Motion picture – Fauve http://fauve.info/ Fri, 24 Jun 2022 07:51:18 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://fauve.info/wp-content/uploads/2021/10/icon-120x120.png Motion picture – Fauve http://fauve.info/ 32 32 ‘ELVIS’ Movie Soundtrack Review – Entertainment Focus https://fauve.info/elvis-movie-soundtrack-review-entertainment-focus/ Fri, 24 Jun 2022 07:51:18 +0000 https://fauve.info/elvis-movie-soundtrack-review-entertainment-focus/ Undoubtedly one of the most anticipated films of the year, Baz Luhrmann’s ‘ELVIS’ hits cinemas today and is sure to be a box office hit. Starring Austin Butler (“The Carrie Diaries”) as Elvis Presley, the film tells the story of one of music’s most iconic entertainers and, as you’d expect, it’s packed with music. Lasting […]]]>

Undoubtedly one of the most anticipated films of the year, Baz Luhrmann’s ‘ELVIS’ hits cinemas today and is sure to be a box office hit. Starring Austin Butler (“The Carrie Diaries”) as Elvis Presley, the film tells the story of one of music’s most iconic entertainers and, as you’d expect, it’s packed with music. Lasting just under 3 hours, it’s no surprise that the accompanying soundtrack is an expansive collection of 36 songs that lasts almost 2 hours. A mix of Elvis recordings (refined for the film or remixed of course), songs by Butler and other stars of the film, and new tracks from current music stars, “ELVIS” is a veritable treasure trove in which dip.

I’ll admit up front that I haven’t seen the movie ‘ELVIS’ yet and that makes this review a little hard to do justice. Listening to ‘ELVIS’ cover to cover, it doesn’t seem like the most cohesive collection and it’s hard to see where songs by modern artists fit in. The project’s first single is ‘Vegas’ by Doja Cat, which sees rapper Shonka sample Dukureh’s version of ‘Hound Dog’, and it continues the experimental approach Luhrmann has taken with previous soundtracks including ‘Moulin Rouge’. ‘ and ‘The Great Gatsby’. The idea here is to show the huge impact that Elvis had on modern music and artists. It’s certainly interesting but how it’s used in the movie remains to be seen (at least by me).

Other new tracks on set include Eminem & Cee-Lo Green’s “The King and I” which samples “Jailhouse Rock”, Swae Lee & Diplo’s “Tupelo Shuffle” which samples “That’s Alright Mama” and “Product of the Ghetto” by Nardo Wick. ‘ which features Elvis singing ‘In The Ghetto’. There are also plenty of remixes, including Stuart Price’s version of “I Got a Feelin’ in My Body”, reminiscent of Junkie XL’s remix of “A Little Less Conversation”, and PNAU’s mix of “Suspicious Minds” and “Any Day Now”. ‘ for ‘Don’t fly away’.

Much has been made of Butler’s performance as Elvis in the film and he has three songs on the soundtrack. We hear his takes on “Hound Dog”, “Trouble” and “Baby, Let’s Play House”. It’s remarkable how much he looks like Elvis, and he certainly convinces with his rock’n’roll swagger and Elvis-esque growls. We hear Butler and Elvis together on “Vegas Rehearsal / That’s All Right” and it’s a prime example of the magic Luhrmann is able to conjure.

Butler isn’t the only actor to shine. British singer Yola, who plays Sister Rosetta Tharpe, wows with “Strange Things Are Happening Every Day” and Shonka Dukureh, who plays Big Mama Thornton, contributes a searing rendition of “Hound Dog.”

Of course, there are also plenty of Elvis songs to dig into. From the ’68 Comeback Special’ medley to new mixes of ‘Burning Love’ and ‘Polk Salad Annie’, the final part of the soundtrack really delves into the magic the King has created over the years. No one has come close to what they managed to do and to hear these songs again in these new forms is quite special.

It may be sprawling, but the soundtrack to ‘ELVIS’ shows the extent of the King’s influence. He has dabbled in so many musical genres in his career and hearing his songs alongside the artists he now influences is a unique and interesting experience. I can’t wait to see the film to understand how it all fits together but it’s without a doubt the most interesting soundtrack of the year!

