Podcasts about back lot music

Welcome to our post-Thanksgiving Lit for Christmas party! In this episode, Marty and his friend, Madeline, celebrate an early Krampusnacht as they discuss Brom's yuletide offering, Krampus the Yule Lord.  It's a knock-down, drag-out, to-the-death battle between Santa and Krampus!  BONUS POINTS: Take a shot anytime the word “yule” is said!  Yule be drunk before you know it! GHOST OF CHRISTMAS PRESENT: Yuletide Moon Cocktail (recipe adapted from adirondackwinery.com) Ingredients: 1 shot of Merlot or dry red wine (substitute cranberry juice for virgin version) 1 shot of Bourbon (substitute non-alcoholic bourbon for virgin version) 4 Cherries, pitted (fresh or in jar) 3 tablespoons Orange Juice 2 tablespoons Maple Syrup Dash of cinnamon and nutmeg 1 Lemon Zest (optional) Directions: 1.   Place cherries in a tall glass, then muddle.  Keep the cherries in the glass once muddled. 2.   Add orange juice, maple syrup, Merlot (cranberry juice for virgin version), bourbon (non-alcoholic bourbon for virgin version), and mix. 3.   Pour into an old fashion glass with handful of ice. 4.   Stir then add lemon peel (optional), cinnamon, and nutmeg. GHOST OF CHRISTMAS PRESENT NONALCOHOLIC ALTERNATIVE: Use ingredients and follow above directions, making the substitutions listed above. ⁠ YOUR HOSTS Marty has a Master's in fiction writing, MFA in poetry writing, and teaches in the English Department at Northern Michigan University in the Upper Peninsula of Michigan.  He served two terms at Poet Laureate of the Upper Peninsula, and has published the poetry collection The Mysteries of the Rosary from Mayapple Press.  For more of Marty's thoughts and writing visit his blog Saint Marty saintmarty-marty.blogspot.com) or listen to his other podcast Confessions of Saint Marty, also on Anchor.fm.  Marty is a writer, blogger, wine sipper, easy drunk, and poetry obsessor ho puts his Christmas tree up in mid-October and refuses to take it down until the snow starts melting. Madeline has a BA in English Creative Writing and gin drinking.  Currently, she is pursuing a Library Science graduate degree and avoiding the Lizard Man of Bloomington.  In her spare time, she enjoys reading eco-lit, true crime, and Alice Hoffman books. Music for this episode: "Jingle Bells Jazzy Style" by Julius H, used courtesy of Pixabay. "A Christmas Treat" by Magic-828, used courtesy of Pixabay. Other music in the episode: "We Wish You a Scary Christmas."  Pipes, Douglas. Krampus Original Motion Picture Soundtrack.  Back Lot Music, 2015. A Christmas Carol sound clips from: The Campbell Theater 1939 radio production of A Christmas Carol, narrated by Orson Welles and starring Lionel Barrymore. This month's Christmas lit: Brom, Gerald.  Krampus the Yule Lord.  Harper Collins Publishers, New York:  2012.

The latest film from director Edgar Wright, Last Night in Soho, is a time-twisting psychological thriller about a young woman named Eloise (Thomasin McKenzie) who moves to London to enter fashion school. Once there, though, the sheltered Ellie finds herself haunted by dreams in which she's transported into 1960s Soho, viewing the young life of an aspiring singer (Anya Taylor-Joy) and the impending doom she may be hurtling towards.   It's a film as informed by 1960s British gangster movies and kitchen sink dramas as it is by Italian giallo pictures and psychological horror, which fits Wright's innately cinephiliac style. References to the films of Ken Loach and Michael Powell abound, alongside the swinging '60s soundtrack with tracks from Cilla Black to Dusty Springfield.   But alongside those groovy crate pulls is an atmospheric score courtesy of today's guest, Oscar and BAFTA-winning composer (and regular Wright collaborator) Steven Price. He's scored works from Joe Cornish's Attack the Block to Wright's own The World's End and Baby Driver. His most famous work is likely Alfonso Cuaron's Gravity, for which he won an Academy Award and cemented himself as an idiosyncratic composer whose works blur the line between incidental score and sound design. Now, he joins me to talk about the eerie, time-warping score for Soho.   You can find Steven Price at his official website here.   Last Night in Soho is currently playing in theaters. You can also listen to the score on your preferred music streaming service courtesy of Back Lot Music.

