There’s an old, old joke about the prestigious New York City concert venue Carnegie Hall, which opened in 1891.
“How do you get to Carnegie Hall?”
“Practice, practice, practice.”
Over the past 130 years, such renowned composers as Antonin Dvorak, Richard Strauss, Samuel Barber, Aaron Copland, Philip Glass and Milton Babbitt debuted their works at the Carnegie.
The new Netflix documentary “American Symphony,” which has been Oscar shortlisted for best documentary, best original score and song, follows Academy and multiple Grammy Award-winning composer/musicians/singer Jon Batiste as he prepares to debut his first symphony at Carnegie Hall while his wife Suleika Jaouad battles a recurrence of leukemia. The heart-on-your-sleeve documentary ends with the triumphant premiere Sept. 22, 2022, that even a power outage on stage couldn’t top. Variety noted in its review: “It wasn’t just the story of America, and its collage-like charms and vices. This was also Batiste’s story,...
“How do you get to Carnegie Hall?”
“Practice, practice, practice.”
Over the past 130 years, such renowned composers as Antonin Dvorak, Richard Strauss, Samuel Barber, Aaron Copland, Philip Glass and Milton Babbitt debuted their works at the Carnegie.
The new Netflix documentary “American Symphony,” which has been Oscar shortlisted for best documentary, best original score and song, follows Academy and multiple Grammy Award-winning composer/musicians/singer Jon Batiste as he prepares to debut his first symphony at Carnegie Hall while his wife Suleika Jaouad battles a recurrence of leukemia. The heart-on-your-sleeve documentary ends with the triumphant premiere Sept. 22, 2022, that even a power outage on stage couldn’t top. Variety noted in its review: “It wasn’t just the story of America, and its collage-like charms and vices. This was also Batiste’s story,...
- 1/2/2024
- by Susan King
- Gold Derby
New York springs back to life! With the vaccine available nationwide this year, things are finally starting to return to normal. In celebration of this return, New York City Ballet made a B&w short film promoting the return of their 2021 Spring Gala. Directed by none other than filmmaker Sofia Coppola, and featuring cinematography by her latest Dp collaborator Philippe Le Sourd, the lovely 25-minute short film takes us through a number of ballet performances filmed inside of the Lincoln Center. "Since March of 2020, the artists of New York City Ballet have been unable to perform at Lincoln Center. This is their return home." The short features a selection of music from Frédéric Chopin, Igor Stravinsky, Johannes Brahms, Samuel Barber, and (of course) Wolfgang Amadeus Mozart. It is only available to view online until May 20th, 2021 - and I highly recommend giving this a look, at least to admire the dancers...
- 5/7/2021
- by Alex Billington
- firstshowing.net
The Buffy and Gold Blend actor, who stars in the new film School’s Out Forever, on his love for Judi Dench, Lord of the Flies – and playing Dr Frank-n-Furter
My parents were desperate for me to like classical music, but I just couldn’t buy into the length of the pieces. Then they played me Adagio for Strings by Samuel Barber and it was so beautiful, I cried. My school music teacher, Mr Vassal, asked for our favourite composers; I said Samuel Barber and he laughed at me. But eventually everyone caught up.
My parents were desperate for me to like classical music, but I just couldn’t buy into the length of the pieces. Then they played me Adagio for Strings by Samuel Barber and it was so beautiful, I cried. My school music teacher, Mr Vassal, asked for our favourite composers; I said Samuel Barber and he laughed at me. But eventually everyone caught up.
- 1/21/2021
- by As told to Rich Pelley
- The Guardian - Film News
Franco Zeffirelli, the stylish and sometimes controversial theater, opera and film director, has died. He was 96.
Zeffirelli, who was Oscar-nominated for his 1968 version of “Romeo and Juliet,” died at his home in Rome at noon on Saturday, his son Luciano told the Associated Press. “He had suffered for a while, but he left in a peaceful way,” Luciano said.
While Zeffirelli was fond of making films with literary antecedents such as “Romeo and Juliet,” “Hamlet,” “Taming of the Shrew” and “Jane Eyre,” his legacy as director of extravagant opera and theater productions is probably more consistent and long-lasting.
He directed, co-wrote and co-produced the 1966 production of “Taming of the Shrew,” starring Elizabeth Taylor and Richard Burton, one of the twice-married celebrated pair’s most successful co-starring assignments. Spirited and amusing, it paved the way for a youthful and sexy “Romeo and Juliet,” which was a major box office success in the U.
