#nick dunning icons

[tianmicons]

#nick dunning icons #nick dunning #icons with psd #psd icons #thomas boleyn icons #thomas boleyn #tv series #tv series icons #the tudors #the tudors icons #actors icons #actors

[azvolrien]

Jordan - Day 5

           Today we visited PETRA.

           If that doesn’t pique your interest for this entry, nothing will.

           The day didn’t start very auspiciously. We made another early start – even earlier than the last two – in order to leave the hotel at 6.30 and reach the Petra visitor centre for its opening time at 7. However, we then had to wait at the gate – with hundreds of other increasingly-impatient tourists – for more than an hour while a convoy of armoured cars and police vans drove back up the access road out of the site, some of them toting gun-turrets. I never got all the details of what was amiss, but according to Reem some people wanted by the police had been found on the site, apparently necessitating a great deal of armed backup to bring them in.

           The gates opened eventually, not too long after was scheduled, and the herd set off down the road with a cheer. Some people stopped to take a horse-ride into the city, but all of our group went on foot. We stopped to get our first taste of Petra at the Obelisk Tomb a little way outside the site proper, across the access road from the mysterious God Blocks – as the group of odd free-standing cuboids hewn from the rock are called; also known as the Djinn Blocks – before we set off for the Siq.

           The canyon into Petra would be a wonder all on its own without any help from the Nabataeans. The mini-siq at Little Petra utterly pales in comparison. The access road winds its way through the narrow, meandering cleft in the rock, cooled by a pleasant breeze and shaded from the sun by the wind- and water-eroded near-vertical cliffs to either side. The cliffs tower unimaginably high above the road – the only place I’ve been that made me feel any smaller was the Grand Canyon, and that was in 2003 so I actually was a bit smaller – and are striped in layer upon layer upon layer of every conceivable colour that sandstone comes in, from subtle greys and warm yellow-duns up to the dusky pinks and reds that we really associate with Petra, with the occasional streak of hard volcanic black. Even within each layer, the flowing lines of fossilised ripple-marks make sure no one surface is totally homogenous.

           You can tell I studied geology.

           More Nabataean carvings appear as the Siq snakes on, mostly water-troughs and little shrines but also one big relief that once showed a man leading a string of camels but is now reduced to a few disembodied legs. After about twenty minutes to half an hour (depending on walking speed) you round the corner out of the Siq and are faced with probably the most iconic sight of Petra, the huge rock-cut portico of the Treasury, or Al Khazneh to use the Arabic name.

           Al Khazneh is a familiar sight these days, appearing in countless films and documentaries, but pictures – even moving ones – cannot possibly capture its full effect. The tomb – for it is a tomb, not a treasury or a palace – is staggeringly huge, looming so high above the tourists thronging around its base that it’s pretty easy to get pictures of it without anyone blocking the view. I was glad for our early start (not a phrase I thought I’d use), because the site was still relatively quiet by the time we reached Al Khazneh; it was much busier on our way back later in the day.

           Further along the track, as paving gives way to soft pinkish sand, Petra’s Roman-style theatre sits at the edge of the city’s great central basin. It’s not in such good nick as those in Amman or Jerash as its seating area has suffered more weathering, but the rock-cut bowl of it is still impressive to see. A spot called the High Place of Sacrifice sits on a flat-topped pinnacle above the theatre and we considered detouring to see it on the way back, but ultimately decided against it as ‘High Place’ is if anything an understatement and we couldn’t stomach the climb.

           The group stopped for a brief look at Qasr Al Bint, one of Petra’s central temples and one of its only (mostly) surviving free-standing structures, i.e. having been built rather than carved. We then scattered for a few hours of free time, under instruction to meet back at the visitor centre at 4, and Mum and I made for the trail up to the Monastery (also actually a tomb).

           This was why we were too tired to climb to the High Place on the way back. The Monastery was quite high enough for one expedition. The trail doesn’t look all that long on the map, but the map does not account for the distance vertically. It probably covers about the same length horizontally as from Al Khazneh to the central basin, but just keeps. Going. UP. Some people had hired donkeys to ride up, but it didn’t look very safe so we kept going on foot. A simple rising slope might have been less strenuous, but the trail to the Monastery is mostly stairs, and not particularly low or even ones either. An Inca message-runner would have been out of breath by the top.

           It is, however, worth the climb. The Monastery is not dissimilar in design to Al Khazneh with its columned Hellenistic façade, but is carved to an even bigger scale rearing 45m above the courtyard in front, with deep-cut statue niches in place of Al Khazneh’s bas-reliefs. The niches are empty now, if they were ever filled at all, but the statues they could have held would have been colossal.

           We found a quiet corner for a snack before heading back down to the basin, making a short detour off the trail to have a look at the Lion Temple (also actually a tomb) before stopping for lunch at the picnic tables beside the Nabataean Tent Restaurant. We then had a look around the Great Temple neighbouring Qasr Al Bint (actually is a temple, likely devoted to the chief Nabataean god Dushara) and, pretty tired by this point, walked slowly back to the visitor centre to see the Petra Museum. It’s not a huge museum, but houses a good range of artefacts rescued from the elements on the site and does a better job of explaining Petra’s history than the interpretation panels in the city itself do.

           It doesn’t take long to go around the museum, so we met with the group at 4 as instructed and returned to the hotel for a break before heading back out for tea at a local restaurant. I had a camel burger which was pretty good, but couldn’t finish the accompanying chips. They were pretty good too, but they serve really big portions here.

           A few of us then took a taxi back to the visitor centre to visit Petra by Night ™. This was essentially a candlelit walk back through the Siq to a bit of a light show at Al Khazneh and I wasn’t sure it totally merited the 17JD admission fee, but it was still pretty atmospheric watching the upper levels of the tomb slowly light up in silver as the moon rose over the mountains.

           The Siq in daylight is a welcome refuge from the sun. The Siq at night is a great place to twist an ankle despite the paper lanterns marking out the trail, but we made it back to the hotel relatively unscathed, mercifully not with such an early start tomorrow.

           ‘Petra’, by the way, is what the Greeks named it. To the Nabataeans, it was ‘Raqmu’.

#holiday diary #jordan #this is the petra one

[thesacredtwink]

Okay so, I just unlocked the song of the hero and I am reminded again about how the music in Skyward Sword is juuuuuust a little different from the music in the rest of the Zelda games. Like, the Hero's song isn't quite the Zelda theme. Yet. But you can hear it. Those similarities of what it will become.

