elton John and Nelly Furtado in .Crocodile Rock,. “Little Gnome Facts” and the Clip .Doomed Love..
The film is executive produced by Elton John, whose classic songs are featured in the film along with new songs written with his longtime collaborator Bernie Taupin and featuring special guest performances. The original score is by James Newton Howard and Chris Bacon. The Soundtrack is available February 8th.
Synopsis:
The greatest love story ever told, starring.garden gnomes? In the upcoming .Gnomeo & Juliet,. Shakespeare.s revered tale gets a comical, off-the-wall makeover. Directed by Kelly Asbury (.Shrek 2.) and showcasing both classic and original songs by Elton John, the film features the voices of James McAvoy and Emily Blunt as Gnomeo and Juliet, who have as many obstacles to overcome as their quasi namesakes...
The film is executive produced by Elton John, whose classic songs are featured in the film along with new songs written with his longtime collaborator Bernie Taupin and featuring special guest performances. The original score is by James Newton Howard and Chris Bacon. The Soundtrack is available February 8th.
Synopsis:
The greatest love story ever told, starring.garden gnomes? In the upcoming .Gnomeo & Juliet,. Shakespeare.s revered tale gets a comical, off-the-wall makeover. Directed by Kelly Asbury (.Shrek 2.) and showcasing both classic and original songs by Elton John, the film features the voices of James McAvoy and Emily Blunt as Gnomeo and Juliet, who have as many obstacles to overcome as their quasi namesakes...
- 2/3/2011
- by Michelle McCue
- WeAreMovieGeeks.com
Have a look at this newly released video from Touchstone Pictures. Gnomeo & Juliet. The film is executive produced by Elton John, whose classic songs are featured in the film along with new songs written with his longtime collaborator Bernie Taupin and featuring special guest performances. The original score is by James Newton Howard and Chris Bacon. The Soundtrack is available February 8th.
Synopsis:
The greatest love story ever told, starring.garden gnomes? In the upcoming .Gnomeo & Juliet,. Shakespeare.s revered tale gets a comical, off-the-wall makeover. Directed by Kelly Asbury (.Shrek 2.) and showcasing both classic and original songs by Elton John, the film features the voices of James McAvoy and Emily Blunt as Gnomeo and Juliet, who have as many obstacles to overcome as their quasi namesakes when they are caught up in a feud between neighbors. But with plastic pink flamingos and thrilling lawnmower races in the mix, can...
Synopsis:
The greatest love story ever told, starring.garden gnomes? In the upcoming .Gnomeo & Juliet,. Shakespeare.s revered tale gets a comical, off-the-wall makeover. Directed by Kelly Asbury (.Shrek 2.) and showcasing both classic and original songs by Elton John, the film features the voices of James McAvoy and Emily Blunt as Gnomeo and Juliet, who have as many obstacles to overcome as their quasi namesakes when they are caught up in a feud between neighbors. But with plastic pink flamingos and thrilling lawnmower races in the mix, can...
- 1/25/2011
- by Michelle McCue
- WeAreMovieGeeks.com
[1] In early November, Summit Entertainment invited us to the editing room of Source Code, the second feature from Moon director Duncan Jones. During the visit, Duncan showed us the first 7 minutes of the film, and answered a bunch of questions from myself, Collider and FirstShowing. After the jump you can read the entire interview, and watch a very short video blog I recorded with Frosty from Collider [2]. Keep in mind, a lot has happened since this visit. It's a whole new year for one, a trailer was released which shows a lot of plot elements Jones would only hint at during our interview (and much of which we had not seen at the time), and composer Clint Mansell is no longer scoring the project (you will notice a couple questions and answers about Clint's score in the interview). For those of you not following the project, here is a quick...
- 1/20/2011
- by Peter Sciretta
- Slash Film
The first photo of Glenn Close dressed as a man on the set of Albert Noobs, two new photos of Justin Bieber in his concert movie Never Say Never.
