Podcasts about Elmer Bernstein

In a show packed, as always, with quality music, your host Jason Drury begins the show with THE JAMES BOND SUITE from the compilation album JOHN BARRY - THE POLYDOR YEARS: THE CONCERT JOHN BARRY (Quartet Records) by John Barry Jason then continues with THE REIVERS (CONCERT SUITE) by John Williams from La La Land Records new 2-CD set release of music from the classic 1969 film starring Steve McQueen. That is followed by a concert suite of music from the 1980s Gerry Anderson ‘Supermacromation' series TERRAHAWKS (Silva Screen Records) by Richard Harvey. Jason then continues with the "Main Title" from the original 1963 film THE PINK PANTHER by Henry Mancini, released in a new 2-CD set by Quartet Records over Christmas 2024. Afterwards, you'll hear selections from Laurie Johnson's swashbuckling score for THE LADY AND THE HIGHWAYMAN (Dragon Domain Records), ABBOTT AND COSTELLO MEET FRANKENSTEIN from the crowdfunded re-recording of Frank Skinner's score from Intrada Records and a suite from the 1961 Disney family drama GREYFRIARS BOBBY from the album THE FILM MUSIC OF FRANCIS CHARGIN from Naxos Records. Jason then rounds off the show with ‘The End' from another recent release from Quartet Records, another 2-disc reissue, this time from the 1991 Martin Scorsese remake of CAPE FEAR by Bernard Herrmann, adapted, arranged and conducted by Elmer Bernstein. 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, Corey O'Brien —— 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

Ellen Adair and Eric Gilde discuss the 1992 Babe Ruth biopic, "The Babe." They introduce the film (1:36), with an overview of the script, the cast, and filmmakers, and review the 20-80 baseball scouting grades for rating the film (4:05). Amount of Baseball (10:01) is surprisingly baffling for a relatively objective tool, but our scouts try to parse the true amount given the unsatisfying, nothing-but-dingers nature of the gameplay. There is a sad player comp. Baseball Accuracy (15:00) dives in on this film's Babe Ruth pitcher erasure, including striking out Ty Cobb, and inaccuracies with Ruth's first career game and his performance in the 1916 World Series. His time with the Orioles and Jack Dunn also elided, with some unfortunate consequences including the creation of his nickname. Some examination of very young George as a rapscallion, his home life, and his time at St. Mary's Industrial School for Boys, plus Brother Matthias accuracy. Did Babe Ruth ever come late to a game drunk? There are many, many timeline problems, particularly with Claire and Helen. Ellen plays a game of What Year Is It. Discussion of Joe Dugan, Dorothy, Ruth punching an umpire, Ernie Shore's "combined" no-hitter, Eddie Bennett, Harry Frazee's sale of Ruth, the Called Shot, the Johnny Sylvester story, the feud with Lou Gehrig, and Ruth's "milk." Ruth's relationship with Miller Huggins, and his desire to become a manager himself, including anecdotes with Frank Navin and Connie Mack, are examined. WTF is up with the depiction of Ruth's athleticism, (including his purported use of a courtesy runner)? The final game has as many problems as the rest of the film. Storytelling (1:04:02) highlights this film's main problems: the classic biopic problem of trying to tell the entire life story, timeline jumbles, and the depiction of Ruth as a dumb man-child. Yankee Stadium propaganda. Ellen has a list of Unanswerable Questions. Score (1:20:10) envisions the scenario in which consummate professional Elmer Bernstein was asked to compose the music for this film. Acting (1:23:13) discusses this disappointing John Goodman performance, backed by a whole lot of It's Fine. Ellen uplifts one Trini Alvarado moment. Delightfulness of Catcher (1:29:00) had so many good catcher names and Ruth's own catcher feats as possible fodder, but nothing is made of them. Delightfulness of Announcer (1:30:31) considers the culpability of the announcers for the inaccuracies. Lack of Misogyny (1:33:40) has much to contend with given Ruth's biographical philandering, but somehow this movie makes it so, so much worse. No spoilers on the following segments: Yes or No (1:40:39), Six Degrees of Baseball (1:44:42), Favorite Moment (1:45:22) Least Favorite Moment (1:46:45), Scene We Would Have Liked to See (1:47:47), Dreamiest Player (1:49:50), Favorite Performance (1:50:28) and Next Time (1:51:36). Join: PL+ | PL ProProud member of the Pitcher List Podcast Network

Se habla a veces de la fe como una opción más en la vida, como si para algunos de nosotros fuera posible vivir sin Cristo. Juan cuenta la parábola de Jesús sobre la vid y los pámpanos en el capítulo 15 de su Evangelio, que nos recuerda que separados de Él, nada podemos hacer (v. 5). El cantautor de Filadelfia, Amos Lee, se hizo especialmente conocido al ir de gira con Nora Jones y Bob Dylan a principios de este siglo. En 2011 pide a Jesús si puede ayudarle, ahora que se siente tan solo, en la canción que lleva su nombre. Zach Williams tenía un grupo también a principios de siglo llamado La Reforma (The Reformation), pero es cuando llega a ser cristiano que se une a los Hermanos de la Gracia (Brothers Of Grace). En 2019 graba con "la reina del country", Dolly Parton, nieta de un pastor pentecostal, "Allí estaba Jesús" (There Was Jesus). Malcolm Wild es ahora pastor de la Capilla Calvario en Florida, pero junto con Alwyn Wall, ahora pastor de Calvary Chapel en Londres, formó un dúo de apariencia hippy al estilo Simon y Garfunkel. a principios de los 70, llamado Malcolm y Alwyn. Al llegar los sonidos de la "nueva ola" de "power pop" en Los Ángeles a finales de los 70, Wild formó un grupo que recuerda a The Knack con el nombre de Malcolm y los Espejos (Mirrors), que grabaron un sólo álbum en 1981 de "Vuelta a la Roca" (Back To The Rock). El nombre "The Chosen" (Los Elegidos) era desde los años 70 conocido como el título de la novela más popular sobre las diferencias entre los judíos de Nueva York en 1967. El libro de Chaim Potok muestra el contraste entre el judaísmo ortodoxo moderno sionista y el ultraortodoxo jasídico en contra del estado de Israel. Habla del encuentro de dos hijos adolescentes de estudiosos de la Ley judía que se hacen amigos en el barrio predominantemente judío de Brooklyn. La apasionante historia de sus diferencias fue llevada al cine en 1981 como "Elegidos del gheto" con el popular actor juvenil judío de los 70, Robbie Benson, junto a veteranos interpretes como Maximilian Schell y Rod Steiger. Escuchamos algunos diálogos de la versión doblada, comentados por José de Segovia con la música de fondo del trío judío polaco de "klezmer" Kroke (Cracovia en "yididish") y la banda sonora original de Elmer Bernstein. El tema del grupo irlandés U2, "¡Despierta hombre muerto!" (Wake Up Dead Man) fue escrito diez años antes de que lo grabaran en el álbum "Pop" (1997). Refleja la lucha de Bono y The Edge por mantener la fe que conocieron de adolescentes en la comunidad cristiana carismática Shalom de Dublin. Es una oración a Jesús pidiendo ayuda, al verse solos en este mundo. La escuchamos en la versión en vivo que hicieron en el castillo irlandés de Slane. Otra plegaria a Jesús que tardó muchos años en salir a la luz es la del cantautor canadiense Bruce Cockburn, que grabó para su disco "In The Falling Dark" (1977), pero no se publicó hasta el 2002. Es una emocionante confesión de fe desde la oscuridad a la que se ha enfrentado siempre , este maravilloso músico que cumple ahora 80 años.

CONTENT WARNING: Discussion of racism, sexual assault, false imprisonment. 1962 contained not one but two books that were thrust upon us as required school reading (or acting), but none loom as large as this story. To be fair, it's one of the few stories about the pre-Civil Rights Act South that's presented through the eyes of a child, and that means it's perfect school fodder. The movie was a huge labor of love from the entire creative team, which is fantastic and reads on screen, but also makes for a truly uneven watching experience. Director Robert Mulligan gets the most out of the cast, but his execution of trying to see things through Jem & Scout's perspective never translates on screen. In fact, the only moments that truly work are in the courtroom, when the reality of small town Alabama racism come roaring back. It's a shame it's not a better movie because Gregory Peck is giving his masterpiece performance and the kids are phenomenal on screen, but acting alone cannot a movie make. We wrap up Oscars ‘62 with To Kill A Mockingbird onMacintosh & 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 the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved. Excerpts taken from the introduction to the 35th Academy Awards held on April 8, 1963.

