Podcast appearances and mentions of Elliot Goldenthal

In part five of our seven-part series counting down the TOP 25 SCORES OF THE 21st CENTURY, we will continue the countdown with the presentation of scores 15-11. In this episode, you'll hear selections from Philippe Rombi, Alan Silvestri, John Williams, Marco Beltrami and Elliot Goldenthal. Part six will be available soon. Stay tuned. —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Randall Derchan, Angela Rabatin, Larry Reese, Rudy Amaya, Stacy Livitsanis, Carl Wonders, Lee Wileman, Nathan Blumenfeld, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Kyle, Joe, and Rick are joined by the Sun Sentinel's sports reporter, Adam Lichtenstein, to review the 2007 jukebox musical romantic drama film, "Across The Universe." Directed by Julie Taymor, written by Dick Clement and Ian La Frenais, with music by Elliot Goldenthal, "T Bone" Burnett, and Matthias Gohl, as well as The Beatles. The film stars Jim Sturgess, Evan Rachel Wood, Joe Anderson, Dana Fuchs, Martin Luther McCoy, T.V. Carpio, with Joe Cocker, and Salma Hayek. We ranked the 28 songs from the deluxe soundtrack and picked our favorite lines, characters, performers, and scenes. Enjoy!

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Your host Jason Drury begins the show with the superb 22-minute "Grand Gothic Suite" by Elliot Goldenthal from the album ELLIOT GOLDENTHAL: MUSIC FOR FILM (Silva Screen Records), containing music from BATMAN FOREVER and BATMAN AND ROBIN. Jason then continues with selections from Nino Rota's Oscar-winning score from 1974‘s THE GODFATHER PART 2 (La La Land Records) and Jerry Goldsmith's classic 1976 score for ISLANDS IN THE STREAM, which Intrada Records recently reissued. The wonderful theme from John Barry's Oscar-winning score from the 1985 film OUT OF AFRICA (Intrada Records) continues the show. This is followed by music from David Fanshawe's score for the 1991 Michael Winner revenge thriller DIRTY WEEKEND (Silva Screen Records) and then music from Don Davis's score from the 2001 film JURASSIC PARK III (La La Land Records) Jason then rounds off the show by playing more music from the album ELLIOT GOLDENTHAL: MUSIC FOR FILM with another suite, this time from his classic score from 1992‘s ALIEN 3. Enjoy. —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Stacy Livitsanis, Rick Laird, Carl Wonders, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Ron, Andy Gray, Joel Nichols, Steve Daniel —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

“No espaço, ninguém pode ouvir seus gritos.” Mas vai escutar todas as trilhas da série slasher mais famosa do espaço, Alien! Nesta primeira parte, a tetralogia original, dos retalhos de Ridley Scott em Jerry Goldsmith, passando pelo arranca-rabo entre James Horner e James Cameron, a estreia de Elliot Goldenthal no Fincher maldito, e a parceria Frizzell-Jeunet.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. MICHELLE BIRSKY AND KEVIN HENTHORN Most recently known for scoring The Netflix anime series Terminator Zero, The Lesbian Bar Project (documentary series, Roku) and Mother/Android (feature film, Hulu), Michelle Birsky and Kevin Henthorn are a married, composing duo based in Los Angeles. Their music is contemporary and emotional, often incorporating found sounds and vocals with a strong electro-acoustic pull. With years spent in the New York indie music scene, Michelle and Kevin bring a unique perspective to composition, drawing inspiration from composers like Trent Reznor & Atticus Ross, Jóhann Jóhannsson, and Mica Levi. Michelle, a vocalist, producer, and electronic musician, and Kevin, an accomplished guitarist and vocalist, bridge their talents into a cohesive, well-rounded entity that creates emotionally-driven, electro-acoustic music. The two have always had a strong interest in film scoring, but they came to it from different backgrounds. Michelle graduated from Kenyon College with a degree in music. Kevin graduated from the Film Conservatory at Purchase College. Michelle and Kevin met in Brooklyn in 2014 and for the majority of their 20's they pursued their own musical projects: Michelle, a synth-pop artist project called Birch, and Kevin, a folk-rock project called Cape Francis. During that time, Michelle also focused on film composing, writing for sync and working under esteemed composer Elliot Goldenthal.When the pandemic hit in March 2020, the pair decided to take the leap and move from NY to LA to focus on film composing, and soon were brought on to score Mother/Android, which premiered on Hulu in December, 2021. Together, through their music, Michelle and Kevin seek to help tell stories that broaden minds, and find truth and beauty in human life. Their latest project is Terminator Zero, the anime series, and latest in the Terminator franchise, which is coming soon to Netflix. Tracklist: All music by Michelle Birsky and Kevin HenthornTerminator ZeroChooseEmergenceIt Will Never Be The SameReika's ChoiceRUN

Crawling out of the swamp to close out Season 3, Eric and Bradford are joined by Broadway actor-musician Matt Saldivar for a rollicking discussion of Neil Jordan's grand guignol ode to undying love. With a cast headed by Tom Cruise and Brad Pitt as comedy duo Lestat and Louis, interesting turns from Kirsten Dunst, Antonio Banderas, Christian Slater, and Stephen Rea, Anne Rice adapting her novel, and great effects work by Stan Winston, there's enough baroque to ba-reak the bank... but is it, as one character says, "of the Mississippi"? An uneven tone, plot threads that go nowhere, and SO MUCH FIRE threaten to sink the #1 horror movie of 1994, but not even THIS podcast can keep a bloodthirsty creature of the night down. Let's get started. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-27:55 Honor Roll and Detention (spoiler-heavy): 27:56-1:02:57 Superlatives (spoiler-heavier): 1:02:58-1:24:31 Director Neil Jordan Screenplay Anne Rice, based on her novel Featuring Antonio Banderas, Tom Cruise, Kristen Dunst, Laure Marsac, Helen McCrory, Brad Pitt, Stephen Rea, Christian Slater, Sara Stockbridge Matt Saldivar is a Mexican-American New York City-based actor. He grew up at The United States Military Academy at West Point. He has originated and appeared in principal roles on Broadway in Bernhardt/Hamlet, Junk, Peter and the Starcatcher, Act One, A Streetcar Named Desire, Saint Joan, The Wedding Singer, Honeymoon in Vegas, and Grease. He has performed in dozens of Off-Broadway and regional productions as well as in film and television. Matt also composed songs, played bass and guitar, and portrayed the character of Julio de los Flacos as a long-time member of the band and theater/cabaret/comedy troupe The Petersons. He received his BA with a double major in Theater and Spanish from Middlebury College, and his MFA in acting from NYU.  He has been and actor and vocalist in the development process of new works for the theater with such artists as Elvis Costello, Stephen Sondheim, Lin-Manuel Miranda, Bruce Hornsby, Jason Robert Brown, Adam Guettel, and Randy Newman. Our theme music is by Edward Elgar and Sir Cubworth.  Music from Interview with the Vampire by Elliot Goldenthal. For more information on this film, writing by your hosts (on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Jakob Stegelmann og Ida Rud fortæller om store filmkomponister og spiller det bedste af deres musik.

