John Williams To Appear At The Academy’s ‘Behind the Score: The Art of the Film Composer’ Program on July 21

86th Academy Awards, The Oscar Concert

Composers Gustavo Dudamel, Gustavo Santaolalla and John Williams will gather at the Academy for “Behind the Score: The Art of the Film Composer,” on Monday, July 21, at 7:30 p.m. at the Bing Theater in Los Angeles.

In a conversation hosted by Tavis Smiley, the illustrious trio will discuss significant musical moments in film that have inspired their work as they examine the art and process of creating a film score as well as the director-composer collaboration.

Dudamel, now entering his sixth season as music director of the Los Angeles Philharmonic, made his first foray into composing for motion pictures with “THE LIBERATOR (Libertador),” a biopic about Simón Bolívar that screened at the Los Angeles Film Festival earlier this month.  The score for this film, as well as a CD on Deutsche Grammophon, was recorded with the Simón Bolívar Symphony Orchestra of Venezuela, of which Dudamel is music director.  Dudamel also appears as a guest conductor with many of the world’s greatest musical institutions.

A renowned singer, guitarist, music producer and composer, Santaolalla earned consecutive Oscars® for Original Score for “Brokeback Mountain” and “Babel.”  His other feature credits include “Amores Perros,” “21 Grams,” “The Motorcycle Diaries,” “North Country,” “Biutiful” and “On the Road.”  Long before he won the first of his 16 Grammy® Awards, Santaolalla was a creative force in the Argentine rock nacionalmovement in the early 1970s.

Williams, whose career spans six decades, has written scores for more than 100 films, including “Lincoln,” “Memoirs of a Geisha,” the first three “Harry Potter” films,  the “Indiana Jones” films, and “The Book Thief,” and has won Academy Awards® for five films: “Fiddler on the Roof,” “Jaws,” “Star Wars,” “E.T. The Extra-Terrestrial” and “Schindler’s List.”  With 49 Oscar® nominations, he holds the nominations record for any living person.

Prior to the 86th Oscars earlier this year, the composer was part of the first-ever Oscar Concert hosted by actor Common and film critic Elvis Mitchell at UCLA’s Royce Hall in Los Angeles. Williams discussed his Oscar nominated score for THE BOOK THIEF, followed by conducting a suite from the movie with the Academy’s 80-piece orchestra.

86th Academy Awards, The Oscar Concert

Smiley is currently the host of the late-night television talk show Tavis Smiley on PBS and the weekly radio broadcast “The Tavis Smiley Show” from Public Radio International.  He also has authored or co-authored 16 books, including his forthcoming Death of a King: The Real Story of Dr. Martin Luther King Jr.’s Final Year to be published this September.

Behind the Score: The Art of the Film Composer is supported by The New York Times, a founding supporter of the Academy Museum of Motion Pictures, scheduled to open in Los Angeles in 2017.

Tickets for Behind the Score are $5 for general admission and $3 for Academy members, LACMA Film Club members and students with a valid ID.  Tickets may be purchased online at www.oscars.org.  The Bing Theater is located at 5905 Wilshire Boulevard in Los Angeles.  For more information, call (310) 247-3600 or visit www.oscars.org.

Photo – STAR WARS: EPISODE VII Cast Revealed

Star Wars: Episode VII

“The Force is what gives a Jedi his power. It’s an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together.”

What Star Wars fans have been waiting for finally came today. The cast, along with a picture, for director J.J. Abrams’ STAR WARS: EPISODE VII was announced. Tuesday’s breaking news came via StarWars.com and it’s official Facebook page.

The latest film in the popular franchise will be in theaters December 18, 2015. In the meantime, these aren’t the Droids you’re looking for… move along.

