Scores for ‘Nope,’ ‘White Lotus,’ ‘God of War: Ragnarok’ Win Top Honors at ASCAP Screen Music Awards
Some of today’s most talked-about film and TV composers walked off with Composers Choice Awards at Tuesday night’s annual Screen Music Awards of the American Society of Composers, Authors and Publishers (ASCAP) in West Hollywood.
Michael Abels won Film Score of the Year for Jordan Peele’s sci-fi horror movie “Nope.” Cristobal Tapia de Veer and Kim Neundorf won Television Score of the Year for HBO’s black comedy “The White Lotus” And Bear McCreary won Video Game Score of the Year for Sony Interactive’s acclaimed “God of War: Ragnarok.”
In a tie, Documentary Score of the Year went to both Amanda Jones for the National Geographic nature series “Super/Natural” and Jeff Cardoni for HBO Max’s skateboarding doc “Tony Hawk: Until the Wheels Fall Off.” Cristobal Tapia de Veer also won a second award for Television Theme of the Year for “The White Lotus.”
Composers Choice...
Michael Abels won Film Score of the Year for Jordan Peele’s sci-fi horror movie “Nope.” Cristobal Tapia de Veer and Kim Neundorf won Television Score of the Year for HBO’s black comedy “The White Lotus” And Bear McCreary won Video Game Score of the Year for Sony Interactive’s acclaimed “God of War: Ragnarok.”
In a tie, Documentary Score of the Year went to both Amanda Jones for the National Geographic nature series “Super/Natural” and Jeff Cardoni for HBO Max’s skateboarding doc “Tony Hawk: Until the Wheels Fall Off.” Cristobal Tapia de Veer also won a second award for Television Theme of the Year for “The White Lotus.”
Composers Choice...
- 5/17/2023
- by Jon Burlingame
- Variety Film + TV
The announcement of winners for the ASCAP Screen Music Awards, being held virtually again for 2022 and announced Monday morning, included revealing the top vote-getters for several Composers’ Choice Awards, including the scores for “Encanto” and “The White Lotus.”
Germaine Franco prevailed for film score of the year for “Encanto.” Cristobal Tapia de Veer won two of these peer-voted awards, for television score of the year and television theme as well, for “The White Lotus. The video game score of the year honor went to Wataru Hokoyama for “Ratchet and Clank: Rift Apart.” Triumphing in the documentary score of the year category was Amanda Jones for “Dreamland: The Burning of Black Wall Street.”
Those five Composers’ Choice Awards come on top of ASCAP’s traditional Screen Music Awards, which collect date to honor the most-consumed music of the year in the fields of TV, film and video games, with dozens of winners cited.
Germaine Franco prevailed for film score of the year for “Encanto.” Cristobal Tapia de Veer won two of these peer-voted awards, for television score of the year and television theme as well, for “The White Lotus. The video game score of the year honor went to Wataru Hokoyama for “Ratchet and Clank: Rift Apart.” Triumphing in the documentary score of the year category was Amanda Jones for “Dreamland: The Burning of Black Wall Street.”
Those five Composers’ Choice Awards come on top of ASCAP’s traditional Screen Music Awards, which collect date to honor the most-consumed music of the year in the fields of TV, film and video games, with dozens of winners cited.
- 5/2/2022
- by Chris Willman
- Variety Film + TV
The 2021 ASCAP Screen Music Awards kicked off today on @ASCAP and @ASCAPScreen Instagram with the reveal of this year’s ASCAP Composers’ Choice Awards. The rollout began a social media celebration through Thursday, May 20 of ASCAP Screen Music Award winners featuring acceptance speeches, exclusive photos, videos and other surprises from the music creators who scored the on-screen entertainment that comforted and inspired the world throughout 2020.
With an expanded number of categories and a diverse set of nominees, the ASCAP Composers’ Choice Awards recognize winners chosen by the ASCAP composer and songwriter community. The 2021 recipients share a common thread in that each of their projects tells a story of humanity’s triumph over adversity. They include this year’s Oscar-winning animated film, a landmark documentary on climate change, a horror drama examining racism in America, an Emmy-nominated sci-fi series and an action-adventure game set in a post-apocalyptic United States:
● Film Score...
With an expanded number of categories and a diverse set of nominees, the ASCAP Composers’ Choice Awards recognize winners chosen by the ASCAP composer and songwriter community. The 2021 recipients share a common thread in that each of their projects tells a story of humanity’s triumph over adversity. They include this year’s Oscar-winning animated film, a landmark documentary on climate change, a horror drama examining racism in America, an Emmy-nominated sci-fi series and an action-adventure game set in a post-apocalyptic United States:
● Film Score...
