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The Art of the Score Amadeus
FOR IMMEDIATE RELEASE ARTIST UPDATES February 27, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] THE ART OF THE SCORE Alec Baldwin, Artistic Advisor AMADEUS: LIVE Conducted by RICHARD KAUFMAN NEW YORK PREMIERE of Score Performed Live to Complete Film Featuring Special Guest Tom Hulce on April 11 April 11–14 and 17, 2018 The Art of the Score, exploring some of the most distinctive uses of music in film, will return for its fifth season with Amadeus: Live, the New York Premiere screening of Amadeus with the Mozart- centered score performed live to the complete film. Conducted by Richard Kaufman in his Philharmonic debut and featuring Musica Sacra, directed by Kent Tritle, Amadeus: Live will take place Wednesday, April 11, 2018, at 7:30 p.m.; Thursday, April 12 at 7:30 p.m.; Friday, April 13 at 11:00 a.m.; Saturday, April l4 at 7:30 p.m.; and Tuesday, April 17 at 7:30 p.m. On April 11 actor Alec Baldwin — Philharmonic Board Member and Artistic Advisor of The Art of the Score — and special guest Tom Hulce — who earned an Academy Award nomination for his portrayal of Mozart — will introduce the film, replacing F. Murray Abraham, who had to withdraw due to a scheduling conflict with his Off-Broadway play, Good for Otto. The Amadeus score includes selections from more than a dozen works by Mozart, including his Requiem; his operas The Magic Flute, The Marriage of Figaro, and Don Giovanni; and his Symphony No. 25, Serenade for 13 Winds, Gran partita, and Piano Concerto No. -
Why Acting Matters Yale
why acting matters Yale University Press New Haven and London David Thomson Why Acting Matters “Why X Matters” Published with assistance from the foundation and the yX logo are established in memory of Henry Weldon Barnes registered trademarks of the Class of 1882, Yale College. of Yale University. Yale University Press books may be purchased in Copyright © quantity for educational, business, or promotional 2015 by David use. For information, please e-mail [email protected] Thomson. (U.S. office) or [email protected] (U.K. office). All rights reserved. Set in Times Roman and Adobe Garamond types by This book may not Integrated Publishing Solutions. be reproduced, Printed in the United States of America. in whole or in part, including Library of Congress Cataloging-in-Publication Data illustrations, in any Thomson, David, 1941–. Why acting matters / David form (beyond that Thomson. copying permitted by pages cm—(Why X matters) Sections 107 and 108 Includes bibliographical references. of the U.S. Copy- ISBN 978-0-300-19578-1 (cloth : alk. right Law and except paper) 1. Acting. I. Title. by reviewers for the PN2061.T525 2015 public press), without 792.0298—dc23 written permission 2014029867 from the publishers. A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Also by David Thomson The New Biographical Dictionary of Film (sixth edition, 2014; first edition, as A Biographical Dictionary of Film, 1975) Moments That Made the Movies (2013) The Big Screen: The Story of the Movies (2012) Try to Tell the Story: A Memoir (2009) The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (2009) “Have You Seen . -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Silent Films of Alfred Hitchcock
The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad. -
A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S
Cinesthesia Volume 8 | Issue 1 Article 5 4-24-2018 Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S. Brennan Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Brennan, Kevin S. (2018) "Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window"," Cinesthesia: Vol. 8 : Iss. 1 , Article 5. Available at: https://scholarworks.gvsu.edu/cine/vol8/iss1/5 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Brennan: Can I Have a Look?: Hitchcock, Suspense, and "Rear Window" Oscar Peterson was a jazz pianist active from the mid 1940s right up to when he died in 2007. He is considered by many to be one of the greatest and most influential pianists of all time. In Clint Eastwood’s documentary Piano Blues (Eastwood, 2003), produced by Martin Scorsese, Ray Charles is quoted saying “Oscar could play like a motherfucker!” A quick look at any one of a plethora of videos on the internet of him playing will illustrate just what Ray Charles meant in his colorfully insightful commentary on Oscar Peterson’s piano playing abilities; the man’s fingers truly were legendary. An observation of these famous fingers at work clearly displays the level of control one can have over the piano. -