Check out the official photo and caption –

April 29th, Pinewood Studios, UK – Writer/Director/Producer J.J. Abrams (top center right) at the cast read-through of STAR WARS: EPISODE VII at Pinewood Studios with (clockwise from right) Harrison Ford, Daisy Ridley, Carrie Fisher, Peter Mayhew, Producer Bryan Burk, Lucasfilm President and Producer Kathleen Kennedy, Domhnall Gleeson, Anthony Daniels, Mark Hamill, Andy Serkis, Oscar Isaac, John Boyega, Adam Driver and Writer Lawrence Kasdan… Ph: David James.. © Lucasfilm Ltd. & TM. All Rights Reserved

Here’s the official announcement:

The Star Wars team is thrilled to announce the cast of Star Wars: Episode VII.

Actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, and Max von Sydow will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker in the new film.

Director J.J. Abrams says, “We are so excited to finally share the cast of Star Wars: Episode VII. It is both thrilling and surreal to watch the beloved original cast and these brilliant new performers come together to bring this world to life, once again. We start shooting in a couple of weeks, and everyone is doing their best to make the fans proud.”

STAR WARS: EPISODE VII is being directed by J.J. Abrams from a screenplay by Lawrence Kasdan and Abrams. Kathleen Kennedy, J.J. Abrams, and Bryan Burk are producing, and John Williams returns as the composer.

For all things Star Wars visit:

StarWars.com
www.facebook.com/starwars
twitter.com/starwars

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The Academy Presenting First-Ever “Oscar Concert” Celebrating Nominated Scores and Songs February 27

GRAVITY

For the first time as part of its annual Oscar Week events, the Academy will present a live “Oscar Concert” celebrating this year’s nominated scores and songs on Thursday, February 27, at 8 p.m. at UCLA’s Royce Hall.

The program features an 80-piece orchestra performing suites from each of the nominated original scores, conducted by their composers.

They include:

William Butler and Owen Pallett, “Her”

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Alexandre Desplat, “Philomena”

Thomas Newman, “Saving Mr. Banks”

Steven Price, “Gravity”

John Williams, “The Book Thief”

Prior to each piece, the respective composers will participate in a brief onstage conversation with film critic and radio host Elvis Mitchell about creating their scores.

The concert also will feature this year’s nominated original songs, including “Let It Go” from “Frozen,” performed by Kristen Anderson-Lopez and Robert Lopez, and “Happy” from “Despicable Me 2,” performed by Jill Scott.  Other special performers and guests will be announced on www.oscars.org.

Tickets are $100 and $75 and can be purchased online at www.ticketmaster.com.

The Oscars, hosted by Ellen DeGeneres, will air on Sunday, March 2, live on ABC from the Dolby Theatre at the Hollywood & Highland Center.

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Star Wars Celebration Europe – Lucasfilm President Kathleen Kennedy Announces John Williams’ Return to Star Wars

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Star Wars Celebration Europe – the official Star Wars fan convention – has come to a successful close, with more than 20,000 attendees from 40 different countries.

Throughout the weekend, fans and families met their favorite stars from the films, gained exclusive access to the Saga’s creatorsand learned first-hand exciting new developments in a galaxy far, far away.

In a Main Stage event hosted by Warwick Davis, Lucasfilm President Kathleen Kennedy announced that legendary composer John Williams will return to score the highly-anticipated Star Wars: Episode VII, to be directed by J.J. Abrams.

And one of the Executive Producers from Star Wars Rebels, Dave Filoni, was on hand to guide fans through the genesis of the upcoming animated series, revealing designs heavily influenced by original Star Wars concept artist Ralph McQuarrie.

Kathleen Kennedy

While unable to attend in person, Executive Producers Simon Kinberg and Greg Weisman shared their excitement for the series in a video message recorded exclusively for Celebration attendees.

Star Wars: Episode VII is slated for a 2015 release and Star Wars Rebels will begin airing on Disney XD starting in fall of 2014.

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“This has been a remarkable event,” said Kennedy. “Star Wars fans are amazing the world over – a community that speaks in all languages, but with one voice.  They are an integral part of why Star Wars continues to remain so relevant after all these years, from generation to generation. The passion of our fans is a constant consideration in all of our ongoing creative conversations.  It’s for the fans that we’re telling these new stories, and because of them that we’re able to do so.”