Welcome back to the latest episode of BETWEEN THE NOTES...Your hosts, Tony Black & Sean Wilson, return to discuss the scores of August 2021, plus a couple of their retro favourites.They discuss films & TV including JUNGLE CRUISE, MASTERS OF THE UNIVERSE, THE COURIER and THE SUICIDE SQUAD, and composers including Mica Levi, Danny Elfman, Ramin Djawadi and Daniel Hart...00:11:03 - Jungle Cruise (James Newton Howard)00:16:57 - Stillwater (Mychael Danna)00:23:05 - The Last Letter From Your Lover (Daniel Hart)00:27:23 - Free Guy (Christophe Beck)00:34:11 - Midnight Run (Danny Elfman)00:38:47 - Zola (Mica Levi)00:47:21 - The Courier (Abel Korniezowski)00:54:29 - Masters of the Universe: Revelation (Bear McCreary)01:02:07 - Reminiscence (Ramin Djawadi)01:07:57 - Murder on the Orient Express (Richard Rodney Bennett)01:13:44 - The Suicide Squad (John Murphy)Check out our specially curated Spotify playlist of all of the above scores: https://open.spotify.com/playlist/0vJqMbw8okrVRf6EzAXsmx?si=892c8aa2db38474fHost / EditorTony BlackCo-HostSean WilsonSupport the We Made This podcast network on Patreon:Patreon.com/wemadethisTwitter: @btw_notesWe Made This on Twitter: @wmt_network / www.wemadethisnetworkTitle music 'Milky Way' (c) Peter Sandberg/Epidemic SoundMusic from The Suicide Squad courtesy of WaterTower Music & music from Stillwater courtesy of Back Lot Music.

Welcome back to the latest episode of BETWEEN THE NOTES... Your hosts, Tony Black & Sean Wilson, return to discuss the scores of August 2021, plus a couple of their retro favourites. They discuss films & TV including JUNGLE CRUISE, MASTERS OF THE UNIVERSE, THE COURIER and THE SUICIDE SQUAD, and composers including Mica Levi, Danny Elfman, Ramin Djawadi and Daniel Hart... 00:11:03 - Jungle Cruise (James Newton Howard) 00:16:57 - Stillwater (Mychael Danna) 00:23:05 - The Last Letter From Your Lover (Daniel Hart) 00:27:23 - Free Guy (Christophe Beck) 00:34:11 - Midnight Run (Danny Elfman) 00:38:47 - Zola (Mica Levi) 00:47:21 - The Courier (Abel Korniezowski) 00:54:29 - Masters of the Universe: Revelation (Bear McCreary) 01:02:07 - Reminiscence (Ramin Djawadi) 01:07:57 - Murder on the Orient Express (Richard Rodney Bennett) 01:13:44 - The Suicide Squad (John Murphy) Check out our specially curated Spotify playlist of all of the above scores: https://open.spotify.com/playlist/0vJqMbw8okrVRf6EzAXsmx?si=892c8aa2db38474f Host / Editor Tony Black Co-Host Sean Wilson Support the We Made This podcast network on Patreon: Patreon.com/wemadethis Twitter: @btw_notes We Made This on Twitter: @wmt_network / www.wemadethisnetwork Title music 'Milky Way' (c) Peter Sandberg/Epidemic Sound Music from The Suicide Squad courtesy of WaterTower Music & music from Stillwater courtesy of Back Lot Music.

