Podcast appearances and mentions of James Newton Howard

In this final part of our seven-part series counting down the TOP 25 SCORES OF THE 21st CENTURY, we will conclude the countdown with the presentation of scores 5-1. In this episode, you'll hear selections from Conrad Pope, Daft Punk, John Williams, John Powell and James Newton Howard. Enjoy —— Special thanks to our Patreon supporters: David Ballantyne, Joe Wiles, Maxime, William Welch, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Matt Berretta, Eldaly Morningstar, Jim Wilson, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Randall Derchan, Angela Rabatin, Larry Reese, Rudy Amaya, Stacy Livitsanis, Carl Wonders, Lee Wileman, Nathan Blumenfeld, Daniel Herrin, Scott Bordelon, James Alexander, Ian Clark, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp, Simon Parker, Harry Fiddlesticks, Jonas Wilstrup, Alexandre Richardson, Amy Stewart, Jack Zhu, Cole Losey, Bam Bam, Reed Waller, Paolo Grassini. —— 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

ÉSTE PROGRAMA ES UNA REPOSICIÓN. POR MOTIVOS AJENOS A NUESTRA VOLUNTAD CERRAMOS ÉSTA SEMANA LA ACADEMIA, PERO HEMOS ELEGIDO UNO DE NUESTROS EPISODIOS MÁS POPULARES PARA HACER MÁS LLEVADERA LA ESPERA HASTA LA SEMANA QUE VIENE. BIENVENIDOS A LA ACADEMIA DE LOS NOCTURNOS Esta noche nos visita Gonzalo Pérez Sarró para hablarnos de su libro "La fuerza del muerto", una investigación de 37 años sobre un personaje enigmático con supuestos poderes paranormales. Exploraremos varios incidentes y testimonios relacionados con este individuo, resaltando lo misterioso de su habilidad para influir en las mentes y el curso de los eventos. Y no os perdáis la experiencia personal que nos contará Gonzalo, un suceso que considera inexplicable. Y esta noche visitaremos junto a Álvaro Anula la parroquia de Nuestra Señora de Zulema en Villalvilla, cerca de Alcalá de Henares, y nos centraremos en un evento de 1995, cuando feligreses afirmaron que un Cristo irradió luz, considerado por algunos como un milagro. Posteriormente, la iglesia ganó notoriedad por los exorcismos realizados por el padre Fortea, eclipsando el anterior incidente. Una nueva entrega de “Enclaves de Leyenda”. Sed bienvenidos y bienvenidas. Podcast Academia de los Nocturnos Dirige: Félix Friaza Presentan: Félix Friaza y Juanca Romero Colaboran: Álvaro Anula y Javier Resines Locución: Laura Cárdenas y Ana Cárdenas Edición y diseño: Paco Cárdenas Si te gusta nuestro programa, suscríbete en Ivoox, comenta y dale a Me gusta a nuestros programas, tu respaldo nos motiva a seguir adelante y a mejorar. Y si los compartes, nos ayudarás a que los conozcan más personas. - Suscríbete a nuestro podcast aquí: https://go.ivoox.com/sq/1523888 - Añádenos a Whatsapp: (+34) 644 848 546 - Nuestro correo: academianocturnos@gmail.com - Síguenos en Facebook: https://www.facebook.com/AcademiaDeLosNocturnos - Las opiniones expresadas por los invitados son de su exclusiva responsabilidad y no necesariamente representan la opinión de la dirección del programa. Créditos de las músicas: - Sintonía: Scarborough Fair – Nox Arcana - Cuña 1: BSO Nosferatu (2024) – “Once upon a time” - Cuña 2: BSO Encuentros en la tercera fase – John Williams – “Wild signals” - Cuña 3: BSO Poltergeist – Jerry Goldsmith – “The calling” - Cuña 4 contacto: “Salem's Lot Soundtrack | Town Theme - Nathan Barr & Lisbeth Scott | WaterTower Music” - Música presentación invitados: BSO The Haunting of Hill House – “Take her down” - Cierre de programa - Music from Uppbeat (free for Creators!): http://uppbeat.io/t/spinnin-tape/no-joyce - License code: JUYLRAH7OVALM3LC Músicas de fondo: - OST The Sixth Sense - Help The Ghosts - by James Newton Howard - OST The Sixth Sense - On The Staircase - by James Newton Howard

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Jeudi 9 avril 2026, c’était la clôture du Prix des ados du festival Livres & Musiques au Centre des congrès d’Angers, un évènement organisé par les bibliothèques de la ville. Dans le cadre de ce festival littéraire pour les ados, le club lecture du collège Saint-Charles d’Angers a animé une émission de radio en public autour de la lecture. Au sommaire de cette émission : quatre invité·es pour parler des livres de la sélection : Leslie Perreaut, l’éditrice des Notes rouges, et Stéphanie Verissimo, la compositrice du morceau Les Notes rouges; Cécile Alix, l’autrice d’Enragée; et Benoît Séverac, l’auteur du Clash trois débats autour de la lecture : vaut-il mieux lire sur papier ou sur écran ? acheter des livres ou les emprunter ? lire la série Hunger Games ou Gardiens des cités perdues ? des portraits croisés de lecteur·rices une fiction sonore créée par les élèves… où les votes du Prix des ados ont été truqués ! Merci à Mélanie Houvrard, professeure documentaliste au collège Saint-Charles, et à Anne Robert, bibliothécaire à Angers, qui ont accompagné les élèves dans la préparation de cette émission. Playlist : Respire > Gaël Faye / Les Notes rouges > Stéphanie Verissimo / Anarchy in the UK > Sex Pistols / The Hanging Tree' > James Newton Howard ft. Jennifer Lawrence / Phantom of the opera > Andrew Lloyd Webber /

Film blogger Jon Mark joins Cam to discuss the diverse film composer James Newton Howard's discography:   How does Howard infuse more natural music and avoid repetition beats?   How did he do tons of comedies and horror mysteries without getting typecast by genres?   And more deep orchestral cuts (and admiration)!       AUDIO CLIP INTRO: Collider Connected Interview  

paypal.me/LibroTobias ko-fi.com/asier24969 "La gente del verano" o "Los veraneantes" es un relato corto bastante inquietante y misterioso de la autora Shirley Jackson. Una pareja de Nueva York se topa con una siniestra resistencia cuando deciden quedarse en su casa de verano después del Día del Trabajo. Este es el quinto relato que os leo de Shirley Jackson, el referente absoluto de Stephen King, Neil Gaiman y Richard Matheson .ntre much@s otr@s, Canciones: • “You Can't Have My Heart” de James Newton Howard • “Sanctuary” de James Newton Howard Narración: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Happy New Year to all you delightful listeners (not you, Bob), and welcome to the first Stace & Barry In The Morning of 2026. Cor blimey, do we have a jam-packed episode to kick your year off with a geeky bang! Barry finds that Stranger Things can happen as Stacey espouses her enjoyment of Nirvanna The Band The Show, and the dynamic duo are absolutely returning in Avengers: Doomsday. All this, plus music from Nine Inch Nails and James Newton Howard, a bit of Benoit Blanc, and a (cautious) recommendation for Sorry, Baby. Grab a nice hot drink to warm your donnies, and enjoy!

