Los Angeles – On June 3, 2023, Roy and Edna Disney CalArts Theater (Redcat), CalArts’ center for contemporary arts in downtown Los Angeles, presents Music for Transitions from New York-based composer inti figgis-vizueta.
Called “intense” with a “sense of true dramatic stakes” by The New York Times, figgis-vizueta writes magically real music through the lens of personal identities, braiding a childhood of overlapping immigrant communities and Black-founded Freedom schools—in Chocolate City—with direct Andean and Irish heritage and a deep connection to the land.
In Music for Transitions, she is joined by collaborators, including cellist/composer Andrew Yee and violist Nadia Sirota, to present a program featuring new arrangements of previous remote works, a newly co-composed piece for soloists and string quartet, and works by her contemporaries including Leilehua Lazilotti, Caroline Shaw, Nico Muhly, and Andrew Yee.
About the Artist:
inti figgis-vizueta (born 1993) is a New York-based composer who captures the sounds of the magically real,...
Called “intense” with a “sense of true dramatic stakes” by The New York Times, figgis-vizueta writes magically real music through the lens of personal identities, braiding a childhood of overlapping immigrant communities and Black-founded Freedom schools—in Chocolate City—with direct Andean and Irish heritage and a deep connection to the land.
In Music for Transitions, she is joined by collaborators, including cellist/composer Andrew Yee and violist Nadia Sirota, to present a program featuring new arrangements of previous remote works, a newly co-composed piece for soloists and string quartet, and works by her contemporaries including Leilehua Lazilotti, Caroline Shaw, Nico Muhly, and Andrew Yee.
About the Artist:
inti figgis-vizueta (born 1993) is a New York-based composer who captures the sounds of the magically real,...
- 5/24/2023
- by Music Martin Cid Magazine
- Martin Cid Music
New York, NY — March 27, 2023 — The 92nd Street Y, New York (92Ny), one of New York’s leading cultural venues, presents Drew Petersen, piano, plays Chopin, Schumann, Ravel, and more, on April 20, 2023 at 7:30pm Et. The concert will also be available for viewing online for 72 hours from time of broadcast. Tickets for both the in-person and livestream options start at $25 and are available at 92ny.org/event/drew-petersen-piano.
Pianist Drew Petersen makes his NYC recital debut in 92Ny’s newly renovated Buttenwieser Hall. At the heart of his program: piano masterworks by Ravel and Schumann in Gaspard de la nuit and Schumann’s love letter in music, the C-Major Fantasie. A selection of Chopin Études is preceded by John Corigliano’s Etude Fantasy, a set of five studies in the form and character of a fantasy, creating an arc from the program’s start to finish that reflects the thoughtfulness of Petersen’s artistic conception.
Pianist Drew Petersen makes his NYC recital debut in 92Ny’s newly renovated Buttenwieser Hall. At the heart of his program: piano masterworks by Ravel and Schumann in Gaspard de la nuit and Schumann’s love letter in music, the C-Major Fantasie. A selection of Chopin Études is preceded by John Corigliano’s Etude Fantasy, a set of five studies in the form and character of a fantasy, creating an arc from the program’s start to finish that reflects the thoughtfulness of Petersen’s artistic conception.
- 3/27/2023
- by Music Martin Cid Magazine
- Martin Cid Music
New York, NY — March 2, 2023 — The 92nd Street Y, New York (92Ny), one of New York’s leading cultural venues, presents Tetzlaff-Tetzlaff-Dörken Trio plays Schubert, Beethoven, and more, on March 28, 2023 at 7:30pm Et at the Kaufmann Concert Hall. The concert will also be available for viewing online for 72 hours from time of broadcast. Tickets for both the in-person and livestream options start at $25 and are available at 92ny.org/event/tetzlaff-tetzlaff-dorken-trio.
A brilliant trio of musicians – violinist Christian Tetzlaff, cellist Tanja Tetzlaff and pianist Kiveli Dörken – in a rare NYC engagement featuring one of Beethoven’s Opus 1 Trios, a Dvořák masterwork, and Schubert’s B-flat Major Trio.
Program:
Beethoven, Piano Trio in C Minor, Op. 1, No. 3
Dvořák, Piano Trio No. 2 in G Minor, Op. 26
Schubert, Piano Trio in B-flat Major, D. 898
About the Artist
Comprised of violinist Christian Tetzlaff, cellist Tanja Tetzlaff and pianist Lars Vogt, the Tetzlaff/Tetzlaff/Vogt...
A brilliant trio of musicians – violinist Christian Tetzlaff, cellist Tanja Tetzlaff and pianist Kiveli Dörken – in a rare NYC engagement featuring one of Beethoven’s Opus 1 Trios, a Dvořák masterwork, and Schubert’s B-flat Major Trio.
Program:
Beethoven, Piano Trio in C Minor, Op. 1, No. 3
Dvořák, Piano Trio No. 2 in G Minor, Op. 26
Schubert, Piano Trio in B-flat Major, D. 898
About the Artist
Comprised of violinist Christian Tetzlaff, cellist Tanja Tetzlaff and pianist Lars Vogt, the Tetzlaff/Tetzlaff/Vogt...
- 3/2/2023
- by Music Martin Cid Magazine
- Martin Cid Music
The 92nd Street Y, New York (92Ny), one of New York’s leading cultural venues, in collaboration with Liquid Music, presents Adam Tendler: Inheritances, on March 11, 2023 at 7:30pm Et at the Kaufmann Concert Hall. The concert will also be available for viewing online for 72 hours from time of broadcast. Tickets for both the in-person and livestream options start at $25 and are available at 92ny.org/event/adam-tendler.
After his father’s unexpected death, acclaimed New York-based pianist Adam Tendler used his inheritance – a wad of cash received in a parking lot – to begin a commissioning project, inviting some of today’s most influential composers and sound artists to create new piano works exploring the idea of inheritance itself. Woven into an intimate program, these pieces tell a universal story of lineage, loss, and place, and result in a meditation on confronting our past while moving toward the future.
The...
After his father’s unexpected death, acclaimed New York-based pianist Adam Tendler used his inheritance – a wad of cash received in a parking lot – to begin a commissioning project, inviting some of today’s most influential composers and sound artists to create new piano works exploring the idea of inheritance itself. Woven into an intimate program, these pieces tell a universal story of lineage, loss, and place, and result in a meditation on confronting our past while moving toward the future.
The...
- 2/14/2023
- by Music Martin Cid Magazine
- Martin Cid Music
New York, NY — February 1, 2023 — The 92nd Street Y, New York (92Ny), one of New York’s leading cultural venues, presents West-Eastern Divan Ensemble plays Dvořák, Mendelssohn, and more, on February 22, 2023 at 7:30 pm Et at the Kaufmann Concert Hall. The concert will also be available for viewing online for 72 hours from time of broadcast. Tickets for both the in-person and livestream options start at 25 and are available at 92ny.org/event/west-eastern-divan-ensemble.
The West-Eastern Divan Ensemble is the chamber arm of the orchestra founded in 1999 by renowned Israeli pianist and conductor Daniel Barenboim and Palestinian scholar Edward Said.
Created under concertmaster (and Daniel’s son) Michael Barenboim, the ensemble brings together young Palestinian and Israeli musicians, crossing cultural boundaries and spreading the message of its parent orchestra: “equal in music.”
Michael Barenboim, violin
Mohamed Hiber, violin
David Strongin, violin
Samir Obaido, violin
Miriam Manasherov, viola
Sindy Mohamed, viola
Astrig Siranossian,...
The West-Eastern Divan Ensemble is the chamber arm of the orchestra founded in 1999 by renowned Israeli pianist and conductor Daniel Barenboim and Palestinian scholar Edward Said.
Created under concertmaster (and Daniel’s son) Michael Barenboim, the ensemble brings together young Palestinian and Israeli musicians, crossing cultural boundaries and spreading the message of its parent orchestra: “equal in music.”
Michael Barenboim, violin
Mohamed Hiber, violin
David Strongin, violin
Samir Obaido, violin
Miriam Manasherov, viola
Sindy Mohamed, viola
Astrig Siranossian,...
- 2/1/2023
- by Music Martin Cid Magazine
- Martin Cid Music
Classical composer Nico Muhly rarely writes for TV, making his score for Apple TV+’s eight-hour “Pachinko” something of an event. The century-spanning epic follows a poor Korean woman and her descendants as their lives intertwine, often unhappily, with those of their Japanese neighbors. Variety talked to Muhly about his sensitive music for the miniseries.
Why did you want to tackle this project?
I’d read the book, like the majority of Americans. Soo Hugh, the showrunner, had somehow come across a lot of my instrumental music. She called me up and said, “Do you want to do this?” It was a very fast “yes.”
