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Apocalypse Now - Conversation Martin Sheen and Francis Ford Coppola Rus sub
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Aleksandr Potebenko
Published on Apr 5, 2015
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Apocalypse Now - Additional Materials

Francis Ford Coppola was born in 1939 in Detroit, Michigan, but grew up in a New York suburb in a creative, supportive Italian-American family. His father, Carmine Coppola, was a composer and musician. His mother, Italia Coppola (née Pennino), had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and … See full bio »
Born: April 7, 1939 in Detroit, Michigan, USA

Producer (76 credits)
Megalopolis (producer) (announced)
2013 The Bling Ring (executive producer)
2012 On the Road (executive producer)
2011 Twixt (producer)
2010 Somewhere (executive producer)
2009 Tetro (producer)
2007 Youth Without Youth (producer)
2006 The Good Shepherd (executive producer)
2006 Marie Antoinette (executive producer)
2004 Forever Is a Long, Long Time (Video short) (executive producer)
2004 Kinsey (executive producer)
2003 Lost in Translation (executive producer)
2003 Jeepers Creepers 2 (executive producer)
2003 Platinum (TV Series) (executive producer)
2002 In My Life (TV Movie) (executive producer)
2002 Assassination Tango (executive producer)
2002 Pumpkin (executive producer)
2001 Suriyothai (executive producer)
2001 Jeepers Creepers (executive producer)
2001 No Such Thing (executive producer)
2001 CQ (executive producer)
1998-2001 First Wave (TV Series) (executive producer - 65 episodes)

  • Twice Bless’d (2001) … (executive producer)
  • Terminal City (2001) … (executive producer)
  • Beneath the Black Sky (2001) … (executive producer)
  • Black Box (2001) … (executive producer)
  • Checkmate (2001) … (executive producer)
    Show all 65 episodes
    2000 Dr. Jekyll and Mr. Hyde (TV Movie) (executive producer)
    1999 Sleepy Hollow (executive producer)
    1999 Goosed (executive producer)
    1999 The Third Miracle (executive producer)
    1999 The Virgin Suicides (producer)
    1999 The Florentine (producer)
    1998 Lani-Loa (producer)
    1998 Moby Dick (TV Mini-Series) (executive producer - 2 episodes)
  • Episode #1.2 (1998) … (executive producer)
  • Episode #1.1 (1998) … (executive producer)
    1998 Outrage (TV Movie) (executive producer)
    1997 Buddy (executive producer)
    1997 The Odyssey (TV Mini-Series) (executive producer - 2 episodes)
  • Part II (1997) … (executive producer)
  • Part I (1997) … (executive producer)
    1997 Survival on the Mountain (TV Movie) (executive producer)
    1996 Dark Angel (TV Movie) (executive producer)
    1996 Jack (producer)
    1995 The Conversation (TV Movie) (producer)
    1995 Kidnapped (TV Movie) (executive producer)
    1995 Haunted (executive producer)
    1995 Tecumseh: The Last Warrior (TV Movie) (executive producer)
    1995 White Dwarf (TV Movie) (executive producer)
    1995 My Family (executive producer)
    1994 Mary Shelley’s Frankenstein (producer)
    1994 Don Juan DeMarco (producer)
    1993 The Junky’s Christmas (Short) (producer)
    1993 The Secret Garden (executive producer)
    1992 Dracula (producer)
    1992 The Godfather Trilogy: 1901-1980 (Video) (producer)
    1992/I Wind (executive producer)
    1990 The Godfather: Part III (producer - produced by)
    1990 The Outsiders (TV Series) (executive producer - 13 episodes)
  • Union Blues (1990) … (executive producer)
  • The Beat Goes On (1990) … (executive producer)
  • Winner Take All (1990) … (executive producer)
  • Tequila Sunset (1990) … (executive producer)
  • Carnival (1990) … (executive producer)
    Show all 13 episodes
    1989 Wait Until Spring, Bandini (executive producer - uncredited)
    1988 Powaqqatsi (Documentary) (executive producer)
    1987 Lionheart (executive producer)
    1987 Tough Guys Don’t Dance (executive producer - as Francis Coppola)
    1987 Gardens of Stone (producer - as Francis Coppola)
    1985 Mishima: A Life in Four Chapters (executive producer - as Francis Coppola)
    1983 Rumble Fish (executive producer - as Francis Coppola)
    1983 The Black Stallion Returns (executive producer - as Francis Coppola)
    1982 Hammett (executive producer)
    1982 The Escape Artist (executive producer - as Francis Coppola)
    1982 Koyaanisqatsi (Documentary) (executive producer)
    1980 Kagemusha (executive producer: international version)
    1979 The Black Stallion (executive producer)
    1979 Apocalypse Now (producer - as Francis Coppola)
    1977 The Godfather Saga (TV Mini-Series) (producer - 4 episodes)
  • Episode #1.4 (1977) … (producer: The Godfather)
  • Episode #1.3 (1977) … (producer: The Godfather)
  • Episode #1.2 (1977) … (producer: The Godfather)
  • Episode #1.1 (1977) … (producer: The Godfather)
    1974 The Godfather: Part II (producer - produced by)
    1974 The Conversation (producer)
    1973 American Graffiti (producer)
    1973 Paper Moon (executive producer - uncredited)
    1972 The People (TV Movie) (executive producer)
    1971 THX 1138 (executive producer)
    1968 Filmmaker (Documentary short) (producer)
    1963 The Terror (associate producer - as Francis Coppola)
    1962 Tonight for Sure (producer)
    1959 The Sky Calls (associate producer)
    Hide Hide Director (36 credits)
    Megalopolis (announced)
    2016 Distant Vision
    2011 Twixt
    2009 Tetro
    2007 Youth Without Youth
    2000 Un matin partout dans le monde (TV Short)
    1997 The Rainmaker
    1996 Jack
    1992 Making ‘Bram Stoker’s Dracula’ (TV Movie documentary)
    1992 Dracula
    1992 The Godfather Trilogy: 1901-1980 (Video)
    1990 The Godfather: Part III (directed by)