Welcome back to the latest episode of BETWEEN THE NOTES...Your hosts, Tony Black & Sean Wilson, return to discuss the scores of August 2021, plus a couple of their retro favourites.They discuss films & TV including JUNGLE CRUISE, MASTERS OF THE UNIVERSE, THE COURIER and THE SUICIDE SQUAD, and composers including Mica Levi, Danny Elfman, Ramin Djawadi and Daniel Hart...00:11:03 - Jungle Cruise (James Newton Howard)00:16:57 - Stillwater (Mychael Danna)00:23:05 - The Last Letter From Your Lover (Daniel Hart)00:27:23 - Free Guy (Christophe Beck)00:34:11 - Midnight Run (Danny Elfman)00:38:47 - Zola (Mica Levi)00:47:21 - The Courier (Abel Korniezowski)00:54:29 - Masters of the Universe: Revelation (Bear McCreary)01:02:07 - Reminiscence (Ramin Djawadi)01:07:57 - Murder on the Orient Express (Richard Rodney Bennett)01:13:44 - The Suicide Squad (John Murphy)Check out our specially curated Spotify playlist of all of the above scores: https://open.spotify.com/playlist/0vJqMbw8okrVRf6EzAXsmx?si=892c8aa2db38474fHost / EditorTony BlackCo-HostSean WilsonSupport the We Made This podcast network on Patreon:Patreon.com/wemadethisTwitter: @btw_notesWe Made This on Twitter: @wmt_network / www.wemadethisnetworkTitle music 'Milky Way' (c) Peter Sandberg/Epidemic SoundMusic from The Suicide Squad courtesy of WaterTower Music & music from Stillwater courtesy of Back Lot Music.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. STRONG CONTENT WARNING: This episode discusses the 2020 remake of The Invisible Man, and deals directly with domestic abuse, gaslighting, stalking, manipulation, self-harm, self-defense, violence against loved ones, and violent murder. If any of these topics or related topics are harmful to you, please skip ahead to 56:38 seconds to listen to our second review, or hold off listening to this episode until a later date. Please take care of yourselves first. Rarely do we have an opportunity to discuss a movie as recent as this with its source film, which is nearly 90 years old at this point. And in doing so, we may have found one of the best movies of 2020, and definitely one of the best horror movies in recent years. Leigh Whannell is already a bit of a legend in horror circles for his work on Saw, Insidious and the recent techno-body horror-action thriller Upgrade. But his most recent effort is an exercise in restraint and clarity of vision, and in doing so, he’s created a movie more terrifying and anxiety-inducing than anything we’ve seen in quite some time. Meanwhile, its distant cousin is a Hollywood horror classic, though not as well known as the more heralded Dracula and Frankenstein. It suffers from the production limitations of the time, and an almost comic tone that lingers too much to let the real terror shine. But there’s something about the story and Claude Rains that still kept us engaged enough to appreciate its possibilities. We’re watching the 1933 and 2020 versions of The Invisible Man this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Attack” from the film The Invisible Man (2020), written and produced by Benjamin Wallfisch. Copyright 2020 Back Lot Music, a division of Universal Studios Music, LLLP. Clips taken from the film The Invisible Man (2020) are © 2019 Universal Studios. All rights reserved. Excerpt taken from the theme to The Invisible Man (1933) were composed by Heinz Roemheld and are © 1933 Universal Studios. All rights reserved. Clips taken from the film The Invisible Man (1933) are © 1933 Universal Studios. All rights reserved.

On this episode of WWLAF, I am joined by Ryan to discuss Jordan Peele's horror masterpiece: Us. SPOILER ALERT: I begin by providing the movie plot in about 20 minutes, followed by Ryan and I discussing some of the themes, foreshadowing, and symbolism throughout the movie. We wrap up by discussing if we believe human beings have counterparts under in underground tunnels. Ryan concludes by providing some vital information for Peele's next horror film: Candyman, which comes to theatres September 25th. Michael Abels. "Anthem." Us - Original Motion Picture Soundtrack, Back Lot Music, 2019. Spotify, spotify:track:0PGBKBh0FFvtx1XqwdUbBG. Michael Abels. "Pas De Deux" Us - Original Motion Picture Soundtrack, Back Lot Music, 2019. spotify:track:3OHCNumN480cuIojhklljX.

Welcome back ASPers & Burrow Dwellers! This week, Josh sits down with Radford Sechrist & Bill Wolkoff to discuss the second season of their DreamWorks animated series "Kipo and the Age of Wonderbeasts". They discuss the story so far, character progression, relationships, the real world locations in 'Kipo', and they answer your fan submitted questions.  Was the original concept for 'Kipo' darker? Was your question asked? What was Scarlemagne originally? Tune in to find out! This episode does contain SPOILERS for both season 1 & 2.   Thank you to DreamWorks for allowing us to check out the season 2 early and for setting up our interview. "Kipo and the Age of Wonderbeasts" is available on Netflix HERE   Follow Radford on: Twitter @RadSechrist Instagram @radsechrist   Follow Bill on: Twitter @flying_lobster Instagram @billwearsties   Follow DreamWorks Animation on: Twitter @Dreamworks Instagram @dreamworks   "Age of Wonderbeasts" by VenessaMichaels & "No Anchor" by Daniel Rojas  Are property of Back Lot Music, a division of Universal Studios LLC   Do you need shirts? RIPT Apparel has shirts!                              Use PROMO CODE: ASP10 at RiptApparel.com to receive 10% off your purchase.   Do you have suggestions for the show? Do have specific voice actor or creator that you would like us to interview? We would love to hear from you! Feel free to shoot us an email at Contact ASP. Be sure to head over to our website AnimationStationPodcast.com and check out some of the other awesome shows in our podcast family by going to: SecretSuperheroClub.com  If you enjoy the show, please rate and review!   Follow the show on: Instagram @AnimationStationPodcast Twitter @AnimatePodcast Facebook Animation Station Podcast YouTube Animation Station Podcast   Follow Josh @JoshLCain   Tags: animation, anime, cartoons, podcast, OKC, Oklahoma, LA, LosAngeles, California, podcasts, nerdstuff, nerd, dreamworks, kipo, kipoandtheageofwonderbeasts, wonderbeasts, Netflix, music, art, artists, creators, showrunners

