Beverly Hills Soundtrack List
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BEVERLY HILLS COPS Screenplay by Eric Dickson
EDDIE MURPHY JUDGE REINHOLD JOHN ASHTON BEVERLY HILLS COPS screenplay by Eric Dickson based on characters created by Daniel Petrie, Jr. and Danilo Bach 1 FADE IN: EXT. SHIPPING DOCK/PIER 13 – DUSK SUPER: LONG BEACH, CALIFORNIA A HEAVY CARGO FREIGHTER is moments from docking - and it's the most beautiful scene ever as the sun's BRIGHT ORANGE RAYS beam through the center of the ship, across the smooth water. POV – BINOCULARS Someone is watching the ship closely as these private eyes cover one end of the vessel to the other. The BUSY CREW prepare their eminent dock. BACK TO SCENE EXT. HIGHWAY – DUSK The binoculars lower to reveal HARRY PHAN (50s), Chinese, three thousand dollar suit and million dollar smile. Harry stands by his custom Mercedes limousine. Out of the limo's backseat steps EDDIE STONE (50s), gray, bald, hard as a rock. He speed dials a number on his cell. EDDIE (into cell) Move it in. EXT. FRONT GATE/PIER 13 – DUSK A small security cubicle sits next to a sliding chain-link gate aligned with barb wire. A heavy set GUARD pokes his head out a window as a PRIMO'S PIZZA DELIVERY VAN approaches. GUARD Can I get your name, please? DRIVER I got an order for twelve large pepperonis. The guard checks his clipboard. The driver plays it cool. 2 GUARD I don't see you on the list. DRIVER Look, man. I don't know anything about who ordered what or none of that. I just deliver the pies. I was told to be here at exactly five forty five, on the dot. -
GIORGIO MORODER Album Announcement Press Release April
GIORGIO MORODER TO RELEASE BRAND NEW STUDIO ALBUM DÉJÀ VU JUNE 16TH ON RCA RECORDS ! TITLE TRACK “DÉJÀ VU FEAT. SIA” AVAILABLE TODAY, APRIL 17 CLICK HERE TO LISTEN TO “DÉJÀ VU FEATURING SIA” DÉJÀ VU ALBUM PRE-ORDER NOW LIVE (New York- April 17, 2015) Giorgio Moroder, the founder of disco and electronic music trailblazer, will be releasing his first solo album in over 30 years entitled DÉJÀ VU on June 16th on RCA Records. The title track “Déjà vu featuring Sia” is available everywhere today. Click here to listen now! Fans who pre-order the album will receive “Déjà vu feat. Sia” instantly, as well as previously released singles “74 is the New 24” and “Right Here, Right Now featuring Kylie Minogue” instantly. (Click hyperlinks to listen/ watch videos). Album preorder available now at iTunes and Amazon. Giorgio’s long-awaited album DÉJÀ VU features a superstar line up of collaborators including Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Kelis, Marlene, and Matthew Koma. Find below a complete album track listing. Comments Giorgio Moroder: "So excited to release my first album in 30 years; it took quite some time. Who would have known adding the ‘click’ to the 24 track would spawn a musical revolution and inspire generations. As I sit back readily approaching my 75th birthday, I wouldn’t change it for the world. I'm incredibly happy that I got to work with so many great and talented artists on this new record. This is dance music, it’s disco, it’s electronic, it’s here for you. -
How the Motion Picture Industry Miscalculates Box Office Receipts
How the motion picture industry miscalculates box office receipts S. Eric Anderson, Loma Linda University Stewart Albertson, Loma Linda University David Shavlik, Loma Linda University INTRODUCTION when movie grosses are adjusted for inflation, the Sound of Music was a more popular movie Box office grosses, once of interest only to than Titanic even though the box office gross movie industry executives, are now widely was over $400 million less. So why is it then publicized and immediately reported by movie that box office grosses are often the only industry tracking companies. The numbers reported, when the numbers have instantaneous tracking and reporting hurts little meaning? The motion picture industry, movies with weak openings, but helps movies aware that inflation helps movies grow bigger, with big openings become even bigger as has little interest in reporting highest grossing people flock to see what all the fuss is about. box office numbers with inflation-adjusted Due to inflation, the highest grossing movies dollars that will show the motion picture tend to be the more recent releases, which the industry is stagnant at best. They are able to motion picture industry is taking full get away with it since most don’t know how advantage of when promoting new movies. to handle those inflation-adjusting As a result, the motion picture industry has calculations. developed “highest grossing “ movie lists from almost every angle imaginable - opening Inflation-adjusted gross calculations are day, opening weekend, opening day non- inaccurate weekend, opening day during the fall, winter and spring, opening day Memorial weekend, Some tracking companies have begun second weekend of release, fewest screens, reporting box office grosses with the less etc. -