- 5/17/2021
- by Michelle Hannett
- WeAreMovieGeeks.com
The ASCAP Screen Music Awards kicked off a four-day virtual celebration Monday morning with the naming of winners in the peer-voted ASCAP Composers’ Choice Awards, with the score for Pixar’s “Soul” managing to notch yet another triumph as its sweep continues virtually unabated.
The number of categories for the performing rights organization’s still fairly new division of awards voted by fellow songwriters and composers was expanded in this round, with documentary score and television theme of the year being added for 2021.
In the film score of the year category, the “Soul” music proved that it has some life — or afterlife — left in it yet after recently triumphing at the Oscars. The award went to Trent Reznor and Jon Batiste, two of the composing trio behind the music.
A television score of the year award replaces the former TV composer of the year category, with the award more clearly...
The number of categories for the performing rights organization’s still fairly new division of awards voted by fellow songwriters and composers was expanded in this round, with documentary score and television theme of the year being added for 2021.
In the film score of the year category, the “Soul” music proved that it has some life — or afterlife — left in it yet after recently triumphing at the Oscars. The award went to Trent Reznor and Jon Batiste, two of the composing trio behind the music.
A television score of the year award replaces the former TV composer of the year category, with the award more clearly...
- 5/17/2021
- by Chris Willman
- Variety Film + TV
ASCAP raises the curtain on its second virtual celebration of annual award winners today through June 25, recognizing its top film, television and video game composers as recipients of 2020 ASCAP Screen Music Awards.
The accolades will take place with the hashtag #ASCAPAwards on ASCAP’s Facebook, Twitter, and on Instagram @ASCAP and @ASCAPScreen. Each winner will be honored in a post that enables fans, friends and peers to join in congratulating the music creators that bring their favorite onscreen entertainment to life. ASCAP will share exclusive photos and videos from the winning composers — and special celebrity guests — as part of the event.
Top Box Office Film goes to Hans Zimmer for The Lion King.
Other Top Box Office winners include Pinar Toprak (Captain Marvel), who will appear on video on ASCAP social media providing a tour of her home studio, and Lorne Balfe (Gemini Man), who created a special video documenting the receipt of his award.
The accolades will take place with the hashtag #ASCAPAwards on ASCAP’s Facebook, Twitter, and on Instagram @ASCAP and @ASCAPScreen. Each winner will be honored in a post that enables fans, friends and peers to join in congratulating the music creators that bring their favorite onscreen entertainment to life. ASCAP will share exclusive photos and videos from the winning composers — and special celebrity guests — as part of the event.
Top Box Office Film goes to Hans Zimmer for The Lion King.
Other Top Box Office winners include Pinar Toprak (Captain Marvel), who will appear on video on ASCAP social media providing a tour of her home studio, and Lorne Balfe (Gemini Man), who created a special video documenting the receipt of his award.
- 6/24/2020
- by Michelle Hannett
- WeAreMovieGeeks.com
A week after ASCAP gave out its pop awards, the performing rights organization rolled out another round of kudos with the ASCAP Screen Music Awards for composers, announced online Tuesday morning as the kickoff to a two-day online event taking place in lieu of the org’s usual black-tie dinner in Beverly Hills as a result of ongoing quarantining.
Hans Zimmer won the trophy for top box office film for scoring the blockbuster remake of “The Lion King.” In television, the award for most performed themes and underscore went to David Vanacore, whose most-heard work of the year included “Survivor” and “Deal or No Deal.” Siddhartha Khosla, of “This Is Us” fame, won for top network television series.
Although those awards represent acclaim represented in sheer commercial numbers, ASCAP also polls its composer and songwriter members to give out three peer-voted awards. In the Composer’s Choice categories, John Powell...
Hans Zimmer won the trophy for top box office film for scoring the blockbuster remake of “The Lion King.” In television, the award for most performed themes and underscore went to David Vanacore, whose most-heard work of the year included “Survivor” and “Deal or No Deal.” Siddhartha Khosla, of “This Is Us” fame, won for top network television series.
Although those awards represent acclaim represented in sheer commercial numbers, ASCAP also polls its composer and songwriter members to give out three peer-voted awards. In the Composer’s Choice categories, John Powell...
- 6/23/2020
- by Chris Willman
- Variety Film + TV
Shows on the Discovery Channel, Animal Planet, Hgtv and Food Network may sound very different in the coming months. That’s because Discovery Networks, which owns those and other cable channels, is instituting a new pay policy that virtually assures no composer currently working on their programs will do so after Dec. 31.
