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Saturday 21 May 2011
PODCAST: September 26, 2006: great composers
NEWS: 83rd Academy Award nominees & winners - Score and original song
Music (original music)
?How to train your Dragon? John Powell?Inception? Hans Zimmer?The King Speech? Alexander Desplat?127 Hours? A.R. Rahman?The Social Network? Trent Reznor and Atticus Ross- (winner)Music (original song)
?Coming ?Country Home? Strong? music and lyrics by Tom Douglas, Troy Verges and Hillary Lindsey?I see the ?Tangled? Light? music by Alan Menken Lyric by Glenn Slater?If, I ?127 Hours? Rise? music by A.R. Rahman Lyric Dido and Rollo Armstrong?We belong Together? ?Toy Story 3 "music and lyrics of Randy Newman — (winner)"
Marcelo Zarvos' terrible
Marcelo Zarvos' terrible6 Mar-2011 - lakeshore Records comes the score for Beastly, Kyle Kingson history who has everything - looks, intelligence, wealth and opportunity - and a wicked cruel streak. Tendency to turn mocking and humiliating "aggressively unattractive" classmates, it zeros the classmate Goth Kendra, invited to environmental bash extravagant of the school. Kendra accepts, and true to form, Kyle he blows off the coast of particularly savage way. It will respond with a fate which physically transforms him into everything he despises. Enraged by his horrific and unrecognizable appearance he confronts Kendra and learns that the only solution to the curse is to find someone who he will love as it is - a task that he considers impossible. Music is by Marcelo zarvos.
Tall ships of David James Nielsen: Corsair Lynx
Tall ships of David James Nielsen: Corsair Lynx30 Mar-2011 - working for the third time with the immensely talented composer David James nielsen, moviescore Media presents a grand epic score of small production.Tall Ships: the privateer Lynx is a fascinating documentary by Robert Margouleff for The Sailing Channel and it stimulates a particularly impressive soundtrack where the composer is inspired by these great music for the film as John Williams and Tan Dun. Music for the tall ships is rich in harmony and color and is constructed on a multitude of thematic ideas. A lot of music on this album has this melodic quality you find rarely wholesale commercial blockbusters these days - Tall Ships: Corsair Lynx is yet another example of some of the best film music should be in the smaller films projects!
Eat Pray Love (Original Motion Picture Soundtrack)
Eat, Pray, Love SoundtrackThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.
Price: $9.99
Crazy Heart: Original Motion Picture Soundtrack (Ltd. Deluxe Edition)
The Limited Deluxe Edition features 23 songs (an additional 7 songs) including all the original songs performed in the film by Jeff Bridges and Colin Farrell, "The Weary Kind" performed by Ryan Bingham (the theme song heard in the film's trailer and closing credits) and music featured in the film by Waylon Jennings, Lucinda Williams, Buck Owens, Sam Phillips and many more. It is packaged with a 12 page booklet featuring liner notes, lyrics and photographs. The soundtrack was co-produced by 10-time Grammy Award winner T Bone Burnett. Burnett, who co-produced the soundtrack with guitarist/songwriter Stephen Bruton. Synopsis Four-time Academy AwardR nominee JEFF BRIDGES stars as the richly comic, semi-tragic romantic anti-hero Bad Blake, a broken-down, hard-living country music singer who's had way too many marriages, far too many years on the road and one too many drinks way too many times. And yet, Bad can t help but reach for salvation with the help of Jean (MAGGIE GYLLENHAAL), a journalist who discovers the real man behind the musician. As he struggles down the road of redemption, Bad learns the hard way just how tough life can be on one man s crazy heart.Price: $19.98
Medal Of Honor
Medal Of Honor12 Apr-2011 -
Leading Hollywood composers unite Saturday 16 April to celebrate the release of Medal of Honor composer Christopher lennertzat Dark delicacies in Burbank from 2-3 PM, will sign the boxes and also copies of his latest blockbuster present familleHop.Also will be composers Mark isham(above), Cliff martinez (counsel for Lincoln), stu Phillips (Battlestar Galactica), Scott glasgow (bass), Ryan shore (Jack Brooks Monster Slayer) and Jeremy zuckerman& Ben Wynn dark delights books and collectibles is located at 3512 Magnolia w.Burbank CA 91505. For more information, call the store at 1 818 556-6660 or visit www.darkdel.com ?
Box of eight limited edition disk set to music of Medal of Honor for showcases of composers Michael giacchino (place),ramin djawadi (IRONMAN) and the kit includes unpublished material of the series of video games, a 40 page booklet with track list and introduction by game createurSteven Spielberg.?
