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Scorsese and Bernstein
Elmer Bernstein adapted and arranged Herrmann's original score from J. Lee Thompson's Cape Fear ( 1962 ), and used it for the 1991 Martin Scorsese remake.
When Martin Scorsese announced that he was re-making Cape Fear, Bernstein adapted Bernard Herrmann's original score to the new film.
Bernstein leapt at the opportunity to work with Scorsese, and to pay homage to Herrmann.

Scorsese and subsequently
Ray's work subsequently had a worldwide impact, with filmmakers such as Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg, Carlos Saura, Jean-Luc Godard, Isao Takahata, Gregory Nava, Ira Sachs and Wes Anderson being influenced by his cinematic style, and many others such as Akira Kurosawa praising his work.

Scorsese and worked
His father, Charles Scorsese ( 1913 – 1993 ), and mother, Catherine Scorsese ( born Cappa ; 1912 – 1997 ), both worked in New York's Garment District.
For both Air Force One and Outbreak ( but not for The Perfect Storm ), Petersen teamed up with the German cinematographer Michael Ballhaus, who has also worked frequently with director Martin Scorsese.
Spielberg suggested casting Ford as Jones, but Lucas objected, stating that he did not want Ford to become his " Bobby De Niro " or " that guy I put in all my movies ", a reference to Martin Scorsese, who often worked with Robert De Niro.
Sheen has worked with a wide variety of film directors, such as Richard Attenborough, Francis Ford Coppola, Terrence Malick, David Cronenberg, Mike Nichols, Martin Scorsese, Steven Spielberg and Oliver Stone.
Since then, Scorsese and Keitel have worked together on several projects.
In 1987 he again worked with Scorsese as Judas in The Last Temptation of Christ.
After a five-year absence from filming, Day-Lewis returned to act in multiple Academy Award-nominated films such as Gangs of New York, a film directed by Martin Scorsese ( with whom he had worked on The Age of Innocence ) and produced by Harvey Weinstein.
The following year, Kander and Ebb worked with Minnelli and Martin Scorsese twice: first, in the film New York, New York, which had them write what is perhaps their best-known song, the title track ; and, again in The Act, a musical about a fictional nightclub act.
During his 40-year career Bass worked for some of Hollywood's greatest filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese.
He has worked for a variety of studios and production companies, including Paramount, Warner Brothers, New Line, Universal, Disney, actor / producer Tom Cruise, and directors David Fincher and Martin Scorsese.
Lately he has worked on famous movies such as: " Gangs of New York ", directed by Martin Scorsese, " The Passion of the Christ " directed by Mel Gibson and " Life Aquatic " directed by Wes Anderson.
He has also cited that he has previously worked for the film industry as a technician and prop man, some of the directors he has worked under include Alex Cox, John Sayles, and Martin Scorsese.
He went on to produce the music for the final Broadway performance of Rent and worked with Martin Scorsese on his George Harrison film documentary Living in the Material World.
The majority of critics were unimpressed, although there was praise for the film's cinematography by Michael Ballhaus who has worked with Martin Scorsese.

Scorsese and together
The two appeared together in a few films, including The Good Guys and the Bad Guys ( 1969 ) and Boxcar Bertha ( 1972 ), which was produced by Roger Corman and directed by Martin Scorsese.
In 2003, Martin Scorsese collaborated with many blues musicians including Keb ' Mo ' to put together a series of films entitled The Blues.

Scorsese and on
One of the most famous was The Apu Trilogy ( 1955 – 1959 ) from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa, Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg ,< ref name = unmaderay >
Contemporary filmmakers such as Woody Allen, Alejandro Jodorowsky, Pedro Almodovar, Tim Burton, Terry Gilliam, Emir Kusturica, David Lynch, Girish Kasaravalli, David Cronenberg, Martin Scorsese, and Juraj Jakubisko have cited Fellini's influence on their work.
Scorsese is hailed as one of the most significant and influential filmmakers of all time, directing landmark films such as Mean Streets ( 1973 ), Taxi Driver ( 1976 ), Raging Bull ( 1980 ), and Goodfellas ( 1990 ) – all of which he collaborated on with actor and close friend Robert De Niro.
In his documentary, Il Mio Viaggio in Italia, Scorsese noted that the Sicilian episode of Roberto Rossellini's Paisà which he first saw on television alongside his relatives, who were themselves Sicilian immigrants, made a significant impact on his life.
Cassavetes told Scorsese he should do something like Who's That Knocking At My Door, which Cassavetes had liked, and then came Mean Streets, which was based on actual events Scorsese saw almost regularly while growing up in Little Italy.
According to Scorsese, the first draft of Mean Streets focused on Charlie's religious conflict and its effect on his worldview.
Another example, as Martin Scorsese has noted on television, is in the 1959 Ben-Hur.
Directors such as Martin Scorsese have acknowledged Peckinpah's direct influence on their approach to film violence.
In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake.
In Scorsese on Scorsese the director mentions the religious symbolism in the story comparing Bickle to a saint who wants to clean up both life and his mind.
To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would fit themselves on the back seat floor and use available light to shoot.
On the Laserdisc audio commentary, Scorsese acknowledged several critics ' interpretation on the film's ending being Bickle's dying dream.
It includes the special features from the previous 2-disc collector's edition, plus an audio commentary released in 1991 by director Martin Scorsese for The Criterion Collection, previously released on Laserdisc.
At the Berlinale 2010, De Niro, Scorsese, and Lars von Trier announced plans to work on a remake of Taxi Driver.
Martin Scorsese has also acknowledged Rossellini's seminal influence in his documentary, My Voyage to Italy ( the title itself a take on Rossellini's Voyage to Italy ).
Nonetheless production on the film was plagued by blown-out budgets and producer-director squabbles, resulting in a marathon eight-month shoot and, at US $ 103 million, the most expensive film Scorsese had ever made.
The actor eventually pitched John Logan's script to Scorsese, who quickly signed on to direct.
DiCaprio continued his run with Scorsese in the 2010 psychological thriller film Shutter Island ( 2010 ), based on the 2003 novel of the same name by Dennis Lehane.
He will reunite with Scorsese for the fifth time in The Wolf of Wall Street, a true story based on the life of stockbroker Jordan Belfort, who was arrested in the late 1990s for security fraud and money laundering.
The 2011 Martin Scorsese film Hugo initially focuses on a mysterious notebook taken from the main character and his struggle to retrieve it ; " The notebook, of course, is just another storytelling device ( the McGuffin ) that ultimately proves irrelevant.

Scorsese and two
Forging a collaboration with Scorsese, the two paired again for a biopic of the eccentric and obsessive American film director and aviation pioneer Howard Hughes in The Aviator ( 2004 ).
In the introduction for The Criterion Collection DVD of Jean Renoir's The River, Martin Scorsese, who has long championed Powell and Pressburger's works, considers The Red Shoes, along with the Renoir film to be the two most beautiful colour films.
He used clips from two of them in his documentary A Personal Journey with Martin Scorsese Through American Movies.
According to Scorsese, Dylan made the stipulation that only two of his songs could be filmed: " Baby Let Me Follow You Down " and " Forever Young ".
When the film finally received its theatrical release two years later, Ebert admitted that he had been perhaps a little over eager with his first review, admitting that " Scorsese was occasionally too obvious, and the film has serious structural flaws.

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