The Emmy® Award-winning series Star Wars: The Clone Wars was also featured at the event, spotlighting a first look at The Complete Season Five Blu-ray and DVD boxed sets, and the massive Seasons 1-5 Collector’s Edition, both scheduled for an October 15 release.

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At the closing ceremonies, Lucasfilm announced that its next fan fest – Star Wars Celebration VII – will be timed to the theatrical release of Episode VII, and will be held in Anaheim, California from April 16-18, 2015.

Star Wars Celebrations are official conventions organized by Lucasfilm Ltd. and ReedPOP group, multi-day events held in different locales around the world for Star Wars fans to celebrate.

Family Fun

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Dave Filoni with Warwick Davis

ARTOOS

Trooper

AT AT

Iain McCaig

SW Father and Son

Crowds at Exhibit

Droid Builders

Tattoo

Darth Vader

Top Ten Tuesday: Best of 2011

Another year has come and gone and with it passes another year of movies, good and bad, but today we focus on the best films to have hit theaters in 2011. Of course, the very phrase “best of…” is subject to widely varying opinions, which is why we choose to do things a little differently. While we do consider these the best films, that’s merely how they’re seen in our eyes. You may, heck… we even encourage you to disagree. For what it’s worth, here’s our Top Ten list of the Best Films of 2011.

How it works: We five Movie Geeks each have compiled our own lists of the top ten films of 2011. From these lists, we’ve tabulated votes based on a point system, resulting in our Movie Geeks Top Ten Films of 2011. Each of the individual geeks’ lists can be found at the end of our compiled list. *Our lists are based on the selection of films released theatrically in Saint Louis during the 2011 calendar year. (*This is why you will not see SHAME represented on our list.)

Continue reading Top Ten Tuesday: Best of 2011

WAR HORSE – The Review

Few living things on this planet are more majestic than a horse. Creatures of graceful beauty and tremendous strength, almost as closely bonded with mankind as the dog, yet as a civilized species we’ve put the horse through so much over our centuries old relationship with the gentle giants.

WAR HORSE, directed by Steven Spielberg, offers a glimpse into the life of just one of these fine creatures. The story is told from the perspective of one horse named Joey, raised from a freshly born colt by an Irish farm boy named Albert (played by Jeremy Irvine) who immediately forms a strong friendship, only to be devastated when World War I hits home and the horse is sold into the cavalry by Albert’s father Ted (played by Peter Mullan).

What follows is the emotional journey of Joey through the trials and tribulations of war. Joey trades hands multiple times, his possession transferred from the British cavalry to German soldiers and to a frail young country girl and her pacifist grandfather. The film’s journey has no central human character, but several roles filling a segmented timeline. This creates a sort of anthology effect, allowing the viewer to more easily experience how this one horse could bring people together as it does.

WAR HORSE has two specific strong points; the performance – if you will allow me the liberty to call it such – of the horse playing Joey, and the gorgeous cinematography from Janusz Kaminski, a regular collaborator of Spielberg’s. The soft, glowing warmth of the scenes away from war and the colder, gray tinged scenes during and surrounding the war, compliment each other, but also often coincide and crossover to meld the two realities into one inseparable truth of the time and place of the film.

No one performance truly stands out amongst the human actors, except maybe that of Neils Arestrup’s as the frail girl Emilie’s Grandfather, the most endearing and convincingly unique performance. Otherwise, the entire cast performed wonderfully in their respective roles, never reaching beyond the scope of their purpose. The cast of many youthful and a few veteran names include Emily Watson as Albert’s mother, Benedict Cumberbatch, Tom Hiddleston, David Thewlis and Eddie Marsan.

The original score for WAR HORSE is composed by the legendary John Williams – you know… the guy who helped immortalize Luke Skywalker, Indiana Jones and Superman in our collective aural memory. Surprisingly, the music in this film does not display that characteristically dominating presence of Williams’ most recognizable work, instead slipping into the background to near subliminal effect. I personally didn’t even realize I was listening to John Williams until reaching the end credits, when for the first time, his music became vividly apparent.