By choosing an appropriate composer to convey the mood of the first medal of honor, legendary filmmaker Steven Spielberg was introduced to and impressed by the young unknown composer, Michael giacchino. "I did what anyone in their right mind would do," Spielberg said. "I he signed to score Medal of honour - and the rest of the history of Giacchino belongs to him.". Giacchino pioneer video game score orchestral recordings ofvideogame in live music.After four highly successful video game scores, the baton was passed to Christopher Lennertz, who also composed the music for the game of Quantum of Solace. Lennertz registered European assault MOH and aggression Pacific with the Hollywood Studio Symphony Orchestra, who recorded for the legendary composers as John Williams.
Last year, the game has been reinvented and for the first time in its 12 year history, Medal of honour has left World War II and entered the modern war in Afghanistan. The most recent disc of the collection has required an intense score that could make the game in this new era and ramin djawadi has been introduced for the challenge. Known for his score for Iron Man and the series Prison Break, Djawadi score corresponds to the intensity of the history of the soldier and the experience of level 1 video Medal of
? If you can not attend the meeting, click on the logo of La-La land and order your copy before he was at the end..!?This unique box is a limited edition, then hurry.
INTERVIEW: Hans Zimmer and James Newton Howard
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It is a very rare film project that sees a collaborative effort between two of Hollywood's top composers. In fact it has happened only once in recent history, and that was for Batman Begins in 2005. Otherwise, you'd have to go back to Newman and Herrmann's The Egyptian in 1950. Hans Zimmer (Gladiator, Pirates of the Caribbean) and James Newton Howard (The Village, Michael Clayton) return for Christopher Nolan's The Dark Knight to continue exploring his Batman universe with their music. SoundtrackNet had the opportunity to sit down with the composers and discuss the score's journey into darker terrain and their ideas behind the concepts for the score.
What makes The Dark Knight musically different than Batman Begins?
HZ: You heard the Joker Suite? I don't think anybody has done anything to match this in a Hollywood blockbuster. Look, the whole point was to be as provocative as possible. Everybody calls their movies "dark" these days. I think one of the differences with this, it's not dark through more violence - it's dark because it has interesting ideas - it has dark grown up ideas.
JNH: It feels real, it feels relevant to our times.
In what way?
JNH: The disintegration of society...
HZ: Discourse between different philosophies, anarchy versus old fashioned values. The character of the Joker is completely fearless and I felt that part had to be completely fearless. And then you have the character of Harvey Dent who is truly a white knight, and truly a good person and truly elegant. Being able, between the two of us, to create that type of incredible contrast, where the light is brighter and the black is blacker.
Did you split that up at all?
HZ: Not really.
JNH: Very little actually.
HZ: Because the world you live in, which is the world of fans and the semi-informed, after a while you start believing that stuff. Nobody will ever know who wrote what tune and what piece.
JNH: Including us!
HZ: Including us. We were doing it on this one, listening to something from the first one, going is that your tune or is that my tune?
JNH: Really true, we just don't know anymore.
HZ: The other thing we set out to do is the Joker thing, which is a singular issue. We had to split apart. The important thing of the Joker as a character is that it is a singular philosophy. Only he could be that fearless. It had to come from one guy.
JNH: And I'm too nice to work on the Joker.
HZ: Not entirely. You're not that nice!
So if you did the Joker, did you do Harvey Dent?
HZ: Yes. But one of the devices I used on [the Joker] was to make it very electronic because that turns it into a singular vision. People always think it's really easy, a cop out to use electronics. It's quite the opposite because you have to create and craft every note. It's not just thinking about the note, you actually have to make the note from scratch! And the other peculiar thing about that is that it is much more acoustic than a lot of the other things. A lot of the stuff is Michael Levine playing violin.
JNH: Fantastic, by the way.
HZ: A lot of it is the attitude, what I did with it, how I chopped it up, the editing. It's pretty out there. I talked with these guys for three, four months, because it was all about the performance.
So the final result, you would say is more electronic?
HZ: No, it's more complete. The usual way you go about scoring a movie, is you get your orchestra or guitar and you do the music. You're just a small portion of that world. What we do is the whole canvas. We are on the very bottom of the left corner of the screen and the very top of right corner of the screen. We create a sonic world, a whole environment, for this movie to live in. There's probably more orchestra in this score than in a lot of scores we've done recently, but you may not know it.
JNH: You'll know it sometimes.
HZ: It becomes very pure. Then things sound very electronic, like Harvey Dent's other side of things. I was listening to James work and it's about using - one of the ideas was to go and only use brass instruments. It's really interesting how modern that texture sounds. And how electronic that texture sounds.
