Podcasts about Elmer Bernstein

"Matar a un ruiseñor" (1962), música de Elmer Bernstein.

La espera ha terminado. En este nuevo capítulo de Estamos de Cine abrimos los sentidos para analizar uno de los acontecimientos cinematográficos más esperados de la temporada: el regreso del icónico Steven Spielberg al género que ha marcado su carrera. Ya está agitando las salas de todo el mundo 'El día de la revelación'. A sus casi 80 años, el director con mayor apego e interés por el fenómeno alienígena promete volver a sacudir nuestras certezas sobre la vida exterior en una obra que invita a no apartar la mirada del cielo. ¿Llevan ya mucho tiempo entre nosotros? Analizamos lo nuevo del Rey Midas de Hollywood sin perder de vista uno de los pocos estrenos que se atreven a ser alternativa al Día de la Revelación. Una coproducción entre Canadá y Estados Unidos os devuelve a la gran pantalla al oscarizado Dustin Hoffman. En esta ocasión, interpreta al mentor de Leo Woodall (The White Lotus) en una comedia con toques thriller sobre un afinador de pianos con un don tan extraordinario para la música como para abrir cajas fuertes. Raquel Hernández y Alberto Luchini ponderan y califican también novedades como la china The Furious, la francesa Duse, la japonesa El guardián del árbol de alcanfor y la noruega y preferida de Luchini Solomamma. Y para acabar, duelo de titanes en 'El diván de la música': Ángel Luque afina las notas del misterio para revivir el espíritu de 'El cabo del miedo'. Nos sirve de excusa el papelón de Javier Bardem en la miniserie de Apple 'Cape Fear' —recogiendo el testigo de Robert Mitchum y Robert De Niro— y nos permite valorar y contrastar las dos grandes adaptaciones musicales de la novela de John MacDonald: la obra de Bernard Herrmann (1962) contra la de Elmer Bernstein (1991). Dos joyas de la sugestión y la venganza hechas partitura para dos conceptos muy diferentes de El Cabo del Miedo.

Summer is unofficially upon us. Hot boy summer, some say.Two hot boys and one hot girlie summer, even. Lickers Jay & Deon check in with Super-Secret-Special-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode twenty-nine of Lightnin' Licks Radio were made by: Prince Paul, De La Soul, Brothers Johnson, Zack Braff, Natilie Portman, POSPOTUS. Rashan Roland Kirk, L.L. Cool J, R.E.M., Jay Dilla, The Pharcyde, Main Source, Boogie Down Productions, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf De Mor, Billy Corgan, Smashing Pumpkins, Yoko Ono, David Porter, Puff and Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches and Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Slick Rick, Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. Nas, Large Professor, 3rd Bass, MC Search, N.O.R.E., Pete Rock, DJ Premier, James Brown & The J.B.'s. More Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, LBJ, good brother Abraham (Jefferson), and AI Steve Inskeep.Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.SPOTIFY PLAYLIST OF FEATURED ARTISTSHEAR THE FULL MIXTAPE ON SOUNDCLOUD

Summer is now unofficially upon us. Hot boy summer, some may say. Two hot old boys and one hot girlie summer, even. Lightning Lickers Jay & Deon check in with Super-Special-Secret-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode number twenty-nine of Lightnin' Licks Radio podcast were made by: Prince Paul, De La Soul, Brothers Johnson, Zach Braff, Natalie Portman, POSPOTUS. R.E.M., Jay Dilla, The Pharcyde, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf Dee Mor and Billy Corgan on The Magnificent Others podcast, Smashing Pumpkins, Yoko Ono, David Porter, Puff & Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches & Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. NAS, Large Professor, 3rd Bass, MC Search and N.O.R.E. on Drink Champs podcast, Pete Rock, DJ Premier. James Brown, more Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, Cheech & Chong, Rakim, Aphex Twin, LBJ & good brother Abraham (Jefferson).You can't make then share mixtapes anymore. It's totally cool that artificial intellegence has been fed all music ever recorded to train itself to suck the life out of all art everwhere. Sharing mixtapes, though...very bad. Very, very bad.Hear the uninterrupted Jay-curated mixtape here. Stream a playlist of featured artists on Spotify here. Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.JAY is f#@%ing with Space, Hole, XTC, and The Police.DEON has been into Mackeeper, Helado Negro, National Wake, and Nas.JESS has Halsey, Hemlocke Springs, and Jefferson Starship in heavy rotation.