WAR HORSE is just as much about the tough times as it is about the horse’s journey. One thing I relished in observing during this film was the attention given to details and lesser known facts about World War I. There is one very powerful scene in the third act that takes place in no man’s land between the British and German trenches. The grounds are obliterated, bodies mangled and tossed about the tangled chaos of the barbed wire. This is not a violent scene, but rather an incredibly poignant and uplifting scene depicting an example of occurrences that actually took place during the war. While WWI and WWII may share very similar names and scopes of conflict, they were in fact two very different wars with two very different pairs of warring sides.

In the end, WAR HORSE delivers on the type of ending most audiences will expect and want, which is fine because it’s warranted in this film. Expect a journey that lasts just barely more than two hours, but doesn’t feel exceedingly long, a journey that will touch the animal lover within and remind us that wars are waged by governments, but fought be regular Joes, and Joeys.

Overall Rating: 4 out of 5 stars

THE ADVENTURES OF TINTIN – The Review

Motion capture animation and 3D appear to be the rising stars of cinema technology, both of which have the equal shares of supporters and opponents. One thing is for sure, both relatively new technologies are still within their infancy, but there are occasionally examples of the inspiring potential of this trend toward high-tech storytelling. The most current being THE ADVENTURES OF TINTIN, a collaborative effort of gargantuan proportion.

While many audiences may not be aware of the film’s origin, or too young to know better, THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN — which happens to be the film’s official, unofficial full title — is adapted from a comic book series from the ’30s of the same name by the Belgian artist Herge, which also became an animated television series which ran 1991-1992. Sadly, I must report I have no personal knowledge or experience with either, so you will not find me referencing the source material in this review, but, by all means… seek them out as I plan to do.

With all the history behind TINTIN, it’s no wonder the film has such an all-star team of imaginative storytellers working behind the scenes to bring the adventures to a whole new audience. Directed by Steven Spielberg, who also co-produced the film alongside Peter Jackson (LORD OF THE RINGS), THE ADVENTURES OF TINTIN was written by Steven Moffat, a very talented writer behind the popular BBC series SHERLOCK and DOCTOR WHO, with assistance from Edgar Wright (SHAUN OF THE DEAD) and Joe Cornish (ATTACK THE BLOCK). That’s a lot of creative star power, and we haven’t even introduced the cast yet.

THE ADVENTURES F TINTIN follows a clever, young report named Tintin – no, the dog is not names Tintin, that’s an entirely separate franchise – played by Jamie Bell (JUMPER). Tintin has an unquenchable curiosity, so when he happens upon a magnificent model ship, he manages to haggle a good deal. Immediately following, he finds himself the center of an immense mystery regarding that model ship, for which various unsavory and dark figures are seeking for them selves. This is where Tintin’s adventure begins, leading him to the drunken Captain Haddock, played by Andy Serkis (RISE OF THE PLANET OF THE APES), a man with a family history crucial to the mystery of the model ship. Tintin also encounters Ivanovich Sakharine, played by Daniel Craig (CASINO ROYALE), a deviously cunning and dangerous foe seeking the secret of the model ship.

One thing you will certainly not experience during the film is sleep. THE ADVENTURES OF TINTIN is non-stop action and endlessly fun. Tintin is sort of a combination of the Hardy Boys and Indiana Jones wrapped up into a small, scrappy package, always getting into a pickle but always managing to find a way out of trouble. He and his trusty Scottish terrier – I may be off slightly on the breed — are an effective investigative team, as they work with Captain Haddock and his rum-induced amnesia to recover the secret of the model ship before Sakharine figures it out himself.