#not once does skyward sword forget that it is the story BEFORE all the others #and it shows in so many little ways #but i think the heros song is the one that gets me the most. because its complete #but if you know the series you can hear the iconic 🎵DUN dun da dadadada dunnnn DA da da da daaaaa DADAda da DA Dada🎵 #and it just. it gets to me man #nick speaks #skyward sword #sshd spoilers

[cecilyneville]

the spanish princess ep 5 

i really don’t want to do this anymore lol

i choose to believe lina calling catherine “highness” and not “your majesty” is a deliberate sign of disrespect towards her shitty friend, and not emma frost’s shitty writing

2020 mood

love the idea that charles brandon has to just hang out with this eight year old all the time until he marries her??

oh, so i guess this is the episode where henry starts to go full excess party king and ruairi is...genuinely bad at it, sorry dude

you know, i wish they’d just ripped off the tudors masque scene instead of giving us...whatever this is

side note i take back what i said about laura carmichael being a bad actress. she’s good, just ends up in bad roles. i’d like to see her in a comedy (by which i mean a show that is *intentionally* funny)

love the idea that thomas more, who by this point had written a history of richard iii, apparently has no clue who maggie’s parents are

remember when andrew buchan was absolutely killing it in broadchurch and the honourable woman? great times

so...you’re telling me...maggie & more are self isolating after being exposed to an extremely infectious disease...oh god this is too 2020 to handle

YES finally some thomas boleyn plotting! i like this dude, he’s hot, but i miss nick dunning’s slimy scheming, that was so much FUN

the editing on this show, even to my untrained eye, is so bad

*~eMoTiOn~*

can’t wait for tsp stan twitter to put me on a watchlist for being mean to their girl, but i guess there’s no accounting for taste

we’re not getting the year of the three queens??? i wanted a margaret and mary reunion!!!

STOP CALLING JAMES V THE FUTURE KING OF SCOTLAND WHEN HE’S THE ACTUAL KING, I CANNOT BELIEVE HOW THICK THIS WRITING IS

i like meg’s riding outfit, idk if she’s supposed to be in disguise as a man or whatever, but i’m digging it

albany is nice but he’s still not HOT (i am the only person complaining about this)

“and wolsey? why do you let him humiliate me before the court?” catherine don’t deny me the one pleasure i get from this show

henry being all like “if bessie has a boy i’ll know it’s not my fault” while catherine is in his arms is too funny

“who says he punishes us?” catherine you’ve been saying it for the past few episodes, get a brain

i like how they style maggie in this ep with her hair down, she looks so young and carefree

elizabeth of york mention, isabel neville mention, i just automatically hiss like haloumi hitting a hot pan

HAHAHA MARY FUCKED LOUIS TO DEATH OF COURSE 

god catherine is just truly an almighty piece of shit and i cannot wait for this all to come crashing down on her, it will be so satisfying to me personally

mary gets cute costumes

meg’s red riding cape is also nice

my shitlist has expanded from ef & ch to include whoever did the soundtrack, it’s abysmal

stan jane stewart! call out your trash boyfriend! let him know!

i am DYING at mary’s fake tears, i love her so much

“i ran my own household when i was forced into poverty” yeah and you were bad at it lol. ALSO!!! QUEENS RUN THEIR OWN HOUSEHOLDS!!!

“let’s fall in love then” but...aren’t...you...already...in love??

lina keeps calling catherine highness it’s SO funny

she is an ICON

“i merely burn” maybe don’t say that when the plague’s about, maggie

are you ‘avin me on, mate?? are you ‘avin a laff??

why do they not have midwives in this show, it’s so bizarre

oh bessie’s calling her “your highness” now too, love that

catherine of aragon performing a literal episiotomy is categorically the stupidest thing i have witnessed in any episode of television ever and that, folks, is why i have to keep watching this until the end

henry: “catherine, give me a son” / catherine: LOL OK

are they going to go full tobg and have catherine claim henry fitzroy as her ward and be like HE’S MY SON NOW BESSIE

what must it be like inside emma frost’s galaxy sized brain

#the spanish princess #no television series has or ever will be this dumb...my precious brain cells #tbd

[meanstreetspodcasts]

"The greatest private detective of them all..."

“I don’t mind a reasonable amount of trouble.” (Sam Spade, The Maltese Falcon)

Dashiell Hammett wasn’t just a writer of detective fiction; he was a real-life detective who also happened to pen some of the greatest mystery novels of the 20th century. His mind and pen brought readers the rough and tumble Continental Op; the urbane and refined Nick and Nora Charles; and arguably the most famous private eye of them all, Sam Spade. Hammett’s tenure with the Pinkertons (including work on the infamous Fatty Arbuckle case) provided the DNA for Spade, a cynical shamus with his own moral code. He made his debut in 1929’s The Maltese Falcon and while he would appear in another three short stories penned by Hammett, the Falcon and its hunt for a legendary statuette are why Spade is best remembered. Of course, the classic film adaptation by John Huston and starring Humphrey Bogart as Spade didn’t hurt his reputation.

The success of Bogart’s Maltese Falcon generated new interest in Hammett’s work in the 1940s. As stories were reprinted in hardcover and paperback, Hammett’s agent believed Spade’s exploits would be perfect for radio. By 1946, the wheels were in motion to bring the detective to the airwaves.

The Adventures of Sam Spade was produced and directed by radio veteran William Spier, who also ran the show on CBS’ “outstanding theater of thrills,” Suspense. In fact, the audition program for Spade was a reworked Suspense script from two years earlier that originally starred Keenan Wynn. The scripts for that first season (including the audition) were written by an uncredited Jo Eisinger and Robert Tallman. The scriptwriters received no credit, as producers wanted to maintain the illusion that Hammett himself scripted the series. Hammett’s name was all over the program, but he had no direct involvement in the series. As he said, “My sole duty in regard to these programs is to look in the mail for a check once a week. I don’t even listen to them. If I did, I’d complain about how they were handled, and then I’d fall into the trap of being asked to come down and help.”

ABC picked up The Adventures of Sam Spade for a thirteen-week summer run beginning on July 12, 1946. Actor Lloyd Nolan was set to star as Sam Spade, but a schedule conflict forced him to withdraw from the role at the last minute. (Nolan had just ended a run of B-movies for Fox as hard-boiled private eye Michael Shayne, and he would have made a fine Spade.) Former Armed Forces Radio Service announcer Howard Duff won the role of Spade with his audition, beating out radio veterans like Elliott Lewis. Spier was initially unimpressed with the actor, who was about as far from Bogart’s iconic portrayal as one could get, but Duff had a champion in Spier’s wife, Kay Thompson and she persuaded her husband to give Duff the role.

Duff was ably supported each week by Lurene Tuttle in the role of Spade’s scatterbrained (but always loyal) secretary Effie Perrine, along with some of the best actors working on radio on the West Coast, including William Conrad, Joseph Kearns, Wally Maher, Jeanette Nolan, and John McIntire. Each week, Spade would dictate his case report to Effie for his client’s review. The fourth wall was often broken, with frequent references to the program itself. “Sam” and “Effie” often weighed in on the performances Duff and Tuttle gave in the dramatizations of “their” adventures.