What did “Pachinko” need, musically? I noticed that you didn’t really acknowledge the Korean or Japanese settings with your music.
Not at all. That was one of the first things I said to Soo: “If you want someone to do East Asian music, you...
Why did you want to tackle this project?
I’d read the book, like the majority of Americans. Soo Hugh, the showrunner, had somehow come across a lot of my instrumental music. She called me up and said, “Do you want to do this?” It was a very fast “yes.”
What did “Pachinko” need, musically? I noticed that you didn’t really acknowledge the Korean or Japanese settings with your music.
Not at all. That was one of the first things I said to Soo: “If you want someone to do East Asian music, you...
- 6/3/2022
- by Jon Burlingame
- Variety Film + TV
Deadline has launched the streaming site for its second annual Sound & Screen, an award-season composer showcase of original music for television.
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
Click here to launch the streaming site.
The event May 5 at UCLA’s Royce Hall featured a 50-person orchestra spotlighting the music from composers Daniel Pemberton, Sean Callery, Amanda Jones, Dan Romer, Jeff Russo and Nico Muhly; composer-songwriters Tom Mizer & Curtis Moore; and music supervisor Jen Malone all of whom took part in post-performance Q&As to discuss their work. The night also featured a special virtual performance by Mick Jagger.
The studios and streamers who took part included Amazon Studios/Prime Video with The Marvelous Mrs. Maisel; Apple TV+ with Pachinko, Slow Horses and The Afterparty; CBS Studios with Star Trek: Picard and The Man Who Fell to Earth; HBO/HBO Max with Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; National Geographic with Welcome to Earth...
- 5/9/2022
- by The Deadline Team
- Deadline Film + TV
When it came to setting the soundtrack for Pachinko, composer Nico Muhly realized he had some heavy lifting to do in helping to tell the multi-generational story about a Korean immigrant family.
“It occurred to me the music couldn’t work too thematically,” Muhly said during a panel for the Apple TV+ series at Deadline’s Sound & Screen music event. “The music had to function as a big, big bridge, not just about this family but about the bigger forces that caused them to move where they did and all the terrible things that befell them at those times.”
To help contribute to the sound of the sweeping saga, Muhly mixed both acoustics and electronic sounds. “I found it very interesting thank you very much,” Muhly said, laughing. “The idea of an orchestral sweep felt in some way wrong. Yes, it’s a sweeping story but it’s also a tragic and intimate one.
“It occurred to me the music couldn’t work too thematically,” Muhly said during a panel for the Apple TV+ series at Deadline’s Sound & Screen music event. “The music had to function as a big, big bridge, not just about this family but about the bigger forces that caused them to move where they did and all the terrible things that befell them at those times.”
To help contribute to the sound of the sweeping saga, Muhly mixed both acoustics and electronic sounds. “I found it very interesting thank you very much,” Muhly said, laughing. “The idea of an orchestral sweep felt in some way wrong. Yes, it’s a sweeping story but it’s also a tragic and intimate one.
- 5/6/2022
- by Lynette Rice
- Deadline Film + TV
Deadline’s Sound & Screen, a showcase of television’s most moving and lauded original music from some of the industry’s top-most talent, has lifted the baton for its second edition tonight live and in person at UCLA’s Royce Hall.
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
Attendees of the awards-season event, which kicked off at 6:30 p.m. Pt, will be transported through the melodic sounds of these programs from a 50-piece orchestra, followed by sit-downs with the composers, conductors and music supervisors behind the works.
Scores facilitate in carrying the audience’s emotions and heighten senses in a way that would not be possible with just dialogue. Imagine HBO’s Euphoria without its hypnotic and genre-bending soundtrack? Or being marched ahead through the final frontier in CBS Studios’ Star Trek: Picard without its ethereal score? Or being carried through the sweeping migrant saga of Apple TV+’s Pachinko without its gentle orchestral melodies?
This year,...
- 5/6/2022
- by Diana Lodderhose
- Deadline Film + TV
Sound & Screen, Deadline’s inaugural live concert showcasing the composers, music supervisors and songwriters behind the music of television’s buzziest shows, has set the lineup for its in-person event May 5 at UCLA’s Royce Hall.
The free-to-attend evening will feature a 50-piece orchestra performing songs from 12 featured series, followed by panelists talking about their respective works. Those include some of the biggest names in music, from a virtual performance by The Rolling Stones icon Mick Jagger for Apple TV+’s Slow Horses to in-person discussions with composers Daniel Pemberton, Amanda Jones, Sean Callery, Nico Muhly, Jeff Russo and Dan Romer; composer-songwriters Tom Mizer and Curtis Moore; and music supervisor Jen Malone.
The lineup features Amazon Studios’ The Marvelous Mrs. Maisel; Apple TV+’s Pachinko, Slow Horses and The Afterparty; HBO/HBO Max’s Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; CBS Studios’ Star Trek: Picard...
The free-to-attend evening will feature a 50-piece orchestra performing songs from 12 featured series, followed by panelists talking about their respective works. Those include some of the biggest names in music, from a virtual performance by The Rolling Stones icon Mick Jagger for Apple TV+’s Slow Horses to in-person discussions with composers Daniel Pemberton, Amanda Jones, Sean Callery, Nico Muhly, Jeff Russo and Dan Romer; composer-songwriters Tom Mizer and Curtis Moore; and music supervisor Jen Malone.
The lineup features Amazon Studios’ The Marvelous Mrs. Maisel; Apple TV+’s Pachinko, Slow Horses and The Afterparty; HBO/HBO Max’s Euphoria, Station Eleven, Somebody Somewhere and A Black Lady Sketch Show; CBS Studios’ Star Trek: Picard...
- 4/26/2022
- by The Deadline Team
- Deadline Film + TV
There’s a beautifully drawn moment in the fourth episode of “Pachinko,” Apple TV Plus’ new cross-generational epic, in which a young woman (Minha Kim) is served white rice as a final meal in Korea before setting out to the unknown. It’s moving on its merits — this character, Sunja, has already been through a great deal, and a meal lovingly prepared by her mother (Inji Jeong) has a certain symbolic weight all its own. But it’s bolstered by our knowledge, conveyed in the episode before, that, later in life, Sunja (played in old age by Oscar-winner Yuh-Jung Youn) reminisced about the quality of Korean rice, noting that it had “nuttier” flavor and “a bit of a harder chew;” later in life, she’d tell her grandson it was “a luxury.”
That’s an example of “Pachinko” using its central device — an eagerness to hop around in time and geography — elegantly.
That’s an example of “Pachinko” using its central device — an eagerness to hop around in time and geography — elegantly.
- 3/24/2022
- by Daniel D'Addario
- Variety Film + TV
Michael Mayer on Beanie Feldstein as Fanny Brice in the Broadway revival of Funny Girl that he is directing: “She’s a wonderful singer and very funny and charming and warm and not Barbra Streisand.”
In the second instalment with a very engaged Single All The Way director, Michael Mayer, we discuss composer Anton Sanko (The Seagull with Nico Muhly and Mikhaël Hers’ Amanda); songs by Whitney Houston and Britney Spears; Karl Ove Knausgaard's My Struggle and The Morning Star, and working with John Logan on the world première of Swept Away at the Berkeley Rep.
Nick (Philemon Chambers) with Peter (Michael Urie) in Michael Mayer’s Single All The Way, screenplay by Chad Hodges.
Michael is also scheduled to direct two upcoming Broadway productions - Beanie Feldstein in Funny Girl with Jane Lynch as her mother and the Neil Diamond musical - and then Jeanine Tesori's Grounded at The Metropolitan Opera,...
In the second instalment with a very engaged Single All The Way director, Michael Mayer, we discuss composer Anton Sanko (The Seagull with Nico Muhly and Mikhaël Hers’ Amanda); songs by Whitney Houston and Britney Spears; Karl Ove Knausgaard's My Struggle and The Morning Star, and working with John Logan on the world première of Swept Away at the Berkeley Rep.
Nick (Philemon Chambers) with Peter (Michael Urie) in Michael Mayer’s Single All The Way, screenplay by Chad Hodges.
Michael is also scheduled to direct two upcoming Broadway productions - Beanie Feldstein in Funny Girl with Jane Lynch as her mother and the Neil Diamond musical - and then Jeanine Tesori's Grounded at The Metropolitan Opera,...
- 1/4/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Philemon Chambers, Jennifer Coolidge and Michael Urie in Michael Mayer’s holiday treat Single All The Way (a Netflix release)
Michael Mayer’s joyous Single All The Way, screenplay by Chad Hodge, costumes by Véronique Marchessault, music by Anton Sanko, stars Michael Urie and Philemon Chambers with Kathy Najimy, Barry Bostwick, Jennifer Coolidge, Jennifer Robertson, Alexandra Beaton, Madison Brydges, Luke Macfarlane, Gryffin Hanvelt, Viggo Hanvelt, Melanie Leishman, Stefano Dimatteo, Steve Lund, and Dan Finnerty.