INTRODUCTION Fatal Attraction and Scarface
1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things. -
BEVERLY HILLS COP 2009 by Michael Brandt & Derek Haas
BEVERLY HILLS COP 2009 by Michael Brandt & Derek Haas 11/12/08 FADE IN: EXT. ALLEY - DAY BAM! THWUP! A bullet buries deep into the back of an old shitty sofa, sending a puff of industrial stuffing out the other side. That puff is right near the face of RICO, a bleeding Puerto Rican guy hiding behind the sofa. RICO (calls out) I got nothin’ to say to you fuckers! Pissed, Rico sticks his gun over the couch and returns fire... The CAMERA TRAVELS DOWN THE ALLEY passing three dead BODIES near Rico’s couch, blood still pooling on to the concrete. Down the alley, Rico’s bullets PING off a dumpster. Behind the dumpster, AXEL FOLEY crouches with his partner BILL NESBITT. AXEL (calls back) You’re holed up behind a sofa, Rico. How long you want to do this? The dingy alley is crowded with old pallets and dumpsters. No way a car could get through it. The alley runs near the DETROIT RIVER, which separates Detroit and Windsor, and the U.S. from Canada. It’s cold as shit, and ice floes make their way down the water. Even after all these years, Foley still looks great. The edge to him that’s always been just below the surface is now more pronounced. Nesbitt is a few years younger, but looks like he knows his way around a shit-hole neighborhood. They are loading bullets into the sleeves of their Glocks while they talk. 2. AXEL (CONT’D) (conversationally) Hey Nesbitt, your parents spank you? NESBITT Sure. -
Introduction
INTRODUCTION Movies and the 1980s STEPHEN PRINCE The 1980s significantly transformed the nation’s political culture, as it did the Hollywood industry and its products. Today, the United States is an extremely conservative nation, and the turn toward right-wing policies began in the eighties with the administration of Ronald Reagan. Today, Hollywood filmmaking is beset by out-of-control production costs with no ceiling in sight, and these soaring costs, and the industry’s turn toward the global film market for its blockbusters, have their origins in the 1980s. The decade’s most important developments, however, have given rise to a set of core myths in both domains, even as the realities of film and pol- itics proved to be more complex, more nuanced, and more contradictory than the myths acknowledged. The myths about American film in the period are these: blockbusters took over the industry, leading to a general lowering and coarsening of the quality of filmmaking; the films of George Lucas and Steven Spielberg epitomized this blockbuster style and proved detrimentally influential on a generation of American filmmaking; and Hollywood film mirrored the politics of the Reagan period, shifting to the political right and helping to popularize the Cold War politics of the era. ■■■■■■■■■■ Popular Perceptions Each of these propositions is partially true, but like all myths each also distorts by oversimplifying complex and often contrary realities. Each proposes a monolithic view of Hollywood and American culture in the period when, in fact, a more diverse and heterogeneous set of films and influences was at work. Let’s consider each of these propositions in turn as a way of building an introductory survey of the decade. -
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TGG-Ep.-278 Final-Draft.Pdf
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Sound Effect Sound Effect [Computer beeping, followed by background music and party horns as Ben and Adam speak over it all.] 00:00:01 Ben Promo A lot of people thought that Greatest Gen Khan was the apex of Harrison Greatest Gen tours, but we're here to announce the sequel. 00:00:10 Adam Promo At the end of Greatest Gen Khan, both my body and Ben's body Pranica were put into a torpedo [Ben laughs] and fired into another planet. [Ben laughs again.] We're here to announce the return! 00:00:21 Ben Promo Greatest Gen Khan II... Colon: Star Trek III. 00:00:26 Adam Promo We've got eight dates! In 2019. 00:00:29 Ben Promo We're gonna be in Philly and DC in October; Portland, Los Angeles, Boston, Toronto, Houston, and Austin in November. All of that information is at GreatestGenTour.com starting now, and tickets will be available soon. 00:00:46 Adam Promo Get them before they're gone! It's Greatest Gen Khan II: Star Trek III, in 2019. All the numbers. Every single number we could put into the name of this tour is happening. [Ben laughs.] 69! [Laughs.] Greatest Gen Khan II: Star Trek III: 69. [Ben laughs.] 00:01:08 Ben Promo We're gonna have to change all the posters now. -
