Whether it’s the Devil sitting down at the piano in his penthouse or Lilith belting out a tune in a 1940’s club, music has always played an integral role in the Lucifer gestalt. With a full blown musical episode planned for the second half of season five, and the noir homage “It Never Ends Well for the Chicken” already in the books, it’s time to reflect on some of the fantastic musical choices showrunners Joe Henderson and Ildy Modrovich have made.
Series lead Tom Ellis (Lucifer) has sung on multiple occasions during the show’s five year run, and in an interview with DaMan, he could barely contain his excitement for the upcoming musical episode. “It was by far and away the most fun I have had doing anything on a set ever! Singing and dancing makes me very happy.”
While we wait for the season’s conclusion,...
Series lead Tom Ellis (Lucifer) has sung on multiple occasions during the show’s five year run, and in an interview with DaMan, he could barely contain his excitement for the upcoming musical episode. “It was by far and away the most fun I have had doing anything on a set ever! Singing and dancing makes me very happy.”
While we wait for the season’s conclusion,...
- 8/24/2020
- by Dave Vitagliano
- Den of Geek
When Paul Cantelon was tapped by first-time feature director Harry Mavromichalis to score “Olympia,” the documentary on Academy Award-winning actress, Olympia Dukakis, he was more than prepared to craft music that underscored her Greek heritage.
When Cantelon’s preacher father met his first-chair trumpeter mother, their family life becomes one of traveling evangelical tent meetings with Cantelon growing up on couches in different people’s homes. A number of these homes belonged to Greek families where he heard Greek music that became part of his musical lexicon. Over 30 years ago, when Cantelon met his wife, vocalist Angela McCluskey, she had a great love for Greece and took him to that country, where Cantelon was immersed in the music.
“[Mavromichalis] has a lyrical sense for picture,” says Cantelon from his Nichols Canyon home studio in Los Angeles. “He was a dancer and he has a musical, rhythmic sense to the way he shoots and edits.
When Cantelon’s preacher father met his first-chair trumpeter mother, their family life becomes one of traveling evangelical tent meetings with Cantelon growing up on couches in different people’s homes. A number of these homes belonged to Greek families where he heard Greek music that became part of his musical lexicon. Over 30 years ago, when Cantelon met his wife, vocalist Angela McCluskey, she had a great love for Greece and took him to that country, where Cantelon was immersed in the music.
“[Mavromichalis] has a lyrical sense for picture,” says Cantelon from his Nichols Canyon home studio in Los Angeles. “He was a dancer and he has a musical, rhythmic sense to the way he shoots and edits.
- 7/10/2020
- by Lily Moayeri
- Variety Film + TV
141 original scores just made the Oscar shortlist, meaning that we have no real idea which soundtracks will go on to be nominated for the actual Academy Award — “Phantom Thread” composer Jonny Greenwood looks poised to finally be recognized for his work, but might “Baywatch” be a spoiler? We simply don’t know, dear reader. We simply don’t know.
As you await the nominations — which will be announced on Tuesday, January 23 — treat yourself to this selection of tracks from the shortlist.
Read More:2018 Oscar Predictions: Best Original Score
Read More:Oscars 2018: Best Original Score Shortlist Includes ‘The Shape of Water,’ ‘All the Money in the World,’ and More
Here are the 141 scores vying for an Oscar nod:
“Alien: Covenant,” Jed Kurzel, composer
“All I See Is You,” Marc Streitenfeld, composer
“All the Money in the World,” Daniel Pemberton, composer
“Annabelle: Creation,” Benjamin Wallfisch, composer
“Band Aid,” Lucius, composer
“Battle of the Sexes,...
As you await the nominations — which will be announced on Tuesday, January 23 — treat yourself to this selection of tracks from the shortlist.
Read More:2018 Oscar Predictions: Best Original Score
Read More:Oscars 2018: Best Original Score Shortlist Includes ‘The Shape of Water,’ ‘All the Money in the World,’ and More
Here are the 141 scores vying for an Oscar nod:
“Alien: Covenant,” Jed Kurzel, composer
“All I See Is You,” Marc Streitenfeld, composer
“All the Money in the World,” Daniel Pemberton, composer
“Annabelle: Creation,” Benjamin Wallfisch, composer
“Band Aid,” Lucius, composer
“Battle of the Sexes,...