Scored to Death Radio is back with another brand-new episode celebrating the music of werewolves and werewolf movies! Host J. Blake Fichera guides listeners through a curated playlist highlighting scores from 1941-2025 and featuring music from composers Hans Salter, Danny Elfman, Benjamin Wallfisch, Jay Chattaway, Pino Donaggio, Ennio Morricone, Elmer Bernstein, and much more. —— 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, Corey O'Brien —— 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

CONTENT WARNING: Discussion of alcoholism, child neglect, substance abuse, addiction. Every year at the Oscars there's a movie that stands out as the film that should be the Best Picture, just for the sheer raw power of its storytelling. This is that movie. Jack Lemmon is giving a performance for the ages, the supporting cast is rock solid, and the always contrarian Blake Edwards goes for broke. This could have easily been a melodrama, but you get the sense very quickly that everyone making this movie got the impact of what they were doing here. And that's incredible, considering there's movies that come out in 2025 that can't capture the truth of addiction like this movie. We continue Oscars ‘62 with Days of Wine and Roses onMacintosh & 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. Excerpts taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved.

CONTENT WARNING: imprisonment, solitary confinement, murder, homosexuality. The duds just keep on coming this week as a movie about one of America's most dangerous (and quirky) prisoners just collapses under its own weight. Many times we celebrate directors and casts who deeply care about their subject. In this case, it somehow makes the whole experience worse, mostly because it commits the cardinal sin of being boring. It's not the worst movie we've ever seen, but it's a real drag to sit through. Oscars ‘62 continues as we talk about Birdman of Alcatraz onMacintosh & 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 “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc. Excerpt taken from “Main Title” from the original soundtrack to the film The Miracle Worker, written and composed by Meredith Willson. Copyright 1962 Playfilm Productions, Inc. All Rights Reserved.

Si la infancia es la patria que nunca nos abandona, nuestra vida está marcada por esos años de pérdida de la inocencia. El libro de Harper Lee, "Matar a un ruiseñor" (1960) es de lectura obligatoria en las escuelas de Estados Unidos. Fue la única novela que publicó la escritora durante 55 años, pero muchos la conocen por la versión que hizo en el cine, Robert Mulligan con Gregory Peck como el padre en la ficción de esta niña, que se enfrenta como valiente abogado al racismo del Sur. Harper Lee se cría con el escritor Truman Capote, que aparece en el libro y la película como Dill, el niño que pasa los veranos en ese pequeño pueblo de Alabama, apenas un surco entre plantaciones de algodón y trigales con una sola calle, donde vivían sus dos familias. Los padres de Capote se estaban divorciando y en medio de una amarga disputa por su custodia, lo mandan con unas primas solteronas de su madre. "Ambos sufren de las heridas del rechazo de los padres y sienten el desgarro de la soledad", dice el biógrafo de Capote. "Ella era demasiado bruta para las otras chicas y él demasiado blando para los demás chicos", dice Gerald Clarke. Seguirán siendo amigos toda su vida en Nueva York. Y es ella quien le acompaña en su viaje a Kansas, para investigar el asesinato de la familia que describe en "A sangre fría" (1966). En este programa Al Trasluz escuchamos fragmentos del libro, leído por Adriana Navarro y algunos diálogos de versión doblada de la película de Robert Mulligan en 1962, así como del telefilm sobre el cuento que escribió Capote de "Un recuerdo navideño". Oímos una parodía del libro en Los Simpson y nuevas canciones inspiradas por "Matar a un ruiseñor", como "Atticus" del grupo británico Noisettes y "Harper Lee" de la banda irlandesa Little Green Cars. El guión y la narración es de José de Segovia con el fondo musical de la banda sonora original de Elmer Bernstein, así como la versión del tema principal de la película que hizo el guitarrista de jazz Bill Frisell. El diseño sonoro y realización técnica es de Daniel Panduro.

We keep our Oscars series rolling and well, things have been rough to start. You'd think with a musical as culturally significant and iconic as this one that the movies would have done it up for fun. Sadly, this is an incredibly BORING movie. Sure, Robert Preston is incredible, and sure, the songs are fun, but after the 3rd of 17 dance breaks, you start to realize that our director just barely made a movie. They might as well have filmed the stage production and screened that instead for as much money as they sunk into this. Oscars ‘62 trudges, not marches along, as we talk The Music Man onMacintosh & 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 “Main Title” from the original soundtrack to the film The Music Man, written and composed by Meredith Willson. Copyright 1962 Warner Bros Records Inc; Warner Bros Pictures Inc. Excerpt taken from “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc.

Neste episódio do podcast De Volta Para o Sofá, nós rebobinamos a fita até o ano de 1993 para revisitarmos "O Anjo Malvado" (The Good Son), filme que chamou muito a atenção na época por trazer Macaulay Culkin no papel de vilão: uma criança sociopata que coloca em risco a vida do primo, vivido por Elijah Wood. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Confira abaixo a minutagem dos quadros do podcast De Volta Para Sofá sobre o "O Anjo Malvado": 00:00:00 - Introdução 00:05:02 - Memória Afetiva: quando vimos o filme pela primeira vez e como foi revê-lo agora? 00:09:51 - Almanaque: uma coleção de informações, reflexões e curiosidades 00:30:16 - Deu Tilt: aspectos que ficaram datados ou cenas que não funcionam mais 00:43:32 - Momento Supra Sumo: nossas cenas favoritas 00:55:11 - Por Onde Anda: saiba o que o elenco principal está fazendo hoje em dia 01:09:06 - Música de Encerramento Dirigido por Joseph Ruben ("O Padrasto") e escrito por Ian McEwan (autor do livro “Desejo e Reparação”), "O Anjo Malvado" acompanha Mark (Elijah Wood), um menino de 12 anos que acaba de perder a mãe. Quando seu pai (David Morse) precisa fazer uma viagem de trabalho, ele é levado para passar algumas semanas com seus tios (Wendy Crewson e Daniel Hugh Kelly), pais de Henry (Macaulay Culkin), que tem a mesma idade de Mark. Os dois primos se tornam amigos, mas a relação entre eles logo se modifica quando Henry demonstra um comportamento cada vez mais violento. No podcast, nosso almanaque de curiosidades a repercussão de "O Anjo Malvado" nos anos 90, no auge da fama de Macaulay Culkin, quando seu pai (e agente) interferiu diretamente na produção do filme. O programa traz ainda o quadro "Deu Tilt", no qual nós listamos aspectos que ficaram datados ao revermos o filme agora, mais de 30 anos depois. E no "Momento Supra Sumo", nós elegemos nossas cenas favoritas. Você também vai saber por onde andam os principais integrantes do elenco. Suba no penhasco, agarre nossa mão e aperte o play para revisitar "O Anjo Malvado" com a gente! Venha descobrir se o filme ainda é tão marcante quanto na época em que o vimos pela primeira vez. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Kel Gomes, editores do cinematório. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br. Este episódio contém trechos das músicas "The Good Son" (1993), de Elmer Bernstein, e "The Good Son" (1990), de Nick Cave. Todos os direitos reservados aos artistas.

"Straszna muzyka" 31.10.2024 r. 1. J.S.Bach - Wariacje Goldbergowskie, Aria i 25,26,27 Walter Abt, Jonathan Goldberg (Gitar Duo). 2. Krzysztof Komeda - Dziecko Rosemary, Mia Farrow. 3. Bernard Herrmann - Suita Psycho, Royal Philharmonic Orchestra, Elmer Bernstein. 4. Camille Saint-Saëns - Dance Macabre, Op.40, Philharmonia Orchestra, Charles Dutoit. 5. Charles Ives, Three Outdoor Scenes: Hallowe'en. 6. Krzysztof Penderecki - Da Natura Sonoris No. 1, Warsaw Philharmonic Orchestra, Antoni Wit. 7. John Williams - Jurasic Park - The Raptor Attack. 8. John Williams - Geisha - The Rooftops Of The Hanamachi. 9. Sting - Moon Over Bourbon Street - Live In Berlin/2010, Royal Philharmonic Concert Orchestra, Steven Mercurio.

Frizz and Bob dive into the spooky season with the delightfully awful Ghostbusters soundtrack, because bustin' makes us feel good. To get through this collection of 80s trash, Bob is drinking Castle and Key's brand new 7 year cask strength wheated bourbon and Frizz pops Henry McKenna's Bottled in Bond bourbon. Join us as we reminisce about the brilliance of this 80s must-see movie, talk about Elmer Bernstein's battle between classical and commercial, the timeless genius of Rick Moranis, and the confusing awfulness of Air Supply. Happy Halloween!

The 41st edition of Variety Hits! A random mix featuring artists including Billy Idol, The Rolling Stones, Billy Joel, Paul McCartney, Seether, The Moody Blues, Elmer Bernstein, Rod Stewart, a special listener request for ODB, Bob Seger, Phil Collins and more!