Find us at: iTunes Spotify Patreon The Oscars are forthcoming and we’re here to talk about our predictions, along with our takes on the Best Songs! Spoiler: it’s not a great category! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the following pieces of music: “I Can’t Let You Throw Yourself Away,” written and performed by Randy Newman for the film Toy Story 4. Copyright 2019 Walt Disney Records/Pixar. “I’m Standing With You,” written by Diane Warren and performed by Chrissy Metz for the film Breakthrough. Copyright 2019 UMG Recordings, Inc. “Into the Unknown,” written by Kristen Anderson-Lopez and Robert Lopez, and performed by Idina Menzel and AURORA for the film Frozen II. Copyright 2019 Walt Disney Records. “(I’m Gonna) Love Me Again,” written by Elton John and Bernie Taupin, and performed by Elton John and Taron Egerton for the film Rocketman. Copyright 2019 UMG Recordings, Inc. “Stand Up,” written by Joshuah Brian Campbell and Cynthia Erivo, and performed by Cynthia Erivo for the film Harriet. Copyright 2019 Back Lot Music./li> “Last Critique,” written and composed by Randy Newman for the film Marriage Story. Copyright 2019 Lakeshore Records. “Defeated Clown,” written and composed by Hildur Guðnadóttir for the film Joker. Copyright 2019 WaterTower Music.

In the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by Bear McCreary, Benjamin Wallfisch and George Fenton.They also pick through their 10-6 entries of their Top 10 James Horner scores, discuss Black Panther's Best Score win at the 2019 Academy Awards, and talk Martin Phipps' The Aftermath and Tom Holkenborg's Alita: Battle Angel.Host / EditorTony BlackCo-HostSean WilsonTwitter: @btw_notesWe Made This: @wemadethispodAll music courtesy of Back Lot Music, Milan Records, Varese Sarabande & Sony Music Masterworks.

In the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by Bear McCreary, Benjamin Wallfisch and George Fenton. They also pick through their 10-8 entries of their Top 10 James Horner scores, discuss Black Panther's Best Score win at the 2019 Academy Awards, and talk Martin Phipps' The Aftermath and Tom Holkenborg's Alita: Battle Angel. Host / Editor Tony Black Co-Host Sean Wilson Twitter: @btw_notes We Made This: @wemadethispod All music courtesy of Back Lot Music, Milan Records, Varese Sarabande & Sony Music Masterworks.

In the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by Bear McCreary, Benjamin Wallfisch and George Fenton.They also pick through their 10-8 entries of their Top 10 James Horner scores, discuss Black Panther's Best Score win at the 2019 Academy Awards, and talk Martin Phipps' The Aftermath and Tom Holkenborg's Alita: Battle Angel.Host / EditorTony BlackCo-HostSean WilsonTwitter: @btw_notesWe Made This: @wemadethispodAll music courtesy of Back Lot Music, Milan Records, Varese Sarabande & Sony Music Masterworks.