- 12/23/2017
- by Michael Nordine
- Indiewire
In a current movie landscape that’s all about comic book adaptations and watered-down PG-13 blockbusters, real action stars are hard to come by. Dwayne Johnson tends to focus on comedies and family-friendly fare, and Vin Diesel is too busy voicing a talking tree. There’s Jason Statham, who’s always dependable. Then there's martial arts star Scott Adkins, who has more than proven his chops by now. He has tons of screen presence, can kick major ass, and is at least halfway decent at emoting. Savage Dog, from director Jesse V. Johnson is further proof, as if we needed it, that he’s the real deal. Adkins plays Martin Tillman, a former Ira boxer with a shady past -- if we’re being honest, he’s really just Adkins with...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/3/2017
- Screen Anarchy
Hollywood, CA (January 25th, 2017) Martial Arts Action star sensation Scott Adkins is back in "Savage Dog" Indochina – 1959. A lawless town controlled by the criminal class: Vietnamese warlords and European war criminals. Den-Dhin-Chan Labor Camp is run by four such dangerous men. The worst prison in the land, it is here that a European, former-champion boxer Martin Tillman (Scott Adkins, Marvel's "Doctor Strange") has made a name for himself fighting tournaments, on which wealthy criminals gamble in high stakes events. When Tillman is due for release, he just wants to return home, but the corrupt forces running the jail will do everything in their power to keep him locked down. When all that Tillman holds dear is taken away in a vicious act...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/26/2017
- Screen Anarchy
A new compilation of music centered around Academy Award®-winning composer Hans Zimmer’s theme for this year’s Oscar® telecast is now available on the iTunes Store. Titled “The 84th Academy Awards . Celebrate the Music,” the collection includes the show’s musical theme plus six unique, inventive interpretations of the theme by other artists, and the “In Memoriam” choral rendition of “What a Wonderful World.”
In addition to both of the 84th Academy Awards music directors . Zimmer and musician/producer/composer Pharrell Williams (of The Neptunes) . the extraordinary group of international artists who contributed their talents includes: percussionist/drummer/composer Sheila E.; Grammy®-winning double bass player/singer Esperanza Spalding; guitarist/composer Stephane Wrembel (“Midnight in Paris”); three-time Oscar-winning composer Giorgio Moroder; two-time Oscar winning composer/musician A.R. Rahman; violin/cello virtuosi Ann Marie Calhoun and Martin Tillman; Dutch hit remixer/composer/electronic musician Junkie Xl; and multiple Grammy-winning British musician/producer Peter Asher.
In addition to both of the 84th Academy Awards music directors . Zimmer and musician/producer/composer Pharrell Williams (of The Neptunes) . the extraordinary group of international artists who contributed their talents includes: percussionist/drummer/composer Sheila E.; Grammy®-winning double bass player/singer Esperanza Spalding; guitarist/composer Stephane Wrembel (“Midnight in Paris”); three-time Oscar-winning composer Giorgio Moroder; two-time Oscar winning composer/musician A.R. Rahman; violin/cello virtuosi Ann Marie Calhoun and Martin Tillman; Dutch hit remixer/composer/electronic musician Junkie Xl; and multiple Grammy-winning British musician/producer Peter Asher.
- 2/29/2012
- by Michelle McCue
- WeAreMovieGeeks.com
SEATTLE -- In one of his biggest roles since the 1960s and the big attraction of the grim but involving "American Gun", James Coburn plays a father whose adult daughter is shot dead in a random act of violence. The history of the weapon used in the tragedy is traced in writer-director Alan Jacobs' third film, and a shocking revelation near the end will catch many by surprise.
Not political in its agenda or striving for a sense of urgency but touching on many pertinent subjects about the way guns legally and illegally move from owner to owner, "American" -- screenedat the Seattle International Film Festival -- is unforgettable and boasts strong supporting performances by Virginia Madsen and Barbara Bain (TV's "Mission: Impossible"). Coburn's dominating presence, the evenhanded approach and a nonlinear structure that unravels several mysteries with subtlety all give the project a good shot at a substantial theatrical release by a distributor in tune with adult audiences.
In an introduction and numerous flashbacks, World War II veteran Martin Tillman (Coburn) is shown having a lifelong appreciation of and familiarity with firearms. In black-and-white war scenes, with newcomer Ryan Locke quite effective as the young Martin, the nightmarish finality of a split-second decision in a house-to-house battle results in his friend's death. Also shown is how Martin met his wife, Anne (Bain), played in the flashbacks by Niesha Trout.