It's time for a trip to the flapper era of the 1920's via the 1967 musical "Thoroughly Modern Millie". This brings the first appearance in our list of musical icon Dame Julie Andrews as she plays the naïve Millie Dillmount who has arrived in New York with the goal of marrying a wealthy businessman. The film also stars Mary Tyler Moore, James Fox and the iconic Carol Channing with an Oscar winning score by Elmer Bernstein. To say this film has not dated well is an understatement.....despite the name there is nothing modern about it. Tune in and join us for a very interesting discussion......and.........RASPBERRIES!!!

This movie had the same composer as 953: Oscar, 1022: Trading Places, & 1026: Wild Wild West. Next week's Canadian produced topic is Happy Birthday to Me (1981).

Dana and Tom welcome returning guests, Keith Techmeier and Adam Vanderweff, to discuss one of the seminal 1980s action-comedies for its 40th anniversary, Ghostbusters (1984): directed by Ivan Reitman, written by Dan Ackroyd and Harold Ramis, music by Elmer Bernstein, starring Bill Murray, Harold Ramis, Dan Ackroyd, Sigourney Weaver, and Rick Moranis.Plot Summary: "Ghostbusters," directed by Ivan Reitman, is a spirited blend of comedy, supernatural elements, and special effects that coalesces into an exuberant cinematic experience. The film chronicles the journey of three parapsychologists—Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd), and Egon Spengler (Harold Ramis)—who, after being expelled from their university, establish a ghost-catching business in New York City. Their operation, branded as "Ghostbusters," quickly gains notoriety as they confront increasingly malevolent spectral entities, culminating in a climactic battle against the ancient Sumerian deity, Gozer."Ghostbusters" is a testament to the power of well-crafted comedy and imaginative storytelling. It transcends its genre conventions, offering an escapist adventure that is both thrilling and delightfully absurd.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/ghostbusters-1984-ft-keith-techmeier-and-adam-vanderwerffFor the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

This movie has the combined writing staff of Predator and Land Before Time. The final question was a lengthy discussion about favorite songs written for a movie. If you're looking for the time we discussed movie songs BETTER than the movies they were written for, it can be found in episodes 25 - 27 of Tequila Sunrise. Next week a very special guest joins for The Quick and the Dead (1995).

We're taking a look at one of the most uncompromising, ruthless films of the 1950s this week. 1957's Sweet Smell of Success is a movie unlike any other. Brandon and Emmett Stanton take a look at the unforgettable performances of Burt Lancaster and Tony Curtis as J.J. Hunsecker and Sidney Falco. The acidly poetic screenplay by Ernest Lehman and Clifford Odets remains one of the wittiest ever seen on celluloid. The conversation also praises the direction by Alexander McKendrick, cinematography by James Wong Howe and score by Elmer Bernstein.

Music Heard this Episode:"Camel Song" -- Korn"End of Days (Main Title)" -- John Debney"After Thoughts" -- Elmer Bernstein"Wrong Way" -- Creed"Crushed" -- Limp BizkitIntro music - "If" by Broke For FreeConnect with us!PatreonTwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

This week on the show, we're talking about Ghostbusters: Frozen Empire's score by Dario Marianelli, lack of pop tracks, and then chatting a lot about how the lore and magic of the live-action Ghostbusters world is expanded by this film. First up, Troy and Chris walk through some of their favorite score cues and explore some of the new cues heard in the film. There's a lot of new avenues explored and great ways of furthering Elmer Bernstein's original music throughout. Then, the boys talk about Nadeem's character in the film and what doors he opens moving forward, which then naturally turns to an existential discussion where we talk about what it means to become one with the fabric of the universe. Ready?

In this transformative episode of WN MOVIE TALK, Trev takes us on a very personal moonlit journey through the classic lycanthropic masterpiece, "An American Werewolf in London". As the full moon casts its eerie glow, I dive deep into the darkened alleys of this cinematic gem, exploring its rich tapestry of horror, humor, and heart.Join me as I take a different approach to the film analysis in this special episode, guiding you through not only the movie, but of my own personal history intertwined with this film, tracing back to that fateful night when I first encountered its mesmerizing allure as a wide-eyed child, certainly far too young to grasp its chilling depths. From that moment, "An American Werewolf in London" has held a visceral grip on my cinematic consciousness, shaping my love for the genre and influencing my perspective on storytelling.But this episode isn't merely a nostalgic journey down memory lane; it's a comprehensive exploration, blending memoir with critique, as I dissect the film's every frame with meticulous detail. From the spine-tingling opening sequence to the heart-pounding finale, I ask you to join me as I traverse the moors alongside David and Jack, and try to get comfortable with the inhabitants of the Slaughtered Lamb.Written and directed by the zany comedic director John Landis, "An American Werewolf in London" stars newcomers David Naughton as the ill-fated David, and Griffin Dunne as the ghostly companion Jack. The lovely Jenny Agutter as the enigmatic nurse Alex,also stars as the attentive Nurse Price. As I hike trough through the moonlit valleys of the North Yorkshire Moors, we can't overlook the haunting lunar-based soundtrack, and ominous score composed by the legendary Elmer Bernstein, which lends an ethereal atmosphere to every scene, heightening the tension and adding layers of dread. Oh, and lest we forget to mention the ground-breaking practical effects by makeup artist Rick Baker, which continue to set the standard for creature design in horror cinema.Prepare to be enthralled as we uncover hidden Easter eggs, trivia tidbits, and behind-the-scenes anecdotes, making this episode a must-listen for die-hard fans and newcomers alike. So grab your silver bullets and join me under the pale light of the moon as we unravel the secrets of "An American Werewolf in London". Hosted on Acast. See acast.com/privacy for more information.

Lee and Leah are joined in this episode by returning guest Robby Roberson, and new guest Wick, to cover a film Robby has wanted to get on the show for a while now, Stephen Frears "The Grifters" (1990). This neo noir starring John Cusack, Anjelica Huston, and Annette Bening takes some surprising twist and turns, and leads to a fun conversation. Also, the host talk about what they've watched recently, and Wick, as a new guest on the show, gets to play the Movie God Game. "The Grifters" (IMDB)  Check out Wick's art on Instagram.  Catch Wick and Robby on a recent episode of The Grindbin Podcast.  Featured Music: "Chase" by Elmer Bernstein & "Commit a Crime" by Howlin' Wolf.

Today we're dimming the lights, turning off our phones and filling up a giant bucket of popcorn to get the lowdown on music for film and TV.Film score production has changed a lot in recent years, and LPO musicians timpanist Simon Carrington and tuba player Lee Tsarmaklis have seen it all; from Elmer Bernstein's skilful, old school approach, to the meticulous modern day techniques of click tracks and multitrack recording.Simon and Lee tell YolanDa about the film scores which soundtrack their earliest cinema outings and describe the joyful and awe-inspiring experiences playing the music of the legendary John Williams.Plus, Lee and Simon reveal the soundtracks they wish they could have played on.Be sure to listen to the Spotify playlist that accompanies this episode to inject some Hollywood dazzle into your day: https://open.spotify.com/playlist/6UuJau7Ew5d58hx4PbcO8g?si=b9970b912009443bProduced by Tandem Productions for the London Philharmonic Orchestra. #OffstagePodX: @LPOrchestraInstagram: @londonphilharmonicorchestraFacebook: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

Diane and Sean discuss the John Grisham novel-turned Coppola film, The Rainmaker. Episode music is, "Sharks",  written and conducted by Elmer Bernstein from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean (chicken_burrit0) be bad at video games on TwitchSupport the show

Join Trevor and his buddy Brad from the Cinema Speak podcast as they talk about movies from their collections with nostalgic and "Sentimental Scores"! Brad's Picks: Signs (2002) by James Newton Howard - 5:45 The Social Network (2010) by Atticus Ross and Trent Reznor - 35:00 Jurassic Park (1993) and Home Alone (1990) and more by John Williams - 58:00 Ghostbusters (1984) by Elmer Bernstein - 1:35:50 Trevor's Picks: Face/Off (1997), The Bourne Trilogy (2002 - 2007), and Green Zone (2010) by John Powell 20:45 The Matrix Trilogy (1999 - 2003) by Don Davis, Juno Reactor, Rob Dougan and Gocoo - 47:30 Broken Arrow (1996), Black Rain (1989), Backdraft (1991), Gladiator (2000), The Rock (1996) and The Dark Knight Trilogy (2005 - 2011) by Hans Zimmer - 1:18:30 Robocop (1987), Conan the Barbarian (1982), Conan the Destroyer (1984), Starship Troopers (1997), and Under Siege 2: Dark Territory (1995) by Basil Poledouris - 1:49:001:59:30 And stick around for speed round, where Trevor and Brad briefly talk about runner up picks that they didn't have time to spotlight. Check out Brad's podcast, Cinema Speak on ⁠Libsyn at ⁠Cinema Speak⁠⁠, or on ⁠⁠Twitter⁠⁠ and ⁠⁠Instagram⁠⁠. Follow us on ⁠Instagram ⁠@catchinguponcinema⁠⁠ Follow us on ⁠Twitter ⁠@CatchingCinema

Muitos de seus filmes não tem trilha original, mas quando tem, que trilhas! Bernard Herrmann, Howard Shore, Elmer Bernstein e Robbie Robertson são os maiores colaboradores musicais do inigualável Martin Scorsese.

