Podcasts about Morricone

Darren Hines and Peter Waters return to discuss Giuseppe Tornatore's 2021 documentary Ennio which focuses on the career of iconic film composer Ennio Morricone. Some of Morricone's most famous scores include The Good, The Bad, and the Ugly, Once Upon a Time in the West, Once Upon a Time in America, Cinema Paradiso, The Untouchables, The Mission, and The Hateful Eight. Support the show

In deze aflevering van Kalm met Klassiek ligt de liefde er dik bovenop. Het is tijd voor Ennio Morricone's 'Tema d'amore', hét liefdesthema. Hij schreef het voor de film Nuovo cinema paradiso. Je hoort een bijzondere uitvoering, want niemand minder dan die andere beroemde filmcomponist John Williams staat op de bok als dirigent. Voeg daar de viool van Itzhak Perlman, een van de grootste violisten van onze tijd, aan toe, en het is wegzijmelen geblazen... Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

Neem vandaag plaats in uw luister bioskoopzaal bij Radio Maria. Wij serveren u muziek voor het witte doek van film-toondichters: Marianelli, Silvestri, Bruns, Newman, Morricone, Schwartz, Zimmer, Menken, Miranda en Williams, uit bekende films. En de bioscoop heeft in elk seizoen wel aantrekkingskracht.

durée : 00:06:47 - Les bandes originales des films de Philippe Labro : de Morricone à Colombier - par : Max Dozolme - On a appris hier la disparition du journaliste, écrivain et réalisateur Philippe Labro. En hommage, Max Dozolme vous propose d'écouter quelques-unes des bandes originales de ses films signés par des grands noms, notamment Ennio Morricone ou encore Michel Colombier !

Solénoïde (02.06.2025) - Cette semaine, Solénoïde vous embarque pour un périple de 55 minutes à travers une Italie insoupçonnée, vibrante, déroutante : une péninsule sonique où l'expérimentation règne en maître. Du dub méditatif de Meditronica aux nappes brumeuses d'Andrea De Witt, en passant par les incursions cinématographiques du maestro Morricone, l'émission tisse une mosaïque musicale envoûtante, entre traditions enfouies et technologies audacieuses De Naples à Rome, de Milan à Palerme, cette première Virée Italienne explore les sons d'artisans de l'ombre – Lorenzo Feliciati, Eraldo Bernocchi, Antonio Testa, Mirco Magnani et Ernesto Tomasini qui sculptent l'invisible et jouent avec le temps. Opéra expérimental, ambient caverneuse, glitch industriel, jazz planant : autant de langages musicaux qui transforment l'Italie en territoire de dérèglement sensoriel. Solénoïde ne cartographie pas : il dérègle. Il ne décrit pas : il invite à la dérive. Préparez-vous à une radionavigation hallucinée dans un pays que vous pensiez connaître. Virée Italienne 01, c'est l'Italie… mais vue à travers un miroir sonore déformant.

durée : 00:58:11 - Toute une vie - par : Alexandre Tylski - Né à Rome dans une famille modeste, Ennio Morricone a réinventé la musique mondiale. Sous ses airs austères, le compositeur a dynamité de l'intérieur chansons et films grâce à sa science instrumentale et mélodique. - réalisation : François Teste - invités : Cécile Carayol Enseignante-chercheuse à l'Université de Rouen; Chloé Huvet Enseignante-chercheuse à l'Université d'Evry Paris Saclay; Stéphane Lerouge Restaurateur de bandes originales de films; Giusy Pisano Professeure à l'École nationale supérieure Louis-Lumière à Saint-Denis; Alessandro de Rosa Compositeur et biographe d'Ennio Morricone; Jérôme Rossi Professeur à l'Université Lyon II; Gabriel Yared Compositeur et arrangeur français d'origine libanaise de musiques de film

