Podcast appearances and mentions of Leonard Rosenman

CONTENT WARNING: Discussion of death, knife fights, gunfire, murder, sexual misconduct, parental trauma, parental negliect, parental abuse. We weren't aware there was such a thing as being a method director, but this legendary film seems to have proven that's a thing. Because it's one thing to make a schlocky B-movie for teenagers about juvenile delinquents. It's another completely to try to reverse engineer that terrible movie into art for a budding movie star and enable his worst tendencies while also having an affair with his 16-year-old co-star, and his other co-star, and possibly him. This movie is a mess, which is actually being kind, because its director might be even more of a disaster. Somehow a bad movie with great acting gives us perhaps some of the greatest trivia of all time. We're deep in our angsty feels as we watch 1955's Rebel Without a Cause on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the main title to the film Rebel Without a Cause, written and composed by Leonard Rosenman. Copyright 1955 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved.

CONTENT WARNING: Discussion of murder, sex work. We've jumped ahead to 1945 to tackle the question of whether it's possible for a movie to have only one likeable character but still be compelling. The verdict - still unclear. This is a bizarre movie, down to the doctor who tries to save a dying young child trying to gain sympathy for having to drive all the way out to the house in the first place. Only one main character is likeable, and fortunately Joan Crawford is up to the task with the role. In fact, for a melodrama with more of a premise than a well-rounded plot and wildly uneven acting, Joan Crawford is the glue that holds all of this together. We're watching the Mother's Day classic, 1945's Mildred Pierce 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. Excerpts taken from the main title to the film Mildred Pierce, written and composed by Max Steiner. Copyright 1945, 2005 Turner Entertainment Co., Warner Bros. Entertainment Inc. Excerpt taken from the main title to the film Rebel Without a Cause, written and composed by Leonard Rosenman. Copyright 1955 Warner Bros. Entertainment Inc. All Rights Reserved.

Dead or alive? Today, we feature one of each: two exquisite female singer-songwriters from the 70's - one a heroin casualty, and the other a remarkable example of patience rewarded. Judee Sill could have been a Laurel Canyon diva on the order of a Joni Mitchell, but, an unquenchable, self-destructive thirst put a stop to her success; and, Linda Perhacs, a name lost in the archives of time, until a fluke, third-generational cult of folky weirdness reopened her long dormant chrysalis of talent. JUDEE SILLThere is a recent documentary, LOST ANGEL, that covers the tragic spiral and conflicted soul of the artist Judee Sill: reform school alum, heroin addict, prostitute, prisoner… followed by the release of two widely admired albums, then, tragically, her untimely demise at 35 from an O.D. But, it's her music that matters and endures: startlingly original, quirky, deeply felt folk rock, tinged with ironic humor and pain, in a mix that elicits complex emotions. As Jesus loved the sinners and rejects of this mottled world, Judee, fearing that she would be lost, longed for the salvation that the Savior would bring. And, in the persona of the  “Phantom Cowboy”  (also the title of a 1935 Western movie), Judee evokes that ever elusive “Action” hero that will come, rescue her, and carry her safely to heaven.LINDA PERHACSIn this, our internet age, it's been posited that everyone has the potential to be a star - but in 1970 there was a different algorithm working, and for a dental hygienist with musical talent… what were the odds?Linda Perhacs's brilliance had a shot at being acknowledged when the dental hygienist gave her demo to a patient, the noted film composer Leonard Rosenman. He got the message, and produced her first record, Parallelograms. It was released and sank, and Linda resumed her quiet life. Cut to 2014 - 44 years later, and Linda's record is rediscovered, thanks to “The New Weird America” folk music movement. It was repackaged and released on CD, and what a blessing to hear that ethereal, crystalline voice reanimated.  And, at 81, with a couple more albums out, Linda is a dental hygienist no longer. She's an inspiration to aspirants everywhere. 

Dana and Tom with returning guests, Andrew Corns (Host of the Revisionist Almanac) and Sara Shea (Shea Cinema) discuss Barry Lyndon (1975): written and directed by Stanley Kubrick, music by Leonard Rosenman, cinematography by John Alcott, starring Ryan O'Neal, Marisa Berenson, and Patrick Magee.Plot Summary: Barry Lyndon is a meticulous and mesmerizing work from Stanley Kubrick, a filmmaker whose precision often feels like both a blessing and a dare. Adapting Thackeray's novel, Kubrick crafts a period piece that is at once authentic and yet modern. The story follows Redmond Barry (Ryan O'Neal), a charming but ultimately hapless opportunist, as he schemes his way from a modest Irish upbringing to the heights of English aristocracy, only to tumble back down through a cascade of personal failures.Kubrick doesn't just tell Barry's story—he dissects it. Every scene is composed like a tableau, every gesture underlined with a note of irony. The film's grandeur—the lush landscapes, the candlelit interiors—feels like a mirror held up to Barry's own aspirations. It's a long, unhurried film, but within its deliberate rhythm lies a deep, bittersweet observation: no matter how grand the climb, time and circumstance have the last word.Chapters:00:00 Introduction and Welcome to Our Guests02:52 Cast and Recognition for Barry Lyndon05:50 Relationship(s) with Barry Lyndon23:47 What is Barry Lyndon About?32:36 Who is Barry Lyndon?39:23 Plot Summary for Barry Lyndon43:32 First Break45:00 What's Up with Andrew and Sara50:30 Best Performance(s)01:12:57 Best/Favorite/Indelible Scene(s)01:25:38 Second Break01:26:18 In Memoriam01:29:57 Best/Funniest Lines01:34:11 The Stanley Rubric - Legacy01:40:14 The Stanley Rubric - Impact/Significance01:47:15 The Stanley Rubric - Novelty01:54:13 The Stanley Rubric - Classicness02:01:22 The Stanley Rubric - Rewatchability02:07:16 The Stanley Rubric - Audience Score and Final Total02:08:31 Remaining Questions for Barry Lyndon02:18:38 Thank You to Our Guests02:20:28 CreditsGuests:Andrew CornsHost of the Revisionist Almanac@revalmanac on IG, X, YouTube, TikTok, and LetterboxdPreviously on Gaslight (1946), Do the Right Thing (1989) Revisit, and Fight Club (1999)Sara SheaHost and Creator of