SynopsisIn January 1980, famous American film music composer John Williams was named conductor of the Boston Pops Orchestra. On today's date that year, he led the Pops in the premiere performance of a concert overture based on his score for the John Wayne film The Cowboys.Now, by 1980, Williams had scored dozens of classic American films but not all that many westerns — The Cowboys, from 1971, for one, and Missouri Breaks, a quirky 1976 western starring Jack Nicholson and Marlon Brando, for another.If both The Cowboys and Missouri Breaks are somewhat unconventional samples of the western genre, Williams' music is in the grand tradition of the classic film scores by Jerome Moross, who composed the music for The Big Country; Elmer Bernstein, who wrote the score for The Magnificent Seven; and Jerry Goldsmith, who has done that service for a number of other classic westerns.All these composers, however, owed a collective debt to an unlikely cowboy music composer: Brooklyn-born Aaron Copland, whose Billy the Kid and Rodeo ballet scores from the 1930s and '40s helped define the symphonic equivalent of the wide-open American landscape.Music Played in Today's ProgramJohn Williams (b. 1932) The Cowboys Overture; Boston Pops; John Williams, cond. Philips 420 178

The HBS hosts return to the movies to learn why men are cheaper than guns.The Magnificent Seven, produced in 1960 and directed by John Sturges, has a significant place in the history of the western in the U.S. Some have claimed that it is, in fact, the last true western. In fact, the movie practically says this itself. It is a remake of Akira Kurosawa's 1954 film, The Seven Samurai, placing it in a different genre and a different cultural context. Kurosawa, apparently, told Sturges that he loved the film. The Magnificent Seven deals with questions of the use of force, the capitalist function of thieves and bandits, the meaning of courage, and the loss that war brings. And it has an amazing score, written by Elmer Bernstein. So why are we watching this film? “It seemed like a good idea at the time!”Full episode notes available at this link:https://hotelbarpodcast.com/podcast/episode-121-hbs-goes-the-the-movies-the-magnificent-seven-1960-------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe and submit a rating/review! Better yet, you can support this podcast by signing up to be one of our Patrons at patreon.com/hotebarsessions!Follow us on Twitter/X @hotelbarpodcast, on Facebook, on TikTok, and subscribe to our YouTube channel!  

Chapo Trap House and Movie Mindset's very own Will Menaker stops by to help celebrate Denzember and discuss Carl Franklin's 'Devil in a Blue Dress', based on the inaugural Easy Rawlins mystery novel of the same name by author Walter Mosley. It's a stylish period noir made by a filmmaker and team seemingly uninterested in reproducing the aesthetic trappings of classic film noir, instead opting for a rich and colorful evocation of parts of 1940s Los Angeles rarely seen in the movies. We discuss the career of Carl Franklin, as well as this film's thematic links to his 1992 neo-noir masterpiece One False Move. Then, we discuss the movie's thoughtful subversions of classic film noir, exploring the conditionality of freedom and access to the American Dream for Black Americans in postwar era South Central Los Angeles. Elsewhere, we continue our discussion on Denzel as actor and offer praise to his performance in addition to the movie's supporting performances from a scene-stealing Don Cheadle and the stunning, underrated Jennifer Beals.Will's Top 5 Denzel Reaction GIFS:1. Fallen2. Flight3. Denzel Door Slam4. Training Day5. Denzel Awards FaceWill's Top 5 Denzel Washinton Performances (Spike & Tony-Inclusive)1. Man of Fire2. Malcolm X3. Unstoppable4. He Got Game5. Glory Will's Top 5 Non-Spike & Tony Denzel Washington Performances (Unranked):1. Glory2. Devil in a Blue Dress 3. Ricochet 4. Philadelphia5. The Tragedy of Macbeth Follow Will Menaker on Twitter.Listen to & support Chapo Trap House on Patreon. Get access to all forthcoming Denzember episodes as well as our entire back catalog and bonus content by becoming a Hit Factory Patron for just $5/month.....Our Denzember theme song is "FUNK" by OPPO.

In this Film Ireland podcast, Gemma Creagh talks to event organiser Tim Burden about From The Quiet Man to The Quiet Girl – An Irish Film Music Journey, a celebration of Irish film music, and the role played by music in telling the great stories of Irish cinema over the past 100 years at Belfast's iconic Strand Arts Centre. Followed by Pius Ojo talking to Composer Sarah Lynch, who features among the panel of speakers at the event. From The Quiet Man to The Quiet Girl – An Irish Film Music Journey takes place on Thursday, 26 October 2023 as part of the Belfast International Arts Festival. https://belfastinternationalartsfestival.com/event/from-the-quiet-man-to-the-quiet-girl-an-irish-film-music-journey/ Join top award-winning composers from the Screen Composers Guild of Ireland and host Hugh Odling-Smee (Film Hub NI) as they explore seminal Irish films, and how their scores reflected the culture of the day. Featuring the music of Stephen Rennicks, John Williams, Mark Gordon, James Horner, Sarah Lynch, Elmer Bernstein, Cater Burwell, Van Morrison, Henry Mancini, Hannah Peel and Glen Hansard. https://filmireland.net/

Min 4: EL FILTRO LUCHINI: DE ÁNGELES Y DEMONIOS Analizamos el justificado batacazo en la salas de “El Exorcista: Creyente” y la entrada fuerte de “Sound of Freedom”. La película protagonizada por Jim Caviezel (La Pasión) llega a España marcada por la ruidosa controversia que ha tenido en el mercado americano por su cuestionado bombazo en taquilla. Este thriller que denuncia el imparable mercado del tráfico de menores tiene un fuerte respaldo del entorno ultra católico americano y nuestros críticos nos desvelan qué hay de bueno y de malo en el estreno más destacado de la semana. Min 14. ME HE HECHO VIRAL Pero para quienes huyan de películas tan intensas y prefieran dedicar un rato a reír y a disfrutar de lo nuestro sin complejos, resulta que la película de la semana es española, la protagoniza Blanca Suárez y se titula “Me he hecho viral”. Alberto Luchini y Raquel Hernández explican por qué lo que parecía un título menor es en realidad una comedia refrescante con secuencias tan divertidas como actuales. Min 20. PATRULLA CANINA Aunque la película de este Puente del Pilar sin duda es infantil y arrastrará a las salas a miles de niños y a sus familias. “La Patrulla canina: La Super Película” es lo más llamativo para los más pequeños, pero aquí te desvelamos por qué no es oro todo lo que parece relucir en esta apuesta animada Min 26. O CORNO Alberto Luchini analiza lo mejor de la intimista y personalísima cinta gallega que se ha llevado la Concha de Oro en San Sebastián. Min 30. SITGES SE RINDE A UN BAYONA DE OSCAR “La sociedad de la nieve” tiene serias opciones de dejar un nuevo Oscar para España”. El titular es de nuestros críticos de cabecera, que tras visionar la película de J.A. Bayona y de comprobar la doble ovación que se llevó en Sitges, ven claras opciones de estatuilla. Min 36: ESPECIAL BSO LA GRAN EVASIÓN Pero el mejor regalo de este veraniego Puente del Pilar viene en forma de tarta de cumpleaños. Celebramos los 60 años de “La Gran Evasión” rindiendo homenaje a la gloriosa banda sonora que el gran Elmer Bernstein le compuso a John Sturges. Ángel Luque y Roberto Lancha se ponen de pie para rendir honores a una joya cinéfila y musical que va mucho más allá de su “silbable” y reconocible melodía principal.