¡Bienvenidos a la Academia de los Nocturnos! Esta semana, nos sumergimos en el inquietante universo del cine de suspense, terror y fantasmas, explorando esas obras que consiguen helar la columna vertebral solo con una presencia, un susurro o una sombra. Descubrimos con Francisco Javier Millán cómo el suspense se construye sin necesidad de efectos visuales. Te invitamos a revivir este viaje por el cine que nos obliga a cuestionar la frontera entre lo real y lo invisible… Y esta noche, en "Caminando entre Monstruos" Javier Resines se centra en la vida y el legado de Miguel Joaquín Eleicegui, más conocido como el Gigante de Altzo. Este personaje histórico padecía de gigantismo y, como era común en el siglo XIX, fue exhibido a lo largo de Europa por un empresario, un destino lleno de dramatismo y tristeza. La biografía del gigante se sitúa en el contexto de los controvertidos "fenómenos" o freak shows de la época, comparándolo con otros casos españoles que sufrieron explotación similar debido a sus condiciones físicas. Sed bienvenidos y bienvenidas. Podcast Academia de los Nocturnos Dirige: Félix Friaza Presentan: Félix Friaza y Lola Velasco Colaboran: Javier Resines y Miguel Herrero Locución: Laura Cárdenas y Ana Cárdenas Edición y diseño: Paco Cárdenas Tertulias Nocturnas: Edición: Juanca Romero y Paco Cárdenas Alegan: Félix Friaza, Lola Velasco, Enrique Romero y Juanca Romero + Invitados Si te gusta nuestro programa, suscríbete en Ivoox, comenta y dale a Me gusta a nuestros programas, tu respaldo nos motiva a seguir adelante y a mejorar. Y si los compartes, nos ayudarás a que los conozcan más personas. - Suscríbete a nuestro podcast aquí: https://go.ivoox.com/sq/1523888 - Añádenos a Whatsapp: (+34) 644 848 546 - Nuestro correo: academianocturnos@gmail.com - Síguenos en Facebook: https://www.facebook.com/AcademiaDeLosNocturnos - Las declaraciones y opiniones manifestadas por los invitados, colaboradores o miembros de la dirección son responsabilidad individual y no comprometen ni reflejan la opinión institucional del programa. Créditos de las músicas: - Tema inicio y final: Academia de los Nocturnos – José Manuel Durán Rain y Félix Friaza - Cuña 1: BSO Poltergeist – Jerry Goldsmith – “The calling” - Cuña 2: BSO Nosferatu (2024) – “Once upon a time” - Cuña 3: BSO Encuentros en la tercera fase – John Williams – “Wild signals” - Cuña 4 contacto: “Salem's Lot Soundtrack | Town Theme - Nathan Barr & Lisbeth Scott | WaterTower Music” - Presentación: “The wendigo” – BSO ”Cementerio maldito” - Música de la sección "Caminando entre Monstruos": "Cripto" - por PC - Músicas de la sección “Arqueología de los medios”: BSO “El arte de la luz y la sombra” - Tsvetelina Lyubenova Avramova - “Fantasmagorías” y “Fuga fantasmagórica” - Músicas del programa: - End Credits (Hereafter) · Clint Eastwood- hstkfysfrg56 - OST The Sixth Sense - Help The Ghosts - by James Newton Howard - “The Changeling”, BSO Al final de la escalera - Descripción de Federico Luppi de los fantasmas en "El Espinazo del Diablo".

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

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Steve Suminski, Los Angeles and Bay Area studio musician and freelancer. About Steve: Steven Suminski is an active freelance and studio trombonist in the Los Angeles and San Francisco Bay Areas. He currently serves as Guest Principal Trombone with the Los Angeles Chamber Orchestra and holds posts as Principal Trombone with Symphony San Jose, Opera Santa Barbara and the Riverside County Philharmonic. Steven has appeared with many premier ensembles in the area, including the Los Angeles Philharmonic, Los Angeles Opera, Hollywood Bowl Orchestra, Santa Barbara Symphony, Long Beach Symphony and Los Angeles Master Chorale.  As a studio musician he has recorded for film and television projects working with composers such as John Williams, Christophe Beck, Michael Giacchino, James Newton Howard, Ludwig Göransson and countless others. Passionate about chamber music and performing new works, he is a member of the acclaimed Modern Brass Quintet and is a founding member of the award winning group Brass Pacifica, currently working for the educational division of the Music Center of Los Angeles. Steven began playing trombone at the age of nine, eventually moving to Los Angeles to study music performance at the University of Southern California. Currently he lives in the Los Angeles area and maintains an active teaching studio at Riverside City College.

Achtung Re-Upload: Mal wieder Probleme mit Spotify, diesmal war in einem Making-Of-Clip die Hintergrundmusik von James Newton Howard zu laut. Diese ist nun entfernt worden. 'Tschuldigung, Spotify, James, und alle, die diese Folge ein zweites Mal runterladen mussten.--Da ist er wieder, der Podcast, der Menschen und Geister gleichermaßen an den Kopfhörern willkommen heißt: Für The Sixth Sense nehmen Philipp und Flo ihre bislang sinnlichste Folge auf.Sehen wir für diese Folge nicht nur tote Menschen, sondern auch einen guten Film? Was ist gruseliger: Bruce Willis Haarteil oder die weitere Karriere von M. Night Shyamalan? Und wo lässt sich eigentlich der Anfang des Twist-Endes in der Geschichte der Popkultur finden?Antworten findet ihr bei einer neuen Folge von Popkultur Plusquamperfekt – überall, wo es Podcasts gibt und ab sofort auch auf YouTube.--Popkultur Plusquamperfekt ist ein Podcast von Philipp Klein und Florian Westphal.Mehr über uns und unseren Podcast erfahrt ihr hier:YouTube - https://www.youtube.com/channel/UClN5No--oRcdXNxD2JmWCZwInstagram - https://www.instagram.com/popkulturplus/Bluesky - https://bsky.app/profile/popkulturplus.bsky.socialFolgt dem Podcast — überall, wo es Podcasts gibt: https://taplink.cc/popkulturplusUnd besucht unseren Discord-Server: http://discord.gg/X2v2BN4Cm4

Marc Bonilla is a renowned guitarist, composer, and producer whose dynamic career spans decades across the worlds of rock, film, and television. He first gained recognition touring with Warner Bros. recording artists Toy Matinee and later released three critically acclaimed instrumental guitar albums on Reprise Records: EE Ticket, American Matador, and Celluloid Debris.  A versatile and south-after collaborator, Bonill has performed, recorded and produced with an impressive roster of artists including Asia, Ronnie Montrose, Gamma, Glenn Hughes, Eddie Jobson, Slash, Little Richard, Peter Frampton, Rob Halford, David Coversale, Paul Rodgers, Edgar Winter, Ambrosia, David Pack, Todd Rundgren, Robby Krieger, Don Felder, Sammy Hagar and Tesla, among many others. In the Realm of film and television, Marc has composed and performed on scores for numersous major motion pictures such as The Bourne Legacy, Iron Man 2, Green Lantern, The Scorpion King, Falling Down, Waterworld, The Replacements, Spiderman 2, Bruce Almighty, ER and many more. He has collaborated with top Hollywood composers including James Newton Howard, John Debney, Joel McNeely, and Snuffy Walden, earning an Emmy nomination in 2001 for his work on David Milch's Big Apple. For Show notes and more info, visit our website: www.rockandrollconfessional.rocks Also Marc mentions many of our previoius guests that you may want to hear those interviews, including Lee Sklar, Glenn Hughes, Kipp Lennon, Peter Frampton, Robby Krieger and more. Find those interviews where ever you found this one!   More info on Marc's site: https://marcbonillamusic.com/

We close out our Westerns series with a review of dueling Wyatt Earps. On one side, we have an absolute shitshow of a production saved at the last moment by two powerhouse actors and some absolute perfect melodrama. On the other side, we have Kevin Costner giving the most soulless performance of his life. This is a real contrast, one destined for cable classic status and one that really could just be wiped from the face of the earth. Take the long walk to the OK Corral with us as we watch Tombstone and Wyatt Earp 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 "Main Theme" from the film Tombstone, written and composed by Bruce Broughton. © 1993 Hollywood Pictures. Excerpt taken from "Main Theme" from the film Wyatt Earp, written and composed by James Newton Howard. © 1994 Warner Bros. Entertainment Inc. All Rights Reserved.