    1989 New York Stories (segment “Life without Zoe”, as Francis Coppola)
    1988 Tucker: The Man and His Dream
    1987 Gardens of Stone (as Francis Coppola)
    1987 Faerie Tale Theatre (TV Series) (1 episode)
  • Rip Van Winkle (1987)
    1986 Peggy Sue Got Married (as Francis Coppola)
    1986 Captain EO (Short)
    1984 The Cotton Club (as Francis Coppola)
    1983 Rumble Fish
    1983 The Outsiders (as Francis Coppola)
    1981 One from the Heart (as Francis Coppola)
    1979 Apocalypse Now (as Francis Coppola)
    1977 The Godfather Saga (TV Mini-Series) (4 episodes)
  • Episode #1.4 (1977)
  • Episode #1.3 (1977)
  • Episode #1.2 (1977)
  • Episode #1.1 (1977)
    1974 The Godfather: Part II (directed by)
    1974 The Conversation
    1972 The Godfather (directed by)
    1969 The Rain People
    1968 Finian’s Rainbow
    1966 You’re a Big Boy Now
    1963 Dementia 13 (as Francis Coppola)
    1963 The Terror (three or four days director - uncredited)
    1962 Tonight for Sure
    1962 The Bellboy and the Playgirls
    1959 The Sky Calls (as Thomas Colchart, re-edited version with new footage)
    1956 No Cigar (Short)
    Hide Hide Writer (29 credits)
    Megalopolis (screenplay) (announced)
    2016 Distant Vision
    2011 Twixt (written by)
    2009 Tetro (written by)
    2007 Youth Without Youth (screenplay)
    1997 The Rainmaker (screenplay)
    1992 The Godfather Trilogy: 1901-1980 (Video)
    1990 The Godfather: Part III (written by)
    1989 New York Stories (written by - segment “Life without Zoe”, as Francis Coppola)
    1986 Captain EO (Short) (screenplay - as Francis Coppola)
    1984 The Cotton Club (screenplay - as Francis Coppola) / (story - as Francis Coppola)
    1983 Rumble Fish (screenplay)
    1981 One from the Heart (screenplay - as Francis Coppola)
    1979 Apocalypse Now (written by - as Francis Coppola)
    1977 The Godfather Saga (TV Mini-Series) (screenplay - 4 episodes)
  • Episode #1.4 (1977) … (screenplay)
  • Episode #1.3 (1977) … (screenplay)
  • Episode #1.2 (1977) … (screenplay)
  • Episode #1.1 (1977) … (screenplay)
    1974 The Godfather: Part II (screenplay by)
    1974 The Conversation (written by)
    1974 The Great Gatsby (screenplay)
    1973 The Way We Were (additional writer - uncredited)
    1972 The Godfather (screenplay by)
    1970 Patton (screen story and screenplay)
    1969 The Rain People (written by)
    1966 You’re a Big Boy Now (written for the screen by)
    1966 Is Paris Burning? (screenplay)
    1966 This Property Is Condemned (screenplay - as Francis Coppola)
    1963 Dementia 13 (written by - as Francis Coppola)
    1963 The Haunted Palace (additional dialogue - uncredited)
    1962 Tonight for Sure (written by - as Francis Coppola)
    1962 The Bellboy and the Playgirls (extra scenes)

Other Works: He directed Noel Coward’s play, “Private Lives,” in an American Conservatory Theatre production at the Geary and Marine Memorial Theatres in San Francisco, California. See more »
Publicity Listings: 16 Print Biographies | 2 Portrayals | 21 Interviews | 29 Articles | 1 Pictorial | 1 Magazine Cover Photo | See more »
Official Sites: American Zoetrope | Blancaneaux Lodge, Belize | See more »
Alternate Names: Thomas Colchart | Francis Coppola | Mom & Dad | Dada | Dad | Francis
Height: 5’ 10½" (1.79 m)

Mini Bio (1)
Francis Ford Coppola was born in 1939 in Detroit, Michigan, but grew up in a New York suburb in a creative, supportive Italian-American family. His father, Carmine Coppola, was a composer and musician. His mother, Italia Coppola (née Pennino), had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as sound-man, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of “This Property is Condemned” by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning? (1966) and Patton (1970), the film for which Coppola won a Best Original Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George Lucas established American Zoetrope, an independent film production company based in San Francisco. The company’s first project was THX 1138 (1971), produced by Coppola and directed by Lucas. Coppola also produced the second film that Lucas directed, American Graffiti (1973), in 1973. This movie got five Academy Award nominations, including one for Best Picture. In 1971, Coppola’s film The Godfather (1972) became one of the highest-grossing movies in history and brought him an Oscar for writing the screenplay with Mario Puzo The film was a Best Picture Academy Award-winner, and also brought Coppola a Best Director Oscar nomination. Following his work on the screenplay for The Great Gatsby (1974), Coppola’s next film was The Conversation (1974), which was honored with the Golden Palm Award at the Cannes Film Festival, and brought Coppola Best Picture and Best Original Screenplay Oscar nominations. Also released that year, The Godfather: Part II (1974), rivaled the success of The Godfather (1972), and won six Academy Awards, bringing Coppola Oscars as a producer, director and writer. Coppola then began work on his most ambitious film, Apocalypse Now (1979), a Vietnam War epic that was inspired by Joseph Conrad’s Heart of Darkness (1993). Released in 1979, the acclaimed film won a Golden Palm Award at the Cannes Film Festival, and two Academy Awards. Also that year, Coppola executive produced the hit The Black Stallion (1979). With George Lucas, Coppola executive produced Kagemusha (1980), directed by Akira Kurosawa, and Mishima: A Life in Four Chapters (1985), directed by Paul Schrader and based on the life and writings of Yukio Mishima. Coppola also executive produced such films as The Escape Artist (1982), Hammett (1982) The Black Stallion Returns (1983), Barfly (1987), Wind (1992), The Secret Garden (1993), etc.