It's one of those days when it's a minute away from snowing and there's this electricity in the air, you can almost hear Filmshake, right? We're  just dancing with you, talking 1999's American Beauty, like a little kid, begging you to play with it. For two hours. This is the day you might realize that this entire movie might not be as good as you remember, and this incredibly benevolent force, i.e. Filmshake, wants you to know there is no reason to be afraid, ever. Video's a poor excuse, we know, which is why you should listen to us instead. We help you remember the 90s...you need to remember...the 90s. Sometimes there's so much 90s in the world, we feel like we can't take it, and our heart is just going to cave in. Also, for a minute, we choke the bishop about our punishment movie, 1999's In Dreams. Quit chafing your carrot and listen.Music Heard this Episode: "Rebecca's Abduction" -- Elliot Goldenthal"Dead Already" -- Thomas Newman"American Beauty" -- Thomas Newman"Arose" -- Thomas Newman"Because" -- Elliott Smith (originally recorded by The Beatles)"Responsibility" -- MxPx"Rust" -- Echo and the BunnymenIntro music - "If" by Broke For FreeConnect with us!PatreonTwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

Today you'll hear as I delve into the only theater release film of a Sony Enix project of a fully CGI film. Final Fantasy The Spirits Within will be discussed. I talk about the film and the complicated nature of the project as well as the amazing score by Elliot Goldenthal. Sit back and relax. Enjoy the ride.

Feel that breeze? The dust? The grime? We're still here in Fury 161, alright. Join the Halloweenies as they continue their extensive coverage on David Fincher's Alien 3. In the second of three episodes dedicated to the 1992 anti-blockbuster, they finish the production notes by diving into Fincher's career pre-Alien 3, the differences between the theatrical and the assembly cut, and Elliot Goldenthal's ambitious score. Stay tuned for Pt. 3 next Monday! Follow us on Facebook | Twitter | Instagram | Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. ABOUT DYNAMIC MUSIC PARTNERS: Emmy Award-winning composers Michael McCuistion, Lolita Ritmanis and Kristopher Carter, collectively known as Dynamic Music Partners, have created hundreds of hours of music for a variety of different genres, including TV series, independent films, video games and live performance events. They have collectively earned twenty-eight Emmy Award nominations and six Annie Award nominations as composers for Marvel's Avengers Assemble, Batman: The Brave And The Bold, Justice League, Teen Titans, Batman Beyond, The Zeta Project and The New Batman Superman Adventures. Original concert works and suites of their scores have been performed in festivals and special events; from New York's Lincoln Center to The Hollywood Bowl, The Kennedy Center, The Griffith Observatory in Los Angeles, Tenerife – Spain and beyond, their music has received critical acclaim. Their Prime-time Emmy Award nominated musical Batman: The Brave and the Bold: Mayhem of the Music Meister, starring Neil Patrick Harris was a historic first Batman musical to ever be composed. They began their careers composing music for Batman: The Animated Series, Superman: The Animated Series and Batman Beyond, for which they each received the Emmy Award in Music Direction and Composition. As orchestrators they have worked with many of Hollywood's A-list composers, including Michael Kamen, Basil Poledouris, Howard Shore, Carter Burwell, Elliot Goldenthal, Mark Snow and Shirley Walker. Kristopher, Michael and Lolita are currently working on the third season of Marvel's Avengers Assemble. They recently completed scoring a feature length documentary An Act of Love, which received the silver award at the Mill Valley Film Festival, as well as composed 4 hours of original music for radio-play audio book Rain of the Ghosts. Their feature film Marvel Superhero Adventures: Frost Fight will premiere in December 2015. They are working on 3 top secret feature length animated projects, with announcements coming in 2016. Kristopher, Michael and Lolita work both collectively and individually. Kristopher recently completed the score to the Webby-nominated short film The Birds Of Anger for G4TV and just returned from a series of lectures at the North Carolina School of the Arts. Michael recently scored the latest Griffith Observatory production Time's Up which is now playing at the observatory in the Samuel Oschin Planetarium. Lolita has been very active in the concert music arena this past season, having had works performed at The Kennedy Center in Washington, D.C, 2 original musicals – receiving performances in Latvia throughout 2014-2015, as well as the premiere of her symphonic work Overture to Light. This remarkable and very contemporary trio of composers and performers is an example of creative collaboration, business savvy, and artistic expression of the highest, most original level. They are currently working in today's industry and are examples and role models for aspiring film composers everywhere.

Hace nada se produjo una de las mejores noticias musicales posibles: la vuelta de Beth Gibbons. La más grande. Con el que será además, el primer disco que firma estrictamente en solitario: “Lives Outgrown“. En consecuencia, no había otro remedio, desecho todos los planes que tenía previstos para este programa a fin de dedicárselo enterito a ella. A su escogidísimo trabajo como inigualable vocalista, compositora y productora. Y es que Beth no se prodiga prácticamente nada: su control de calidad es absolutamente riguroso y parece moverse por apetencias, compromisos y afinidades muy concretas. BETH GIBBONS (Floating on a Moment) / BETH GIBBONS & RUSTIN MAN (Romance (Gilles Peterson BBC Session)) / BETH GIBBONS & POLISH RADIO SYMPHONY ORCHESTRA (Henryk Gorecki Symphony No. 3 Symphony of Sorrowful Songs II. Lento e largo. Tranquilissimo) / RODRIGO LEAO & BETH GIBBONS (Lonely Carousel) / GONGA & BETH GIBBONS (Black Sabbeth) / KENDRICK LAMAR ft. BETH GIBBONS (Mother / Sober) / JJ DOOM ft. BETH GIBBONS (GMO) / BETH GIBBONS (L’annulaire) / ELLIOT GOLDENTHAL & BETH GIBBONS (Prospera’s Coda) / PORTISHEAD (Requiem For Anna (Un Jour Comme Un Autre - Anna)) / PORTISHEAD (SOS) // BONUS TRACKS: .O.RANG (Jalap) / JANE BIRKIN (Strange Melody) / JANE BIRKIN (My Secret) / BETH GIBBONS & JANE BIRKIN (A Day Like Any Other) / JOSS STONE (Killing Time) / FRIED (Love Is a Stranger) / ANNIE LENNOX (Sing) //