Giorgio Moroder Legendary Godfather of Electronica Announces Australian and New Zealand Headline Shows
GIORGIO MORODER LEGENDARY GODFATHER OF ELECTRONICA ANNOUNCES AUSTRALIAN AND NEW ZEALAND HEADLINE SHOWS Frontier Touring is delighted to confirm that iconic production pioneer Giorgio Moroder has announced three headline shows this month in Melbourne, Sydney and Auckland alongside his appearances as special guest for Kylie’s upcoming Kiss Me Once Australian tour. An Academy Awardwinning composer, superstar DJ, worldrecognized songwriter and prolific producer, Giorgio Moroder is one of the most influential and innovative artists of the 20th and 21st centuries. Having engineered the disco landscape of the seventies, Moroder brought electronic music to the mainstream with frequent collaborator Donna Summer and their anthemic hits ‘Love To Love You Baby’, ‘Hot Stuff’ and ‘I Feel Love’. As well as his title as godfather of dance, Moroder has composed some of the most recognizable film scores in cinema history, including The Never Ending Story, American Gigolo, Cat People, Superman III, Scarface, Rambo III, and Beverly Hills Cop II as well as hit soundtrack singles ‘Take My Breath Away’ by Berlin (Top Gun), ‘Flashdance’ by Irene Cara and ‘Call Me’ by Blondie (American Gigolo). His work for film has seen him win no less than three Academy Awards that sit proudly alongside his four Golden Globes, four Grammys and in 2004 was an inductee into the Dance Music Hall of Fame for his outstanding contribution to the music industry. As well as his own esteemed work as a solo artist Moroder has worked with a veritable who’s who of icons including Elton John, Cher, Janet Jackson, Freddy Mercury, David Bowie, Chaka Khan, Cheap Trick, and Pat Benatar. -
TOP GUN (1986) and the Emergence of the Post-Cinematic by MICHAEL LOREN SIEGEL
5.4 Ride into the Danger Zone: TOP GUN (1986) and the Emergence of the Post-Cinematic BY MICHAEL LOREN SIEGEL Introduction The work of British-born filmmaker Tony Scott has undergone a major critical revision in the last few years. While Scott’s tragic suicide in 2012 certainly drew renewed vigor to this reassessment, it was well underway long before his death. Already by the mid-2000s, Scott’s brash, unapologetically superficial, and yet undeniably visionary films had been appropriated by auteurists and film theorists alike to support a wide range of arguments.[1] Regardless of what we may think of the idea of using auteurism and theory to “rescue” directors who were for decades considered little more than action hacks—an especially meaningful question in the digital age, given the extent to which auteur theory’s acceptance has increased in direct proportion to the growth of online, theoretically informed film criticism—it would be difficult to deny the visual, aural, narrative, thematic, and energetic consistency of Scott’s films, from his first effort, The Hunger (1983), all the way through to his last, Unstoppable (2011). The extreme scale and artistic ambition of his films, the intensity of their aesthetic and affective engagement with Ride into the Danger Zone the present (a present defined, as they constantly remind us, by machines, mass media, masculinity, and militarization), and, indeed, the consistency of their audiovisual design and affect (their bristling, painterly flatness, the exaggerated sense of perpetual transformation and becoming that is conveyed by their soundtracks and montage, the hyperbolic and damaged masculinity of their protagonists)—all of this would have eventually provoked the kind of critical reassessment we are seeing today, even without the new mythos produced around Scott upon his death. -
Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy. -
Beverly Hills, and Are You Ready for This? I Was a Security Guard
11B EVERLY H I L L S COP" Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAtT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT 11B EVERLY H I L L S CO P 11 Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction, No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT 11B EVERLY H I L L S CO P 11 Screenplay by Daniel Petrie, Jr. Story by Danilo Bach & Daniel Petrie, Jr. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department. Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNTPICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated 7/26/84 AS SHOT AS SHOT 5/14/84* "BEVERLYHILLS COP" l EXT.