List of tracks: 1. Suspicious Minds Vocal Intro – Elvis Presley 2. The Thus Sprach American Trilogy – Elvis Presley 3. Vegas – Doja Cat 4. The King and I – Eminem & Cee-Lo Green 5. Tupelo Shuffle – Diplo & Swae Lee 6. Feeling in My Body – Elvis Presley x Stuart Price 7. Craw Fever – Elvis Presley 8. Don’t Fly Away – Elvis Presley x PNAU 9. Can’t Help Falling In Love – Kacey Musgraves 10. Ghetto Product – Nardo Wick 11. If I Can Dream – Maneskin 12. Cotton Candy Land – Steve Nicks and Chris Isaak 13. Baby Let’s Play House – Austin Butler 14. I’m Coming Home – Elvis Presley 15. Hound Dog – Shonka Dukureh 16. Tutti Frutti – The Greenes 17. Strange Things Happen – Yola 18. Hound Dog – Austin Butler 19. Let It All Linger – Denzel Curry 20. Trouble – Austin Butler 21. Feeling Inside My Body – Lenesha Randolph 22. Edge of Reality ( Dark Shadows) – Elvis Presley x Tame Impala 23. Summer Kisses In My Body (DNA) – Elvis Presley 24. 68 Comeback Special (Medle y) – Elvis Presley 25. Sometimes I Feel Like A Word Child Without Her – Jazmine Sullivan 26. If I Can Dream – Elvis Presley 27. Any Day Now – Elvis Presley 28. The Power Of My Love – Jack White x Elvis Presley 29. Vegas Rehearsal Is Good – Austin Butler & Elvis Presley 30. Suspicious Minds – Elvis Presley 31. Polk Annie Salad – Elvis Presley 32. Burning Love – Elvis Presley 33. It’s Only The Love – Elvis Presley 34. Suspicious Minds – Paravi 35. Into the Ghetto (Worlds Turn Remix) – Elvis Presley x Nardo Wick 36 Unleashed Melody – Elvis Presley Record company: RCA recordings Release date: 24e June 2022 Buy ‘ELVIS’ now

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Disney shares LIGHTYEAR movie soundtrack https://fauve.info/disney-shares-lightyear-movie-soundtrack/ Mon, 20 Jun 2022 15:05:29 +0000 https://fauve.info/disney-shares-lightyear-movie-soundtrack/ Academy Award®-winning composer Michael Giacchino is responsible for the scores of eight Pixar films, but “Lightyear” stands out as a true labor of love. “What I enjoyed so much about working on ‘Lightyear’ is that it’s not just a sci-fi movie, it’s a sci-fi movie that exists in Andy’s world” , says Giacchino. “I felt […]]]>

Academy Award®-winning composer Michael Giacchino is responsible for the scores of eight Pixar films, but “Lightyear” stands out as a true labor of love. “What I enjoyed so much about working on ‘Lightyear’ is that it’s not just a sci-fi movie, it’s a sci-fi movie that exists in Andy’s world” , says Giacchino.

“I felt the music needed to embody the love Andy felt watching Buzz on screen for the first time. The more I thought of Andy in the cinema watching this movie, the more I realized that ‘Lightyear’ is exactly the kind of movie that I would have loved when I was a kid. So, I tried to inject into the music as much fun and childlike joy as possible, to honor the spirit of children – like me and Andy – seeing their favorite movies on the big screen for the very first time.”

“Michael Giacchino has been a friend and colleague for many years now, but that’s not the only reason he was our first and only choice,” says producer Galyn Susman. “‘Lightyear’ is a sci-fi action-adventure movie, and it needs a bombastic sci-fi score. Between ‘Star Trek’ and ‘Rogue One,’ it clearly proved its sci-fi chops -fiction.”

The original score of “Lightyear” was recorded over 15 days with an 89-piece orchestra and a 39-member choir. Amid the COVID pandemic, sections were recorded separately in five different groups: strings, piano, and harp; brass; the winds; rhythm and percussion section; and choir. “‘Lightyear’ is my first Pixar movie to have a choir,” says Giacchino. “In order to firmly ground this score and this film in the world of great sci-fi movies, I felt it was a really important element to have, especially during Zurg’s theme.”

The composer adds: “The main themes of ‘Lightyear’ are for Buzz, the Hawthornes and Zurg. Buzz’s theme is almost always played by the horns, and it’s about the excitement of exploring space and the nobility of this quest. The Hawthornes, Izzy and Alisha also have a theme, which is more about family and anything that brings Buzz back to Earth. As for Zurg, his theme is just big, scary and evil. He’s the bad guy ultimate.

“With Michael, you know you’re in professional hands, and honestly, he’s so much fun working with him that you can hear that fun in his music,” Susman says. “The themes he creates have a personality in themselves. You hear the theme and realize that it really captured the essence of that character.”

But composing the score for “Lightyear” was not without its challenges. “One of my favorite sequences is called Mission Perpetual,” says Giacchino. “It’s at the beginning of the film that Buzz tries to accomplish a mission and keeps failing. It was an exciting challenge for me because there was so much that the music had to convey: Buzz’s frustration with himself- self and the sadness of being alone in his pursuit, but also his unwavering ambition and drive to achieve his goal. I myself went through a similar “mission” to get that right signal, but once I got it did, it was incredibly rewarding.

Editor Tony Greenberg highlights the power musical choices like these have on audiences. “The score informs and tells the audience how they should feel about what they’re watching. You can really change the viewer’s perspective dramatically if you change the score. I think that’s the magic of making movies.”

