Equipo Técnico Sinopsis Colaboradores

Total Page：16

File Type：pdf, Size：1020Kb

Sinopsis Del director ganador del premio BAFTA, Asif Kapadia (Senna), AMY narra la increíble historia de Amy Winehouse contada con sus propias palabras. A través de imágenes íntimas y canciones inéditas, esta película sorprendentemente moderna, ágil y vital nos muestra lo duro que es el mundo en el que vivimos de una manera que muy pocas películas han conseguido transmitir. Amy fue uno de esos talentos únicos que surge en cada generación y una artista de jazz en el sentido más puro del género. Escribió y cantó desde el corazón usando sus dotes musicales para analizar sus propios problemas. La combinación de su cruda honestidad y su increíble talento la llevaron a ganar seis Grammy, y a componer algunas de las canciones más originales y adoradas del siglo XXI. Su gran éxito, sin embargo, dio lugar a una exposición mediática implacable e invasiva que, unida a las relaciones conflictivas de Amy y a su trepidante estilo de vida hizo que su vida trágicamente comenzara a desmoronarse, hasta su muerte en julio de 2011 a la edad de 27 años, debido a una intoxicación etílica. Equipo técnico Colaboradores Director ASIF KAPADIA Guardaespaldas ANDREW MORRIS Productor JAMES GAY-REES Exmarido BLAKE FIELDER Producción Ejecutiva DAVID JOSEPH, ADAM BARKER Amigo BLAKE WOOD Edición CHRIS KING A&R (ahora presidente), Island Records DARCUS BEESE Música original ANTONIO PINTO Doctor DR. CRISTINA ROMETE Producción de archivo PAUL BELL Presidente de Sony UK / ATV GUY MOOT Co-Productor GEORGE PANK Padres de Amy JANIS Y MICHEL WINEHOUSE Jefe de producción RAQUEL ALVAREZ Socio & CEO, Universal Music Group LUCIAN GRAINGE Edición online JAIME LEONARD Productor Musical MARK RONSON Etalonaje PAUL ENSBY Primer Manager de Amy NICK SHYMANSKY Supervisión de edición de sonido ANDY SHELLEY, STEPHEN GRIFFITHS Músico PETER DOHERTY Remezclas TIM CAVAGIN, DAFYDD ARCHARD Manager de Amy, Metropolis Music RAYE COSBERT AMYAÑO DEWINEHOUSE PRODUCCIÓN: 2015 - DURACIÓN: 128 min. - NACIONALIDAD: REINO UNIDO DCP - 1.85:1 - DOLBY DIGITAL - COLOR, BLANCO Y NEGRO VÉRTIGO FILMS - C/ Carranza 25 , 7ª planta - 28004 - Madrid - Tel: 91 524 08 19 - Fax: 91 523 27 19.

Copy Link

Recommended publications

Dokumentation „Amy – the Girl Behind the Name”
Bemerkungen zur Dokumentation „Amy – The Girl behind the Name” Erscheinungsjahr: 2015 Regisseur: Asif Kapadia Mitwirkende: ANDREW MORRIS (Bodyguard), BLAKE FIELDER-CIVIL (Ex- Gatte), BLAKE WOOD (Freund), CHIP SOMERS (Drogenberater), DALE DAVIS (Musical Director & Bassist), DARCUS BEESE (A&R (jetzt Präsident), Island Records), DR. CRISTINA ROMETE (Ärztin), GUY MOOT ( Präsident, Sony/ATV Publishing), JANIS WINEHOUSE (Amys Mutter), JULIETTE ASHBY(Freundin), LAUREN GILBERT(Freundin), LUCIAN GRAINGE (Vorstand & CEO, Universal Music Group), MARK RONSON (Musikproduzent), MITCHEL WINEHOUSE (Amys Vater), MONTE LIPMAN (Vorsitzender & CEO, Republic Records), NICK GATFIELD (Präsident, Island Records 2001-08), NICK SHYMANSKY (Amys erster Manager), PETER DOHERTY (Musiker), PHIL MEYNELL (Freund), RAYE COSBERT (Amys Manager, Metropolis Musik), SALAAM REMI (Musikproduzent), SAM BESTE (Pianist), SHOMARI DILON (Tontechniker), TONY BENNETT (Sänger), TYLER JAMES (Freund), YASIIN BEY(Hip-Hop-Künstler) Vorbemerkungen: Amy Jade Winehouse (* 1983;† 2011) war eine britische Sängerin und Songschreiberin. Als große Vorbilder bezeichnete Amy immer die Jazz-Ikonen Ella Fitzgerald, Sarah Vaughan und Tony Benett. Im Alter von 16 Jahren war sie kurze Zeit des National Youth Jazz Orchestra (NYJO) in England. Bill Ashton, der 1965 das National Youth Jazz Orchestra in England mit gegründet hatte, sagte zum Debut- Auftritt der Band mit Amy im Jahr 2000 wörtlich: “I can honestly say, she had the best jazz voice of any young singer I had ever heard”. Amy tourte ein halbes Jahr lang (vor ihrem Durchbruch als Soul-/Pop-Sängerin) mit zwei Mitgliedern des NYJO durch kleine englische Jazz-Clubs. Sie liebte die Atmosphäre in Jazz-Clubs mehr als große Konzerthallen. Bill Ashton sagte zum Tod von Amy: “…the pop world has lost an icon – the jazz world lost a great jazz singer several years ago”.