Michael Mayer with Anne-Katrin Titze on having Michael Urie, Jennifer Coolidge, Kathy Najimy, Barry Bostwick for Single All The Way: “It was just one fantastic delicious cast member after another.”
On the day the great Joan Didion died at the age of 87 in her Manhattan apartment, Michael Mayer and I remembered her, we discussed the many challenges of filming a feature in 2021, and the difficulty in keeping Broadway theatres open to the public during a pandemic.
Michael Mayer’s joyous Single All The Way, screenplay by Chad Hodge, costumes by Véronique Marchessault, music by Anton Sanko, stars Michael Urie and Philemon Chambers with Kathy Najimy, Barry Bostwick, Jennifer Coolidge, Jennifer Robertson, Alexandra Beaton, Madison Brydges, Luke Macfarlane, Gryffin Hanvelt, Viggo Hanvelt, Melanie Leishman, Stefano Dimatteo, Steve Lund, and Dan Finnerty.
Michael Mayer with Anne-Katrin Titze on having Michael Urie, Jennifer Coolidge, Kathy Najimy, Barry Bostwick for Single All The Way: “It was just one fantastic delicious cast member after another.”
On the day the great Joan Didion died at the age of 87 in her Manhattan apartment, Michael Mayer and I remembered her, we discussed the many challenges of filming a feature in 2021, and the difficulty in keeping Broadway theatres open to the public during a pandemic.
- 12/26/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Every film made in response to 9/11 is a horror film in one way or another, but none of them — from the unbearable simulation of “United 93” to the eerie found footage of “Cloverfield” and the chilling-that-this-was-nominated-for-Best-Picture-ness of “Extremely Loud and Incredibly Close” — have spoken the genre’s common tongue more fluently than “The Humans.” And yet, for a movie which opens with a thunderous jump-scare that it follows with another solid jolt every few minutes before ending with the year’s most pitch-black sequence of pure terror, the biggest shock of all might be that Stephen Karam’s debut feature is so conventionally scary in the first place.
A prestigious screen adaptation of a Tony-winning play is just not the sort of thing that one expects to watch between their fingers, even if it stars legendary scream queens [checks notes] Beanie Feldstein, Amy Schumer, and… June Squibb? Indeed, even those familiar with...
A prestigious screen adaptation of a Tony-winning play is just not the sort of thing that one expects to watch between their fingers, even if it stars legendary scream queens [checks notes] Beanie Feldstein, Amy Schumer, and… June Squibb? Indeed, even those familiar with...
- 9/12/2021
- by David Ehrlich
- Indiewire
Chicago, Il – – Asian Pop-Up Cinema: Season 13 will present 30 films at an in-person and drive-in festival, with select titles available for online streaming. The festival opens September 15 and runs through October 12, 2021, at AMC River East 21, The Davis Theater and ChiTown Drive-In.
The programming celebrates the best Asian-centric cinema, with new work made by filmmakers from China, Hong Kong, India, Japan, South Korea, Taiwan, the U.S. and Canada. This season will highlight women in film, stories with humanitarian themes and action thrillers, including four restored martial arts classics.
Season 13 opens with Jessica Kingdon’s Ascension, a documentary observing China’s growing class divide through labor, consumerism, and wealth. Structured in three parts, the film ascends through the levels of the capitalist structure and examines how the contemporary “Chinese Dream” remains an elusive fantasy for most.
Centerpiece film The Fable: The Killer Who Doesn’T Kill is Japanese director Kan Eguchi’s action/comedy follow-up to The Fable,...
The programming celebrates the best Asian-centric cinema, with new work made by filmmakers from China, Hong Kong, India, Japan, South Korea, Taiwan, the U.S. and Canada. This season will highlight women in film, stories with humanitarian themes and action thrillers, including four restored martial arts classics.
Season 13 opens with Jessica Kingdon’s Ascension, a documentary observing China’s growing class divide through labor, consumerism, and wealth. Structured in three parts, the film ascends through the levels of the capitalist structure and examines how the contemporary “Chinese Dream” remains an elusive fantasy for most.
Centerpiece film The Fable: The Killer Who Doesn’T Kill is Japanese director Kan Eguchi’s action/comedy follow-up to The Fable,...
- 8/23/2021
- by Adam Symchuk
- AsianMoviePulse
“Gift of Fire,” a fact-based drama film about Japan’s secret nuclear bomb program, will play in U.S. cinemas from November this year. Produced in 8K digital, it opened in Japanese theaters last week, distributed by Aeon and scored a top ten ranking.
Yagira Yuya, the Japanese actor who won the acting prize in Cannes for his role in Koreeda Hirokazu’s “Nobody Knows,” heads the cast. He plays a nuclear scientist who struggles with his conscience while working Japan’s own nuclear weapon effort, a secret program that remained largely unknown until a decade ago.
The film is directed by Kurosaki Hiroshi, whose past work includes multi award-winning “Goldfish” (aka “Hi No Sakana”) and 2011’s “Second Virgin.” It was produced in partnership between Japanese public broadcaster Nhk and Los Angeles-based Eleven Arts
Eleven Arts will now handle the U.S. release and has set a launch date of Nov.
Yagira Yuya, the Japanese actor who won the acting prize in Cannes for his role in Koreeda Hirokazu’s “Nobody Knows,” heads the cast. He plays a nuclear scientist who struggles with his conscience while working Japan’s own nuclear weapon effort, a secret program that remained largely unknown until a decade ago.
The film is directed by Kurosaki Hiroshi, whose past work includes multi award-winning “Goldfish” (aka “Hi No Sakana”) and 2011’s “Second Virgin.” It was produced in partnership between Japanese public broadcaster Nhk and Los Angeles-based Eleven Arts
Eleven Arts will now handle the U.S. release and has set a launch date of Nov.
- 8/13/2021
- by Patrick Frater
- Variety Film + TV
James Blake is back with a brand new EP 'Before.'
After revealing the details of the new album, the 32-year-old singer has officially released the project.
View this post on Instagram
#BeforeEP. 14.10.2020. 1. I Keep Calling 2. Before 3. Do You Ever 4. Summer Of Now @boilerroomtv DJ Set. 16.10.2020. 1400 Pt/1700 Et/2200 BST. Link in bio to pre-save now. Artwork...
After revealing the details of the new album, the 32-year-old singer has officially released the project.
View this post on Instagram
#BeforeEP. 14.10.2020. 1. I Keep Calling 2. Before 3. Do You Ever 4. Summer Of Now @boilerroomtv DJ Set. 16.10.2020. 1400 Pt/1700 Et/2200 BST. Link in bio to pre-save now. Artwork...
- 10/15/2020
- by Omkar Padte
- GlamSham
Sufjan Stevens meets TikTok in the video for his new song “Video Game,” starring the “Renegade” dance creator Jalaiah Harmon. In the visual, directed by Nicole Ginelli, Harmon dances her signature “Renegade” moves in front of a changing CGI backdrop.
“I don’t wanna be your personal Jesus/I don’t wanna live inside of that flame,” Stevens sings repeatedly in the background. “In a way I wanna be my own believer/I don’t wanna play your video game.”
“Video Game” will be featured on Stevens’ upcoming album The Ascension,...
“I don’t wanna be your personal Jesus/I don’t wanna live inside of that flame,” Stevens sings repeatedly in the background. “In a way I wanna be my own believer/I don’t wanna play your video game.”
“Video Game” will be featured on Stevens’ upcoming album The Ascension,...
- 8/13/2020
- by Claire Shaffer
- Rollingstone.com
Sufjan Stevens has released a sprawling new song, “America,” aptly in time for the country’s birthday weekend. The 12-minute track is the lead single to his upcoming album, The Ascension, which will arrive on September 25th via Asthmatic Kitty.
“America” opens in a swirl of electronics and harmonized, processed voices, with Stevens pleading on the chorus, “Don’t do to me what you did to America.” The arrangement, which recalls the symphonic-sized electronic barrage of 2010’s The Age of Adz, builds with twists and turns, adding live drums, synths and gusts of ambient sound.
“America” opens in a swirl of electronics and harmonized, processed voices, with Stevens pleading on the chorus, “Don’t do to me what you did to America.” The arrangement, which recalls the symphonic-sized electronic barrage of 2010’s The Age of Adz, builds with twists and turns, adding live drums, synths and gusts of ambient sound.