Hay personas para las que la música no significa nada; es un mero divertimento o la utilizan de fondo sin mayor trascendencia. Sin embargo, por el contrario, en el otro extremo nos encontramos nosotros, los que necesitamos la música como el aire, los que escuchamos ávidamente esos sonidos que nos llenan y dan un sentido especial a nuestra vida. Para nosotros, la vida sin música sería terriblemente apática. Por eso yo necesito hacer este programa. Por eso yo necesito buscar nuevos sonidos, nuevas melodías, nuevas músicas. Músicas trascendentes que perduran en el tiempo a lo largo de los años y que terminan en convertirse en músicas perpetuas. Philip Ayers, Roots of Quiet, Clemens Ruh, Stephen James, David A. Molina, Jimi Dolezal, ConfidentialMX, Joel D. Hitos, Henry Jackman, Dominic Lewis, James Newton Howard, Tiko Tiko, Vera Kay, Junkie XL. 🎧 El playlist detallado: lostfrontier.org/t30.html#1062

This week we're excited to present a conversation with M. Night Shyamalan, the subject of our current series Night at the Movies: An M. Night Shyamalan Retrospective, on his 2004 feature The Village. Featuring 2-for-1 double bills that place Shyamalan's features alongside a film of his own choosing, the series runs through Thursday, September 4th. View remaining screening schedule and secure

Dreamcatcher is a 2003 American science fiction horror film based on Stephen King's 2001 novel of the same name. Directed by Lawrence Kasdan and co-written by Kasdan and screenwriter William Goldman, the film stars Thomas Jane, Jason Lee, Damian Lewis, and Timothy Olyphant as four friends who encounter an invasion of parasitic aliens. It also features Morgan Freeman, Tom Sizemore, and Donnie Wahlberg.  The film's score was composed by James Newton Howard. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!    Out this Month: Dreamcatcher (2003) War of the Worlds (2005) Patreon: Hot Take - Weapons      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://the-film-flamers.printify.me/  Instagram: https://www.instagram.com/thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/  (NEW!) SCANS Movie Rating Calculator: https://scans.glide.page/  Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons:    Alex M Andrew Bower Anthony Criswell Ashlie Thornbury BattleBurrito Benjamin Gonzalez Bennett Hunter BreakfastChainsawMassacre Brittany Bellgardt Call me Lestat. Canadianmatt3 Christopher Nelson Dan Alvarez Dirty Birdy eliza mc Gia Gillian Murtagh GlazedDonut Grace GWilliamNYC Irwan Iskak James Aumann Jessica E Joanne Ellison Joe Criswell Josh Young Karl Haikara Kimberly McGuirk Kitty Kelly Kyle Kavanagh Laura O'Malley Lisa Libby Lisa Söderberg Livi Loch Hightower M Hussman Matt Walsh Matthew McHenry Nicole McDaniel Nikki Niko Allred Nimble Wembley Pablo the Rhino Penelope Nelson random dude Richard Best Robert Eppers Rosieredleader Ryan King SHADOW OF THE DEAD SWANN Sharon Sinesthero Thomas Jane's gun Walstrich William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

Send us a textDon't believe Filmshake, we're not the truth. No one could look as good as us. Or maybe we have faces for podcasting. Whatever the case, we're talking 1990's Pretty Woman, the rom-com that stole early 90's Americans' hearts...Did we feel the same...or beg for mercy? Also, we're talking our punishment movie, 1990's The Forbidden Dance...actually, we're talking about a lot of forbidden things. After five minutes of this, you might be wondering what you've gotten yourself into. Won't you pardon us? We couldn't help but see. That you look lovely as can be. Are you lonely, just like us...Music Heard This Episode "He Sleeps" -- James Newton Howard "Love Montage" -- James Newton HowardSupport the showIntro music - "If" by Broke For FreeConnect with us!TwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

Strap on your goggles and hoist the sails, this week on Born to Watch, the crew dives into a post-apocalyptic puddle with their Waterworld (1995) Review, Kevin Costner's legendary aquatic epic that soaked Universal Studios in ambition, cash, and controversy. Whitey, G Man, and Damo reunite to wade through the waves of cinematic history, revisiting a film as infamous for its behind-the-scenes chaos as it is for its soggy storytelling.From the jump, the team questions Waterworld's place in pop culture infamy. Once touted as the most expensive movie ever made, this maritime Mad Max-on-water starred Costner at the peak of his fame, but was it his creative apex or the beginning of his soggy descent? The guys don't pull punches, balancing deep dives into production lore with their trademark irreverent humour.Whitey sets the tone by confronting the bloated ambition of the project: “Has any Hollywood star become so famous with a catalogue with so many peaks and troughs?” Cue a wide-ranging Costner retrospective, comparing the golden days of Field of Dreams and The Untouchables to the indulgent excesses of The Postman and yes, Waterworld. The verdict? Costner might've been drinking his own Kool-Aid, filtered through a urine distillation machine, of course.G Man leads the crew through the absurd plot, where the Earth is drowned, the polar caps are melted, and dry land is a mythic memory. Costner plays the Mariner, a grim, gilled loner with webbed feet and a personality drier than the lost continent he's searching for. The podcast doesn't shy away from the film's narrative flaws: characters with no backstory, Mad Max rip-offs, and a complete lack of chemistry between the leads, most notably between Costner and Jeannie Triplehorn, affectionately known as “Jeannie Triple Blurter” by the team.Speaking of performances, Dennis Hopper's turn as the Deacon is eviscerated with delight. Compared to his electric villain in Speed just a year prior, Hopper here is an oily cartoon, piloting a rust-bucket Exxon Valdez filled with chain-smoking goons. “It's a bad Beyond Thunderdome,” declares Whitey, and the panel doesn't disagree.The gang revels in the film's infamous production disasters: hurricanes, a constantly rewritten script, Costner's massive creative control, and his falling out with director Kevin Reynolds. G Man reminds us of the legendary quote about Costner directing himself: “Now he gets to work with his favourite actor and his favourite director.” Ouch.Despite the floundering script, there are moments that the Born to Watch crew appreciates. The practical effects, like the massive floating Atoll set and Costner's tricked-out trimaran, get nods of approval, even if the action sequences are undercut by choppy editing and goofy stunts. And the team can't help but laugh at the iconic “pee filtration scene,” the rope-assisted bungee jump climax, and the infamous underwater city reveal, which defies all logic and basic physics.One of the episode's standout sections is “Question Time,” where the trio tackles the film's most baffling plot points: How does the Mariner's boat outrun jet skis? How does dry land remain uninhabited? And why, oh why, would someone spend their life searching for paradise only to leave it five minutes after finding it?The boys also pay tribute to the lesser-known cast and crew: a young Jack Black in a blink-and-miss-it role, Tina Majorino (aka the Enola of Napoleon Dynamite fame), and the brilliant yet misfiring score from James Newton Howard. “He dialled it in harder than Dennis Hopper did,” quips Damo.By the end, the Born to Watch gang reaches a consensus: Waterworld is a cinematic curiosity, too ambitious to dismiss outright, too flawed to celebrate, and just insane enough to warrant a watch. Maybe once.So whether you're a fan of ‘90s action epics or just here to marvel at cinematic misfires, this Waterworld deep dive is a splash of nostalgic chaos you won't want to miss.Listen now on Spotify, Apple Podcasts, or wherever you get your podcasts!Join the conversation:Is Waterworld an underrated cult classic or a floating disaster?Would you survive in a world covered by the ocean? And seriously, how does that boat outrun jet skis?#BornToWatch #Waterworld #KevinCostner #MoviePodcast #90sMovies #PostApocalyptic #DennisHopper #JeanneTripplehorn #CultClassic #MadMaxOnWater #MovieReview #PodcastLife