[Show full text]
Billboard Magazine
WorldMags.net “Rehab” has been streamed more than 35 million times on Spotify — Winehouse herself is only dimly understood. “She never spent enough time [in the ONE DAY IN United States] for people to get a sense of her outside of being drunk and sloppy,” says Republic Records chairman/CEO Monte Lipman. David Joseph, chairman/ CEO of Universal Music U.K. and an NOVEMBER 2005, executive producer on Amy, says, “Some asked, ‘Are you making a film about a drug addict?’ People didn’t even realize she wrote her own lyrics.” The film is a riveting collage of audio interviews and mostly unseen footage. It AMY WINEHOUSE took the filmmakers two years to win the sat in a car with her friend and co-manager the screen they’ll feel embarrassed.” trust of Winehouse’s friends, many of whom Nick Shymansky, winding through the Like Britney Spears, another singer hadn’t spoken publicly since her death. “At English countryside toward a rehab center. classified as a “train wreck” at that time, the beginning nobody wanted to talk to me,” The singer’s drinking had been getting out Winehouse felt the lashes of 24-7 gossip says Kapadia. “Then everybody did.” Only of control, Shymansky remembers, and he coverage as it converged with her celebrity. Mitch Winehouse has since criticized the felt she needed help. When they arrived, And that wasn’t all Winehouse contended project, calling it “unbalanced.” Gay- Winehouse said she would check in on one with: The pressure to be thin worsened her Rees says that the initial three-hour cut condition: that her father, Mitch, agreed.
[Show full text]
Prime Minister's Recommendations For
NOT TO BE PUBLISHED, BROADCAST OR USED ON CLUB TAPES BEFORE 22.30 HOURS BST FRIDAY 13 JUNE 2014 PRIME MINISTER’S RECOMMENDATIONS FOR THE BIRTHDAY HONOURS LIST 2014 Page No i List of Contents ii Embargo Notice iii Statistics of awards granted 1 Companions of Honour (CH) 2 Knights Bachelor (Kt) 5 Dames Commander of the Order of the Bath (DCB) 6 Knights Commander of the Order of the Bath (KCB) 7 Companions of the Order of the Bath (CB) 8 Knights Grand Cross of the Order of the British Empire (GBE) 9 Dames Commander of the Order of the British Empire (DBE) 11 Knights Commander of the Order of the British Empire (KBE) 12 Commanders of the Order of the British Empire (CBE) 21 Officers of the Order of the British Empire (OBE) 44 Members of the Order of the British Empire (MBE) 85 Medallists of the Order of the British Empire (BEM) i NOT TO BE PUBLISHED, BROADCAST OR USED ON CLUB TAPES BEFORE 22.30 HOURS BST FRIDAY 13 JUNE 2014 BIRTHDAY HONOURS LIST 2014: EMBARGO NOTE This material is issued for the convenience of the media to assist journalists in the preparation of their reports on condition that: i. no notice of it appears in this country or in any country whether east or west of Greenwich, before 22.30 hours BST Friday 13 June 2014. ii. its contents are neither communicated to any outside body or person before publication, nor are broadcast in any country, whether east or west of Greenwich, before 22.30 hours BST Friday 13 June 2014.