The Age of Innocence may come as a surprise to those who associate Martin Scorsese with movies about gangsters. Based on Edith Wharton's novel, it's a sumptuous period romance set in late-19th-century Manhattan high society. Intriguingly, Scorsese described it as his "most violent film", though not so much as a punch is thrown: the violence portrayed is interior and social, not physical, in this depiction of a romance thwarted by the constricting social norms of the upper class. Scorsese faced the challenge of depicting a society in which, as the narrator puts it, "the real thing was never said or done or even thought, but only represented by a set of arbitrary signs" - and so the director cannot rely on characters stating things outright. His great accomplishment is that the film nonetheless reaches an operatic pitch of emotion, keeping the viewer on seat-edge. This is done not only through outstanding performances (Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder), but also by camera movements conveying repressed passion, by light and color, and by the gorgeous Elmer Bernstein score. For all that, if the film merely depicted the cruelty of social norms and mores stifling forbidden love, it would be of limited interest. Yet as the story develops, it doesn't allow itself to be reduced to a critique of the past. Indeed, though not without ambiguity, it shows the value of strong social rules and institutions - because often, if we follow our passion, we destroy ourselves and others. Donate to make these shows possible! http://catholicculture.org/donate/audio Go to Catholic Culture's website for tons of written content, including news, articles, liturgical year info, and a vast library of documents: https://www.catholicculture.org

Intro song: "Main Title" by John Williams (from Jaws)15. "Flying Theme" by John Williams (from E.T. the Extra-Terrestrial)14. "For the Love of a Princess" by James Horner (from Braveheart)13. "Concerning Hobbits" by James Horner (from The Lord of the Rings: The Fellowship of the Ring)12. "Theme" by Elmer Bernstein (from The Magnificent Seven)11. "Back to the Future" by Alan Silvestri (from Back to the Future)Outro song: "I'm Forrest... Forrest Gump" by Alan Silvestri (from Forrest Gump)Vote for your favorite theme/score from today's episodeAnd if you haven't yet:Vote on Episode 1Vote on Episode 2

We start comparing Seven Samurai-inspired films with the very first, the Western classic Magnificent Seven. What does it copy and what new ideas does it introduce? Does it stand up to the original?Well it sure has an amazing cast with Yul Brynner, James Coburn, Steve McQueen, Robert Vaughn and more. And an amazing soundtrack by Elmer Bernstein which we guarantee you know even if you've never seen the movie.Check this out to see if it's officially Worth Watching! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit betterangels1.substack.com

On Episode 103 of The Film ‘89 Podcast, Skye is once again joined by seasoned podcaster, cinephile and expert on film scores and composers, Stephen Simpson to celebrate, for its 60th anniversary, one of the Film ‘89 team's all-time favourite films, The Great Escape. Director John Sturges, hot off the success of 1960's, The Magnificent Seven, once again assembles an epic international cast including Steve McQueen, Richard Attenborough, James Garner, Donald Pleasence, Charles Bronson, James Coburn and many more, in an adaptation of Paul Brickhill's book of the same name. The story of the real life breakout of Allied officers from a German POW camp in WWII, Sturges' film, aside from garnering considerable critical acclaim, would go on to become a perennial Sunday afternoon TV classic with a memorable Elmer Bernstein score, and moreover, go on to be regarded as one of the greatest war films ever made.

Dom and Q are on mic toni is behind the cam on this one but Jusdowntown has join the cast for this revisit from 40 years ago called trading places starring eddie murphy Trading Places is a 1983 American comedy film directed by John Landis, with a screenplay by Timothy Harris and Herschel Weingrod. Starring Dan Aykroyd, Eddie Murphy, Ralph Bellamy, Don Ameche, Denholm Elliott, and Jamie Lee Curtis, the film tells the story of an upper-class commodities broker (Aykroyd) and a poor street hustler (Murphy) whose lives cross when they are unwittingly made the subject of an elaborate bet to test how each man will perform when their life circumstances are swapped.Harris conceived the outline for Trading Places in the early 1980s after meeting two wealthy brothers who were engaged in an ongoing rivalry with each other. He and his writing partner Weingrod developed the idea as a project to star Richard Pryor and Gene Wilder. When they were unable to participate, Landis cast Aykroyd—with whom he had worked previously—and a young but increasingly popular Murphy in his second feature-film role. Landis also cast Curtis against the intent of the studio, Paramount Pictures; she was famous mainly for her roles in horror films, which were looked down upon at the time. Principal photography took place from December 1982 to March 1983, entirely on location in Philadelphia and New York City. Elmer Bernstein scored the film, using Wolfgang Amadeus Mozart's opera buffa The Marriage of Figaro as an underlying theme.DONT GET LEFT BEHIND YOU CAN FIND THE PREVIOUS VIDEO https://www.youtube.com/watch?v=uumqiMrxInIIF YOUR EVER BORED PLEASE CHECK OUT https://youtu.be/4Y4D8oN4GTkLIKE WHAT YOU WATCHED ? PLEASE Subscribe here: https://www.youtube.com/channel/UCqbcaf6NSUrElozRGqsiORAREVIEWING REBELS Podcast: https://linktr.ee/reviewinrebelsLOCATE DOM CRUZE THOUGHTS Twitter - https://twitter.com/itzdomcruzehoeInstagram - https://instagram.com/itzdomcruzehoe?igshid=YmMyMTA2M2Y= LACED RHYMES CHANNEL - https://www.youtube.com/@LacedRhymesREVIEWIN REBELS CHANNEL - https://www.youtube.com/channel/UCqbcaf6NSUrElozRGqsiORALOCATE Q THOUGHTS TWITTER-https://twitter.com/king_quisemoe?s=21&t=5Za3tXoDFCF10bAN71ZhnwInstagram -https://instagram.com/king_quisemoe?igshid=YmMyMTA2M2Y=CHECK Q PODCAST AND EVERYTHING ELSE HE IS DOING -https://instabio.cc/208309BQ3Ka?fbclid=PAAaZKNpF7Czdl_TUYFPh_uRwZUB0JhQ9NpyziUKGSvGlrv7hHfdYukzaW-_oI HOPE YOU ENJOY THE VIDEO AND WHAT WE ARE DOING HERE AT REVIEWIN REBELSTHANKS FOR THE WATCH AND I HOPE WE HAVE MADE YOU FANS OF OURS !#podcast #MOVIES #LOVEYOU CAN ALOS FIND TONIIBANKZEpisode 44 is here! Tonii talks about Jenna Ortega & Wednesday, YEs recent outbursts, Fortnite Chapter 4, CDL Online Qualifiers Week 1 & much, much more!Want to be apart of the show ? Email Us! Email - askthebankzcast@gmail.comMake sure to follow the podcast socials! Twitter - @TheBankzcastPod - https://bit.ly/3dJXgUDInstagram - @thebankzcastpod - https://bit.ly/3nfHMLfCheck out my YouTube Channels! Main Channel - ToniiBankz - http://bit.ly/2Li1hQPCOD Gaming Channel - ToniiBankz 2 - http://bit.ly/2ko94myEverything Gaming Channel - More ToniiBankz - http://bit.ly/2kOwRfyToniiBankz VODs Channel - https://bit.ly/3F7hsfuEnjoy watching live gameplay ? Come hang out with me on stream! Twitch - ToniiBankz - Twitch.tv/toniibankz Want to stay up to date with me ? Follow me on social media and get updated as soon as something happens!Tiktok - @ToniiBankz - https://bit.ly/3dfvvpFTwitter - @ToniiBankz - https://bit.ly/2QwtD02Instagram - @toniibankz - http://bit.ly/2J13BKzSnapchat - @toniibankz - https://bit.ly/3M3m1cJBusiness inquires: domcruzemi@gmail.com

Welcome to part one of another edition o fTHE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. On the program today, Jason Drury will feature music from archival releases of film music which appeared just before and after Christmas 2022. The show begins with music from David Arnold's first James Bond score, TOMORROW NEVER DIES, which has received an expanded edition by La La Land Records. Afterwards, you'll hear selections from the first release of the original complete score of CONAN THE DESTROYER (Intrada Records) by Basil Poledouris. Then comes music from the complete score release of Nino Rota's music from the classic gangster thriller THE GODFATHER (La La Land Records) and selections from GUNS OF THE MAGNIFICENT SEVEN by Elmer Bernstein, part of the superb MAGNIFICENT SEVEN COLLECTION boxset from Quartet Records. Jason then finishes part one with the achingly beautiful "End Title" from the 30th-anniversary release of CHAPLIN (La La Land) by John Barry incorporating "Smile" by Charlie Chaplin. Part two will be with you soon. 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, Douglas Lacey, 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, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet, Nathan Blumenfeld, Daniel Herrin —— 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

Geeks don't want politicians taking away their freedom to roam, nor ruining their gearhead life (geek powa!), and the skill-set guys (aka: geeks) won't let snap-lift oversteer derail an otherwise enjoyable 120mph joyride in the 3-Series daddy just bought ‘em.  Meanwhile, back at the garadtch, we dipped our toes in a collection of indestructibility for your driveway (this topic will return - the schwartz says so), as well as vacuum wiring, “initial” build quality, tranny fluid, Floriditis, and technology is still not on our side. It's not all ball bearings nowadays: independent beermakers like Appalachian Mountain go rogue, drones with artificial intelligence go rogue, carmakers' data-capture goes rogue, and Wyoming goes rogue to protect its taxpayers.  Special appearances by Carl Sagan, Mission Creep, Orbital, Elmer Bernstein, Meat Beat Manifesto, Genesis and the NY Post...

