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4 episodes with volker bertelmann
3 episodes with volker bertelmann
3 episodes with volker bertelmann
2 episodes with volker bertelmann
2 episodes with volker bertelmann
2 episodes with volker bertelmann
2 episodes with volker bertelmann
2 episodes with volker bertelmann
2 episodes with volker bertelmann
Hi, everybody. We still don't have Rodney back on the show but we do have more recording woes, Free Comic Book Day shenanigans, vacation planning, G20 (the movie), Conclave (the movie), and a whole lot more (the movie). "Seal The Room" is from the Conclave soundtrack album by Volker Bertelmann. Thank you for listening. Connect with Meanwhile At The Podcast on social media. Don't forget to #livetweet (we're still calling it that)! Share the show, subscribe so you don't miss an episode, and rate us on your podcast apps. Those much coveted five stars are always appreciated. Stay safe out there. NOW ON BLUESKY @MeanwhileATP https://x.com/meanwhileatp https://www.meanwhileatthepodcast.libsyn.com Rodney (AKA Art Nerrd): https://x.com/artnerrd https://www.instagram.com/theartnerrd/ https://facebook.com/artnerrd https://shop.spreadshirt.com/artnerrd Kristin: https://www.facebook.com/kristing616 https://www.instagram.com/kristing616 Rich: https://x.com/doctorstaypuft
"Cónclave" (2024), música de Volker Bertelmann.
SMFM2016500期节目的时候，有听友许愿想听五个人聚齐聊奥斯卡，你看，这不就来了么（央视主持范儿）。这期我们聊了聊10部提名奥斯卡最佳影片的作品，也顺便给大家推荐了几部，我们认为更值得的作品。我们吵了个痛快，也希望大家听个开心~04:05 今年的奥斯卡提名综述10:30 《艾米莉亚·佩雷斯》36:24 《魔法坏女巫》42:33 《粗野派》1:29:18 《无名小辈》1:37:23 《秘密会议》1:56:55 《阿诺拉》2:36:57 《沙丘2》2:39:52 《某种物质》2:45:39 《我仍在此 》2:49:33 《五分钱男孩》2:54:25 虽然没入围最佳影片，但是我们更推荐它们3:03:08 大家的一些预测「什么电苔」出了全新付费专辑《有什么好笑的？》，大家可以直接选择点击如下链接购买完整专辑，收听所有后续更新，https://www.xiaoyuzhoufm.com/podcast-topic/673ac195f373fe5d4d1f7d2f开头bgm：Dreaming by Blondie《阿诺拉》插曲结尾bgm：El Mal by Zoe Saldana/Karla Sofia Gascon/Camille 《艾米莉亚·佩雷斯》想做嘉宾，联系我们：whatfmmovie@163.com孔老师微博@做着学生的孔老师王老师微博@浩浩很含蓄什么电台官方微博@什么电苔某老师B站：什么电苔孔老师 本期阵容：什么电苔 全体主播第97届奥斯卡完整入围名单最佳男主角● 阿德里安·布洛迪 – 《粗野派》● 提莫西·夏勒梅 – 《无名小辈》● 科尔曼·多明戈 – 《监狱剧院》● 拉尔夫·费因斯 – 《秘密会议》● 塞巴斯蒂安·斯坦 – 《飞黄腾达》最佳男配角● 尤里·鲍里索夫 – 《阿诺拉》● 基兰·库利金 – 《真正的痛苦》● 爱德华·诺顿 – 《无名小辈》● 盖伊·皮尔斯 – 《粗野派》● 杰里米·斯特朗 – 《飞黄腾达》最佳女主角● 辛西娅·艾莉沃 – 《魔法坏女巫》● 卡拉·索菲亚·加斯孔 – 《埃米莉亚·佩雷斯》● 米基·麦迪逊 – 《阿诺拉》● 黛米·摩尔 – 《某种物质》● 费尔南达·托雷斯 – 《我仍在此》最佳女配角● 莫妮卡·巴巴罗 – 《无名小辈》● 阿丽安娜·格兰德 – 《魔法坏女巫》● 费莉西蒂·琼斯 – 《粗野派》● 伊莎贝拉·罗西里尼 – 《秘密会议》● 佐伊·索尔达娜 – 《埃米莉亚·佩雷斯》最佳动画长片 ● 《猫的奇幻漂流》 – Gints Zilbalodis, Matīss Kaža, Ron Dyens 和 Gregory Zalcman● 《头脑特工队2》 – Kelsey Mann 和 Mark Nielsen● 《蜗牛的回忆》 – Adam Elliot 和 Liz Kearney●《超级无敌掌门狗：企鹅的复仇》 – Nick Park, Merlin Crossingham 和 Richard Beek● 《荒野机器人》 – Chris Sanders 和 Jeff Hermann最佳动画短片● 《毛发再生的男人》 – Nicolas Keppens 和 Brecht Van Elslande● 《柏树树荫下》 – Shirin Sohani 和 Hossein Molayemi● 《魔糖》 – Daisuke Nishio 和 Takashi Washio● 《漫步至仙境》 – Nina Gantz 和 Stienette Bosklopper● 《噫！》 – Loïc Espuche 和 Juliette Marquet最佳摄影● 《粗野派》 – Lol Crawley● 《沙丘2》 – Greig Fraser● 《埃米莉亚·佩雷斯》 – Paul Guilhaume● 《玛丽亚·》 – Ed Lachman● 《诺斯费拉图》 – Jarin Blaschke最佳服装设计● 《无名小辈》 – Arianne Phillips● 《秘密会议》 – Lisy Christl● 《角斗士2》 – Janty Yates 和 Dave Crossman● 《诺斯费拉图》 – Linda Muir● 《魔法坏女巫》 – Paul Tazewell最佳导演● 《阿诺拉》 – Sean Baker● 《粗野派》 – Brady Corbet● 《无名小辈》 – James Mangold● 《埃米莉亚·佩雷斯》 – Jacques Audiard● 《某种物质》 – Coralie Fargeat最佳纪录片长片● 《黑箱日记》 – Shiori Ito, Eric Nyari 和 Hanna Aqvilin● 《唯一的家园》 – Basel Adra, Rachel Szor, Hamdan Ballal 和 Yuval Abraham● 《瓷器战争》 – Brendan Bellomo, Slava Leontyev, Aniela Sidorska 和 Paula DuPre’ Pesmen● 《政变的配乐》 – Johan Grimonprez, Daan Milius 和 Rémi Grellety● 《甘蔗》 – Julian Brave NoiseCat, Emily Kassie 和 Kellen Quinn最佳纪录片短片● 《死亡数字》 – Kim A. Snyder 和 Janique L. Robillard● 《我准备好了，典狱长》 – Smriti Mundhra 和 Maya Gnyp● 《事件》 – Bill Morrison 和 Jamie Kalven● 《心跳的仪器》 – Ema Ryan Yamazaki 和 Eric Nyari● 《 爱乐唯她：纽约爱乐首位女团员》 – Molly O'Brien 和 Lisa Remington最佳剪辑● 《阿诺拉》 – Sean Baker● 《粗野派》 – David Jancso● 《秘密会议》 – Nick Emerson● 《埃米莉亚·佩雷斯》 – Juliette Welfling● 《魔法坏女巫》 – Myron Kerstein最佳国际影片● 巴西 – 《我仍在此》● 丹麦 – 《拿针的女孩》● 法国 – 《埃米莉亚·佩雷斯》● 德国 – 《神圣无花果之种》● 拉脱维亚 – 《猫的奇幻漂流》最佳化妆与发型设计● 《不同的男人》 – Mike Marino, David Presto 和 Crystal Jurado● 《埃米莉亚·佩雷斯》 – Julia Floch Carbonel, Emmanuel Janvier 和 Jean-Christophe Spadaccini● 《诺斯费拉图》 – David White, Traci Loader 和 Suzanne Stokes-Munton● 《某种物质》 – Pierre-Olivier Persin, Stéphanie Guillon 和 Marilyne Scarselli● 《魔法坏女巫》 – Frances Hannon, Laura Blount 和 Sarah Nuth最佳原创音乐● 《粗野派》 – Daniel Blumberg● 《秘密会议》 – Volker Bertelmann● 《埃米莉亚·佩雷斯》 – Clément Ducol 和 Camille● 《魔法坏女巫》 – John Powell 和 Stephen Schwartz● 《荒野机器人》 – Kris Bowers最佳原创歌曲● 《El Mal》 – 选自《埃米莉亚·佩雷斯》；音乐：Clément Ducol 和 Camille；歌词：Clément Ducol, Camille 和 Jacques Audiard● 《The Journey》 – 选自《六三八》；音乐和歌词：Diane Warren● 《Like A Bird》 – 选自《监狱剧院》；音乐和歌词：Abraham Alexander 和 Adrian Quesada● 《Mi Camino》 – 选自《埃米莉亚·佩雷斯》；音乐和歌词：Camille 和 Clément Ducol● 《Never Too Late》 – 选自《埃尔顿·约翰：永不嫌晚》；音乐和歌词：埃尔顿·约翰, Brandi Carlile, Andrew Watt 和 Bernie Taupin最佳影片● 《阿诺拉》 – Alex Coco, Samantha Quan 和 Sean Baker, 制片人● 《粗野派》 – 提名待定● 《无名小辈》 – Fred Berger, James Mangold 和 Alex Heineman, 制片人● 《秘密会议》 – Tessa Ross, Juliette Howell 和 Michael A. Jackman, 制片人● 《沙丘2》 – Mary Parent, Cale Boyter, Tanya Lapointe 和 Denis Villeneuve, 制片人● 《埃米莉亚·佩雷斯》 – 提名待定● 《我仍在此》 – 提名待定● 《五分钱男孩》 – 提名待定● 《某种物质》 – 提名待定● 《魔法坏女巫》 – Marc Platt, 制片人最佳美术指导● 《粗野派》 – 美术指导：Judy Becker；布景装饰：Patricia Cuccia● 《秘密会议》 – 美术指导：Suzie Davies；布景装饰：Cynthia Sleiter● 《沙丘2》 – 美术指导：Patrice Vermette；布景装饰：Shane Vieau● 《诺斯费拉图》 – 美术指导：Craig L；布景装饰： Beatrice Brentnerová● 《魔法坏女巫》- 美术指导：Nathan Crowley; 布景装饰: Lee Sandales最佳真人短片●一个外星人 – Sam Cutler-Kreutz 和 David Cutler-Kreutz●阿努贾 – Adam J. Graves 和 Suchitra Mattai●我不是机器人 – Victoria Warmerdam 和 Trent● 最后的游骑兵 – Cindy Lee 和 Darwin Shaw● 无法沉默的人 – Nebojša Slijepčević 和 Danijel Pek最佳音效● 无名小辈 – Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey 和 David Giammarco● 沙丘2 – Gareth John, Richard King, Ron Bartlett 和 Doug Hemphill● 埃米利亚·佩雷斯 – Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz 和 Niels Barletta● 魔法坏女巫 – Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson 和 John Marquis● 野生机器人 – Randy Thom, Brian Chumney, Gary A. Rizzo 和 Leff Lefferts最佳视觉效果● 异形：罗慕路斯 – Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin 和 Shane Mahan● 更好的人 – Luke Millar, David Clayton, Keith Herft 和 Peter Stubbs● 沙丘2 – Paul Lambert, Stephen James, Rhys Salcombe 和 Gerd Nefzer● 猩球王国 – Erik Winquist, Stephen Unterfranz, Paul Story 和 Rodney Burke● 魔法坏女巫 – Pablo Helman, Jonathan Fawkner, David Shirk 和 Paul Corbould最佳改编剧本（Writing – Adapted Screenplay）● 无名小辈 – 编剧：James Mangold 和 Jay Cocks● 秘密会议 – 编剧：Peter Straughan● 埃米利亚·佩雷斯 – 编剧：Jacques Audiard；与 Thomas Bidegain, Léa Mysius 和 Nicolas Livecchi 合作● 五分钱男孩 – 编剧：RaMell Ross & Joslyn Barnes● 监狱剧院 – 编剧：Clint Bentley, Greg Kwedar；故事：Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield最佳原创剧本● 阿诺拉 – 编剧：Sean Baker● 粗野派 – 编剧：Brady Corbet, Mona Fastvold● 真正的痛苦 – 编剧：Jesse Eisenberg● 九月五日 – 编剧：Moritz Binder, Tim Fehlbaum；联合编剧：Alex David● 某种物质 – 编剧：Coralie Fargeat
On this episode, I spoke to composer Volker Bertelmann about his work on Conclave. Bertelmann was nominated this year at the 2025 Academy Awards. CONCLAVE follows one of the world's most secretive and ancient events – selecting the new Pope. Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church's most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope's wake, secrets which could shake the foundations of the Church.CONCLAVE is based on bestselling author Robert Harris' 2016 thriller of the same name. Optioned for the screen by House Productions, it is scripted by Peter Straughan, the Oscar® - nominated writer of Tinker Tailor Soldier Spy, and directed by Oscar®-winning filmmaker Edward Berger (All Quiet on the Western Front).