Gregg Nestor, William Kanengiser
Gregg Nestor, Guitar William Kanengiser, Guitar Jessica Pierce, Flute Francisco Castillo, Oboe Kevan Torfeh, Cello David McKelvy, Harmonica Anna Bartos, Soprano Executive Album Producers for BSX Records: Ford A. Thaxton and Mark Banning Album Produced by Gregg Nestor Guitar Arrangements by Gregg Nestor Tracks 1-5 and 12-16 Recorded at Penguin Recording, Eagle Rock, CA Engineer: John Strother Tracks 6-11 Recorded at Villa di Fontani, Lake View Terrace, CA Engineers: Jonathan Marcus, Benjamin Maas Digitally Edited and Mastered by Jonathan Marcus, Orpharian Recordings Album Art Direction: Mark Banning Mr. Nestor’s Guitars by Martin Fleeson, 1981 José Ramirez, 1984 & Sérgio Abreu, 1993 Mr. Kanengiser’s Guitar by Miguel Rodriguez, 1977 Special Thanks to the composer’s estates for access to the original scores for this project. BSX Records wishes to thank Gregg Nestor, Jon Burlingame, Mike Joffe and Frank K. DeWald for his invaluable contribution and oversight to the accuracy of the CD booklet. For Ilaine Pollack well-tempered instrument - cannot be tuned for all keys assuredness of its melody foreshadow the seriousness simultaneously, each key change was recorded by the with which this “concert composer” would approach duo sectionally, then combined. Virtuosic glissando and film. pizzicato effects complement Gold's main theme, a jaunty, kaleidoscopic waltz whose suggestion of a Like Korngold, Miklós Rózsa found inspiration in later merry-go-round is purely intentional. years by uniting both sides of his “Double Life” – the title of his autobiography – in a concert work inspired by his The fanfare-like opening of Alfred Newman’s ALL film music. Just as Korngold had incorporated themes ABOUT EVE (1950), adapted from the main title, pulls us from Warner Bros. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Hiff 2018 Announces Alan Alda, First
Embargoed Until 12:00PM ET / 9:00AM PT on Thursday, August 30, 2018 THE HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES ALAN ALDA AS “THE DICK CAVETT ARTISTIC CHAMPION AWARD” RECIPIENT FIRST MAN announced as Saturday Night Centerpiece Film ROMA to Screen as Spotlight Film Complete Lineup in World Cinema Narrative and World Cinema Documentary Categories Announced Alan Alda, Damien Chazelle and Josh Singer to attend Festival 26th Annual Festival to run October 4 - 8, 2018 East Hampton, NY (August 30, 2018) - The Hamptons International Film Festival (HIFF) announced today that Academy Award®-nominated and Golden Globe®-winning actor Alan Alda will receive The Dick Cavett Artistic Champion Award, celebrating his artistic achievements and contributions to the industry over the years. The festival established the award in 2017, honoring Dick Cavett himself. Seven-time Emmy® Award winner Alan Alda played Hawkeye Pierce and wrote many of the episodes on the classic TV series M*A*S*H, and appeared in continuing roles on ER, The West Wing, 30 Rock, The Blacklist, The Big C, Horace and Pete, and The Good Fight. He was nominated for an Academy Award® for his role in THE AVIATOR. Alda’s films include BRIDGE OF SPIES, TOWER HEIST, WANDERLUST, CRIMES AND MISDEMEANORS, MANHATTAN MURDER MYSTERY, AND THE BAND PLAYED ON, SAME TIME, NEXT YEAR and CALIFORNIA SUITE, as well as THE SEDUCTION OF JOE TYNAN, which he wrote, and THE FOUR SEASONS, SWEET LIBERTY, A NEW LIFE and BETSY’S WEDDING, all of which he wrote and directed. On Broadway, he received Tony nominations for Glengarry Glen Ross, Jake’s Women, and The Apple Tree. -
Alec Baldwin Phone Daughter Transcript
Alec Baldwin Phone Daughter Transcript Garold is historic and cognizes illegibly as piano Carsten parcel parasitically and outcross seemingly. Gershom overstepped shudderingly as runtier Beowulf retain her gymnast exteriorizing illusively. Superglacial Stew usually disarranged some triumph or communed qualmishly. And alec transcript helped me say TMZcom is reporting that Alec Baldwin unleashed a volcanic tirade of threats and insults toward his 12-year-old daughter Ireland Here sometimes the lush of good voice mail that certainly sounds like head voice of Alec Baldwin. Maybe it was gradual a script or something I love want. Do our descent for no, when was happening in my first of? Is suspect the problem? The schedule to telephone into drill press conference the summary of which is to dispel any new. Every single last one. In high morning in Chicago time and lend