Discovery has informed many of its top composers that, beginning in 2020, they must give up all performance royalties paid for U.S. airings, and that they must sign away their ability to collect royalties on all past shows on its networks.
Music makers surmise that the policy will result in an 80% to 90% drop in their income from these shows. It’s the last straw for many composers who say they will refuse to continue to score such series as “Gold Rush,” “Deadliest Catch” (pictured) and “Alaskan Bush People,” calling the new contract provisions “unprofessional,” “bullying,” “a corporate money grab” and “evil.
Discovery has informed many of its top composers that, beginning in 2020, they must give up all performance royalties paid for U.S. airings, and that they must sign away their ability to collect royalties on all past shows on its networks.
Music makers surmise that the policy will result in an 80% to 90% drop in their income from these shows. It’s the last straw for many composers who say they will refuse to continue to score such series as “Gold Rush,” “Deadliest Catch” (pictured) and “Alaskan Bush People,” calling the new contract provisions “unprofessional,” “bullying,” “a corporate money grab” and “evil.
- 12/12/2019
- by Jon Burlingame
- Variety Film + TV
The American Society of Composers, Authors and Publishers (Ascap) has announced today that composers Angelo Badalamenti and Alf Clausen will be honored at the 26th Annual Ascap Film and Television Music Awards on June 23, 2011 at the Beverly Hilton Hotel in Los Angeles, California. Badalamenti will be receiving the Ascap Henry Mancini Award, which is awarded to composers in recognition of their outstanding achievements and contributions to the world of film and television music. The composer is best known for his scores for director David Lynch who will be presenting Badalamenti with the award at the ceremony. His credits include Blue Velvet, Twin Peaks, The City of Lost Children and A Very Long Engagement. He also has been nominated for two Golden Globes for his scores for The Straight Story and Mulholland Drive. Previous recipients of the award include James Newton Howard, Hans Zimmer, Marc Shaiman, Howard Shore, Alan Silvestri and Randy Newman.
- 6/2/2011
- by filmmusicreporter
- Film Music Reporter
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
Opened Friday Jan. 9
LONDON -- In a remote desert town in South Australia in 1958, a 9-year-old girl is found raped and murdered. On the flimsiest evidence, local police almost immediately arrest a young Aboriginal man and obtain a confession. Only the efforts of a stubborn, inexperienced Adelaide lawyer stand between the accused and the hangman.
Craig Lahiff's sturdy courtroom drama "Black and White", based on real events, follows a predictable path and is unlikely to make substantial gains at the boxoffice, but it's a laudable effort and certain to please fans of Robert Carlyle.
The "Full Monty" star plays obstinate lawyer David O'Sullivan, whose dislike of the antiquated British-based Australian judiciary drives him to take seriously a case he's obliged to take without a fee. He quickly learns that the Aboriginal, Max Stuart, played with unsentimental grace by David Ngoombujarra, is illiterate and put his mark on a confession he couldn't read.
When it turns out that Curtis was in police custody for being drunk at the time the murder took place, it appears that a dismissal is inevitable. But the pathologist changes her mind and fixes the death outside the time frame of his alibi.
Only when he's sent for trial does Curtis claim that the police beat him in order to obtain the confession. By now, O'Sullivan is going head-to-head with a pillar of the judicial establishment, Roderic Chamberlain, played with typical elegance and power by Charles Dance.
More evidence emerges that tends to suggest Curtis' innocence when a compassionate priest becomes involved, but Curtis is convicted and sentenced to hang. O'Sullivan's fight to win appeals goes all the way up to a Royal Commission, putting Curtis near the hangman's door seven times, while the local newspaper -- published by one Rupert Murdoch -- gets on the bandwagon to defend him.
Ben Mendelsohn plays the young Murdoch as a callow opportunist, and the film suggests that his enthusiasm for the campaign swiftly ended when he was threatened with prosecution for seditious libel.
The film dips a toe into the role of newspapers influencing trials but drops it as a topic to focus on O'Sullivan's class struggle with Chamberlain. Screenwriter Louis Nowra and director Lahiff develop that theme effectively and take the trouble to invest Chamberlain with considerable human dimension.
There is a clever scene in which the aristocratic hopeful for the chief justice's chair snarls out his view of the case to his wife and their genteel friends, sparing them no brutal detail of the rape and murder as he believes they happened.
O'Sullivan runs into almost uniformly supercilious representatives of the British legal establishment, however, all with condescending stares and snooty voices. But the lawyer's dependence on his reluctant but loyal partner, played sympathetically by Kerry Fox, is well drawn, and at no point does Carlyle allow himself to showboat. His is a fully professional performance that shows no strain from the fact that he carries the film on his shoulders.