The BAFTAs air on February 16 and the Oscars on March 2. I'd never consider myself a big awards season guy, but I love that it's the one time of year where film music is widely celebrated and has a little spotlight, if only briefly. As such, here's a little peek into the six nominated scores between the two awards. I've also done interviews on two of the six nominated scores (The Wild Robot and The Brutalist) and also interviewed Volker Bertelmann a little while back about his BAFTA and Oscar winning score for All Quiet on the Western Front, so seek those out as well BAFTAs: Nosferatu – Robin Carolan Emilia Perez– Camille and Clément Ducol Conclave – Volker Bertelmann The Wild Robot – Kris Bowers The Brutalist – Daniel Blumberg Oscars: Wicked – John Powell and Stephen Schwartz Emilia Perez– Camille and Clément Ducol Conclave – Volker Bertelmann The Wild Robot – Kris Bowers The Brutalist – Daniel Blumberg
Academy Award®-winning composer Volker Bertelmann joins guest host Jon Burlingame to discuss his tense and atmospheric score for “Conclave,” directed by Edward Berger. Nominated for his third Oscar, Bertelmann — who won in 2023 for Berger's “All Quiet on the Western Front” — shares how he crafted the film's unique musical palette, eschewing the sounds of traditional church music in favor of experimental instruments like the Cristal Baschet. He also discusses his approach to scoring thrillers as well as his deep collaboration with Berger.“[Edward Berger's] feeling is that music is a third dimension, in a way. That it's something that adds a layer to the film… You can create links to scenes, but you can also use music detached from what you see… You can use it in areas where it's already starting to give someone a feeling, that you don't see in the scene, but somehow… undercurrent-ly… starts to rise… What I think Edward works a lot with is building tension up, but then cutting the music pretty hard, into silence. And then you're left in the silence. But the moment where it's cut is very important… It is intentionally being cut at a certain moment, and then there is maybe a natural sound where you suddenly feel much closer to the person than you felt before, because you are alone with a person in silence.”—Volker Bertelmann, Composer, “Conclave”Be sure to check out “Conclave,” now in theaters and available to stream in Dolby Vision® and Dolby Atmos®.Volker Bertelmann's soundtrack to “Conclave” is also available to stream on Apple Music in Dolby Atmos.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
Min 5: “BETTER MAN”: el primer sorpresón de 2025 Ni “Heretic”, ni “Queer”, ni “Vivie el momento”, el título sorpresa que ha dejado locos a nuestros críticos en el arranque del año ha sido “Better Man”. Esta suerte de biopic de Robbie Williams dirigido por Michael Gracey convierte a la estrella pop británica en un chimpancé sin límites. Albertop Luchini y Raquel Hernández nos desvelan qué tiene de especial "Better Man" para cruzar la líunea del biopic musical y convertirse en el mejor estreno del inicio de 2025. CALIFICACIÓN EDC: 4 ESTRELLAS Min 10: LA PELI DE LAS NAVIDADES ¿"Mufasa"? ¿"Sonic 3"? ¿"Vaiana 2"? "¿"Cónclave"? ¿"Nosferatu"? ¿"Heretic"? El equipo del Filtro Luchini mete en la coctelera los resultados en taquilla y la calidad cinematográfica para elegir cuál ha sido la película de las Navidades 24/25. ¿Coincidirá con tu favorita? Min 13: A REAL PAIN: El Globo de Oro de Kieran Culkin El debú en la dirección de Jesse Eisenberg (La red social, Café Society) le ha supuesto al efervescente Kieran Culkin (Succession) el Globo de OPro al mejor actor de reparto. Una película sencilla pero emotiva que sigue la historia de dos primos que viajan a Polonia para revivir la historia de su abuela fallecida y el recuerdo del holocausto nazi. CALIFICACIÓN EDC: 3'5 estrellas Min 19: CIUDAD DE ASFALTO: Sean Penn en modo salvavidas Un joven paramédico llamado Ollie Cross (Tye Sheridan) decide asociarse en su primer año de trabajo con un médico con experiencia llamado Rutkovsky (Sean Peann) El mayor de ambos mostrará al joven aprendiz lo que ocurre en las calles de Nueva York y la dureza de la realidad será tal que tendrá que aprender a soportarla. Una apuesta demasiado cruda de Jean-Stéphane Sauvaire que ha dejado fría a Raquel Hernández pese al eficaz papel de Penn. CALIFICACIÓN EDC: 3 estrellas Min 24: LAS VIDAS DE SING SING: El Teatro como terapia real Divine G, (Colman Domingo) un hombre injustamente condenado por un crimen que no cometió, se encuentra recluido en el temido centro penitenciario de máxima seguridad de Sing Sing, donde la esperanza parece haberse desvanecido para la mayoría de los prisioneros. Sin embargo, en medio de la desesperanza y la rutina diaria de su encarcelamiento, Divine G descubre una fuente de redención y un propósito en un lugar inesperado: un taller de teatro. La película dirigida por Greg Kwedar está basada en hechos reales, cuenta con umno de los auténtricos protagonistas de la historia y se convierte en una de nuestras recomendaciones de la semana. CALIFICACIÓN EDC: 3'5 estrellas Min 28: EL OTRO CINE ESPAÑOL Dos películas pequeñas e intimistas cargadas de feminidad se cuelan en el cajón de cine club de la nueva cartelera. Aitor Echevarría dirige a Emma Suárez y a Natalia de Molina en "Desmontando un elefante" (2,5 estrellas) y Marta Nieto debuta en la dirección con "La Mitad de Ana" (2,5 estrellas) Min 34. CERTEZAS Y SORPRESAS EN LOS GLOBOS DE ORO "Emilia Pérez", el narcomusical franco latino que se ha convertido en una de las pelis favoritas de Alberto Luchini dio la sorpresa en unos Globos de Oro que aninam a pensar en una imprevisible Gala de los Oscar. Encantados con el premio a Demi Moore por "La sustancia". Min 40: ESPECIAL BSO CÓNCLAVE o el equilibrio perfecto entre cine y música Lo que han hecho Edward Berger desde la dirección y Volker Bertelmann desde la composición en 'Cónclave' es un ejemplo enciclopédico de cómo se debe sacar partido a una excelenbte banda sonora en una gran película. Ángel Luque se propone hacernos disfrutar de temas que habría aplaudido el gran maestro de la cuerda y el suspense, el mismísimo Bernard Hermmann.
Oscar-winning composer Volker Bertelmann (CONCLAVE, ALL QUIET ON THE WESTERN FRONT) explains his unique approach to creating analog textures, themes, and layered complexity. How a church piano led him to a breakout hip hop album in Germany, and then into his own musical experimentation with “prepared piano” — including albums and live performances with ping pong balls in pianos. How his prepared piano techniques create sounds many believe are synths, but are actually recorded sounds carefully crafted. How his collaboration with director Edward Berger has led to a new exploration of sound. And why you should always prepare (even for an Oscars speech!) but be ready to go with the flow of the moment as a musician. Special thanks to Nate Gold and Soundbite Studios in Los Angeles. Interview by Kenny Holmes and Matt Schrader. For exclusive and 4K footage inside studios of your favorite composers, follow Score on YouTube Instagram, TikTok, Facebook and X. Check out Vienna Symphonic Library's collection of innovating libraries and samples at http://vsl.co.at — including their flagship Synchron Series, recorded at Vienna Synchron Stage, where hit films and shows for HBO, Disney, Star Wars, Marvel, Bear McCreary's score to Rings of Power on Amazon Prime Video, and many more are recorded. Check out the free sample player, freebie libraries and demos at http://vsl.co.at To learn more about recording at Vienna Synchron Stage, visit http://synchronstage.com Score: The Podcast is a presentation of Epicleff Media and is produced by Holmes Productions.