Geeks don't want politicians to take away their freedom to roam, nor ruin their gearhead life (geek powa!), and the skill-set guys (aka: geeks) won't let snap-lift oversteer derail an otherwise enjoyable 120mph joyride in the 3-Series daddy just bought ‘em.  Meanwhile, back at the garadtch, we dipped our toes in a collection of indestructibility for your driveway (this topic will return - the schwartz says so), as well as vacuum wiring, “initial” build quality, tranny fluid, Floriditis, and technology is still not on our side. It's not all ball bearings nowadays: independent beermakers like Appalachian Mountain go rogue, drones with artificial intelligence go rogue, carmakers' data-capture goes rogue, and Wyoming goes rogue to protect its taxpayers.  Special appearances by Carl Sagan, Mission Creep, Orbital, Elmer Bernstein, Meat Beat Manifesto, Genesis and the NY Post...

Turns out we're not quite ready to let The Beats go! Sticking with our topic of separating myth from reality, we wrap-up our dive into mainstream interpretations with a quick conversation about the movie “The Man with the Golden Arm” which centers on a jazz drummer played by none other than Frank Sinatra. The film's soundtrack from Elmer Bernstein along with the Saul Bass-designed poster and opening titles helped make this film iconic. - - - - - Visit our full episode page for show notes, the visual examples we discuss, additional links and more! https://www.twodesignerswalkintoabar.com/episodes/episode-48-and-a-half-golden-arm - - - - - Have a question or idea for Todd and Elliot? Send a note to hello@twodesignerswalkintoabar.com and we promise to read it. After that it's anyone's guess. - - - - - Visit https://www.twodesignerswalkintoabar.com/merch to have a look at stuff we've made for listeners just like you. Learn more about your ad choices. Visit megaphone.fm/adchoices

WHAT THE F**K WAS THAT ALL ABOUT?HOW NOW DOW JONES by The Original Cast (RCA, 1967)This is the second Broadway soundtrack that Captain Billy has covered, the first being Lerner and Loewe's Camelot, and even though as a small child I had memorized my parent's Oliver, The Sound of Music, and My Fair Lady albums, after Rock, Folk and Soul music entered my life, I lost interest in the musicals of the Great White Way completely. As I explained in previous episodes, many of the carts in my collection were not chosen by me; they arrived in big lots, and the experience of discovering some of these hidden treasures is akin to sticking one's hand into a bag of….. (fill in the blank). Despite its catchy title, this show was totally unknown to me, although it did run for 220 performances. It was produced and directed by Broadway titans David Merrick and George Abbott.  It was film scorer Elmer Bernstein's only Broadway composition; the book was by Max Shulman, of Dobie Gillis fame, and the lyrics were by Carolyn Leigh — a totally respectable crew.  The cast included Woody Allen's avatar, Tony Roberts, and the whiskey throated Brenda Vaccaro in the leads, and there was even a Tony awarded to featured actor Hiram Sherman for his turn as a crusty stock broker. Yet, somehow the collective memory of this musical was lost to the ozone pretty quickly. Maybe it's the complicated plot- (It was always part of the charm of these albums to try and imagine the story as I listened) - but here the labyrinthian plot and convoluted conjunction of characters - (tycoons, stock brokers, government officials, suicidal, mismatched lovers, tour guides, and “the voice of Wall Street”) - had my Pandemic-addled brain yearning for a YouTube training video.There was a hit that emerged from the chaos,  “Step to the Rear”, which you might recognize: it was even used in a Lincoln-Mercury campaign, and there is a charming video of Tony Roberts with a stage full of investor ladies from the suburbs marching around the stage to the song.Give this recording a try, and see if you can figure it all out. 

We are kicking off 2023 by talking "Lethal Weapon 3" which is the perfect way to start the new year. Riggs and Murtaugh are on the cop duo Mount Rushmore for sure. We talked about the havoc they cause without getting fired, Riggs and Roger's daughter, the tropey evil developers, Leo and his bleached hair, and so much more. This movie has some great action with a mix of silliness. Watch the review at sequelsonly.com/lethalweapon3 The next sequel discussed is "Ewoks: The Battle for Endor", and I know what you are thinking, "They are starting with a great Star Wars Sequel!". For it chatted with Composer Peter Bernstein. Peter talked about his big moment scoring a Star Wars film, his love of rock n' roll at a young age, his Oscar-winning father Elmer Bernstein, his friendship with John Landis in High School, and lots of movie talk Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

Sally Stevens is a singer/lyricist/choral director who has worked in film, television, concert, commercials and sound recording in Hollywood since 1960. She sings the main titles for The Simpsons and Family Guy and her voice can be heard on hundreds of film and television scores.  She has put together choirs for John Williams, Jerry Goldsmith, Elmer Bernstein, and many others for film scores, and was choral director for The Oscars for 22 years. In the earlier years she toured with Ray Conniff, Nat King Cole and Burt Bachrach, and she has also written lyrics for Burt Bacharach, Don Ellis, Dominic Frontiere, Dave Grusin, and others.    Her short fiction, poetry and essays have been included in Mockingheart Review, The OffBeat, Raven's Perch, Hermeneutic Chaos Literary Journal, Los Angeles Press, The Voices Project, and Between the Lines Anthology: Fairy Tales & Folklore Re-imagined.   I Sang That: A Memoir From Hollywood is available from Amazon.  Sign up for the Top Questions Fiction Writers have about Native Americans here. Wnat to check out Janice Hardy's blogpost? Here is the episode from The Creative Penn podcast. ProWritingAid link is here. Thank you for listening! If you want to support the show please go here.    Transcript can be found here.  