Elliot Goldenthal est un brillant compositeur, et l'une des plus grandes personnalités de la musique de films hollywoodiens des années 90 et 2000. Il a composé la bande originale d'une trentaine de films environ et a été plusieurs fois nommé aux oscars.Dans MéloCiné cette semaine, on vous fait découvrir ou redécouvrir ce fabuleux compositeur.Un podcast écrit et réalisé par Constance Mathews

Invité : Gorkab aka Thomas Martin de la chaîne youtube CGM et chroniqueur chez Son-Vidéo.com Final Fantasy une des plus grandes franchises de jeu vidéo initiée par le studio japonais Square et son créateur Hironobu Sakaguchi en 1987 était dans la fin des années 90's, une des licences les plus bankables avec l'arrivée en 1997 de Final Fantasy VII sur Playstation qui va emporter plus de 10 millions de joueur par ses graphismes, ses cinématiques , sa musique, son gameplay et son histoire épique qui aura bouleversé plus d'un. Suite à ce succès mondial, la direction de Square décide de développer une branche cinéma qui sera attelée à créer des films d'animation 3D photo-réaliste avec une nouvelle technologie dont le seul problème, c'est que personne n'a tenté le coup de faire un film avec. Ce premier long-métrage qui essuiera les plâtres sera Final Fantasy : les créatures de l'esprit réalisé par le créateur de la franchise Hironobu Sakaguchi. A l'occasion de la sortie prochaine de Final Fantasy VII Rebirth sur vos consoles Préférés, on va en profiter pour revenir sur ce film avec un invité exceptionnel qui contrairement à nous, sait de quoi il parle Film Nippo-américain, Produit Par Columbia Pictures et Square Pictures avec un budget de 137M de dollars, réalisé et produit par Hironobu Sakaguchi le créateur des Jeux vidéo Final Fantasy sur un scénario écrit par Al Reinert co-scénariste d'Apollo 13 de Ron Howard et Jeff Vintar le scénariste de I, Robot.Sous une musique de Elliot Goldenthal 2065, la terre est dévastée par de mystérieux spectres extraterrestres qui prolifèrent en détruisant toute forme de vie. De rares humains survivent dans la peur, cachés dans des endroits isolés du monde extérieur par un bouclier. Un Haut Gradé Méchant et Bête, le général Hein, tente de convaincre les survivants d'utiliser Zeus, un nouveau canon laser, pour éliminer les envahisseurs. Le docteur Sid et la scientifique Aki Ross s'y oppose car, pour lui, la terre est constituée du flux de la vie nommé Gaïa qui pourrait sauver l'Humanité toute entière Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs La liste de la Shitlist sur Senscritique https://www.senscritique.com/liste/la_shitlist/3657768? La liste de la Shitlist sur Letterboxd par WongKarWaifu https://boxd.it/pQN3e Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Si vous souhaitez soutenir ou aider notre Podcast Shitlist gratuitementNous vous demandons simplement de mettre des commentaires 5 étoiles avec un joli commentaire sur Apple Podcasts, Itunes ou Podcast Addict en vous remerciant par avance. Par ailleurs vous avez toujours la possibilité de nous envoyer vos suggestions de sujet pour qu'on en parle dans l'émission à l'adresse suivante shitlistpodcast@gmail.com Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtube Ne ratez aucun numéro, suivez-nous sur Twitter et Instagram Chroniqueur Emmanuel Peudon, Marvin Montes et présenté par Luc LE GONIDEC Host : Luc LE GONIDECMusique Jean Baptise BLAISMontage et mixage son : Luc LE GONIDEC

Today you'll hear as I discuss Alien 3 directed by David Fincher and the score is by Elliot Goldenthal. You'll hear as I discuss some good things regarding the film itself, as well as the score in detail. Sit back and relax and enjoy the show.

In this special episode, Tom once again pays up on his Oscars bet with one of the worst superhero movies ever made, Batman and Robin (1997): directed by Joel Schumacher, written by Akiva Goldsman, music by Elliot Goldenthal, starring George Clooney, Arnold Schwarzeneggar, Uma Thurman, Chris O'Donnell, and Alicia Silverstone.Plot Summary: In Joel Schumacher's second installment of the caped crusader's saga, "Batman and Robin" Gotham City faces a chilling threat that goes beyond the typical criminal masterminds. A diabolical scientist, Dr. Victor Fries, aka Mr. Freeze (played with icy intensity by Arnold Schwarzenegger), seeks to freeze Gotham and hold it hostage until he finds a cure for his terminally ill wife, Nora.But this time, Batman (George Clooney) and his trusty sidekick Robin (Chris O'Donnell) find themselves not only battling a frozen city but also contending with Poison Ivy (Uma Thurman), a seductive eco-terrorist who can control plants, and intends to transform the world into a lush paradise, even if it means eliminating humanity.As Gotham City descends into an icy abyss, Batman and Robin must set aside their differences and join forces with the mysterious and cunning Batgirl (Alicia Silverstone). Together, they embark on a race against time to stop Mr. Freeze and Poison Ivy from plunging the world into eternal winter.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/bonus-batman-and-robin-1997For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

Oggi ci dedichiamo alle musiche dei primi quattro capitoli della saga di "Alien": "Alien" (1979) - musiche di Jerry Goldsmith, "Aliens scontro finale (1986) - musiche di James Horner, "Alien 3" (1992) - musiche di Elliot Goldenthal, "Alien la clonazione" (1997) - musiche di John Frizzel. Andremo a scoprire i vari stili adottati dai compositori per le diverse pellicole. Ci sarà un vincitore tra i quattro? Voce e Testi: Francesco Menici Montaggio e Post-Produzione: Davide Zagnoli - - - - Gruppo TELEGRAM: https://t.me/cinescorepodcast - - - - DISCOGRAFIA PRINCIPALE Link: https://tinyurl.com/mwsvpyzk