Oggi parliamo della nascita e del mito della Marlboro Country, universo pubblicitario creato negli anni '70 attorno alle sigarette Marlboro.Il simbolo centrale era il celebre Marlboro Man, il cowboy virile ideato dal pubblicitario Leo Burnett per trasformare un prodotto inizialmente rivolto alle donne in un'icona maschile. La campagna evocava libertà, forza e spirito indipendente attraverso paesaggi western e atmosfere epiche. Fondamentale anche la colonna sonora tratta dal film I magnifici sette, composta da Elmer Bernstein.Il marketing di Philip Morris riuscì a costruire un immaginario potentissimo, facendo crescere enormemente le vendite del marchio. La Marlboro Country non era un luogo reale, ma una dimensione simbolica diffusa ovunque nella comunicazione pubblicitaria. Il fascino culturale di quell'immagine oggi controversa, alla luce della consapevolezza sui danni del fumo, rese il cowboy il simbolo di un'epoca in cui la pubblicità riusciva a trasformare un prodotto in uno stile di vita.

On this episode of The Video Store Podcast, I am recommending four movies about the people who get called when somebody has made a mess, crossed the wrong person, or needs a situation to go away quietly. The movies this week are Sweet Smell of Success (1957), Wise Guys (1986), La Femme Nikita (1990), and Pulp Fiction (1994). They all deal with that idea in different ways, from a press agent trying to stay useful, to mob errand boys trying to stay alive, to handlers working inside a government machine, to a man who arrives with a plan when everyone else is panicking.I start with Sweet Smell of Success (1957), which may be the coldest movie on this list. Tony Curtis plays Sidney Falco, a press agent who is always working an angle and always trying to stay useful to Burt Lancaster's J. J. Hunsecker. Hunsecker has the power, but Falco is the fixer. He is the one moving through restaurants, clubs, offices, and sidewalks trying to make things happen for people who would rather not get their own hands dirty. The film was directed by Alexander Mackendrick, with cinematography by James Wong Howe and music by Elmer Bernstein. It was shot partly on the streets of New York, and it still feels like a movie made out of cigarette smoke, bad favors, and late night anxiety.Then I move to Wise Guys (1986), a Brian De Palma comedy that feels a little odd in his filmography, which is part of what makes it interesting. Danny DeVito and Joe Piscopo play low level mob guys who are useful until they are not. They run errands, take orders, and try to read the room, but the room keeps changing on them. Harvey Keitel, Dan Hedaya, Ray Sharkey, Frank Vincent, and Captain Lou Albano are all in the cast, which gives the movie a nice mix of mob movie faces and broad comedy. It is not De Palma in thriller mode, but you can still see his interest in people trapped inside systems they do not fully control.The third recommendation is La Femme Nikita (1990), Luc Besson's French action thriller about a young woman pulled into a government program that turns her into an assassin. The fixer here is not only one person. It is the whole structure around her. Tchéky Karyo's Bob is part handler and part threat, someone who can seem kind while reminding Nikita that her new life is not really hers. Jeanne Moreau also appears as Amande, who helps shape Nikita into someone who can move through polite society while carrying a completely different life underneath. Anne Parillaud won the César Award for Best Actress for the role, and you can see why. She has to play the violence, the fear, and the strange sadness of someone being rebuilt for other people's purposes.The last movie is Pulp Fiction (1994), where Harvey Keitel's Winston Wolf may be the cleanest example of this week's theme. He arrives, assesses the problem, gives instructions, and leaves before the movie can turn him into something bigger. That is part of why the character works so well. He does not need a long backstory. He is there because somebody called the right number. The movie is full of people talking themselves into and out of danger, but Mr. Wolf is different. He does not talk around the problem. He handles it.So this week, the shelf has a bitter New York classic, an oddball mob comedy, a French thriller, and one of the defining crime films of the 1990s. Four very different rentals, all built around people who know what to do when the situation has gone bad.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Un viaje por el jazz en el cine. Elmer Bernstein, uno de los precursores, Duke Elllington, Henry Mancini, Louis Armstrong, Gerry Mulligan...Escuchar audio