On Episode 151 of the RETROZEST podcast, Curtis continues the celebration of the 45th Anniversary of the premiere of STAR TREK: THE MOTION PICTURE! This film is a 1979 American science fiction drama directed by Robert Wise. It is based on and stars the cast of the 1966–1969 television series Star Trek created by Gene Roddenberry, who serves as producer. In the film, set in the 2270s, a mysterious and powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship Enterprise to lead it on a mission to determine V'Ger's origins and save the planet. Along with special guest co-host Stan Woo (of Yorktown: A Time to Heal fame), assisting Curtis in this endeavor in an exclusive interview is TODD RAMSAY, the editor of Star Trek: The Motion Picture. Ramsay previously worked as assistant or associate film editor on MGM's That's Entertainment! (1974), Paramount Pictures' Lipstick (1976), and The Car (1977, featuring James Brolin, Kim Richards, Kyle Richards, and music by Leonard Rosenman). After Star Trek, he edited such classics as Escape from New York (1981), The Thing (1982), and Black Moon Rising (1986). In this interview, Todd talks about his career in and out of Star Trek. He also debunks several urban legends about the making of Star Trek: The Motion Picture. It's a wonderful trip down memory lane filled with minutia and obscurity which you'll only hear right here on RetroZest! Incidentally, you may help the RetroZest podcast by purchasing a unique T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/home. Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

Celebrating 15 years of Star Trek (2009). After the box office failure of Star Trek Nemesis and the cancellation of Star Trek: Enterprise, Paramount essentially put the franchise to bed, and was to lay dormant for a few years. Enter J.J. Abrams, and his production team to develop a film that would reboot the franchise, by setting the film in an alternate reality based upon time travel elements from the Prime Timeline. In this episode, the final part of Twin Cities Trekkies' Star Trek Film Extravaganza, host Wes Huntington is joined by Zach of the Casual Trekker Podcast to talk about Star Trek 2009, their Star Trek stories, and memories of seeing the film. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us voice messages by going to the link at the bottom of this episode's page in your podcast platform. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast. Twin Cities Trekkies is available on many platforms! *Music from the film is used for entertainment purposes and is credited to Michael Giacchino; intro music is credited to Leonard Rosenman.*

Celebrating 30 years of Star Trek Generations. In 1993, Paramount approached Star Trek executive producer Rick Berman, known for being the executive producer of Star Trek: The Next Generation, and creator of Star Trek: Deep Space Nine, to develop the seventh film of the Star Trek film franchise. Recruiting writers Ronald D. Moore and Brannon Braga, Star Trek Generations is generally regarded as a weaker but not one of the worst Star Trek films and is a mixed bag amongst fans. In this episode, Part IV of Twin Cities Trekkies' Star Trek Film Extravaganza, host Wes Huntington is joined by Richard of the Nerdhat Podcast to talk about Generations, their Star Trek stories, and memories of seeing the film. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us voice messages by going to the link at the bottom of this episode's page in your podcast platform. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast. Twin Cities Trekkies is available on many platforms! *Music from the film is used for entertainment purposes, and is credited to Dennis McCarthy; intro music is credited to Leonard Rosenman.*

Celebrating 35 years of Star Trek V: The Final Frontier. After the major box office success of Star Trek IV: The Voyage Home, the next film was inevitable. Directed by William Shatner, Star Trek V: The Final Frontier came out in June of 1989, during the first major summer blockbuster season, and is generally regarded as one of the worst films in the overall Star Trek film series for a variety of reasons. In this episode, Part III of Twin Cities Trekkies Star Trek Film Extravaganza, host Wes Huntington is joined by fellow Star Trek fan Greg (known as Captain Kirk and Cocktails on Instagram) to discuss the film, certain aspects of it, and their Star Trek stories. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us voice messages by going to the link at the bottom of this episode's page in your podcast platform. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast. Twin Cities Trekkies is available on many platforms! *Music from the film is used for entertainment purposes, and is credited to Jerry Goldsmith; intro music is credited to Leonard Rosenman.*

Celebrating 40 years of Star Trek III: The Search for Spock. Not long after Star Trek II: The Wrath of Khan hit theatres, Paramount readies the next film in the franchise because Wrath of Khan does so well. Coming out nearly two years later, Star Trek III: The Search for Spock makes history by being the first Star Trek film to be directed by one of the cast members, in this case, Leonard Nimoy. In this episode, Part II of Twin Cities Trekkies' Star Trek Film Extravaganza, host Wes Huntington is joined by fellow Star Trek podcaster Alex Brisson, one half of Star Trek: The Original Siblings podcast to talk about the film, certain aspects of it, and their Star Trek stories. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us voice messages by going to the link at the bottom of this episode's page in your podcast platform. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast. Twin Cities Trekkies is available on many platforms! *Music from the film is used for entertainment purposes, and is credited to James Horner; intro music is credited to Leonard Rosenman.*

Celebrating 45 years of Star Trek: The Motion Picture. In December 1979, ten years after the original Star Trek was cancelled by NBC, Paramount brings the original cast back for the first of what would eventually be six motion pictures starring this cast. This film made a lot of money, but it took a LONG time to get there. In this episode of Twin Cities Trekkies, which starts the five-part Star Trek Film Extravaganza, host Wes Huntington is joined by fellow Star Trek fan Mary Faulds (known as Flutemusik on social media) to talk about the film, Paramount+, and their Star Trek stories. PROGRAMMING NOTE: This episode was recorded in June of 2024, before news came out that the 10 Prime Timeline films would be returning to Paramount+; The Motion Picture and the subsequent films have returned to the service. Any feedback you have can be submitted to the Facebook page (facebook.com/TCTrekkiesPod), or by emailing them at tctrekkiespodcast@gmail.com. Twin Cities Trekkies is also available on Instagram (instagram.com/twincitiestrekkiespod). You can also leave us voice messages by going to the link at the bottom of this episode's page in your podcast platform. Just keep in mind the feedback you may give may be featured in an upcoming episode of this podcast. Twin Cities Trekkies is available on many platforms! *Music from the film is used for entertainment purposes, and is credited to Jerry Goldsmith; intro music is credited to Leonard Rosenman.*

Na segunda parte da nossa série sobre Jornada nas Estrelas, Gustavo e Maurício seguem Kirk e companhia de volta à Terra, na Fronteira Final, e em Terra Desconhecida, ao som de Jerry Goldsmith, Leonard Rosenman, e Cliff Eidelman.