Zeffirelli, who was Oscar-nominated for his 1968 version of “Romeo and Juliet,” died at his home in Rome at noon on Saturday, his son Luciano told the Associated Press. “He had suffered for a while, but he left in a peaceful way,” Luciano said.
While Zeffirelli was fond of making films with literary antecedents such as “Romeo and Juliet,” “Hamlet,” “Taming of the Shrew” and “Jane Eyre,” his legacy as director of extravagant opera and theater productions is probably more consistent and long-lasting.
He directed, co-wrote and co-produced the 1966 production of “Taming of the Shrew,” starring Elizabeth Taylor and Richard Burton, one of the twice-married celebrated pair’s most successful co-starring assignments. Spirited and amusing, it paved the way for a youthful and sexy “Romeo and Juliet,” which was a major box office success in the U.
- 6/15/2019
- by Richard Natale
- Variety Film + TV
If your anxiety is high today, use this brief, mournful video as a chance to reflect on the nature of failure and loss, and to possibly increase your anxiety. It captures an encyclopedia of moments of excruciating near misses and failures. A mechanical claw fails to snag a colorful teddy bear. A can of soda refuses to fall to the bottom of a vending machine. A basketball bounces all around the rim but just won’t go in the net. A fuse burns out before it reaches the rocket.
Unsatisfying from Parallel Studio on Vimeo.
Set to Samuel Barber’s Adagio For Strings, the same music used in Platoon and numerous other films, video games, and TV shows as a signifier of ineffable sadness and loss, this 77-second video immortalizes all of life’s many cruel anticlimaxes. The video is the product of an in-house summer project at Parallel Studio...
Unsatisfying from Parallel Studio on Vimeo.
Set to Samuel Barber’s Adagio For Strings, the same music used in Platoon and numerous other films, video games, and TV shows as a signifier of ineffable sadness and loss, this 77-second video immortalizes all of life’s many cruel anticlimaxes. The video is the product of an in-house summer project at Parallel Studio...
- 11/7/2016
- by Joe Blevins
- avclub.com
Trying to pick the most visually striking film moments of all time is like trying to list the greatest films themselves; there are too many to pick from, you’ll change your mind within seconds of finishing and no one will ever agree with you.
Yet just because choosing the best is a fool’s errand, that doesn’t mean you can’t come up with a selection of awe-inspiring shots whose ability to make passer-bys stop and stare is beyond doubt. That’s exactly what we’ve got here, a handful of movie moments that project so much gravitas through a single frozen-in-time image that they could earn their place on a canvas anywhere.
Last stand of Sergeant Elias in Platoon
The most striking and poignant scene from a film which set out to shock its audience, the death of Sergeant Elias is harrowing to view even without the...
Yet just because choosing the best is a fool’s errand, that doesn’t mean you can’t come up with a selection of awe-inspiring shots whose ability to make passer-bys stop and stare is beyond doubt. That’s exactly what we’ve got here, a handful of movie moments that project so much gravitas through a single frozen-in-time image that they could earn their place on a canvas anywhere.
Last stand of Sergeant Elias in Platoon
The most striking and poignant scene from a film which set out to shock its audience, the death of Sergeant Elias is harrowing to view even without the...
- 11/19/2015
- by Ricky Fernandes
- SoundOnSight
Here are a bunch of little bites to satisfy your hunger for movie culture: Muppet Love of the Day: See how Atlanta's Center for Puppetry Arts are preserving and conserving artifacts from their Jim Henson collection, including puppets from Labyrinth and The Dark Crystal (via Cat Hicks): Book Trailer of the Day: Tom Roston's new book I Lost It At the Video Store is a must for movie fans, and it has a trailer to prove this: Fan Art of the Day: With all the Prometheus sequel updates in the news, here's a great fan drawing titled "Alien Isolation" (via Amazing Fan Art): Soundtrack Supercut of the Day: Filmscalpel has mashed together a handful of movie scenes set to Samuel Barber's "Adagio...
Read More...