- 7/3/2020
- by Althea Legaspi and Ryan Reed
- Rollingstone.com
Sufjan Stevens has announced a new solo album, The Ascension, his first since 2015’s Carrie and Lowell. The LP is due out September 25th and follows on the heels of Aporia, an ambient record Stevens made with his stepfather and Asthmatic Kitty co-founder Lowell Brams that was released earlier this year.
The first single from the new album, “America,” isn’t out until July 3rd, but you can view the album art and the full tracklist below, which looks as though it features a few references to other artists: “Run Away With Me...
The first single from the new album, “America,” isn’t out until July 3rd, but you can view the album art and the full tracklist below, which looks as though it features a few references to other artists: “Run Away With Me...
- 6/30/2020
- by Claire Shaffer
- Rollingstone.com
Sufjan Stevens and his stepfather Lowell Brams have released another teaser track from their upcoming instrumental album Aporia.
The LP was inspired by Enya and other new-age music, and you can definitely hear it on this newest song, “Climb That Mountain,” a peaceful three-minute tune that could soundtrack a steady climb up a hillside.
Aporia is due out on March 27th via Stevens’ label Asthmatic Kitty. The duo previously shared the track “The Runaround” along with a music video featuring the Bike Life riders. Stevens and Brams previously collaborated on...
The LP was inspired by Enya and other new-age music, and you can definitely hear it on this newest song, “Climb That Mountain,” a peaceful three-minute tune that could soundtrack a steady climb up a hillside.
Aporia is due out on March 27th via Stevens’ label Asthmatic Kitty. The duo previously shared the track “The Runaround” along with a music video featuring the Bike Life riders. Stevens and Brams previously collaborated on...
- 3/11/2020
- by Claire Shaffer
- Rollingstone.com
“Gift of Fire,” a major new film about Japan’s attempt to build an atomic bomb in the waning days of World War II, has completed principal photography and is now in post, producers revealed Friday.
Best known internationally among the cast is Yuya Yagira, who won the Best Actor prize in Cannes for his work on Hirokazu Koreeda’s “Nobody Knows.” He plays a young scientist on the bomb-building team who begins to doubt the purpose of what he is doing.
His character, as well as the story, is based on the diary of an actual atomic researcher that was discovered 10 years ago by the film’s scripter and director, Hiroshi Kurosaki. Working mainly for public broadcaster Nhk, Kurosaki directed episodes of the smash-hit 2017 Nhk drama “Hiyokko.” His script for the film won a special mention for the 2015 Sundance Institute/Nhk Award.
Also starring in “Gift of Fire” are Kasumi Arimura and Haruma Miura,...
Best known internationally among the cast is Yuya Yagira, who won the Best Actor prize in Cannes for his work on Hirokazu Koreeda’s “Nobody Knows.” He plays a young scientist on the bomb-building team who begins to doubt the purpose of what he is doing.
His character, as well as the story, is based on the diary of an actual atomic researcher that was discovered 10 years ago by the film’s scripter and director, Hiroshi Kurosaki. Working mainly for public broadcaster Nhk, Kurosaki directed episodes of the smash-hit 2017 Nhk drama “Hiyokko.” His script for the film won a special mention for the 2015 Sundance Institute/Nhk Award.
Also starring in “Gift of Fire” are Kasumi Arimura and Haruma Miura,...
- 3/6/2020
- by Mark Schilling
- Variety Film + TV
Sufjan Stevens and his stepfather Lowell Brams (yes, of Carrie and Lowell fame) have collaborated on a new album called Aporia, out March 27th via Asthmatic Kitty. On Wednesday, the pair shared their latest track from the album, “The Runaround.”
The New Age-y, semi-instrumental track comes with a music video featuring slow-motion footage of Bike Life riders, cruising and popping wheelies on ATVs and dirt bikes. It’s not the most conventional activity to be soundtracked by Sufjan Stevens, but the video looks great nonetheless.
Stevens and Brams previously shared another Aporia track,...
The New Age-y, semi-instrumental track comes with a music video featuring slow-motion footage of Bike Life riders, cruising and popping wheelies on ATVs and dirt bikes. It’s not the most conventional activity to be soundtracked by Sufjan Stevens, but the video looks great nonetheless.
Stevens and Brams previously shared another Aporia track,...
- 2/19/2020
- by Claire Shaffer
- Rollingstone.com
Sufjan Stevens and his long-time collaborator/stepfather, Lowell Brams, unveiled a new song, “The Unlimited,” from their upcoming New Age-inspired album, Aporia, out March 27th via their label Asthmatic Kitty.
“The Unlimited” finds Stevens and Brams crafting an enthralling soundscape that keeps a serene synth at its core while still venturing into murkier, more ominous spaces. With the introduction of thumping drums halfway through, the song builds steadily to a euphoric peak before tapering into a peaceful echo.
Aporia has been in the works for a few years now, with...
“The Unlimited” finds Stevens and Brams crafting an enthralling soundscape that keeps a serene synth at its core while still venturing into murkier, more ominous spaces. With the introduction of thumping drums halfway through, the song builds steadily to a euphoric peak before tapering into a peaceful echo.
Aporia has been in the works for a few years now, with...
- 2/5/2020
- by Jon Blistein
- Rollingstone.com
As a child, when future TV host Fred Rogers would see scary images on the news, his mother would tell him, “Look for the heroes.” If Fred were a boy today, she’d add, “Look for Ken Feinberg.” Feinberg, the lawyer at the center of Sara Colangelo’s “Worth,” specializes in putting a price tag on human tragedy. He’s brought his calculator to the shootings in Sandy Hook, Aurora, Virginia Tech and Orlando, and tallied spreadsheets for victims of the Boston Bombing, the Bp oil spill, Agent Orange, asbestos, bad breast implants, bad car ignitions, Boeing 737s, the Catholic Church and Penn State. Feinberg even haggled the value of the Zapruder Tape.
Here, Colangelo (“The Kindergarten Teacher”) and screenwriter Max Borenstein are only interested in Feinberg’s most famous case: the payout for the September 11th Victim Compensation Fund. The two-year grind involved more than 7,000 families and turned the disaster accountant,...
Here, Colangelo (“The Kindergarten Teacher”) and screenwriter Max Borenstein are only interested in Feinberg’s most famous case: the payout for the September 11th Victim Compensation Fund. The two-year grind involved more than 7,000 families and turned the disaster accountant,...
- 1/25/2020
- by Amy Nicholson
- Variety Film + TV
Ascap has announced the org’s 22nd annual showcase series at the Sundance Film Festival, with a lineup of artists that includes Spinal Tap’s Derek Smalls, the Bird and the Bee, Aaron Lee Tasjan, Joseph Arthur, Barry Zito, Zz Ward and Matt Berninger, the member of the National who’s come into his own as a film composer with scores like “The Two Popes.”
The Ascap Music Cafe runs daily for nearly the entirety of the film festival, from Jan. 24-31, with music starting at 2 p.m. each day and all performances free to badgeholders over 21. The performance space will be set up at 751 Main Street in Park City.
Additionally, Ascap will throw an invite-only cocktail party for composers and filmmakers in the middle of the festival, on Monday, January 27. The performing rights organization is trumpeting dozens of composers who scored films in this year’s program, among them Hans Zimmer,...
The Ascap Music Cafe runs daily for nearly the entirety of the film festival, from Jan. 24-31, with music starting at 2 p.m. each day and all performances free to badgeholders over 21. The performance space will be set up at 751 Main Street in Park City.
Additionally, Ascap will throw an invite-only cocktail party for composers and filmmakers in the middle of the festival, on Monday, January 27. The performing rights organization is trumpeting dozens of composers who scored films in this year’s program, among them Hans Zimmer,...
- 1/7/2020
- by Chris Willman
- Variety Film + TV
Glen Hansard once received a nickname from his friend Nico Muhly: Earnest Strum. The name was a way for Muhly, a contemporary composer, to poke fun at the type of exceedingly sincere, traditionally-rooted folk that Hansard has mostly been making for the past dozen years, ever since he rose to unlikely mainstream fame with the success of the 2007 musical drama Once.
In recent years, Hansard himself has grown a bit restless with his reputation as a bearded balladeer. After 2018’s Between Two Shores, the latest in a steady stream of heartfelt solo records,...
In recent years, Hansard himself has grown a bit restless with his reputation as a bearded balladeer. After 2018’s Between Two Shores, the latest in a steady stream of heartfelt solo records,...
- 5/23/2019
- by Jonathan Bernstein
- Rollingstone.com
Back in September 2017, renowned composer Philip Glass sat down with musician/producer Dev Hynes for NPR to compare notes and discuss their shared, cross-generational experiences with crafting great music. Recently, Glass was interviewed again by a different composer, Nico Muhly — who has collaborated with Sufjan Stevens and Björk over the years — to discuss his score for the current Broadway run of King Lear, with Glenda Jackson playing Shakespeare’s tragic ruler.
