44. Jerry Goldsmith Planet of the Apes: the Hunt (Opening) (For Unit 6: Further Musical Understanding)
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WAR for the PLANET of the APES Written by Mark Bomback & Matt Reeves
WAR FOR THE PLANET OF THE APES Written by Mark Bomback & Matt Reeves Based on Characters Created by Rick Jaffa & Amanda Silver TWENTIETH CENTURY FOX FINAL SHOOTING SCRIPT 10201 W. Pico Blvd. NOVEMBER 30, 2015 Los Angeles, CA 90064 ALL RIGHTS RESERVED. COPYRIGHT ©2015 TWENTIETH CENTURY FOX FILM CORPORATION. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF TWENTIETH CENTURY FOX FILM CORPORATION. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE. 1. BLACK SCREEN PRIMITIVE WAR DRUMS POUND OMINOUSLY... as a LEGEND BEGINS: Fifteen years ago, a scientific experiment gone wrong gave RISE to a species of intelligent apes… and destroyed most of humanity with a virus that became known as the Simian Flu. The word “RISE” lingers, moving toward us as it FADES... With the DAWN of a new ape civilization led by Caesar, the surviving humans struggled to coexist... but fighting finally broke out when a rebel ape, Koba, led a vengeful attack against the humans. The word “DAWN” lingers, moving toward us as it FADES... The humans sent a distress call to a military base in the North where all that remained of the U.S. Army was gathered. A ruthless Special Forces Colonel and his hardened battalion were dispatched to exterminate the apes. Evading capture for the last two years, Caesar is now rumored to be marshaling the fight from a hidden command base in the woods.. -
When She Was Bad Script
When She Was Bad July 8, 1997 (Pink) Written by: Joss Whedon Teaser ANGLE: A HEADSTONE It's night. We hold on the stone a moment, then the camera tracks to the side, passing other stones in the EXT. GRAVEYARD/STREET - NIGHT CAMERA comes to a stone wall at the edge of the cemetery, passes over that to see the street. Two figures in the near distance. XANDER and WILLOW are walking home, eating ice cream cones. WILLOW Okay, hold on... XANDER It's your turn. WILLOW Okay, Um... "In the few hours that we had together, we loved a lifetimes worth." XANDER Terminator. WILLOW Good. Right. XANDER Okay. Let's see... (Charlton Heston) 'It's a madhouse! A m-- WILLOW Planet of the Apes. XANDER Can I finish, please? WILLOW Sorry. Go ahead. XANDER 'Madhouse!' She waits a beat to make sure he's done, then WILLOW Planet of the Apes. Good. Me now. Um... Buffy Angel Show XANDER Well? WILLOW I'm thinking. Okay. 'Use the force, Luke.' He looks at her. XANDER Do I really have to dignify that with a guess? WILLOW I didn't think of anything. It's a dumb game anyway. XANDER You got something better to do? We played rock-paper-scissors long enough, okay? My hand cramped up. WILLOW Well, sure, if you're ALWAYS scissors, of course your tendons are gonna stretch -- XANDER (interrupting) You know, I gotta say, this has really been the most boring summer ever. WILLOW Yeah, but on the plus side, no monsters or stuff. She sits on the stone wall. -
A Level Music
A level Music Areas of Study – Other Perspectives NB: updates to this document were made in April 2021 and these are highlighted in yellow. © artwork: Mark Bolitho | Origami photography Pearson Education Ltd/Justin Hoffman Introduction This qualification features a Component entitled Appraising. The purpose of this component is for students to develop their listening and appraising skills through the study of music across a variety of styles and genres. The content is grouped into six areas of study, containing either two or three set works. This component gives students the opportunity to reflect on, analyse and evaluate music in aural and/or written form. To achieve this objective, students need to use their knowledge and understanding of musical elements, context and language to make critical judgements about the repertoire and context of music within the areas of study. Students should also study a range of pieces beyond these set works. The suggested other musical