He helped to make a star of his nephew, Nicolas Cage. Personal tragedy hit in 1986 when his son Gio died in a boating accident. Francis Ford Coppola is one of America’s most erratic, energetic and controversial filmmakers.

Spouse (1)
Eleanor Coppola (2 February 1963 - present) ( 3 children)
Trade Mark (7)
Often casts his own real-life extended family members in his films. In the case of the Godfather films, their characters’ relationships to “Michael Corleone” often paralleled their real-life relationship to Coppola. He cast his sister, Talia Shire, as Michael’s sister Connie, and his daughter, Sofia Coppola, as Michael’s daughter Mary - named for Coppola’s other daughter. In addition, Diane Keaton said that she modeled her performance as Kay Adams after Elanor Coppola, since both Kay and Coppola are protestants who married into Italian Catholic families.
Includes the original author’s name in the title of his adaptations (i.e., Mario Puzo’s The Godfather (1972), Bram Stoker’s Dracula (1992)).
Releases re-edited versions of his work years later (e.g., The Godfather (1972) and Apocalypse Now (1979)).
Often works with cinematographer Gordon Willis and producers Fred Roos and Gray Frederickson.
Frequently casts Robert Duvall, the late John Cazale, Nicolas Cage, Diane Keaton, Matt Dillon, Harrison Ford, Laurence Fishburne and Marlon Brando.
Beard
Protagonists are tough inside who want change the world around, more often than not for selfish reasons.
Trivia (73)
Contracted polio when he was a child. During his quarantine, he practiced puppetry.
Some sources say he is the uncle of Alan Coppola, but Alan’s name does not appear on any family tree authorized by the Coppola family.
Like Martin Scorsese, Coppola was a sickly youth, a case of polio which allowed him time to indulge in puppet theater and home movies.
Middle brother of Talia Shire and August Coppola.
Father of Sofia Coppola, Roman Coppola and Gian-Carlo Coppola.
Son of composer Carmine Coppola and Italia Coppola.
Received an M.F.A. in Film Production from the University of California in Los Angeles (1967).
Since 1978, owner and operator of a Rutherford, California vineyard making Rubicon wine.
Coppola began his winery enterprise by buying a portion of the historic Inglenook estate in 1975. His success in the field is explored in the book “A Sense of Place” by Steven Kolpan, 1999.
Brother-in-law of Bill Neil.
Was in the early stages of developing a script for a fourth Godfather film with Mario Puzo which was to tell the story of the early lives of Sonny, Fredo and Michael. After Puzo’s death in July of 1999, Coppola abandoned the project, stating that he couldn’t do it without his friend.
As of May 2002, the number of Coppola-family members appearing in or contributing to filmmaking stands at thirteen, spread over three generations.
Francis Ford Coppola has been in competition with Bob Fosse on several occasions. In 1972, Coppola was nominated for the Best Director Oscar (The Godfather (1972)), but lost to Fosse (Cabaret (1972)). In 1974, Fosse was nominated for Best Director (Lenny (1974)) but lost to Coppola (The Godfather: Part II (1974)). In 1979, both were nominated as directors (Apocalypse Now (1979) and All That Jazz (1979)), but both lost. When Fosse won the Palme d’Or at the Cannes Film Festival (Coppola won the previous year), he tied with Akira Kurosawa, whose movie was produced by George Lucas and Francis Ford Coppola.
Grandfather of Gia Coppola. Great-uncle of Weston Cage Coppola.
Has released his own line of specialty foods.
As a child, his bedroom was covered with pictures of his favourite film star, Jane Powell. When he discovered she’d married Geary Anthony Steffen, Jr., he tore them all down.
His wife arranged for him to meet Jane Powell as a 40th birthday present.
Out of all his peers who rose to fame and power in the 1970s “Golden Age” era, he is perhaps the only filmmaker still married to his first wife.
Made a commercial for Suntory whiskey with legendary Japanese director Akira Kurosawa in the 1970s, an event which later influenced a salient plot point in his daughter Sofia’s movie, Lost in Translation (2003).
Was voted the 21st Greatest Director of all time by Entertainment Weekly.
Biography in: John Wakeman, editor. “World Film Directors, Volume Two, 1945- 1985”. Pages 227-234. New York: The H.W. Wilson Company, 1988.
George Lucas said that he based the “Han Solo” character from the Star Wars trilogy on Coppola.
Serves as the Honorary Ambassador of the Central American nation of Belize in San Francisco, California, USA. On their official roster of worldwide honorary consulates found on their official website, he is referred to as “His Excellency Ambassador Francis Ford Coppola,” although he is not a Belizean citizen.
In 1971 and 1973, George C. Scott and Marlon Brando refused their respective Best Actor awards for Patton (1970) and The Godfather (1972) - both written by Coppola.
Four of his relatives have been involved in the Star Wars films of his friend George Lucas. His brother-in-law, Bill Neil, worked at Industrial Light and Magic during the production of the original trilogy. His daughter, Sophia, and son, Roman, played a handmaiden and Naboo guard, respectively, in Star Wars: Episode I - The Phantom Menace (1999). His nephew, Christopher Neil, who worked as a dialogue coach for both Francis (on Jack (1996) and The Rainmaker (1997) and Sophia (on The Virgin Suicides (1999)), did the same job on Star Wars: Episode III - Revenge of the Sith (2005)–a job for which Coppola recommended him. In addition, his late older son was named Gian-Carlo. In Star Wars: Episode I - The Phantom Menace (1999), there is a Naboo vehicle called the Gian Speeder.