Hay dos formas que intentamos encontrar realización y satisfacción en esta vida: una haciendo lo que se espera de nosotros y otra buscando por nosotros mismos, lo que nos parece que más nos conviene. Ninguno de los dos caminos nos dará la vida que anhelamos. Esa es la gran lección de la conocida historia que Jesús nos cuenta en el capítulo 15 del Evangelio según Lucas, sobre un padre que tenía dos hijos, no uno como se la suele llamar, la parábola del hijo pródigo. En ella Jesús nos enseña que tan perdido y lejos del corazón del Padre, está uno como otro. Sólo en ese Hermano Mayor que es Jesús está "el camino, la verdad y la vida". El veterano cantautor y multiinstrumentista Ry Cooder hizo en 2018 un disco con su hijo sobre "El hijo pródigo" (Prodigal Son). Escuchamos el "blues" que le da título en una versión que grabó en vivo en un estudio. Ese mismo nombre tiene el "blues" del Rev. Robert Wilkins (1896-1987) que dieron a conocer los Rolling Stones en su disco "Beggars Banquet" (El banquete de los vagabundos) en el mítico año de 1968. La que fue compositora y cantante de 10.000 Maniacs, Natalie Merchant, se ve también en 2014 como "La oveja negra" (Black Sheep) y ruega por la misericordia de Dios. La expresión "Rebelde sin causa" no es del autor de la película que lleva ese nombre en 1955, Nicholas Ray, pero la toma de un estudio psicológico sobre la delincuencia juvenil que aparece en los 50 con la ruptura generacional. El papel que encarna James Dean poco antes de morir, muestra la desorientación de ese hijo que parte a una provincia lejana para malgastar la vida con lo que el padre le ha dado, como si estuviera muerto. Escuchamos la presentación de su personaje, junto al de Natalie Wood y Sal Mineo al principio de la película en la comisaria en que son detenidos. José de Segovia comenta las escenas con la música de la banda sonora original de Leonard Rosenman. Amy Grant nos da la versión femenina de "La pródiga" (The Prodigal) en su famoso disco de 1985 (Unguarded). El cantautor uruguayo Luis Alfredo Díaz hizo en Burgos un tema inspirado en esta historia, "Te espera", que incluyó en el vinilo que firmó con el grupo Maná en 1979, "Baja a Dios de las nubes". Switchfoot es un grupo de San Diego que hicieron a finales de los 90, dos hijos de un pastor de la Capilla Calvario al norte de California, Foreman, que nace de la llegada de tantos "hippies" al cristianismo en el sur de California a principios de los 70. En 2019 cantan al "Alma pródiga" (Prodigal Soul). De la Capilla Calvario sale también la Comunidad de la Viña, que atrajo a finales de los 70 a muchos músicos a la fe, como el propio Bob Dylan o Keith Green, que hizo una "suite" sobre el hijo pródigo, que escuchamos un fragmento al final del programa. En estos últimos temas descubrimos que quien es verdaderamente pródigo en el sentido de generoso en exceso es el Padre de esta historia. Como el predicador de Nueva York, Tim Keller, mostró a partir del sermón que escuchó a su tutor, Ed Clowney. es la Gracia de Dios, la protagonista de esta historia, que vemos en en ese Hijo Mayor que ha venido a buscarnos y darnos su vida, para llevarnos a Casa.

Synopsis “This highway leads to the shadowy tip of reality: you're on a through-route to the land of the different, the bizarre, the unexplainable... Go as far as you like on this road. Its limits are only those of mind itself. Ladies and Gentlemen, you're entering the wondrous dimension of imagination…” Next stop The DATEBOOK Zone. OK, all kidding aside, but “submitted for your approval” as Rod Serling would say, this is the COMPOSERS DATEBOOK for September 30th. I'm John Birge. On today's date in 1960, the second season of “The Twilight Zone,” — the legendary TV series created by Mr. Serling — began airing on CBS. For this, the producers added a new signature theme written by Marius Constant, a Romanian-born French composer. Constant had studied composition with Olivier Messiaen, Arthur Honegger, and Nadia Boulanger and had a very respectable career as a composer and teacher, but he's best known for his brief, but iconic, “Twilight Zone” theme. During its five-season run, that show also employed the talents of other famous composers, including Jerry Goldsmith, Leonard Rosenman, Fred Steiner, and Franz Waxman. And in case you're wondering who wrote the theme for the FIRST season of “The Twilight Zone,” well, that was another famous Hollywood composer by the name of Bernard Herrmann. Music Played in Today's Program Marius Constant (1925-2004): The Twilight Zone Main Theme (2nd version) –Orchestra; Joel McNeely, cond. (Varese-Sarabande VSD2-6087) Bernard Herrmann (1911-1975): The Twilight Zone Main Theme (1st version) –Orchestra; Joel McNeely, cond. (Varese-Sarabande VSD2-6087)

Aquest nou episodi el dediquem a con

In this episode we're monkeying around with Beneath the Planet of the Apes from 1970. Along the way Colin moans about haughty telepaths, and Paul suspects that Dr. Zaius bought his medical degree online. Music is the opening theme of Beneath the Planet of the Apes by Leonard Rosenman, and a brief snippet of "Big Fat Oranguman" by Jungle Jim.

In this episode Mark talks about one of his favourite films and one of the films most widely considered to be the favourite film of fans and non-fans alike of the "Star Trek" motion picture franchise: "Star Trek IV: The Voyage Home" directed by Leonard Nimoy. The third part in an unofficial trilogy of films, the story of the film sees Admiral James T. Kirk (William Shatner) and his crew of Spock (Leonard Nimoy), Dr. McCoy (DeForest Kelley), Scotty (James Doohan), Sulu (George Takei), Chekov (Walter Koenig), and Uhura (Nichelle Nichols) returning home to Earth from a three month exile on the planet Vulcan to stand trial for the events of the previous film - most notably stealing the USS Enterprise NCC-1701, which lead to the ship's destruction, and taking possession of a Klingon Bird of Prey type starship. However, as a result of an approaching alien probe that threatens all life of Earth if a response cannot be found to answer the powerful transmission of the probe, and after a planet-wide distress signal is broadcast warning all approaching vessels to stear clear of Earth or face the same fate. Admiral Kirk and his crew aboard the Klingon Bird of Prey, the "HMS Bounty", after analysing the call of the probe, realise that the only lifeforms capable of responding to the alien probe are the now-extinct species of humpback whales - which leads Admiral Kirk and his crew to determine that the only solution available to them is to attempt to time-travel to the 20th Century to find some humpback whales so that they can be returned to the 23rd Century so that they may assist humanity in their time of need and desperation. The film also stars Catherine Hicks as Dr. Gillian Taylor, Mark Leonard as Sarek (Spock's father), and Jane Wyatt as Amanda Gryson (Spock's mother). The beautiful soundtrack of the film was composed by Leonard Rosenman. And the dedicated to the crew of the Space Shuttle Challenger which broke up 73 seconds after takeoff on the morning of January 28th, 1986. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/markthepoet/message