Label - Journey of the Soul

Label - Journey of the Soul

Hace unos años que el maliense anunció su retirada, pero afortunadamente ha decidido volver a la música con un disco acústico y una gira europea. Grabado en su habitación de un hotel de Kioto, 'So kono' se publicó el pasado viernes y contiene canciones como 'Aboubakrin', 'Awa', 'Kanté Manfila' o 'Chérie'. Escuchamos a la italiana Chiara Civello cantando 'Via con me', de Paolo Conte, 'Metti una sera a cena', de Morricone, 'Una sigaretta', de Fred Buscaglione, y ''I mulini dei ricordi' de Michel Legrand- con la voz de Esperanza Spalding-. Y al etiope Mulatu Astatke con Hoodna Orchestra en 'Hatula' y 'Yashan' de su disco 'Tension'. Abre ('Gaúcho Corta jaca') y cierra ('Clube da esquina nº2') el cuarteto Falando Música del baterista brasileño Sergio Reze.Escuchar audio

Artist: Mirida (Saint-Petersburg, Russia) Name: Reborn Podcast | April, 2025 | Special for DHM Genre: Electronic Release Date: 10.04.2025 Exclusive: Deep House Moscow Tracklist: 01. Colour Your Mind - To My Story (Matija & Richard Elcox Extended Remix) 02. Soma Soul, Mondo Man - All I Want (Extended Mix) 03. Morricone, Miratge - Tuine (Original Mix) 04. Wild Dark, ariaano - Special Thinks (Original Mix) 05. Rafa Polo - Under the Sun (Original Mix) 06. Goom Gum, Dancing on Lego - Before My Eyes (Super Flu Remix) 07. Hagen Feetly - Make You Mine (Extended Mix) 08. Mirida - Mechtatel (Original Mix) 09. Bless You - Gotta Move (Extended Mix) 10. Mirida - Time (Original Mix) 11. Mirida - Ghost (Original Mix) 12. Nandu, Tripolism - Sunrise (Extended Mix) Mirida: www.facebook.com/miridamusic Soundcloud: @mirid_a Instagram: www.instagram.com/mirida_music CONTACT (DHM) ‒ deephousemoscow@hotmail.com Alexander (Telegram) ‒ @sash_msk Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Marco Testoni"Come si ascolta un film?"Guida all'ascolto per inconsapevoli spettatori di colonne sonoreEdizioni Efestowww.edizioniefesto.itMarco Testoni – compositore, music supervisor e didatta – ci conduce alla scoperta della più invisibile e misteriosa delle forme d'arte: la colonna sonora. Una guida che rispondendo a una semplice domanda rovescia il senso dell'esperienza cinematografica, uno spettacolo che dovrebbe essere goduto appieno non solo con la vista ma anche l'udito. Come si ascolta un film? è un libro che con naturalezza e levità vuole raccontare la musica per cinema liberandoci dal ruolo di ascoltatori inconsapevoli. Una storia che parte dalle rumorose sale del cinema muto fino ad arrivare alle soluzioni musicali più tecnologiche dei nostri giorni. Dal mickey mousing al sound design, da Bernard Herrmann, Ennio Morricone, John Williams, Vangelis, Ryuichi Sakamoto, Hans Zimmer e Johann Johannsson passando per il post rock, l'elettronica, il minimalismo e tutti gli altri protagonisti che nel giro di cento anni hanno descritto l'evoluzione di un linguaggio musicale popolare divenuto universale.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Cada cual de su padre y de su madre. ¿De dónde salió ese tipo Mini Reilly? ¿Y esos guitarristas extraterrestres Ry Cooder, Robert Fripp o Andy Summers? Qué decir de Les Hommes o Los Hermanos Gutiérrez o de los maestros compositores Morricone, Thomas Newman, Bill Conti O Ryuichi o Sakamoto. ¿Conoces al neocelandés Lance Ferguson?  CLO PROMO REBECCA DISCO 1 THE DURRUTI COLUMN Messidor (Cara 1 Corte 4) DISCO 2 HERMANOS GUTIÉRREZ Low Sun (2) DISCO 3 LES HOMMES Hallucinations (3) SEP MARTÍN X (TWITTER)+ SEP ANKLI R3 DISCO 4 RY COODER I Think It’s Gonna Work Out Fine (14) DISCO 5 ROBERT FRIPP & ANDY SUMMERS I Advance Masked (Cara 1 Corte 1) DISCO 6 KHRUANGBIN Pon Pón (5)  CUÑA BUSCAS SAMUSTINA+ INDI PODCAST LUCAS DISCO 7 THOMAS NEWMAN An American Quilt (16) DISCO 8 LANCE FERGUSON L'océan de Toi (ESCA) DISCO 9 PATRICE RUSHEN Number One (13) CLO LUCAS EXPLORANDO + PRES. LÍA ALCANDA  DISCO 10 ENNIO MORRICONE My Name Is Nobody (Disco 2 Cara 4 Corte 3) DISCO 11 RYUICHI SAKAMOTO Energy Flow (1) DISCO 12 NEIL LARSEN At The Sunset Royal (9) DISCO 13 BILL CONTI Theme from Broadcast News (ESCA)Escuchar audio