"I know we're doing Batman and Robin, but I don't need to see nips". Review It Yourself's Two Year Anniversary arrives in the form of the perfect (Sean's word) Batman & Robin (1997), a "film so thirsty that it hurts". Who else do you call when your podcast garden needs tending but Clayton and Shawn from 'Men Who Like Men Who Like Movies' Discussion Points: -Clayton finally tries Jaffa Cakes! -Sean brings his special mug to drink Biscuit Tea "Taste Like Jaffa". -The backside acting in this film. -Alfred's pizza-making skills. -The Two-Disc Special Edition DVD (2009) blurb. -The PUNS. -Clayton doesn't care the Alfred is ill. -The Pennyworth finally drops for Sean as to why Alfred is trying to contact his brother Wilfred. -The confusing age of Robin in this series. -Shawn derails the review with a Scary Movie quote. Sean responds with a Me, Myself and Irene quote. -The 'Forever' Bat Credit-Card. -Clayton can't understand why Sean dislikes The Batman (2022). -The underrated soundtrack by Elliot Goldenthal. -The fate of Doctor Chase Meridian. -NOT that kind of pole. Sean's Dumb & Dumber example goes badly wrong. -Stick around for Sean's to Clayton's description of where Bane's Venom is coming from. -Shawn's flesh-coloured blanket wreaks havoc. -Nora duty. Raised Questions: -What does Clayton think of Jaffa Cakes? -Is Robin-arang a word? -Why does this film feel like a toy advert? -Why did Sean's MacGregor syndrome (it's made up) joke fall flat? -Was this film's tone just a shock to audience after Batman Forever? -Why is Robin so whingey in this film? -How many puns are there? -Was this film a formative experience for you? -Is Mr Freeze the Batman-universe version of Doctor Christmas Jones? -Why do they have Commissioner Gordon modelling the diamonds? -Do you miss having fun with superheroes? -Why does Sean make a Des Lynam comparison to two Americans? -Why does Mr Freeze bother wearing slippers? -How rich are Gotham's windowmakers? -Is this film "perfectly paced"? -Where has Chris O'Donnell gone? -Have you ever held a buttercup under your chin? Shout-Outs & Contributions from the fantastic following podcasts: -Two Cents Pod. -2 Girls, 1 Reusable Cup podcast (sorry for massacring your name). -Stew World Order. -Bill Reads Bad Reviews. -Pods Like Us. -I Scene It. -The Nerdstalgic Podcast. -Chatsunami -Ryan Walker from 'The Walk The Line Podcast'. -The Decision Reel. -Josh from 'Talking SMAC (Superheroes, Movies, Animation & Comics)' -Pete from Middle Class Film Class. -Kevin from 'The Podcast That Wouldn't Die'. -Ed from 'The Film Effect Podcast'. -ALL of my guests, whether you joined Review It Yourself for an episode or more, Thank You. -Bill Reads Bad Reviews' Dave. Thank You for listening! I hope you enjoyed this episode and I hope you check out some more of the episodes. Cheers, Sean. Trailer: FilmFloggers www.filmfloggers.com Review It Yourself now has a Patreon! Find us here: Patreon: https://www.patreon.com/review_it_yourself21 Twitter: @YourselfReview Instagram: reviewityourselfpodcast2021

In questo terzo appuntamento dedicato alle colonne sonore vi raccontiamo le musiche dei primi quattro capitoli di Alien: "Alien" (1979) musiche di Jerry Glodsmith, "Aliens scontro finale" (1986) musiche di James Horner, "Alien 3" (1992) musiche di Elliot Goldenthal, "Alien la clonazione" (1997) musiche di John Frizzel. Quale sarà la più bella? Testo e voce di Francesco Menici, missaggio e post-produzione Davide Zagnoli

We're back! And it seems that we've crash landed into the Alien franchise yet again. Stick with us as we explore the third entry of Ripley's dog days battling the perfect organism, directed by an up-and-coming David Fincher! Listen on YouTube: https://youtu.be/0f-2Tk0HflU --- TIME CODES: 00:00:00 - INTRO 00:03:44 - BASIC FACTS 00:07:59 - THE MEAT 00:51:48 - WHAT WE WATCHED --- FILM INFORMATION: Alien³ (1993) “Returning from LV-426, Ellen Ripley crash-lands on the maximum-security prison Fiorina 161, where she discovers that she has unwittingly brought along an unwelcome visitor.” Directed by David Fincher, starring  Sigourney Weaver, Charles S. Dutton, Charles Dance, Paul McGann, Brian Glover, Ralph Brown, and Danny Webb. Written by Vincent Ward, David Giler, Walter Hill, and Larry Ferguson, music by Elliot Goldenthal, cinematography by Alex Thomson, edited by Terry Rawlings, and produced by Gordon Carroll, David Giler, Walter Hill, Ezra Swerdlow, and Sigourney Weaver. Read more on Alien³'s IMDB page: https://www.imdb.com/title/tt0103644/ Find where to stream Alien³ on JustWatch: https://www.justwatch.com/us/movie/alien3 --- OUR LINKS: Main Webpage: https://anchor.fm/recentlylogged Letterboxd HQ: https://boxd.it/30uy1 YouTube: https://youtube.com/@recentlylogged Micah's Stuff YouTube: https://youtube.com/channel/UCqan1ouaFGl1XMt_6VrIzFg Letterboxd: https://boxd.it/AkCn Twitter: https://twitter.com/micah_grawey Instagram: https://www.instagram.com/m_grawey_films/ Robbie's Stuff Website: https://robbiegrawey.com --- EPISODE CREDITS: Recently Logged Podcast creators - Micah and Robert “Robbie” Grawey Hosts - Micah and Robert “Robbie” Grawey Songs used in this episode - Black Mass and Dead Forest by Brian Bolger and Clash of Gods and Space Hunter by Quincas Moreira Editor - Robert “Robbie” Grawey Episode art designer - Robert “Robbie” Grawey Episode Description - Micah and Robert “Robbie” Grawey --- Support this podcast: https://podcasters.spotify.com/pod/show/recentlylogged/support

Behind the Music of Star Trek with Lukas Kendall Lukas Kendall is a producer responsible for bringing the orchestral scores of "Star Trek" shows and films into your home.  Lukas discusses how he got into music, selling, and licensing Star Trek scores, his magazine "Film Score Month," some of his favorite melodies across the shows and films, and the history of many of them, including the tumultuous score for "Star Trek: The Motion Picture" and stories about Alexander Courage, James Horner, Jay Chattaway, Basil Poledouris and his unique Star Trek connection, Elliot Goldenthal, and Jerry Goldsmith. Visit lukaskendall.com for more info and his blog!  Please subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold . There you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future. Visit my Amazon shop to check out tons of Trek products and other things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel - https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold. Don't forget to subscribe to the podcast and leave a rating if you like us! Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter:  Twitter.com/NerdNews2Day Instagram: Instagram.com/NerdNewsToday Facebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.   The views expressed on air during Trek Untold do not represent the views of the RAGE Works staff, partners, or affiliates. 