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Workplace abuse, manipulation, discussion of vomiting from 47:00-47:18. You’re never really done with Stanley Kubrick, no matter how hard you try. I mean, yes, we did an entire series on the little tyrant a year ago, and we named an entire rule about him. But at least when we watched those movies, there was something interesting and unique to hold onto. This movie, on the other hand, is a self-indulgent, boring adaptation of a pretty awesome story. I mean, how does the great Stanley Kubrick mess up the first English-language antihero? Perhaps it’s because he’s so focused on creating truly stunning film portraits composed with candlelight that he forgot to, you know, direct. Add to it one of the most uncharismatic lead performances in movie history and folks, we might just have the worst Kubrick movie ever here. Inspect your pistols and aim at Kubrick’s legacy as we continue our Oscars ‘75 series talking about the absolute bore Barry Lyndon NEW MOVIE REVIEW: One Night in Miami You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Sarabande Main Title” from the film Barry Lyndon, composed by Georg Friedrich Handel, adapted and conducted by Leonard Rosenman, and performed by the National Philharmonic Orchestra. Copyright 1975 WEA Recordings Ltd. Excerpt taken from "200 Years" from the film Nashville, written by Henry Gibson and Richard Baskin, and performed by Henry Gibson. Copyright 1975 ABC Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of homophobia and transphobia, robbery, death, police shooting, police violence. It’s finally awards season, and we had so much fun with last year’s Oscar series, we decided to come back for another round of a year in Oscars. And after our Spielberg series, watching and loving Jaws, we saw the list of contenders and realized - we needed to do another full-year series. So welcome to 1975, a year of movies from tons of different directors, actors, and screenwriters from a wide range of stories and styles. And we’re kicking it off with a bank heist movie that’s so much more, even though it’s also a giant mess. What’s good in this movie is great, but what’s bad is really sloppy. Still, there’s several performances worth the price of admission here, including the finale to Al Pacino’s masterful run in the early 70’s that showed us what a range he had. Grab your handkerchiefs, we’re talking about Dog Day Afternoon as we kick off our Oscars ‘75 series of Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken of the introduction to the 48th Annual Academy Awards, arranged and conducted by John Williams, and performed by the Academy Awards Orchestra; and announced by Hank Simms. Excerpt taken from “Amoreena,” written by Elton John and Bernie Taupin, and performed by Elton John. Copyright 1970 This Record Company Limited. Clips from the film Dog Day Afternoon are copyright 1975 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “Sarabande Main Title” from the film Barry Lyndon, composed by Georg Friedrich Handel, adapted and conducted by Leonard Rosenman, and performed by the National Philharmonic Orchestra. Copyright 1975 WEA Recordings Ltd.

This is part one of Movie Magic's greatest war movies ever made.  Credits:  1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez.  2. Her Morning Elegance. Written & performed by Oren Lavie. From the album The Opposite Side of The Sea. Label: Quarter Past Wonderful.  3. Tubular Bells. Composed & Performed by Mike Oldfield. Label: Virgin Records. 4. The Longest Day. Performed by Paul Anka. From The Longest Day OST 5. Theme from Combat. From COMBAT! (The TV series), composed by Leonard Rosenman. 6. Cavatina (Theme from The Deer Hunter). Composed & performed by John Williams. Label: EMI See omnystudio.com/policies/listener for privacy information.

Josh hosts Pappy, Stevie, $Mike, Brett and Kylo Korey as Spoilers! travels back in time to the 1970's non-Peter Jackson Lord of the Rings "animated"/mixed-media film. ************************ This animated film by Ralph Bakshi presents the first part of J.R.R. Tolkien's renowned fantasy tale. The wise old wizard, Gandalf (William Squire), entrusts the young hobbit, Frodo (Christopher Guard), with a magical ring. Soon dark forces are after Frodo, so he must leave his peaceful home and travel to the ominous Mount Doom, where the ring must be destroyed. Accompanied by a trio of hobbit friends, Frodo is also aided by the mysterious Aragorn (John Hurt) and other heroic allies. Release date: November 15, 1978 (USA) Director: Ralph Bakshi Budget: 8 million USD Film series: The Hobbit Music composed by: Leonard Rosenman, Paul Kont

I'm completing the DQ-early-roles 1970s-contemplate-the-1950s trilogy with September 30, 1955, an achingly adolescent meditation on how the death of James Dean allowed John Boy Walton to feel his own losses...or something. James Bridges's (The Paper Chase, Perfect) melodramatic tale of a tragic afternoon isn't entirely successful, but it does bring us a Breaking Away pre-union AND our first Dennis Quaid sex growl. SHOW NOTES Want to help defray the costs of the pod, like getting a print of that Baretta episode made? Throw a few bucks in the hat at QIF's GoFundMe page (https://t.co/MItcWMHOPU?amp=1)! Watch September 30, 1955 on Amazon (https://www.amazon.com/September-30-1955-Richard-Thomas/dp/B009SZMSIK/ref=sr_1_2?crid=Q1B5KJRWGPUY&keywords=september+30%2C+1955&qid=1569415735&s=gateway&sprefix=september+30%2Caps%2C143&sr=8-2) Vincent Canby's review (https://www.nytimes.com/1978/03/31/archives/screen-sept-30-1955-when-james-dean-diedadmirer-of-actor.html)

Diane and Sean discuss the only "classic" era Star Trek movie they've seen, the "whale one", of course. They talk about 80's style, Paul Hogan, and a personal encounter with the Captain (Admiral) himself. Music this episode is Leonard Rosenman's, "Main Title" and "Home Again/End Credits", and Dave Fleischer's, "Let's All Go To The Lobby".Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=FDAK8MLABD6SG&source=url)

Welcome to the next episode of the podcast! To celebrate the recently released deluxe CD box set from La La Land Records, I am exploring the marvelous music composed for the original PLANET OF THE APES film series - from Jerry Goldsmith's groundbreaking score for the initial entry in 1968 through to Leonard Rosenman's rousing music for the fifth and final film, 1973's BATTLE FOR THE PLANET OF THE APES. This popular and successful series was a forerunner of the serialized, narrative film franchises we see today and showcased its own unique sound world which became a recognizable "sonic stamp" that encompassed five movies, two TV series and several modern reboots. La La Land Records - https://lalalandrecords.com/ Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle twitter.com/score2settlepod   Email the show at ascoretosettlepodcast@gmail.com   

Todo empezó en 1955 con dos bandas sonoras ya míticas: Al este del Edén y Rebelde sin causa. ¿Su autor? Leonard Rosenman. Aunque la mayor parte de su obra se centró en la televisión, sin embargo nos legó algunos scores cinematográficos que son un modelo en su género. Las películas seleccionadas son las siguientes: Al este del Edén, Rebelde sin causa, Viaje alucinante, Regreso al planeta de los simios, Los valientes, Batalla por el planeta de los simios, El señor de los anillos, Profecía maldita. Star Trek IV. RoboCop 2, Barry Lyndon.