Giacchino recalls his close collaboration with director Angus MacLane: “It’s my first feature film with my great friend Angus. We first met on ‘One Man Band’ when he was an animator, then we reworked together on the Pixar short film ‘Toy Story.’ TERROR!’ So, I’ve gotten to know him very well over the years. I love working with Angus. He’s an amazing storyteller, and after working together for so many years, our communication has become second nature. We we’re both such big nerds on anything to do with film – especially sci-fi and space – and we had so many common points of reference for how certain scenes, characters and moments should make us feel. It was like working with a childhood friend.

MacLane agrees. “Any time I work with Michael, it’s always a fun collaboration,” he says. “I consider him a creative partner very close to the music. It’s his specialty, but he’s also a very good director. During production, I showed him the film and involved him much earlier than He understood what we were looking for, not just as a composer but as a filmmaker, and his score is exactly what you want to feel watching “Lightyear.”

Listen to the new soundtrack here:

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FESTIVALS: Hungarian Film Festival 2022 announces winners https://fauve.info/festivals-hungarian-film-festival-2022-announces-winners/ Wed, 15 Jun 2022 11:13:27 +0000 https://fauve.info/festivals-hungarian-film-festival-2022-announces-winners/ BUDAPEST: Hajni Kis’ first feature film Wild roots / Külön falka was voted best feature film and won in two other categories the Hungarian Film Awards, which were awarded on the closing day of the Hungarian Film Festival (June 9-12, 2022). The most prizes, five in total, were won by The story of my wife […]]]>

BUDAPEST: Hajni Kis’ first feature film Wild roots / Külön falka was voted best feature film and won in two other categories the Hungarian Film Awards, which were awarded on the closing day of the Hungarian Film Festival (June 9-12, 2022). The most prizes, five in total, were won by The story of my wife / A feleségem története by Ildikó Enyedi, including the prize for best director.

Gabriella Hámori was awarded twice, as best lead actress and also for best supporting role. János Kulka was voted best actor for The Game / A játszma by Peter Fazakas.

The public prize was awarded to Christmas Flame / Nagykaracony by Daniel Tiszeker.

The Hungarian Film Festival 2022 was held in the picturesque towns of Veszprém, Balatonfüred and Balatonalmádi. About 100 current national productions were screened over four days in a total of eight halls.

The Hungarian Film Academy decided the fate of awards in 20 categories, while the festival’s most popular national film received the audience award. It can even be called a change of era in which women were awarded in 12 categories.

Together with the organizers of the Veszprém-Balaton 2023 – European Capital of Culture program, the National Film Institute – Hungary reshaped the flagship event of the Hungarian film industry last year. The national celebration previously held in Budapest (the Hungarian Film Week) has been combined with a summer atmosphere and has become the most important meeting point for industry and the public in the charming region of Veszprém-Balaton .

The main objective of the Hungarian Film Festival is to show the production of the last months to a wide audience. At the same time, the organizers are creating a meeting point for the industry and also plan to open it up to the international film community in the coming years.

FULL LIST OF WINNERS:

Best feature film:
Wild roots / Külön falka (Hungary, Slovakia)
Directed by Hajni Kis
Produced by Proton Cinema
Co-produced by Mphilms, La Poste and VisionTeam
With the support of the National Film Institute – Hungary, the Slovak Audiovisual Fund

Best TV Movie:
Romance d’Ida / Ida regénye (Hungary)
Directed by Kriszta Goda
Produced by Film Positive Productions
With the support of the National Film Institute – Hungary

Best long documentary:
One for all / Egy mindenkiért (Hungary)
Directed by Andras Pires Muhi
Produced by ELF Pictures
Co-produced by Bulb Cinema
With the support of the National Film Institute – Hungary

Best documentary short:
The Jankovics / Jankovicsok (Hungary)
Directed by Szonja Szabo
Produced by Budapest Film Productions
With the support of the National Film Institute – Hungary

Best short film:
Lost generation / Elfelejtett nemzedék (Hungary)
Directed by Norbert Aracsi

Best animated film:
Legendary family / Legendás család (Hungary)
Directed by Kati Glaser
Produced by Kecskemétfilm
With the support of the National Film Institute – Hungary

Best first feature director:
Hajni Kis for Wild roots / Külön falka (Hungary, Slovakia)

Best TV Series:
Shakespeare/37 – Montague & Capulet (Hungary)
Directed by Laszló Magacs
Produced by Filmworks

Best Director:
Ildiko Enyedi for The story of my wife / A feleségem története (Hungary, Germany, Italy, France)
Produced by Inforg-M&M Film
Co-produced by Komplizen Film, Pyramide Productions, Moliwood Films
With the support of the National Film Institute – Hungary, Eurimages (https://www.coe.int/en/web/eurimages), Arte, RAI Cinema, Creative Europe Media