Lukas Kendall is a producer responsible for bringing the orchestral scores of "Star Trek" shows and films into your home.  Lukas discusses how he got into music, selling, and licensing Star Trek scores, his magazine "Film Score Month," some of his favorite melodies across the shows and films, and the history of many of them, including the tumultuous score for "Star Trek: The Motion Picture" and stories about Alexander Courage, James Horner, Jay Chattaway, Basil Poledouris and his unique Star Trek connection, Elliot Goldenthal, and Jerry Goldsmith. Visit lukaskendall.com for more info and his blog!  Please subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold . There you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future. Visit my Amazon shop to check out tons of Trek products and other things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel - https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold. Don't forget to subscribe to the podcast and leave a rating if you like us! Follow Trek Untold on Social Media Instagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntold Follow Nerd News Today on Social Media Twitter: Twitter.com/NerdNews2DayInstagram: Instagram.com/NerdNewsTodayFacebook: Facebook.com/NerdNewsToday Trek Untold is sponsored by Treksphere.com, powered by the RAGE Works Podcast Network, and affiliated with Nerd News Today.

Aprovechando que el programa de “Cuéntame un musical” estaba dedicado al musical “& Juliet”, que nos presenta una simpática historia con la pugna entre Shakespeare y su mujer Anne Hathaway para conseguir cambiar el argumento de “Romeo y Julieta”, decidimos montar unas playlists de fragmentos de bandas sonoras de películas, que han tenido las obras del escritor inglés como fuente de inspiración. En este primer programa tendremos las músicas de Angelo Francesco Lavagnino para el “Campanadas a medianoche” y el “Othelo” de Orson Welles, a Carter Burwell y sus temas para “Hamlet” y “Mackbeth”, Elliot Goldenthal con “La tempestad” y “Titus”, Ennio Morricone con Hamlet, Erich Wolfgang Korngold y Felix Mendelsshon para “El sueño de una noche de verano”, Jocelyn Pook con “El mercader de Venecia”, John Scott para “Marco Antonio y Cleopatra”, Masaru Sato para “Trono de sangre” y Miklos Rozsa para “Julio César”. El mes próximo sacaremos un segundo volumen con temas de Patrick Doyle, Toru Takemitsu, Trevor Jones y William Walton. Esperamos haber acertado con la selección 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” ANGELO FRANCESCO LAVAGNINO – Campanadas a medianoche 00h 01’42” Apertura festosa 00h 02’55” Intermezzo agreste 00h 06’03” Corale mistico 00h 09’13” ANGELO FRANCESCO LAVAGNINO – Othelo 00h 09’13” Chant 00h 13’15” The seed of doubt 00h 16’17” The deciver is revealed – The death of Othelo 00h 18’39” CARTER BURWELL – Hamlet 00h 18’39” Too too solid flesh 00h 21’17” Murder most foul 00h 24’28” To be or not to be 00h 27’05” The end 00h 30’24” CARTER BURWELL – La tragedia de Mackbeth 00h 30’24” Birnam wood 00h 32’48” The end of Mackbeth 00h 36’11” ELLIOT GOLDENTHAL – La tempestad 00h 36’11” O mistress mine 00h 39’12” High day too-step 00h 41’12” Full fanthom five 00h 45’18” Brave new world 00h 47’57” ELLIOT GOLDENTHAL - Titus 00h 47’57” Suite 00h 59’36” ENNIO MORRICONE – Hamlet 00h 59’36” Suite 01h 09’35” ERICH W. KORNGOLD / FELIX MENDELSSHON – El sueño de una noche de Verano 01h 09’35” Obertura 01h 16’28” JOCELYN POOK – El Mercader de Venecia 01h 16’28” With wandering steps 01h 18’34” Her gentle spirit 01h 21’24” How sweet the moonlight 01h 25’37” Bridal ballad 01h 30’08” JOHN SCOTT – Marco Antonio y Cleopatra 01h 30’08” Overture 01h 39’23” Main titles 01h 43’00” Egyptian bacchanal 01h 46’55” Eternal rest 01h 48’52” MASARU SATO – Trono de sangre (Mackbeth) 01h 48’52” Main theme 01h 52’41” MIKLOS ROZSA – Julio César 01h 52’41” Overture 01h 55’44” Prelude – Idle creatures 01h 58’40” Titanus enclosed – Caesar revenged- Caesar, now be still- Rites of burial - Finale

Mark and Billy Patterson (@billyapatterson on Twitter) talk about their favorite songs from The Batman Forever soundtrack. Released in 1995, the soundtrack featuring Method Man, The Offspring, Brandy, and PJ Harvey, sold more than two million copies and won Seal three Grammys for his song Kiss From a Rose. In this episode, they also talk about Elliot Goldenthal's score, Jim Carrey's performance, and whether or not they'd want to recreate Seal's famous Kiss From a Rose music video. Enjoy!

Composer Austin Wintory talks about his music for Aliens: Fireteam Elite, a squad shooter from Cold Iron Studios. The game is a part of the Aliens universe, you know, the face-hugging, chest-exploding, H.R. Giger-designed Aliens. And the soundtrack is fabulous, with many subtle and less-subtle tributes to the famous film scores written by Jerry Goldsmith, James Horner and Elliot Goldenthal. You can find a playlist and support Level with Emily on Patreon. Join us on Discord for free. Find us on YouTube and Twitter. Patrons have access to special Discord events and special guest playlists.