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- 9/25/2015
- by Christopher Campbell
- Movies.com
Either I’ve been staying on top of my homework or 2015 has been an exceptionally strong year for film scores already. From blockbuster disappointments to indie oddities and mindless action sequels, film music has once again shown it can transcend its respective dreck just as much as it can enhance the cinematic experience. With film festival season on the horizon, let’s check in with the best movie music of the year:
8. Chappie — Hans Zimmer, Steve Mazzaro, Andrew Kawczynski
Neil Blomkamp’s movies seem to be getting worse, but Hans Zimmer’s sensibilities are getting more exotic and daring. Course-correcting from the massive publicity stunt that was The Amazing Spider-man 2, the master of bombast continues to experiment with digital textures, recruiting pupils Kawczyksnki and Mazzaro for a score that humanizes and contextualizes the childish perspective of its Robocop with a heart of gold.
“It’s a Dangerous City” introduces...
8. Chappie — Hans Zimmer, Steve Mazzaro, Andrew Kawczynski
Neil Blomkamp’s movies seem to be getting worse, but Hans Zimmer’s sensibilities are getting more exotic and daring. Course-correcting from the massive publicity stunt that was The Amazing Spider-man 2, the master of bombast continues to experiment with digital textures, recruiting pupils Kawczyksnki and Mazzaro for a score that humanizes and contextualizes the childish perspective of its Robocop with a heart of gold.
“It’s a Dangerous City” introduces...
- 7/22/2015
- by David Klein
- SoundOnSight
Jurassic World is fine. Massive blockbuster earnings aside, it’s neither contrived enough to feel like another lesser sequel nor original enough to stray too far from Spielberg’s 1993 original. That uneasy cradle — between ingenuity and brand loyalty — is where tentpole franchises and their music have come to rest. With Furious 7, Atlantic Records threw dub step and electro-house music onto another collection of so-so promotional hip-hop. Henry Jackman and Matthew Margeson only squeak out brief homages to John Barry rather than admit how indebted to Roger Moore Bond Kingsman: The Secret Service really is. Even Danny Elfman and Brian Tyler never stray far from Alan Silvestri’s original “Transformers meets Mission Impossible” theme in Avengers: Age of Ultron.
Blockbuster movie composition is, like the studio system in 2015, sturdy, safe and kinda boring. Michael Giacchino’s score for Jurassic World is the latest to fit the mold. Like the movie itself,...
Blockbuster movie composition is, like the studio system in 2015, sturdy, safe and kinda boring. Michael Giacchino’s score for Jurassic World is the latest to fit the mold. Like the movie itself,...
- 6/17/2015
- by David Klein
- SoundOnSight
The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their fourth piece, they will discuss David Lynch’s film The Straight Story (1999).
Drew’s Take
I am in the midst of my 1999 class and I assigned two films I had yet to see from the acclaimed year – the year that Entertainment Weekly claimed to “change movies” – Kimberly Pierce’s Boys Don’t Cry and David Lynch’s The Straight Story. I like doing this as a Professor, because it varies the class and keeps me from getting too settled into a comfort zone. It challenges me to be more spontaneous and in the moment, a zone I typically find stimulating and energizing. Needless to say, the sixteen year old legacy of Lynch’s The Straight Story created a certain predisposition. Having seen all of Lynch’s other films,...
Drew’s Take
I am in the midst of my 1999 class and I assigned two films I had yet to see from the acclaimed year – the year that Entertainment Weekly claimed to “change movies” – Kimberly Pierce’s Boys Don’t Cry and David Lynch’s The Straight Story. I like doing this as a Professor, because it varies the class and keeps me from getting too settled into a comfort zone. It challenges me to be more spontaneous and in the moment, a zone I typically find stimulating and energizing. Needless to say, the sixteen year old legacy of Lynch’s The Straight Story created a certain predisposition. Having seen all of Lynch’s other films,...
- 4/11/2015
- by Landon Palmer
- SoundOnSight
Swr Vocal Ensemble of Stuttgart/Marcus Creed:
America (Hänssler Classics)
Perhaps it takes foreigners to put together a program of Aaron Copland's Four Motets, Steve Reich's Proverb, John Cage's "Five," Morton Feldman's The Rothko Chapel, Leonard Bernstein's Missa Brevis, and Samuel Barber's "A Stopwatch and an Ordnance Map." Whatever this 77-minute disc lacks in stylistic coherence, though, it makes up for as a cross-section of 20th century American choral music.