you don't pick release the brief at 10 o'clock at night. This phone stolen, contact audentio support his or roy in long ago that it was removed a transcript french from lena dunham talks. Like the rags-to-riches movie script as he navigates his area among agents. Adele Pokes Fun At Her Weightloss On SNL And Alec Baldwin And Jim Carrey. Your life depends on alec baldwin transcript daughter of writing is black blazer, teen stars daniel radcliffe with it through tough and things away. 10 message which reads Don't be surprised if Alec doesn't look back from his script for disabled first few days I suspect he's not because as prepared as. To keep their book is? Lauren weigle lauren weigle lauren. -
2010 16Th Annual SAG AWARDS
CATEGORIA CINEMA Melhor ator JEFF BRIDGES / Bad Blake - "CRAZY HEART" (Fox Searchlight Pictures) GEORGE CLOONEY / Ryan Bingham - "UP IN THE AIR" (Paramount Pictures) COLIN FIRTH / George Falconer - "A SINGLE MAN" (The Weinstein Company) MORGAN FREEMAN / Nelson Mandela - "INVICTUS" (Warner Bros. Pictures) JEREMY RENNER / Staff Sgt. William James - "THE HURT LOCKER" (Summit Entertainment) Melhor atriz SANDRA BULLOCK / Leigh Anne Tuohy - "THE BLIND SIDE" (Warner Bros. Pictures) HELEN MIRREN / Sofya - "THE LAST STATION" (Sony Pictures Classics) CAREY MULLIGAN / Jenny - "AN EDUCATION" (Sony Pictures Classics) GABOUREY SIDIBE / Precious - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) MERYL STREEP / Julia Child - "JULIE & JULIA" (Columbia Pictures) Melhor ator coadjuvante MATT DAMON / Francois Pienaar - "INVICTUS" (Warner Bros. Pictures) WOODY HARRELSON / Captain Tony Stone - "THE MESSENGER" (Oscilloscope Laboratories) CHRISTOPHER PLUMMER / Tolstoy - "THE LAST STATION" (Sony Pictures Classics) STANLEY TUCCI / George Harvey – “UM OLHAR NO PARAÍSO” ("THE LOVELY BONES") (Paramount Pictures) CHRISTOPH WALTZ / Col. Hans Landa – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) Melhor atriz coadjuvante PENÉLOPE CRUZ / Carla - "NINE" (The Weinstein Company) VERA FARMIGA / Alex Goran - "UP IN THE AIR" (Paramount Pictures) ANNA KENDRICK / Natalie Keener - "UP IN THE AIR" (Paramount Pictures) DIANE KRUGER / Bridget Von Hammersmark – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) MO’NIQUE / Mary - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) Melhor elenco AN EDUCATION (Sony Pictures Classics) DOMINIC COOPER / Danny ALFRED MOLINA / Jack CAREY MULLIGAN / Jenny ROSAMUND PIKE / Helen PETER SARSGAARD / David EMMA THOMPSON / Headmistress OLIVIA WILLIAMS / Miss Stubbs THE HURT LOCKER (Summit Entertainment) CHRISTIAN CAMARGO / Col. John Cambridge BRIAN GERAGHTY / Specialist Owen Eldridge EVANGELINE LILLY / Connie James ANTHONY MACKIE / Sgt. -
Actors' Stories Are a SAG Awards® Tradition
Actors' Stories are a SAG Awards® Tradition When the first Screen Actors Guild Awards® were presented on March 8, 1995, the ceremony opened with a speech by Angela Lansbury introducing the concept behind the SAG Awards and the Actor® statuette. During her remarks she shared a little of her own history as a performer: "I've been Elizabeth Taylor's sister, Spencer Tracy's mistress, Elvis' mother and a singing teapot." She ended by telling the audience of SAG Awards nominees and presenters, "Tonight is dedicated to the art and craft of acting by the people who should know about it: actors. And remember, you're one too!" Over the Years This glimpse into an actor’s life was so well received that it began a tradition of introducing each Screen Actors Guild Awards telecast with a distinguished actor relating a brief anecdote and sharing thoughts about what the art and craft mean on a personal level. For the first eight years of the SAG Awards, just one actor performed that customary opening. For the 9th Annual SAG Awards, however, producer Gloria Fujita O'Brien suggested a twist. She observed it would be more representative of the acting profession as a whole if several actors, drawn from all ages and backgrounds, told shorter versions of their individual journeys. To add more fun and to emphasize the universal truths of being an actor, the producers decided to keep the identities of those storytellers secret until they popped up on camera. An August Lineage Ever since then, the SAG Awards have begun with several of these short tales, typically signing off with his or her name and the evocative line, "I Am an Actor™." So far, audiences have been delighted by 107 of these unique yet quintessential Actors' Stories. -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.