Compie 50 anni il marchio che ha creato il modello della famiglia perfetta. Fonti: video “Mulino Bianco - spot 2006 - Il panettiere immaginario - Pani del Mulino" pubblicato sul canale Youtube Mulino Bianco il 13 ottobre 2011; video “Mulino Bianco - spot In TV come nella fantasia: le Nastrine" pubblicato sul canale Youtube Mulino Bianco il 2 febbraio 2018; video “Spot biscotti Tarallucci del Mulino Bianco 2007" pubblicato sul canale Youtube Ricordi Pubblicitari il 22 aprile 2024; account Tiktok marcela.perez.q, 26 maggio 2024; video “Il «Mulino Bianco» all'asta, lo spot di Tornatore (con musica di Morricone) che lo rese celebre" pubblicato sul canale Youtube Corriere della Sera il 5 giugno 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices

Compositore, arrangiatore, direttore d'orchestra, il maestro delle colonne sonore: Ennio Morricone. Uno sperimentatore, con un timbro musicale inconfondibile, dalle “canzonette” arrangiate per la casa discografica RCA negli anni '60 fino ai film da oscar e a quella statuetta per la miglior colonna sonora arrivata solo una volta nel 2016. Ci accompagna Claudio Farinone, chitarrista e protagonista insieme a Fausto Beccalossi (fisarmonica) e Alessandro De Rosa (voce narrante) dello spettacolo Inseguendo quel suono in scena questa sera al Cinema Iride di Lugano. 

Uno splendido omaggio che, grazie ad Ensemble Le Muse, esalta ancora e sempre la figura di quello che è stato ed è ancora uno dei più grandi compositori del mondo. Ennio Morricone rivive attraverso la ricerca, l'impegno, la passione ed un pizzico di gentile ironia, di questo gruppo di musicisti e artisti, che ricreano il senso di libertà e umanità presente nelle melodie del Maestro che ha donato nuova linfa al cinema italiano e internazionale, componendo colonne sonore indimenticabili. Il vostro CaRfa, dialoga con Andrea Albertini, direttore del gruppo e pianista, che racconta la genesi del progetto e le emozioni che si provano nel raccogliere e divulgare un'eredità importante come questa. Buon ascolto.

Programa conducido por Darío Lavia y Chucho Fernández. Ilustraciones: Louis-Léopold Boilly, Christian de Marco, Enzo Sciotti, Joseph Swan, Ignaz Gaugengigl.. Fotogramas: "Toni" (1935) de Jean Renoir; "Paganini" (1923) de Heinz Goldberg Acto I: El símbolo de Goblin por Darío Lavia 0:02:56 Acto II: "La música como protagonista" de Béla Balázs por Darío Lavia 0:08:31 Acto III: "El violín con cuerdas humanas" de Antonio Ghislanzoni por Chucho Fernández y Natán Solans 0:15:43 Fuentes de los textos: "Prog Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin", Tony Mitchell en "Terror Tracks: Music, Sounds and Horror Cinema", coordinado por Philip Hayward (Equinox Publishing, 2009) "Der Film", Béla Bálazs, traducido como "El film" (Ediciones Losange, 1957) "Il violino di corde umane", Antonio Ghislanzoni en "Racconti" (1884), recopilado en "L'orrore della musica" (Fanucci Editore, 1991) Imdb https://www.imdb.com/title/tt35657570/ Web de Cineficción ⁠http://www.cinefania.com/cineficcion⁠/ Fan Page de Cineficción ⁠https://www.facebook.com/revista.cineficcion/

En este episodio recuperamos los reportajes sobre cuatro de las mejores bandas sonoras de la historia de la música cinematográfica: “La guerra de las galaxias” de John Williams, “Doctor Zhivago” de Maurice Jarre, “Vértigo” de Bernard Herrmann y la llamada “Trilogía del dólar” que incluye las bandas sonoras de “Por un puñado de dólares”, “La muerte tenía un precio” y “El bueno, el feo y el malo”, las tres compuestas por Ennio Morricone.