The first film, you mentioned setting the palette for the world. How did that evolve for the second film?
HZ: They evolved just the way the world has evolved... if you want to think of them as the "cheerful version" last time and "hopeful version"....
JNH: This one's not as happy.
HZ: Not as carefree.
You wrote a theme for the first one that had never been used, that you said in an interview you saved for sequel. Did you get to use it this time?
HZ: It's in, twice.
JNH: Do your theme speech. Because I think it's really good.
HZ: It's something that occurred to me. I have a feeling that out there in the world, there are people waiting for James and me to "come to our senses" and stop this dark nonsense with the iconic two-note thing and write a happy jolly theme like the old Batman. You know, like the Danny Elfman one. It ain't gonna happen. Because this is not the world we're in. This is not the character we're doing. It's not the movies we're doing. They just need to get over that. For our Batman, it would just be wrong.
JNH: It would give you too much information about this character, which is not true. It would be misinformation. When you assign a heroic theme to something, some kind of a tune, you're giving away a lot of information that may or may not be true about this guy. We still don't really know who Batman is yet. Very complex, he's constantly evolving that character. He doesn't know who he is. We feel that it's much stronger to say less, musically, about him and let his character sort of speak for himself.
In London, on the first film, you worked in very close proximity. Here you're still pretty close, but there's a little more separation.
HZ: Five blocks.
Did that make a difference this time?
HZ: I don't think it was so much about that. As I said, the Joker had to be done by one guy. And then the Harvey Dent thing became very much a one guy operation as well. On the other stuff we collaborated. Plus, it's not like we didn't communicate, it's not like we didn't sit in the room together, like we haven't talked about this thing incessantly for a year. I started on the Joker last July -? which has its own set of problems, just now when I was trying to find all the mixes again. A lot of digits have gone on and off that hard drive in that time!
Have you set up anything for a potential third film, musically hinting at something that would come later?
HZ: No. No, because we don't know what the third film is! One of the things I think is really interesting about this movie is that it feels a bit like the place the world is at currently.
JNH: It really does.
HZ: And we don't know which way it's going to turn!
JNH: Who knows where it's going to be in three year, or two years or one year for that matter.
And with Harvey Dent, fans of Batman know that eventually he goes down a darker path. In your themes for Dent, are you hinting at what could happen?
JNH: It does happen. Maybe. I can't remember actually.
What were your gut reactions after seeing the film for the first time?
JNH: Scared. Amazing movie. Just like, "Wow!"
HZ: This film hasn't changed much since its very first cut. It was always solid. The writing is really solid. That's why I like working with Chris [Nolan]. When you talk to him, you know what the movie is going to be like.
You said "scared". In terms of what you may have to compose?
JNH: Yeah, sure. I mean, I'm alwasy scared when I see something that needs two and a half hours of music - and that is really phenomenal. And where you can tell that this director had raised the bar. Now it's our turn. Now we're up. He's been working on it for two years or whatever, and we're going to go through everything we go through, which is very difficult and painful sometimes. But I think we done good.
HZ: I think so. You've never heard me say this. And this is the first time you will hear me say this. James and I think this is one of the best movies we have ever worked on. And part of it might be the experience. When you spend a long time on something, you have to love it, otherwise it's impossible to get through. But this one, I'm still excited about on a daily basis. I'm having some separation anxiety.
JNH: What [Hans] did on the Joker is so great. I was very jealous when I heard it and I thought that is as good a conceptualization of an idea I've ever heard in my life.
HZ: I just thought it was enough of playing it safe. I think if this is not provocative, if we aren't fiercely provocative in this here summer blockbuster, we might as well not start.
JNH: Right. That's what got us doing it together in the first place. We were getting to places where how many car chases can you do?
HZ: Yeah. We both know how to write heroic things, do all that conventional stuff. This movie, from everybody's point of view, there was a great intensity.
Very last question. Did your composing roles as "Batman" and "Robin" stick or did you switch it up this time?
JNH: [laughs] No. Nothing sticks. Hans is my captain.
HZ: I'm what?
JNH: My captain...
HZ: Oh no, I'm Catwoman. Wanna see my claws babe?
JNH: Hey, what happened to Robin anyway?
Special thanks to Allie Lee at Chasen & Co., and Dan Goldwasser for making the interview happen.