The a cappella Copland pieces date from his study in Paris with Nadia Boulanger, before he'd created his trademark style; their lush harmonies are surprising from him, but quite beautiful and oddly anticipatory of recent choral trends (think Eric Whitacre, Morten Lauridsen). The Reich, however, is prototypically Reichian in its gently propulsive Minimalism (influenced by Medieval organum), complete with accompaniment on vibraphones and synthesizers.
Cage's a cappella "Five," one of his late-period "number pieces,...
America (Hänssler Classics)
Perhaps it takes foreigners to put together a program of Aaron Copland's Four Motets, Steve Reich's Proverb, John Cage's "Five," Morton Feldman's The Rothko Chapel, Leonard Bernstein's Missa Brevis, and Samuel Barber's "A Stopwatch and an Ordnance Map." Whatever this 77-minute disc lacks in stylistic coherence, though, it makes up for as a cross-section of 20th century American choral music.
The a cappella Copland pieces date from his study in Paris with Nadia Boulanger, before he'd created his trademark style; their lush harmonies are surprising from him, but quite beautiful and oddly anticipatory of recent choral trends (think Eric Whitacre, Morten Lauridsen). The Reich, however, is prototypically Reichian in its gently propulsive Minimalism (influenced by Medieval organum), complete with accompaniment on vibraphones and synthesizers.
Cage's a cappella "Five," one of his late-period "number pieces,...
- 3/29/2014
- by SteveHoltje
- www.culturecatch.com
Matthew McConaughey's transition - his "McConaughaissance," if you will - from rom-com stalwart to serious dramatic actor has been one of the more delightfully implausible career arcs we've seen. And if the eyes are the windows to the soul, then movie posters must be the windows, to what could be called a career's "elan vital." With this in mind, as McConaughey's latest project True Detective ramps up for its Sunday night premiere on HBO, here's a look at this surprising arc, illustrated through the posters to his films. Affable, grinning, and not yet in the practice of displaying his full body in posters,...
- 1/12/2014
- by Alex Heigl
- PEOPLE.com
It happens quickly -- discomfort in a public place -- and it is a very effective element to control, as you will experience with the work of Carrie Mae Weems. Early on in the exhibition at the Frist Center for the Visual Arts, Carrie Mae Weems: Three Decades of Photography and Video, Weems confronts her audience with her Aint Jokin’ series from 1987-88. Here she combines images and text that project racial stereotyping with works such as "Black Woman with Chicken" [left] and "Black Man Holding Watermelon." In another piece nearby we see a vintagepolitical drawing of Abraham Lincoln looking a bit disheveled, seated in a room filled with props and papers positioned above the question: What Did Lincoln Say After A Drinking Bout?. The answer-box nearby reveals: I Freed The What?. The exposure to this, and other bits of appropriated hurtful humor will surely prompt an uncomfortable feeling in most...
- 10/3/2012
- by ddlombardi
- www.culturecatch.com
[Photo by Linus Bohman]
Among the many primary functions of film music, tension is near the top of the list. Wether it’s to generate feelings of suspense, anticipation, or even a false sense of danger, creating tension is a major part of our work as film composers.
In this article I’ll discuss one of the tools you can add to your bag of tricks for creating tension, the technique of stretching out a scale.
Expectation
Tension is aroused when there is a conflict between what we expect to happen and what actually happens. In music one of the easiest ways to do this is to set up an expectation, but then delay it’s resolution.
I’m reminded of the scene from Who Framed Roger Rabbit in which the villain is trying to get Roger Rabbit to come out of his hiding place. He knocks out the rhythm to the first part...
Among the many primary functions of film music, tension is near the top of the list. Wether it’s to generate feelings of suspense, anticipation, or even a false sense of danger, creating tension is a major part of our work as film composers.
In this article I’ll discuss one of the tools you can add to your bag of tricks for creating tension, the technique of stretching out a scale.
Expectation
Tension is aroused when there is a conflict between what we expect to happen and what actually happens. In music one of the easiest ways to do this is to set up an expectation, but then delay it’s resolution.
I’m reminded of the scene from Who Framed Roger Rabbit in which the villain is trying to get Roger Rabbit to come out of his hiding place. He knocks out the rhythm to the first part...
- 7/23/2012
- by Ryan Leach
- SCOREcastOnline.com
When I was growing up, New York 's best (now long-defunct) classical radio station, Wncn, played only American composers' music each Fourth of July. With the classical world dominated by Europeans, this was a welcome and educational corrective. In the history of American music, independence wasn't achieved until the 20th century; 19th century composers such as John Knowles Paine and George Whitefield Chadwick studied in Europe and blatantly imitated European models. Listening to their music "blind," few would guess they were Americans. There was Revolutionary War-era vocal writer William Billings, but his originality was more a lack of proper technique. Continuing Wncn's tradition, here's a look at true American classical. music.