En este episodio recuperamos los reportajes sobre cuatro de las mejores bandas sonoras de la historia de la música cinematográfica: “La guerra de las galaxias” de John Williams, “Doctor Zhivago” de Maurice Jarre, “Vértigo” de Bernard Herrmann y la llamada “Trilogía del dólar” que incluye las bandas sonoras de “Por un puñado de dólares”, “La muerte tenía un precio” y “El bueno, el feo y el malo”, las tres compuestas por Ennio Morricone.

Del disco de Carmen Souza, cantante y compositora nacida en Lisboa de ascendencia caboverdiana, 'Port´inglês', las canciones 'St. Jago', 'Cais d´port´inglês', 'Ariope' y 'Amizadi'. Hoy se publica el nuevo disco del trío instrumental brasileño Caixa Cubo 'Moda avião' con temas como el que le da título, 'Jureta' o 'Vila Macarena'. De 'Ennio', disco homenaje a Morricone, 'Once upon a time in America (Deborah´s theme)', 'For a few dollars more: Watch chimes', 'The good, the bad and the ugly', 'The ecstasy of gold', 'Cinema Paradiso' y 'The Sicilian clan'. Y Bill Laurance con The Untold Orchestra tocando 'Bloom' y 'Before the sun'.Escuchar audio

Avec un final Morricone (ça faisait longtemps)Taxi-Gart -Mannequinyunė pirku - Don't StopBenny The Butcher/38 Spesh - Jesus Arms (feat. Busta Rhymes) Primal Scream - Ready To Go Home Jwles - 6Les Negresses Vertes - Face a la mer (Massive Attack Ramis) James Brown - Introduction Florentino - Pressure Funk feat. Dj Ramon Sucesso & ShygirnCaribou - August 20/24Caribou - Over NowFuture - PLUTOSKIB52 - Planet Claire Dnstrumental Re-EditiPa Salieu - BeltyEzra Collective - God Gave Me Feet For Dancing Ezra Collective - Shaking BodyJourdin Pauline/Cash Cobain Bay Swag - TOP OF THE MORNINGDali Muru & The Polyphonic Swarm - Denube DwellersThe Tornadoes - Do You Come Here OftenSly & The Family Stone - In TimeThe Smile - TiptoeLaila! - Could BeHaich Ber Na - Lately You're Not Picking UpLex Amor - SUPER BLESSEDhelen island - I know Ennio Morricone - EDDA DELL'ORSO La smagliatura

Artist: Morricone (Saint Petersburg, Russia) Name: Deep Jungle #23 [October, 2024] Genre: Electronic Release Date: 06.10.2024 Exclusive: Deep House Moscow Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Martin Elisson växte upp i Örgryte och gjorde Nirvana-covers med sina kompisar. I ettan på gymnasiet bildade de Bad Cash Quartet som hyllades av pressen (i alla fall av tidningen Pop där Strage jobbade) och fick turnera som förband till sina hjältar Broder Daniel. 2004 splittrades Bad Cash Quartet och tre år senare startade Martin Elisson och basisten Adam Bolméus det nya bandet Hästpojken tillsammans med Broder Daniel-trummisen Pop-Lars. Deras första singlar "Shane McGowan" och "Caligula", hyllningar till destruktiva livsnjutare, spelades på alla indieklubbar och Hästpojken blev så småningom en synonym för hårt leverne (i alla fall i Strages stockholmska mediekretsar). I våras kom bandets femte album "River av ett liv", som med en speltid på 22 minuter kanske snarare bör kallas EP, och nu hälsar de på hemma hos Strage. Martin Elisson och Adam Bolméus pratar bland annat om att spela en marginaliserad genre, om att både skriva Örgryte IS inmarschlåt och ett bidrag till Melodifestivalen, om parallellerna mellan Broder Daniel och Iron Maiden och om om att göra sluddrandet till en konstform samtidigt som man jobbar som logoped. Dessutom spelar de upp en italiensk Morricone-schlager som är det mäktigaste Strage hört på flera år. Hosted on Acast. See acast.com/privacy for more information.

