Most Recognized Movie Voices Most Memorable Sound Effects

Total Page:16

File Type:pdf, Size:1020Kb

Most Recognized Movie Voices Most Memorable Sound Effects Sonic presents: Surrounded by Sound EXPERIENCING MOVIE MAGIC THROUGH AUDIO Imagine the shower scene from Psycho. The approaching shark fin in Jaws. Julie Andrews atop the Austrian mountains. Chances are, it’s not just an image, but a sound that comes to mind. Actors’ voices, sound effects, theme songs and musical scoring can make or break a movie. When it comes to the big screen, your ears play a big role. Top 10 Film Scores: According to the American Film Institute “Silent film” is somewhat of a misnomer. Even before audio, films were accompanied by an organ, 1 orchestra, or live sound effects. 2 3 4 5 7 6 10 8 9 tter, rry Po rk, Ha Jo sic Pa hn Juras . E Willi ones, Island .T., S ams, kn Indiana J igan’s upe own for Star Wars, or Gill rman, usic f and other themes, once wrote m Most Recognized Movie Voices 1 Clint Eastwood 4 James Earl Jones 2 Orson Welles 5 Jack Nicholson Christopher Walken’s style reportedly came from him. Removing 3 Christopher Walken 6 Marilyn Monroe punctuation. From all. 3 6 Of his scripts. While learning. Lines. Most Memorable Sound Effects Tarzan Yell, Lightsabers, 1 Tarzan the Ape Man 2 Star Wars When anyone swings Created from the idling of old film on a rope (or vine), projectors and TV interference, “Ahhh-ee-ah-ee-ahh!” the moving pitch came from is inevitable. simply moving a microphone. Darth Vader’s breathing, T-Rex roar, 3 Star Wars 4 Jurassic Park Recorded from the Turns out pre-historic creatures sound inside of a respirator. like a combination of present-day animals: Fatherhood has never a baby elephant, tiger, alligator, a dog been so menacing. chomping on a toy, and a whale’s blow. 5 The Wilhelm Scream The three roles of sound effects: Doesn’t sound familiar? Originally from a 1951 film, this scream of terror 1. Create a mood has been recycled in dozens of 2. Simulate reality movies (including Star Wars) as 3. Imply something off scene an industry inside joke. IMAGE SOURCES: www.vintag.es www.hollywoodreporter.com www.blogs.suntimes.com www.visionaryartistrymag.com www.sonici.com ©2014 SONIC INNOVATIONS, INC..
Recommended publications
  • Tarzan's Yell
    OFFICE FOR HARMONIZATION IN THE INTERNAL MARKET (TRADE MARKS AND DESIGNS) The Boards of Appeal DECISION of the Fourth Board of Appeal of 27. September 2007 In Case R 708/2006-4 Edgar Rice Burroughs, Inc. 18354 Ventura Boulevard Tarzana, California 91357 United States of America Applicant/Appellant represented by R.G.C. JENKINS & CO, 26 Caxton Street, GB - London SW1H 0RJ, United Kingdom APPEAL relating to Community trade mark application No 3 661 329 THE FOURTH BOARD OF APPEAL composed of D. Schennen (Chairman and Rapporteur), I. Mayer (Member) and F. López de Rego (Member) Registrar: N. Semjevski gives the following Language of the case: English DECISION OF 27 SEPTEMBER 2007 – R 708/2006-4 – TARZAN YELL (SOUND MARK) 2 Decision Summary of the facts 1 By an application received by the Office by regular mail on 11 February 2004, the applicant filed a Community trade mark application for the following goods and services: Class 9 - Electrical and electronic communications and telecommunications apparatus and instruments; optical, electro-optical, monitoring (other than in-vivo monitoring), radio, television, electrical control, testing (other than in-vivo testing), signalling, checking (supervision), radio paging, radio-telephone and teaching apparatus and instruments, telephones, mobile telephones and telephone handsets; paging apparatus, radio paging apparatus; radio telephone apparatus; computerised personal organisers, telecommunications apparatus and instruments; communications apparatus and instruments; apparatus and instruments for
    [Show full text]
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • Orson Welles's Deconstruction of Traditional Historiographies In
    “How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127).