The series received rave notices in its first year, including an Edgar Award for best radio detective series. By September 1946, the show had moved to CBS, where it would remain until 1950. Robert Tallman continued as a writer, and Gil Doud stepped in to replace Jo Eisinger in 1947. With their scripts and Duff’s performance, Sam Spade was one of radio’s most popular shows. The sleuth even held his own against the powerhouse of Edgar Bergen and Charlie McCarthy across the airwaves on NBC.

The show was revived for a twenty four-week run on NBC on November 17, 1950 with Steven Dunne stepping in as Spade. Lurene Tuttle and William Spier returned from the original run, but there was conspicuously no mention of Dashiell Hammett to be found. Dunne was a fine Spade, but Howard Duff had made the role his own. As radio historian John Dunning noted, not even Humphrey Bogart could have succeeded Duff as Spade by 1950.The show kept a loyal following, but CBS grew wary of Hammett’s Communist affiliations (he had joined the Communist Party in the 1930s at the height of the New Deal). After the names of Hammett and Duff turned up in a pamphlet identifying Communists and their sympathizers, the show lost its sponsor (Wildroot Cream Oil) and September 1950 saw Howard Duff’s last performance as Spade.

But before the Red Scare and timid sponsors did the show in, The Adventures of Sam Spade consistently delivered some of the best that radio had to offer. With Duff’s wry performance and the colorful characters invented by Tallman, Eisinger, and Doud, the show still holds up today as exciting mystery drama.

Check out this episode!

#old time radio #golden age of radio

[d-criss-news]

Members of the Film & TV Music community, made up of composers, songwriters, music editors, music supervisors, studio executives and more, are contributing their talents to SOUNDTRACK OF OUR LIVES: A CELEBRATION FOR THE FILM & TV MUSIC COMMUNITY, an online benefit event for MusiCares® COVID-19 Relief Fund. This specially produced program debuts June 25th, 2020, at noon pacific on YouTube, and will honor the talented people whose scores and songs transport, inspire, uplift and entertain us by creating the "soundtrack of our lives." The fun, delightful and heartfelt hour-long special will feature leading and iconic singers, composers, songwriters, actors, celebrity guests and others while celebrating glorious Film & TV Music moments with heart and humor. Donations to MusiCares® COVID-19 Relief Fund will be encouraged throughout the show.

"Thousands of music professionals and creators are struggling during this pandemic and remain in desperate need of assistance," says Debbie Carroll, Vice President Health and Human Services MusiCares®. "The continued support from the music community during these turbulent times has been heartwarming and inspiring. The power of music unites us all and gives us hope for better days ahead."

Over 75 film and television composers and songwriters, "From A to Z, Abels to Zimmer," will appear in this program. Collectively, this prestigious group has been nominated for 273 Grammys (with 87 wins), 216 Emmys (with 51 wins) and 136 Oscars (with 34 wins).

Confirmed performers and special guests include Sting, Catherine O'Hara, Ming-Na Wen, Patti LuPone, William Shatner, Elisabeth Moss, "Weird Al" Yankovic, Marla Gibbs, Jane Levy, Mandy Moore, Richard Kind, Alex Newell, Zachary Levi, Paul Reubens, Kiernan Shipka, Harvey Fierstein, Ginnifer Goodwin, Anika Noni Rose, Kasi Lemmons, Ted Danson, Auli'i Cravalho, Darren Criss, Drew Carey, Ray Romano, Holly Hunter, Reba McEntire, Bob Saget, Ken Page, Lucy Lawless, Mary Steenburgen, Dave Coulier, Kevin Smith, Peter Gallagher, Naomi Scott, Annie Potts, Clive Davis, Jodi Benson, Harvey Mason Jr., Susan Egan, Paige O'Hara, John Stamos, Andra Day and Rita Wilson.

Composers and songwriters participating include Michael Abels, Kristen Anderson-Lopez, Angelo Badalamenti, Glen Ballard, Lesley Barber, Nathan Barr, Tyler Bates, Jeff Beal, Marco Beltrami, Alan Bergman, Terence Blanchard, Jongnic Bontemps, Kathryn Bostic, Kris Bowers, Jon Brion, Nicholas Britell, Bruce Broughton, BT, Carter Burwell, Sean Callery, Joshuah Brian Campbell, Lisa Coleman, John Debney, Tan Dun, Fil Eisler, Danny Elfman, Charles Fox, Germaine Franco, Harry Gregson-Williams, Hildur Gudnadóttir, Alex Heffes, Joe Hisaishi, James Newton Howard, Justin Hurwitz, Ashley Irwin, Mark Isham, Steve Jablonsky, Amanda Jones, Laura Karpman, Christopher Lennertz, Joe LoDuca, Robert Lopez, Mark Mancina, Gabriel Mann, Clint Mansell, Dennis McCarthy, Bear McCreary, Alan Menken, Bruce Miller, John Murphy, Starr Parodi, Benj Pasek, Justin Paul, Daniel Pemberton, Michael Penn, Heitor Pereira, Rachel Portman, Mike Post, A. R. Rahman, Tim Rice, Lolita Ritmanis, Dan Romer, Anna Rose, Jeff Russo, Arturo Sandoval, Lalo Schifrin, Marc Shaiman, Teddy Shapiro, Richard M. Sherman, David Shire, Rob Simonsen, Mark Snow, Tamar-kali, Dara Taylor, Pinar Toprak, Brian Tyler, Nick Urata, Benjamin Wallfisch, Diane Warren, Mervyn Warren, Paul Williams, Austin Wintory, Alan Zachary, Geoff Zanelli, Marcelo Zarvos, David Zippel and Hans Zimmer.

Some highlights of the special include:

Members of the Film & TV Music community deliver heartfelt messages of hope, solidarity & encouragement.

"Musicians!" - a humorous musical tribute to the Film & TV Music community featuring Zachary Levi, Patti LuPone, Alex Newell, "Weird Al" Yankovic, Peter Gallagher and Harvey Fierstein.

Tony Award winner and Disney Legend Anika Noni Rose highlights the history of African American composers, songwriters and artists who have contributed to the Film & TV Music industry through the years.

Performers Danny Elfman, Catherine O'Hara, Paul Reubens and Ken Pagereunite to perform a song from the film The Nightmare Before Christmas.

Eight-time Academy Award winning composer Alan Menken performs his timeless song, "A Whole New World," alongside his daughter Anna Rose, introduced by Aladdin (2019) stars Mena Massoud and Naomi Scott.

Stars from beloved animated features step out from behind the microphone to lend their voices to inspirational messages, featuring Irene Bedard, Jodi Benson, Auli'i Cravalho, Holly Hunter, Mandy Moore, Susan Egan, Ginnifer Goodwin, Linda Larkin, Paige O'Hara, Annie Potts, Anika Noni Rose and Ming-Na Wen.