SINTONÍA: "Walk On The Wild Side" - Brook Benton  1.- "Walk On The Wild Side" - Elmer Bernstein 2.- "The Man With A Golden Arm" - Barry Adamson 3.- "Audition" (The Man With A Golden Arm) - Elmer Bernstein 4.- "Anatomy Of A Murder" - Duke Ellington 5.- "Merrily Rolling Along" (movie strings & rehearsal) - Duke Ellington 6.- "Happy Anatomy" - Duke Ellington 7.- "Flirtibird" - Duke Ellington 8.- "I Feel Pretty" - Sarah Vaughan 9.- "I Feel Pretty" - Annie Ross With The Gerry Mulligan QuartetTodas las músicas seleccionadas y presentadas por Mrs. Purple (Rocío de la Rosa) desde RNE en Madrid. Muchísimas gracias a Dani Pais por su buen hacer y eterna predisposiciónInstagram: mrs.purple_sessionsEscuchar audio

Min 5: EL AGENTE SECRETO (4 estrellas) El agente secreto es uno de los títulos más relevantes del cine internacional reciente: con dos Globos de Oro ganados y cuatro nominaciones a los Oscar, la película del aclamado Kleber Mendonça Filho se adentra en las sombras de la dictadura militar brasileña de 1977, siguiendo a Marcelo (sublime Wagner Moura), un profesor que vuelve a Recife buscando refugio solo para descubrir que el pasado no se queda atrás. La cinta, construida no como un thriller convencional, sino como un drama político sostenido por la amenaza invisible del régimen, muestra cómo la vigilancia, la sospecha y la represión se infiltran en lo cotidiano con silencios y miradas que pesan más que los estallidos visibles. Aquí la tensión proviene menos de explosiones que de la incertidumbre constante y de un ambiente donde la libertad está siempre a punto de romperse. Min 19: GREENLAND 2 (2 estrellas) Como secuela del éxito catastrofista Greenland (2020), Greenland 2 -también conocida internacionalmente como Greenland: Migration- continúa la odisea de la familia Garrity tras sobrevivir al impacto de un cometa y cinco años de confinamiento en un búnker. Ahora, obligados a abandonar su refugio, la lucha por la supervivencia les empuja a un viaje peligroso por una Europa devastada en busca de un lugar habitable. MIn 25: LA MALDICIÓN DE SHELBY OAKS (3'5 estrellas) En la línea del terror contemporáneo, La maldición de Shelby Oaks utiliza el formato de found footage (metraje encontrado) para construir un relato inquietante de obsesión y miedo. Lo que comienza como la investigación de una pista sobre una hermana desaparecida se transforma en un descenso a lo que podría ser una amenaza demoníaca real, arraigada en traumas infantiles. Min 31: SIN CONEXIÓN (2,5 estrellas) Bradley Cooper regresa a la dirección con Sin conexión, un drama con toques de comedia que se aleja del chiste fácil para explorar la crisis emocional de una pareja de mediana edad. Protagonizada por Will Arnett y Laura Dern, la película se asienta en la representación honesta de la fragilidad humana cuando la vida familiar y los planes se desmoronan. Min 38: EL FANTASMA DE MI MUJER (2 estrellas) María Ripoll firma con El fantasma de mi mujer una comedia negra de enredos que combina humor ácido con una premisa imposible: un hombre descubre que su amante ha atropellado (accidentalmente) a su esposa y lo llama para pedir ayuda. Lo que sigue es un caos de mentiras, paranoia y situaciones cada vez más absurdas, subrayado por la ambigüedad entre realidad y delirio. Javier Rey, Loreto Mauleón y Macarena Gómez encarnan personajes que oscilan entre la culpa, el absurdo y la comedia pura, ofreciendo una película que, aunque ligera en pretensiones, es eficaz en ritmo y tono. Es cine para reír con nervio, con una reflexión implícita sobre la culpa y las consecuencias de ocultar la verdad. Mi 45: LA BODA (2 estrellas) La boda marca la ópera prima del cineasta toledano Pedro Cenjor, una propuesta íntima y delicada que gira en torno a dos personajes que aceptan un matrimonio de conveniencia para aliviar una situación económica y emocional. Aunque el acuerdo parece perfecto en papel, pronto la convivencia y las circunstancias imprevistas obligan a replantearse el significado del amor y de los compromisos humanos. Min 53: ESPECIAL BSO TRIBUTO A ROBERT DUVALL En este episodio especial rendimos homenaje a la figura irrepetible de Robert Duvall, uno de los actores más sólidos y discretamente inmensos de la historia del cine. Recorremos su trayectoria a través de algunas de las piezas musicales más evocadoras asociadas a sus películas clave, deteniéndonos no solo en la interpretación, sino en la atmósfera sonora que acompañó sus personajes y ayudó a definirlos.Desde la sobriedad moral de Tom Hagen en The Godfather, con la inolvidable partitura de Nino Rota como telón de fondo, hasta la inquietante presencia de Boo Radley en To Kill a Mockingbird, donde la música de Elmer Bernstein subrayaba la inocencia y la sombra del sur profundo. Recordamos también su transformación en coronel Kilgore en Apocalypse Now, rescatando uno de los temas setenteros más emblemáticos, el The End de Los Doors.