    [Show full text]
  • First Sound Cachet” by Gladys West-Jones
    The Making of the “First Sound Cachet” By Gladys West-Jones As a child growing up in the deep south of Natchez, Mississippi, I recall that there weren’t a lot of televisions in the black community, and the one we had was black and white. This was an era when playing outside, making up games, and smelling like sunshine were the epitome of being a kid. You see, I was a tomboy who loved the outdoors and climbing trees. I also loved watching TV, and one of my favorite shows was “Tarzan”. I never missed an episode. When I learned that the Edgar Rice Burroughs stamp was being issued, and that he was the creator of “Tarzan”, my motivation for making a cachet was as strong as a rabid dog. As my mentor, Florence “Via” Villaseñor, has taught me, before you make a cachet, you study your subject by doing a lot of research. So, that’s what I did. I wanted to capture in my cover the essence of Tarzan, the “King of the Jungle”. With all that I wanted to do, I realized that it would take more than one cover. I started with wanting to know all of the actors who played Tarzan on television and in the movies. I discovered that there were 23. So I decided to write about all of them including where they are today. Second, I wanted to know more about Edgar Rice Burroughs. Having just seen the movie “John Carter of Mars”, and hearing the advertisers say that it took Burroughs 100 years to produce, I wanted to know what else Burroughs had accomplished.
    [Show full text]
  • Abel Ferrara
    A FILM BY Abel Ferrara Ray Ruby's Paradise, a classy go go cabaret in downtown Manhattan, is a dream palace run by charismatic impresario Ray Ruby, with expert assistance from a bunch of long-time cronies, sidekicks and colourful hangers on, and featuring the most beautiful and talented girls imaginable. But all is not well in Paradise. Ray's facing imminent foreclosure. His dancers are threatening a strip-strike. Even his brother and financier wants to pull the plug. But the dreamer in Ray will never give in. He's bought a foolproof system to win the Lottery. One magic night he hits the jackpot. And loses the ticket... A classic screwball comedy in the madcap tradition of Frank Capra, Billy Wilder and Preston Sturges, from maverick auteur Ferrara. DIRECTOR’S NOTE “A long time ago, when 9 and 11 were just 2 odd numbers, I lived above a fire house on 18th and Broadway. Between the yin and yang of the great Barnes and Noble book store and the ultimate sports emporium, Paragon, around the corner from Warhol’s last studio, 3 floors above, overlooking Union Square. Our local bar was a gothic church made over into a rock and roll nightmare called The Limelite. The club was run by a gang of modern day pirates with Nicky D its patron saint. For whatever reason, the neighborhood became a haven for topless clubs. The names changed with the seasons but the core crews didn't. Decked out in tuxes and razor haircuts, they manned the velvet ropes that separated the outside from the in, 100%.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Roger Ebert's
    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
    [Show full text]
  • American Defense Films to Be Presented by M0ma
    42204 - 12 THE MUSEUM OF MODERN ART t wEST 53RD STREET, NEW YORK TELEPHONE: CIRCLE 5-8900 F0R IMMEDIATE RELEASE AMERICAN DEFENSE FILMS TO BE PRESENTED BY MUSEUM OF MODERN ART FILM LIBRARY A cross section of recent American documentary films on the defense theme will be presented In Program 106: AMERICAN DEFENSE FILMS at the Museum of Modern Art beginning Sunday, February 8, This is the last program in the Film Library's Cycle of 300 Films and will con­ tinue through February 14, after which the entire Cycle will be re­ peated starting February 15. In one of the defense films to be shown, Safeguarding Military Information, several leading Hollywood players appear anonymously. If the spectator watches closely he will see Ginger Rogers as the girl whose boy friend in the Army carelessly gives her information which results in the torpedoing of a transport. Walter Huston also appears as one of the nameless actors in the same film. Some of the films to be shown have been produced by govern­ ment agencies and others have been made by commercial producers. It will be noted that a considerable variety of styles and techniques have been used for imparting information to the general public or for instructing the armed forces. The films to be presented at 2 and 4 P.M. Sunday, February 8, and thereafter at 4 P.M. each day through February 14, are: 1941 BOMBER, produced by the Office for Emergency Management Film Unit, commentary written by Carl Sandburg. The story of the building of a bomber—a story of American planning, skill, ingenuity, workmanship and production.