John Stamos hosts "Name That TV Tune!" with celebrity panelists including Elisabeth Moss, Drew Carey, Ray Romano, Eve Plumb, Reba McEntire, Bob Saget, Dave Coulier, Marla Gibbs, Lucy Lawless and Kevin Smith competing to identify famous TV themes.

Zoey's Extraordinary Playlist actor Jane Levy invites us into the dreamworld of her Extraordinary Soundtrack Playlist.

Various performers, including members of the original cast of La La Land, sing a parody version of "Another Day of Sun."

William Shatner explores how different scores can give the same film a different meaning as an exasperated director, played by Richard Kind, leads a composer in multiple directions for a short film starring Kiernan Shipkaand Christian Coppola.

Songwriter Paul Williams performs his classic song "The Rainbow Connection," from The Muppet Movie, joined by various special guests from the Film & TV Music community.

Tony- and Emmy-winner and seven-time Oscar® nominee Marc Shaimanperforms an original song tribute to end title sequences.

MusiCares® COVID-19 Relief Fund was created by MusiCares® to provide support to the music community during the pandemic crisis. The music industry has been essentially shut down with the cancellation of music performances, events, festivals, conferences and the many other live events that are the cornerstone of the shared music experience. Since the fund's establishment in March, over 14,000 clients have been served, with many more still needing help.

Show co-creator Peter Rotter says: "When the pandemic tragically hit our world and began to shut down our film music community, I felt that something needed to be done to help those who were in need of support and care. Through MusiCares® we have found the charitable vehicle that can come alongside our hurting musical family.

"Music has always played a role in history; reflecting both the subtle and monumental moments of our lives through its unique DNA. Music connects each of us, acting as a common thread of unification, opening the hearts of all people.

"Regardless of the color of one's skin, status or station in life, music powerfully breaks through boundaries as its message permeates deep within us; healing our human frailties and condition at our cores. Music is transformative and personal. It powerfully underscores our lives."

"Music has always helped transport, uplift and inspire us through wars, economic hardships, health crises and societal upheavals," says show co-creator, Richard Kraft. "When COVID-19 hit, it threatened the lives and livelihood of much of our Film & TV Music community. So, we decided to create an online special that both celebrates the soundtrack of our lives and benefits, via MusiCares®, the artists who create it."

Starting June 25th at noon pacific, watch the video on Youtube via Rolling Stone, Variety & GRAMMY's channels, as well as on www.soundtracklives.com. Donate at soundtracklives.com now!

#darren criss #broadway world #soundtrack of our lives benefit #press #upcoming events #june 2020

[xserpx]

BBC Article about The Watch series

(Because this article actually makes me feel a lot better and everyone needs to read it):

Adam Hugill, Jo Eaton-Kent, Marama Corlette, Lara Rossi and Sam Adewunmi join cast ahead of start of production on September 30

Critically acclaimed actor and playwright Richard Dormer (Game of Thrones, Fortitude) is to lead the cast of the new BBC Studios drama for BBC AMERICA, The Watch.

Set in the fictional city of Ankh-Morpork, where crime has been legalised, The Watch is a uniquely anarchic and thrillingly entertaining police procedural. The character-driven comedy centres on a group of misfit cops as they rise up from decades of helplessness to save their corrupt city from catastrophe. The Watch is inspired by the legendary ‘City Watch’ subset of Sir Terry Pratchett’s bestselling “Discworld” novels and its many iconic characters.

Joining the unorthodox company of atypical heroes in this fantasy-thriller are Adam Hugill (1917, World on Fire), Jo Eaton-Kent (Don’t Forget The Driver), Marama Corlett (Blood Drive, Sick Note) and Lara Rossi (Crossing Lines, Cheat) together with Sam Adewunmi (The Last Tree, Stan Lee’s Lucky Man.)

The eight-part comedy-drama,that gleefully rips up the genre rulebook, follows several of Terry Pratchett’s best-loved creations on a riotous and emotional odyssey. Richard Dormer will star as Sam Vimes, Captain of The Watch, disempowered by a broken society that’s reduced his department’s jurisdiction to almost nothing. Jo Eaton-Kent will play the ingenious non-binary forensics expert Constable Cheery, ostracised by their kin and finding a new home and identity within The Watch. Adam Hugill will play Constable Carrot, the idealistic new recruit, raised by dwarfs, but really a human abandoned at birth. Marama Corlett will play the mysterious Corporal Angua who is tasked with Carrot’s training and keeping the rookie alive. Lara Rossi will play the formidable Lady Sybil Ramkin, last scion of Ankh-Morpork’s nobility who’s trying to fix the city’s wrongs with her chaotic vigilantism. Sam Adewunmi will play the wounded, wronged Carcer Dun, out to hijack destiny itself, take control of the city and exact a terrible revenge on an unjust reality.

The Watch will be brought to screen by highly acclaimed Director Craig Viveiros, whose credits include the BBC’s 2015 adaptation of Agatha Christie’s And Then There Were None, BBC Studios’ serial killer drama Rillington Place, and Mammoth Screen’s adaptation of The War of The Worlds.

Produced by BBC Studios and Narrativia the show’s Lead Writer is Simon Allen (The Musketeers, Das Boot). Joining Allen is a team of high-calibre writers, Joy Wilkinson (Nick Nickleby, Doctor Who), Catherine Tregenna (Torchwood, Stan Lee’s Lucky Man), Amrou Al-Kadhi (Hollyoaks, Little America) and Ed Hime (Skins, Doctor Who).

Richard Dormer says: “I’m so thrilled to be part of this brilliant madness and mayhem! I was immediately drawn to the multitude of layers to Sam Vimes, and I find the dynamic between him and his band of disenfranchised comrades very compelling.”

Director and Executive Producer, Craig Viveiros says: “The script for The Watch is like nothing I have ever read before. It’s anarchic, it’s noisy and raspy, and I am really looking forward to bringing it to life on screen. With such a talented line up of cast and crew together we can make something ground-breaking.”

Lead Writer and Executive Producer, Simon Allen says: “Sir Terry Pratchett is in the bloodstream of popular culture. He has a distinctly British kind of literary heart and humour but his ideas are defiantly human and universal. It’s been such a privilege to work with our world class director, producers and writers on building a television show that honours his legacy while striking out on its own in his name and spirit. Like the man whose genius inspired it, The Watch is a hopeful show that believes it’s better to light a candle than curse the darkness. I can't wait for everybody to see our joyously brilliant cast light candles and, of course, flamethrowers.”