This is not the first time Glass has scored the production of a Shakespeare play — he composed the music...
This is not the first time Glass has scored the production of a Shakespeare play — he composed the music...
- 4/23/2019
- by Claire Shaffer
- Rollingstone.com
Desirae Brown with Copeland on Julianne Moore's response after Ben Niles showed her The 5 Browns: Digging Through the Darkness: "She wrote a beautiful lovely note. She's such a great advocate also." Photo: Anne-Katrin Titze
When I met with Desirae Brown at her apartment, she made a Juilliard connection for The 5 Browns to Nico Muhly and Isabel Leonard, the star of the opera Marnie, directed by Michael Mayer, currently at The Metropolitan Opera in New York. In the first installment of my conversation with Desirae, she reveals that she loves playing Peer Gynt with Deondra, who co-founded The Foundation for Survivors of Abuse with her and the importance of taking control to survive abuse.
Desirae Brown on performing Peer Gynt: "That's probably my favourite part. I do love playing with Deondra and I remember being there." Photo: Anne-Katrin Titze
Julianne Moore, Scott McGehee and David Siegel's What Maisie Knew,...
When I met with Desirae Brown at her apartment, she made a Juilliard connection for The 5 Browns to Nico Muhly and Isabel Leonard, the star of the opera Marnie, directed by Michael Mayer, currently at The Metropolitan Opera in New York. In the first installment of my conversation with Desirae, she reveals that she loves playing Peer Gynt with Deondra, who co-founded The Foundation for Survivors of Abuse with her and the importance of taking control to survive abuse.
Desirae Brown on performing Peer Gynt: "That's probably my favourite part. I do love playing with Deondra and I remember being there." Photo: Anne-Katrin Titze
Julianne Moore, Scott McGehee and David Siegel's What Maisie Knew,...
- 11/7/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Iggy Pop premiered a new version of David Bowie’s cover of “Bang Bang” on his BBC Radio 6 show “Iggy Confidential” Friday.
“Bang Bang” originally debuted on Iggy Pop’s 1981 album Party, and Bowie covered the track on his 1987 record Never Let Me Down. The revamped version can be heard at the 1:38:30 mark of “Iggy Confidential.” After playing the song, Iggy Pop said he “thought it was a really good reading of the lyric.”
The revamped version of Bowie’s “Bang Bang” cover will appear on the...
“Bang Bang” originally debuted on Iggy Pop’s 1981 album Party, and Bowie covered the track on his 1987 record Never Let Me Down. The revamped version can be heard at the 1:38:30 mark of “Iggy Confidential.” After playing the song, Iggy Pop said he “thought it was a really good reading of the lyric.”
The revamped version of Bowie’s “Bang Bang” cover will appear on the...
- 9/29/2018
- by Ilana Kaplan
- Rollingstone.com
Marnie panel and screening with Nicholas Wright and Michael Mayer at the Film Society of Lincoln Center Photo: Anne-Katrin Titze
Nico Muhly's Marnie, based on Winston Graham’s novel, which had been adapted by Jay Presson Allen for Alfred Hitchcock's film (starring Sean Connery and Tippi Hedren) is coming to The Metropolitan Opera in New York. At the Film Society of Lincoln Center, librettist Nicholas Wright and director Michael Mayer joined Paul Cremo (Director of Opera Commissioning Program at The Met) before a 35mm print screening of Marnie for a conversation on the choices they made in adapting the book for the opera. They shared their comments on the controversial film, Hitchcock's mothers and the sexual politics of the times.
Mezzo-soprano Isabel Leonard stars as Marnie and baritone Christopher Maltman is the man who pursues her. The costumes are by Arianne Phillips who also did Michael Mayer's Broadway production of Head Over Heels,...
Nico Muhly's Marnie, based on Winston Graham’s novel, which had been adapted by Jay Presson Allen for Alfred Hitchcock's film (starring Sean Connery and Tippi Hedren) is coming to The Metropolitan Opera in New York. At the Film Society of Lincoln Center, librettist Nicholas Wright and director Michael Mayer joined Paul Cremo (Director of Opera Commissioning Program at The Met) before a 35mm print screening of Marnie for a conversation on the choices they made in adapting the book for the opera. They shared their comments on the controversial film, Hitchcock's mothers and the sexual politics of the times.
Mezzo-soprano Isabel Leonard stars as Marnie and baritone Christopher Maltman is the man who pursues her. The costumes are by Arianne Phillips who also did Michael Mayer's Broadway production of Head Over Heels,...
- 9/22/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
David Bowie’s “Beat of Your Drum” is reworked into bruising, majestic art-rock in a 2018 mix of the track. The new version appears on the Loving the Alien (1983-1988) box set, a collection of Bowie’s studio and live albums from that era.
Sawing strings and David Torn’s crashing guitars highlight the cut, which originally appeared on Bowie’s 1987 LP, Never Let Me Down. “Torn’s ambient guitars start the song that now lead into a much darker world than its shiny predecessor,” producer Mario McNulty said in a statement,...
Sawing strings and David Torn’s crashing guitars highlight the cut, which originally appeared on Bowie’s 1987 LP, Never Let Me Down. “Torn’s ambient guitars start the song that now lead into a much darker world than its shiny predecessor,” producer Mario McNulty said in a statement,...
- 9/7/2018
- by Ryan Reed
- Rollingstone.com
Michael Mayer on Keri Russell joining Adam Driver in the director's Broadway revival of Lanford Wilson's Burn This: "We did a reading of the play with Adam some weeks ago, and I responded immediately to her great intelligence and passion." Photo: Anne-Katrin Titze
Michael Mayer, the director of The Seagull and the timely and rapturous Broadway musical Head Over Heels (based on Sir Philip Sidney's Arcadia featuring the song catalogue of The Go-Go's and Belinda Carlisle), has just announced that Keri Russell will be joining her Star Wars: Episode IX comrade Adam Driver (star of Spike Lee's BlacKkKlansman) in Mayer's Broadway revival of Lanford Wilson's Burn This. The original production of Burn This in 1987 starred John Malkovich and Joan Allen.
Michael Mayer, who is also directing Nico Muhly's opera Marnie, based on Winston Graham’s novel, at The Metropolitan Opera in New York, will participate in...
Michael Mayer, the director of The Seagull and the timely and rapturous Broadway musical Head Over Heels (based on Sir Philip Sidney's Arcadia featuring the song catalogue of The Go-Go's and Belinda Carlisle), has just announced that Keri Russell will be joining her Star Wars: Episode IX comrade Adam Driver (star of Spike Lee's BlacKkKlansman) in Mayer's Broadway revival of Lanford Wilson's Burn This. The original production of Burn This in 1987 starred John Malkovich and Joan Allen.
Michael Mayer, who is also directing Nico Muhly's opera Marnie, based on Winston Graham’s novel, at The Metropolitan Opera in New York, will participate in...
- 8/16/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Paul Simon‘s upcoming 14th solo album, In the Blue Light, features the iconic songwriter’s deep cuts reworked, rearranged and rethought. On three of its tracks, Simon appears alongside New York chamber ensemble yMusic, a sextet notable for blurring the lines between classical-minded indie rockers and accessible bouts of 21st-century composition. Now in their 10th year, yMusic perform as both composers and accompanists, comfortable with collaborators like Sufjan Stevens, Ben Folds, St. Vincent and Dirty Projectors as well as acclaimed young composers like Timo Andres, Nico Muhly and Richard Reed Perry.
- 8/7/2018
- by Christopher R. Weingarten
- Rollingstone.com
Yoko Ono unveiled a daring and harrowing new version of her 1995 song “Warzone,” which will serve as the title track for her upcoming album. Warzone finds Ono reimagining 13 of her own songs originally released between 1970 and 2009. The record will arrive October 19th via Chimera Music.
The original version of “Warzone” (off Ono’s 1995 album Rising) is a blistering punk salvo where Ono howls over searing guitars and drums. The new version captures that same dissonance, only it’s presented as a sparse industrial stomp peppered with eerie synths, the cry...
The original version of “Warzone” (off Ono’s 1995 album Rising) is a blistering punk salvo where Ono howls over searing guitars and drums. The new version captures that same dissonance, only it’s presented as a sparse industrial stomp peppered with eerie synths, the cry...
- 7/24/2018
- by Jon Blistein
- Rollingstone.com
David Bowie‘s five-decade career went through so many extreme highs and bizarre lows that pinpointing his single worst album may seem like a difficult task. To the singer himself, though, it was quite easy. “My nadir was Never Let Me Down,” he said in 1995. “It was such an awful album. … I really shouldn’t have even bothered going into the studio to record it. In fact, when I play it, I wonder if I did sometimes.”