[Show full text]
Investing-In-Music-2014.Pdf
Contents Introduction: Plácido Domingo ............................................................. 4 Commentary: Frances Moore and Alison Wenham ....................................... 5 Investing in music: The essentials .......................................................... 6 Discovering and signing talent............................................................. 17 Nurturing talent ........................................................................... 24 Promoting talent .......................................................................... 29 CASE STUDIES WEI LI-AN 12 LORDE 22 PHARRELL WILLIAMS 28 NICO & VINZ 16 ED SHEERAN 23 5 seCONDS OF SUMMER 34 MKTO 35 NEGRAMARO 36 4 / Introduction INTRODUCTION Singing the praise of the investors in music Welcome to the Investing in Music The investors in music are vital to the work report, published by IFPI and WIN, of artists. They are the risk-takers who win if two organisations that between an artist is successful, but lose if they are not; them represent many thousands of they provide the financial support in advance record companies worldwide. of recording that others are not prepared to In my long career, I have give; they offer skills and understanding of worked with all the major record how to reach the consumer in all the ways the labels, and even some of the digital age allows; and they provide many other smaller ones. From my experience skills too. This is all part of the work of record Plácido Domingo, in the recording industry, I know companies who, according to this report, invest chairman of IFPI very well what a big difference US$4.3 billion dollars worldwide in the work of a record label can make to the recording artists. success of an artist’s career. To achieve success, Investment in music cannot be taken for of course, means investment by the labels, both granted.
[Show full text]
Billboard Change Agents: Leaders Stepping up in a Year of Turmoil
Billboard Change Agents: Leaders Stepping Up In A Year of Turmoil billboard.com/articles/business/9517071/billboard-change-agents-list-2021 By Billboard Staff 1/28/2021 © 2021 Billboard Media, LLC. All rights reserved. BILLBOARD is a registered trademark of Billboard IP Holdings, LLC Over the past year, the music industry began an extraordinary transformation. Heavy-hitting task forces were assembled to tackle racial inequality amid a wave of national protests against police brutality, while music’s biggest companies committed hundreds of millions of dollars to the cause. Artists and their managers, agents and promoters — many of whom saw their income plummet in the pandemic — were forced to reinvent their businesses as they sought relief from organizations fighting to help the live industry survive. Through it all, music professionals marched in the streets, encouraged people to vote in a historic election, brainstormed solutions on virtual panels and mourned the loss of family, friends and music legends to COVID-19. In other words, it didn’t feel much like a year for congratulating music’s most powerful people on how powerful they still are. So instead of compiling the Power List that Billboard has published annually since 2012, we decided instead to honor some of the individuals changing the business — both by advocacy and by example — in our first Change Agents issue. 1/39 This is by no means meant to be a comprehensive list of music executives fighting for justice or changing the game. It does not, for example, include the heads of the major music groups, even though Universal Music Group chairman/CEO Lucian Grainge announced an initial $25 million “Change Fund,” convened a social justice task force and promised more action to follow, while Sony Music Group chairman Rob Stringer drove the creation of a $100 million Sony fund to fight racism around the world and Warner Music Group CEO Steve Cooper pledged to steer a $100 million donation from owner Len Blavatnik to music industry charities and social justice as well.
[Show full text]
Inventário, N
REVISTA DOS ESTUDANTES DE PÓS-GRADUAÇÃO DO INSTITUTO DE LETRAS DA UNIVERSIDADE FEDERAL DA BAHIA N V E N T Á R I O I ISSN: 1679-1347 CELEBRITIES’ BODIES IN ACHIEVEMENT CULTURE: A STUDY OF JOURNALISTIC APPROACHES TO AMY WINEHOUSE Marcela Santos BrigiDa (PPGLetras/UERJ – Mestrado) INFORMAÇÕES SOBRE OS AUTORES Marcela Santos Brigida é bacharel em Letras com habilitação em língua inglesa e suas literaturas na Universidade do Estado do Rio de Janeiro (2018). É atualmente mestranda em Literaturas de Língua Inglesa com bolsa CAPES na mesma instituição, onde também atua como membro do corpo editorial da Revista Palimpsesto. É idealizadora e curadora de conteúdo do projeto de extensão Literatura Inglesa Brasil. Tem experiência nas áreas de literaturas de língua inglesa, literatura comparada e estudos interartes, com especial interesse em remediações e leituras contemporâneas da obra de Emily Dickinson. É membro da Emily Dickinson International Society (EDIS) e mantém o blog Emily Dickinson Brasil desde 2018. Como associada da Tony Hancock Appreciation Society, tem interesse no desenvolvimento da comédia situacional no contexto das produções de rádio na década de 1950 no Reino Unido. E- mail: [email protected] ABSTRACT RESUMO Amy Winehouse (1983-2011) was an artist whose musical talent Amy Winehouse (1983-2011) foi uma artista cujo talento musical led her to the spotlight at an early age. Nevertheless, an atraiu os holofotes desde muito cedo. No entanto, uma elevated amount of media scrutiny focused on her body, concentração elevada de escrutínio midiático focado no seu physical appearance and personal life helped define the way in corpo, aparência física e vida pessoal ajudou a definir o modo which the public viewed her.