Todo empezó en 1955 con dos bandas sonoras ya míticas: Al este del Edén y Rebelde sin causa. ¿Su autor? Leonard Rosenman. Aunque la mayor parte de su obra se centró en la televisión, sin embargo nos legó algunos scores cinematográficos que son un modelo en su género. Las películas seleccionadas son las siguientes: Al este del Edén, Rebelde sin causa, Viaje alucinante, Regreso al planeta de los simios, Los valientes, Batalla por el planeta de los simios, El señor de los anillos, Profecía maldita. Star Trek IV. RoboCop 2, Barry Lyndon.

Welcome to Part 1 of episode 18 of THE ARCHIVE ON CINEMATIC SOUND RADIO. Your host Jason Drury starts the show with music from ROBOCOP 2 by Leonard Rosenman. He then moves on to play selections from the 2004 Stephen King horror film DREAMCATCHER with music by James Newton Howard. Jason’s BEST OF BRITISH segment features Academy Award-winning actor Sir Anthony Hopkins as a film composer with a delightful suite of his score for the 1996 drama, AUGUST. Part one rounds of with selections from Joel McNeely’s dramatic score to the 1994 period adventure film, IRON WILL. Enjoy! Just a note, this show was recorded back in May of 2018. Sorry for the delay (very busy summer) and I have to apologize to Jason for not getting this up sooner. —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Movie Scores and More Radio http://www.moviescoreradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Hello all, I am back with the next new episode of the podcast! In this installment, I cover a new concert recording and previously unreleased and expanded albums. First, I explore music featured on the new 2-CD "The World of Hans Zimmer: A Symphonic Celebration", a live concert performance recorded in 2018 at the Hollywood In Vienna festival honoring Mr. Zimmer.   Next up is previously unreleased TV music from the 1970's on "The Quinn Martin Collection Vol. 1: Cop and Detective Series" (featuring legendary composers such as Jerry Goldsmith, Lalo Schifrin and Dave Grusin) and lastly, I focus on the expanded limited edition of Leonard Rosenman's unique score for ROBOCOP 2 (1990). The latter two albums are available from La La Land Records and Varese Sarabande, respectively.   La La Land Records - https://lalalandrecords.com/ Varese Sarabande - https://www.varesesarabande.com/ Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle twitter.com/score2settlepod Email the show at ascoretosettlepodcast@gmail.com 

Primera parte de dos dedicada a las películas de la saga Star Trek, en esta ocasión las seis primeras, con la inolvidable música de Jerry Goldsmith, James Horner, Leonard Rosenman y Cliff Eidelman.

Primera parte de dos dedicada a las películas de la saga Star Trek, en esta ocasión las seis primeras, con la inolvidable música de Jerry Goldsmith, James Horner, Leonard Rosenman y Cliff Eidelman.

Find us at: iTunes Spotify Patreon MAJOR CONTENT WARNING: This episode contains frank discussions of sexual violence, abuse, torture and rape, and contains sound clips from the film that suggest similar themes. It also deals with possible gaslighting and manipulation on set. If any of these subjects make you uncomfortable or are triggering in any way, we recommend not listening until you feel safe and comfortable listening. Please stay safe and take care of yourselves. This week, we take on Stanley Kubrick’s most controversial film, 1971’s A Clockwork Orange. Largely considered an unfilmable novel, Kubrick’s uncompromising vision and incredible visual eye are on full display - and his problematic style of directing. It’s not a stretch to say this is the moment that made Kubrick at best negligent, and at worst, a monster. Yet Malcolm McDowell’s charm is so captivating, and the film’s style so stunning, that somehow you can’t look away. Join us for a fascinating discussion of an audacious and problematic film on Macintosh & Maud Haven't Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Clips used from the film A Clockwork Orange, Copyright 1971 Warner Bros. Entertainment Inc. and Polaris Productions, Inc. All rights reserved. Clips from “Title Music for A Clockwork Orange,” based on Henry Purcell’s “Music for the Funeral of Queen Mary,” and “March from A Clockwork Orange (Ninth Symphony, Fourth Movement, Abridged),” composed and performed by Wendy Carlos © 1972 Warner Bros. Records Inc. Clip from “...Sarabande (Main Title of Barry Lyndon)” composed by Handel and performed by the National Philharmonic Orchestra, conducted by Leonard Rosenman. © 1975 Warner Bros. Records Inc. Clip from “Titles” from Chariots of Fire, written and performed by Vangelis. Copyright 1981 Warner Brothers Music, Ltd. & Spheric, B.V. Clip from “The Imperial March (Darth Vader’s Theme)” from The Empire Strikes Back, composed by John Williams, who conducted the London Symphony Orchestra. © ℗ 1980 Lucasfilm Ltd. Clip from “Atom Heart Mother” written and performed by Pink Floyd. ℗ © 1970, 2016 Pink Floyd Music Ltd. Clip from “Leonard” from Full Metal Jacket, composed by Abigail Mead (aka Vivian Kubrick). © 1987 Warner Bros. Records Inc. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Five Favorites with Zach Moore.   Star Trek III: The Search For Spock continued the story of the Genesis planet and revealed the ultimate fate of Spock, who nobly sacrificed himself to save his crew mates at the end of the last film. One great success from the previous film was its score, composed by James Horner. When Leonard Nimoy came on board to helm the film, he wanted to go a different direction, utilizing his friend Leonard Rosenman, but the studio won the day, and Honorer returned, and, according to some, surpassed his previous Trek accomplishment. In this episode of Melodic Treks, host Brandon-Shea Mutala is joined by Zach Moore of Standard Orbit to talk about his five favorite tracks from the score to Star Trek III: The Search For Spock, composed by James Horner. We also discuss why this is his favorite Trek film, and, as always, we have a few tangents along the way. Chapters Intro (00:00:00)  Welcome to Melodic Treks (00:00:57)  Whys is This Your Favorite Star Trek Movie? (00:02:27)  Zach Moore's Top 5 Tracks From the Film  (00:07:29)  "The Mind Meld" (00:11:51)  "A Fighting Chance to Live" (00:18:09)  "End Titles" (00:24:58)  "Bird of Prey Decloaks" (00:34:24)  "Stealing the Enterprise" (00:41:47)  Closing (00:57:41)   Host Brandon-Shea Mutala   Guest Zach Moore   Production  Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Bobby Tucker (Associate Producer) Chris Tribuzio (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