¡Qué buena época para ir al cine! Eso se nota en los contenidos del programa de hoy acordes a la temporada alta que estamos viviendo en las salas e inmersos también en la temporada de premios. “Cuando cae el otoño” es lo nuevo del director François Ozon, un valor seguro en la cartelera que consiguió dos premios en el Festival de San Sebastián 2024. Eso nos hace repasar su ya prolífica y sugerente trayectoria a través de sus cinco secuencias de la mano de Mary Carmen Rodríguez (también editora del podcast). “Cónclave” pisa fuerte en la carrera al Oscar 2025 y a ello contribuye también el apartado musical de la película de Edward Berger que vuelve a contar con el compositor Volker Bertelmann y que le hace ser protagonista en La Música Clásica De Nuestro Tiempo de Iker González Urresti. Andrea Arnold ha estrenado su nueva película, “Bird”, y eso nos lleva a repasar la trayectoria de una directora británica siempre preocupada por la realidad obrera pero sin olvidar cierta patina de esperanza. Además las recomendaciones de Colgados de la plataforma y la crítica de las favoritas “Emilia Pérez”, “Bird” y “Un viaje en primavera”. ¡Muchas gracias por escucharnos!
Awards season has arrived in the form of the Golden Globes nominations. The awards, which honor both movies and television programs, is often viewed as a preview of the upcoming Oscars. In this week's episode, co-hosts Bruce Miller and Terry Lipshetz go over the list, focusing largely on the movies, which tend to shine brightest at the ceremony. But they also take time to review a few of the TV shows, including the great, but rarely funny "The Bear," which is again in the comedy or musical category. We also have an interview with "Nickel Boys" director RaMell Ross, who spoke with Miller prior to the film receiving a nomination for best drama. Miller also talked with Aunjanue Ellis-Taylor, who starred in the film. Movies Best motion picture, comedy or musical “Wicked”; “Anora”; “Emilia Perez”; “Challengers”; “A Real Pain”; “The Substance” Best motion picture, drama “The Brutalist”; “A Complete Unknown,”; “Conclave”; “Dune: Part Two”; “Nickel Boys;” “September 5” Best performance by a male actor in a motion picture, musical or comedy Jesse Eisenberg, “A Real Pain”; Hugh Grant, “Heretic”; Gabriel LaBelle, “Saturday Night; Jesse Plemons, “Kinds of Kindness”’ Glen Powell, “Hitman”; Sebastian Stan, “A Different Man” Best performance by a female actor in a motion picture, musical or comedy Amy Adams, “Nightbitch”; Cynthia Erivo, “Wicked”; Karla Sofia Gascón, “Emilia Pérez”; Mikey Madison “Anora”; Demi Moore, “The Substance”; Zendaya, “Challengers” Best performance by a female male actor in a motion picture, drama Pamela Anderson, “The Last Showgirl″; Angelina Jolie, ”Maria”; Nicole Kidman, “Babygirl”; Tilda Swinton, “The Room Next Door”; Fernanda Torres, “I’m Still Here”; Kate Winslet, “Lee” Best performance by a male actor in a motion picture, drama Adrien Brody, “The Brutalist”; Timothée Chalamet, “A Complete Unknown’; Colman Domingo, “Sing Sing”; Ralph Fiennes, “Conclave”; Sebastian Stan, “The Apprentice’’ Cinematic and box office achievement “Alien: Romulus”; Beetlejuice Beetlejuice”; Deadpool & Wolverine”; “Gladiator II”; “Inside Out 2”; “Twisters”; “Wicked”; “The Wild Robot” Best motion picture, non-English “All We Imagine As Light″; ”Emilia Pérez”; “The Girl With the Needle”; “I’m Still Here”; “The Seed of the Sacred Fig”; “Vermiglio” Best animated film “Flow”; “Inside Out 2”; “Memoir of a Snail”; “Moana 2”; “Wallace and Gromit: Vengeance Most Fowl”; “The Wild Robot” Best performance by a female actor in a supporting role in any motion picture Selena Gomez, ”Emilia Pérez”; Ariana Grande, “Wicked”; Felicity Jones, “The Brutalist”; Margaret Qualley, “The Substance”; Isabella Rossellini, “Conclave”; Zoe Saldaña, ”Emilia Pérez” Best performance by a male actor in a supporting role in any motion picture Yura Borisov, “Anora”; Kieran Culkin, “A Real Pain”; Edward Norton, “A Complete Unknown”; Guy Pearce, “The Brutalist”; Jeremy Strong, ”The Apprentice”; Denzel Washington, “Gladiator II” Best director Jacques Audiard, “Emilia Pérez”; Sean Baker, ”Anora”; Edward Berger, “Conclave”; Brady Corbet, “The Brutalist”; Coralie Fargeat, “The Substance”; Payal Kapadia, “All We Imagine As Light” Best screenplay Jacques Audiard, “Emilia Pérez”; Sean Baker, ”Anora”; Brady Corbet, Mona Fastvold, “The Brutalist”; Jesse Eisenberg, “A Real Pain”; Coralie Fargeat, “The Substance”; Peter Straughan, “Conclave” Best original score Volker Bertelmann, “Conclave”; Daniel Blumberg, “The Brutalist”; Kris Bowers, “The Wild Robot”; Clement Ducol, Camille “Emilia Pérez”; Trent Reznor, Atticus Ross, “Challengers”; Hans Zimmer, “Dune: Part Two” Best original song “Beautiful That Way” from “The Last Showgirl” (music/lyrics by Andrew Wyatt, Miley Cyrus, Lykke Zachrisson); “Compress/Repress” from “Challengers’ (music/lyrics by Trent Reznor, Atticus Ross, Luca Guadagnino; “El Mal” from EL MAL” from “Emilia Pérez” (music/lyrics by Clément Ducol, Camille, Jacques Audiard; “Forbidden Road” from ”Better Man″ (music/lyrics by Robbie Williams, Freddy Wexler, Sacha Skarbek); “Kiss the Sky” from “The Wild Robot″ (music/lyrics by Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi); ”Mi Camino″ from “Emilia Pérez” (music/lyrics by Clément Ducol, Camille) Television Best television drama “Shogun”; “The Diplomat”; “Slow Horses”; “Mr. and Mrs. Smith”; “The Day of the Jackal”; “Squid Game” Best television series, comedy or musical “Abbott Elementary”; “The Bear; “Hacks”; “Nobody Wants This”; “Only Murders in the Building”; “The Gentlemen” Best performance by a male actor in a television series, drama Donald Glover, “Mr. and Mrs. Smith”; Jake Gyllenhaal, “Presumed Innocent”; Gary Oldman, “Slow Horses”; Eddie Redmayne, “The Day of the Jackal”; Hiroyuki Sanada, “Shogun”; Billy Bob Thornton, “Landman” Best performance by a female actor in a television series-drama Kathy Bates, “Matlock”; Emma D’Arcy, “House of the Dragon”; Maya Erskine, “Mr. & Mrs. Smith”; Keira Knightley, “Black Doves”; Keri Russell, “The Diplomat”; Anna Sawai, “Shogun” Best performance by a female actor in a television series-musical or comedy Kristen Bell, “Nobody Wants This”; Quinta Brunson, “Abbott Elementary”; Ayo Edebiri, “The Bear”; Selena Gomez, “Only Murders in the Building”; Kathryn Hahn, “Agatha All Along”; Jean Smart, “Hacks” Best performance by a male actor in a television series-musical or comedy Adam Brody, “Nobody Wants This”; Ted Danson, “A Man on the Inside”; Steve Martin, “Only Murders in the Building”; Jason Segel, “Shrinking”; Martin Short, “Only Murders in the Building”; Jeremy All White, “The Bear” Best television limited series, anthology series or motion picture made for television “Baby Reindeer”; Disclaimer"; “Monsters: The Lyle and Erik Menendez Story”; “The Penguin”; “Ripley”; “True Detective: Night Country” Best performance by a female actor in a limited series, anthology series or a motion picture made for television Cate Blanchett, “Disclaimer''; Jodie Foster, ”True Detective: Night Country"; Cristin Milioti, “The Penguin''; Sofia Vergara, ”Griselda"; Naomi Watts, “Feud: Capote vs. The Swans”; Kate Winslet, “The Regime” Best performance by a male actor in a limited series, anthology series or a motion picture made for television Colin Farrell, “The Penguin”; Richard Gadd, “Baby Reindeer”; Kevin Kline, “Disclaimer”; Cooper Koch, “Monsters: The Lyle and Erik Menendez Story”; Ewan McGregor, “A Gentleman in Moscow”; Andrew Scott, “Ripley” Best performance by a female actor in a supporting role on television Liza Colón-Zayas, “The Bear”; Hannah Einbinder, “Hacks”; Dakota Fanning, “Ripley”; Jessica Gunning, “Baby Reindeer”; Allison Janney, “The Diplomat”; Kali Reis, “True Detective: Night Country” Best performance by a male actor in a supporting role on television Tadanobu Asano, “Shogun''; Javier Bardem, “Monsters: The Lyle and Erik Menendez Story”; Harrison Ford, “Shrinking”; Jack Lowden “Slow Horses”; Diego Luna, “La Maquina”; Ebon Moss-Bachrach, “The Bear” Best performance in stand-up comedy on television Jamie Foxx, “Jamie Foxx: What Had Happened Was”; Nikki Glaser, “Nikki Glaser: Someday You'll Die”; Seth Meyers, “Seth Meyers: Dad Man Walking”; Adam Sandler, "Adam Sandler: Love You"; Ali Wong, “Ali Wong: Single Lady”; Ramy Youssef, “Ramy Youssef: More Feelings”