"El Ángel Malvado" ("The Good Son", 1993), música de Elmer Bernstein.

Western. Del Oeste. De Vaqueros. Hay muchas maneras de mencionar a un género que tuvo un esplendor hace décadas, pero que aún hoy da buenas películas. Grandes directores, actores y composiciones han pasado por él, John Ford, John Wayne, Gregory Peck, Gary Cooper, James Stewart, Sergio Leone, Clint Eastwood, Dimitri Tiomkin, Elmer Bernstein o Ennio Morricone son algunos de ellos. En esta selección no están todas, ha sido muy difícil elegir principalmente la de la época dorada, pero os prometo que habrá más partes. Espero que disfrutes de la proyección y viva el western... Listado de temas – Especial Western – Programa 199 1. Richard Hageman – La Diligencia (1939) 2. Dimitri Tiomkin – Duelo al Sol (1946) 3. Dimitri Tiomkin – Solo ante el Peligro (1952) 4. Max Steiner – Centauros del Desierto (1956) 5. Jerome Moross – Horizontes de Grandeza (1958) 01:05:54 6. Dimitri Tiomkin – El Álamo (1960) 7. Elmer Bernstein – Los 7 Magníficos (1960) 8. Alfred Newman – La Conquista del Oeste (1962) Suite 1 9. Alfred Newman – La Conquista del Oeste (1962) Suite 2 10. Cyril J. Mockridge – El Hombre que Mató a Liberty Valance (1962) 02:22:23 11. Ennio Morricone – Por un Puñado de Dólares (1964) 12. Ennio Morricone – La Muerte Tenía un Precio (1965) 13. Ennio Morricone – El Bueno, el Feo y el Malo (1967) 14. Ennio Morricone – Érase una Vez en el Oeste (1969) 15. Marcello Giombini – Oro Negro (Sabata) (1969) 16. Elmer Bernstein – Valor de Ley (1969) 03:48:58 17. Burt Bacharach – Dos Hombres y un Destino (1969) 18. Jerry Fielding – Grupo Salvaje (1969) 19. John Williams – Los Cowboys (1972) 20. Elmer Bernstein – El Tirador (1976) 21. David Mansfield – La Puerta del Cielo (1980) 04:51:39 22. John Barry – La Leyenda del Llanero Solitario (1981) 23. Bruce Broughton – Silverado (1985) 24. Alan Silvestri – Jóvenes Jinetes II (1990) 25. John Barry – Bailando con Lobos (1990) 26. Lennie Niehaus – Sin Perdón (1992) 05:53:39 27. Bruce Broughton – Tombstone (1993) 28. James Newton Howard - Wyatt Earp (1994) 29. Ry Cooder – El Último Hombre (1996) 30. Carter Burwell - El Álamo (2004) 31. Michael Kamen - Open Range (2004) 32. Reinhold Heil & Johnny Klimek & David Schwartz – Deadwood (2004) 07:12:27 33. Marco Beltrami – El tren de las 3:10 (2007) 34. Carter Burwell – Valor del Ley (2011) 35. Luis Balacov & Ennio Morricone - Django Desencadenado (2012) 36. Hans Zimmer – El Llanero Solitario (2013) 37. Ennio Morricone – Los Odiosos Ocho (2015) Despedida John Debney – Horizon: Capítulo 1 (2024) Telegram: https://t.me/+RouezCycwBk1NGU0 X: @AcomodadorEl