Best Actress:
Gabriella Hamori for As far as I know / Legjobb tudomásom szerint (Hungary)
Directed by Nándor Lőrincz, Bálint Nagy
Produced by Filmpartners
Co-produced by M&M Film
With the support of the National Film Institute – Hungary

Best actor:
Janos Kulka for The Game / A játszma (Hungary)
Directed by Peter Fazakas
Produced by Film Positive Productions
With the support of the National Film Institute – Hungary

Best Supporting Actor:
Gabriella Hamori for The Game / A játszma (Hungary)

Best Screenplay:
Fanni Szantó & Hajni Kis for Wild roots / Külön falka (Hungary, Slovakia)

Best Cinematography:
Marcell Rev for The story of my wife / A feleségem története (Hungary, Germany, Italy, France)

Best Sound:
Gábor Balázs for The Game / A játszma (Hungary)

Best Original Score:
Edina Szirtes Mokus for Early Marriage / Korai menyegző (Hungary)
Directed by Tamás Olt and Csaba Vékes
Produced by Blue Duck Arts
With the support of the National Film Institute – Hungary

Best Editor:
Karoly Szalai for The story of my wife / A feleségem története (Hungary, Germany, Italy, France)

Better Visual Design:
Gabor Valcz for Arrest my mother-in-law / El a kezekkel a papámtól! (Hungary)
Directed by Kata Dobo
Produced by Megafilm
With the support of the National Film Institute – Hungary

Best costumes:
Andrea Flesh for The story of my wife / A feleségem története (Hungary, Germany, Italy, France)

Best Makeup:
Barbara Kreuzer for The story of my wife / A feleségem története (Hungary, Germany, Italy, France)

Audience Award:
Christmas Flame / Nagykarácsony (Hungary)
Directed by Daniel Tiszeker
Produced by Filmfabriq
Co-produced by Little Bus Productions
With the support of the National Film Institute – Hungary

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Somerset Patriots hosted the New Jersey Motion Picture and Television Commission and Somerset County Film Commission in the June 10 game https://fauve.info/somerset-patriots-hosted-the-new-jersey-motion-picture-and-television-commission-and-somerset-county-film-commission-in-the-june-10-game/ Mon, 13 Jun 2022 21:33:54 +0000 https://fauve.info/somerset-patriots-hosted-the-new-jersey-motion-picture-and-television-commission-and-somerset-county-film-commission-in-the-june-10-game/ NEW | FEATURES | PREVIEWS | EVENTS originally published: 06/13/2022 (BRIDGEWATER, NJ) — The Somerset Patriotsthe Double-A affiliate of the New York Yankees, hosted members of the New Jersey Motion Picture and Television Commission and the newly created Somerset County Film Commission at TD Bank Ballpark for the team’s home game on Friday, June 10. […]]]>
NEW | FEATURES | PREVIEWS | EVENTS



originally published: 06/13/2022

(BRIDGEWATER, NJ) — The Somerset Patriotsthe Double-A affiliate of the New York Yankees, hosted members of the New Jersey Motion Picture and Television Commission and the newly created Somerset County Film Commission at TD Bank Ballpark for the team’s home game on Friday, June 10.

The event was designed to encourage filming in Somerset County and showcase the ballpark and surrounding area as potential options for future entertainment projects.

“We created the Somerset County Film Commission to grow the industry locally,” said Somerset County Commissioner’s Director Shanel Y. Robinson. “We have incredible talent and resources for the film industry in Somerset County, including wonderful filming locations like the home ground of today’s great hosts, the Somerset Patriots.”

Patriots co-chairman Jonathan Kalafer, who serves on the Somerset County Film Commission, hosted both organizations at the ballpark for the game against the Akron RubberDucks (Cleveland Guardians).

Among the guests in attendance was Steve Gorelick, the executive director of the New Jersey Motion Picture and Television Commission, who threw out a ceremonial first pitch before the game.

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“The New Jersey Motion Picture and Television Commission had a memorable evening with the Somerset County Film Commission at the beautiful TD Bank Ballpark,” Gorelick said after the game. “It was a wonderful evening watching the baseball and talking about bringing more film and television productions to Somerset County, which has an abundance of amazing locations. In fact, the ballpark is one of them. Our sincere thanks go to the SCFC, and especially to our very gracious host of the evening, Jonathan Kalafer. We had a great time and you can count me as a lifetime Patriots fan!

The commissioners were recognized on the field during the pre-game ceremonies where they enjoyed a clip of beloved New Jersey actor/producer/director/writer Danny Devito on the scoreboard on the New Jersey connection. Jersey to the film industry.

The rally included a tour of TD Bank Ballpark, one of Somerset County’s tourism gems that brought the Yankees to central New Jersey.