Our latest episode of Soundtracking sees a return to the podcast for director Edward Berger and composer Volker Bertelmann to discuss their new film, Conclave. Stariing Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, and Isabella Rossellini, the story sees a Cardinal organize a papal to elect the next pop and finds himself investigating secrets and scandals about each candidate. As we'll hear, Edward and Volker struggled more with this score than the Oscar winning one for their previous collaboration, All Quiet On The Western Front. But they got there in the end
Episode 44 - Review: Conclave (2024)The adaptation of Robert Harris's 2016 novel comes vibrantly to life in the 2024 mystery thriller film, Conclave. This movie is one of a kind and easily among 2024's best releases so far. Joining me on this episode is my cousin, Bahareh Amidi Shargi, who kindly recommended this movie to me.The film boasts a stellar cast led by the commanding Ralph Fiennes as Cardinal Lawrence. As if that weren't enough, the roster of talent also includes John Lithgow as Cardinal Tremblay, Stanley Tucci as Cardinal Bellini, Isabella Rossellini as Sister Agnes, Sergio Castellitto as Cardinal Tedesco, Lucian Msamati as Cardinal Adayemi, and Carlos Diehz as Cardinal Benitez. Each character harbors secrets that gradually unravel in this gripping story.Directed by the brilliant Edward Berger—best known for the Oscar-winning All Quiet on the Western Front (2022)—Conclave reunites him with composer Volker Bertelmann. Together, Berger's thrilling direction and Bertelmann's dramatic score keep you on the edge of your seat until the film's riveting conclusion.While the movie begins as a slow burn, your patience will be rewarded as the narrative unfolds. It's a story that is sure to spark discussions and elicit strong reactions. Bahareh highlights the film's powerful theme of transparency, which adds depth to the shocking surprises awaiting viewers. The movie makes bold choices that you won't see coming.Conclave is now playing in theaters. It's also available to rent on-demand (No! Go to the Cinema! please). Thank you again for the wonderful recommendation, Bahareh. I hope you all check this one out.Thanks for listening! This marks our final episode of 2024. Sound Speed Action will return in January. See you at the movies! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit sohrabsmovieq.substack.com
Volker Bertelmann kennt man als experimentellen Pianisten unter dem Namen Hauschka und unter seinem echten Namen als Komponist von Filmmusik. Und das höchst erfolgreich. Für den Film „Lion“ bekam er eine Oscar-Nominierung. Für seine Musik zu „Im Westen nichts Neues“ hat er ihn dann gewonnen. Er erzählt, wie er die Instrumente findet, die seine Soundtracks prägen, zum Beispiel ein uraltes Harmonium, das er hat restaurieren lassen und ein seltenes Instrument mit Glasstäben, für das man Wasser braucht. Wir erfahren, wie es sich anfühlt, monatelang an Ideen zu arbeiten, die der Regisseur am Ende vielleicht nicht gut findet. Und dann gibt es Geschichten von dem jungen Musiker aus dem Siegerland, seine streng christliche Familie und deren Abneigung gegen Rockmusik und den Beruf als Künstler. Volker Bertelmann hat als 16-Jähriger davon geträumt, es nach New York zu schaffen. 40 Jahre später hat es geklappt. Aus dieser Zeit schildert er einige besondere Erlebnisse. Hier geht's zu unserem Podcast-Tipp „Alles anders - was mein Leben verändert hat“: https://www.ardaudiothek.de/sendung/alles-anders-was-mein-leben-veraendert-hat/13795963/
"Conclave" had its world premiere at the 2024 Telluride Film Festival, where it received positive reviews for its writing, direction, performances, score, editing, and cinematography. Academy Award-nominated Director Edward Berger, screenwriter Peter Straughan, editor Nick Emerson, and Academy Award-winning composer Volker Bertelmann were all kind enough to spend some time with us talking about their Vatican-set political thriller based on Robert Harris's novel. Please be sure to check out the film, which is now playing in theaters from Focus Features and is up for your consideration at this year's Academy Awards in all eligible categories. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices
EPISODE 118: Volker Bertelmann aka Hauschka is an international acclaimed pianist, composer and experimental musician. In 2023 he was honored with an Academy Award and a BAFTA in the Best Score category for his work on All Quiet on the Western Front (directed by Edward Berger). His score to Garth Davis' Oscar-nominated film Lion, which he composed in collaboration with Dustin O'Halloran, was nominated for multiple awards: Oscar for Best Original Score, Golden Globe for Best Original Score, Best Score at the Critics' Choice Awards, and for Best Film Music at the BAFTAs. Bertelmann has provided music for several leading films and television series. He composed the score for Patrick Melrose, The Old Guard, Stowaway, the episode “Red Book” from Black Mirror, and Life After Life for BBC. He also composed film scores for Adrift, the 2018 romantic drama directed by Baltasa Kormákur, and, again in collaboration with O'Halloran, for Ammonite, which was short-listed for The Academy Awards in 2020. In 2022, he scored War Sailor, which was an official selection at the Toronto International Film Festival. Volker Bertelmann has just worked with Oscar-winning director Edward Berger again on the film Conclave, which was presented at the Toronto Film Festival in 2024. Bertelmann, who in his solo work goes by the name Hauschka, is a uniquely innovative pianist; he is renowned both for his trademark sound, which he achieves by preparing the piano with various small objects, and his ability to improvise entire performances. His output is prodigious: he tours extensively, and has produced over twenty albums and EPs, both solo and in collaboration with others. He has worked, among many others, with the MDR Leipzig Radio Symphony Orchestra, where he was the artist in residence, with Múm, the Icelandic experimental musical group, and with the Grammy-winning violinist Hilary Hahn. hauschka-net.deContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!