Lahiff shows little visual flair, and the film will fit nicely on the small screen. It's a grim tale not told in a grim way
an honorable argument not angry enough. A bit more of Chamberlain's superb self-belief might have given the piece a lot more power.
BLACK AND WHITE
Tartan Films
Credits:
Director: Craig Lahiff
Screenwriter: Louis Nowra
Producers: Helen Leake, Nik Powell
Director of photography: Geoffrey Simpson
Production designer: Murray Picknett
Costume designer: Annie Marshallp
Editor: Lee Smith
Cast:
David O'Sullivan: Robert Carlyle
Roderic Chamberlain: Charles Dance
Helen Devaney: Kerry Fox
Father Tom Dixon: Colin Friels
Rupert Murdoch: Ben Mendelsohn
Max Stuart: David Ngoombujarra
Running time -- 100 minutes
No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
LONDON -- In a remote desert town in South Australia in 1958, a 9-year-old girl is found raped and murdered. On the flimsiest evidence, local police almost immediately arrest a young Aboriginal man and obtain a confession. Only the efforts of a stubborn, inexperienced Adelaide lawyer stand between the accused and the hangman.
Craig Lahiff's sturdy courtroom drama "Black and White", based on real events, follows a predictable path and is unlikely to make substantial gains at the boxoffice, but it's a laudable effort and certain to please fans of Robert Carlyle.
The "Full Monty" star plays obstinate lawyer David O'Sullivan, whose dislike of the antiquated British-based Australian judiciary drives him to take seriously a case he's obliged to take without a fee. He quickly learns that the Aboriginal, Max Stuart, played with unsentimental grace by David Ngoombujarra, is illiterate and put his mark on a confession he couldn't read.
When it turns out that Curtis was in police custody for being drunk at the time the murder took place, it appears that a dismissal is inevitable. But the pathologist changes her mind and fixes the death outside the time frame of his alibi.
Only when he's sent for trial does Curtis claim that the police beat him in order to obtain the confession. By now, O'Sullivan is going head-to-head with a pillar of the judicial establishment, Roderic Chamberlain, played with typical elegance and power by Charles Dance.
More evidence emerges that tends to suggest Curtis' innocence when a compassionate priest becomes involved, but Curtis is convicted and sentenced to hang. O'Sullivan's fight to win appeals goes all the way up to a Royal Commission, putting Curtis near the hangman's door seven times, while the local newspaper -- published by one Rupert Murdoch -- gets on the bandwagon to defend him.
Ben Mendelsohn plays the young Murdoch as a callow opportunist, and the film suggests that his enthusiasm for the campaign swiftly ended when he was threatened with prosecution for seditious libel.
The film dips a toe into the role of newspapers influencing trials but drops it as a topic to focus on O'Sullivan's class struggle with Chamberlain. Screenwriter Louis Nowra and director Lahiff develop that theme effectively and take the trouble to invest Chamberlain with considerable human dimension.
There is a clever scene in which the aristocratic hopeful for the chief justice's chair snarls out his view of the case to his wife and their genteel friends, sparing them no brutal detail of the rape and murder as he believes they happened.
O'Sullivan runs into almost uniformly supercilious representatives of the British legal establishment, however, all with condescending stares and snooty voices. But the lawyer's dependence on his reluctant but loyal partner, played sympathetically by Kerry Fox, is well drawn, and at no point does Carlyle allow himself to showboat. His is a fully professional performance that shows no strain from the fact that he carries the film on his shoulders.
Lahiff shows little visual flair, and the film will fit nicely on the small screen. It's a grim tale not told in a grim way
an honorable argument not angry enough. A bit more of Chamberlain's superb self-belief might have given the piece a lot more power.
BLACK AND WHITE
Tartan Films
Credits:
Director: Craig Lahiff
Screenwriter: Louis Nowra
Producers: Helen Leake, Nik Powell
Director of photography: Geoffrey Simpson
Production designer: Murray Picknett
Costume designer: Annie Marshallp
Editor: Lee Smith
Cast:
David O'Sullivan: Robert Carlyle
Roderic Chamberlain: Charles Dance
Helen Devaney: Kerry Fox
Father Tom Dixon: Colin Friels
Rupert Murdoch: Ben Mendelsohn
Max Stuart: David Ngoombujarra
Running time -- 100 minutes
No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
- 1/27/2004
- The Hollywood Reporter - Movie News
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
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