Sherlock Holmes: Original Motion Picture Soundtrack
The action-adventure mystery "Sherlock Holmes" is helmed by acclaimed filmmaker Guy Ritchie. Robert Downey Jr. brings the legendary detective to life, and Jude Law stars as Holmes' trusted colleague, Watson, a doctor and war veteran who is a formidable ally. The soundtrack to "Sherlock Holmes" features music by Academy Award, Golden Globe Award and Grammy Award winning composer Hans Zimmer. Enhanced CD includes free digital download of the Soundtrack in 5.1 Surround Sound.Price: $18.98
Film CRITIC: beauty and the beast (Diamond Edition Blu - ray)
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Walt Disney's Beauty and the Beast is easily one of the best animated features of the last few decades.? Coming at a time when the hand-drawn animated feature was slowly making a comeback (with help from the previous Disney film, The Little Mermaid), Beauty and the Beast was an instant classic.? With its solid storyline, top notch animation, excellent music and memorable characters, Disney's 30th full-length animated film was the first animated feature to be nominated for a Best Picture Academy Award - and justifiably so.
Loosely based on the classic fairy tale of the same name, Beauty and the Beast tells the story about the bookish Belle (Paige O'Hara), who is being wooed by the obnoxious swaggering local hunter Gaston (Richard White), but she wants something more in her life than the quiet humdrum life she lives in the village with her inventor father, Maurice (Rex Everhart).? When he gets lost in the woods en route to show off his new invention at a fair, he stumbles across a castle, inhabited by the Beast (Robby Benson).? The Beast is a bitter character, formerly a prince who was put under a curse due to his inability to show a little compassion to an old beggar woman (actually an enchantress) who needed shelter for the night.? If he doesn't find true love before he turns 21, he will remain cursed forever.? The Beast holds Maurice captive, and when Belle comes looking for her father, she is led to the castle where she offers to take her father's place.?
The transformed servants in the castle, candlestick Lumi?re (Jerry Orbach), clock Cogsworth (David Ogden Stiers) and teapot Mrs. Potts (Angela Lansbury) all try to keep Belle happy, but when she accidentally angers the Beast, he scares her, and she tries to escape. ?Attacked by wolves, the Beast rescues Belle from danger, but is injured in the process.? Belle helps the Beast heal, and gradually the two become friendly. Meanwhile, Maurice has tried to get Gaston and the villagers to mount a rescue attempt, but they don't believe his story about the Beast - so he goes off to try to rescue Belle himself.? Will love bloom between Belle and the Beast before his 21st birthday?
The way that the film unfolds is classic, from the tension and mystery of the dark forest, to the blossoming romance between Belle and the Beast, to the adventure and excitement of Gaston and the mob's attack on the castle.? Helping the story along are the original songs by Alan Menken and Howard Ashman.? The pair had a previous success with The Little Mermaid, and the songs they came up with for Beauty and the Beast help move the story forward through music, giving the audience a lot of information in a fun and entertaining way - resulting in a lot of story and character development happening within the 84-minute runtime.
Beauty and the Beast also marked a huge leap forward in animation technique, taking advantage of the digital ink-and-paint CAPS (Computer Animation Production System) process, resulting in the second 100% digital feature film produced (after The Rescuers Down Under).? It also allowed the filmmakers to try out a fully computer-generated background for one particular sequence, the ballroom scene, now considered a classic moment in animation.
Beauty and the Beast went on to win numerous awards, including Golden Globes for Best Picture (Musical or Comedy), and Academy Awards for Best Song and Best Score.? Re-released in 2002 as a "Special Edition", the film had a formerly deleted musical number ("Human Again") re-inserted into the film.? Both the theatrical and "special edition" versions of the film - as well as the storyboard-based New York Film Festival "preview" version - are now available in a newly restored and remastered Blu-ray release.
The first disc of the three-disc set starts out with all the versions of the feature film.? The Special Extended Edition (HD, 92-minutes), the Original Theatrical Release (HD, 84-minutes), and the Original Theatrical Release with Story Reel Picture-in-Picture (HD, 84-minutes).? The video quality for all of these is spot-on.? Colors are incredibly vibrant, and the remastered image - output directly from the CAPS system - is essentially perfect. Details are abundant, from the painted backgrounds to the cleaned up line art, every freeze-frame looks spectacular.? For a hand-drawn animated film that is nearly 20 years old, this looks like it was made yesterday. (It's certainly on par with, if not a bit better than, last year's Blu-ray transfer for The Princess and the Frog!)
Audio is presented in only three flavors: an English 7.1 "Disney Enhanced High Definition Sound" version (i.e. DTS-HD Master Audio 7.1), as well as Dolby Digital 5.1 French and Spanish.? The soundscape is immersive and full of details. The environmental sounds are completely lifelike and transport you to the forest locales.? Dialogue moves all around you depending on the scene, feeling naturally placed. Most impressively, the clarity of Alan Menken's score (and songs) is amazing, and the orchestra washes over you as though they were right there with you in the room.