I was lucky enough to be introduced to Hauschka a.k.a. Volker Bertelmann thanks to my friend Dana Wachs who was a pod guest on EP71. He's had quite the wonderful and interesting adventure in music. It's quite rare that you find someone who plays prepared Piano so deftly and was also once known as a rapper. Clearly, this was not going to be your average chat. If we place ourselves in the present (which I'm told is always a good place to be !) Our ears might find the dancing frequencies from his newest album philanthropy which was released in the 2023. It's a tremendous listen. Dare I say a real headphone listen as there are wonderful, textual details to catch in amongst the kind of more zoomed out satisfaction of the rather accomplished arrangements. Perhaps this ability to both evoke emotion, and to coax huge tonal intrigue placed him in good stead as a composer for film He is most certainly made his mark in that area with a wide ranging set of scores and notably an Academy award for his work on all quiet on the Western front in 2022. Badass! He's collaborated with another podcast guest Dustin O'Halloran (EP 92) on several works, including their highly acclaimed score for the film Lion. In fact, looking at the credits for his releases over the years it's quite mind-boggling. Often he will deliver multiple film soundtracks a year alongside his own solo albums. He's like Prince! Happy listening :)
This episode we're joined by Volker Bertelmann (aka Hauschka) - Oscar-winning composer and boldly experimental. With 'All Quiet on the Western Front' under his belt, and two new projects ('Enclave' and 'The Crow') coming later this year, let's dive into the mind of one of the most pioneering composers in contemporary cinema, and discover his creative process, thoughts on pushing boundaries - and how he utilises the power of reverb.
Dustin O'Halloran is an American pianist and composer with six acclaimed solo albums under his own name. He has scored multiple films and TV shows, won an Emmy for the theme to Transparent and has been nominated for an Oscar, a Golden Globe and a Critics Choice Award for his score to Lion, a collaboration with Volker Bertelmann (aka Hauschka). His most recent album, 1 0 0 1, is an instrumental four-movement exploration of the nature of the human mind, implications of artificial intelligence and raises questions of humanity in a world intertwined with technology is out now via Deutsche Grammophon. Dustin shares how his early relationship with music influenced his trajectory to go from a rock-oriented guitarist and singer to a solo pianist creating instrumental music. He tells us how 1 0 0 1 evolved from a performance dance piece to expansive sonic journey and functioned as a bridge to a new artistic path. Dustin and Joe discuss his process in writing and recording 1 0 0 1, Dustin walks us through the inspiration behind the four movements and he explains why texture drives his creativity. The two celebrate the power of re-amping and we hear two pieces from 1 0 0 1. Dustin O'Halloran Deutsche Grammophon Episode supported by Izotope Episode supported by Distrokid Episode supported by Thunder Road Guitars
"I think it's really a crossroads between knowledge and wisdom. And I think that wisdom for me is so connected to nature and the information that we get from nature. We ultimately are part of the natural world. And the knowledge of knowing things and facts and these kinds of bits of information doesn't necessarily mean that we are going in the right direction that we know things. In this space, a lot of wisdom is being lost... About being connected to an earlier time. I feel that that's true. Language is being diminished. There's so many things that are being diminished in this moment. And yet, we're creating something that is going to have vastly more knowledge. But this is where it splits. And what is the idea of consciousness? Is wisdom something that's external? Is it something that is more related to quantum physics and the quantum world, more than just the physical body and the physical brain?"Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."I think it's really a crossroads between knowledge and wisdom. And I think that wisdom for me is so connected to nature and the information that we get from nature. We ultimately are part of the natural world. And the knowledge of knowing things and facts and these kinds of bits of information doesn't necessarily mean that we are going in the right direction that we know things. In this space, a lot of wisdom is being lost... About being connected to an earlier time. I feel that that's true. Language is being diminished. There's so many things that are being diminished in this moment. And yet, we're creating something that is going to have vastly more knowledge. But this is where it splits. And what is the idea of consciousness? Is wisdom something that's external? Is it something that is more related to quantum physics and the quantum world, more than just the physical body and the physical brain?"https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."The film Lion, when we got involved, there was a pretty early cut. So it was about trying to get into the picture and what would really work with the scenes, but also to sometimes just put it away and just really get to the heart of the film, too, because there was a big overarching feeling to the film. The feeling of home and the feeling of being connected to your mother and this cosmic connection that was calling him to find her. So there was a moment of getting into really taking these bits that we'd been working on outside of looking at the picture and then making them work inside the picture, which is a lot of work. It's actually hard to kind of take something, and then you have to fit it into a box. Because film is a bit of a box. It has limitations, and there's time. It has to hit marks. When you're making music for yourself, you don't have to worry about that."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"The thing that with nature that I think is most profound is that it's always truthful. And I think that that's something that always resonates with me. Whenever I'm in raw nature, there's just an undeniable truth and a sense of how it's supposed to be. And I think that that's something that I reach for in my own music, where I try to take myself out of my own single being and try to be in touch with all of it. And that's just something that's so resonating in nature, the sense of wholeness and connectedness. When I'm writing music, I don't think I'm ever specifically trying to capture any of these moments specifically. I think it's just the way your mind works when you're in nature and the way you're able to hear yourself and peace, really. So, for me, there's always this very strong connection to creativity in nature."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.“The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"I think it's really a crossroads between knowledge and wisdom. And I think that wisdom for me is so connected to nature and the information that we get from nature. We ultimately are part of the natural world. And the knowledge of knowing things and facts and these kinds of bits of information doesn't necessarily mean that we are going in the right direction that we know things. In this space, a lot of wisdom is being lost... About being connected to an earlier time. I feel that that's true. Language is being diminished. There's so many things that are being diminished in this moment. And yet, we're creating something that is going to have vastly more knowledge. But this is where it splits. And what is the idea of consciousness? Is wisdom something that's external? Is it something that is more related to quantum physics and the quantum world, more than just the physical body and the physical brain?"Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."I think it's really a crossroads between knowledge and wisdom. And I think that wisdom for me is so connected to nature and the information that we get from nature. We ultimately are part of the natural world. And the knowledge of knowing things and facts and these kinds of bits of information doesn't necessarily mean that we are going in the right direction that we know things. In this space, a lot of wisdom is being lost... About being connected to an earlier time. I feel that that's true. Language is being diminished. There's so many things that are being diminished in this moment. And yet, we're creating something that is going to have vastly more knowledge. But this is where it splits. And what is the idea of consciousness? Is wisdom something that's external? Is it something that is more related to quantum physics and the quantum world, more than just the physical body and the physical brain?"https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