Uma das maiores marcas do humor nos anos 1980, com filmes com uma imensa quantidades de piadas, que incluíam as trilhas sonoras, o trio ZAZ fez história e trabalhou com gigantes como Elmer Bernstein, Maurice Jarre, Jerry Goldsmith e Basil Poledouris: juntos ou em carreira-solo, em comédia ou drama, eles entendiam muito de música de cinema.

1r programa de la 17a temporada: homenatge a Verónica Echegui, Robert Redford i Terence Stamp; la participació telèfonica de David Bravo, un dels directors del B-Retina, que demà comença la seva 10a edició; la col·laboració de Francesc Aguilar per parlar de 'Peligrosamente juntos' (Legal Eagles, 1986) a la secció de 'Clàssics de Cinema', també protagonista d'un nou episodi de la secció sobre bandes sonores, amb la música composada per Elmer Bernstein; el control tècnic i la continuïtat d'en Luis Vela; més la producció i coordinació d'en Rossend Torrents, que fa recompte a la recaptació de l'estiu i un ràpid repàs a les estrenes d'aquest divendres. podcast recorded with enacast.com

CONTENT WARNING: Discussion of brownface. If this movie is the rebirth of the Western, it'd be hard to tell because it's a real mess. It's a classic, and it absolutely makes sense why, but it's also a total mess of a film. No one knows what movie they're supposed to be in, the script is missing a ton of connective tissue, and Steve McQueen has the audacity to be bad at acting and an insufferable tool. Still, Yul Brynner and Charles Bronson are total badasses, and this Western via samurai flick manages to be a little entertaining. But really, just go watch Seven Samurai instead. Round up the gunfighters as we watch The Magnificent Seven on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, 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 theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved. Excerpt taken from "Man With A Harmonica" from the film Once Upon a Time in the West, written and composed by Ennio Morricone. Copyright 1968 Rafran - San Marco Production.

Our next film should, by all rights, be one of the greatest all-time Westerns even made. Instead, it's a mealy-mouthed, boring, limp noodle of a movie that's stuck trying too hard to be a Big Deal instead of being the allegory for McCarthyism it was written to be. Fred Zinneman has shots for days, but he can't get convincing performances from his actors, and nobody in the cast can convincingly portray the real tension of this movie. Sure, it makes sense why this resonates today. But overall it's a real slog to sit through. Watch the clocks as we watch 1952's High Noon on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, 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 Ballad of High Noon" from the film High Noon, written by Ned Washington, composed by Dimitri Tiomkin, and performed by Tex Ritter. Trademark and Copyright 2007 by Paramount Pictures. All Rights Reserved. Excerpt taken from the theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