pieces for each area of study (see Appendix 4 of the specification) provide students with breadth, enabling them to place their knowledge of musical elements, context and language in a wider context, and apply their knowledge and understanding to more pieces of music. The suggested other music can help students to relate their learning to music in the set works, but their study is not compulsory. Teachers can identify and teach other pieces of music to support their students’ learning. The following music and musicians are examples of how each of the areas of study can be approached from a diverse range of other perspectives. The pieces have been chosen to encourage students to think beyond the mainstream and over-represented composers and styles of music, and instead to consider alternative and less well-known types and origins of music. -
Pre-Assessment
Name: _________________________________________________ Date: ____________________________ Film Music Unit Pretest 6th Grade Music Multiple Choice 1. What is a melody? a. The main line in music b. The background line in music c. A song that we sing d. The rhythmic drive in music. 2. The line of music associated with Luke Skywalker in the movie Star Wars is called a ___________________. a. Sequence b. Ostinato c. Leitmotif d. Melody 3. What was the first movie with an entire original score? a. Gone with the Wind b. King Kong c. Casablanca d. Star Wars 4. What year did synthesizers become introduced as a part of film music? a. 1958 b. 1968 c. 1978 d. 1980 True or False 5. Music was included as a part of film starting with the first motion picture. True False 6. Film composers are not always well-respected in their careers. True False 7. Film music is played by a symphony. True False 8. Ascending melodies are generally happy, while descending melodies are generally sad. True False Matching Match each film with the composer who wrote the film score. 9. ___________ Star Trek a) Hans Zimmer 10. ___________ Edward Scissorhands b) Jerry Goldsmith 11. ___________ Titanic c) Max Steiner 12. ___________ The Lion King d) Danny Elfman 13. ___________ The Pink Panther e) John Williams 14. ___________ King Kong f) James Horner 15. ___________ Star Wars g) Henry Mancini Name: _________________________________________________ Date: ____________________________ Fill in the Blank Insert the best word into each blank. Not all words will be used. character consonance dissonance geographic harmony historic piano tension timbre 16. -
Fantasia the Famous Soundtracks of Walt Disney's Masterpieces Program
Fantasia The famous soundtracks of Walt Disney's masterpieces Sang Eun Kim soprano Luigi Giachino piano and transcriptions The Korean soprano Angela Kim with her wonderful voice and endearing presence on the stage meets the harmonies of the pianist Luigi Giachino, a great expert in film music, in a repertoire dedicated to the famous soundtracks of Walt Disney's masterpieces. The concert can be realized with the cinematographic projections made by Alba Film Festival. Since 1923 the Disney Studios have presented films that built the international history of cinema and animation, becoming immortal masterpieces as well, released from a mere function of entertainment and projected into a more “philosophical” dimension, to the point of rightfully becoming part of a worldwide popular culture. Despite the changes of time, aesthetics and lifestyles, Disney's lesson always remains current and reminds us that, despite the small and big difficulties of the life, we must continue to look forward, using the resources we have and finding solutions, never feeling lost and always listening to our emotions. The repertoire of this concert program embraces half a century of the Disney production and is a tribute to his unique style which also influenced the soundtracks. In the selected pieces, the atmospheres of poetry and dream are alternated with more playful and light-hearted moments, enhancing the versatility and great technical preparation of our artists. The concert can also be realized with the cinematic projections of the films, created by Alba Film -