“The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
LOVE - What is love? Relationships, Personal Stories, Love Life, Sex, Dating, The Creative Process
"It's really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"The film Lion, when we got involved, there was a pretty early cut. So it was about trying to get into the picture and what would really work with the scenes, but also to sometimes just put it away and just really get to the heart of the film, too, because there was a big overarching feeling to the film. The feeling of home and the feeling of being connected to your mother and this cosmic connection that was calling him to find her. So there was a moment of getting into really taking these bits that we'd been working on outside of looking at the picture and then making them work inside the picture, which is a lot of work. It's actually hard to kind of take something, and then you have to fit it into a box. Because film is a bit of a box. It has limitations, and there's time. It has to hit marks. When you're making music for yourself, you don't have to worry about that."Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."The thing that with nature that I think is most profound is that it's always truthful. And I think that that's something that always resonates with me. Whenever I'm in raw nature, there's just an undeniable truth and a sense of how it's supposed to be. And I think that that's something that I reach for in my own music, where I try to take myself out of my own single being and try to be in touch with all of it. And that's just something that's so resonating in nature, the sense of wholeness and connectedness. When I'm writing music, I don't think I'm ever specifically trying to capture any of these moments specifically. I think it's just the way your mind works when you're in nature and the way you're able to hear yourself and peace, really. So, for me, there's always this very strong connection to creativity in nature."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."And I think when all of a sudden music and art started to come out of AI, it was a wake up call to what is our purpose. Like, what are we? What are we bringing to humanity, to the human story? And I think it's interesting because a lot of artists now are concerned about it. What is the value of our consciousness? Consciousness has been something that I've been reading about. It's a vastly understudied part of science, and it's going to become very, very relative very quickly. And I think that it's getting to the core of creativity. What is creativity and ultimately where do we want to go? How are we going to connect with each other?"It started as a dance piece with choreographer dancer Fukiko Takase. And we had met when I was doing a dance piece with Wayne McGregor with another project that I do called the Winged Victory for the Sullen. We did a piece called Atomos, and Fukiko was one of Wayne's principal dancers. And I just loved how she was able to express in movement. It was a very profound experience to realize how connected music is to dance, this sense of communication without words, and how it gets elevated when you bring dance and movement into music."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.“The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
LOVE - What is love? Relationships, Personal Stories, Love Life, Sex, Dating, The Creative Process
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."It's really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Birger Clausen, the composer, is one of my closest collaborators, most recently on the two-time Emmy nominated (including for music and sound) and RTS winning 9/11: Life Under Attack.In this episode we talk about many things - the relationship with the composer, mood and storytelling, the use of specific effects and the avoidance of cliche, trends in the industry and even the impact of Artificial Intelligence.But, in this episode, it struck me that a key aspect was understanding the reality of giving up creative control. As a director, not a composer, you are relying on someone else's taste and texture. And in many ways, giving too much advice can be counterproductive. In this podcast, I tried to understand the composer's mind - how he or she thinks. Of course, I added a fair amount of music so you can hear the impact of various styles and approaches and the solutions composers and directors reach for their soundtracks.The power of music to shape film narratives is at the heart of our discussion, and we explore the impact of simple motifs and the collaborative dance between director and composer. Hear how Birger, along with greats like Oscar-winner Volker Bertelmann in 'All Quiet on the Western Front', use music to convey emotions and cultural themes and enhance storytelling. We dissect the use of musical themes, the versatility of instruments, and even how a historical harmonium can encapsulate the brutality of war. The discussion shifts to the intricacies of genre-specific composing, highlighting the balance between innovation and meeting genre expectations.You might hear me searching to understand a form I love - music - but one I have never been inside of; the act of music creation and its power to invoke an emotion. Of course, feel free to get in contact with me if you'd like me to elaborate or be clearer about what I'm searching for.Are you interested in joining the DocFix program and working with Nigel? Get started with our complimentary case study that shows you how the method is used in high-profile documentaries and to see if you are a good fit for what we do and how we work. Instagram: @nigel.levy.storiesFacebook: Nigel Levy - The Doc FixIncidental music composed by Birger Clausen
With the announcement of the 96th annual Oscar nominees, we're revisiting our conversation with Volker Bertelmann, who won the Academy Award for Best Original Score last year for All Quiet On The Western Front.
For more than a year now, I've been obsessed with TÁR, the 2022 Todd Field film starring Cate Blanchett as an orchestral conductor whose power plays lead to her devastating downfall. Yes, the story is gripping and suspenseful, but it's the music interlaced throughout the film that keeps me coming back. Aside from the two works performed in the film — Mahler's Fifth Symphony and Elgar's Cello Concerto — which were baked into Field's script, the music you hear throughout TÁR is the result of months of work by the film's music supervisor, Lucy Bright. A specialist in the arenas of film and television scoring, Bright has worked with some of today's biggest composers — including Nico Muhly, Michael Nyman, and Volker Bertelmann — on projects ranging from Assassin's Creed to Aftersun and The Iron Claw. But what exactly does a music supervisor do on a film of this scale? Turns out, it's a lot. From working with a team of on-set sound engineers who specialize in recording symphony orchestras to developing the film's Deutsche Grammophon concept album and recreating Urbie Green's 1967 recording of "Twenty-one Trombones," Bright was kept busy managing countless aspects of the film's musical atmosphere across three countries. In this episode of the Classical Post podcast, I speak with Bright about the expert levels of coordination and collaboration vital to her work, working with the Icelandic composer Hildur Guðnadóttir to realize Lydia Tár's compositions, and what it was like seeing Cate Blanchett raise a baton to conduct Mahler. Plus, she shares her fascinating history with modern architecture, her go-to burger place in New York City, and the therapeutic benefits of swimming in the natural springs of London's Hampstead Heath. Stream TÁR (Music from and Inspired by the Motion Picture) on Spotify, Apple Music, Amazon Music, or wherever you stream music. - Classical Post® is created and produced by Gold Sound Media® LLC, a New York-based marketing agency for the performing arts industry. Explore how we can grow your audience to make a lasting impact in your community.