The Garden State has a long history in the motion picture industry dating back to 1888 with Thomas Edison’s invention of the first film camera and projector. Edison opened the first movie production studio in West Orange and the state became the epicenter of the silent film industry with the opening of the Champion Film Company in Fort Lee in 1909.

“Our state has such a rich connection in creating two of the most beloved entertainment and sports industries in the world – film and baseball,” Patriots co-chairman Jonathan Kalafer said. “Remarkable people in New Jersey had the passion, the inventiveness and a true entrepreneurial spirit to help foster the growth of these multi-billion dollar-a-year businesses that delight so many around the world. It was a special night where everyone came together to showcase our beautiful ballpark and our community.


The Somerset Patriots are the Double-A affiliates of the New York Yankees and develop today’s best minor league talent into tomorrow’s pinstripe superstars for MLB’s winningest team. The Patriots participate in the Double-A Northeast League and play their home games at TD Bank Ballpark in Bridgewater, NJ, where fans of all ages and levels of baseball fandom can enjoy the unique experience that is Patriots baseball. minor leagues.


Voted one of the world’s most outstanding film commissions by the International Location Managers Guild, the New Jersey Motion Picture and Television Commission brings over 45 years of experience in developing this exciting and lucrative industry.

Having worked with productions such as Steve Spielberg’s Oscar-nominated film West Side Storyto Halle Berry’s first film Bruisedthe NJMPTVC is adept at bringing big-budget Hollywood productions to New Jersey municipalities.


Somerset County has a rich cinematic history dating back to 1915 when Mary Pickford, a Hollywood legend and co-founder of the Motion Picture Academy of Arts & Sciences, filmed Lady Butterfly in Bernardville and Poor little Peppina in Peapack in 1916. Over the years the area has been featured in films such as IQ, North, The Stepford Wives, Winter Passageand The Sorcerer’s Apprentice. More recently Somerset County has hosted Hollywood stars such as Julianne Moore on Apply TV+. Lisey’s story (2020) and Naomi Watts in upcoming thriller Good night mom.

The mission of Somerset County Film Commission is to inspire and facilitate film, television and digital production across the county to create positive economic impact through production-related jobs and the many ancillary businesses that benefit from increased production in the county of Somerset. The Somerset County Film Commission serves as a resource for film, television and digital productions looking to shoot on location a short distance from New York City and benefit from New Jersey’s robust tax credit program.

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Warner Bros. Chief Operating Officer Departs Motion Picture Group, Carolyn Blackwood – Deadline https://fauve.info/warner-bros-chief-operating-officer-departs-motion-picture-group-carolyn-blackwood-deadline/ Wed, 08 Jun 2022 20:00:00 +0000 https://fauve.info/warner-bros-chief-operating-officer-departs-motion-picture-group-carolyn-blackwood-deadline/ After the departure of Toby Emmerich as boss of the Warner Bros. Motion Picture, his fellow associate, the chief operating officer of the Warner Bros. Motion Picture, Carolyn Blackwood, departs. All of this awaits Mike De Luca and Pam Abdy to lead the filmmaking group under Warner Discovery CEO David Zaslav. “New Line and Warner […]]]>

After the departure of Toby Emmerich as boss of the Warner Bros. Motion Picture, his fellow associate, the chief operating officer of the Warner Bros. Motion Picture, Carolyn Blackwood, departs. All of this awaits Mike De Luca and Pam Abdy to lead the filmmaking group under Warner Discovery CEO David Zaslav.

“New Line and Warner Bros have been my home for 23 years and I will always cherish my time there. I have great respect for David, Mike and Pam and wish the studio and all of my beloved and talented colleagues every the luck of the world,” Blackwood said in a statement to Deadline.

Toby Emmerich steps down as Warner Bros chairman after ‘introspective’ conversation with David Zaslav

Warners is losing a prized executive with two decades of industry knowledge. She cut her teeth in business and legal affairs at MDP Worldwide before joining New Line.

Blackwood, a former New Line executive who co-managed the label with Richard Brener after Emmerich moved to the Warner Bros. studio side, is known for her business shrewdness and it has been reported that she, along with former WarnerMedia CEO Jason Kilar formulated the 2021 theatrical day-and-date HBO Max Concept that would increase the streaming service’s subscribers with tentpole films, while providing exhibitors with content in a national box office market which was repairing itself during the pandemic. Acquisitions, music, and physical production affairs also fell under his purview.

On the day of Emmerich’s departure last week, Zaslav let it be known that he was splitting the film side of the studio into three buckets of Warner Bros/New Line, DC and Warner Animation. De Luca and Abdy will oversee DC on an interim basis upon their arrival. A search is underway for a new DC leader.