The Film Music Label Partners with the Golden State Pops Orchestra for Another 'Music of the 'Star Wars' Universe' Concert
7:20 PM PDT 6/19/2013 by Austin Siegemund-Broka The Golden State Pops Orchestra The film music label partners with the Golden State Pops Orchestra for another 'Music of the 'Star Wars' Universe' concert. Film music label Varèse Sarabande Records is celebrating its 35th anniversary at home and abroad. The Golden State Pops Orchestra’s June 15 concert Music of the 'Star Wars' Universe commemorated the milestone with a performance of Joel McNeely’s score, released on Varèse, for the 1996 multimedia project Star Wars: Shadows of the Empire, alongside pieces from John Williams’ iconic Star Wars film scores -- not released on Varèse, though the label has distributed other orchestras’ renditions of Williams’ Star Wars compositions. Hans Zimmer, Danny Elfman, Michael Giacchino, John Powell and other guest composers came out for the GSPO’s previous concert, a Varèse Sarabande 35th anniversary revue on May 11. Varèse executive producer Robert Townson, who hosted the revue, says he opted to work with the GSPO to bring Varèse’s anniversary festivities back to the label’s Los Angeles roots. “I sent an email to the conductor and said, ‘we’d like to do something locally. To be honest, your orchestra came to mind because of the attitude and the degree to which you’re making a point of celebrating the aspects of film music I really appreciate, the artistry,’” Townson says. Two more concerts will partner the GSPO with Varèse: the orchestra’s annual Halloween and winter holiday performances, held October 19 and December 21. Plans for a single revue concert grew into a yearlong Varèse celebration when GSPO conductor Steven Allen Fox realized how much Varèse-released music was already on the GSPO season’s programs. -
Retrospective Analysis of Plagiaristic Practices Within a Cinematic Industry in India – a Tip in the Ocean of Icebergs
Retrospective analysis of plagiaristic practices within a cinematic industry in india – a tip in the ocean of icebergs Item Type Article Authors Sivasubramaniam, Shiva D; Paneerselvam, Umamaheswaran; Ramachandran, Sharavan Citation Umamaheswaran, P., Ramachandran, S. and Sivasubramaniam, S.D., (2020). 'Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India–a Tip in the Ocean of Icebergs'. Journal of Academic Ethics, pp.1-11. DOI: 10.1007/ s10805-020-09360-7 DOI 10.1007/s10805-020-09360-7 Publisher Springer Journal Journal of Academic Ethics Download date 27/09/2021 02:43:07 Link to Item http://hdl.handle.net/10545/624527 Journal of Academic Ethics https://doi.org/10.1007/s10805-020-09360-7 Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – aTip in the Ocean of Icebergs Paneerselvam Umamaheswaran1 & Sharavan Ramachandran2 & Shivadas D. Sivasubramaniam3 # The Author(s) 2020 Abstract Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry. -
Winterspell Playlist 1. Sweet Dreams
Winterspell Playlist 1. Sweet Dreams (Are Made of This) – Sucker Punch – performed by Emily Browning 2. Towers of the Void – Red Riding Hood – Brian Reitzell 3. Is It Poison, Nanny – Sherlock Holmes – Hans Zimmer 4. Dyslexia – Percy Jackson & the Olympians – Christophe Beck 5. Maria Redowa – Little Women – Thomas Newman 6. La Fayette’s Welcome – Little Women – Thomas Newman 7. Port Royal Gallop – Little Women – Thomas Newman 8. Dead Sister – Red Riding Hood – Brian Reitzell & Alex Heffes 9. The Dance – Emma – Rachel Portman 10. Tavern Stalker – Red Riding Hood – Brian Reitzell & Alex Heffes 11. Wolf Attack Suite – Red Riding Hood – Brian Reitzell & Alex Heffes 12. Then Came the Purge – Underworld: Awakening – Paul Haslinger 13. The Wolve’s Den – Underworld: Rise of the Lycans – Paul Haslinger 14. The Lycan Van Escape – Underworld: Awakening – Paul Haslinger 15. Wtf – Green Zone – John Powell 16. Mike to Tavern – Underworld: Evolution – Marco Beltrami 17. Darkness Deep Within – Underworld – Paul