Speak easy with Adam and Myke as they discuss an underrated ensemble, tonal rifts, and the formidable "M" duo of Mamet and Morricone. Make sure you're following us on X or Instagram to vote on the must-see status of The Untouchables this Friday (8/2). SHOW NOTES 0:00 – 11:34 Intro 11:35 - 20:29 General Impressions and Votes 20:30 – 1:09:49 Spoiler Discussion for The Untouchables 1:09:50 – 1:15:42 Double Feature Recommendations 1:15:43– 1:17:58 Outro

Dashing home after having stolen a country's entire gold reserve and blown up its tax offices, Rod and Adrian grab their microphones to talk about one of the greatest films to be covered on Wild, Wild Podcast - Danger: Diabolik. In this episode the latest Severin Films announcements are discussed, and Adrian potentially alienates everyone by saying something blasphemous about Morricone's score. We are now halfway through our fumetti season. If you want to do some background reading on the most popular Italian comics of the sixties, there's a great resource here on Comic Vine.We would love to hear from you if you have any favourite Italian comic or masked hero/ villain-based films, or if you have scaled a castle wall to steal priceless diaomonds. You can contact us on Twitter and Instagram or by email at wildwildpodcast@gmail.com. You can also find our YouTube channel here.Please also remember to rate and review us on your podcast platform of choice!If you enjoy the podcast, why not buy us a coffee at ko-fi.com/wildwildpodcast? Espresso, naturally. Grazie mille! Hosted on Acast. See acast.com/privacy for more information.

Audiovisual ➡️ fanlink.tv/Y0UTUBE Tracklisting ➡️ https://bit.ly/tracklist_flickerflame Introducing the 'Flicker Flame', a mesmerizing mezcal-based cocktail adorned with flamed marshmallows on top, setting the stage for your next Monday auditory adventure. Crafted by Uone, an energetic DJ and electronic music producer from down-under, whose signature western-influenced tribal deep house anthems have carved out a new age of modern 60s-inspired psychedelia dance music. Starting his career out of a caravan in the Victorian surfing town of Shoreham, Australia, Uone has since transformed dance floors worldwide, from Burning Man to the renowned Glastonbury Festival. Supported by industry giants like Carl Cox, Sasha, and John Digweed, Uone's innovative sound blends organic and electronic elements, drawing on Morricone-influenced deep house, 60s psychedelia, and tribal rhythms. His unique productions, released on top labels like Katermukke and Sol Selectas, celebrate our connected spirituality, resonating deeply with listeners. Uone's 2023 concept album, "Phantom Whistler," pays homage to the Wild West, blending mind-expanding house with cinematic elements, creating an unparalleled auditory experience. Incorporating a personal introduction speech in his exclusive Schirmchendrink, Uone invites you to immerse yourself in his world. With over a decade of international performances and a diverse range of collaborations, Uone's music continues to inspire and transport listeners to new realms, making every moment a journey. Cheers! The bartenders Uone @uone www.facebook.com/uonemusic www.instagram.com/uone_music Schirmchendrink @schirmchendrink www.facebook.com/schirmchendrink www.instagram.com/schirmchendrink

Sneaking around this week are the Spies and Jason Whiton brings us John Kling…some news of a prominent couple in the scene tying the knot, our look at the World of Swank Gig Guide, a Deep Thought and a rant on the dangers of AI   www.cocktailnation.net   Morricone 90-Lounge Music #2 Project K/67-Sirocco Amber Weekes-You're Gonna Hear From Me Bruce Lofgren Group-Tripsy Andy Pratt-Patricia Mr Moai and the Tikiheads- Tahitian Twilight Ìxtahuele - Moonflower Kava Kon-Mists of Krakatoa Martini Kings- Dance of the Virginsv5 Allen Dennard-The Light Dubbleorganisterna- Hubble Messerchups- Sexplotation From Outer Space Voodoo 5-The Collector