How to Train Your Dragon: The Hidden World / All Is True / If Beale Street Could TalkIn the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by John Powell, Patrick Doyle and Nicholas Brittell.They also pick through the 4-1 entries of their Top Film Scores of 2018, plus discuss Electric Wave Bureau's The Kid Who Would Be King, and predict who will win Best Score at the Academy Awards 2019.Host / EditorTony BlackCo-HostSean WilsonTwitter: @btw_notesWe Made This: @wemadethispodAll music courtesy of Back Lot Music, Lakeshore Records & Sony Classical

How to Train Your Dragon: The Hidden World / All Is True / If Beale Street Could TalkIn the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by John Powell, Patrick Doyle and Nicholas Brittell.They also pick through the 4-1 entries of their Top Film Scores of 2018, plus discuss Electric Wave Bureau's The Kid Who Would Be King, and predict who will win Best Score at the Academy Awards 2019.Host / EditorTony BlackCo-HostSean WilsonTwitter: @btw_notesWe Made This: @wemadethispodAll music courtesy of Back Lot Music, Lakeshore Records & Sony Classical

How to Train Your Dragon: The Hidden World / All Is True / If Beale Street Could Talk In the latest episode of Between the Notes, Tony Black and Sean Wilson talk and play new work by John Powell, Patrick Doyle and Nicholas Brittell. They also pick through the 4-1 entries of their Top Film Scores of 2018, plus discuss Electric Wave Bureau's The Kid Who Would Be King, and predict who will win Best Score at the Academy Awards 2019. Host / Editor Tony Black Co-Host Sean Wilson Twitter: @btw_notes We Made This: @wemadethispod All music courtesy of Back Lot Music, Lakeshore Records & Sony Classical

Nathan Barr, who began his career with Hans Zimmer, has composed music for more than 30 feature films in addition to his television experience. Has scored all seven seasons of HBO's Emmy-winning series, TRUE BLOOD. He has worked with Alan Ball, gore-horror master Eli Roth, and many other highly respected directors. Roth and Barr have collaborated on HEMLOCK GROVE and five films: GRINDHOUSE, HOSTEL, HOSTEL 2, CABIN FEVER, THE LAST EXORCISM. In one of Nathan Barr's most recent projects, the composer reteams with director Eli Roth for the feature film adaption of John Bellair's children's classic, THE HOUSE WITH A CLOCK IN ITS WALLS.In the tradition of Amblin classics where fantastical events occur in the most unexpected places, Jack Black and Cate Blanchett star in The House with a Clock in Its Walls, from Amblin Entertainment. The magical adventure tells the spine-tingling tale of 10-year-old Lewis (Owen Vaccaro) who goes to live with his uncle in a creaky old house with a mysterious tick-tocking heart. But his new town's sleepy façade jolts to life with a secret world of warlocks and witches when Lewis accidentally awakens the dead.In this episode, Nathan Barr talks about recording this score in his own new studio, including a 1928 Wurlitzer theater organ he had restored over four years. He talks about how this film became a great showcase for the inclusion his newly restored organ and how this score ended up being his most traditional score to date. While diving into the thematic development for principle characters of Lewis and Jonathan, Barr reveals the challenges of writing a horror-score for an Eli Roth film where children, instead of adults, were the target audience.ANNOTATED TRACKS AND SEGMENTS04:15 - "New Zebedee"08:18 - "Jonathan with Ax"09:48 - "Backyard Magic"11:35 - "Raising Isaac"14:18 - "Nickolodeon"18:18 - "Automotans Attack"19:12 - "Insect Book"SOUNDTRACKThe original soundtrack was release on September 21, 2018 by Back Lot Music. The score is available on Amazon.com , itunes, and streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Nathan Barr at his official site http://nathanbarr.com or follow him on twitter @composerbarrABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

It's high time we had a bit of Nordic Noir on this show, so it's an absolute pleasure to welcome rising Swedish star Tomas Alfredson to Soundtracking. Tomas made his name with Let The Right One In - which was scored by Johan Söderqvist, won numerous awards and was described by legendary critic Roger Ebert as the 'best modern Vampire movie'. He then took charge of the adaptation of John Le Carre's classic novel Tinker Tailor Soldier Spy, for which he employed the services of Spanish composer Alberto Iglesias. Now he brings us another project based on a book in the shape of The Snowman, Jo Nesbo's dark, disturbing and thrilling international bestseller. Starring Michael Fassbender, Rebeccca Ferguson and Charlotte Gainsbourg. the film is scored by the ever reliable Marco Beltrami. Since the score is not commercially available yet, we owe a huge debt of gratitude to our friends at Back Lot Music for sending us all the cues in advance. You can get hold of them yourself in a week or so, but meantime you'll hear plenty of examples as Tomas deconstructs Marco's work in fascinating detail ...