Academia de los Nocturnos 4x35 Esta noche nos visita John Dee para hablarnos del Sasquatch, también conocido como Bigfoot, una criatura legendaria que ha investigado extensamente. Compartirá sus experiencias y hallazgos, incluyendo relatos de leyendas indígenas, testimonios históricos y encuentros personales, explorando la naturaleza de estas criaturas y su posible interacción con los humanos. Nuestro invitado nos hablará del caso de Albert Ostman, secuestrado por un Sasquatch con cuya familia convivió durante varios días en una cueva. También narrará historias de "alta extrañeza", como la del hombre salvaje que aparecía y desaparecía misteriosamente, o la de la mujer salvaje con fuerza y habilidades extraordinarias, incluso para esquivar balas. ¿Podría ser más que una simple criatura biológica desconocida? En "Caminando entre monstruos", Javier Resines nos presenta el libro “Sasquatch”, que se centra en el fenómeno Sasquatch o Bigfoot, particularmente en el noroeste del Pacífico de América del Norte, utilizando principalmente artículos de prensa desde finales del siglo XIX. También nos hablará del “proyecto Bigfoot”, una iniciativa que utiliza inteligencia artificial para identificar posibles hábitats de homínidos, presentado como un enfoque innovador para la búsqueda de la criatura. Y para terminar el programa, ¡esta noche sorteamos libro! Sed bienvenidos y bienvenidas. Podcast Academia de los Nocturnos Dirige: Félix Friaza Presentan: Félix Friaza y Lola Velasco Colaboran: Álvaro Anula y Javier Resines Locución: Laura Cárdenas y Ana Cárdenas Edición y diseño: Paco Cárdenas Si te gusta nuestro programa, suscríbete en Ivoox, comenta y dale a Me gusta a nuestros programas, tu respaldo nos motiva a seguir adelante y a mejorar. Y si los compartes, nos ayudarás a que los conozcan más personas. - Suscríbete a nuestro podcast aquí: https://go.ivoox.com/sq/1523888 - Añádenos a Whatsapp: (+34) 644 848 546 - Nuestro correo: academianocturnos@gmail.com - Síguenos en Facebook: https://www.facebook.com/AcademiaDeLosNocturnos - Las declaraciones y opiniones manifestadas por los invitados, colaboradores o miembros de la dirección son responsabilidad individual y no comprometen ni reflejan la opinión institucional del programa. Créditos de las músicas: - Sintonía: Scarborough Fair – Nox Arcana - Cuña 1: BSO Poltergeist – Jerry Goldsmith – “The calling” - Cuña 2: BSO Nosferatu (2024) – “Once upon a time” - Cuña 3: BSO Encuentros en la tercera fase – John Williams – “Wild signals” - Cuña 4 contacto: “Salem's Lot Soundtrack | Town Theme - Nathan Barr & Lisbeth Scott | WaterTower Music” - Música presentación invitados: BSO The Haunting of Hill House – “Take her down” - Cierre de programa - Music from Uppbeat (free for Creators!): http://uppbeat.io/t/spinnin-tape/no-joyce - License code: JUYLRAH7OVALM3LC Músicas del capítulo: - King Kong – “The crew is nervous” - James Newton Howard - King Kong – “The Map” - James Newton Howard

Lebohang “Lebo M” Morake is a South African producer and composer most famous for arranging and performing music for The Lion King movies and stage productions. Lebo M went on to co-produce, co-write and perform numerous film soundtracks with Hans Zimmer, Jerry Goldsmith and James Newton - Howard. As a performer, Lebo M has featured as special guest on ALL Hans Zimmer World Tours including but not limited to HAVASI and Hollywood in Vienna special concert events.See omnystudio.com/listener for privacy information.

Academia de los nocturnos 4x22 Esta noche nos visita Gonzalo Pérez Sarró para hablarnos de su libro "La fuerza del muerto", una investigación de 37 años sobre un personaje enigmático con supuestos poderes paranormales. Exploraremos varios incidentes y testimonios relacionados con este individuo, resaltando lo misterioso de su habilidad para influir en las mentes y el curso de los eventos. Y no os perdáis la experiencia personal que nos contará Gonzalo, un suceso que considera inexplicable. Y esta noche visitaremos junto a Álvaro Anula la parroquia de Nuestra Señora de Zulema en Villalvilla, cerca de Alcalá de Henares, y nos centraremos en un evento de 1995, cuando feligreses afirmaron que un Cristo irradió luz, considerado por algunos como un milagro. Posteriormente, la iglesia ganó notoriedad por los exorcismos realizados por el padre Fortea, eclipsando el anterior incidente. Una nueva entrega de “Enclaves de Leyenda”. Sed bienvenidos y bienvenidas. Podcast Academia de los Nocturnos Dirige: Félix Friaza Presentan: Félix Friaza y Juanca Romero Colaboran: Álvaro Anula y Javier Resines Locución: Laura Cárdenas y Ana Cárdenas Edición y diseño: Paco Cárdenas Si te gusta nuestro programa, suscríbete en Ivoox, comenta y dale a Me gusta a nuestros programas, tu respaldo nos motiva a seguir adelante y a mejorar. Y si los compartes, nos ayudarás a que los conozcan más personas. - Suscríbete a nuestro podcast aquí: https://go.ivoox.com/sq/1523888 - Añádenos a Whatsapp: (+34) 644 848 546 - Nuestro correo: academianocturnos@gmail.com - Síguenos en Facebook: https://www.facebook.com/AcademiaDeLosNocturnos - Las opiniones expresadas por los invitados son de su exclusiva responsabilidad y no necesariamente representan la opinión de la dirección del programa. Créditos de las músicas: - Sintonía: Scarborough Fair – Nox Arcana - Cuña 1: BSO Nosferatu (2024) – “Once upon a time” - Cuña 2: BSO Encuentros en la tercera fase – John Williams – “Wild signals” - Cuña 3: BSO Poltergeist – Jerry Goldsmith – “The calling” - Cuña 4 contacto: “Salem's Lot Soundtrack | Town Theme - Nathan Barr & Lisbeth Scott | WaterTower Music” - Música presentación invitados: BSO The Haunting of Hill House – “Take her down” - Cierre de programa - Music from Uppbeat (free for Creators!): http://uppbeat.io/t/spinnin-tape/no-joyce - License code: JUYLRAH7OVALM3LC Músicas de fondo: - OST The Sixth Sense - Help The Ghosts - by James Newton Howard - OST The Sixth Sense - On The Staircase - by James Newton Howard