THE ADVENTURES OF TINTIN takes the audience halfway around the globe to Morocco, where the greatest excitement of the story takes place. Tintin runs into a number of interesting characters along the way, including the bumbling Thompson twin detectives, played unrecognizably by Simon Pegg and Nick Frost (SHAUN OF THE DEAD, HOT FUZZ). Cary Elwes (THE PRINCESS BRIDE, SAW) also makes a welcome vocal cameo as the Pilot. The most awe-inspiring scene in the film occurs in Morocco, one last massive chase sequence that resembles a deadly life-sized Rube Goldberg contraption that spans an entire ancient city. This sequence is bound to have you leaning forward, even partially lifted from your seat, as Tintin repeatedly navigates through the perils of the Moroccan streets and Sakharine’s henchmen.

I’ve never had a personal grudge against motion capture, which seems a logical marriage between live acting and animation, as we move forward into new cinematic frontiers of technology. With that said, THE ADVENTURES OF TINTIN does a splendid job of capturing the energy and excitement of the story using motion capture, but I am also pleased to say that the film gets the 3D right as well, integrating the often intrusive and annoying technology into the entire film, still utilizing the gimmick value of the tool, but without getting in the way. The use of 3D enhances the story without causing hurdles for the film to stumble over, which is rare indeed.

John Williams has been a busy man in 2011, having scored WAR HORSE as well as THE ADVENTURES OF TINTIN, but the difference between the two scores is the music’s presence. In WAR HORSE, Williams’ music n unconventional backseat, but in TINTIN his work stands front and center, making itself known with all its glory and becomes, as is usually the case, a character in and of itself.

THE ADVENTURES OF TINTIN is likely to be the most fun you’ve had in an animated family flick all year, perfectly kid friendly with plenty of visual stimulus to keep the rug rats entertained, while still creative and intelligent enough to keep adults thrilled and engaged. Personally, this is the first animated film in some time I have left the theater with an immediate desire to watch a second time.

Overall Rating: 4 out of 5 stars

TCM And AFI To Launch Master Class Specials On Film Collaboration, Starting With Steven Spielberg & John Williams

Longtime Collaborators Steven Spielberg and John Williams to be Honored in First Special, Premiering Nov. 15

Turner Classic Movies (TCM) and the American Film Institute (AFI) are teaming up for an extraordinary series of quarterly specials exploring some of the greatest artistic collaborations in film today. TCM Presents: AFI’s Master Class – The Art of Collaboration will launch Tuesday, Nov. 15, with an in-depth, one-hour special focusing on the 40-year collaboration between filmmaker Steven Spielberg and composer John Williams. Upcoming specials in the series will be announced later.

“It is understood that film is a collaborative art, but the enormously successful artists featured in these specials have taken collaboration to its highest level,” said Michael Wright, executive vice president, head of programming for TCM, TNT and TBS. “We are enormously proud to be working with the American Film Institute on this vital project, which will capture the vision and processes of artists whose collaborations have literally changed how movies are made.”

“One of the founding principles of the AFI Conservatory is that our Fellows learn from the masters,” said Bob Gazzale, president and CEO of the American Film Institute. “Thanks to Turner Classic Movies, we are proud to share their words and wisdom with the world and most honored to inaugurate the series with Steven Spielberg and John Williams, two of the greatest collaborators in the history of the art form.”

TCM Presents: AFI’s Master Class – The Art of Collaboration opens Tuesday, Nov. 15, at 8 p.m. (ET) with a look at the four-decade friendship and working relationship between filmmaker Steven Spielberg and composer John Williams, one of the most prolific and influential artistic collaborations in film history. Master classes are a core part of the curriculum at the AFI Conservatory, which offers a Master of Fine Arts degree in six filmmaking disciplines and was recently named the #1 film school in the world by The Hollywood Reporter. With an audience comprised solely of AFI Fellows, the two artists discuss films that inspired them and present clips from these classic films. They also present and discuss their own collaborative work to illustrate different aspects of filmmaking. Each program concludes with a Q&A session with AFI Fellows.