[Show full text]
Take Your Place 2016
FOR PERFORMERS AND THOSE WHO MAKE PERFORMANCE POSSIBLE THE PLACE THE PROGRAMMES THE PATHWAY THE PASSION TAKE YOUR PLACE 2016 Backstage in our Paul McCartney Auditorium, you can see some of our degree level students in the integrated roles needed to make a performance happen. Oliver Bush working as the lighting designer (studying Theatre and Performance Technology) Katy Lord providing stage management (studying Theatre and Performance Technology) Alfie Heywood assisting costume design and make-up (studying Theatre and Performance Design) Connor Dye one of the performers in the show (studying Acting) Alice Smith working as the costume designer (studying Theatre and Performance Design) Sophia Hardman working on live sound (studying Sound Technology) Guy Turner playing in the pit band (studying Music) Sophie Lane working as the manager for the musician (studying Music, Theatre and Entertainment Management) THE PLACE 02 Contents The Place What was our challenge and what is yours? 03 How did we respond to the challenge initially? 03 Hearing from the best 04 What do we do now? 05 Our curriculum 05 Our teachers 08 Our resources 10 Do we meet the challenge? 14 Will you join us? 16 An international outlook 17 Student support 18 Doing your own thing 19 Life in Liverpool 20 Where you live 22 The Programmes Foundation Certificates Acting and Musical Theatre 25 Commercial Dance 27 Popular Music and Sound Technology 29 Degrees Acting 31 Applied Theatre and Community Drama 33 Dance 35 Music 37 Music, Theatre and Entertainment 39 Management Sound Technology 41 Theatre and Performance Design 43 Theatre and Performance Technology 45 These programmes are awarded by The Pathway Entry requirements 49 How and when to apply 54 What happens after you have applied 58 What it costs 59 How to find us 61 Open days 61 Supporters 62 03 THE PLACE Our Founding Principal/CEO, Mark Featherstone-Witty, explains what we do and what we can offer you from this page to page 16 1 Sustained work for performers and those who make What was our performance possible.
[Show full text]
R Ainm Ak Er S T Wo 36
RAINMAKERS TWO 36 DARCUS BEESE OBE An Island Life ou sign what makes you excited, what’s different—not what’s in the marketplace now.” That’s Darcus Beese explaining his A&R philosophy in a 2012 interview with The Guardian. His most celebrated signings—Florence + the Machine, Mumford & Sons and, above all, the uniquely gifted Amy Winehouse—make it abundantly clear that this Island Records lifer and current label chieftain walks it like he talks it. During a career spanning more than three decades, Beese has become renowned for finding and nurturing innovative artists whose music has stood apart on the radio and the charts. “Darcus is as passionate today about his artists and team as the day we first met,” Universal Music U.K. chairman/CEO David Joseph said in Music Week last year. “He embodies the maverick spirit which has always set Island apart as a label.” Joseph’s recent comment to HITS was more personal. “If you ever find yourself wondering what words and thoughts are going through his mind,” he mused, with obvi- ous affection, “they will be ‘radical,’ ‘truth,’ ‘culture,’ ‘I’m feeling this,’ ‘I’m not feeling “this,’Y ‘legacy,’ ‘family,’ respect,’ ‘chicken and fries.’ And it’s often a combination of all of these, beautifully blended together.” 36 37 “YOU CUT ME AND I BLEED ISLAND. I WOULDN’T WORK ANYWHERE ELSE.” Top: Beese with Jessie Reyez and manager Ruiz Mauricio; bottom: with Sean Paul; opposite page: with Chris Blackwell and Ted Cockle welve years ago, summer. “I will forever be indebted to tree.
[Show full text]
Investing in Music: the Essentials
Contents Introduction: Plácido Domingo ............................................................. 4 Commentary: Frances Moore and Alison Wenham ....................................... 5 Investing in music: The essentials .......................................................... 6 Discovering and signing talent............................................................. 17 Nurturing talent ........................................................................... 24 Promoting talent .......................................................................... 29 CASE STUDIES WEI LI-AN 12 LORDE 22 PHARRELL WILLIAMS 28 NICO & VINZ 16 ED SHEERAN 23 5 SECONDS OF SUMMER 34 MKTO 35 NEGRAMARO 36 4 / Introduction INTRODUCTION Singing the praise of the investors in music Welcome to the Investing in Music The investors in music are vital to the work report, published by IFPI and WIN, of artists. They are the risk-takers who win if two organisations that between an artist is successful, but lose if they are not; them represent many thousands of they provide the financial support in advance record companies worldwide. of recording that others are not prepared to In my long career, I have give; they offer skills and understanding of worked with all the major record how to reach the consumer in all the ways the labels, and even some of the digital age allows; and they provide many other smaller ones. From my experience skills too. This is all part of the work of record Plácido Domingo, in the recording industry, I know companies who, according to this report, invest chairman of IFPI very well what a big difference US$4.3 billion dollars worldwide in the work of a record label can make to the recording artists. success of an artist’s career. To achieve success, Investment in music cannot be taken for of course, means investment by the labels, both granted.