On our final episode of 2022, we look back at the music video/mini-movie for Michael Jackson's Thriller, on the fortieth anniversary on the release of the album which bore its name. ----more---- Transcript:   Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. If you're listening to this episode as I release it, on November 30th, 2022, today is the fortieth anniversary of the release of the biggest album ever released, Michael Jackson's Thriller. Over the course of those forty years, it has sold more than seventy million copies. It won a record-breaking eight Grammy Awards. A performance of one of its signature songs, Billie Jean, for a televised concert celebrating the 25th anniversary of Motown Records would introduce The Moonwalk to an astonished audience, first in the auditorium and then on TV screens around the world. The album was so big, even MTV couldn't ignore it. Michael Jackson would become the first black artist to be put into regular rotation on the two year old cable channel. So what does all this have to do with movies, you ask. That's a good question. Because out of this album came one of the most iconic moments in the entertainment industry. Not just for MTV or the music industry, but for the emerging home video industry that needed that one thing to become mainstream. The music video for the album's title song, Thriller. Thriller was the sixth solo album by Michael Jackson, even though he was still a member of The Jacksons band alongside his brothers Jackie, Jermaine, Marlon, Randy and Tito. Although The Jacksons were still selling millions of albums with each release, Michael's 1979 solo album Off the Wall made him a solo star, selling more than ten million copies worldwide in its first year of release, almost as much as all of the previous Jacksons albums combined. After the completion of The Jackson's 1980 album Triumph, Jackson would re-team with his Off the Wall producer, the legendary Quincy Jones, to try and craft a new album that would blow Off the Wall out of the water. Jackson wanted every song on the album to be a killer. Every song a hit. Over the course of 1981 and 1982, Jackson and Jones would work on no less than thirty songs that could be included on the final album, and assembled some of the biggest names in the music industry to play on it, including David Foster, James Ingram, Paul McCartney, Rob Temperton, Eddie Van Halen, and the members of the band Toto, who were having a great 1982 already with the release of their fourth album, which featured such seminal hits at Africa and Rosanna. Recording on the album would begin in April 1982 with the Jackson-penned The Girl is Mine, a duet with Paul McCartney that Jackson hoped would become even bigger than Ebony and Ivory, the former Beatle's duet with Stevie Wonder which had been released a few weeks earlier and was be the number one song in a number of countries at that moment. There would be three other songs on the final album written by Jackson, Beat It, Billie Jean, and Wanna Be Startin' Somethin', which Jackson would co-produce with Jones. The other five songs, Baby Be Mine, Human Nature, The Lady in My Life, P.Y.T. and the title track, would be written by other artists like James Ingram, Steve Pocaro of Toto, and Rob Temperton, who were also working on the album as backup singers and/or musicians. The final mixing of the album would continue up until three weeks before its expected November 30th, 1982 release, even though The Girl Is Mine had already been released as a single to radio stations and record stores on October 18th. While the song wouldn't exactly set the world on fire or presage the massive success of the album it had come from, the single would sell more than a million copies, and hit number two on the Billboard Hot 100 charts. When the album was released, it sold well, but it wouldn't be until Billie Jean, the second single from the album, was released on January 2nd, 1983, that things really started to take off. Within three weeks, the song would already hit #1 on the Billboard R&B charts. But it would still a few more weeks for white America to take notice. In early 1983, the music world was dominated by the cable channel MTV, which in less than two years had gone from being a small cable channel launched in only portions of New Jersey to making global stars of such musical acts as Duran Duran, Eurythmics, U2 and even Weird Al Yankovich. But they just were not playing black artists. The lack of black music on MTV was so noticeable that, in an interview with MTV VJ Mark Goodman timed to the release of his comeback album Let's Dance, David Bowie would admonish the VJ and the channel for not doing its part to promote black artists. MTV's excuse, for lack of a better word, was that the network's executives saw the channel as being rock centered, and Billie Jean was not “rock” enough for the channel. The president of Jackson's record label, CBS, was more than just enraged by the channel's refusal to show the video for Billie Jean. He threatened to pull every single CBS act off the air, and never give MTV another music video to air. Could MTV really afford to lose Bruce Springsteen and Billy Joel and Journey and Toto and The Clash and Joe Jackson, Eddie Money, Chicago, Judas Priest, ELO, Adam Ant, Cheap Trick, Loverboy, Heart, Men at Work and a hundred other artists that accounted for more than a quarter of all the music videos in rotation on the channel at the time? MTV would add Billie Jean to its rotation on March 10th, 1983. Within a month, both the song and the album would hit #1 on their respective charts. Lost in all the hubbub about Billie Jean was that Beat It, with its blistering Eddie Van Halen guitar solo, had been released as a single on February 14th, and it too would become a #1 hit song. In fact, after Billie Jean topped the charts for seven weeks, Beat It would become the #1 song in the nation, after a single week of Dexy's Midnight Runners taking the top spot. Ironically, despite how they felt about Billie Jean just a few weeks earlier, MTV would actually be the first outlet to show the Beat It video, not three weeks after it finally relented on Billie Jean. Wanna Be Startin' Somethin', Human Nature, and P.Y.T. were all released as singles between May and September 1983, but none of them would have the success enjoyed by Billie Jean and Beat It, and sales for the Thriller album were starting to wane. There were only three songs left on the album that hadn't been released as singles yet, and neither Baby Be Mine not The Lady in My Life were the kinds of songs that would be featured as singles. That left Thriller. There never was a plan for Thriller to be released as a single. The label saw the song, with its vaguely spooky lyrics and ending narration by legendary horror actor Vincent Price, as a novelty song, not unlike a Weird Al Yankovic song. In early August 1983, Jackson would see An American Werewolf in London. He loved the movie, especially the scenes where actor David Naughton would transform into a werewolf on screen. The film's director, John Landis, was working in London at the time, and late one evening, the phone in his hotel room would ring. It was Michael Jackson. The singer wanted to know if Landis would come aboard to make a music video based on this song, and help turn him into a monster. “Michael, it's 2am in London,” Landis would exclaim to the excited singer on the other end of the line. “I will call you when I get back to Los Angeles in a couple weeks,” he'd say, before hanging up the phone and went back to sleep. Except Landis didn't wait for his return to the States to call Jackson back. The filmmaker and the singer would, despite the eight hour time difference, speak several times over the phone about ideas for a music video. For weeks, Landis, Landis's costume designer wife Deborah Nadoolman, and Rick Baker, the genius behind the practical makeup effects for An American Werewolf in London, would meet with Jackson to discuss story, choreography, makeup and costuming.  Landis and his producing partner, George Foley Jr., would come up with a final story that featured a story about a young man and a young woman who find themselves being chased by zombies through the streets of Los Angeles, before the boy becomes, at various times, a zombie himself and a werewolf-like cat creature. It was going to be Landis's homage to fun horror movies of the past, from I Was a Teenage Wereworld to Night of the Living Dead. Landis and Folsey would present the president of CBS Records with a script for the project, and a $900,000 budget, ten times more than the average music video cost to make at the time and nearly triple the previous record for the highest budget for a music video at that time. And unlike most videos made at the time, it would be shot using 35mm film and Arriflex cameras. It was not going to be just a music video. This was going to be a mini-movie. The record label president was not pleased. Album sales for Thriller had been slowing, and it did not make sense for them to spend nearly a million dollars to make a video for what would be the seventh and riskiest single off the album.  They refused to pay for it. So Folsey, Jackson and Landis would go to the major television networks, to see if they would be willing to finance the project, which they pitched as not only getting a fifteen minute music video from one of the biggest artists in the world, but also a thirty minute making-of documentary, so the entire program could be slotted for a full hour of airtime including commercials. They would all say no. Then they went to MTV, who had seen a dramatic spike in subscriptions since they started airing Billie Jean and Beat it, in the hopes they would want in on the action. They would also decline, because they had a policy of not financing ANY music videos. Music videos were promotions for the record labels. They should be paying for the making of them. They then went to cable movie channels like HBO and Showtime. Imagine having exclusive rights to a fifteen minute mini-movie from the biggest music star on the planet, they would suggest, as well as a forty-five minute making-of feature that could be slotted for a full hour of programming. Imagine how many new subscribers you'd get if your channel was the only place to see it! Showtime would agree to finance half the video in exchange for exclusive movie channel rights to screen Thriller. Sensing there might actually be a market for this, Jackson's record label would commit to throw in $100,000, if they could find another partner to cover the rest.  MTV would make up the difference, after deciding they were not financing a music video but indeed a short motion picture and a making-of featurette. Landis would bring a number of his regular collaborators with him. In addition to producing partner George Foley Jr. and costume designer Deborah Nadoolman, Landis would have his American Werewolf in London cinematographer Robert Paynter behind the camera, Malcolm Campbell, who had edited American Werewolf and Trading Places, assembling the final footage, and the legendary music composer Elmer Bernstein, who created the scores for Animal House and American Werewolf, to provide an incidental musical score to the movie inside the movie, and other sequences not directly related to Jackson's song. The vast majority of the shoot, which took place over four nights in October, the 11th through the 14th, would take place around Downtown Los Angeles. The scenes at the movie theatre were filmed at the Palace Theatre on Broadway, while the zombie dance was filmed a couple miles to the south at Calzona Street and Union Pacific Avenue and the final house sequence was filmed in the Echo Park neighborhood just northwest of downtown.  Side note: the Palace Theatre is still there, and still occasionally shows movies to this day, and both the intersection where the dance sequence was filmed and the neighborhood where the final chase sequence took place still look remarkably similar to what they did forty years ago. And how quickly did it take for Landis and his team to get the footage assembled? Thriller would have its first screening at the Crest Theatre in Westwood Village on November 14th, 1983, not thirty days after filming was complete. John Landis would tell Nancy Griffin in a 2010 Vanity Fair oral history about Thriller that despite having been to events like the Oscars, the Emmys and the Golden Globes, he had never seen a turnout like the one he witnessed that night. Diana Ross, who had discovered the Jacksons nearly twenty years earlier, was there. As was Prince and Eddie Murphy and Warren Beatty. Ola Ray, Jackson's co-star in the film, was there too, and before the screening, she noticed Jackson was nowhere to be found. She would find him a few moments later, hiding in the projection booth with the projector operator. Ray would do her best to lure Jackson out, to mingle with the crowd. This was his night, after all. But Jackson would only compliment Ray on her dress, and tell her to go enjoy herself. Once the crowd was seated, Landis would warm the crowd up with some light banter and a screening of a new print of a Mickey Mouse cartoon, The Band Concert, that Jackson was able to get Disney to strike just for this occasion. It's one of Disney's best cartoons, and the crowd would enjoy it. But they were here to see what amazing thing Michael would pull off this time. Finally, the main event would begin. And the first thing the audience would see was a disclaimer… “Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult. Michael Jackson.” This was in reaction to word that Jackson had gotten a couple weeks earlier from the leaders of the Jehovah's Witnesses, to which he was a practicing member of at the time, that he risked being excommunicated from the church. The church was worried the film, which, incidentally, they had not seen yet, would promote demonology to younger people. At first, Jackson would call his assistant and order them to destroy the negatives to the film. The assistant, with the help of the production team, would instead lock the negatives up in a safe place until a compromise could be reached. It would be Jackson's assistant who came up with the pre-roll statement, which was acceptable to Jackson, to the church, and to the production team. At the end of the screening, Jackson, Landis and the film received a standing ovation. Eddie Murphy screamed out “Show the damn thing again!” And they did. John Landis hadn't made a music video. He made a short movie musical. And he wanted recognition for his efforts. So despite his standing in the industry as a semi-pariah due to the ongoing legal troubles concerning the Twilight Zone accident, Landis wanted an Oscar for his work. The movie was that good. Even though he had never worked with Disney in the past, Landis was able to convince the studio to allow him to screen the PG-rated Thriller mini-movie in front of the G-rated Fantasia, which was going to be released on Thursday, November 24th, on one screen in Los Angeles. The L.A. Times newspaper ad would be a split image. On the top half, Mickey in his Sorcerer's Apprentice getup, and on the bottom, listed as an “extra added attraction,” Michael in his leather jacket, in a nearly identical pose to the cartoon mouse above him. Five shows a day for seven days, with an extra late show on Thursday, Friday and Saturday, Academy members and one guest could present their membership card at the box office for free tickets to see Thriller on the Avco Cinema Center, then stay and watch Fantasia as well. If you want to see a not exceptional image of the newspaper ad, make sure you head over to this episode's entry on our website, the80smoviepodcast.com Now, I'm not sure how many free tickets were given away to Academy members that week, but practically every screening was sold out. While the $52,000 worth of tickets sold in those seven days would be credited to Disney and Fantasia, it was clear from the audiences who were leaving after the fourteen minute short was done what they were there to see. And for that week, this was the only way to see Thriller on the entire planet. On December 2nd, MTV would show Thriller for the first time in prime time. Ten times the regular audience would turn in to watch. At the end of the video, MTV told their viewers they would watch it again if they wanted at the top of the hour. And they would show it every hour at the top of the hour for twenty-four straight hours. It would be MTV's biggest day to date. In February 1984, Showtime would air the video and its corresponding making-of featurette six times, and those airings would be amongst their biggest days in their nearly decade-long history. Vestron Home Video, a smaller videotape distributor based in Connecticut, would pay for the home video rights to the video and making-of featurette, and release it later in the spring. It would sell more than 900,000 copies at $29.99 MSRP. It would be the first major sell-through home video title, and usher in the mindframe that collecting movies on VHS was a totally normal thing, like a record collection.  And the album? It would quickly return to the top of the charts within weeks of the release of the video no one really wanted to make outside of Michael Jackson, and it would go on to sell another ten million copies just in 1984. The red leather jacket worn by Jackson in the video, designed by Deborah Nadoolman, would become as iconic in pop culture as Indiana Jones' fedora, which Nadoolman also hand-picked for that character. Shooting a music video as if it were a movie, and on 35mm film, would soon become the norm instead of the exception. Future filmmakers like Spike Jonze would use Thriller as a template for what they could get away with when they started making music videos in the 90s. Over the years, Thriller has been deemed THE single best music video of all time by a number of news organizations and fans all around the world. An official 4K remastered version of the video was uploaded to YouTune in October 2009, a few months after Jackson's unfortunately and untimely passing, where it has amassed more than 865m views over the past 13 years. And that's just for that one version of the video. There are dozens more copies available on YouTube, each with millions of views of their own. Thank you for joining us.  And with that, we wrap up 2022 and our fourth season. We'll talk again in early January 2023, when the podcast will return for its fifth season, as we take a much needed vacation to Thailand for Christmas and New Years.  2022 has been the best year for this podcast so far, and I want to thank every single one of you for spending some of your valuable time listening to me talk about older movies. I cannot tell you how much I appreciate all of you. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Michael Jackson's Thriller. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Who was Pharaoh during the Exodus? Was it Rameses? Or was it Amenhotep II? Henry Smith talks with egyptologist and biblical scholar Dr Doug Petrovich about these and other pharaohs that ruled during the centuries when the Israelites lived in Egypt.   Origin of the Hebrews - book Patterns of Evidence: Exodus - documentary   music in this episode is from The Ten Commandments soundtrack, composed by Elmer Bernstein