CONTENT WARNING: Discussion of racism against Natives, bullying, animal cruelty. Grab your six shooters and your saddles, we're kicking off our first-ever Westerns series! There's a lot in the genre for us to catch up on, and we start this week with a seminal film, one whose importance is unfortunately the only thing it's really got going for it. John Ford practically created the Western as we know making this movie but the dialogue and the characters are so rigid that it's somehow boring for a 90-minute movie. Still, if you've ever rolled your eyes at John Wayne and wondered "how the hell did he get to be a movie star", look no further than his performance here, smoldering and intense while staying relatable. The cast is pretty great, and the stunts are on par with anything that can be done with wires today. Still, this one is more "important" than a fun hang, so proceed with caution. Load up the wagon as we watch 1939's Stagecoach on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, 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 theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved. Excerpts taken from the main theme to the film Stagecoach, written and composed by Richard Hageman. Copyright MCMXXXIX by Walter Wagner Productions, Incorporated. Excerpt taken from "The Ballad of High Noon" from the film High Noon, written by Ned Washington, composed by Dimitri Tiomkin, and performed by Tex Ritter. Trademark and Copyright 2007 by Paramount Pictures. All Rights Reserved.

CONTENT WARNING: Discussion of sexual abuse of minors by clergy. While no explicit mentions are made of actions or abuse, listener discretion is advised. This one has been on our must watch list since it came out, and somehow it lingered for 10 years. In fact, you might suspect we did this series just to watch this movie, and you'd be at least a little bit right. Fortunately, the film doesn't disappoint, taking the well-worn movie journalism formula and taking it in a completely different direction. This movie is all about subtlety, accuracy, and most of all, real human storytelling. There's very few frills involved and very few liberties taken, which is the perfect way to tell the story of uncovering one of the most heinous abuses of power and trust in human history. There's no hero worship and no easy answers here, just plain great storytelling. No wonder it won Best Picture. We're finish on a high note with 2015's Spotlight on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, 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 "Spotlight" from the soundtrack to Spotlight, written and composed by Howard Shore. Copyright 2015 Howard Shore; Entertainment Rights Holdings, EOT Film Productions, LLC. All Rights Reserved. Excerpts taken from the main theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

Welcome to Cinematic Sound Radio's celebration of the 35th anniversary of Film Score Monthly. In 1990, a young film music fan named Lukas Kendall began what was to become Film Score Monthly with a Xeroxed newsletter sent to a handful of fans who signed up to receive the snail mail newsletter. From there, the newsletter turned into one of the biggest soundtrack publications in the world. The magazine's run ended in 2005 at 150 issues. It ceased printing due to budgetary reasons. The magazine, however, still lives on in the digital world as FSM On-Line. A byproduct of the magazine was a record label, which began in 1998 with the release of Jerry Goldsmith's STAGECOACH / THE LONER. Lukas would go onto produce 250 FSM CDs, many of them long-sought-after "holy grails." The label would cease production in 2013. The website and popular message board are still running, but are in desperate need of updating. That's where you come in. Lukas is currently raising money on Kickstarter to help fund a brand-new website, message board, book, CD and more! As of the release of this episode on June 20th, 2025, the Kickstarter has reached its initial goal of $25,000 and is currently in its stretch run to raise an additional $25,000. If you've already pledged, thank you, but if you haven't, then please head over to the Kickstarter by CLICKING HERE and donate what you can to help keep this film music institution running smoothly for the next 35 years! To celebrate FSM's 35 years, I'm going to play for you my top five favourite Film Score Monthly CDs of all time, featuring the music of Franz Waxman, Bronislau Kaper, Johnny Green, Stu Phillips, Elmer Bernstein, Alexander Courage and Jerry Goldsmith. 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, 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