March 2022In the latest episode of Between the Notes, your hosts, Tony Black & Sean Wilson, focus on the big new release of the month - Matt Reeves' take on THE BATMAN with a score by Michael Giacchino.Along the way, they take in the previous litany of scores for Batman movies all the way from 1966's BATMAN: THE MOVIE through to 2016's BATMAN VS SUPERMAN: DAWN OF JUSTICE, featuring composers including Danny Elfman, Shirley Walker, Elliot Goldenthal, James Newton Howard & Hans Zimmer.Plus, they play choice selections from Giacchino's The Batman on the way...Host / EditorTony BlackCo-HostSean WilsonSupport the We Made This podcast network on Patreon:Patreon.com/wemadethisTwitter: @btw_notesWe Made This on Twitter: @wmadethis / www.wemadethisnetwork.comTitle music 'Milky Way' (c) Peter Sandberg/Epidemic SoundMusic from The Batman courtesy of WaterTower Music.

March 2022 In the latest episode of Between the Notes, your hosts, Tony Black & Sean Wilson, focus on the big new release of the month - Matt Reeves' take on THE BATMAN with a score by Michael Giacchino. Along the way, they take in the previous litany of scores for Batman movies all the way from 1966's BATMAN: THE MOVIE through to 2016's BATMAN VS SUPERMAN: DAWN OF JUSTICE, featuring composers including Danny Elfman, Shirley Walker, Elliot Goldenthal, James Newton Howard & Hans Zimmer. Plus, they play choice selections from Giacchino's The Batman on the way... 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: @wmadethis / www.wemadethisnetwork.com Title music 'Milky Way' (c) Peter Sandberg/Epidemic Sound Music from The Batman courtesy of WaterTower Music.

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This week we bid farewell to our son (the Xenomorph) with Sarah Welch Larson, author of "Becoming Alien: The Beginning and End of Evil in Science Fiction's Most Idiosyncratic Film Franchise."This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Introducing Sarah Welch Larson (01:19-07:52) Exploring the Alien Franchise through a feminist theological lens (07:52-22:42) Good Science Fiction (22:42-27:14) Sexuality in Alien Resurrection (27:14-32:37) Sarah's Eye of the Franchise (32:37-38:45) Adam's Eye of the Franchise (38:45-44:48) Dom's Eye of the Franchise (44:48-50:56) Vs. Predator (50:56-54:04) Ranking the Aliens (54:04-56:01) Adam's Ranking (56:01-01:01:30) Sarah's Ranking (01:01:30-01:06:07) Dom's Ranking (01:06:07-01:12:44) Goodnight Sweet Prince (01:12:44-01:21:48) Outro (01:21:48-01:24:09) Sarah's Work: Becoming Alien: The Beginning and End of Evil in Science Fiction's Most Idiosyncratic Film Franchise (Signed Paperback) Becoming Alien: The Beginning and End of Evil in Science Fiction's Most Idiosyncratic Film Franchise (from the Company) Women, Aliens, and Dangerous Things: Female Bodies in Alien 3 I Thought You Were Dead: Resurrecting the Alien Franchise as a Farce Look on My Works, Ye Mighty, and Despair  Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by AJ Fillari.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate Ridley Scott's "Alien Covenant" (2017) with Scott Wampler (The King Cast), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Introducing Scott Wampler (01:19-02:18) What we talk about when we talk about Alien Covenant (02:18-20:34) A brief and incomplete history of Alien Covenant (20:34-31:56) Scott's Scene (31:56-43:20) Dom's Scene (43:20-48:21) Adam's Scene (48:21-58:47) Closing Thoughts (58:47-01:13:33) Outro (01:13:33-01:06:16) Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate Ridley Scott's "Prometheus" (2012), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) What we talk about when we talk about Prometheus (01:19-35:50) A brief and incomplete history of Prometheus (35:50-50:27) Dom's Scene (50:27-68:11) Adam's Scene (01:08:11-01:23:04) Closing Thoughts (01:23:04-01:43:28) Outro (01:43:28-01:45:10) Don't forget to rate, review, and subscribe!References: Gizmodo - 10 Things You Didn't Know About the Making of "Prometheus" Rejects - 40 Things We Learned from the ‘Prometheus' Commentary (For those without Blu-Rays) A Ghost Story - Monologue IGN - AVP Killed Alien 5 Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate Creative Assembly's "Alien Isolation" (2014) with Andy Kelly (PC Gamer), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-02:22) Introducing Andy Kelly (02:22-03:30) What we talk about when we talk about Alien Isolation (03:30-34:28) A brief and incomplete history of Alien Isolation (34:28-47:43) For the fans/fan service (47:43-52:23) Andy's Scene (52:23-57:51) Dom's Scene (57:51-01:00:28) Adam's Scene (01:00:28-01:07:17) Closing Thoughts (01:07:17-01:08:21) Outro (01:08:21-01:10:46) References: Andy Kelly: The Making of Alien Isolation Andy Kelly: Alien Isolation's Lost Intro Sequence Andy Kelly: Why I love the Lo-Fi Tech of Alien Isolation Andy Kelly: What I want from Alien Isolation 2 Andy Kelly: Addressing Criticism of Alien Isolation Why Sigourney Weaver Returned as Ripley in Alien Isolation 18 Things We Learned About Alien Isolation Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate Mel Brooks' "Spaceballs" (1987) with Griffin Newman (Blank Check with Griffin & David, Masters of the Universe: Revelation, The George Lucas Talk Show, The Tick), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise. Intro (00:00-01:19) Spaceballs? (01:19-03:06) Introducing Griffin Newman (03:06-03:30) What we talk about when we talk about Spaceballs (03:30-54:23) A brief and incomplete history of Spaceballs (54:23-01:26:06) Griffin and Adam's Scene (01:26:06-01:36:08) Dom's Scene (01:36:08-01:42:23) Closing Thoughts (01:42:23-01:58:16) Griffin the Lunchbox! (01:58:16-02:06:19) Outro (02:06:19-02:08:41) Don't forget to rate, review, and subscribe!References: Spaceballs: The Documentary Spaceballs (1987) - In Conversation: Mel Brooks & Thomas Meehan Interview Behind the Scenes Mel Brooks Star Wars Spoof Movie Mel Brooks in the AV Club John Hurt in the AV Club Bill Pullman in The Hollywood Reporter Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich.This episode was edited by AJ Fillari.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate The Brothers Strause's "Aliens vs. Predator Requiem" (2007) with Warren Chao (Pop Culture Party People), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Warren Returns (01:19-01:39) What we talk about when we talk about AVPR (07:34-26:22) A brief and incomplete history of AVPR (26:22-33:39) Pushing Boundaries (33:39-36:08) The Scenes (36:08-56:27) Closing Thoughts (56:27-01:08:47) Outro (01:08:47-01:11:32) Don't forget to rate, review, and subscribe!References: How Hollywood's ‘Alien' and ‘Predator' movies reinforce anti-Black racism 'AVP-R': The Strause Brothers Strike Back 'ALIEN VS. PREDATOR' SEQUEL'S R-RATED SECRETS REVEALED: 'BREAKING RULES IS A GOOD THING' Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week, the boys take a spin in a neon Batmobile in the oft-maligned third installment of the 90s franchise — yes, it's the one with the nipples on the suits. Join us as we discuss Elliot Goldenthal's incredible compositional contribution to the Batverse in Joel Schumacher's Batman Forever.