Directed 12 different actors in Oscar-nominated performances: Geraldine Page, Marlon Brando, Al Pacino, James Caan, Robert Duvall, Robert De Niro, Michael V. Gazzo, Lee Strasberg, Talia Shire, Kathleen Turner, Andy Garcia and Martin Landau. Brando and De Niro won their Oscar for their performances as Vito Corleone.
In 1975, he accepted the Oscar for “Best Actor in a Supporting Role” on behalf of Robert De Niro, who wasn’t present at the awards ceremony. De Niro won for his performance in Coppola’s The Godfather: Part II (1974).
The only person to direct a sibling in an Oscar-nominated performance (his sister Talia Shire was nominated as “Best Actress in a Supporting Role” for The Godfather: Part II (1974))
President of the ‘Official Competition’ jury at the 49th Cannes International Film Festival in 1996.
He is among an elite group of seven directors who have won Best Picture, Best Director and Best Screenplay (Original/Adapted) for the same film. In 1975 he won all three for The Godfather: Part II (1974). The others are Leo McCarey, Billy Wilder, James L. Brooks, Peter Jackson Joel Coen and Ethan Coen, and Alejandro G. Iñárritu.
Co-owns the Rubicon restaurant in San Francisco with Robert De Niro and fellow Bay area resident Robin Williams.
Was involved in both movies that his father, Carmine Coppola, and his daughter, Sofia Coppola, won Oscars: he was the director of The Godfather: Part II (1974), which won his father an Oscar for “Best Music, Original Dramatic Score”, and he was the executive producer of Lost in Translation (2003), which won his daughter the Oscar for “Best Writing, Screenplay Written Directly for the Screen”.
There are three generations of Oscar winners in the Coppola family: Francis, his father Carmine Coppola, his nephew Nicolas Cage and his daughter Sofia Coppola. They are the second family to do so, the first family is the Hustons - Anjelica Huston, John Huston and Walter Huston.
Since the mid-90s (and possibly even earlier), he has been writing and re- writing an original screenplay entitled “Megalopolis”. Described as “one man’s quest to build utopia set in modern-day New York following a major disaster,” the project has been delayed due to Coppola’s constant tinkering with the script and the fact that the director is attempting to finance it himself. He admitted to taking on studio films such as Jack (1996) and The Rainmaker (1997) in order to make this happen. Several A-list actors have had their names attached to it and a great excess of second-unit footage (shot in 24p HD) has been captured by Coppola and the film’s cinematographer, Ron Fricke of Baraka (1992) fame. However, the terrorist attacks on New York on September 11th 2001 made the movie’s subject matter too sensitive, and the project was shelved indefinitely, although Coppola hasn’t fully ruled it out.
Currently owns 2 resorts in Belize and 1 in Guatemala. They are the Blancaneaux Lodge in the Pine Ridge Region, Turtle Inn in Placencia and La Lancha near Tikal in Guatemala.
He, George Lucas and Steven Spielberg presented Martin Scorsese with his first ever Oscar for Best Director for The Departed (2006). All four directors were part of the “New Hollywood” movement in the 60s and 70s.
Was named after his grandfather Francesco Pennino.
Uncle of Nicolas Cage, Christopher Coppola, Marc Coppola, Robert Schwartzman, Jason Schwartzman, John Schwartzman, Matt Shire and Stephanie Schwartzman.
Briefly attended the New York Military Academy where Troy Donahue was his classmate…until Coppola decided to drop out early on, so he called a taxi and left school. He and Donahue later worked together on The Godfather: Part II (1974).
His middle name was given to him to honor Henry Ford. Francis was born at the “Henry Ford” Hospital in Detroit; Francis’s father participated in a music show that Henry Ford really liked and they, in fact, met. So the middle name Ford was to honor Henry Ford himself. (Source: Francis Ford Coppola, “Inside the Actor’s Studio”).
As a hold-over from his days directing theater when he was young, he always engages his cast in a lengthy rehearsal period before filming. Occasionally, he finds film actors that are not used to this will bristle against the process.
In 1986 his 22-year-old son, Gian-Carlo, died in a boating accident.
Favorite movies from his own personal filmography: The Rain People (1969), The Conversation (1974), Apocalypse Now (1979), Rumble Fish (1983) and Youth Without Youth (2007).
Is a big fan of actress Diane Lane and has cast her in no less than 4 films, The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Jack (1996).
Won five Oscars in four years - one in 1971 for Patton (1970), one in 1973 for The Godfather (1972), and three in 1975 for The Godfather: Part II (1974).
President of the ‘Official Competition’ jury at the 15th Marrakech International Film Festival in 2015.
His first two Oscar-winning screenplays were for Patton (1970) and The Godfather (1972), both movies also won for Best Actor. In both of these films, both leading actors - George C. Scott and Marlon Brando, respectively - turned down their awards (although it was the second Oscar which Brando won).
Is the only director to direct two actors in Oscar-winning performances in the same role: Marlon Brando in The Godfather (1972), and Robert De Niro in The Godfather: Part II (1974). Since that time, only two other actors have been nominated for roles in which a previous actor already won an Oscar: José Ferrer and Gérard Depardieu as Cyrano de Bergerac, and John Wayne and Jeff Bridges as Rooster Cogburn.
Was plagued with demeaning nicknames in his childhood, such as “Ichabod” in military school, which was also one of 24 schools he attended before he entered college.
Says his greatest directorial influence is Elia Kazan.
One of nine directors to have won the Palme d’Or twice at the Cannes Film Festival, the others being Bille August, Alf Sjöberg, Emir Kusturica, Shôhei Imamura, Luc Dardenne & Jean-Pierre Dardenne, Michael Haneke and Ken Loach.
He visited Buenos Aires, Argentina, making castings with Argentine actors and looking for locations for his film Tetro (2009). [June 2007]
He visited Buenos Aires, Argentina for 4 days. [July 2006]
In September 2005 he visited Istanbul for vacation. According to him, he got drunk one night and suddenly had the initial idea for Twixt (2011).
Coppola is the first major American film director to earn a master’s degree in filmmaking from a major university (UCLA in 1968).