"May the blessing of the Bomb Almighty and the fellowship of the Holy Fallout descend on us all this day and forevermore." With the success of the first Planet of the Apes film, 20th Century Fox rushed a sequel into production, something that was usually reserved for b-run serials. That first film, however, was a good crossover property – it had the genre elements but was made on an A-list level. That gave Fox the confidence that a sequel could work. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Ted Post’s 1970 film, Beneath the Planet of the Apes. We talk about how well this film works – or doesn’t – as a followup to the first film and why it still stands out as a fun film to watch, at least for Andy. We look at how the story became what it was and why it ended up getting made at the budget level it was. We chat about our many problems with the story and debate if they’re intrinsic to the script or were partially caused by the lack of a budget. We chat about the cast – notably the new faces of James Franciscus, James Gregory, David Watson and the actors playing the underground mutants – and look at what they’re bringing to the table. We discuss the film’s messages and wonder if any of them are as strongly portrayed as the ones in the first film. And we deliberate on the crew, particularly the camerawork of Milton R. Krasner and the music of Leonard Rosenman, not to mention the mutant faces created by John Chambers. It’s an interesting entry into the franchise and certainly leaves us wondering how they can make a sequel. Regardless, it’s a fun one to talk about, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins. Film Sundries Watch this film: iTunes • Amazon • Netflix • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Paul Dehn’s Poetry

"May the blessing of the Bomb Almighty and the fellowship of the Holy Fallout descend on us all this day and forevermore." With the success of the first Planet of the Apes film, 20th Century Fox rushed a sequel into production, something that was usually reserved for b-run serials. That first film, however, was a good crossover property – it had the genre elements but was made on an A-list level. That gave Fox the confidence that a sequel could work. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Ted Post's 1970 film, Beneath the Planet of the Apes. We talk about how well this film works – or doesn't – as a followup to the first film and why it still stands out as a fun film to watch, at least for Andy. We look at how the story became what it was and why it ended up getting made at the budget level it was. We chat about our many problems with the story and debate if they're intrinsic to the script or were partially caused by the lack of a budget. We chat about the cast – notably the new faces of James Franciscus, James Gregory, David Watson and the actors playing the underground mutants – and look at what they're bringing to the table. We discuss the film's messages and wonder if any of them are as strongly portrayed as the ones in the first film. And we deliberate on the crew, particularly the camerawork of Milton R. Krasner and the music of Leonard Rosenman, not to mention the mutant faces created by John Chambers. It's an interesting entry into the franchise and certainly leaves us wondering how they can make a sequel. Regardless, it's a fun one to talk about, so tune in to this week's show! The Next Reel – when the movie ends, our conversation begins. Film Sundries Watch this film: iTunes • Amazon • Netflix • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Paul Dehn's Poetry

Loué soit le Législateur ! On a enfin réussi à boucler cet épisode sur le cinquième et dernier film de la saga originelle Planet of the Apes !!! Cornelius and Zira – Ep #18 part 1 – Battle for the Planet of the Apes Dans cette première partie de l'épisode, vu que l'on est encore des gens civilisés, on va commencer par le début, à savoir par un résumé du film (8:15) des fois que vous ne l'ayez plus trop bien le film en tête. On revient également sur le casting (11:43) et sur les acteurs qui ont doublé le film pour la VF (31:58). Ensuite, on donne notre avis général sur le film (37:08) avant d'évoquer l'évolution du scénario, en commençant par le draft de Paul Dehn (42:41), puis le scénario de Joyce & Bill Corrington (1:05:57). Pour conclure cette première partie, on va d'abord vous faire croire que l'on débute l'étude des scènes les plus importantes (1:19:48) mais en fait, on va surtout écouter Master Fred nous parler de la musique de Leonard Rosenman (1:22:45). /! Au cours de la conversation, on spoile un petit peu les films précédents – dites pas que vous n'étiez pas prévenus /! Pour retrouver les épisodes de podcasts que l'on recommande et les vidéos que l'on évoque durant la conversation, il suffit de cliquer sur les liens en dessous : L'épisode 40 consacré à Leprechaun de Tu Aimes les Films d'Horreur - le podcast dédié aux romcom avec Jennifer Anniston Hyperdrive – le podcast galactique - le podcast dédié à Star Trek L'épisode du Cinéma de Clément et Romain consacré à Soylent Green - le podcast dédié aux steaks de soja La vidéo de la chaine Blowup sur les génériques de Roger Corman recommandé par Master Fred Teenage Caveman Vous pouvez retrouver Master Fred et Geeks & Légendes sur Twitter et n'oubliez pas d'aller jeter une oreille à leur dernier épisode consacré à Stephen King RSS | iTunes | podCloud | YouTube | Twitter | Facebook

It’s a brand-new episode of The Mirror Factory, and this time there's someone new on the floor! Our special guest Dr. Anj joins host Max Romero to talk about a favorite passage from the granddaddy of fantasy fiction — J.R.R. Tolkien's "The Fellowship of the Ring." Together Anj and Max will talk about a small — but pivotal — moment from the book, the difference between pity and mercy, and whether or not Anj would still whack Gollum. Then, Anj will read his passage for our listeners.   Subscribe to FW PRESENTS on iTunes: https://itunes.apple.com/us/podcast/fw-presents/id1207382042 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Music credits: Intro theme: “My Baby Loves a Bunch of Authors,” by Moxy Fruvous Selection from "The History of the Ring," from The Lord of the Rings movie soundtrack (1978); composed by Leonard Rosenman Closing music: “Ramble On,” by Led Zeppelin Be sure to find Dr. Anj at Supergirl Comic Box Commentary! Want to be a guest on a future episode? E-MAIL – mirrorfactorypodcast.gmail.com Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Follow The Mirror Factory on TWITTER — https://twitter.com/FactoryMirror Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Leave us a comment, and remember — read a book!

It’s been 10 years since film composer Leonard Rosenman died, at age 83. He won Oscars for his adaptations of existing music for movies such as Barry Lyndon (1975) and Bound for Glory (1976), but these days it's Rosenman’s own original scores that are remembered for their arresting modernism. George Burt – interviewee in this piece and film composer, author, and friend of Rosenman – died in 2015. (Produced in 2008) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

In Episode 66 of The Cinescope Podcast, Chad and TJ Draper talk about one of their favorite movies, Star Trek IV: The Voyage Home! The Cinescope Podcast on iTunes Show Notes Star Trek IV: The Voyage Home on iTunes Star Trek IV: The Voyage Home soundtrack on iTunes Stats Released November 26, 1986 Dir. Leonard Nimoy (Star Trek III: The Search for Spock, Three Men and a Baby, The Good Mother, Funny About Love, Holy Matrimony) Written by Steve Meerson, Peter Krikes, Nicholas Meyer, Harve Bennett Music by Leonard Rosenman (Beneath the Planet of the Apes, Battle for the Planet of the Apes, Barry Lyndon, Bound for Glory, The Lord of the Rings, The Jazz Singer (1980), RoboCop 2) Starring William Shatner, Leonard Nimoy, Catherine Hicks, Majel Barrett, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols Contact TJ Twitter ReTake The MovieByte Podcast Chad Twitter Facebook Letterboxd An American Workplace | A Retrospective The Office Podcast Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: TJ Draper.