In our third double-guest episode in a row, Kenny and Robert begin the show chatting with rockstar songwriter, musician and composer, Isabella Summers (Little Fires Everywhere, Panic, Physical) aka “The Machine” from Florence + The Machine. Isa reveals that she always wanted to work in film and even scored and directed her own horror films as a kid, explains how she jumped head first into film scoring and continues to learn as she goes and breaks down the differences between scoring with a partner and writing solo. Subscribe to MORE SCORE on Patreon for year-round interviews, film music talk and even cool merch: http://Patreon.com/MoreScore Later, Oscar-winning composer Elliot Goldenthal (Frida, Batman Forever, Heat, Interview with the Vampire, Alien 3, Pet Sematary, Demolition Man and so many more) joins the show to discuss growing up in Brooklyn and absorbing multiple styles of music, his working relationship with late director Joel Schumacher, how Jim Carrey's Riddler influenced his themes for Batman Forever, why he compares a tight deadline to a car crash, and shares his secret for overcoming writer's block. This episode is presented by Spitfire Audio Follow us on Twitter @ScoreThePodcast or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2021 Epicleff Media --- Support this podcast: https://anchor.fm/score/support

This week we investigate "Alien vs. Predator" (2004) with Emily Gaudette (SYFY), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Introducing Emily Gaudette (01:19-01:39) Pick a side (01:39-07:34) What we talk about when we talk about AVP (07:34-29:46) A brief and incomplete history of AVP (29:46-33:46) Let them fight! (33:46-37:15) Adam's Scene (37:15-47:23) Emily's Scene (47:23-58:22) Dom's Scene (58:22-01:05:33) Closing Thoughts (01:05:33-01:18:50) Outro (01:18:50-01:20:39) Don't forget to rate, review, and subscribe!References: IGN: Anderson will Direct Aliens vs Predator IGN Film Force: Interview with AvP Director Paul Anderson Film Focus: Anderson on AvP Ain't it Cool News: James Cameron on AvP IGN: Interview with AvP Director Paul Anderson  Empire Magazine: Ridley Scott on AvP Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, and edited by Dom Nero and Adam Volerich.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate Jean-Pierre Jeunet's "Alien Resurrection" (1997) with Brian Collins (Horror Movie a Day), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Introducing Brian Collins (01:19-02:01) What we talk about when we talk about Alien Resurrection (02:01-22:17) A brief and incomplete history of Alien Resurrection (22:17-31:15) It all comes back to Fox (31:15-39:49) Adam's Scene (39:49-53:01) Brian's Scene (53:01-58:14) Dom's Scene (58:14-01:08:37) Life Cycles (01:08:37-01:11:05) One step beyond (01:11:05-01:21:15) Outro (01:21:15-01:23:54) References: One Step Beyond - The Making of Alien ResurrectionDon't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

This week we investigate David Fincher's "Alien 3" with Angie Han (Mashable), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:31) Introducing Angie Han (01:31-02:22) Fine, but. (02:22-07:56) Three times the terror (07:56-17:39) A brief and incomplete history of Alien 3 (17:39-22:53) What we talk about when we talk about Alien 3 (22:53-42:31) Angie's Scene (42:31-45:17) Dom's Scene (45:17-47:34) Adam's Scene (47:34-52:17) Trauma (52:17-54:07) Legacy, Iconography, Intimacy (54:07-01:03:28) We think about it too much (01:03:28-01:05:28) Closing Thoughts (01:05:28-01:08:55) Outro (01:08:55-01:10:34) References: Wreckage and Rage: The Making of Alien 3Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Composer Elliot Goldenthal creates works for film, orchestra, theater, opera, and ballet. Goldenthal received an Academy Award and Golden Globe Award for his score for Frida directed by Julie Taymor, having also received Oscar nominations for the film's original song “Burn It Blue” with lyrics by Taymor, and Oscar nominations for his music for Interview With the Vampire and Michael Collins, both directed by Neil Jordan. Also notable among his more than 30 film scores are Michael Mann's Public Enemies and Heat, Neil Jordan's The Butcher Boy (Los Angeles Film Critics Award for Best Score), Joel Schumacher's Batman Forever, Gus Van Sant's Drugstore Cowboy, his groundbreaking score for David Fincher's Alien 3, and Julie Taymor's The Tempest, Across The Universe, and Titus. Additionally, he has received two Golden Globe nominations and three Grammy Award nominations. Goldenthal was inducted into the New York Foundation for the Arts (NYFA) Hall of Fame and presented with the ASCAP Founders Awards in Los Angeles. Track Credits: Die Teufel von Loudun Penderecki 1969, Fonogrammi, John Coltrane - A Love Supreme, Kanon For Orchestra, Krzysztof Penderecki Pittsburgh Overture, Polish Requiem St. Lukes String Quartet No. 1, Elliott Goldenthal Trumpet Concerto Movement I, and Trumpet Concerto Movement II.