Director and screenwriter John Milius: “Francis is the best of us all. He has the most talent and the most daring. There are a lot of faults in Francis, but I think he’s the leader”.
Griffin O’Neal was found guilty of negligently operating a boat in relation to the death of Gian-Carlo Coppola, Coppola’s 23-year-old son. Coppola died on the South River near Annapolis when a boat that O’Neal was operating went between two other boats and a tow line struck Coppola in the head throwing him to the deck and smashing his skull. O’Neal was cleared of manslaughter and also acquitted of two charges of recklessly operating a boat. [December 1986]
His ten favorite films are: Ashes and Diamonds (1958), De beste jaren van ons leven (1946), I Vitelloni (1953), The Bad Sleep Well (1960), Yojimbo (1961), Singin’ in the Rain (1952), The King of Comedy (1982), Raging Bull (1980), The Apartment (1960) and Sunrise (1927).
Coppola’s legal drama The Rainmaker (1997) is widely regarded by film critics as the best of the many John Grisham adaptations. Grisham himself said of the film, “To me it’s the best adaptation of any of [my books]. … I love the movie. It’s so well done.” [Entertainment Weekly 2004].
Francis Ford Coppola’s hands and feet were pressed into the cement outside the TCL Chinese Theatre in Los Angeles on April 29th, 2016.
Along with Ernst Lubitsch, Jack Conway, Michael Curtiz, Victor Fleming, John Ford, Alfred Hitchcock, Sam Wood, Herbert Ross and Steven Soderbergh, he is one of ten directors to have more than one film nominated for Best Picture in the same year. The Godfather: Part II (1974) and The Conversation (1974) were both so nominated at the 47th Academy Awards in 1975 while the former won the award.
He has directed Glenn Withrow in four films: The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Peggy Sue Got Married (1986).
He has directed James Caan in four films: The Rain People (1969), The Godfather (1972), The Godfather: Part II (1974) and Gardens of Stone (1987).
He has directed his daughter Sofia Coppola in eight films: The Godfather (1972), The Godfather: Part II (1974), The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984), Peggy Sue Got Married (1986), Tucker: The Man and His Dream (1988) and The Godfather: Part III (1990).
He has directed Diane Lane in four films: The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Jack (1996).
He has directed his younger sister Talia Shire in four films: The Godfather (1972), The Godfather: Part II (1974), New York Stories (1989) and The Godfather: Part III (1990).
Directed five Oscar Best Picture nominees: The Godfather (1972), The Conversation (1974), The Godfather: Part II (1974), Apocalypse Now (1979) and The Godfather: Part III (1990). He also produced the last four of these, as well as American Graffiti (1973) and was an executive producer for Lost in Translation (2003), which was directed by his daughter. Of these, The Godfather and The Godfather: Part II won Best Picture. He wrote the screenplay for six Best Picture nominees, which are the five films that he directed above, and Patton (1970).
As of 2018, the only person to win Best Screenplay for three Best Picture Oscar winners, he won Best Original Screenplay for Patton (1970) and Best Adapted Screenplay for The Godfather (1972) and The Godfather: Part II (1974).
He is one of multiple directors to have directed a film that won a Best Picture Oscar, followed by a film that was also Oscar nominated for Best Picture. Other directors to have achieved this are Lewis Milestone, Frank Capra, Alfred Hitchcock, William Wyler, Leo McCarey, David Lean, Robert Wise, James L. Brooks, James Cameron, Danny Boyle, Kathryn Bigelow, Tom Hooper, and Alejandro G. Iñárritu. What makes Coppola’s achievement unique is he had achieved this feat twice: with The Godfather (1972), followed by The Conversation (1974), then The Godfather: Part II (1974), followed by Apocalypse Now (1979).
His last name is pronounced CO-pa-la.
Coppola was very impressed by the large cylindrical Zoetrope motion picture device he saw on a visit to the Palace of Chaillot in Paris early in 1969.Later that year, he and George Lucas would name their new film production company American Zoetrope.
He has directed four films that have been selected for the National Film Registry by the Library of Congress as being “culturally, historically or aesthetically” significant: The Godfather (1972), The Conversation (1974), The Godfather: Part II (1974) and Apocalypse Now (1979). He wrote all of those films in addition to Patton (1970) which is also in the registry. As well as those, he produced American Graffiti (1973) and executive produced The Black Stallion (1979) and Koyaanisqatsi (1982), all of which are in the registry as well.
Ashes and Diamonds (1958) is one of his favourite films.
Personal Quotes (85)
To me the great hope is that now that these little 8mm video recorder and stuff now, some - just people who normally wouldn’t make movies are going to be making them. And, you know, suddenly one day some little fat girl in Ohio is going to be the new Mozart, and you know, and make a beautiful film with her father’s little camera-corder and for once this whole professionalism about movies will be destroyed forever and it will become an art form. That’s my opinion. [“Heart of Darkness: A Filmmaker’s Apocalypse”, 1991]
[on Apocalypse Now (1979)] My movie is not about Vietnam… my movie is Vietnam. [Cannes 1979]
What the studios want now is “risk-free” films but with any sort of art you have to take risks. Not taking risks in art is like not having sex and then expecting there to be children.
I just feel that at a certain point you have to go back to the beginning again. The best thing for me at this point in my life is to become a student again and make movies with the eyes I had when I was enthusiastic about it in the first place.
In a sense, I think a movie is really a little like a question and when you make it, that’s when you get the answer.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It’s usually because there are a number of people that cross- pollinated each other.
Anything you build on a large scale or with intense passion invites chaos.
I bring to my life a certain amount of mess.
I probably have genius. But no talent.
Lots of people have criticized my movies, but nobody has ever identified the real problem: I’m a sloppy filmmaker.