Haslinger 18. Teahouse – The Matrix Reloaded – Juno Reactor and Gocoo 19. To Jerusalem – Kingdom of Heaven – Harry Gregson-Williams 20. Jean and Logan – X-Men: The Last Stand – John Powell 21. Dissolve – The Book of Eli – Atticus Ross 22. Pier 17 – The Adjustment Bureau – Thomas Newman 23. Blind Faith – The Book of Eli – Atticus Ross 24. Richardson – The Adjustment Bureau – Thomas Newman 25. The Journey – The Book of Eli – Atticus Ross 26. Mt. Grimoor – Red Riding Hood – Brian Reitzell & Alex Heffes 27. The Arrow Attack – Underworld: Rise of the Lycans – Paul Haslinger 28. Corvinus – Underworld – Paul Haslinger 29. Subterrania – Underworld – Paul Haslinger 30. A Thorough Education – Jane Eyre – Dario Marianelli 31. -
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr
PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr. Paul Borg We begin our season with a generous offering of music from the films of the Walt Disney Company [Walt Disney Productions until 1986]. When Walt Disney died in 1966, the corporation continued his inspired and successful animated-film output. Although not all of nearly 200 animations, live-action films, television series, documentaries, or videos are equally memorable, everyone today has heard many of the songs associated with the films, whether from viewing the films, listening to recordings, or in live concerts such as this one. In the late 1920s and 30s films had newly been furnished with recorded sound, giving motion pictures real-time spoken dialogue among the characters as well as music that could entertain with songs embedded in the storyline. Music could also be employed to enhance or evoke a particular emotion--think the spooky two-note shark approach in Jaws or the "screeching" of the knife in the shower scene of Psycho. Walt Disney and his brother Roy extended these sound element to animated cartoons, short at first (Steamboat Willie) and eventually feature length (Snow White and the Seven Dwarfs). Disney's intent to continue a series of fairy tale animations was interrupted by the Second World War, during which he and his collaborators produced a series of training and propaganda films, even using Donald Duck in some comical short sketches. After the war, Disney turned his vision to television and then his entertainment parks, starting with Disneyland in 1955. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Informação À Imprensa – XX De Abril De 2008
Títulos disponíveis em Star no Disney+, em Portugal, no dia 23 de fevereiro Séries de televisão 9/11 FIREHOUSE ACCORDING TO JIM (YR 1 2001/02 EPS 1-22) ACCORDING TO JIM (YR 2 2002/03 EPS 23-50) ACCORDING TO JIM (YR 3 2003/04 EPS 51-79) ACCORDING TO JIM (YR 4 2004/05 EPS 80-106) ACCORDING TO JIM (YR 5 2005/06 EPS 107-128) ACCORDING TO JIM (YR 6 2006/07 EPS 129-146) ACCORDING TO JIM (YR 7 2007/08 EPS 147-164) ACCORDING TO JIM (YR 8 2008/09 EPS 165-182) ALIAS (YR 1 2001/02 EPS 1-22) ALIAS (YR 2 2002/03 EPS 23-44) ALIAS (YR 3 2003/04 EPS 45-66) ALIAS (YR 4 2004/05 EPS 67-88) ALIAS (YR 5 2005/06 EPS 89-105) BIG SKY (YR 1 2020/21 EPS 1-18) BLACKISH (YR 1 2014/15 EPS 1-24) BLACKISH (YR 2 2015/16 EPS 25-48) BLACKISH (YR 3 2016/17 EPS 49-72) BLACKISH (YR 4 2017/18 EPS 73-95) BLACKISH (YR 5 2018/19 EPS 96-118) BROTHERS & SISTERS (YR 1 2006/07 EPS 1-23) BROTHERS & SISTERS (YR 2 2007/08 EPS 24-39) BROTHERS & SISTERS (YR 3 2008/09 EPS 40-63) BROTHERS & SISTERS (YR 4 2009/10 EPS 64-87) BROTHERS & SISTERS (YR 5 2010/11 EPS 88-109) BUFFY THE VAMPIRE SLAYER (YR 1 1996/97 EPS 1-12) BUFFY THE VAMPIRE SLAYER (YR 2 1997/98 EPS 13-34) BUFFY THE VAMPIRE SLAYER (YR 3 1998/99 EPS 35-55) BUFFY THE VAMPIRE SLAYER (YR 4 1999/00 EPS 56-78) BUFFY THE VAMPIRE SLAYER (YR 5 2000/01 EPS 79-100) BUFFY THE VAMPIRE SLAYER (YR 6 2001/02 EPS 101-122) BUFFY THE VAMPIRE SLAYER (YR 7 2002/03 EPS 123-144) CASTLE (YR 1 2008/09 EPS 1-10) CASTLE (YR 2 2009/10 EPS 11-34) CASTLE (YR 3 2010/11 EPS 35-58) CASTLE (YR 4 2011/12 EPS 59-81) CASTLE (YR 5 2012/13 EPS 82-105) 1 CASTLE (YR 6 -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The