The Spielberg-Williams collaboration began in 1974, when Spielberg asked the composer to score The Sugarland Express (1974), the director’s first theatrical film. Familiar with Williams’ work on Mark Rydell’s adaptation of William Faulkner’s The Reivers (1969), Spielberg felt the composer could capture the right sound for his light-hearted convicts-on-the-run drama starring Goldie Hawn. Williams’ score is both haunting and playful, with legendary jazz musician Toots Thielemans, providing the harmonica solos.

Spielberg and Williams’ collaboration took off the following year with the mega-blockbuster Jaws (1975), which earned Williams the first of three Oscars he would take home for scoring Spielberg’s films. After that, there was no looking back as the pair collaborated on such popular hits as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), E.T. The Extra-Terrestrial (1982), Hook (1991), Jurassic Park (1993), Catch Me if You Can (2002), Minority Report (2002) and War of the Worlds (2005), as well as such powerful dramas as Empire of the Sun (1987), Schindler’s List (1993), Saving Private Ryan (1998) and Munich (2005).

Along the way, Spielberg has taken home three Oscars for Schindler’s List and Saving Private Ryan, while Williams added statuettes for E.T. The Extra-Terrestrial and Schindler’s List. The pair also worked together on two documentary shorts and two episodes of the television series Amazing Stories, for which Williams also wrote the theme. Today, the Spielberg-Williams collaboration continues full force, with The Adventures of Tintin and their 25th feature film collaboration, War Horse, both set for release this Christmas. Spielberg’s Lincoln, which will mark their 26th feature film together, is slated for release in 2012.

TCM will follow the premiere of TCM Presents AFI Master Class – The Art of Collaboration: Steven Spielberg and John Williams with a presentation of Saving Private Ryan, a film in which both artists went against traditional war-movie forms: Spielberg with his chaotic, non-glorifying vision of war and Williams with a score that relies on hymn-like reverence and seething, underlying tension. The evening will also include a presentation of Stanley Kubrick’s Spartacus (1960), with a score by Alex North. Williams and Spielberg both cite Kubrick and North’s work on Spartacus as influencing their collaborative point of view.

About the American Film Institute
AFI is America’s promise to preserve the history of the motion picture, to honor the artists and their work and to educate the next generation of storytellers. AFI provides leadership in film, television and digital media and is dedicated to initiatives that engage the past, the present and the future of the moving image arts.

AFI preserves the legacy of America’s film heritage through the AFI Catalog of Feature Films, an authoritative record of American films from 1893 to the present, and the AFI Archive, which contains rare footage from across the history of the moving image.

AFI honors the artists and their work through a variety of annual programs and special events, including the AFI Life Achievement Award and AFI Awards. For 39 years, the AFI Life Achievement Award has remained the highest honor for a career in film while AFI Awards, the Institute’s almanac for the 21st century, honors the most outstanding motion pictures and television programs of the year. AFI’s 100 Years…100 Movies television events and movie reference lists, as well as AFI Night at the Movies, have introduced and reintroduced classic American movies to millions of film lovers. And as the largest nonprofit exhibitor in the United States, AFI offers film enthusiasts a variety of events throughout the year, including AFI Fest presented by Audi, the longest running international film festival in Los Angeles; AFI-Discovery Channel Silverdocs, the largest documentary festival in the U.S.; and year-round programming at the AFI Silver Theatre in the Washington, D.C. area.

AFI educates the next generation of storytellers at its world-renowned AFI Conservatory, offering a two-year Master of Fine Arts degree in six filmmaking disciplines: Cinematography, Directing, Editing, Producing, Production Design and Screenwriting. AFI also explores new digital technologies through special workshops. Additional information is available at http://www.afi.com.

About Turner Classic Movies (TCM)
Turner Classic Movies is a Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world. Currently seen in more than 85 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. TCM also stages special events and screenings, such as the TCM Classic Film Festival in Hollywood; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its Web site, www.tcm.com. TCM is part of Turner Broadcasting System, Inc., a Time Warner company.

Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news; entertainment; animation and young adult; and sports media environments on television and other platforms for consumers around the world.