#discworld #the watch #bbc america #it's a comedy! #there are dwarves! #it's anarchic and whacky! #i feel... somewhat more chill? #but also #still uncertain #BUT. ALSO. #(still kinda miffed about sybil and carcer like why would you even go there if you're gonna do that???) #BUT... ALSO...

[ladyloveandjustice]

PLVAA P10- Maya’s 10 millionth murder trial

TIME FOR YET ANOTHER MURDER TRIAL WHERE WE MUST SAVE MAYA FEY. Apparently Luke’s been crying all night over the Professor, awwww, poor thing. Nick and Maya are all like “we don’t know what to say so we’ll just give him some space” GUYS HE’S TEN. I hope the baker lady is at least looking after him.

Since Maya’s literally locked in a giant metal cage, Layton is a statue and Luke is traumatized, Espella offers to assist Nick in court since she wants to save Maya. Aw, what a good girl.

Anyway, time to start the trial...oh shit, Luke is one of our witnesses. I guess that makes sense, he did technically witness the aftermath of the crime. Nick is all offended by this say “that’s the inquisitors witness bench!” uhhhh...are there seperate benches for whoever’s a witness...anyway Luke seems pretty upset and he’s just ten AND AGAIN, IT’S PERFECTLY NORMAL TO SPEAK AS A WITNESS IF YOU WITNESSED A CRIME, NICK, so I’m okay with this for now. You better not talk too much shit about Maya though, kid, my sympathy only extends so far.

Luke: A gentleman should pursue the truth!

Phoenix: (A gentleman also shouldn’t look at people like he wants to hit them in the face...)

The professor hasn’t covered that lesson yet.

one of the witnesses has a parrot with him are we going to cross-examine it wouldn’t be the first time.

“The professor must have seen through Miss Maya’s deception”...wtf are you talking about Luke. LUKE YOU’VE SEEN FOR YOURSELF THAT WITCHES CAN JUST APPEAR OUT OF NOWHERE AND VANISH JUST AS QUICKLY.  YOU SHOULD KNOW IT DOESN’T HAVE TO HAVE BEEN MAYA. DOES A GENTLEMAN NOT KNOW ABOUT COMMON SENSE. Do you really want to see Maya dropped into a SEA OF FLAMES.

I like to think Espella is deliberately imitating Maya’s body language here (though the out-of-universe answer may have been the animators were too lazy to come up with new body language) because she thinks it’s essential to being a good assistant.

Aw, Espella is so smart! She’s really timid about speaking out, but Nick encourages her and she immediately spots a flaw in the witnesses testimony. She should go into law when she’s tired of being accused of witchcraft.

Our schoolteacher witness is like “the professor was probably threatening someone with a knife” and Luke is all NUH UH HE WOULD NEVER. Okay, so YOU SEE THE SITUATION IS FISHY, LUKE, MAYBE EXTEND SOME OF THAT FAITH TO MAYA.

Nick calls Luke a “problematic” witness lol. LUKE A GENTLEMAN IS NOT SUPPOSED TO BE PROBLEMATIC. Maya actually starts arguing with him from her cage. How could you betray YOUR CAT-FINDING BUD like this Luke.

Now they’re bringing the professor’s statue to the courtroom as “evidence” and it’s traumatizing Luke even more he just keeps screaming and the judge is just...ignoring him...he REALLY should not be at this trial someone look after this child.

Aw Maya actually got a “hold it” voice clip this time! AFTER ALL THESE YEARS.

Whenever Maya tries to speak in her defense Barnham tells her she’s not allowed and he’ll burn her THIS IS BULLSHIT LEAVE HER ALONE.

The witness said when the alchemist was murdered the sky “turned blood red” YEP HUMAN TRANSMUTATION WAS DEFINITELY HAPPENING, IMO.

Oh my god did one of the witnesses steal Layton statue’s broken-off gold arm and sell it to get money Luke is going to fucking murder him. Then we’ll have to defend him in a trial. well maybe not, only women seem to be accused of anything in this fucked up society.

He took it pretty well actually, I guess because we got the arm back immediately and the witness also claimed he didn’t realize it was the Professor’s (SOMEHOW)

So one of the witnesses has a parrot with him...and I was like “are we going to cross-examine a parrot again...and then Luke was like LET’S ASK THE PARROT GUYS!

Nick: (Something about this seems horribly familiar...)

Luke: bla bla bla he said he has a memory of an elephant-

Nick: (Oh wait that’s right Luke can talk to animals)

I completely forgot about that too. It’s such a random power that doesn’t seem to fit with the rest of Luke’s character. But maybe it would if I played the main games. ANYWAY. I wouldn’t be admitting that in a court where people get burned for witchcraft, but apparently magic is only bad if women do it.

YEP TIME FOR CROSS-EXAMINE A FUCKING PARROT: ROUND 2. They really like milking this moment. I can’t blame them, it is the most iconic Ace Attorney moment and all. At least they kept the fact Nick insists on addressing animals formally intact in the translation this time.

Barnham: A parrot is an animal! Calling it “Mr” doesn’t change that!

Awww the parrot is sitting on Luke’s head that’s adorable. He’s so happy about it too.

Barnham: Why does this boy look so pleased with himself?

Who wouldn’t be pleased to be a parrot perch.

The parrot can imitate and repeat the sounds it heard perfectly, so we get it to do so and figure out that a portal spell was cast, and we figure out the witch used the portal to plant to magic sceptre to look like Maya did it. So who could have done it? THE BUTLER DID IT. no really. But witches can only be girls according to this place, we’re only allowed to torture and burn women. Well MAYBE THE BUTLER IS A GIRL DUN DUN DUN. Now it’s time to break while we call the butler to the stand. TILL NEXT TIME. 

#nev plays plvaa

[justanothercinemaniac]

Epic Movie (Re)Watch #166 - Wallace & Gromit: The Curse of the Were-Rabbit

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Mostly.

Did I see it in theaters: No.

Format: DVD

This post is dedicated to the memory of Peter Sallis, who passed away while I was writing. The voice of Wallace, we’ll remember always the love he had for his dog and how he was crackers for cheese.

1) Wallace and Gromit were the stars of three original short films published by Aardman animation before this movie was released. All of them were directed by this film’s director: Nick Park. All of them were nominated for an Oscar for best animated short film. The final two (“The Wrong Trousers” and “A Close Shave”) won that Oscar. Wallace and Gromit are icons of not only British animation but animation in general, yet this is their only feature film to date. Having said that...

2) According to IMDb:

Nick Park wanted the DreamWorks logo to play an epic theme, like something akin to Star Wars: Episode IV - A New Hope (1977). He wanted audiences to think that Aardman had sold out to Hollywood, before the film reverts to the classic Wallace & Gromit theme over the opening credits. The intro was also one of the last scenes filmed.