Un recuerdo para Françoise Hardy, que acaba de dejarnos, con sus grabaciones de 'Des ronds dans l ́eau', 'Tout va bien', 'Le fou de la reine' -con Henri Salvador'- 'Le premier bonheur du jour' y 'Que tu m'enterres'. Del disco dedicado a Morricone, 'Ennio', del armonicista Grégorie Maret y el pianista Romain Collin, 'Once upon a time in America (Deborah's theme)', 'Chi mai - Le professionnel', ''The Sicilian clan' y 'Tragedy of a ridiculous man'. Maret toca también en 'For the palms' y 'Lil ́rock way' del disco 'Brasil' de Lee Ritenour y Dave Grusin. El pianista, compositor, sanador y educador surafricano Nduduzo Makhathini firma el disco 'uNomkhubulwane' y la cantante y compositora surafricana Zoë Modiga 'Nomthandazo'.  Escuchar audio

Diez años después de su disco 'Coisa boa', el primogénito de Caetano Veloso, Moreno, publica 'Mundo paralelo' con canciones como 'Um dois e já'., 'Presente de Natal', 'Unga dorme nesse frio', 'A donzela se casou' -con Caetano, Bethânia, Tom y Zeca- o la que le da título -con recitado de Tiganá Santana-. Y del disco de Tiganá Santana 'Caçada noturna' las canciones 'O amor simples' y 'Coração ao largo'. 'Ennio' es el disco homenaje a Morricone del armonicista Grégoire Maret y el pianista Romain Collin: 'Once upon a time in America (Deborah´s theme)', 'Chi mai-Le professionel-, 'Cinema Paradiso'. Y João Bosco firma 'Boca cheia de frutas' con 'O canto da terra por um fio', 'Dinossaurios da Candelária', 'Dias que são assim' o 'Sobre Tom'.Escuchar audio

durée : 00:58:09 - Toute une vie - Né à Rome dans une famille modeste, Ennio Morricone a réinventé la musique mondiale. Sous ses airs austères, le compositeur a dynamité de l'intérieur chansons et films grâce à sa science instrumentale et mélodique. - invités : Cécile Carayol Enseignante-chercheuse à l'Université de Rouen; Chloé Huvet Enseignante-chercheuse à l'Université d'Evry Paris Saclay; Stéphane Lerouge Restaurateur de bandes originales de films, concepteur de la collection discographique de bandes originales de films "Écoutez le cinéma !" chez Universal Music France; Giusy Pisano Professeure à l'École nationale supérieure Louis-Lumière à Saint-Denis; Alessandro de Rosa Compositeur et biographe d'Ennio Morricone; Jérôme Rossi Professeur à l'Université Lyon II; Gabriel Yared Compositeur et arrangeur français d'origine libanaise de musiques de film

Down the rabbit hole one goes when you discover something new and exciting. www.cocktailnation.net Daniela Schächter-All The Way Stan Getz Blues for Mary Jane  Joe Lovano-I'm more for you  Ike Quebec- Just one more chance  Morricone 90- Lounge Music number two Don Burrows- Manha de Carnival Roger Williams -On a clear day you can see forever  David Baker- Soft summer  Donald Byrd- Someone to watch over me 

Artist: Morricone (Saint Petersburg, Russia) Name: Organic Podcast (April, 2024) Genre: Organic House Release Date: 30.04.2024 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Artist: Andrey Morricone (Saint Petersburg, Russia) Name: In Dance #04 [April 2024] Genre: Electronic Release Date: 09.04.2024 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Erik Childress & Steve Prokopy review seven new movies over Easter weekend. They include a documentary about an evil son-of-a-bastard-fuck and his attempt to erase the memory of dead children (The Truth vs. Alex Jones) and another doc about one of the most legendary composers (Ennio). David Krumholtz is dying and just going about his deadpan remaining days (Lousy Carter) while Tessa Thompson oversees a chat line for lonely and troubled people (The Listener). The great Steve Martin gets his own documentary. Two of them in fact (Steve!: A Documentary in 2 Pieces) and Liam Neeson is an assassin on the trail of the IRA led by Kerry Condon (In the Land of Saints and Sinners). Finally, another pair of titans return to free stop an uprising in Hollow Earth (Godzilla x Kong: The New Empire)   1:54 – The Truth vs. Alex Jones 9:31 - Ennio 24:44 - Lousy Carter 34:43 – The Listener 43:43 - Steve!: A Documentary in 2 Pieces  1:04:07- In the Land of Saints and Sinners 1:15:47 - Godzilla x Kong: The New Empire 1:35:10 - Outro