Extras on the Blu-ray release border on overwhelming.? Let's start with the first disc, where there are the two versions of the film (along with the picture-in-picture storyboard version for the Theatrical release).? Then, we have a feature-length commentary track on the Special Edition version featuring producer Don Hahn and co-directors Kirk Wise and Gary Trousdale discussing nearly every aspect of the film.? It's a highly informative must-listen track.? A "sing-along" subtitle track is also included, but just shows the subtitles during the songs.
Within the "Backstage Disney: Diamond Edition" section, on Disc 1, we have a new featurette, "Composing a Classic: A Musical Conversation with Alan Menken, Don Hahn & Richard Kraft" (HD, 20-minutes) features composer Menken, along with with producer Hahn, and Menken's film music agent (and self-avowed Disney fanatic) Richard Kraft.? The trio talks about the importance of the music in the film, as well as the challenges that Menken and Ashman faced writing the songs and composing the score for the film. It's a great look at the music, supplemented with some rare behind-the-scenes photos and footage.? "Deleted Scenes" (HD, 28-minutes) contains a rather different "Alternate Story Opening" (HD, 18.5 minutes), with an introduction by former Disney Studios chairman Peter Schneider, and "Belle in the Library" (HD, 8.5-minutes), with an intro by story supervisor Roger Allers.
In the "Family Play" section, we have another new featurette, "Broadway Beginnings" (HD, 13-minutes) which looks at the development of Beauty and the Beast on Broadway, as well as a few of the famous actors who partook in the production. Finally, a "Music Video" (HD, 3.5-minutes) contains the new Jordin Sparks rendition of the classic title song, "Beauty and the Beast".
Popping in the second disc, we get to the meat of the supplements.? First up in the "Backstage Disney: Diamond Edition" (on Disc 2) is "Beyond Beauty" (HD, 157-minutes).? This feature-length documentary covers nearly every aspect of the production, with all new interviews, archival footage, illustrations, ad much more.? The documentary can be viewed in many different ways. Like the Prince of Persia: The Sands of Time extra, as you watch the piece, you can interactively "dig deeper" when prompted, seamlessly branching to the extra. A handy index also keeps track of what you have and have not seen, letting you go back and watch bits you might have missed.? It is truly a wealth of information. "Family Play" lets you play a trivia game ("Enchanted Musical Challenge") and "Bonjour - Who Is This?" is a "Disney TelePlay Game" - a secret identity BD-Live powered game that requires people to use their phones.
The "Classic DVD Bonus Features" contains all of the previously released extras.? "The Story Behind the Story" (SD, 26-minutes) is a look at the source material that inspired seven different classic Disney films, hosted by Celine Dion.? She also introduces the original Celine Dion / Peabo Bryson music video for "Beauty and the Beast" (SD, 4.5-minutes).? The "Early Presentation Reel" (SD, 3-minutes), hosted by Don Hahn, is here, as well as an alternate version of "Be Our Guest" (SD, 5-minutes), an alternate score moment for "The Transformation" (SD, 2-minutes), "Human Again" (SD, 7-minutes) - at the time a deleted song only in storyboard form and demo vocals - gets two introductions, one by Hahn, and one by Menken. "Animation" contains animation tests and more, a "Camera Move Test" (SD, 2-minutes) showcases the CGI development of the ballroom set, and finally, two theatrical trailers and four television spots are included. Unfortunately, these are all in standard definition.? Finally, the third disc contains the DVD version of the film, so you can still enjoy the movie at a friend's place even if they don't have a Blu-ray player.
Beauty and the Beast is a classic animated masterpiece. With a solid storyline, excellent characters, memorable songs, the film alone is worth having. Toss in the incredible presentation on Blu-ray, two versions of the film, and a rather overwhelming amount of extras - including all of the previous DVD extras - and you have a Blu-ray package that is absolutely a must-have.
PODCAST: September 28, 2006: Serenada Schizophrana Danny Elfman
Friday 20 May 2011
NEWS: Marc Shaiman scores Theflipped of Rob Reiner
Last year, composer Marc Shaiman reunited once more with director Rob Reiner Award for their latest collaboration, comedy romantic coming of age Theflipped. ScoringSessions.com is pleased to bring our readers the exclusive photos of the hearings of rating at Warner Brothers.
Click here to read the full story.