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2022 Hungarian Film Festival kicks off on Thursday https://fauve.info/2022-hungarian-film-festival-kicks-off-on-thursday/ Wed, 08 Jun 2022 15:21:35 +0000 https://fauve.info/2022-hungarian-film-festival-kicks-off-on-thursday/ The 2022 Hungarian Film Festival will take place in Veszprém and Lake Balaton from June 9 to 12, with open-air screenings, premieres of Hungarian films, festival winners, stars and artist-spectator events. In three towns and nine locations in total – namely Veszprém, Balatonfüred and Balatonalmádi – moviegoers will be able to see almost a hundred […]]]>

The 2022 Hungarian Film Festival will take place in Veszprém and Lake Balaton from June 9 to 12, with open-air screenings, premieres of Hungarian films, festival winners, stars and artist-spectator events.

In three towns and nine locations in total – namely Veszprém, Balatonfüred and Balatonalmádi – moviegoers will be able to see almost a hundred Hungarian films.

The festival will screen the best Hungarian feature films, documentaries, television films, animations and short films of the year, and will also host the premieres of several films, while the closing ceremony of the festival will see the presentation of the Hungarian Film Awards. .

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Hungarian film Erasing Frank wins Venice Biennale’s Most Innovative Film Award

Hungarian film Erasing Frank wins Venice Biennale's Most Innovative Film Award

Accepting the honour, Fabricius said he was offering the prize “to the talents that the film is about, talents that were destroyed in a time that offered them no future”. Continue reading

On the festival site, from June 8 to 12 until noon, the public can vote for the best films in the best film categories.

Films from the Hungarian Film Festival will be screened in Hungarian, with English subtitles available for selected screenings.

Hungarian cinema fans can find more information on the official festival website.

Photo presented via the official Facebook page of the Hungarian Film Festival

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Haifa Film Festival shorts can compete for Oscars, says Motion Picture Academy https://fauve.info/haifa-film-festival-shorts-can-compete-for-oscars-says-motion-picture-academy/ Mon, 06 Jun 2022 14:01:00 +0000 https://fauve.info/haifa-film-festival-shorts-can-compete-for-oscars-says-motion-picture-academy/ The Academy of Motion Picture Arts and Sciences announced on Monday that Israeli short films that win the Haifa International Film Festival will be eligible to compete for an Oscar nomination starting next year. The next Academy Awards will take place on October 8. This upgrade to the Haifa Film Festival’s status allows its short […]]]>

The Academy of Motion Picture Arts and Sciences announced on Monday that Israeli short films that win the Haifa International Film Festival will be eligible to compete for an Oscar nomination starting next year.

The next Academy Awards will take place on October 8.

This upgrade to the Haifa Film Festival’s status allows its short films to be submitted to the Oscar nominee list without having been commercially screened in the United States, which was a prerequisite for nomination.

“We are delighted to hear that the festival has been accepted into the limited and hand-picked list of international film festivals and are proud to advance the Israeli industry,” said the festival director of the International Film Festival. from Haifa, Yaron Shamir.

“We would like to thank the American Academy for recognizing the quality and importance of the festival and the high level of Israeli short film productions,” he said.

“Haifa is a Mediterranean city of coexistence and the festival hopes to advance short films produced by countries in the Mediterranean basin in the future by creating a competitive framework.

Israel’s Oscar nominations so far have been the winners of the Ofir Award, colloquially known as the Israeli Oscars, for films, awarded by the Israel Academy of Cinema and Television.

Although Israeli filmmakers and films have been nominated several times for the Oscars, none have won a golden statuette.

Recognition from the Haifa International Film Festival will increase Israel’s chances in the future.

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Music supervisors decide to unionize after alliance of film and TV producers refuses to grant equal rights https://fauve.info/music-supervisors-decide-to-unionize-after-alliance-of-film-and-tv-producers-refuses-to-grant-equal-rights/ Mon, 06 Jun 2022 07:00:00 +0000 https://fauve.info/music-supervisors-decide-to-unionize-after-alliance-of-film-and-tv-producers-refuses-to-grant-equal-rights/ Music supervisors have proven to be an indispensable part of visual media, movie soundtracks, TV series, video games, and all kinds of content. Yet the thousands-strong community has no representation as a collective beyond the 12-year-old Guild of Music Supervisors (GMS) and now Film and Theater Music Supervisors. television are looking to unionize in an […]]]>

Music supervisors have proven to be an indispensable part of visual media, movie soundtracks, TV series, video games, and all kinds of content. Yet the thousands-strong community has no representation as a collective beyond the 12-year-old Guild of Music Supervisors (GMS) and now Film and Theater Music Supervisors. television are looking to unionize in an effort to see fair treatment for the craft. The move comes after the Alliance of Film and Television Producers (AMPTP) denied music supervisors’ demand for equal rights, including basics such as overtime pay and other basic social protections and benefits.

More than 75% of film and television music supervisors have signed union cards agreeing to the IATSE, on their behalf, applying to the AMPTP for voluntary recognition of their union.