Wall Street got interested in film and communications, and these are the people who brought you the Big Mac. In the past twelve years, I can’t think of one classic they’ve made. [1996]
Basically, both the Mafia and America feel they are benevolent organizations. And both the Mafia and America have their hands stained with blood from what it is necessary to do to protect their power and interests.
If the movie works, nobody notices the mistakes… If the movie doesn’t work, the only thing people notice are mistakes.
If you don’t bet, you don’t have a chance to win.
I think if there was a role that Robert De Niro was hungry for, he would come after it. I don’t think Jack Nicholson would. Jack has money and influence and girls, and I think he’s a little bit like Marlon Brando, except Brando went through some tough times. I guess they don’t want to do it anymore
I had a little fantasy that goes like this: I’m getting to be an influential person in San Francisco; what if I and five other powerful guys with cigars got together in a smoke-filled room to decide who would be the next mayor of San Francisco? We’d do it because we’re good guys and we really want the city to be wonderful for everybody. Then I thought, what’s the difference between five good guys holding that kind of power and five bad guys? Just good intentions, and intentions can be corrupted.
Initially, the idea of a sequel seemed horrible to me. It sounded like a tacky spin-off, and I used to joke that the only way I’d do it was if they’d let me film ‘Abbott and Costello Meet the Godfather’- that would have been fun. Then I entertained some Russian film executives who were visiting San Francisco and they asked me if I was going to make The Godfather: Part II (1974). That was the first time I heard the phrase used; I guess you could say I stole the title from the Russians. In short, it seemed like such a terrible idea that I was intrigued by the thought of pulling it off. Simple as that.
[on Akira Kurosawa] Most directors have one masterpiece by which they are known, or possibly two. Kurosawa has at least eight or nine.
The easiest way to make sure a movie is successful is to make a traditional movie very well. If you make a slightly unusual movie or [don’t] exactly follow the rules as everyone sees them, then you get in trouble or, like with Apocalypse Now (1979), wait 20 years to hear that was really good.
When you lose your kid, it’s the first thing you think of when you wake up in the morning for about seven or eight years. Then there’s the first morning when that’s not the first thing you think of. You get brave.
The Godfather (1972) changed my life, for better or worse. It definitely made me have an older man’s film career when I was 29. So now I say, ‘If I had my older career when I was young, as an older man, maybe I can have a young film-maker’s career.’
I didn’t particularly want to make The Godfather: Part II (1974) ! I always felt that The Godfather (1972) was a perfectly good drama and ended all the aspects of the story: It resolved the character and was really meant to be one movie. It only got to be a second and a third out of the greed of companies wanting to make more of them. On “The Godfather: Part II”, I had just as much control over the production as I had with Youth Without Youth (2007) because it was my own. Because “The Godfather” was so successful, I could do anything I wanted. But even though maybe “The Godfather: Part II” was a good film or a better film, I still feel that “The Godfather” was complete. I only did “The Godfather Part II” because I thought it would be interesting to make a film about a man and his father at the same age and tell the two stories in parallel, which is what I did. And that was an achievement.
I think The Godfather: Part III (1990) had a lot of good things about it. It had good potential. I think it was made a little too rushed because it was made in one year and they wanted it out that Christmas. It was a big, complex, difficult story. I think if I had spent more time writing it I would have solved or defined some of the issues better, rather than doing it while we were shooting. Also I think the loss of Robert Duvall as a character made a difference. As I look back on it, he was a very important part of that story. Clearly he was the most important character still living from the other movies. So I think ultimately losing the Hagen character was more than I was able to write my way out of so quickly. I could have done it had we not started shooting right away.
Jack (1996) was a movie that everybody hated and I was constantly damned and ridiculed for. I must say I find “Jack” sweet and amusing. I don’t dislike it as much as everyone, but that’s obvious - I directed it. I know I should be ashamed of it but I’m not. I don’t know why everybody hated it so much. I think it was because of the type of movie it was. It was considered that I had made Apocalypse Now (1979) and I’m like a Marty Scorsese type of director, and here I am making this dumb Disney film with Robin Williams. But I was always happy to do any type of film.
Steven Spielberg is unique. I feel that the kinds of movies he loves are the same kinds of movies that the big mass audience loves. He’s very fortunate because he can do the things he naturally likes the best, and he’s been very successful. Martin Scorsese, I think, is different. If Exxon went to Martin and said, “Martin, we feel you’re one of the best artists in the world today and we’re going to finance any movie you want to make because we believe that at the end of your life those will be very valuable movies,” he would be making very different movies from what he’s making now. I think he probably has scripts that he’s trying to get someone to enable him to make and then another one comes on and they say, "Look, we have Jack Nicholson and so on and so on. Would you do it? And of course he says, "Okay. Not that he doesn’t like it or they’re not good movies, but I think that his heart is maybe in more personal filmmaking.
[on The Cotton Club (1984)] It was a nightmare. It was deceptive. I was sucked in without knowing what was going on. It was like a pretty girl who gets seduced. I didn’t realize that the only reason I was getting sweet-talked and enticed by Robert Evans to do “The Cotton Club” was that he needed me to get the money. It was a terrible experience. I like Gregory Hines very much, Richard Gere is basically a good guy, Diane Lane is a sweet person. But it was Bob Evans again. He was back and trying to take control of it. About 20 to 30 minutes were taken out of the Gregory-Hines-and-his-brother storyline, the back story. I’d like to see it as the long version.
There’s something in my heart that isn’t yet fulfilled. Maybe it’s a sickness. But I’m definitely not satisfied. It’s not do to with money - I’m richer than I ever thought I would be. It’s not fame - I’m more famous than I’ve ever been. It’s something else. Something personal. I would like to leave ten films that I have written, original work. That would satisfy this itch. [2007]
I wanted to make films like Youth Without Youth (2007) and the one I’m doing next in my 20s. Instead, I made The Godfather (1972). In a way, “Youth Without Youth” is a natural continuation of what I was doing with The Rain People (1969) and The Conversation (1974). I made “The Godfather” and it just totally changed my life. Suddenly I was an important director. I wasn’t this young, experimental filmmaker that I’d hoped to be.