3) As the opening credits play the camera pans across a series of family photos featuring the titular pair, telling it’s own little story in them. It’s actually a perfect way to introduce their relationship: Wallace’s love for cheese, Gromit’s sort of impatience with Wallace’s shenanigans, but also the deep friendship they have.

4) The vegetable shop in this film is called Harvey’s.

5) Peter Sallis as Wallace is a delightful treat.

Dreamworks originally wanted the performer - who had played the character since “A Grand Day Out” was released in 1989 - replaced by a bigger star. Nick Park firmly refused (casting Helena Bonham Carter and Ralph Fiennes in original roles to give Dreamworks this desire) and the film is better for it. Having a big name voice Wallace would be distracting. Sallis defined who Wallace was, playing the character until 2008′s “A Matter of Loaf and Death” (which is his last performance as the character). He brings with him a charmingly dimwitted yet sincere nature. There is no malice in Wallace, no annoyance. He is a totally warm and lovable character and I am grateful to Sallis for bringing that to him.

As I’m writing this I see that Peter Sallis has just passed away at 96. His agents announced, “It is with sadness that we announce that our client Peter Sallis died peacefully, with his family by his side, at Denville Hall on Friday 2 June.” I dedicated this post to his memory above but would be remise if I did not emphasis just how much of an impact he not only had on this series, but the world of voice over animation as a whole with his iconic character of Wallace.

6) Gromit is one of the finest examples of character animation ever.

Gromit has the strongest personality of any character in the film without voice or even a mouth. His snark, his heart, his humor, who he is, is ALL in the eyes. In the movement of his eyebrows. It is truly remarkable when you think about it, especially considering how iconic a character he has become.

7) I have never related to a character as on this subject as deeply as I do with Wallace.

Wallace: “The fact is, I’m just crackers about cheese!”

8) Helena Bonham Carter as Lady Tottington.

Bonham Carter is one of the most sincere voice over performers I’ve ever heard, with her role in Corpse Bride just as delightful as in this film. There is no ego to Tottington, you don’t even think you’re listening to Bonham Carter. You are listening to the optimistic, earnest, trusting, kind, and sympathetic Lady Tottington and I think that works wonderfully.

9) Ralph Fiennes as Victor Quartermain.

Like Bonham Carter, Fiennes is able to remove all sense of ego and just serve the character Victor is. No stranger to voice over work (notably The Prince of Egypt before this film), Fiennes is able to let loose and have fun with what is essentially a real dirt bag of a person. And although we may not like Victor we love to hate him and I credit both the filmmakers and Fiennes for making that possible.

10) The decision to go with the horror subgenre for this film is an interesting one. Much like how “The Wrong Trousers” felt like a Hitchcock movie, Curse of the Were Rabbit uses the established tropes of horror well by creating a unique atmosphere and having fun with its established tropes. A strong early example of this is when the priest in the film encounters the Were-Rabbit. He’s walking through a gloomy cemetery at night, hears a strange noise, goes into his church and then something is creeping up on him. Something we never really see. You could have opened the film that way and we would’ve understood what kind of tone it was aiming for.

11) There is also a lot of fine misdirection with the Were-Rabbit before the reveal towards the end. It is totally plausible and believable that it is one of Wallace’s rabbits run amok based on the way the filmmakers treat it, but also when you rewatch it you can easily see how the final twist works perfectly even if the filmmakers aren’t as in your face about it.

12) Like all Wallace and Gromit projects, this film has an incredibly strong sense of humor. The town meeting in the church is a wonderful example of this. From the organ player doing a, “dun dun dun!” after a startling statement is made, to this visual:

Strong visual and verbal humor are abound in a way which makes this film wonderfully funny.

13) I’m Gromit in this situation.

Wallace [after Quartermaine asks how they could catch such a big rabbit]: “With a big trap!”

Gromit: [Face palms.]

Townsperson: “By jove, he’s got it!”

[Townspeople start cheering.]

14) The lady rabbit trap is also another wonderful example of humor this film has. It is not only wildly creative but shows off some more of Gromit’s wonderful physical character.

15) While Gromit is alone waiting for Wallace to come back to the car we are given some surprisingly wonderful tension. The noises, the jumps, it is right out of a horror film and works wonderfully well.

16) Wallace transforming into the Were-Rabbit is wonderful. It’s straight out of the Wolf Man and a wonderful piece of animation. It is the big twist of the film: our hero is the monster! And the way everyone reacts to it is just hysterical.

17) They had to make this joke, didn’t they?

Victor [after the priest says the Were-Rabbit can only be killed with gold]: “Gold?”

Priest: “Yes. 24...carrot. [He chuckles].”

18) The rabbit Hutch turning into Wallace is absolutely fantastic.

Everything out of Hutch’s mouth is 1) a sped up version of Peter Sallis’ own voice and 2) a line that was either said earlier in this film or in a previous Wallace and Gromit. I think that concept is just hysterical and love that they included it in the film.

19) If you want to understand how wonderfully weird this film is, just consider this line.

Wallace [tearing up]: “Oh Gromit! I don’t want to be a giant rabbit!”

20) There are two jokes which I find straight up hysterical back to back.

Quartermaine [to the police officer]: “I don’t want to cause any panic, but the beast isn’t actually dead yet.”

Police officer [through his megaphone]: “The best isn’t actually dead yet?”

Quartermaine [after firing off a bullet to calm the crowd down]: “Now listen carefully. I’ve only got two [realizes he just shot off a bullet]...ugh, I’ve only ONE gold bullet left!”

21) I just love how THIS is what lets Lady Tottington know the Were-Rabbit is Wallace.

That hand gesture is so iconic for the character that even Hutch the rabbit spoofs it quite frequently.

22) The entire “Dogfight” between Gromit and Quartermain’s dog is an excellent showcase for how the series incorporates amazing action with wildly strong humor (as they did in the train chase in “The Wrong Trousers”). It is by far my favorite scene in the film, and when they have to insert another coin to keep going has my rolling with laughter.

23) The scene where the Were-Rabbit “dies” and turns back into Wallace is lifted directly from Lon Chaney Jr’s The Wolf Man and I just love that.

24) Of course cheese brings Wallace back and everybody has a happy ending.

25) I just need to get this out of my system:

(GIF originally posted by @marshmallow-the-vampire-slayer)

Wallace and Gromit: The Curse of the Were Rabbit is another excellent piece of animation from Aardman studios. It has the warmth, humor, heart, and characters we’ve come to expect not only from the filmmakers but from the series itself. Peter Sallis SHINES as Wallace and the additions of Helena Bonham Carter and Ralph Fiennes works wonderfully well. It is an excellent piece of animation and filmmaking in general. And I would be regretful if I did not make one last dedication to the late Peter Sallis. He may be gone, but children and fans everywhere will always have the warmth of his voice through the character of Wallace.