"A purported copy of Christopher Nolan's "The Dark Knight Rises" script landed on-line claiming to reveal the villains of the piece - Dr. Hugo Strange (the main villain), Talia al Ghul (female lead/secondary villain), Black Mask (the mob boss), and Killer Croc (mob's muscle). Warner Bros. Pictures have since denied such a leak while the source is purported to be a poster on the Superhero Hype forums..." (full details)
"Summit has now locked in a March 23rd release date for the Mel Gibson-led dark comedy "The Beaver". A limited run will begin on the date before expanding two weeks later on April 8th, that expansion's size will likely be determined by the reaction and box-office opening weekend results.
"A purported copy of Christopher Nolan's "The Dark Knight Rises" script landed on-line claiming to reveal the villains of the piece - Dr. Hugo Strange (the main villain), Talia al Ghul (female lead/secondary villain), Black Mask (the mob boss), and Killer Croc (mob's muscle). Warner Bros. Pictures have since denied such a leak while the source is purported to be a poster on the Superhero Hype forums..." (full details)
"Summit has now locked in a March 23rd release date for the Mel Gibson-led dark comedy "The Beaver". A limited run will begin on the date before expanding two weeks later on April 8th, that expansion's size will likely be determined by the reaction and box-office opening weekend results.
- 12/16/2010
- by Garth Franklin
- Dark Horizons
The first photo of Glenn Close dressed as a man on the set of Albert Noobs, two new photos of Justin Bieber in his concert movie Never Say Never.
"A purported copy of Christopher Nolan's "The Dark Knight Rises" script landed on-line claiming to reveal the villains of the piece - Dr. Hugo Strange (the main villain), Talia al Ghul (female lead/secondary villain), Black Mask (the mob boss), and Killer Croc (mob's muscle). Warner Bros. Pictures have since denied such a leak while the source is purported to be a poster on the Superhero Hype forums..." (full details)
"Summit has now locked in a March 23rd release date for the Mel Gibson-led dark comedy "The Beaver". A limited run will begin on the date before expanding two weeks later on April 8th, that expansion's size will likely be determined by the reaction and box-office opening weekend results.
"A purported copy of Christopher Nolan's "The Dark Knight Rises" script landed on-line claiming to reveal the villains of the piece - Dr. Hugo Strange (the main villain), Talia al Ghul (female lead/secondary villain), Black Mask (the mob boss), and Killer Croc (mob's muscle). Warner Bros. Pictures have since denied such a leak while the source is purported to be a poster on the Superhero Hype forums..." (full details)
"Summit has now locked in a March 23rd release date for the Mel Gibson-led dark comedy "The Beaver". A limited run will begin on the date before expanding two weeks later on April 8th, that expansion's size will likely be determined by the reaction and box-office opening weekend results.
- 12/16/2010
- by Garth Franklin
- Dark Horizons
Back in September, it was announced/confirmed that one of our favorite composers, Clint Mansell, would be working with director Duncan Jones (Moon) again on his film Source Code with Jake Gyllenhaal. The trailer was revealed in November and everything looked good, but Badass Digest (via SlashFilm) is reporting that Mansell is off of the project due to "scheduling" conflicts, which seems a bit suspicious but we'll leave it be. Instead, the score will be composed by newcomer Chris Bacon, who's worked as an engineer/composer on many films including Waking Sleeping Beauty, Space Chimps, King Kong, Defiance, Duplicity and more. We totally love Clint Mansell and are sad to see him leave this project. We actually had a chance to hear a bit of his work when we visited the editing room with Duncan Jones a few weeks ago, and it was quite good, but that's a story for another day.
- 12/16/2010
- by Alex Billington
- firstshowing.net
Contrary to the reports from September, former Poppie Clint Mansell will sadly now not be scoring Source Code for a repeat of his Moon collaboration with Duncan Jones.Devin Faraci picked up the news from Jones himself that poor timing had scuppered the plan, and the director later confirmed via his Twitter account that "We weren't able to work out a schedule so Clint could do the score in the end. He has been a very busy bee."Replacing Mansell will be Chris Bacon, who only recently seems to have branched out into his own score-making with Love Ranch and Alpha & Omega, but has worked on the music for any number of high-profile past projects, including King Kong and The Dark Knight. He is, says Jones, "a very talented young guy... who was recommended to me by my editor, the legendary Paul Hirsch."Does this mean that Mansell has decamped...
- 12/16/2010
- EmpireOnline
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