This week, the boys head back to 1996, a peak movie year featuring dozens of movies we've all seen multiple times! Dave kicks things off with mini-reviews of “Captain America: Brave New World” and “Companion”. John gives some quick thoughts about “Nickel Boys”. For our featured conversation, we chose “Primal Fear”, the movie that gave us Edward Norton and helped Richard Gere prepare for “Chicago”. Set in and out of a Chicago courtroom, this movie reminds you why movies were better in the 90s. And as John said, it's more than just a genre film!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 5:18 “Captain America: Brave New World” mini-review; 8:37 “Companion” mini-review; 9:38 “Nickel Boys” mini-review; 13:59 Gripes; 21:05 1996 Year in Review; 46:50 Films of 1996: “Primal Fear”; 1:38:11 What You Been Watching?; 1:44:59 Next Week's Movie Announcement Additional Cast/Crew: Laura Linney, Gregory Hoblit, William Diehl, Steve Shagan, Ann Biderman, Alfre Woodard, Frances McDormand, Andre Braugher, Steven Bauer, Maura Tierney, Reg Rogers, James Newton Howard, Michael Chapman, Sophie Thatcher, Jack Quaid, Anthony Mackie, Harrison Ford.  Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Marvel, The Hulk, The Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society.  Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration. The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business.  Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness.  Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates. Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills. Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters. Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story. Musical selections from today's episode: Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting. The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women's Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival. Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra. “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin. “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight. For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

On This Special Episode of On Air with Brandon Jay, Brandon speaks about the recent devastation that has taken place in LA. BMI is very proud to be sponsoring the K17: Fire Relief Benefit Concert on Saturday, February 8, at The Village Studios in Los Angeles, an important event created to raise funds for the music community impacted by the recent wildfires. BMI is sponsoring this concert in partnership with the K17 Team. Founded by cellist Evgeny Tonkha and entrepreneur Nathan Frankel, K17 is an innovative music project that has been curating concert experiences for over a decade. Several BMI composers will be participating and conducting their own works, including Aaron Zigman, Anna Drubich, Harry Gregson-Williams, James Newton Howard, Peter Golub, and Stephanie Economou, all providing a meaningful show of support for their colleagues who have lost their homes and work studios. One hundred percent of the proceeds of the event will go directly towards supporting the community of music families who have lost their homes as the result of the fires. Go to https://www.tickettailor.com/events/k17music/1541303 to get your tickets today! For more info follow Brandon on all social media @iambrandonjay

Dernier tour de piste pour cette saga consacrée à James Newton Howard, avec un ultime épisode toujours débordant de musique orchestrale et thématique née de la plume de ce symphoniste acharné.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Les aventures de JNH se poursuivent dans ce troisième épisode, avec de nombreux participants (chevaux, singes, nymphes, vampires, avatars...), mais aussi des voyages à Skull Island, New York, Neverland ou encore l'Afghanistan. Et, bien sûr et surtout, des attaques de rien ! Pour en savoir plus, mettez-vous donc un peu de Total Trax dans les oreilles !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Désormais bien installé à Hollywood, James Newton Howard entame ou poursuit certaines des collaborations les plus fructueuses de sa carrière (M. Night Shyamalan et Kevin Costner, entre autres), tout en continuant de s'illustrer sur des genres de cinéma toujours plus variés.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Après des débuts plutôt discrets dans les années 80, James Newton Howard est rapidement devenu l'un des compositeurs majeurs du Hollywood des années 90. David, Olivier et Rafik reviennent aujourd'hui sur le premier acte d'une carrière tout à fait remarquable.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

[Digital Gonzo 2012] NOTE: This is a reissued episode from over 12 years ago. Please forgive the lower production values and boneheaded things I say. Part two of Christopher Nolan's Dark Knight Trilogy. Following the powerful set-up of Batman Begins, the production team pulled out all the stops to deliver an epic crime thriller in the style of Michael Mann's Heat. This is a story of a city in turmoil and a police force struggling to keep order, up against the ruthless mob. At the center are Batman and The Joker, forces of nature representing order and chaos. The only hope for Gotham may in fact be the White Knight, district attorney Harvey Dent. But you all know this, because everybody and his dog saw this movie back in 2008. I just wanted to set the scene a little. Much is discussed, especially Heath Ledger's extraordinary performance, but not forgetting the brilliant turns from Aaron Eckhart and Maggie Gyllenhaal and the possible career-high score from Hans Zimmer and James Newton Howard. Guests: Sharon Shaw of School of Movies Neil Taylor of TheKiddDogg Joshua Garrity of Cane and Rinse Jerome McIntosh of GameBurst Aquila Edwards of Eyrie City Paul Gibson of Gonzo Planet

Welcome to the highly anticipated latest episode of THE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. Your host Jason Drury begins the show with the end titles from SKY CAPTAIN AND THE WORLD OF TOMORROW (La La Land Records) by Edward Shearmur, which celebrates its 20th anniversary this year. Jason then features some archival releases from 2024 that have caught his eye so far this year, including music from 1993‘s THE LAST ACTION HERO (La La Land Records) by Michael Kamen, the world premiere release of music from the classic 1983 cartoon series DUNGEON AND DRAGONS (Dulcima Records) by Johnny Douglas, and selections from the film that featured the first-ever collaboration of Steven Spielberg and John Williams, THE SUGARLAND EXPRESS (La La Land Records) from 1974. Then, to commemorate the character's 85th anniversary, you'll hear "The Batman," from Michael Giacchino's score for THE BATMAN (Watertower Music) in 2022. After that, you'll hear music from Dragon's Domain Records' two 2024 releases. You will first hear music from the 1981 TV miniseries GOLIATH AWAITS, composed by George Duning, followed by selections from the iconic 1981 western adventure film DEATH HUNT, composed by Jerrold Immel. Jason then rounds off the show by playing the end credits from the recent release from the 2000 animated/live-action Disney film DINOSAUR (Intrada Records) composed by James Newton Howard. 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 —— 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

(00:00:00) News/Sports(00:10:14) Entertainment News(00:34:44) Traffic Jams(00:55:30) Fox Good Day/Bizarre File(01:10:21) M. Night Shyamalan & James Newton Howard(01:46:05) Yeardley Smith/Rude Cities and Bonfires(02:14:34) Bizarre File(02:26:50) Hollywood Trash/Music News(02:36:35) Wrap Up

Dana and Tom with new guest, Frank Mandosa (Silver Screeners (Host) and Movies Across the Pod (Co-Host)) discuss The Sixth Sense (1999) for its 25th anniversary: written and directed by M. Night Shyamalan, music by James Newton Howard, starring Bruce Willis, Olivia Williams, Hayley Joel Osment, and Toni Collette.Plot Summary: The Sixth Sense is a haunting psychological thriller that unfolds with masterful precision under the direction of M. Night Shyamalan. Bruce Willis stars as Dr. Malcolm Crowe, a child psychologist grappling with his own personal demons after a violent encounter with a former patient. He finds a chance for redemption in young Cole Sear, played with an eerie intensity by Haley Joel Osment.Cole is a troubled boy who harbors a chilling secret: he sees dead people. As Dr. Crowe delves deeper into Cole's world, the film weaves an intricate tapestry of suspense and revelation. Shyamalan's meticulous storytelling and James Newton Howard's evocative score create an atmosphere thick with dread and poignancy.The Sixth Sense is not just a ghost story; it's a profound meditation on grief, communication, and the unseen connections that bind us. The film's climax delivers one of the most unforgettable twists in cinematic history, leaving audiences reeling and re-examining everything they thought they knew.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.Chapters:00:00 Introduction and Guest Introduction01:36 Getting to Know Frank Mandosa05:03 Background, Cast, and Recognition for The Sixth Sense08:24 Relationship(s) to The Sixth Sense13:40 What is The Sixth Sense About?17:53 Is The Sixth Sense a Horror Film?33:35 Plot Summary for The Sixth Sense35:00 Did You Know?36:21 First Break37:11 What's Up with Frank Mandosa?38:53 Ask Dana Anything44:05 Best Performance(s)57:39 Best/Favorite/Indelible Scene(s)01:07:52 Second Break01:08:42 In Memoriam01:09:09 Best/Funniest Lines01:11:12 The Stanley Rubric - Legacy01:19:21 The Stanley Rubric - Impact/Significance01:21:38 The Stanley Rubric - Novelty01:26:40 The Stanley Rubric - Classicness01:32:26 The Stanley Rubric - Rewatchability01:34:58 The Stanley Rubric - Audience Score and Final Total01:36:09 Remaining Questions01:41:37 Thank You to Frank Mandosa01:45:30 CreditsGuest Credentials:Frank MandosaFilm Lecturer and Podcast HostSilver Screeners (Host) and Movies Across the Pod (Co-Host)Socials: X, IG,