Love Actually
Noted English screenwriter Richard Curtis makes his directorial bow with this romantic comedy that follows the dizzying foibles of no less than a dozen couples, featuring a cast that includes Hugh Grant as a bachelor British PM and Billy Bob Thornton as a disturbing hybrid of the worst of Clinton and Bush. Seemingly taking its lead from Bridget Jones's Diary and its sequel (both of which Curtis also wrote), Love's rich, eclectic collection of pop songs becomes something more than mere movie-soundtrack wallpaper. Indeed, tracks as disparate as Joni Mitchell's hauntingly autumnal remake of "Both Sides Now" and the Pointer Sisters' effusive '80s hit "Jump" function somewhere between supporting player and narrative Greek chorus. It's a mature, often introspective collection that mixes the expected chestnuts (the Beach Boys' evergreen "God Only Knows") and covers (Eva Cassidy's stately version of Christine McVie's "Songbird," an R&B-infused take of "All You Need Is Love" by Lynden David Hall) with standout work from Norah Jones (a torched-up "Turn Me On"), Texas (the Dusty Springfield-esque dramatics of "I'll See It Through"), and Wyclef Jean's joyous "Take Me As I Am." Underscoring the film's Christmas subtext are three holiday-themed bonus cuts by Otis Redding, Billy Mack (the film's resident rock star burnout, played by Bill Nighy), and Olivia Olson. --Jerry McCulleyPrice: $8.99
NEWS: 53rd Annual Grammy Award nominees
Best Album of original band Compilation for cinema, television or other visual media
Price of the artist (s) and/or the producers of the majority of the songs from the album, or, in the absence of one or, for those actively responsible for the concept and musical direction and for the selection of artists, songs and producersIf applicable.
Crazy Heart
(Various artists)
[New West Records]
Glee: The music, Volume 1
(Glee Cast)
[Columbia Records]
Trem?
(Various artists)
[Geffen]
True Blood - Volume 2
(Various artists)
[Elektra]
The Twilight Saga: Eclipse
(Various artists)
[Summit Ent/Chop Shop/Atlantic]
Best Album of original Score band for cinema, television or other visual media
Grant to the composer (s) to an original score created specifically for, or as a companion, a film legitimate current, show or series or other visual media.
Alice in Wonderland country
Danny Elfman, composer
[Walt Disney Records]
Avatar
James Horner, composer
[Fox music/Atlantic Records]
Creation
Hans Zimmer, composer
[Recovery/WaterTower music]
Sherlock Holmes
Hans Zimmer, composer
Music [WaterTower]
Toy Story 3
Randy Newman, composer
[Walt Disney Records]
Best song written for film, television or other visual media
Songwriter Award (s). For a song (melody & lyrics) written especially for film, television or other Visual and published media for the first time in the year of eligibility. (Artist names appear in parentheses). Singles or tracks only.
Down In New Orleans (the Princess and the frog)
Randy Newman, songwriter (Dr. John)
Track: the Princess and the frog
[Walt Disney Records] [Editor: Walt Disney Music]
I see you (from Avatar)
Songwriters Simon organized, Kuk Harrell & James Horner (Leona Lewis)
Track: Avatar
[Fox music/Atlantic Records] [Publishers: Franglen Lupino Music, music Horner in movement, Suga Wuga music, Sony/ATV harmony & TCF music]
Kiss like your Kiss (from True Blood)
Lucinda Williams, songwriter (Lucinda Williams & Elvis Costello)
Track: True Blood: Music From The HBO Original Series - Volume 2
[Elektra]. [Publishers: Warner-Tamerlane, Lucy Jones music]
This city (Trem?)
Steve Earle, songwriter (Steve Earle)
Track: Treme Soundtrack
[Geffen] [Editor: exile on Jones Street music]
The genus Weary (from Crazy Heart)
Ryan Bingham & T Bone Burnett, authors and composers (Ryan Bingham)
Track: Crazy Heart
[New West Records;] [Publishers: lost related Rails Publishing/Henry Burnett music]
ARTICLE: The Princess and the frog - Sing Me A Story
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SoundtrackNet : Article - The Princess and the Frog - Sing Me A Story
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Article![[Article - The Princess and the Frog - Sing Me A Story]](C:\Program Files (x86)\ABS\Auto Blog Samurai\data\Soundtrack Musical World\Soundtrack Net\0309201000.jpg)
by Dan Goldwasser
Published: 03/09/2010
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Music has always played an important role in Disney's animated films. The combination of music and lyrics propels the story forward by expressing the characters' aspirations, emotions, and thoughts, as well as defining time and place.
Given the importance of New Orleans to the development of jazz, the music in The Princess and the Frog was particularly integral to establishing the authenticity of the story. Songwriter and composer, Randy Newman combined jazz and later music styles, centered in and around New Orleans, to energize the mood of the film.