This week we investigate James Cameron's "Aliens" (1986) with Clay Keller and Ryan Marker (Screen Drafts), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can't wait to talk about. But this week, and throughout the summer, we're devoting our show to 20th Century Fox's Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:31) Introducing Clay Keller and Ryan Marker (01:31-12:31) This Time It's War (12:31-31:46) A brief and incomplete history of Alien$ (31:46-44:34) What we talk about when we talk about Aliens (44:34-47:53) Clay's Scene (47:53-53:16) Ryan's Scene (53:16-59:00) Adam's Scene (59:00-01:04:13) Dom's Scene (01:04:13-01:08:24) Bigger, Deeper, Different (01:08:24-01:10:10) Family, Mothers, Androids, Aliens (01:10:10-01:17:54) Kill Me (01:17:54-01:20:00) Closing Thoughts (01:20:00-01:21:48) Outro (01:21:48-01:25:16) References:Superior Firepower: The Making of Aliens: https://www.youtube.com/watch?v=V--gH9ayR-oZombies, Aliens and Robots: Gale Anne Hurd on Her Greatest Hits: https://www.rollingstone.com/movies/movie-news/zombies-aliens-and-robots-gale-anne-hurd-on-her-greatest-hits-55081/Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by AJ Filari.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith's Alien score, with some elements from Elliot Goldenthal's soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

Episode 260: The Crew's brooding with sexy vampires while watching Neil Jordan's Interview with the Vampire: The Vampire Chronicles. The cast is filled with huge names, but then-unknown Kirsten Dunst steals the show. She's creepy, sympathetic, and believable as an older woman forever trapped in a child's body. The music, make-up/visual effects, and cinematography stand out. The Crew discusses. If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com

This week we investigate Ridley Scott's "Alien" (1979) with Mia Vicino (BRAT), and search for the scene at its center.This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can’t wait to talk about. But this week, and throughout the summer, we’re devoting our show to 20th Century Fox’s Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Tag Yourself (01:19-05:15) Introducing Mia Vicino (05:15-05:49) What we talk about when we talk about Alien (05:49-09:35) Backstory (09:35-13:07) Ships and Symbols (13:07-20:31) Not again! (20:31-24:25) Body Horror (24:25-32:19) The Perfect Organism (32:19-36:09) A brief and incomplete history of Alien (36:09-38:49) Crew Expendable (38:49-43:50) THE Scene (43:50-50:49) Oppression, Violence, and Revenge (50:49-53:49) Puppets, Guts, and Grime (53:49-59:18) The Alien Gaze (59:18-01:03:22) Kane's Son/Sum (01:03:22-01:04:55) Closing Thoughts (01:04:55-01:08:25) Outro (01:08:25-01:10:14) Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, and produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith’s Alien score, with some elements from Elliot Goldenthal’s soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh.You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

Welcome to our first mini-series: Xenomorph Summer. Each week we'll explore an entry from 20th Century Fox's Alien franchise. This is a podcast about movies, and the scenes that make them special. Usually on our show, we explore a film we love, a new release, or ask our guests to bring a movie they can’t wait to talk about. But this week, and throughout the summer, we’re devoting our show to 20th Century Fox’s Alien Franchise.Show notes: (all timestamps are approximate) Intro (00:00-01:19) Welcome to Xenomorph Summer (01:19-10:20) The Line Up (10:20-40:31) Closing Thoughts (40:31-42:25) Outro (42:25-43:42) Don't forget to rate, review, and subscribe!Find us online at:www.EyeOfTheDuckPod.comFollow us on Twitter, Instagram, and Letterboxd.Credits:Eye of the Duck is created, hosted, produced, by Dom Nero and Adam Volerich.This episode was edited by Dom Nero.Our theme song for Xenomorph Summer is lovingly ripped from Jerry Goldsmith’s Alien score, with some elements from Elliot Goldenthal’s soundtrack for Alien 3 sprinkled in. Our logo was designed by Francesca Volerich and was adapted from an illustration by Roisin Marsh. You can purchase Francesca's work at society6.com/francescavolerich.You can support Rosin's work at: https://t.co/X888U1R1vv?amp=1 and support them: https://ko-fi.com/alopexIf you'd like to advertise with us, or sponsor us, please email: Contact@EyeOfTheDuckPod.comAnd next time you watch a movie, remember to keep your eye on the duck.

Our latest guests on Soundtracking are writer / director Julie Taymor and her partner both romantically and creatively, the composer Elliot Goldenthal. Julia and Elliot joined Edith to discuss The Glorias, a remarkable film about the life of journalist and political activist, Gloria Steinem, with different actors playing her in the various phases of her life. It's a device that allows Julie all manner of scope for narrative fun and games, and elicits fine performances from leading ladies Julianne Moore, Alicia Vikander, Lulu Wilson and Ryan Kiera Armstrong.They also reflect upon Elliot's Oscar-winning score for Frida, which Julie directed.

Hello and welcome back to the podcast! In this new installment of my "Listening To.." series, I am centered on composer Elliot Goldenthal, one of my favorite film composers of the modern era. You might not immediately recognize his name, but Elliot Goldenthal has contributed music to some of the most notable and popular movies of the last few decades. This includes such diverse titles as ALIEN 3 (1992), INTERVIEW WITH A VAMPIRE (1994), HEAT (1995), BATMAN FOREVER (1995), MICHAEL COLLINS (1996) and FRIDA (2002), the latter garnering him the Academy Award for Best Original Score. He showcases an eclectic style and approach ranging from large-scale orchestral music to choral pieces, to jazz, swing and rock, ethnic instrumentation and from very tonal and melodic music to very dissonant and challenging tonalities.   Goldenthal has emerged as a major influential voice in the art form since the 1990's, contributing brilliant and powerful music not only to movies but also live theater, stage musicals and the concert world, the latter in the form of operas, symphonies, ballets and oratorios. In fact, he could be considered primarily a concert composer for whom film is just one slice of his musical pie, so to speak. My primary focus in this episode will be on his incredible score for 1999's TITUS, a film adaptation of William Shakespeare's play, as directed by Julie Taymor.   Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle twitter.com/score2settlepod   Email the show at ascoretosettlepodcast@gmail.com 

In this episode, I welcome back to the podcast Neil S. Bulk, soundtrack album producer and editor, as he graciously shares behind-the-scenes details and stories from the major projects he shepherded last year for various record labels, such as La-La Land Records. I inquire about the expanded album editions of the James Bond epics DIE ANOTHER DAY and THE WORLD IS NOT ENOUGH, both with music by David Arnold, in addition to the 3-CD, 30th anniversary release of Michael Kamen's DIE HARD, the expansive set of music from the 1960's sci-fi TV series LAND OF THE GIANTS and the deluxe treatment of Elliot Goldenthal's score for ALIEN 3. Find these albums available at https://lalalandrecords.com/.    Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod   Email the show at ascoretosettlepodcast@gmail.com  

"When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!

"When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!