John & Dave drink whiskey and beer to re-watch an American classic that Jeff hadn't seen before, The Great Escape! Directed by John Sturges, this Steve McQueen, Richard Attenborough, James Garner classic is long but mighty, with some incredible detail, and is grounded by a surprisingly lurid tone for a drama with serious subject matter that you never see anymore. We drink a whole lot of beer and whiskey and discuss, once Jeff finally gets done ranting about his hatred for one-word movie titles. Seriously, Dave went for a pee break and came back... he was still going and John joined in! Crazy. Find all of our Socials at: https://linktr.ee/theloveofcinema Additional Cast/Crew: James Coburn, James Clavell, W.R. Burnett, Paul Brickhill, James Donald, Walter Mirisch, Daniel L. Fapp, Elmer Bernstein. Hosts: Dave Green, Jeff Ostermueller, John Say. Edited and produced by Dave Green. Music: soundcloud.com/dasein-artist Beer: @cbarrozo.beer  

Synopsis On today's date in 1993, the first gala preview screening of a new film, "The Age of Innocence," based on the novel by Edith Wharton, took place at the Ziegfield Theater in Manhattan, as a benefit for the New York Historical Society. That was only appropriate, since Wharton's historical novel describes upper-class New York society of the 1870s – an age, if the film is to be believed, so emotionally repressed that the unbuttoning of a woman's glove can be a breathtakingly sensual moment. The new film was directed by Martin Scorsese, famous for decidedly UN-repressed thrillers likes "Taxi Driver," "Raging Bull," and "Cape Fear" – and initially some thought Scorsese a poor choice to film Wharton's novel. The skeptics were proven wrong. Much of the success of the film can be attributed to its ravishing orchestral score by American composer Elmer Bernstein. "It was my personal tribute to the music of Johannes Brahms," said Bernstein, who also credited Scorsese for appreciating the importance of music in bringing a movie to life: Unlike most directors today, Scorsese brought in Bernstein before "Age of Innocence" was filmed – not after. "We started talking about the character of the music long before Scorsese ever shot a frame of film," recalls Bernstein, with admiration. Bernstein's "Age of Innocence" score was nominated for an Academy Award – the 12th time Bernstein had been so honored in his long and productive cinematic career. Music Played in Today's Program Elmer Bernstein (1922-2004) –Farewell Dinner, from “The Age of Innocence” (Studio Orchestra; Elmer Bernstein, cond.) EMI Classics 57451

For our annual August tribute to film composers, we spotlight four giants of the 1960s: Elmer Bernstein, John Barry, Burt Bacharach, and Richard Rodney Bennett. Highlights from their major movie and theater achievements of the era.

Elijah Wood. Macaulay Culkin. Which one is the bad son and which one is The Good Son (1993)? Brett hosts Pappy, Mikey, Josh and Kylo Korey. *************** Mark (Elijah Wood), a young boy who loses his mother, must stay with his extended family while his father is away on business. Mark becomes acquainted with his cousin Henry (Macaulay Culkin). However, the extent of Henry's depravity becomes clear when Mark sees him kill a neighbor's dog and intentionally create a traffic pileup on the highway. After a supposed mishap on an icy pond with Henry's sister Connie (Quinn Culkin), Mark tries to reveal Henry's crimes before it's too late. Release date: September 24, 1993 (USA) Director: Joseph Ruben Starring: Macaulay Culkin; Elijah Wood; Wendy Crewson; David Morse; Jacqueline Brookes Box office: $60.6 million Distributed by: 20th Century Studios Music by: Elmer Bernstein

GGACP celebrates the 15th anniversary of the Pixar masterpiece "Ratatouille" (released June 29, 2007) by revisiting this 2-part interview with Oscar-winning writer-director Brad Bird and Oscar-winning composer Michael Giacchino. Also in this episode, the Brad and Michael discuss their various collaborations ("The Incredibles," "Incredibles 2," "Mission Impossible - Ghost Protocol") complex action plots, "pre-loved" soundtracks, the demise of movie showplaces and the genius of John Barry and Elmer Bernstein. Also, Peter O'Toole clears his throat, Tom Cruise scales a high-rise, Burt Lancaster swims in an imaginary river and Michael Keaton pokes fun at comic book fanatics. PLUS: "The Big Sleep"! "Never Say Never Again"! The lost James L. Brooks musical! Brad co-hosts TCM's "The Essentials"! And Michael composes a love letter to Henry Mancini, Lalo Schifrin and John Williams! Special thanks to audio producer John Murray and Curtis Green Learn more about your ad choices. Visit megaphone.fm/adchoices