[Show full text]
Darcus Beese Named President of Island Records
DARCUS BEESE NAMED PRESIDENT OF ISLAND RECORDS Home > News > DARCUS BEESE NAMED PRESIDENT OF ISLAND RECORDS Renowned U.K. Music Executive to Join Universal Music Group’s U.S. Label Leadership Credit: Rankin SANTA MONICA, MAY 24, 2018 —Universal Music Group (UMG), the world leader in music-based entertainment, today announced that Darcus Beese OBE, a renowned and iconic British music executive, has been named President of Island Records, where he will join UMG’s U.S. label leadership team. Beese, whose career includes working with Amy Winehouse, Florence Welch and breakout star Sigrid, among many others, as well as leading Island Records U.K. since 2013, will succeed David Massey as President of Island Records in New York. Beese’s appointment is effective July 1. In making the announcement, Sir Lucian Grainge, Chairman and CEO of UMG, said, “Few in the music industry have Darcus’s track record of creative and commercial success. I’ve had the pleasure over the years of working closely with Darcus, who has impeccable creative instincts and takes a long-term view of artist development. I’m thrilled he is taking on this new role and I’m excited to support him in signing, developing and breaking many more artists.” Beese said, “Island Records was founded nearly 60 years ago by Chris Blackwell to serve as the home for boundary-defying and maverick artists with the ability to move popular culture. To this day, that mission continues to define and drive Island, whether in the U.K. or U.S., and I couldn’t be more proud to play a role in carrying on that legacy.
[Show full text]
@Mongrelmedia #Amyfilm Mongrelmedia 1
Presents A film by Asif Kapadia (127 min., UK, 2015) Language: English Official Selection 2015 CANNES INTERNATIONAL FILM FESTIVAL Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia #AmyFilm MongrelMedia 1 SYNOPSIS From BAFTA award-winning director Asif Kapadia (SENNA), AMY tells the incredible story of six-time Grammy-winner Amy Winehouse – in her own words. Featuring extensive unseen archival footage and previously unheard tracks, this strikingly modern, moving and vital film shines a light on the world we live in, in a way that very few can. A once-in-a-generation talent, Amy Winehouse was a musician who captured the world’s attention. A pure jazz artist in the most authentic sense – she wrote and sang from the heart using her musical gifts to analyse her own problems. The combination of her raw honesty and supreme talent resulted in some of the most unique and adored songs of the modern era. Her huge success, however, resulted in relentless and invasive media attention which coupled with Amy’s troubled relationships and precarious lifestyle saw her life tragically begin to unravel. Amy Winehouse died from alcohol poisoning in July 2011 at the age of 27. 2 ABOUT THE PRODUCTION When filmmakers Asif Kapadia (director), James Gay-Rees (producer) and Chris King (editor) collaborated on the 2010 documentary SENNA, which charted the story of acclaimed F1 driver Ayrton Senna, they earned a clutch of awards (including two BAFTAs) and a mass of critical plaudits.
[Show full text]
“My Whole Mantra, All My Career, Has Been: 'Don't Get Fired!' and The
resignation?’” he laughs. co-president. But luckily the team He returned to London and of people we had was amazing…” played the demos to Louis Bloom, The next phase of Beese’s whose reaction convinced him he remarkable career was just about had to stay. to begin… “I said, ‘I ain’t going anywhere’,” he says. “How different the world he first couple of years could have been!” of co-presidency, Beese Back To Black came out in 2006 admits, were difficult. and went on to sell 12 million “The hangover of the copies, although Winehouse’s Tcouple of years before meant that problems with drink and drugs and our roster was kind of nowhere. status as tabloid catnip meant it It didn’t have a core to it and me was a far from easy ride. and Ted – and I think he would “You couldn’t rein her in, you agree with me – struggled for the couldn’t tame her and there was first couple of years, in terms of no point in trying,” Beese says. restocking the larder.” “She wouldn’t comply. I know that But slowly they turned it around. some of the product managers They forged a relationship with that worked with her were trying Roc Nation, signed Florence + The to apply their opinions but you Machine, Mumford & Sons and would basically just lose her trust. Ben Howard and started to hit big She was one of those artists where with North American imports such you just had to get out of her way. as Drake.
[Show full text]