Donald Macleod explores the life and music of Ennio MorriconeEnnio Morricone is cited as one of the most experimental and influential composers of all time, undoubtedly recognised as one of the world's greatest ever composers of music for film. A legendary figure who over the course of his career won numerous awards, and accolades, his innovative soundworlds helped to define what film music could be for multiple genres of cinema. Morricone's music extended far beyond the desert landscapes of Spaghetti Westerns, not just to other genres on the Silver Screen, but also into the worlds of pop music, and into the concert hall – where his study and composition of avant garde music gave him the techniques to experiment within his scores for film as well. Over the course of this week, following on the heels of the 2024 Academy Awards, Donald Macleod explores the incredible career of Ennio Morricone, a composer who quite astoundingly wrote over 500 scores for film and television, as well as over 100 classical works.Music Featured:Invenzione The Ecstasy of Gold from The Good, The Bad and The Ugly Party Prohibito from I malamondo Musica per undici violini Eduardo di Capua and Alfredo Mazzucchi: O sole mio (arr. Morricone) Edoardo Nicolardi and Ernesto de Curtis: Voce e'notte (arr. Morricone) Concerto for Orchestra Scambio di prigionieri from A Fistful of Dollars The Man with the Harmonica from Once Upon a Time in the West Woody Guthrie: Pastures of Plenty (arr. Enrico Morricone) The Trio (extended version) from The Good the Bad and the Ugly Titles & A Fistful of Dollars (version 2) from A Fistful of Dollars Sixty Seconds to What? & Main Theme from For a Few Dollars More Requiem per un destino (Excerpt) Main Title from The Good the Bad and the Ugly Opening credits from Uccellacci e uccellini Addio a Pier Paolo Passolini Ostia from Pasolini, un delitto Italiano Birth of a City & Finale from Once Upon a Time in the West Suoni per Dino Delirio Secondo from Un Tranquillo Posto Di Campagna La Lucertola from Una Lucertola con la Pelle Di Donna Silenzio nel caos from The Bird with the Crystal Plumage Four Flies on Velvet (take 6) from Four Flies on Grey Velvet Deborah's Theme from Once Upon a Time in America Cockeye's Song & Once upon a time in America – theme from Sergio Leone Suite Theme from Rampage La classe operaia va in paradiso from The Working Class Goes to Heaven or Lulu the Tool Fire from Days of Heaven Humanity (Part 2) from The Thing Four studies (Nos 1 & 2) Bugsy Cinema Paradiso Miserere & Gabriel's Oboe from The Mission Theme from The Untouchables Voci dal silenzio (Excerpt) Theme from Il Mercenario Volti e fantasmi from La Migliore Offerta 'Ultima Diligenza di Red Rock from the Hateful Eight On Earth as it is in Heaven from The MissionPresented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Ennio Morricone (1928-2020) https://www.bbc.co.uk/programmes/m001wyr0And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Şevket Akıncı ile yeni çıkan konser albümü Live at Borusan Müzik Evi üzerine söyleşi Açık Dergi'de!

Oggi parliamo del migliore autore di colonne sonore di sempre: Ennio Morricone.Support the project on Tipeee or Patreon and receive transcriptions of each episode, complete with translations of the most challenging words:https://en.tipeee.com/italian-stories-with-davide/news/190157.https://www.patreon.com/posts/99458969.Donation - Paypal:https://www.paypal.com/donate/?hosted_button_id=HJF6KQ4BY27Y2.Hope you enjoy and...Ci vediamo presto!Music by Davide Emanuelli

Artist: Morricone (Saint Petersburg, Russia) Name: February Podcast, 2024 Genre: Electronic Release Date: 21.02.2024 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