In the present, Martin and Anne's daughter Penny (Madsen), a single mom, has gotten clear of an abusive husband, but her daughter Mia (Alexandra Holden) has run away. A gentle man with gnarled and yet incredibly expressive hands, Martin sees Mia and lends her money, trying to be a good influence. The fateful events this meeting sets off are fully explained only by the end. If the film has a flaw, it's the way the death of Penny, seemingly during a holdup when out buying Christmas presents, is halfway turned into a mystery that Martin is solving.
The film is after something more profound, and the well-integrated scenes of past owners of the gun, including an inner-city kid who commits murder and then suicide, contrast eerily with sequences like Martin's visit to the plant where it was manufactured. The scene shifts from Vermont to Los Angeles to Las Vegas, while his relationship with emotionally numb Anne suffers. The quest to know who owned the gun becomes a mission to find Mia.
Getting a lot of quality cinema out of a tight budget, Jacobs ("Just One Night") takes some risks in the storytelling department that result in a film that encourages one to think long and hard about the subject of guns. One is finally left with the shadowy face of haunted Martin and the hope that Mia won't suffer a fate similar to her mother's.
AMERICAN GUN
Escalon Film Partners
Credits: Screenwriter-director: Alan Jacobs
Producer: Brent Morris
Director of photography: Phil Parmet
Production designer: Don Defina
Editor: Paul Millspaugh
Music: Anthony Marinelli
Casting: Rick Pagano
Cast:
Martin Tillman: James Coburn
Penny Tillman: Virginia Madsen
Anne Tillman: Barbara Bain
Mia: Alexandra Holden
Young Martin: Ryan Locke
Young Anne: Niesha Trout
Pastor: Jesse Pennington
Running time -- 90 minutes
No MPAA rating...
Not political in its agenda or striving for a sense of urgency but touching on many pertinent subjects about the way guns legally and illegally move from owner to owner, "American" -- screenedat the Seattle International Film Festival -- is unforgettable and boasts strong supporting performances by Virginia Madsen and Barbara Bain (TV's "Mission: Impossible"). Coburn's dominating presence, the evenhanded approach and a nonlinear structure that unravels several mysteries with subtlety all give the project a good shot at a substantial theatrical release by a distributor in tune with adult audiences.
In an introduction and numerous flashbacks, World War II veteran Martin Tillman (Coburn) is shown having a lifelong appreciation of and familiarity with firearms. In black-and-white war scenes, with newcomer Ryan Locke quite effective as the young Martin, the nightmarish finality of a split-second decision in a house-to-house battle results in his friend's death. Also shown is how Martin met his wife, Anne (Bain), played in the flashbacks by Niesha Trout.
In the present, Martin and Anne's daughter Penny (Madsen), a single mom, has gotten clear of an abusive husband, but her daughter Mia (Alexandra Holden) has run away. A gentle man with gnarled and yet incredibly expressive hands, Martin sees Mia and lends her money, trying to be a good influence. The fateful events this meeting sets off are fully explained only by the end. If the film has a flaw, it's the way the death of Penny, seemingly during a holdup when out buying Christmas presents, is halfway turned into a mystery that Martin is solving.
The film is after something more profound, and the well-integrated scenes of past owners of the gun, including an inner-city kid who commits murder and then suicide, contrast eerily with sequences like Martin's visit to the plant where it was manufactured. The scene shifts from Vermont to Los Angeles to Las Vegas, while his relationship with emotionally numb Anne suffers. The quest to know who owned the gun becomes a mission to find Mia.
Getting a lot of quality cinema out of a tight budget, Jacobs ("Just One Night") takes some risks in the storytelling department that result in a film that encourages one to think long and hard about the subject of guns. One is finally left with the shadowy face of haunted Martin and the hope that Mia won't suffer a fate similar to her mother's.
AMERICAN GUN
Escalon Film Partners
Credits: Screenwriter-director: Alan Jacobs
Producer: Brent Morris
Director of photography: Phil Parmet
Production designer: Don Defina
Editor: Paul Millspaugh
Music: Anthony Marinelli
Casting: Rick Pagano
Cast:
Martin Tillman: James Coburn
Penny Tillman: Virginia Madsen
Anne Tillman: Barbara Bain
Mia: Alexandra Holden
Young Martin: Ryan Locke
Young Anne: Niesha Trout
Pastor: Jesse Pennington
Running time -- 90 minutes
No MPAA rating...
- 6/20/2002
- The Hollywood Reporter - Movie News
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