"Who would send a probe hundreds of light years to talk to a whale?" With the success of their pair of Star Trek films under their belt, director Leonard Nimoy and producer Harve Bennett were asked once again to return to the well and bring forth yet another Star Trek story. This time, Nimoy had more free reign to make the film he wanted to make, and he and Bennett thought it would be nice to make something a bit lighter. Also? They wanted to feature time travel. So they put their heads together and came up with what we now know and love to be Star Trek IV: The Voyage Home. The film ended up wrapping things up nicely from the previous two films and became the closing entry of an unintentional trilogy that works well in the context of the three films and as a stand alone entry. But how well do the comedy stylings hold up with a modern eye? Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Nimoy's 1986 film Star Trek IV: The Voyage Home. We talk about what works in this film – the characters, the whales, the probe, the future – and what doesn't – all of the slapstick in the present paired with a problematic screenplay – and why it still works for us. We look at the incredible effects from the team at ILM all through the film and how they were really continuing to do things here they hadn't before. We chat about the core team and look briefly at Nichelle Nichols and her background. We debate the quality of the cinematography by Don Peterman and the score by Leonard Rosenman and ponder if either of a quality that warranted an Oscar nomination. And we look at the trailer, debating if it was any good or told us too much. It's a fun, light film as promised, but one that may not feel as appropriate in the franchise. Still, we have a fantastic time chatting about it. So check out the film – again or for the first time – and tune in! When the movie ends, our conversation begins. Film Sundries Consider supporting the show by becoming a member at http://patreon.com/thenextreel. Watch this film: iTunes • Amazon • Hulu Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Memory Alpha — Star Trek Wikia

"Who would send a probe hundreds of light years to talk to a whale?" With the success of their pair of Star Trek films under their belt, director Leonard Nimoy and producer Harve Bennett were asked once again to return to the well and bring forth yet another Star Trek story. This time, Nimoy had more free reign to make the film he wanted to make, and he and Bennett thought it would be nice to make something a bit lighter. Also? They wanted to feature time travel. So they put their heads together and came up with what we now know and love to be Star Trek IV: The Voyage Home. The film ended up wrapping things up nicely from the previous two films and became the closing entry of an unintentional trilogy that works well in the context of the three films and as a stand alone entry. But how well do the comedy stylings hold up with a modern eye? Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Nimoy’s 1986 film Star Trek IV: The Voyage Home. We talk about what works in this film – the characters, the whales, the probe, the future – and what doesn’t – all of the slapstick in the present paired with a problematic screenplay – and why it still works for us. We look at the incredible effects from the team at ILM all through the film and how they were really continuing to do things here they hadn’t before. We chat about the core team and look briefly at Nichelle Nichols and her background. We debate the quality of the cinematography by Don Peterman and the score by Leonard Rosenman and ponder if either of a quality that warranted an Oscar nomination. And we look at the trailer, debating if it was any good or told us too much. It’s a fun, light film as promised, but one that may not feel as appropriate in the franchise. Still, we have a fantastic time chatting about it. So check out the film – again or for the first time – and tune in! When the movie ends, our conversation begins. Film Sundries Consider supporting the show by becoming a member at http://patreon.com/thenextreel. Watch this film: iTunes • Amazon • Hulu Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Memory Alpha — Star Trek Wikia

So much awesomeness on deck! The wonderful Tom Elliott (The Twilight Zone Podcast) gives a dramatic reading of Richard Matheson’s “Disappearing Act,” the genesis for the classic Twilight Zone episode we’re focusing on this week, “And When the Sky was Opened.” We’ve also got Dr. Reba Wissner on speed dial to school us on the musical stylings of Leonard Rosenman. Somehow this week’s episode ended up almost two hours long, so… sorry in advance. Opening theme: “Neither Here Nor There (rare 3rd Variation)” by Twin Loops “Smooth Operator” performed by Sade (from the album Diamond Life, © 1984 by Epic Records) Radiohead’s “How to Disappear Completely” performed by Made of Wood (from the album Narcotherapy Hypnosis, ©2017 by Made of Wood)   The Twilight Zone is a trademark of CBS, Inc. Between Light and a Shadow: A Twilight Zone Podcast is a nonprofit podcast. Music clips and dialogue excerpts used herein are the property of their respective copyright owners; we claim no ownership of these materials. Their use is strictly for illustrative purposes and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107.  

In the latest of our occasional bonus episodes, we’re joined by film Composer, Orchestrator and Arranger, Adam Langston, as he guides us through the Star Trek movie scores and discusses how Jerry Goldsmith and James Horner have influenced his own work on Hollywood fare such as The Promise, Alien: Covenant and 10,000 BC. We also chat Trump’s unsanctioned use of the ‘Air Force One’ theme, how to pronounce Michael Giacchino’s name, Leonard Rosenman’s (possibly) high opinion of himself and of course, the work of Cliff Eidelman and Dennis McCarthy as well. And this is only Part 1 of our journey into the music of Trek, Adam will return next year to talk the scores of the various television series. Make sure you subscribe so you don’t miss it.   As usual you can find SPOCKLIGHT on: TWITTER - @spocklightpod INSTAGRAM – @spocklightpod FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff.   You can find more information about Adam Langston and his music here: http://www.adamlangston.com/ Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston’s, you can find more of his work at - https://adamjohnstonuk.bandcamp.com/ Our beautiful artwork was created by Stephen Trumble, see more at http://www.stephentrumble.com/

The Fantastic Voyage score with Brandi Jackola. Many composers will have periods in their careers where a sound or an instrument becomes extremely influential, and they will adapt and modify that inspiration for several film scores in a row. One composer, however, seems to have had a style stick with him for a longer period than average. In this episode of Melodic Treks, host Brandon-Shea Mutala is joined by Brandi Jackola to discuss two scores by Leonard Rosenman: his Emmy award winning score for the 1976 mini-series Sybil, and the strange and moody score to the 1966 science fiction film Fantastic Voyage, and how that score seems to be mirrored in his Academy Award nominated score for Star Trek IV: The Voyage Home. Chapters Opening (00:00:00)  Welcome, Brandi! (A Hefty Tangent) (00:00:59)  "Main Titles" (from Sybil) (00:19:34)  "End Titles" (from Sybil) (00:25:04)  "Group Leaves" (from Fantastic Voyage) (00:42:15)  "Get the Laser" (from Fantastic Voyage) (00:45:10)  "Optic Nerve" (from Fantastic Voyage) (00:48:36)  "Whale Fugue" (from Star Trek IV: The Voyage Home) (00:50:36)  "Main Title"  (from Fantastic Voyage) (00:58:37)  Host Brandon-Shea Mutala Guest Brandi Jackola Production Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

Matthew Sweet looks at the influence of Schoenberg on film music - not least in the scores of Leonard Rosenman, Miklos Rozsa, Scott Bradley, Jerry Goldsmith, David Shire, Ernest Gold, Johnny Mandel, Humphrey Searle, Benjamin Frankel and Elisabeth Lutyens. Although Schoenberg never wrote a score to accompany an actual film he was very interested in the medium and lived his final years in Hollywood where several of the leading Hollywood composers attended his composition classes. His revolutionary ideas about "twelve tone" composition made a sizable impact on film music as Matthew explores and illustrates in this programme.