What happens when screen legends Ralph Bellamy and Don Ameche play obscenely wealthy commodities brokers who wager on an insidious, impromptu nature-vs.-nurture experiment that subjects an unwitting Eddie Murphy and Dan Ackroyd to radical reversals of fortune? You get an '80s screwball comedy update of The Prince and the Pauper that also showcases the great Jamie Lee Curtis and Denholm Elliott, along with a host of amusing cameos by the likes of Al Franken, Bo Diddley, and Giancarlo Esposito, all set to an Elmer Bernstein score built on the shoulders of Mozart. And it's a Christmas movie! (Kind of.) Join Javi, Paul and - inscrutably - Producer Brad as they learn more than they ever wanted to about pork belly and concentrated frozen orange juice futures trading, navigate the film's alarmingly casual racism and homophobia (not to mention a painful bit involving a gorilla), and behold the biggest smoked salmon ever to grace the silver screen. For a better understanding of commodities, short selling, and The Eddie Murphy Rule, check out this great episode of Planet Money.Follow us!InstagramBlueskyemail: Multiplexoverthruster@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Emily and Phil continue their deep dive into The Todds—Haynes, Phillips, Solondz, and Field—with Todd Haynes' lush and heartbreaking 2002 masterpiece Far From Heaven. Joining them is writer and culture critic Marie Bardi-Salinas (@mariebardi), bringing her sharp insight and deep love for this era of filmmaking.Together, they explore how Haynes channels Douglas Sirk to tell a daring, subversive story about race, sexuality, and suburban repression in 1950s America. From Julianne Moore's tour-de-force performance to the evocative Elmer Bernstein score and Edward Lachman's exquisite cinematography, this conversation celebrates the film's style and its urgent relevance.Don't miss this conversation about one of the most visually rich and emotionally complex films of the decade.

On this weeks episode I chat with composer Tim Wynn about creating the impactful - bone chilling score that went along with Final Destination: Bloodlines! WANT STICKERS?  https://www.stickermule.com/katieafraidy Subscirbe on Patreon for EXTENDED UNCUT Episodes, Stickers, and SO MUCH MORE! https://www.patreon.com/KatieAfraidy Get ready for more chaos coming every TUESDAY!  Old episodes of Horror at The Store will be reposted to YouTube every THURSDAY!  Use code KATIEAFRAIDY25 to get 25% off of your Fangoria subscription ! Check out Filmcraft Studio Gear! https://www.instagram.com/filmcraftla/ Tim Wynn is the quintessential modern-day composer/producer, excelling in multiple media genres. Over the past 20 years, he has scored some of the biggest franchises in film, TV, and video games. He has been nominated and has won multiple awards for his many scores. In 2025, Tim scored the iconic horror franchise Final Destination: Bloodlines. Along with scoring 15 seasons of the hit show Supernatural, Wynn's haunting score for the breakout film Freaks, directed by Adam Stein and Zach Lipovsky, was recognized as one of the top scores of 2019 by Film Music Magazine. Tim began his music training as a founding member of the prestigious Orange County High School of the Performing Arts in 1988. From there he was accepted into USC's Thornton School of Music, where he studied under world renowned composers Elmer Bernstein, Jerry Goldsmith, Christopher Young, and Buddy Baker. In 2012, Wynn and his business partner Christopher Lennertz built Sonic Fuel Studios, a state-of-the-art recording facility in Los Angeles. Wynn's music career is notable by the diversity of his credits. His career highlights include the feature films: Freaks (Well Go), Horrible Bosses 2 (Warner Bros), The Experience (Black Stallion), To Save A Life (Samuel Goldwyn Films), Starving Games (Peter Safran), Mckenna Shoots for the Stars (Martin Chase Prod.) the TV shows: Mech-X4 (Disney), Supernatural (Warner Bros), The Deep End (ABC), Atelier (Netflix/Fuji TV), Lucky Seven (Fuji TV), the video games: Marvel's Midnight Suns (2K), XCOM 2 (2K), Total War:Three Kingdoms (Sega), Darkness II (2K), Command and Conquer: Red Alert 3 (EA), Total War: Warhammer II (Sega), Madden NFL 25 (EA), The Simpson's Game (EA), and Warhawk (Sony). His score for Darkness II was nominated for 5 G.A.N.G awards and won OSV's best soundtrack of the year.

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 Our Discord & Support The Show: PL+ | PL Pro - Get 15% off Yearly with code PODCASTProud member of the Pitcher List Fantasy Baseball Podcast Network

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

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.

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.

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!

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?

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.

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.

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

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.

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

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