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
- 7/4/2012
- by SteveHoltje
- www.culturecatch.com
"Beware of passion Hester, it always leads to something ugly."
What is love, and what is its worth? That's the burning question at the core of "The Deep Blue Sea" the latest from British master Terence Davies, a drama that burns with a blue flame intensity that is deeply beautiful and shattering all at once.
Our story picks up, as a title card tell us, somewhere "around 1950" in London. World War II is still a recent memory and while the country is still nursing its wounds, for Hester Collyer (Rachel Weisz), it seems she's survived a difficult battle of her own. Her marriage to William Collyer (Simon Russell Beale) has crumbled to the point where it's a relationship in name only. He's at least two decades her senior, and Hester longs for something more vital, passionate and yes, more physical as well, and she finds it in the boozy, charming...
What is love, and what is its worth? That's the burning question at the core of "The Deep Blue Sea" the latest from British master Terence Davies, a drama that burns with a blue flame intensity that is deeply beautiful and shattering all at once.
Our story picks up, as a title card tell us, somewhere "around 1950" in London. World War II is still a recent memory and while the country is still nursing its wounds, for Hester Collyer (Rachel Weisz), it seems she's survived a difficult battle of her own. Her marriage to William Collyer (Simon Russell Beale) has crumbled to the point where it's a relationship in name only. He's at least two decades her senior, and Hester longs for something more vital, passionate and yes, more physical as well, and she finds it in the boozy, charming...
- 3/22/2012
- by Kevin Jagernauth
- The Playlist
"With The Deep Blue Sea," writes Nick Pinkerton in the Voice, "the great British director Terence Davies returns to the postwar period — though in a sense, he has never left. Born in 1945, Davies's cinema is defined by a mixed pity and fondness for the world of yesterday, a past he seemingly finds impossible to put behind him or to do without. The era's hypocritical propriety and quivering repression has most frequently been held up for 'enlightened,' Pleasantville-style condescension, but Davies is a great historical filmmaker because he feels the period too intimately to mock its rituals and mores, knows that no progress occurs without loss."
A retrospective of Davies's work is running at New York's BAMcinématek through March 27, while Sing, Memory: The Postwar England of Terence Davies opens today at the Harvard Film Archive and runs through March 26. On March 28, The Long Day Closes (1992) opens for a week-long run at New York's Film Forum.
A retrospective of Davies's work is running at New York's BAMcinématek through March 27, while Sing, Memory: The Postwar England of Terence Davies opens today at the Harvard Film Archive and runs through March 26. On March 28, The Long Day Closes (1992) opens for a week-long run at New York's Film Forum.
- 3/19/2012
- MUBI
With his break-out year in Hollywood, Tom Hiddleston mixed things up with two Best Pictures nominees (Midnight in Paris and War Horse) as well as a big blockbuster (Thor). 2012 isn’t looking any different with his role in The Avengers, before a small, quiet indie. We’ve got the domestic trailer for the latter, Terence Davies‘ postwar romantic drama The Deep Blue Sea. Based on Terence Rattigan’s play, I found it a bit dry at Toronto last fall but I’ve warmed up to it since, looking back on Rachel Weisz‘s solid performance and admiring the restrained style. The trailer below gives a good feeling on what to expect and one can see it below via Apple.
Synopsis:
Master chronicler of post-War England, Terence Davies (The Long Day Closes, The House of Mirth) directs Rachel Weisz as a woman whose overpowering love threatens her well-being and alienates the men in her life.
Synopsis:
Master chronicler of post-War England, Terence Davies (The Long Day Closes, The House of Mirth) directs Rachel Weisz as a woman whose overpowering love threatens her well-being and alienates the men in her life.
- 2/28/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Il Divo have released four new teaser pictures taken for their upcoming album. The classical group will release their seventh album Wicked Game in the Us on November 8 and the UK on November 28. The album's title track 'Wicked Game' is a reworking of the 1990 hit by American rocker Chris Isaak. The new album has been produced by Per Magnusson and David Krueger with additional production from Richard Stannard. Other highlights on Wicked Game include an emotional rendering of Roy Orbison's 'Crying' and an operatic version of Samuel Barber's 'Adagio For Strings'. Il Divo singer Carlos Marin has described recording the new album as "unbelievable", (more)...