More Variety

Music supervisors have wanted union representation for a long time and with the support of IATSE, that time has come. Speaking up has always been a challenge and fear of reprisal has been one of the factors.

According to Madonna Wade-Reed, Vice President of the Guild of Music Supervisors, “The scope and responsibilities of the role have grown exponentially and our role makes us an important part of the creative process. There is no more important time than now when members of this profession should have the same rights, privileges and protections as their colleagues.

TV and film music supervisors have taken to social media to state their case, using the hashtags #MusicSupervisorEquity and #SilentWithoutUs. Their call to action is being broadcast on Instagram via @musicneedssupervision, and Twitter at @musicneedssupes.

Speaking in favor of unionising, musician Vo Williams said: ‘Music supervisors have changed my life. Not only are they the vital bridge between music and image, but they continue to elevate my/our work and my purpose. For countless of us, music supervisors have played a fundamental role in helping us fuel our dreams, build wealth, and create security for us and our families. It’s time to stand with our people.

Ryan Murphy’s go-to music supervisor, Amanda Krieg Thomas, whose credits include ‘The Prom’, ‘American Crime Story’ and ‘American Horror Story’, wrote on Instagram: “Did you know music supervisors are one of the very few positions that are on a project from the script phase, through production, post-production and sometimes (often!) to broadcast/release? And yet, we don’t get the same worker rights as many of our colleagues – there are no overtime, pension or other benefits for our role. We are now coming together to organize in pursuit of these goals.

Artist and songwriter Angela Sheik, who works frequently with the Guild, added: “These are the people who oversee all the music-related aspects of film and TV projects – selecting songs for scenes and working to get contracts with song owners. I came to LA thinking they were unicorns and was shocked to learn what their professional life was really like. Perception is a far cry from reality! These people have their jobs, but are squeezed unbearably by their industry; poorly paid and poorly protected compared to their unionized peers.

Reservation Dogs supervisor Tiffany Anders pointed out that as music supervisors, the lack of a union adds to the threat of job insecurity. Anders wrote:How can I know? Well, my mom is in 2 entertainment, writing, and directing guilds – those guilds protected her, gave her perks, provided her with a pension, which is pretty amazing considering most artists have never thought about these questions. Thank God it exists for her!

Anders went on to say that without a union, many supervisors have to pay for their health insurance. Moreover, there is no retirement plan. “I plead with everyone in the music and film and television worlds to support our union cause,” she added. “We are the conduits to collide these beautiful art forms, and we need support!”

Talk with Variety, Joel C. High, president of the Guild of Music Supervisors, noted that the guild is not the organizing group, but said, “The Gto build of Music Ssupervisors plank supports this stock.”

An official statement from the Guild further stated: “The Music Supervisors Guild unanimously supports the organizing efforts of Music Supervisors and their desire to join forces with the IATSE. GMS will continue to educate, advocate, communicate and build bridges across the industry in pursuit of recognition and equity for all who work as music supervisors.

He went on to say, “However, it bears repeating that the Music Supervisors Guild is not the same as the union, and the union is not the same as the Guild. We both work to improve the quality of life for music supervisors and look forward to working with the Music Supervisors/IATSE campaign to that end.

IATSE International President Matthew D. Loeb said, “Every worker deserves to have rights and a voice in the workplace, no matter how valuable your work is to your employer. The workers have spoken, and the AMPTP should respect its workers and democracy by voluntarily and immediately recognizing the union of music supervisors.

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Ben Salisbury/Geoff Barrow: Men (Original Motion Picture Soundtrack) Album Review https://fauve.info/ben-salisbury-geoff-barrow-men-original-motion-picture-soundtrack-album-review/ Fri, 03 Jun 2022 04:00:00 +0000 https://fauve.info/ben-salisbury-geoff-barrow-men-original-motion-picture-soundtrack-album-review/ Geoff Barrow and Ben Salisbury have proven to be masterful architects of intricate and artful cinematic scores. Their abilities emerge from their complementary talents: Barrow is famous for his distinctly brooding and sultry drum-laden sounds (notably with Portishead), while Salisbury is an Emmy-nominated television and film composer, deftly attuned to the structural cues needed to […]]]>

Geoff Barrow and Ben Salisbury have proven to be masterful architects of intricate and artful cinematic scores. Their abilities emerge from their complementary talents: Barrow is famous for his distinctly brooding and sultry drum-laden sounds (notably with Portishead), while Salisbury is an Emmy-nominated television and film composer, deftly attuned to the structural cues needed to the composition of any score. skeleton. Their first official collaboration on DROKK: Music inspired by Mega City One was bold, shimmering with Vangelis-influenced analog synths and roaring with the increased dimensions of the Judge Drdd comics from which it was adapted. Their work on this score introduced the duo to Alex Garland, who wrote and produced 2012’s Dredand would enlist Barrow and Salisbury to mark his directorial debut, Ex-Machina.