#Wallace and Gromit #Peter Sallis #The Curse of the Were Rabbit #Aardman #Nick Park #Helena Bonham Carter #Ralph Fiennes #Epic Movie (Re)Watch #Movie #Film #GIF

[chicagoindiecritics]

New from Jeff York on The Establishing Shot: THE NEW CARTOON “THE ADDAMS FAMILY” DOES THE PROPERTY PROUD IN A SNAP-SNAP

Most animated movies aimed at kids must also appeal to their parents. After all, if the chaperones aren’t amused, they’ll likely not return for another Cineplex viewing when their children plead to see it again. The great thing about the new computer-animated film based on cartoonist Charles Addams’ THE ADDAMS FAMILY is that it will appeal equally to adult audiences due to its avid homage to the classic 1960s TV series. This adaptation borrows heavily from the show, not to mention parts of the 1991 cult classic ADDAMS FAMILY VALUES as well, yet this take has its own energy and originality as well. With all that going for it, this reboot should easily appeal to a wide audience. 

For those who haven’t a clue about the eccentric clan, the film does a sly and swift job of setting up the premise. Gomez Addams (voiced by Oscar Isaac) and his new bride Morticia (voiced by Charlize Theron), have barely finished their nuptials when the local townsfolk chase them out of town for being, well, creepy, kooky, mysterious, and spooky. Gomez could pass for merely a sinister businessman in pinstripes, but Morticia? Hell, she evokes Dracula’s bride with her deathly pallor and raven-haired looks. 

As the two oddball newlyweds drive over hill and dale to escape the mob, Thing, their right-hand man, er hand, tries to direct them to find shelter. Their car ends up hitting a body lying in the middle of the road. Gomez and Morticia delight in hitting something, a joke that may get lost on the kiddies, but it’s an excellent example of this film’s willingness to employ very adult gallows humor. 

Their ‘victim’ is Lurch, a hulking 7 ft. tall Frankenstein’s monster-lookalike who they find wrapped in a straight-jacket. He’s escaped from the recently closed asylum up the hill, and before you know it, the Addams’ roll into the massive mansion and make it their home. Lurch quickly becomes their manservant and displays talent on the organ as well. Together with Thing, the two plunk out various tunes, including Bach’s “Toccata and Fugue in D minor,” before plunking out Vic Mizzy’s iconic TV theme song. (Da-da-da-dun SNAP SNAP!) 

This wonderfully energetic exposition, that surges through the birth and childhood of the Addams’ two children Wednesday (voiced by Chloe Grace Moretz) and Pugsley (voiced by Finn Wolfhard) as well, takes up only about 10 minutes of screen time. From there, the rest of the film bops along at an equally furious pace, tossing off tons of visual gags and throwaway one-liners with such abandon, audiences may need a second viewing just to catch them all. (More rewards for those returning chaperones, you see.) 

Grandmama (voiced by Bette Midler) and Uncle Fester (voiced by Nick Krall) move in, and the film starts to tick a lot of boxes from the original Addams’ panel cartoons from the ’40s and ’50s, and even more from the TV take. Some of the homages that become major parts of the story include Gomez’s love of fencing; Morticia’s French utterances engorging her husband’s libido; Uncle Fester playing human target for the kids’ lethal hijinks, and the family house cat – a hungry lion – roaming from room to room. 

The voice characterizations are all splendid, with Isaac earning special kudos for playing up his Latino heritage for Gomez. Moretz does a sly riff on Christina Ricci as she gives every line reading an ADDAMS FAMILY VALUES flavor. Allison Janney also does clever work as the voice of Margaux Needler, the antagonist in the story. Needler’s a TV host of a fixer-upper show wanting to renovate the Addams’ haunted house to flip it. Any movie with a plot driver as home equity is a movie truly after an adult audience.

Where the film caters more to kids is in its dual stories centering on Wednesday and Pugsley. Wednesday befriends Needler’s daughter and promptly converts her into an Emo girl. Meanwhile, Pugsley is about to turn 13, driving Gomez to prepare festivities for his son’s passage into manhood. It’s all sweet and affecting, without ever getting too maudlin or preachy. Nor does it get too macabre either, though Pugsley’s penchant for miniature bombs and dynamite may strike some as a bit insensitive for today’s times. 

The trajectory of the story is fairly predictable with its message of inclusion, but it’s nice to see the Addams convert the regular folks to their more open way of thinking, rather than condemn them. Screenwriters Matt Lieberman, Pamela Pettler, and Erica Rivinoja never dumb-down a gag or line, and they shrewdly utilize a lot of what’s worked for the franchise in the past. They’re also smart enough to write a lot of big visual set-pieces that simply could not have been done as live-action. 

The entire film feels a lot more intellectual than it had to be, but it’s a pleasure to see such adult sophistication ladled throughout. That’s especially evident in the spectacular production design showcasing every nook and cranny of the Addams environment. Co-directors Greg Tiernan and Conrad Vernon (veterans of SAUSAGE PARTY and SHREK 2) have done a terrific job of making what should be a crowd-pleaser, especially for the nostalgia set. The film’s end credit sequence is even a shot-for-shot spoof of the TV show’s original black and white opening credit and theme song. That was enough to make me want to see this film again in a snap-snap. AND I don’t even have kids.

from The Establishing Shot https://ift.tt/35ryUbZ via IFTTT

from WordPress https://ift.tt/2nIORtu via IFTTT

#IFTTT #WordPress #CIFCC #film critics #movies #film #Chicago

[njawaidofficial]

2018’s Oscar-Nominated Composers Dazzle at L.A. Philharmonic Concert

https://styleveryday.com/2018/03/02/2018s-oscar-nominated-composers-dazzle-at-l-a-philharmonic-concert/

2018’s Oscar-Nominated Composers Dazzle at L.A. Philharmonic Concert

The Academy of Motion Pictures Arts and Sciences and the L.A. Philharmonic presented the Oscar Concert, a stirring and lively celebration of film music — and this year’s five nominated scores — on Feb. 28 at Walt Disney Concert Hall.

The concert hall has always had a love/hate relationship with film music. Unlike the classical repertory, film scores always have one definitive performance to model: What’s heard in the film, either through repeated viewings or album listening, becomes the example to emulate for any subsequent performance, making interpretation a potential minefield — especially for devotees who, through repeated viewings or album listening, have this music committed to memory.

But hearing this often iconic music performed live has its own thrills, and Wednesday’s lavish multi-media celebration of Oscar-nominated scores (and the emotions film music can inspire) at Los Angeles’ Walt Disney Concert Hall delivered those in spades.