The 1987 record, packed with cheesy drum machines and synths that would sound painfully...
The 1987 record, packed with cheesy drum machines and synths that would sound painfully...
- 7/24/2018
- by Kory Grow and Andy Greene
- Rollingstone.com
The upcoming David Bowie box set Loving the Alien (1983 – 1988) has revealed its newly revamped take on “Zeroes,” a track off the full-album “2018 version” rerecording of the late icon’s 1987 LP Never Let Me Down.
Prior to his January 2016 death, Bowie expressed a desire to rerecord Never Let Me Down, “a bitter disappointment” as he called it, with less-dated production and instrumentation; this version of “Zeroes” strips off the Eighties synths and gated drum sound and fills in the void with newly recorded guitar work while keeping Bowie’s original vocal track intact.
Prior to his January 2016 death, Bowie expressed a desire to rerecord Never Let Me Down, “a bitter disappointment” as he called it, with less-dated production and instrumentation; this version of “Zeroes” strips off the Eighties synths and gated drum sound and fills in the void with newly recorded guitar work while keeping Bowie’s original vocal track intact.
- 7/23/2018
- by Daniel Kreps
- Rollingstone.com
Parlophone Records announced Wednesday that “David Bowie: Loving the Alien 1983-1988,” the fourth in its series of boxed sets compiling the late artist’s work from 1969, will be released on Oct. 12. The era was Bowie’s most commercially successful period and includes the hit albums “Let’s Dance” and “Tonight.”
The 11 CD/15 LP set follows the formidable collections “Five Years (1969-1973),” “Who Can I Be Now? (1974-1976),” and “A New Career in a New Town (1977-1982).”
It also includes a near-complete re-recording of Bowie’s 1987 album “Never Let Me Down,” which he’d often said he wanted to re-do, overseen by producer / engineer Mario McNulty with new instrumentation by longtime Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), and Tim Lefebvre (bass), as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on “Shining Star (Makin’ My Love).”
It...
The 11 CD/15 LP set follows the formidable collections “Five Years (1969-1973),” “Who Can I Be Now? (1974-1976),” and “A New Career in a New Town (1977-1982).”
It also includes a near-complete re-recording of Bowie’s 1987 album “Never Let Me Down,” which he’d often said he wanted to re-do, overseen by producer / engineer Mario McNulty with new instrumentation by longtime Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), and Tim Lefebvre (bass), as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on “Shining Star (Makin’ My Love).”
It...
- 7/19/2018
- by Variety Staff
- Variety Film + TV
David Bowie‘s mid-Eighties career will be explored in the new box set Loving the Alien (1983-1988), a massive collection that gathers the late icon’s albums, live LPs and more from the era.
The 11-cd or 15-lp Loving the Alien, due out October 12th, features three Bowie studio albums – 1983’s Let’s Dance, 1984’s Tonight and 1987’s Never Let Me Down – alongside a pair of first-time-on-vinyl live albums – Serious Moonlight (Live ’83) and Glass Spider (Live Montreal ’87) – and the newly assembled compilation Dance, which collects 12 contemporaneous remixes from the era.
The 11-cd or 15-lp Loving the Alien, due out October 12th, features three Bowie studio albums – 1983’s Let’s Dance, 1984’s Tonight and 1987’s Never Let Me Down – alongside a pair of first-time-on-vinyl live albums – Serious Moonlight (Live ’83) and Glass Spider (Live Montreal ’87) – and the newly assembled compilation Dance, which collects 12 contemporaneous remixes from the era.
- 7/19/2018
- by Daniel Kreps
- Rollingstone.com
This year’s Emmy race in the music categories takes on greater interest because a win in the song category could instantly give songwriters Benj Pasek and Justin Paul an Egot, having already won Oscar, Tony and Grammy awards.
Pasek and Paul — whose “La La Land,” “Greatest Showman” and “Dear Evan Hansen” songs have catapulted them into the front ranks of American songwriters in the past two years — are nominated for their new song, “In the Market for a Miracle,” written for Fox’s “A Christmas Story Live,” an adaptation of their 2012 stage musical.
They are just two of 28 first-time nominees in the six music categories, announced Thursday morning by the Television Academy for 2017-18 programs. Nearly 60 percent of all the music nominees are newcomers to the Emmy race. Ironically, several musicians were nominated for non-music categories: Donald Glover (“Atlanta”), John Legend and Sara Bareilles all received acting nods — and...
Pasek and Paul — whose “La La Land,” “Greatest Showman” and “Dear Evan Hansen” songs have catapulted them into the front ranks of American songwriters in the past two years — are nominated for their new song, “In the Market for a Miracle,” written for Fox’s “A Christmas Story Live,” an adaptation of their 2012 stage musical.
They are just two of 28 first-time nominees in the six music categories, announced Thursday morning by the Television Academy for 2017-18 programs. Nearly 60 percent of all the music nominees are newcomers to the Emmy race. Ironically, several musicians were nominated for non-music categories: Donald Glover (“Atlanta”), John Legend and Sara Bareilles all received acting nods — and...
- 7/12/2018
- by Jon Burlingame
- Variety Film + TV
Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday.
This week’s question: What’s the best new overlooked show of 2018 so far?
Ben Travers (@BenTTravers), IndieWire
The best score of 2018 belongs to Nicholas Britell for his work on “Succession.” The best soundtrack, though, comes from “Dear White People” (with “Legion” and “Atlanta” giving it a run for its money). Soundtracks enhance the story by providing punctuation marks, setting tone, and guiding (without manipulating) emotions through existing music choices. The aptly named “Dear White People Vol. 2” does precisely that. Few series are deft enough to place Erykah Badu so close to Jaden Smith, and fewer still pull in a key musical moment from a cast member — Ashley Blaine Ferguson just kills “Tyrone.”
My second choice is a tie between HBO’s “Barry” which music supervisor Liza Richardson kills it for song...
This week’s question: What’s the best new overlooked show of 2018 so far?
Ben Travers (@BenTTravers), IndieWire
The best score of 2018 belongs to Nicholas Britell for his work on “Succession.” The best soundtrack, though, comes from “Dear White People” (with “Legion” and “Atlanta” giving it a run for its money). Soundtracks enhance the story by providing punctuation marks, setting tone, and guiding (without manipulating) emotions through existing music choices. The aptly named “Dear White People Vol. 2” does precisely that. Few series are deft enough to place Erykah Badu so close to Jaden Smith, and fewer still pull in a key musical moment from a cast member — Ashley Blaine Ferguson just kills “Tyrone.”
My second choice is a tie between HBO’s “Barry” which music supervisor Liza Richardson kills it for song...
- 7/4/2018
- by Hanh Nguyen
- Indiewire
The Seagull and Head Over Heels director Michael Mayer on Adam Driver for the role John Malkovich originated in Lanford Wilson's Burn This: "It will be the first Broadway revival. He is just perfect for this part." Photo: Anne-Katrin Titze
While The Seagull, starring Annette Bening, Saoirse Ronan, Elisabeth Moss, and Brian Dennehy with Corey Stoll, Billy Howle, Jon Tenney, Michael Zegen, Glenn Fleshler and Mare Winningham is in cinemas across the Us, including the prestigious Paris Theatre, Michael Mayer is busy in preparation for an original Broadway musical (producers include Gwyneth Paltrow and Jordan Roth) that he is directing. Head Over Heels, based on Sir Philip Sidney's Arcadia, a 16th century masque, adapted by James Magruder, original book by Jeff Whitty, costumes by Arianne Phillips, scenic design by Julian Crouch, choreographed by Spencer Liff to the song catalogue of The Go-Go's and Belinda Carlisle, arranged by musical supervisor Tom Kitt,...
While The Seagull, starring Annette Bening, Saoirse Ronan, Elisabeth Moss, and Brian Dennehy with Corey Stoll, Billy Howle, Jon Tenney, Michael Zegen, Glenn Fleshler and Mare Winningham is in cinemas across the Us, including the prestigious Paris Theatre, Michael Mayer is busy in preparation for an original Broadway musical (producers include Gwyneth Paltrow and Jordan Roth) that he is directing. Head Over Heels, based on Sir Philip Sidney's Arcadia, a 16th century masque, adapted by James Magruder, original book by Jeff Whitty, costumes by Arianne Phillips, scenic design by Julian Crouch, choreographed by Spencer Liff to the song catalogue of The Go-Go's and Belinda Carlisle, arranged by musical supervisor Tom Kitt,...
- 6/20/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Music often provides the finishing touch for a limited series or TV movie, and this year’s crop contains a diverse range of sounds that enhance the stories.