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DOWN IN NEW ORLEANS
The opening song establishes the theme and tone of the world in which our story is about to be told.
Performed by Dr. John
Style: RAGTIME
One of the essential predecessor musical genres to jazz, ragtime (or 'ragged' time) used syncopated rhythms to create a danceable style of music intended for couples rather than groups; enjoyed its peak popularity between 1897 and 1918.
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ALMOST THERE
The Hero/Heroine of every story is usually on a quest of some sort, and this song reveals our main character's desire or purpose.
Performed by Anika Noni Rose as Tiana
Style: NEW ORLEANS JAZZ
The blending of such diverse cultures as French, Spanish, Caribbean and others residing in the New Orleans area, contributed to the sounds that emanated from this melting pot of music by the early 1920's.
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FRIENDS ON THE OTHER SIDE
When explored through song, a broader sweep of the villain's true character and evil plot can be displayed in an entertaining manner.
Performed by Keith David as Dr. Facilier
Style: BIG BAND CARIBBEAN SWING
Swing jazz caught on in the mid-1930s when big bands toured the United States. Unlike other types of jazz, Big Band music is carefully composed to show off the instrument groups. This style is often peppered with various inflections of regional rhythms, as in this Caribbean flavored song.
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WHEN WE'RE HUMAN\ABS\Auto Blog Samurai\data\Soundtrack Musical World\Soundtrack Net\Louis-Trumpet-Twirl.jpg)
A lively song that explains or explores the changes our character's must go through to reach their goal.
Performed by Michael-Leon Wooley as Louis, Bruno Campos as Prince Naveen, and Anika Noni Rose as Tiana and featuring Terence Blanchard on Trumpet
Style: DIXIELAND JAZZ
Sometimes called "hot jazz" or "New Orleans jazz", this style is marked by the improvisation of trumpet, trombone and clarinet over a rhythm section composed of piano, guitar or banjo, drums, and a double bass or tuba.
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GONNA TAKE YOU THERE\ABS\Auto Blog Samurai\data\Soundtrack Musical World\Soundtrack Net\TerranceSimien.jpg)
This spirited song signals an important event or change for our characters within their journey.
Performed by Jim Cummings as Ray and featuring Terrance Simien on accordian and frottoir
Style: ZYDECO
Zydeco translates into English as: 'snap beans.' This style of music stems from Louisiana's bayous, blending Afro- Caribbean rhythms with folk roots, blues, and Cajun music. Originally created at social gatherings and house dances, Zydeco most often includes rub-boards (frottoir) and accordions.
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MA BELLE EVANGELINE
Whenever love occurs within a story, either as the goal, or something that happens along the way, the impact is double-felt when conveyed through song.
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Performed by Jim Cummings as Ray, featuring Terence Blanchard on trumpet
Style: CAJUN BALLAD
A slow, contemplative song, but when performed with specific rhythmic approaches, certain inflections and instrumentation, a ballad becomes jazz. This delicate country waltz is rooted in the Cajun style of ballads of the French-speaking Acadians of Canada. and around New Orleans, to energize the mood of the film.
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DIG A LITTLE DEEPER\ABS\Auto Blog Samurai\data\Soundtrack Musical World\Soundtrack Net\Mama-Odie-&-JuJu.jpg)
This joyous song performed well into the story, energizes the audience for the final scenes and is so entertaining that it sometimes 'stops' the show.
Performed by Jenifer Lewis as Mama Odie, featuring The Pinnacle Gospel Choir
Style: GOSPEL / NEW ORLEANS FUNK
Gospel is often accompanied by instruments associated with blues and "Dig A Little Deeper" weaves strong funk rhythms and blues styles into a joyous Gospel celebration.
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Disney's The Princess and the Frog will be available on Blu-ray and DVD March 16th, 2010.
Special thanks to Dre Birskovich at Click Communications. Imagery c Disney Animation, used with permission.
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Film CRITIC: creation (DVD)
In the creation, the idea of corporate espionage is taken to the next level. Dominic Cobb (Leonardo DiCaprio) is a "Extractor" - a person who, thanks to technology developed by the military, shared dreaming steals information of a sensitive nature of his targets. ? with his man point Arthur (Joseph Gordon-Levitt), Cobb was attempting to extract information from Japanese businessman Saito (Ken Watanabe), but things went wrong when the subconscious representation of evil dead wife (Marion Cotillard) is presented and ruined the plan. ?, it turns out that Saito was hearings Cobb and his team for to make them an offer - to try and "creating"., the concept of planting an idea in mind of a person and making them think that it was their own idea.