Star Trek IV and Leonard Rosenman. With a career that spans five decades and includes more than 100 films and television productions, Leonard Rosenman was once regarded as one of the most promising young composers in America—yet he was never a Hollywood favorite. He sometimes publicly chastised producers and directors for what he felt was musical ignorance and a lack of taste, but managed to make his voice heard by using film scoring as a way to experiment with advanced musical ideas. Some of the memorable movies that he worked on include East of Eden, Rebel without a Cause, A Man Called Horse, The Car, 1978's animated The Lord of the Rings, The Jazz Singer, and RoboCop 2. His final film was Jurij, an Italian work about a young violinist, released in 2001. In this episode of Melodic Treks, host Brandon-Shea Mutala begins a 13-part series on the Star Trek films. Joining him to examine Rosenman's life and career is Standard Orbit co-host Ken Tripp. Beginning with some of Rosenman's television work from the 1950s and '60s, including The Twilight Zone and The Alfred Hitchcock Hour, we also focus on big-screen works such as Fantastic Voyage, Beneath the Planet of the Apes, Battle for the Planet of the Apes, and, of course, Star Trek IV: The Voyage Home. We also discuss his awards and nominations, and listen to the trailer for the low-budget horror film The Car. Chapters Intro (00:00:00) September 7, 1924 (00:01:27) The Twilight Zone (00:05:46) "And When the Sky Was Opened" (excerpt) (00:06:19) The Alfred Hitchock Hour (00:11:17) "Beast in View" (excerpt) (00:11:49) "One of the Family" (excerpt) (00:14:25) Films, Awards, and Nominations (00:17:28) The Car (00:19:20) Trailer for The Car (00:21:45) Fantastic Voyage (00:24:46) "The Proteus" (excerpt) (00:25:48) The Planet of the Apes Franchise (00:32:33) "Ape Soldiers Advancing" (excerpt) (00:37:16) "Main Title (Battle for the Planet of the Apes)" (excerpt) (00:39:58) Star Trek IV: The Voyage Home (00:44:30) "Main Title" (excerpt) (00:52:24) "Time Travel" (excerpt) (00:55:08) "Chekov's Run" (00:58:50) "Hospital Chase" (01:02:41) "Crash/Whale Fugue" (excerpt) (01:04:15) "Home Again/End Credits" (excerpt) (01:12:06) "Kirk Freed" (01:20:34) Host Brandon-Shea Mutala Guest Ken Tripp Production Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Norman C. Lao (Executive Producer) Charlynn Schmiedt (Executive Producer) Richard Marquez (Production Manager) Will Nguyen (Content Manager)

Jim Dooley is an Emmy Award-winning composer/songwriter with a diverse repertoire spanning the film, television, video gaming and live theatrical industries. He has earned accolades for his solo work as well as proud collaborations with many of the top names in music. Jim is a graduate of New York University, and upon completion of his degree, moved to Los Angeles to study the art of film composing at USC with prolific scoring legends Christopher Young, Elmer Bernstein and Leonard Rosenman. He joined Media Ventures (now Remote Control Productions) in 1999 and collaborated with Hans Zimmer on DreamWorks’ “Gladiator” and as an additional composer, arranger and orchestrator on Columbia Pictures’ “The Da Vinci Code,” Disney’s “Pirates of the Caribbean: The Curse of the Black Pearl,” DreamWorks’ “The Ring,” and many others. Two projects featuring Jim’s music were also honored with Oscar nominations. In Television, Jim has written original music for shows on NBC, ABC, FX, CW, and Lifetime and his music on the critically acclaimed series, “Pushing Daisies,” won him the Primetime Emmy Award for “Best Original Music Composition for a Series.” In film, Jim composed has composed for many live action films, and animated films such as “Madagascar,” “Madagascar 2,” and the Penguins of “Madagascar.” the Oscar-winning “Wallace & Gromit: The Curse of the Were-Rabbit,” and “Operation Got Your 6” featuring First Lady Michelle Obama. Jim’s expertise in other mediums can be found in the complex, interactive scores for best-selling videogame titles such as “Epic Mickey,” “Disney Infinity: Marvel Super Heroes,” “Infamous” and “SOCOM 3: U.S. Navy Seals,” “U.S. Navy Seals: Combined Assault.” Jim is currently scoring TNT’s hit drama “The Last Ship” with collaborator James Levine. He recently emerged into the Sports industry with his theme for the 2015 Senior PGA Championship, heard on both NBC and the Golf Channel. Some topics we discussed: Jim's introduction to "Stairway to Heaven" and "Welcome Home (Sanitarium)" The percussion of Danny Elfman's "Nasty Habits" Patelson's Music Store in Manhattan The New York Times article "Cultivating the Art of Serendipity" Ordering music from (and finally releasing through) Varese Sarabande Records The joy of handwritten takedowns "You don't take as much ownership if you don't figure it out yourself." Playing a tragic Gladiator theme at Hans Zimmer's birthday party How an expert swinging a golf club correctly is more difficult than an expert playing a concerto  Ideas from Oliver Sacks's "Musicophilia" J.K. Rowling's commencement speech at Harvard about the importance of failure This podcast hosted by New York attorney Michael Prywes was sponsored by Prywes Schwartz, PLLC, a law firm devoted to artists and entrepreneurs. This podcast may contain attorney advertising. Prior results do not guarantee future outcomes.

Matthew Sweet takes musical inspiration from this week's new Godzilla film - the fictional filmic monster who has been inspiring metaphors and mayhem for the past 60 years. This week Matthew looks at music for films which convey other meanings below the surface. His selection includes music by Alan Silvestri for Forrest Gump; Harry Gregson-Williams music for "The Lion, The Witch and the Wardrobe"; Leonard Rosenman's music for "Star Trek" and Clinton Shorter's for "District 9". There is also music for "The Time Machine", and the Classic score of the Week is Akira Ifukube's music for the first in the Japanese Godzilla series. The programme also features the latest film appearance of Godzilla with music by Alexandre Desplat. #soundofcinema.