I have always been a little disappointed about One from the Heart (1981) because I really wanted to make it more like live cinema. I really wanted to shoot it with 12 cameras and edit it all in the camera. At the last minute I chickened out because the photographer chickened out. So for me with “One From The Heart”, I always feel that I should have gone that last yard. It was only the cinematographer coming to me saying, “Oh please, I don’t want to shoot it with 12 cameras because I can’t light it.” I think, no question, it was beautiful photographically - he was right. But to me the experiment was a little incomplete. It had wonderful music, wonderful songs. It would be nice if people liked “One From The Heart” because it was my big failure.
[on The Godfather (1972)] I had been so conditioned to think the film was bad - too dark, too long, too boring - that I didn’t think it would have any success. In fact, the reason I took the job to write The Great Gatsby (1974) was because I had no money and three kids and was sure I’d need the money. I heard about the success of “The Godfather” from my wife, who called me while I was writing “Gatsby”. I wasn’t even there. Masterpiece, ha ! I was not even confident it would be a mild success.
[on Ingmar Bergman] My all-time favorite because he embodies passion, emotion and has warmth.
[on Marlon Brando] Brando wants to do what you want, but he wants people to be honest and not try to manipulate him.
They say that A Streetcar Named Desire (1951) really is Tennessee Williams’ expression of himself as Blanche, as someone talented and fragile, fragile in a world of harsh reality.
The Godfather (1972) films are personal. And they are, even though our family were never gangsters, and we only heard about somebody who knew a gangster. But still, the real day-to-day reality of the Italian family that was put into the gangster film was based on my family and what I remember as a kid. You can’t make films without them being personal to some extent.
I’m in a unique situation. I’m like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.
I don’t think The Godfather (1972) ever should have had more than one movie, actually. It was not a serial, it was a drama. The first movie wrapped up everything. To make more than one “Godfather” was just greed. Basically, making a movie costs so much money that they want it to be like Coca-Cola: you just make the same thing over and over again to make money, which is what they’re doing now. But “Godfather” was not really a serial, you know?
[on Marlon Brando] Marlon was never hard to work with. His behaviour was a little eccentric on the set. He was like a bad boy and did what he wanted. But as an actor he was never hard to work with.
Hollywood doesn’t really exist. What we’re talking about now is the “big industry” film - films that are packaged as a certain idea of action, and in many cases violence or thrills or mystery. These films aren’t expressions of the writer, but a compendium of ideas that could work as a blockbuster hit. That’s not Hollywood - it’s just wherever people want to make a lot of money. The less expensive a film is, the more ambitious the ideas and themes can be. And the converse is true - the more a film costs, the more salary everyone makes, the more limited the subject-matter has to be.
I think Tetro (2009) is the most beautiful film I’ve ever done in terms of how it was made. I don’t know what people will make of the picture, but just the filmmaking part of it, I’ve learnt to put it together beautifully.
As I grow older, I realise that I always wanted to be a writer. With The Godfather (1972) being such a success, I was launched into a more industry-type career, which is wonderful, but I always wanted to be the director of my own material. I have always credited the writer of the original material above the title: “Mario Puzo’s The Godfather”, “Bram Stoker’s Dracula”, or “John Grisham’s The Rainmaker”. I felt that I didn’t have the right to ‘Francis Coppola’s anything’ unless I had written the story and the screenplay. I view Tetro (2009) as the second film of my second career. From now on I’m always going to writing the scripts, and every film will be personal. I’m going to be the kind of filmmaker I wanted to be when I was beginning.
[on Unforgiven (1992)] We developed that script, David Webb Peoples and I. We worked on it for months. The film was made based on that script we finished. Nobody wanted to make it. I’d even sent it to Clint Eastwood to act in it. I don’t know whether he read it. Finally after two or three years of paying the options, I let it go and then Clint picked it up.
I was offered Thirteen Days (2000). I said I would do it but I had a very experimental way of doing it. My idea was: what if in that moment of history I got called up and they said, “Listen, Mr Coppola, the President is about to go through an extremely difficult period, he’s got to make some terrifying, heartbreaking decisions and he wants you to document it. But you can’t go close to him because he’s going to be in many difficult meetings through the night. So what you can do is have a 16mm team using very long lenses. We don’t want them to know you’re shooting.” And then make it that way. That’s what I wanted to do, but they didn’t have the courage to do it. So I said, “Make it like a regular movie.” They did a pretty good job.
[on Robert De Niro] I like Bob, I just don’t know if he likes himself.
In the 60s they were four filmmakers who represented cinema and influenced everyone who came after: Fellini, Kurosawa, Bergman and Kubrick.
[on shooting and finishing Youth Without Youth (2007) in Romania] It’s a country with a fantastic intellectual tradition - theatre, poetry, cinema - and right now it’s going through a renaissance in cinema. Their films are winning awards all over the world and everyone under 35 speaks English. They’re very well educated and it’s a very cinema-friendly country, but they’re lacking in the visual effects department and other areas. We did the post in Bucharest and Walter Murch came over to edit and help oversee all the post. (…) The great thing about post now is that digital cinema has become a reality, so a filmmaker has more ability to compose picture and sound than ever before, and all because of these new tools, such as the latest editing systems like Final Cut Pro, Pro Tools and so on, which are also becoming less and less expensive. [Feb.2008]
Akira Kurosawa is one of the greatest directors ever to work in the cinema. His films meant an enormous amount to me when I was starting my own career.
I think cinema, movies and magic have always been closely associated. The very earliest people who made films were magicians.
Here’s a tip to young directors. They never fire you midweek.
[on George Lucas] In many ways, because of Star Wars (1977), we were deprived of the films that he was going to make and would have made. All the merchandising and financial success of those films aren’t one-tenth to what he is worth as an artist and a filmmaker.