Contemporary composer and arranger Nico Muhly, who moonlights in film, wrote his first TV score for Starz’s “Howards End,” based on the E.M. Forster novel. True to his classical roots, it has a chamber-music ambiance that emphasizes the story’s intimacy.
The biggest challenge, explains Muhly, involved the Schlegel sisters, played by Hayley Atwell and Philippa Coulthard: “They are slightly Bohemian, independent and learned, but there was a need to add a sense of yearning and poignancy to them,” he says. “I wanted the Wilcoxes’ music to be always slightly haunted by the music belonging to the first Mrs. Wilcox. Bast’s music was jagged and angular — stuck in an obsessive set of patterns.”
Muhly played piano and conducted an...
Contemporary composer and arranger Nico Muhly, who moonlights in film, wrote his first TV score for Starz’s “Howards End,” based on the E.M. Forster novel. True to his classical roots, it has a chamber-music ambiance that emphasizes the story’s intimacy.
The biggest challenge, explains Muhly, involved the Schlegel sisters, played by Hayley Atwell and Philippa Coulthard: “They are slightly Bohemian, independent and learned, but there was a need to add a sense of yearning and poignancy to them,” he says. “I wanted the Wilcoxes’ music to be always slightly haunted by the music belonging to the first Mrs. Wilcox. Bast’s music was jagged and angular — stuck in an obsessive set of patterns.”
Muhly played piano and conducted an...
- 6/7/2018
- by Jon Burlingame
- Variety Film + TV
Elisabeth Moss, Mare Winningham, Annette Bening, Saoirse Ronan, Michael Zegen, and Jon Tenney in the sublime costumes designed by Ann Roth for Michael Mayer's lush and layered take on The Seagull
In the second instalment of my conversation with The Seagull director, who is currently working on an upcoming Broadway production of Head Over Heels, based on the song catalogue of The Go-Go's and Belinda Carlisle with costumes by Arianne Phillips, Michael Mayer spoke about collaborating with screenwriter Stephen Karam (Tony Award winner for The Humans) and composer Nico Muhly.
Michael Mayer on Nico Muhly's music for Billy Howle's role in The Seagull: "[It] goes with the spirit of Konstantin who is young and trying to make new forms and is passionate about that."
Michael Mayer is a very busy creator. He has a Broadway revival of Lanford Wilson's Burn This with Adam Driver on board...
In the second instalment of my conversation with The Seagull director, who is currently working on an upcoming Broadway production of Head Over Heels, based on the song catalogue of The Go-Go's and Belinda Carlisle with costumes by Arianne Phillips, Michael Mayer spoke about collaborating with screenwriter Stephen Karam (Tony Award winner for The Humans) and composer Nico Muhly.
Michael Mayer on Nico Muhly's music for Billy Howle's role in The Seagull: "[It] goes with the spirit of Konstantin who is young and trying to make new forms and is passionate about that."
Michael Mayer is a very busy creator. He has a Broadway revival of Lanford Wilson's Burn This with Adam Driver on board...
- 5/20/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
An abundance of new Specialty releases will roll into theaters and on-demand this weekend, including newcomers with Hollywood A-listers such as Sony Pictures Classics’ drama The Seagull, based on the Chekhov play and starring Annette Bening, Saoirse Ronan and Elisabeth Moss. Olivia Holt, Skyler Gisondo, Kristin Chenoweth and Bruce Dern star in Cinedigm Entertainment’s comedy-romance Class Rank, making a day and date bow this weekend, while a cross-section of documentaries will open, hoping to tap some of the momentum of last weekend’s successful launch of non-fiction title Rbg. Good Deed Entertainment is opening Always At the Carlyle by Matthew Miele with a cast of stars effusing about the legendary Upper East Side New York hotel. Sara Driver’s Boom For Real: The Late Teenage Years of Jean-Michel Basquiat about the late artist’s pre-fame years in a now lost downtown Manhattan begins its run via Magnolia Pictures (which...
- 5/11/2018
- by Brian Brooks
- Deadline Film + TV
Every part in a Chekhov play, no matter how small, is a great part and filled with potential, and Elisabeth Moss proves that in this new screen version of “The Seagull,” which has been adapted by the playwright Stephen Karam.
Moss plays Masha, which is a small role in relation to the lead roles of the famous actress Arkadina and the ambitious ingénue Nina. At the start of “The Seagull,” Masha famously says, “I’m in mourning for my life,” but Karam cleverly begins his screenplay with the set-up of the last scene in the play and then flashes back to the beginning, when there still seems to be some hope for everyone.
Moss reads that well-known line about being in mourning for her life in a way that exactly catches the tone of Chekhov: deeply anguished yet also somehow comic. Chekhov considered “The Seagull” a comedy and called it that in his text, even though it is filled to the brim with the sadness of what can happen between people who love unrequitedly and compete with each other.
Watch Video: Saoirse Ronan, Annette Bening Row Into This Year's Oscar Race in 'The Seagull' Trailer
There have been other films of “The Seagull,” and many different contemporary stage productions. Sidney Lumet directed a movie adaptation with Vanessa Redgrave as Nina in 1968, and the 1975 Williamstown production was filmed for PBS with Blythe Danner as a very spontaneous, in-the-moment, and heartbreaking Nina. And anyone who saw Meryl Streep play Arkadina in “The Seagull” in Central Park in 2001 will remember her in it, especially the way she did an expert cartwheel on stage.
Arkadina is played by Annette Bening here, and her celebrated literary lover Trigorin is played by Corey Stoll. In the first scenes, which are presented as a flashback, Arkadina’s son Konstantin (Billy Howle, “On Chesil Beach”) has prepared an avant-garde play starring his girlfriend Nina (Saoirse Ronan), and Arkadina keeps interrupting the performance with rude remarks. Bening plays Arkadina in a much crueler way than she is usually portrayed in this scene; she is very cutting, and yet Bening is believable later when Arkadina wonders, “Why did I hurt him?”
Also Read: Annette Bening Joins Cast of Marvel Studios' 'Captain Marvel'
As played by Bening, Arkadina is a vain woman and a ruthless winner who is disgusted by her son’s weakness and pretentiousness and jealousy. In the big scene where Arkadina dresses Konstantin’s head wound after he has attempted suicide, Bening smiles at Howle more like a girlfriend than a mother. Bening’s Arkadina is a woman without a shred of maternal feeling, and this makes her very different from Streep’s Arkadina, who was angry with her son but still tied to him.
Stoll is an extremely sexy Trigorin, especially when he looks at Ronan’s Nina with bedroom eyes as he takes her on a boat ride and rows her along, but the tone of his voice sounds jaded and cruel, and this matches what we have seen and heard of Arkadina. (Never has Bening’s throaty voice sounded more deadly and more heartless than it does here.)
When Bening plays her second big scene, in which Arkadina has to do anything she can think of to hold on to Trigorin, director Michael Mayer keeps the camera steadily on her face as she flatters Trigorin out of his urge to leave her for the younger Nina. After Arkadina has won, Stoll’s Trigorin sits back and says, “I am weak and spineless…is that what women want?” This is a very funny line as delivered here, and it hits just the right tragic-comic note.
Watch Video: Saoirse Ronan Is a Confused Newlywed in the First Trailer for 'On Chesil Beach'
“The Seagull” has been “opened up” so that some scenes play outdoors, and that works well because these characters are supposed to be amidst nature on a country estate. This mobility helps keep the material fluid, as does the very hard-working score by Nico Muhly and Anton Sanko, which becomes particularly ominous before Konstantin’s attempted suicide (what sounds like a mixed male and female chorus starts to shriek on the soundtrack). But the most impressive thing about this film of “The Seagull” is that every role has been ideally cast.
Moss somehow manages to dominate the whole film and stay most in the memory in spite of limited footage, but Bening plays her last moment here extraordinarily well, and this closing scene with Arkadina generally gives actresses trouble. (Streep didn’t seem to know how to play it, as if it were a puzzle that she couldn’t figure out.)
Bening is physically fluttery throughout most of the film, which expresses Arkadina’s desperate need to never face the facts. But in our last view of this woman, Bening decides to keep very still, her eyes glassy and fixed on some distant point, and the effect is like a surprisingly bold move in an otherwise circumspect poker game. The PBS version of “The Seagull” with Blythe Danner is still the best film adaptation of this play, but this movie has much to recommend it.
Read original story ‘The Seagull’ Film Review: All-Star Cast Flourishes in Chekhov Adaptation At TheWrap...