In a surprisingly star-studded evening (Paul Thomas Anderson! John Williams! Michelle Rodriguez?), the Motion Picture Academy and the Los Angeles Philharmonic, led by conductor Thomas Wilkins, presented ensembles of movie score moments performed under montages by editors Scott Draper, Kellie Cunningham and Mark DelForte, all organized by curators and music Academy branch luminaries Michael Giacchino, Laura Karpman and Charles Bernstein. By matching scores to specific concepts and movie shots to the music, the concert made a strong argument for the universality of this idiom while striking themes of inclusion and uplift.

Composer Michael Giacchino and Wilkins opened the concert with an effective and instructive comedy routine that had Giacchino demanding Wilkins make changes on the fly to his finale music from Pixar’s Up, and Wilkins presenting three different versions for Giacchino’s approval.

The program proper then began by mixing Rachel Portman’s gentle evocation of Victorian England in her Nicholas Nicklebyscore, Nino Rota’s breezy, nostalgic Amarcord score and A.R. Rahman’s propulsive world music from Slumdog Millionaire as “The Sound of Home,” demonstrating that home could be any place or any culture on earth. For “The Sound of Love,” Wilkins presented Erich Wolfgang Korngold’s hushed, trembling romantic music from The Adventures of Robin Hood (a concert detour from Korngold’s more familiar Golden Age fanfares), Luis Bacalov’s wistful accordion from Il Postino and the soulful, yearning erhu from Tan Dun’s Crouching Tiger, Hidden Dragon with a montage presenting every possible cinematic coupling from Bogie and Bergman to the cowboys from Brokeback Mountain.

Composers Charles Bernstein and Michael Abels (Get Out) presented “The Sound of Fear,” beginning with the pitch-bending strings of Mica Levi’s Jackie (although why not Levi’s even creepier Under the Skin?). That was followed by a bone-rattling, bravura treatment of Quincy Jones’ grim, harrowing In Cold Blood score, an acoustic treatment of John Carpenter’s minimalist Halloween theme on piano and finally John Williams’ wicked dance from The Witches of Eastwick (just slightly lethargic compared to Williams’ original film performance).

Michelle Rodriguez was the surprising but appropriate choice to introduce “The Sound of the Chase,” which opened with Dave Grusin’s quirky piano score for The Firm before a bravura take on Lalo Schifrin’s classic car-chase-buildup music fromBullitt. With trombones revving and Schifrin himself in attendance, the sublime Bullitt music proved every bit as cool playing under Rodriguez’s car chases from The Fast and the Furious as it did underscoring Steve McQueen’s iconic, muscle-car cat-and-mouse game on the streets of San Francisco. Propelling the chase montage’s finale was a rare treat: Jerry Goldsmith’s buoyant and witty end title from The Great Train Robbery, as rousing playing under scenes of the truck chase footage from Raiders of the Lost Ark as it was to Victorian locomotives.

Composer and trumpet impresario Terence Blanchard arrived to perform a piercingly expressive solo to open his Malcolm Xscore for “The Sound of Courage.” Both Malcolm X and Alex North’s Spartacus (with the humble nobility of its slave theme rising as if out of the dust left by its opening, clashing Roman fanfares) relied on a low, martial pulse of tubas to conjure the idea of political struggle for freedom and human rights; meanwhile, Joe Hisaishi’s lyrical piano-into-strings melody for the animated Spirited Away spoke to a more innocent, child-like bravery in the face of the unknown. 

The second half of the program dropped the montages but amped the star power with directors of the Oscar-nominated scores from 2017 introducing their composers (live in most cases) to conduct excerpts from their works. Martin McDonagh introduced Carter Burwell via video, and Burwell conducted his music for Three Billboards Outside Ebbing, Missouri — which, like much of his distinctive music for the Coen Bros. films, makes a kind of majesty out of a molehill, opening with a feeling of quiet regret before spaghetti western-like chimes and Liv Redpath’s eerie soprano performance add an epic quality.

Guillermo del Toro (cheekily introducing himself as Michael Moore) welcomed Alexandre Desplat, whose The Shape of Water music conjured up a romantic French atmosphere with accordion, Nick Orlando’s organ performance, whistling harmonies that hinted at sci-fi theremins and droplet-like flute notes. All the elements gathered into a rhapsodic yet melancholy dance melody.

After an introduction from Paul Thomas Anderson explaining how he asked composer Jonny Greenwood to write music in the vein of Nelson Riddle for Phantom Thread, Thomas Wilkins conducted the result. The piece played a bit like the underpinnings for a romantic ballad that Sinatra never performed, with a sinuous piano line moving like a seamstress’ needle over strings until, taken up by the strings themselves, it becomes the music’s fabric itself, with just the hint ofVertigo-like obsession.

The evening ended with two rock stars who straddled both film music’s roots (for everyone who believes film music began with Star Wars) and its current direction. Rian Johnson struggled to introduce John Williams without gushing, and Williams smoothly conducted his “The Rebellion Is Reborn” music from The Last Jedi, effortlessly earning a standing ovation from the Disney Concert Hall audience.

Then Hans Zimmer and fellow keyboardist Benjamin Walfisch entered after Christopher Nolan’s video introduction to perform Zimmer’s enveloping and unnerving music from Dunkirk. Unveiling a giant computer control panel that looked like it had been hijacked from the Jupiter 2, Zimmer added his alarm claxon-like, blaring synthesizer figure to trembling orchestral performances conducted by Wilkins. The approach built to a soothing, Elgar-like sense of accomplishment by way of Emerson, Lake & Palmer—and earned Zimmer his own standing O. 

Now all that remains is for the Academy to pick a winner.

PGM.createScriptTag("//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.6&appId=303838389949803");

[tianmicons]

#nick dunning icons #nick dunning #icons with psd #psd icons #thomas boleyn icons #thomas boleyn #tv series #tv series icons #actors #actors icons #the tudors #the tudors icons

[historicalresources]

Under the cut are 47, 100x100 rp icons of  NICK DUNNING as Thomas Boleyn in Season 2, episodes 1-5 of The Tudors. The screencaps are from http://kissthemgoodbye.net/, all of the icons were made and edited by Jas. Please do not add your own border/watermark to them or claim them as your own.

Like/reblog this post if you use them

#rp icons #period fc #nick dunning rp icons #nick dunning icons #the tudors #t: tudors #nick dunning #m #white fc

[tianmicons]

#nick dunning icons #nick dunning #icons with psd #psd icons #tv series #tv series icons #the tudors #the tudors icons #actors icons #actors #thomas boleyn icons #thomas boleyn

[tianmicons]

#nick dunning #nick dunning icons #thomas boleyn #thomas boleyn icons #psd icons #icons with psd #the tudors #the tudors icons #tv series #tv series icons #actors icons #actors

[tianmicons]

#nick dunning #nick dunning icons #thomas boleyn #thomas boleyn icons #psd icons #icons with psd #actors #actors icons #the tudors #the tudors icons #tv series icons #tv series