Cobb - who was a fugitive wanted by the justice of the United States suspicion of the death of evil - has been unable to see her two children, and Saito for him cleared of all charges in exchange for the caregiver is too attractive to pass up. ? Saito intention is to have Robert Fisher (Cillian Murphy)the son of rival corporate terminal of Saito, dissolve empire from his father. ?But, they can not simply to plant the idea in mind of Fisher; in a dream they need give the suggestion in a more metaphorical State, many dream-deep layers, to allow to give the idea. ?
To help out Cobb, it recruits Eames (Tom Hardy), a forger who can change his appearance in dreams, Ariane (Ellen Page), an architect of the student to assist in designing the dream and Yusuf (Dileep Rao), a chemist who came with a special formula to keep people under sedation in the state. ? dream shared in a sedative State, to wake up after a dream, you must be killed in the dream (and the pain is very, very real), or awakened by a "kick" - that sensation of falling. ? the problem with the three levels of deep pass - they need to do to cause the "creation" Fisher - ?is time stretches exponentially by means of each layer, and finally know the difference between reality and the dream could be nearly impossible. ?, aggravating the situation is the guilt of Cobb on the death of Mol, which seems to be occurring in the form of Mol invade dreams. ? Ariadne seems to be the only one to recognize the precarious situation, and while the team tent "creation", they are all run the very real risk of being lost in the dream.
Directed by Christopher Nola, creation was one of the films more original I've seen in a long time. ? One pass you the unexplained concept share the dream, the story becomes very involved, and performance of the engaging. ? DiCaprio, as a man who is torn up the Interior of the death of his wife and the loss of her childrenwhile trying to keep together and lead a team with a mission dangerous, is quite solid ? the visual aspect of the film is large, with of beautiful nightmares in reality but have something just a little "off" on them. ? climax together - alternating between three different nightmares - is a tremendous achievementhelped in no small way by score. excellent ? by Hans Zimmer, there are a lot of subtlety for the film, and he brandishes very well on multiple views.
Recently, the film was released in DVD and Blu - ray, and I must say, I was extremely disappointed with the Visual presentation of creation on DVD. ? colors are not very saturated (they have mastered in the original theatrical presentation), but it is in the dark where live details. Nothing is really bright in this transfer; even the snowscapes look grey and lifeless. Compression on DVD feels too high. the average flow appeared to be about 4 MB/s - well below what they could have done, even for a film that runs for 2.5 hours. ? instead of the maximum amount of space to use disk for video output (something easily achievable due to the lack of extras) creation feels pressedcompressed, and suffers from a soft image with blocky artifacts. ?It almost as well as the people of Warner Brothers were intentionally trying to exit in DVD encoding below standards, to push Blu - ray quality. ?faring a little better than the visual aspect, audio creation is presented in English, French and Spanish Dolby Digital 5.1. ? This is a fairly good piece with an excellent mix. ? dialog is clean and understandable, even among the sequences. ? action more frantic and powerfulthe surrounds and subwoofer will get a workout, and Hans Zimmer score gets much attention.
Supplements on the output DVD creation are clearly - as video quality mixed - to push people to the Blu - ray release. ? where Blu - ray release contains 45 minutes of "Extraction Mode focus Points", only four of these articles - for a total of 12 minutes - have been included on the DVD release. ? "The creation of creation" (SD) (16 x 93 minutes) is a short glance with film director and screenwriter Christopher Nolan and producer Emma Thomas on how Nolan has designed premise. ? of the film "the castle of Japanese: The Dream is Collapsing" (SD 16 x 9, 3.5 minutes) explores Saito dream scenery design, and how they made it look like, it was destroyed. "Construction paradoxical Architecture" (SD 16 x 9, 2.5 minutes) examines how they created the illusion of the Penrose steps, which are infinitely extending back in a loop in a very clever optical illusion. "Freight Train" (SD 16 x 9, 3 minutes) looks at how they created a physical to a truck and taken goods through traffic train in downtown Los Angeles. ?
That's all it is on the DVD. ?, no other extras, remain "Talking Points", preview 5.1 of 40 minutes of the score by Hans Zimmer, the long 45 minute documentary on the dreams, the prequel comic motion for 15 minutes, the Gallery of conceptual art, as well as trailers and television spots are all absent of the ? of DVD release, but they are all on Blu - ray release. ? combined with the poor film visual presentation, if it is not an indication of the studio they want that pass you to Blu-rayJe know not what is. ? creation is a large film and he has a solid Blu - ray release. ? release Too bad the DVD is like a bad dream.