La musique d'Ennio Morricone a totalement révolutionné le genre du western au cinéma.Mais pourquoi cette musique culte pour beaucoup de cinéphiles est si cool ? Aujourd'hui dans cet épisode, on vous donne la recette de ces spaghettis à la sauce Morricone !Crédits :• Un podcast écrit, réalisé et raconté par Constance Mathews

Drei Jahre nach dem Tod des Komponisten Ennio Morricone hat dessen Familie ein exklusives Recht am Nachlass an den Dirigenten Frank Strobel und dessen Firma, die Europäische Filmphilharmonie, vergeben. Strobel will die Musik in Konzertsäle bringen. Strobel, Frankwww.deutschlandfunkkultur.de, Fazit

Artist: Morricone (Saint Petersburg, Russia) Name: Winter Jam 2024 Genre: Nu Disco Release Date: 26.12.2023 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Artist: Morricone (Saint Petersburg, Russia) Name: In Dance #03 (December 2023) Genre: Electronic Release Date: 11.12.2023 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

SynopsisToday's date marks the birthdate in 1928 of Italian composer Ennio Morricone, famous for more than 400 scores he wrote for films and TV.If you're a fan, you already know that he wrote the music for a series of spaghetti western movies like the 1964 classic A Fistful of Dollars, starring Clint Eastwood as a taciturn, sun-burnt, cigar-chomping gunman.If you're an oboist, you've probably played Morricone's haunting Gabriel's Oboe at weddings or funerals. It's a melody originally heard in his soundtrack to the1986 film The Mission.But in a 2006 interview for Dazed magazine, Morricone revealed some things even his fans might not have known: He collected bars of hotel soap as a hobby. And if he hadn't become a composer, he would have liked to have been a professional chess player.He also offered a bit of wise advice when asked about scores that were not successes: “A long time ago, I really loved a film that I was working on and I became too involved. That was kind of unbalanced. It made me realize that you can't love things too much if you want them to work.”Music Played in Today's ProgramEnnio Morricone (1928 - 2020) Gabriel's Oboe, fr “The Mission”; Orchestra dell'Accademia Nazionale di Santa Cecilia; Ennio Morricone, cond. Sony 57872

In this month's episode, Charlie and George head to Antarctica to discuss the horror classic, John Carpenter's The Thing.    This film has been on the Retro Ramble hitlist since the podcast started, and it's one of the few horror films the brothers are happy to revisit! During the episode, they delve into the film's origins, its haunting Morricone score, Rob Bottin's ground-breaking practical effects, and several Suspicious Spin-Offs!   Listeners can expect a healthy dose of paranoia, bad impressions, and lots of fawning over the film's star, Kurt Russell.    If you're in the mood for more John Carpenter spookiness, make sure to check out their thoughts on Halloween (1978) and They Live! (1988) over on their Patreon channel at https://www.patreon.com/retroramble.

"You see, in this world there's two kinds of people, my friend: those with loaded guns, and those who dig." Maaaan have we got one for you all this week. Our first venture into soundtrack territory, and you know we were gonna swing for the fences. How about some Morricone mixed with some Clint Eastwood to make everyone feel like a badass?Hilary and Cody talk about the depth of collaboration between Sergio Leone and Morricone, the way the music brilliantly functions as its own character, and the innovations that went into making a score that continues to inspire awe to this day.Special thanks to the Academy Museum for having us attend a screening of this fantastic film! Go check them out, they absolutely rule.Instagram: @academymuseumX: @AcademyMuseumThanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Artist: Andrey Morricone (Saint Petersburg, Russia) Name: In Dance #02 (September 2023) Genre: Electronic Release Date: 02.09.2023 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Our annual salute to great film composers flies around the world in the '60s and '70s: Mancini, Rota, Morricone, John Addison, and John Williams abetted by Streisand, Céline Dion, Shirley Bassey, Julie Andrews and more.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Artist: Andrey Morricone (Saint Petersburg, Russia) Name: In Dance #01 (July 2023) Genre: Electronic Release Date: 15.07.2023 Exclusive: Deep House Moscow Andrey Morricone: @andreybabkovsky Instagram: www.instagram.com/andrey_morricone Vk: vk.com/morricone CONTACT (DHM): Email — deephousemoscow@hotmail.com Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/