Moss plays Masha, which is a small role in relation to the lead roles of the famous actress Arkadina and the ambitious ingénue Nina. At the start of “The Seagull,” Masha famously says, “I’m in mourning for my life,” but Karam cleverly begins his screenplay with the set-up of the last scene in the play and then flashes back to the beginning, when there still seems to be some hope for everyone.
Moss reads that well-known line about being in mourning for her life in a way that exactly catches the tone of Chekhov: deeply anguished yet also somehow comic. Chekhov considered “The Seagull” a comedy and called it that in his text, even though it is filled to the brim with the sadness of what can happen between people who love unrequitedly and compete with each other.
Watch Video: Saoirse Ronan, Annette Bening Row Into This Year's Oscar Race in 'The Seagull' Trailer
There have been other films of “The Seagull,” and many different contemporary stage productions. Sidney Lumet directed a movie adaptation with Vanessa Redgrave as Nina in 1968, and the 1975 Williamstown production was filmed for PBS with Blythe Danner as a very spontaneous, in-the-moment, and heartbreaking Nina. And anyone who saw Meryl Streep play Arkadina in “The Seagull” in Central Park in 2001 will remember her in it, especially the way she did an expert cartwheel on stage.
Arkadina is played by Annette Bening here, and her celebrated literary lover Trigorin is played by Corey Stoll. In the first scenes, which are presented as a flashback, Arkadina’s son Konstantin (Billy Howle, “On Chesil Beach”) has prepared an avant-garde play starring his girlfriend Nina (Saoirse Ronan), and Arkadina keeps interrupting the performance with rude remarks. Bening plays Arkadina in a much crueler way than she is usually portrayed in this scene; she is very cutting, and yet Bening is believable later when Arkadina wonders, “Why did I hurt him?”
Also Read: Annette Bening Joins Cast of Marvel Studios' 'Captain Marvel'
As played by Bening, Arkadina is a vain woman and a ruthless winner who is disgusted by her son’s weakness and pretentiousness and jealousy. In the big scene where Arkadina dresses Konstantin’s head wound after he has attempted suicide, Bening smiles at Howle more like a girlfriend than a mother. Bening’s Arkadina is a woman without a shred of maternal feeling, and this makes her very different from Streep’s Arkadina, who was angry with her son but still tied to him.
Stoll is an extremely sexy Trigorin, especially when he looks at Ronan’s Nina with bedroom eyes as he takes her on a boat ride and rows her along, but the tone of his voice sounds jaded and cruel, and this matches what we have seen and heard of Arkadina. (Never has Bening’s throaty voice sounded more deadly and more heartless than it does here.)
When Bening plays her second big scene, in which Arkadina has to do anything she can think of to hold on to Trigorin, director Michael Mayer keeps the camera steadily on her face as she flatters Trigorin out of his urge to leave her for the younger Nina. After Arkadina has won, Stoll’s Trigorin sits back and says, “I am weak and spineless…is that what women want?” This is a very funny line as delivered here, and it hits just the right tragic-comic note.
Watch Video: Saoirse Ronan Is a Confused Newlywed in the First Trailer for 'On Chesil Beach'
“The Seagull” has been “opened up” so that some scenes play outdoors, and that works well because these characters are supposed to be amidst nature on a country estate. This mobility helps keep the material fluid, as does the very hard-working score by Nico Muhly and Anton Sanko, which becomes particularly ominous before Konstantin’s attempted suicide (what sounds like a mixed male and female chorus starts to shriek on the soundtrack). But the most impressive thing about this film of “The Seagull” is that every role has been ideally cast.
Moss somehow manages to dominate the whole film and stay most in the memory in spite of limited footage, but Bening plays her last moment here extraordinarily well, and this closing scene with Arkadina generally gives actresses trouble. (Streep didn’t seem to know how to play it, as if it were a puzzle that she couldn’t figure out.)
Bening is physically fluttery throughout most of the film, which expresses Arkadina’s desperate need to never face the facts. But in our last view of this woman, Bening decides to keep very still, her eyes glassy and fixed on some distant point, and the effect is like a surprisingly bold move in an otherwise circumspect poker game. The PBS version of “The Seagull” with Blythe Danner is still the best film adaptation of this play, but this movie has much to recommend it.
Read original story ‘The Seagull’ Film Review: All-Star Cast Flourishes in Chekhov Adaptation At TheWrap...
- 5/10/2018
- by Dan Callahan
- The Wrap
Every so often, it’s nice to see a film that’s been on the shelf for years finally come out and actually get solid reviews. Usually, that’s the mark of a terrible flick. Here, in the case of The Seagull, we have a much happier outcome. Initially earmarked to come out a few years ago, it finally played at the recent Tribeca Film Festival, before heading into release this week. Too often, films of this ilk end up like Tulip Fever, finally released to outright pans. The Seagull, while not likely to end up being championed like Margaret, which took nearly a decade to come out but was feted upon release, still is the rare delayed title to clearly not have been shelved because of quality. The movie is an adaptation of the classic Anton Chekhov play. Here’s the synopsis from IMDb, in case you’re unfamiliar...
- 5/10/2018
- by Joey Magidson
- Hollywoodnews.com
Led by Nicole Kidman and Elle Fanning, with a soundtrack featuring artists including Nico Muhly, Jamie Stewart of Xiu Xiu, Matmos and AC Newman of The New Pornographers, it’s a little bit disappointing that “How To Talk To Girls At Parties” has been a bit lost in the wind since debuting at Cannes. The film is gearing up to roll out internationally as we wait any news of a U.S.
Continue reading ‘How To Talk To Girls At Parties’ Trailer: Nicole Kidman & Elle Fanning Make Punk A Way Of Life at The Playlist.
Continue reading ‘How To Talk To Girls At Parties’ Trailer: Nicole Kidman & Elle Fanning Make Punk A Way Of Life at The Playlist.
- 10/6/2017
- by Kevin Jagernauth
- The Playlist
[Editor’s note: This post contains very minor spoilers for Season 1 of “Neo Yokio.”]
Netflix has a fascinating track record with animation, taking big chances especially with adult-aimed series like “BoJack Horseman” and “F Is for Family” over the last few years. Its latest venture, “Neo Yokio,” looks nothing like either of those series — instead, it draws its visual inspiration from decades of anime as it brings us into the futuristic world created by Vampire Weekend’s Ezra Koenig.
What does give “Neo Yokio” something in common with its Netflix sisters is its A-list voice cast, which features an eclectic but overall critically acclaimed group of actors, including Jaden Smith as young demon hunter Kaz, who just wants to be the most eligible bachelor in town, despite the growing sense that things might not be what they seem in this society.
Who are the other famous faces behind the scenes? Below is an illustrated guide to all of Neo Yokio’s VIPs.
Read More:...
Netflix has a fascinating track record with animation, taking big chances especially with adult-aimed series like “BoJack Horseman” and “F Is for Family” over the last few years. Its latest venture, “Neo Yokio,” looks nothing like either of those series — instead, it draws its visual inspiration from decades of anime as it brings us into the futuristic world created by Vampire Weekend’s Ezra Koenig.
What does give “Neo Yokio” something in common with its Netflix sisters is its A-list voice cast, which features an eclectic but overall critically acclaimed group of actors, including Jaden Smith as young demon hunter Kaz, who just wants to be the most eligible bachelor in town, despite the growing sense that things might not be what they seem in this society.
Who are the other famous faces behind the scenes? Below is an illustrated guide to all of Neo Yokio’s VIPs.
Read More:...
- 9/23/2017
- by Liz Shannon Miller
- Indiewire
Hokey aliens invade the seventies British punk scene in John Cameron Mitchell’s “How to Talk to Girls at Parties,” and the results are not nearly as ridiculous as that sounds — for a while, at least. Channeling the communal intimacy of “Shortbus” and the riotous musicality of “Hedwig and the Angry Inch,” Mitchell transforms Neil Gaiman’s sci-fi short story into a vibrant, edgy and at times outright goofy statement on tough antiestablishment rebels and freewheeling hippy vibes, suggesting that they’re not really all that that different.
At its center, scrawny, leather-clad punk teen Enn (Alex Sharp) veers across the grimy London suburb of Croydon alongside equally rambunctious pals John (Ethan Lawrence) and Vic (Abraham Lewis), heckling at passersby en route to a noisy concert. As English rockers The Damned blast on the soundtrack, the frame rate gets jagged and the kids seem to content to run wild in...
At its center, scrawny, leather-clad punk teen Enn (Alex Sharp) veers across the grimy London suburb of Croydon alongside equally rambunctious pals John (Ethan Lawrence) and Vic (Abraham Lewis), heckling at passersby en route to a noisy concert. As English rockers The Damned blast on the soundtrack, the frame rate gets jagged and the kids seem to content to run wild in...
- 5/21/2017
- by Eric Kohn
- Indiewire
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