We see dead people, and now we're arguing about them!  1999's The Sixth Sense is one of Nic's all time favorite films. Jordan thinks it's a middling affair. In our longest episode ever, the twist is that your two 90's fanatics are coming for each other's heads. Like two angry ghosts, locked in a cupboard, we claw and scratch each other wildly, until we finally get tired and move on to the spirit realm. But before that, we actually agree for a few minutes on our punishment film, 1999's Stir of Echoes, which is no punishment to us!Music Heard This Episode"Empty Couch" -- James Newton Howard"Suicide Ghost" -- James Newton Howard"Run to the Church" -- James Newton Howard"Malcom's Story/Cole's Secret" -- James Newton Howard"Kyra's Tape" -- James Newton Howard"Malcom Is Dead" -- James Newton Howard"End Credits" -- James Newton HowardIntro music - "If" by Broke For FreeConnect with us!PatreonTwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Writer, programmer, and filmmaker Juan Barquin joins to explore the work of M. Night Shyamalan and his breakout feature, The Sixth Sense. Now somehwat underrated in Shyamalan's impressive oeuvre, even and especially by M. Night die-hards, the film is a patient, startling, and deeply human ghost story that also functions as gorgeous melodrama, introducing Shyamalan's career-long pet themes of parenthood, familial reconciliation, the beauty of otherness, and the power of love as a shelter from the terrors of modernity. A critical and commercial hit, The Sixth Sense became the second-highest grossing film of the extremely stacked 1999 box office (behind only Star Wars Episode I), and netted six Oscar nominations including Best Picture.We discuss the career of M Night Shyamalan, its peaks and valleys, and how his vision as an artist often places him at odds with cultural and critical trends. Then, we discuss the phenomenon that was/is The Sixth Sense, and how its power stems from far more than just its (very good) shocking twist ending. Finally, we discuss the filmmaker's singular humanity, and how his films reflect form and function aligning with profoundly personal vision, resulting in truly peerless work.Then, it's time for some TRAP talk, as we give our initial thoughts on Shyamalan's latest film TRAP, now in theaters. We discuss the incredible work of Josh Hartnett as a serial killer evading capture at a pop concert, the gorgeous cinematography from Thai visionary Sayombhu Mukdeeprom, and the film's many narrative surprises (some more effective than others).Follow Juan Barquin on Twitter.....Our theme song is "Mirror" by Chris Fish

"Yo, homie!! Is that my briefcase??” - In this jam packed 2 hour episode we're celebrating the 20th Anniversary of Michael Mann's nocturnal neo-noir crime thriller, 'Collateral' - joined by guest host and film producer, Samantha Garcia, and vinyl collector and movie super-fan, Jay Johnson, we dig into what some consider to be the only film that rivils 'Heat.'Send us a Text Message.Thank you for listening! Don't forget to rate & subscribe. New episodes bi-weekly. Also available on YouTube.

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features hornist, Dylan Skye Hart, studio musician for thousands of films, television episodes, video games and record albums. You can visit the show notes for this episode here. The Bob Reeves/Dylan Skye Hart mouthpiece video can be found here. About Dylan Skye Hart: You may not know Dylan Skye Hart by name, but you have heard him play horn. Proud Latino and Los Angeles native, Dylan is a busy freelance musician. Depending on the day, he can be found recording for video games, motion pictures, theme parks, or television shows.  He has recorded films with many great composers including John Williams, Hans Zimmer, John Powell, Randy Newman, Alexandre Desplat, James Newton Howard, Bruce Broughton, David Newman, and Alan Silvestri. Some movie titles on which Dylan can be heard playing principal horn include: Star Wars IX: The Rise of Skywalker, Jungle Cruise, Onward, It 2, Call of the Wild, Ready Player One, Deadpool 2, Star Wars VIII: The Last Jedi, Violent Night, and The Jungle Book. Dylan has also recorded albums and appeared on television with music legends Lady Gaga, John Legend, Michael Bublé, Sting, Stevie Wonder, Wu-Tang Clan, M83, Gladys Night, Yo-Yo Ma, Neil Young, and The Beatles. His solos can be heard on his namesake Bob Dylan's albums Shadows in the Night and Fallen Angel.  Dylan has toured with John Williams' Star Wars in Concert, Eden Espinosa of Wicked, and The Who, doubling on horn, trumpet, trombone, Wagner tuba, and mellophone. In the orchestral world, Dylan is principal horn of the Hollywood Bowl Orchestra and recently won a one-year position as associate principal horn of the Minnesota Orchestra. He also performs regularly with the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, Pacific Symphony, and San Diego Symphony. Dylan is a member of the Los Angeles Horn Quartet and Modern Brass Quintet. In addition, Dylan co-produced the 75-minute film documentary entitled 1M1: Hollywood Horns of the Golden Years which recounts the history of the Los Angeles film studios told through the eyes of the legendary horn players of the golden era. In addition, he translated and published a book for musicians called In Tune: Exercises to Improve a Musician's Performance and Quality of Life. Dylan is known for making French horn music videos as seen on his YouTube Channel and specializes in giving masterclasses on a variety of topics ranging from physics and anatomy to motivation and mental health. As an alumnus of the University of Southern California, he studied with Vincent DeRosa, James Thatcher, and Richard Todd. Dylan currently teaches horn at California State University, Northridge. When not performing, Dylan, a “foodie”, enjoys cooking, playing ice hockey and soccer, golfing, and hanging out with his wife and fellow hornist Annie Bosler. Dylan is a Conn/Selmer Artist and owns several vintage Conn 8Ds and currently plays on a C-series that his friend and fellow instrument junky Noah Gladstone helped him find. He also developed a signature mouthpiece line with the help of Brett Kendall at Bob Reeves Brass.