Geräusche, Klänge und Musik begleiten uns seit wir geboren wurden und verstärken Gefühle, die in uns sind. Besonders deutlich wird dies, wenn das Hören mit dem Sehen gekoppelt wird, in Filmen beispielsweise. Und besonders anschaulich wird das in dem Anti-Kriegsfilm "Im Westen nichts Neues", für dessen Soundtrack unser heutiger Gast unlängst einen Oscar gewonnen hat. And the Winner is… Volker Bertelmann alias Hauschka, Jahrgang 1966 aus dem Siegerland. Seinen Künstlernamen, von einem böhmischen Komponisten geliehen, entdeckte er früh die Magie der Musik, als er Chopin begegnete. Seine Großtante schenkte ihm ein gebrauchtes Klavier und mit 14 gründete er seine erste Rockband. Es folgten viele Jahre Klavierunterricht, dann aber ein Medizin-, später ein BWL-Studium. Beides brach er nach der Hälfte und schlug sich durch, so kann man es wirklich sagen, freiberuflich Tätige wissen, was gemeint ist. Mit 18 schrieb er bereits Filmmusik für die ZDF-Serie "Ein Fall für Zwei". 2004 kam er in den Bergen von Wales bei Aufnahmen einer Soloplatte auf eine Idee, die zu seinem zukünftigen Markenzeichen und Label werden sollte. Sounds mit einem präparierten Piano zu erzeugen, wie etwa Kronkorken, Pergamentpapier, Plastikmüll oder Tischtennisbälle, die bei Anschlag der Tasten auf den Saiten umherfliegen und erstaunlich perkussive Geräusche und Klänge erzeugen. Sein aktuelles Album "Philanthropy" steht für "Wohltätiges Handeln" und "Die Liebe zur Menschheit". Wie aber kam es zum Oscar? Und was passierte danach? Das alles erzählt uns Volker Bertelmann selbst in dieser Folge der Hörbar. Playlist: Múm - Prophecies & Reversed Memories J.S. Bach - Goldberg Variationen, BWV 988 Portishead - Mysterons Frederic Chopin, Fazil Say - Nocturne No. 1 in B-Flat Minor, Opus 9 No. 1 Faithless -Music Matters Cameo - She’s strange Hauschka - Inventions Daniel Barenboim & Chicago Symphony Orchestra - Verklärte Nacht, Op. 4 Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.
Season four of The Film Scorer Podcast is almost here! The new season launches on Sunday, October 1st, with new episodes continuing every other Sunday after that (more or less). Given the breadth of guests in season three, including Daniel Pemberton, Tim Hecker, and recent Oscar winner Volker Bertelmann, you never who will show up this time around - all I can say is I already have some great guests lined up! So subscribe on your favorite podcast platform, follow The Film Scorer on Instagram and Twitter, and keep those ears open!
Volker Bertelmann komponiert Filmmusik und hat für „Im Westen nichts Neues“ einen Oscar bekommen. Im Podcast erzählt er, wie sich sein Leben seitdem verändert hat.
Cinematic Sound Radio - Soundtracks, Film, TV and Video Game Music
That's right folks, the Oscars still suck! While they managed to bring back all of the categories they disrespected last year and will present them live again on this year's broadcast, the Academy's Music Branch, on the other hand, I think has clearly lost its mind. Not only are the nominees for best original score this year incredibly lacklustre, but they also took it one step further by nominating one of the most excruciating, annoying, utterly distracting film scores I've ever heard, ALL QUIET ON THE WESTERN FRONT by Volker Bertelmann. Not since Hans Zimmer's DUNKIRK have I experienced a score so repulsive that I nearly walked out of the theatre because of the music. One of Bertelmann's first instructions from director Edward Berger was to "please do something that is destroying the pictures that is not, you know, underlining what we already see." And then there was further instruction to literally make the score sound as bad as possible by "want(ing) to have a snare drum that is played by somebody who can't play the snare drum" Seriously?! And that ladies and gentlemen is something that seemed to really tickle the music branch in all the right places. Remember folks, different = good! Forget about the story, or complementing the picture, elevating the drama... Nah, just make some noise that sounds like a three-year-old played it! So, with that, I once again am boycotting the Academy Awards this time because of the Music Branches' tin ears. By the way, not all of the music branch members feel this way, and some of them have really good taste in good film music, but the majority of them are, in my opinion, always out to lunch! So since we are spending another year trying hard to ignore the Oscars (I guess I'm failing to do so by doing this show), I thought I'd highlight the people who I feel genuinely, and honestly do some of the best work celebrating film music, THE INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION (IFMCA). Just to be as transparent as possible, I am a proud member of the IFMCA and I genuinely do think we at the IFMCA do the best in curating the best scores of the year in our annual awards. That might be an arrogant, egotistical statement, but that's what I believe. In an effort to prove that the IFMCA, more than any other awards organisation, presents the most accurate depiction of the year's top film scores, I will be comparing it to the Oscars and their historical list of nominees and winners from 1998-2022 to the IFMCA's nominees and winners over that same time. The show is a long one, almost as long as an Oscar telecast. I hope you enjoy and please let me know if you agree or disagree with my assessment of the Oscars and the IFMCA in the comments below. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Potent —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
We continue our series The Big Picture, celebrating Oscar nominees working behind the camera. Today we speak to Best Original Score-nominated composer Volker Bertelmann, aka Hauschka, about his music for the film, "All Quiet on the Western Front," which is nominated in eight other categories including Best Sound and Best Picture. NOTE: This segment has been edited to correct a mistake in the intro. Bertelmann's score for "Lion" earned him an Oscar nomination. It did not win the award.
With 2022 over, The Film Scorer covers some of the best and most notable film scores released from the last three months of the year. These include scores like Babylon by Justin Hurwitz, All Quiet on the Western Front by Volker Bertelmann, and many more. A breadth of film music awaits! The episode opens with some awards season coverage, recorded prior to the BAFTA awards ceremony, and so predicts a Hurwitz win even though Volker Bertelmann ended up winning. Keep your eye on The Film Scorer website for reviews and articles covering some of these scores and see below for articles covering some of my favorite scores for the following months, including detailed writeups and lists: October: https://thefilmscorer.com/the-best-film-scores-of-october-2022/
Carolyn is joined by the Composer, Supervising Sound Editor, Co-Sound Designer, and Rerecording Mixer for the Netflix war epic, 'All Quiet on the Western Front.' Together, they talk about creating the sounds of war and weaving the score and sound effects to keep the audience on the edge of their seats. Learn more about your ad choices. Visit megaphone.fm/adchoices
Our latest guests on soundtracking must be pinching themselves, after the film they worked on together land a staggering 9 oscar nominations, including Best Picture and Best Score All Quiet On The Western front was adapted and directed by Edward Berger and scored by friend of the show Volker Bertelmann - and the recognition they're receiving is richly deserved. We're thrilled to welcome them to the podcast to talk so revealingly about their work.
"All Quiet On The Western Front" had its world premiere at this year's Toronto International Film Festival, where it received praise for its adaptation of the famous anti-war novel, the technical craft of its battle sequences, and depicting the horrors of war in a frighteningly realistic and brutal manner. Director Edward Berger's film has been nominated for the Golden Globe and Critics Choice Awards for Best International Feature Film and is Germany's submission for the same category at this year's Academy Awards. We were fortunate to talk with leading actor Felix Krammerer, his co-star and executive producer Daniel Brühl, producer Malte Grunert, and composer Volker Bertelmann. Each of them had valuable insight into the making of one of the best films of the year. The film is now available to stream on Netflix. Please take a listen below and enjoy. Thank you! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture
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