    [Show full text]
  • VIRTUAL VÉRITÉ ©2016 Disney
    VIRTUAL VÉRITÉ ©2016 Disney USING TECHNIQUES HONED ON TWO OF THE MOST INNOVATIVE FEATURE FILMS, GRAVITY AND AVATAR, FILMMAKERS CREATE A COMPLEX CG WORLD FOR A HUMAN BOY RAISED BY WOLVES IN INDIA BY BARBARA ROBERTSON he feral boy tries to capture the magic of the Mowgli’s animal guides, protec- Mowgli, the only live-action Mowgli’s animated feature while embrac- tors, companions, and enemies. actor in the film. adventures ing technology available in 2016. Ben Kingsley is Bagheera, the Legato was the overall visual Twith animals “The film plays homage to black panther that leads Mowgli effects supervisor for The Jungle in India have the 1967 film, but it’s a movie to the wolf den. Lupita Nyong’o Book, with Andy Jones the been a familiar part of many rooted in real life,” says Visual and Giancarlo Esposito provide overall character animation people’s lives since Rudyard Effects Supervisor Rob Legato. mother and father wolves Rak- supervisor. The Moving Picture Kipling first published his series “It’s a fun experience, and part sha and Akela’s voices. The Ben- Company (MPC) created all the of children’s stories in maga- of that fun is getting dark and gal tiger Shere Khan threatens CG animals and environments zines during 1893–1894. The scared. When the tiger is chas- Mowgli’s life using Idris Elba’s for 1,200 shots, which comprise collection, now known as “The ing Mowgli, that tiger looks real. voice. Baloo, a bear that speaks most of the film. Weta Digital Jungle Book,” has inspired com- Your heart will be pumping like with Bill Murray’s voice, guides handled a sequence with King ic books, cartoons, animated crazy.
    [Show full text]
  • "SEATTLE Far the Models Indicated, Equipped As Illustrated, Exclusive of Trans- Convenient Connections to San Francisco, Los Angeles, Portation Charges
    • “The Long, Hot Summer” Here Sunday; here. Is there any minimum pay- per month. If you were survived by ment my family could exp&et to a widow over age 62 or by a child Faulkner Story Probes Human Passions receive from social security if I under age 18 only, the payment died? would be $33.00 monthly; these Jerry Wald’s production of WH- excitement. rates are effective beginning 1959. A. If worked • you long enough v liam Faulkner’s ‘The Long, Hot Tuesday and Wednesday on a job covered by social security Q. I am 59 years of age and a Summer,” Twentieth Century-Fox Danny Kaye makes a new depar- to be insured, there is a minimum widow. My. husband died in 1946. Cinemascope, De Luxe Color pres- ture in the type of role he plays benefit payment which could be Will I be able to receive full bene- entation, which opens at the Or- in the picture “Me and the paid to your survivors. For ex- fits at age 62 or will I have to pheum Theatre Sunday, examines Colonel,” which combines humor if were survived a wait until I am 65? human and with ample, you by age problems passions and a sense of humanity. and ANSWERS widow and or * QUESTIONS two more children A. Widows are now eligible to % probing eye. Kaye plays a refugee, escaping Q. present work is not cover- under the total The producer of “Peyton Place” My age 18, monthly receive benefits on their husband’s the Nazi invasion of Poland, finds ed social I benefit would be For a which Kodiak audiences relished by security.
    [Show full text]
  • Abel Ferrara Jaeger-Lecoultre Glory To
    La Biennale di Venezia / 77th Venice International Film Festival American director Abel Ferrara awarded the Jaeger-LeCoultre Glory to the Filmmaker 2020 prize His new film Sportin’ Life to be presented Out of Competition La Biennale di Venezia and Jaeger-LeCoultre are pleased to announce that the American director Abel Ferrara (Pasolini, Bad Lieutenant, King of New York) is the recipient of the Jaeger-LeCoultre Glory to the Filmmaker award of the 77th Venice International Film Festival (September 2 - 12, 2020), dedicated to a personality who has made a particularly original contribution to innovation in contemporary cinema. The award ceremony for Abel Ferrara will take place on Saturday September 5th 2020 in the Sala Grande (Palazzo del Cinema) at 2 pm, before the screening Out of Competition of his new film, the documentary Sportin’ Life (Italy, 65') with Abel Ferrara, Willem Dafoe, Cristina Chiriac, Anna Ferrara, Paul Hipp, Joe Delia. With regards to this acknowledgment, the Director of the Venice Film Festival Alberto Barbera has stated: “One of the many merits of Abel Ferrara, who is widely held in esteem despite his reputation as one of the most controversial filmmakers in contemporary cinema, is his undeniable consistency and allegiance to his personal approach, inspired by the principles of independent cinema even when the director had the opportunity to work on more traditional productions. From his first low-budget films, influenced directly by the New York scene populated by immigrants, artists, musicians, students and drug addicts, through his universally recognized masterpieces – The King of New York (1990), Bad Lieutenant (1992) and Body Snatchers (1994) – to his most recent works, increasingly introspective and autobiographical, Ferrara has brought to life a personal and exclusive universe.
    [Show full text]