Today we present our latest ALL REQUEST SHOW on THE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon in April of 2021, we've offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so, you will be able to participate in all upcoming all-request programs. For this all-request program, Jason Drury stepped in once again as host and gave our wonderful patrons a choice between four themes to choose from: War Films, End Credits, British Film and TV Shows, and Box Office Blockbusters. A vote was held on our Patreon page, and End Credits won with 50% of the vote. Our participants today include Eldaly Morningstar, Glenn McDorman, Victor Field, Angela Rabatin, Don Mase, Lee Wileman, Will Welch, Stacy Livitsanis, Deniz Çağlar, Carl Wonders, Joe Wiles, Thomas Tinneny, Dave Willians, and Alan Rogers.  They requested tracks from such composers as Johnny Costa, Michael Small, Henry Mancini, Ennio Morricone, Jerry Goldsmith, Debbie Wiseman, Keiki Kobayashi, Yoko Kanno, James Horner, John Williams, James Newton Howard, Carl Davis, and David Shire. Thanks to everyone who participated. For those who didn't get a chance to send in a request and want to be a part of the next all-request program, we'd love to have you join our wonderful CINEMATIC SOUND RADIO PODCAST Patreon family. Enjoy the show! —— 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, Michael Poteet, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Mike Kohutich, Scott Bordelon, James Alexander —— 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

Are you ready for the truth? Jack and Corey are joined by filmmaker/actor Gabriel Villanueva Lamas (Cured) to talk M. Night Shyamalan's ahead-of-it's-time slow burn comic book melodrama, UNBREAKABLE (2000)! The three talk being Shyamalan defenders, sincerity in cinema, having a sixth sense for danger, Samuel L. Jackson's love of purple, Shyamalan's love of post slow motion, Bruce Willis' bald debut, James Newton Howard's incredible score, The Eastrail 177 trilogy, working out, plot twists, and The Buried Secret of M. Night Shyamalan.Support the pod by joining our Patreon at patreon.com/cinemapossessedpod and unlock the Cinema Possessed Bonus Materials, our bi-monthly bonus episodes where we talk about more than just what's in our collection.Instagram: instagram.com/cinemapossessedpodTikTok: https://www.tiktok.com/@cinemapossessedpodTwitter (X): twitter.com/cinemapossessedEmail: cinemapossessedpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australian 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman. Produced & edited by Matty Ray. See Facebook for links to videos & songs mentioned in this episode! Email: Samantha@planet80s.com.auFacebook: the80smontagepodcast twitter: @the80smontage instagram: the80smontageRewind 80's Band - www.rewind80sband.comTickets - www.rewind80smixtape.com.auBookings - samantha@planet80s.com.auPlease Subscribe, Like, Share, Rate (Itunes please)You can join to for only $1.50 a month (Get On It)https://www.patreon.com/the80smontagepodcastThank You to our matey Simon Owenshttps://www.facebook.com/SimonOwensShowhttps://www.facebook.com/3AWRememberWhenhttps://www.facebook.com/NewsTalk3AWLinks: The Blues Brothers (1980) - Shake a Tail Feather Scene (4/9) | Movieclipshttps://www.youtube.com/watch?v=qdbrIrFxas0Blues Brothers - Sink the Bismarckhttps://youtu.be/7CPXnur0vMs?si=6pfkOqHn38FgWwfyThe Blues Brothers - Rubber Biscuit (Album Version)https://youtu.be/e5FH0NkkTYE?si=q8lESmr278DRCu4-The Blues Brothers | Aretha Franklin Sings "Think" in 4K HDRhttps://youtu.be/RTXszRHc0qs?si=Y02qUW4bvKMNWG7nThe Blues Brothers - Peter Gunn Theme (by James Newton Howard)https://youtu.be/YW3AVaGAzis?si=5WRnaE6015zteiGQThe Blues Brothers (1980) - Everybody Needs Somebody to Love Scene (6/9) | Movieclipshttps://www.youtube.com/watch?v=EHV0zs0kVGgThe Blues Brothers | Gimme Some Lovin' Gets Rejected at the Country Bar in 4K HDRhttps://youtu.be/qFjB1qCxtfU?si=HJ-mnXFDM6coT-nkThanks For Listening!The 80's Montage Podcast

Better late than never. Actually, I think this is the latest I've ever presented my year-end round-up program. Yup, I said that same thing last year, and yet here we are again. Last year, I uploaded part one of my favourite scores of 2022 on May 5th. Ugh! Well, it's been another crazy year for me, but I want to get back into the saddle again, so here is my first official show of 2024. On today's new episode of THE FLAGSHIP SHOW on CINEMATIC SOUND RADIO NETWORK, Erik Woods presents music from some of his favourite scores written in 2023. This is part one of a three-part series. Today, you'll hear selections by such composers as Corey Wallace, Blair Mowat, Hans Zimmer, Steve Mazzaro, James Newton Howard, Michael Giacchino, Stephen Barton, Freddie Wiedmann and John Powell. Part two is coming soon. I hope you enjoy the show. —— 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, Michael Poteet, Nathan Blumenfeld, Daniel Herrin, Mike Kohutich, Scott Bordelon, James Alexander —— 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

THANK YOU FOR SIX YEARS! To celebrate our sixth anniversary, we're bringing back the fan favorite segment Pitch It! Join Aeric as he pitches the SEQUEL to his original Batman Beyond pitch - BATMAN BEYOND: SHADOW OF VENGEANCE! Time Stamps: 00:01:13 Intro 00:04:56 Pitch It! Batman Beyond 2 00:15:53 Previously, on Batman Beyond… 00:18:43 Prologue 00:32:54 Act One 01:26:42 Act Two 01:50:21 Act Three 02:09:32 Wrap-Up Follow us! Twitter: twitter.com/geeksplainedpod?lang=en Instagram: www.instagram.com/geeksplainedpod/?hl=en Send us your questions for the Geeksplained Mailbag! Email: Geeksplained@gmail.com Music Sampled: "Sayonara" by SAKEROCK “Batman Beyond Theme” by Kristopher Carter “The Legacy Continues” by Michael McCuistion “Sirens” by Ludwig Goransson “Return of the Joker Main Title” by Kristopher Carter “Industrial Heist” by Kristopher Carter “Yo Is That a Yes” by Ludwig Goransson “One Week” by Barenaked Ladies “Wheeler Fight” by Ludwig Goransson “The Final Flight of the Osiris” by Don Davis “The Public Challenge” by Ludwig Goransson “Runaway” by Ramin Djawadi “You Think I'm Going to Lose” by Ludwig Goransson “Batman Defeats the Jokerz” by Kristopher Carter “Dame v. Felix” by Joseph Shirley “Under Water” by Ludwig Goransson “Runnin (feat. A$AP Rocky)” by Ludwig Goransson “Frankenstein's Monster” by Henry Jackman “Cadmus” by Blake Neely “Viene por Sangre” by Joseph Shirley “Fight in Moscow” by Ludwig Goransson “This Will Mean War (ft. Magatte Sow)” by Ludwig Goransson “Imperius Rex” by Ludwig Goransson “It's Your Time” by Ludwig Goransson “Bye Bye Blight” by Lolita Ritmanis “Unbreakable” by James Newton Howard

Lil' onions, are you ready to hear Ross get emotional? This week we're ending dinosaur month with his favorite pre-historic film, Disney's Dinosaur (2000). Ross gets super juiced up by the James Newton Howard film score, Carie manages to draw comparisons to Sonny & Cher in relevant context somehow, and the siblings remark on how important the film's theme is to how we should all treat each other with dignity and care.  SUPPORT US ON PATREON!!! COME BE MAD WITH US ABOUT HOW THE SOPRANOS ENDED! 