- 9/20/2011
- by By Lewis Corner
- Digital Spy
Why round up reviews of both in one entry? Because Fernando Meirelles's 360 will be opening the BFI London Film Festival on October 12 and Terence Davies's The Deep Blue Sea will be closing it on October 27. What's more, both star Rachel Weisz and, of course, both have just seen their world premieres in Toronto. We'll consider them, though, in order of interest.
"So entirely immersive is Terence Davies's desire to recreate and analyze the ethos of post-World War II Britain that not only has he fulfilled his ambition to refashion Terence Rattigan's The Deep Blue Sea," writes Todd McCarthy in the Hollywood Reporter, "but he has created a theoretical sequel to Noël Coward and David Lean's Brief Encounter in the bargain. As intensely personal and deeply felt as it is, however, Davies's attempt to breathe new life into Rattigan's 1952 play is a rather bloodless, suffocating thing,...
"So entirely immersive is Terence Davies's desire to recreate and analyze the ethos of post-World War II Britain that not only has he fulfilled his ambition to refashion Terence Rattigan's The Deep Blue Sea," writes Todd McCarthy in the Hollywood Reporter, "but he has created a theoretical sequel to Noël Coward and David Lean's Brief Encounter in the bargain. As intensely personal and deeply felt as it is, however, Davies's attempt to breathe new life into Rattigan's 1952 play is a rather bloodless, suffocating thing,...
- 9/14/2011
- MUBI
We all know his Adagio for Strings (from Platoon, if nowhere else), but little else Samuel Barber wrote. Leon McCawley urges a revival of a neglected 20th-century great
This year has seen a glut of important musical anniversaries. We've had Chopin aplenty, plus Schumann and Mahler to boot. Samuel Barber's centenary (1910-1981) has also fallen during this eventful season, but I guess we're out of candles and there's no more cake. Why has this wonderful composer somehow missed the cut?
At the tender age of nine, Barber left this touching note for his mother:
"Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I shall have to tell it now without any nonsense. To begin with I was not meant to be an athlete. I was meant to be a composer,...
This year has seen a glut of important musical anniversaries. We've had Chopin aplenty, plus Schumann and Mahler to boot. Samuel Barber's centenary (1910-1981) has also fallen during this eventful season, but I guess we're out of candles and there's no more cake. Why has this wonderful composer somehow missed the cut?
At the tender age of nine, Barber left this touching note for his mother:
"Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I shall have to tell it now without any nonsense. To begin with I was not meant to be an athlete. I was meant to be a composer,...
- 11/18/2010
- The Guardian - Film News
The men from Metallica continue to plow through the country on a seemingly never-ending tour for their most recent album Death Magnetic, and this morning they find themselves the subject of two very different but equally compelling news stories. The first comes from an interview with Slayer's Kerry King in U.K. rock magazine Metal Hammer. King told the magazine the he has heard from several sources that Metallica drummer Lars Ulrich was thinking about planning a tour that would feature Metallica, Slayer, Megadeth and Anthrax (referred to in metal circles as the "Big Four" of thrash). "I don't know Lars that well and I haven't heard it from Lars, but apparently he's talking to somebody about it," King said. Such a tour would not only be really loud but would also represent a homecoming for Megadeth frontman Dave Mustaine, who was Metallica's original guitarist.
In other Metallica news, they...
In other Metallica news, they...
- 9/3/2009
- by Kyle Anderson
- MTV Newsroom
The trailer for Paul Haggis' Oscar-winning "Crash" is yet another beautiful preview I absolutely had to include in the "Memorable Trailers" series. Samuel Barber's splendid "Adagio for Strings, op. 11" and Bird York's moving "In the Deep" give this footage its incredible power, adding a lot of soul to the short introduction of the film's main characters.
As it turned out, the film is just as magnificient as its great trailer, which I remember couldn't help but watch over and over again in anticipation for the release. Sit back and enjoy "Crash." It's a film not to miss.
As it turned out, the film is just as magnificient as its great trailer, which I remember couldn't help but watch over and over again in anticipation for the release. Sit back and enjoy "Crash." It's a film not to miss.
- 9/15/2008
- by Franck Tabouring
- screeninglog.com
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