Their collaboration continued until 2018 Annihilationthe tv series 2020 Developersand now, Garland’s latest movie, Men. Unlike the complex science fiction worlds of Ex-Machina Where AnnihilationThe world of Men is just ordinary. It is set in the English countryside, where Harper (Jessie Buckley) retreats after her husband James (Paapa Essiedu) falls from their home to his death. Was it an accident or a suicide? Harper doesn’t know. Nevertheless, she finds herself weighed down by the chains of guilt. After strange men – all of whom seem to resemble her strange owner Geoffrey (Rory Kinnear) – start stalking her, the romance quickly unfolds.

With this score, Barrow and Salisbury’s intention is to dramatize the familiar, so that even the ordinary – the comforts of home, a sympathetic gaze from a stranger or the swaying of leaves – becomes disturbing. To do this, Barrow and Salisbury focus on voice. It’s one thing to talk and another to be heard, and whenever Harper tries to vent her discomfort in her new setting, she’s quickly dismissed. Likewise, Barrow and Salisbury’s score heavily involves manipulated vocals that climb to seemingly painful stretches of pain throughout. They rise to strident and hysterical heights and fall to dismal and unsettling lows. These voices are desolate, as if trying to fend off the condemnation of disbelief. They, like Harper, shout, but who is listening?

Harper confides in a priest that she feels “haunted” by her husband’s ghost. “Haunted” also describes this score, which forms around the negative space of silence. As Men– sparsely populated except for Harper and those creepy few – Barrow and Salisbury’s score strays from formal complexity. The vocals and instrumentation start out in isolation, then overlap, but before anything gets too complex, the score kicks back into the void of silence, starting afresh. Even the most anguished screams fade as they began: like wisps. “Runaway / Crash” begins with a four-note riff which then combines with a simple synth melody, quickly building up in intensity, before an abrupt stop.

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ARRI launches new Alexa 35 cinematic camera – The Hollywood Reporter https://fauve.info/arri-launches-new-alexa-35-cinematic-camera-the-hollywood-reporter/ Wed, 01 Jun 2022 06:56:15 +0000 https://fauve.info/arri-launches-new-alexa-35-cinematic-camera-the-hollywood-reporter/ About 500 guests from Hollywood’s film community dropped into the DGA Theater on Tuesday night for the debut of leading motion picture camera maker ARRI’s Alexa 35, a 4K Super 35 successor to its popular Alexa Mini camera – and it’s already attracted some of the main cinematographers. This week, three-time Oscar-winning director Robert Richardson […]]]>

About 500 guests from Hollywood’s film community dropped into the DGA Theater on Tuesday night for the debut of leading motion picture camera maker ARRI’s Alexa 35, a 4K Super 35 successor to its popular Alexa Mini camera – and it’s already attracted some of the main cinematographers.

This week, three-time Oscar-winning director Robert Richardson (the aviator) begins filming Ben Affleck-directed drama about former Nike executive Sonny Vaccaro with one of the first of the new cameras, ARRI reps say The Hollywood Reporter. Additionally, they said three-time Oscar-winning DP Emmanuel “Chivo” Lubezki (The ghost) and six-time Oscar nominee Bruno Delbonnel (Macbeth’s Tragedy) use Alexa 35 to film Alfonso Cuaron’s Apple TV+ series Disclaimer.

The Alexa 35 features ARRI’s first new sensor in 12 years: a 4.6K sensor with 17 stops of dynamic range (more than the current Alexa) and what the company says are improvements in low-light performance and richer colors. The camera officially becomes available in July, with a list price of $77,940.

As part of the launch, ARRI released a series of 11 short films based on the “Encounters” theme using prototype cameras. These shorts were filmed by filmmakers around the world, including Erik Messerschmidt, Oscar winner for man (his short film “Encounters” is titled The swing); Ari Wegner, who was nominated for an Oscar earlier this year for The power of the dog (Met Lover); James Friend, winner of the American Society of Cinematographers award for Patrick Melrose (Met Mermaid), Christophe Graillot, Bárbara Álvarez, Nikolaus Summerer and Yoshikatsu Date.

“The Alexa 35 is a really exciting step forward for ARRI,” says Messerschmidt, who attended the launch event.

During the presentation, ARRI showcased the camera system’s new “Reveal” color science (which is also backwards compatible). The camera accepts a range of lenses, including anamorphic and spherical, Super 35 and large format, and has a selection of accessories and new workflow apps. All updates, says Managing Director Stephan Schenk, are the result of customer feedback.

Alexa 35 launch events also took place in Berlin and New York on Tuesday. Further debuts with cameras in international cities such as Toronto, London and Vancouver will follow in the coming weeks.

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