My guest this week is engineer Alan Meyerson, who many believe is the top scoring mixer in film today. With more than 200 credits, Alan has worked with leading film score composers like James Newton Howard, John Powell, Harry Gregson-Williams, and Danny Elfman, and has a particularly long-standing working relationship with the great Hans Zimmer that continues to this day. Alan's credits as a scoring mixer include blockbuster movies like Man of Steel, Iron Man, the Pirates of the Caribbean series, Sherlock Holmes: A Game of Shadows, Inception, The Dark Knight, Kung-Fu Panda 1 & 2, Despicable Me 1 & 2, The Last Samurai, Gladiator, and Hannibal. In addition to this, he also has a number of music mixing credits that include Bryan Ferry, New Order, Etta James, and OMD. During our interview, Alan told me about being a part of the first wave of dance music, making the transition to film work, his approach to orchestral recording, why he isn't into vintage microphones, how he tailors his reverbs, dealing with 750 tracks of orchestra, his adventures at Abbey Road, and much more. I spoke with Alan from his studio in Los Angeles.  On the intro I looked at the possible TikTok ban in the United States, and the Caesar's Palace console finds a new home with UA.

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

On this episode of THE ARCHIVE your host Jason Drury begins the show with the classic cue "Desert Chase" from John Williams' classic score from RAIDERS OF THE LOST ARK (DCC COMPACT CLASSICS). Jason then continues with music from James Horner's score for DEADLY BLESSING (INTRADA RECORDS), the late Ryuichi Sakamoto's haunting score from ELILY BRONTE'S WUTHERING HEIGHTS (LA LA LAND RECORDS) as well as more music from the General Electric Theater re-recordings with music from the episode THE LEGEND THAT WALKS LIKE A MAN composed by Jerry Goldsmith (KLASSIK FILM MUSIC). The show concludes with music music from the award-winning 1984 biographical drama THE KILLING FIELDS (VIRGIN RECORDS) with music by Mike Oldfield and the end title suite from the 2003 fantasy adventure PETER PAN (INTRADA) composed by James Newton Howard. 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, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet, Nathan Blumenfeld, Daniel Herrin, Mike Kohutich, Scott Bordelon —— 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

Today's journey takes us to a thrilling yet nostalgic realm at Disney's Animal Kingdom: the "Dinosaur" attraction. It's a place where the past and present collide, where adventure meets education, and where every sound evokes a story millions of years in the making. While this attraction is known for its heart-pounding adventure, we're choosing to pause and appreciate its quieter moments of joy. Instead of delving into the attraction's audio, which is as thrilling and intense as the ride itself, we're lingering in the -- gentler -- places, allowing us to savor the subtler aspects of this space. --------- Want More Here With The Magic? Choose Your Own Adventure! Watch Our Show: Here With The Magic More Videos: YouTube Visit The Website: https://herewiththemagic.com Join the Café: Become a Member Connect on Social Media: Facebook: https://www.facebook.com/herewiththemagic Instagram: https://www.instagram.com/herewiththemagic/

Score returns with composer James Newton Howard, who currently has four projects releasing this month, including the Hunger Games prequel that he says asked him not to use synths (“they haven't been invented yet”). Plus, how working with Hans Zimmer helped pull him out of a period of depression, when to fight for your musical opinion, and why he likes the rush of being asked to “save” blockbuster films in the final weeks before release. Interviewed by Robert Kraft and Matt Schrader.

New Classical Tracks - James Newton Howard by James Newton Howard – Night After Night (Sony Classical), featuring pianist Jean-Yves Thibaudet, violinist Hilary Hahn and cellist Maya Beiser“I've been so lucky,” composer James Newton Howard says. “I've done over 140 movies at this point. Things for television, record and producing. I've been so lucky to get all these ideas writing concert music. I may have checked all the boxes that go on a bucket list with music, and I just want to keep going. I guess that's my bucket list: It's to have remaining and continuing passion for what I do.”Newton Howard is a composer and pianist who made a name for himself in the late ‘70s by touring with and orchestrating for Elton John. He made his way into film score composition at a time when the field was wide open. He's scored more than 140 movies, from Pretty Woman to the Hunger Games franchise. His latest passion project features eight suites from all the films he's scored for M. Night Shyamalan, a director known for his emotional thrillers.How would you describe your signature style?“Strong melody is part of my signature. But I think also, and I say this with tremendous humility — although it may not sound like humility — that I'm very versatile. I think I've done a lot of successful romantic comedies, from Pretty Woman to My Best Friend's Wedding to Dave and all that. So when you do that, you become the ‘rom-com' guy. And then I did The Fugitive, and I became the action guy. I suppose the clearest thing that I get back from people is my more emotional interior music.”In an interview that you did a few years ago you admitted to being a little arrogant on occasion early in your career, and then you said you became a good listener. What happened that allowed you to become a good listener?“Yeah, I was arrogant because I was always coming up with ideas and then I was just running into situations where I was getting a lot of rewriting requests from the director. And some of the rewrites that were getting made were really good ideas. And then it just occurred to me that the director might actually have important things to say to me. I'm much more collaborative now, and that's really the nature of the game; it's all down to being part of a team.”You've collaborated with director M. Night Shyamalan on at least eight films, and you've now taken music from those films and turned them into suites.“Night makes films that are about things that really interest me, such as revelation, catharsis, love, courage and triumph. There's always an element of these very strong emotions. That's what really appealed to me. But, surprisingly, all these ideas and feelings took place in movies that were somewhat creepy. But then there's a very emotional core to it. I had never encountered that before.“And so, I took the scores, I took out all the scary bits and made it quite meditative. I got Jean-Yves Thibaudet to play the piano on every track. Hilary Hahn came in and revisited my score for The Village and played the beautiful violin solos throughout that piece.“But what I love about Night was the closeness of our collaboration and his appreciation for what I was doing. We just ended up having this connection from the very beginning where I felt challenged and I felt inspired and he felt inspired, and we worked so closely together that it just was kind of a dream relationship.” Listen on YouTubeTo hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts.ResourcesJames Newton Howard – Night After Night (Amazon)James Newton Howard – Night After Night (Sony Classical)James Newton Howard (official site) Related Items Listen: Acclaimed classical pianist surprises with Elton John

Vamanos children! VAMANOS! Spooky M. Night / Mel Gibson / Joaquin Spoilers! is here to please! ******************** Everything that farmer Graham Hess (Mel Gibson) assumed about the world is changed when he discovers a message - an intricate pattern of circles and lines - carved into his crops. As he investigates the unfolding mystery, what he finds will forever alter the lives of his brother (Joaquin Phoenix) and children (Rory Culkin), (Abigail Breslin). A unique story that explores the mysterious real-life phenomena of crop signs and the effects they have on one man and his family. Release date: August 2, 2002 (USA) Director: M. Night Shyamalan Distributed by: Touchstone Pictures, MORE Budget: $72 million Cinematography: Tak Fujimoto Music by: James Newton Howard

M. Night Shyamalan is on the short list of big-budget filmmakers who reliably bring original stories to the multiplex, which means that enthusiasm for his new work can be somewhat out of step with his recent track record. But with their Top 5 Shyamalan Moments (01:13), Adam and Josh prove that the director's best work is deserving of close attention. Working with ace collaborators like cinematographers Roger Deakins and Tak Fujimoto, composer James Newton Howard, and actors such as Bruce Willis and Toni Collette, Shyamalan exhibits a gift for patience and craft that - at his best - distinguishes him from his peers. Along with that Top 5, Adam and Josh have an on-air production meeting about next week's Madness '23-inspired show (40:26), shake the dust off for their first Massacre Theatre of the new year (46:21), and share some thoughts on Shyamalan's latest, KNOCK AT THE CABIN (48:59), before returning to the Top 5 (01:07:40). Time codes may not be precise due to dynamically inserted ads. Learn more about your ad choices. Visit megaphone.fm/adchoices