I think people have realized that The Godfather (1972) was never sequel material. I’ve always maintained there should have been one “Godfather,” though I’m proud of the second one, and I thought the third should have been considered a coda and not called The Godfather: Part III (1990).
[if he’d be annoyed if the studio decided to make more sequels to The Godfather (1972)] Well, yeah, because I feel that all films shouldn’t be sequels. Sequels are not done for the audience or cinema or the filmmakers. It’s for the distributor. The film becomes a brand.
The only TV I would be interested in exploring would be live television. There’s no substitute for a team of artists performing at their peak live when failure is possible. It’s a high-wire act. That excites me.
I think a sequel is a waste of money and time. I think movies should illuminate new stories.
I don’t think there’s any artist of any value who doesn’t doubt what they’re doing.
I try always to do something that’s a little beyond my reach, so that I’ll try my best. Sometimes I fail. Sometimes I almost succeed, but I think this is what life’s all about.
There’s no doubt that, by the end of The Godfather: Part II (1974), Michael Corleone, having beaten everyone, is sitting there alone, a living corpse. There’s no way that man will ever change. I admit I considered some upbeat touch at the end, but honesty - and Pacino - wouldn’t let me do it.
People feel the worst film I made was Jack (1996). But to this day, when I get checks from old movies I’ve made, “Jack” is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.
The trouble with American filmmaking is that producers don’t allow the risk of failure. If a good film can’t risk being a failure, it won’t be really good.
I am fascinated by the whole idea of family.
The language of cinema was invented at the turn of the last century by pioneers who were free to experiment but today you can’t dare to experiment. People who control the motion pictures want to make (profitable films). Now we’re at a turning point: As artists we can change the world but to do that we need to be free to experiment. [Variety 2015]
[on the vanishing distinction between TV and cinema] It has all become one. (…) There is no more film, there is no more television - there is cinema. And it can be everywhere and anywhere and it can do anything. [Screendaily 2015]
[on Youth Without Youth (2007)] We’ve got a job and so and so and so, but sometimes we say, what is life? Where did I come from? What is going to happen when I die? What’s really important? All those kind of ruminations should also be in a movie, I thought. (…) I thought of it as a love story wrapped in a mystery like in Vertigo (1958). Except in “Vertigo” the mystery is some guy is trying to kill his wife. In my movie the mystery is the real mystery that we are really all in. [2007]
[on filmmaking today] Well, for under $10,000 you can buy everything you need. So now we have to undo the brainwashing of the past 50 years about what a movie can be: that it must be commercial, it must go down easy, it must be structured so that it appeals to the widest possible audience. Even people who read sophisticated books expect that when they go to see a movie, it won’t involve any thinking. They’re willing to give more to a work of literature. A movie is supposed to be something light that you go to, and you have a good time, and you don’t think too much, and you laugh, or you get scared, or you’re in awe of the violence, and you go home, and you forget it. And that has to be broken. [2008]
[on the style of Youth Without Youth (2007)] So I tried to tell the story in a more classical [way], more like The Godfather (1972), but more extreme. Most like Yasujirô Ozu where the camera never moves. When a camera doesn’t move then movement is more accentuated because every time and actor walks in, the next movie you see look at the corner of the frame and you’ll see it’s always doing this. It never stops. In this movie the camera is that and that’s it. Everything is accomplished in a classical shot to another shot, which then gives you more, which is one way to make a movie, but I felt that was appropriate for this because by giving it a very classical style then you could relax about that, and not feel, where am I, I can’t see anything because it’s cutting so fast. And then you might feel more comfortable to follow the story, but then ruminate. That’s interesting. It’s a dream and in the dream he’s reading books. So I made the style very deliberately classical and also got to do what I’ve always wanted to do, is to make a movie without any movement just to see what happens. [2007]
Who said that all the ideas of how you tell a story or express the cinematic language were all in the silent era? Why aren’t there new ideas that are changing the language of film now? It’s partially because film is much more controlled. In those days guys went out and made movies and no one knew what a movie was so if they wanted to invent the close shot the producer wasn’t going to argue with him. Today, what is he doing? We want to make money on the film. We can’t just make experimental films. [2007]
[on Youth Without Youth (2007)] I was given some quotes from Mircea Eliade, who I didn’t know very well. And it turned out he was this professor of religious philosophy who used to entertain himself by writing these Borges-like short stories that were kind of like “Twilight Zones.” And I read this one story, and every two or three pages something that I didn’t expect happened. And it had a love story, and it had all sorts of things that I found intriguing, and all sorts of things that I wanted to learn about, like the origins of language and the nature of human consciousness and the concept of time. And I was getting richer as this was going on - my companies were successful - and I thought, well, why don’t I just finance this myself and run off and make it? (…) Many times while making this movie I thought, well, should I just dumb this down and cut this out? And I said, what a pity! Will that make it less commercial? Well, who knows what it’ll be? Maybe people will get a kick out of it. And at each point, since I had no studio to boss me around, I thought, I’ll do it. And I still tried to make the film be a fun experience. But on the other hand when you think about it at night you might percolate some good ideas. (…) To this day I don’t understand Last Year at Marienbad (1961) but I think it’s beautiful, and I’m intrigued by it. There’s plenty of books that I’ve read that I’m not sure that I got at all, but I feel enriched by having read them. So, like you said, who’s to say it’s best to cut out the idea and instead of the middle ground have no idea? [2008]
I think it’s better to be overly ambitious and fail than to be underambitious and succeed in a mundane way. I have been very fortunate. I failed upward in my life! [2007]
The wine business is like having a $100 million hit every year. The wine business is really a business. The film business isn’t a business; it’s a very screwy arrangement where you do all this work and the money all gets emptied into this hopper called distribution, and then it slowly trickles down, and when it gets to the people who actually make the film, there’s little left - which is what all the strikes are about. You can’t become really wealthy on the scale of what that means today in the film business, but in the wine business you can, because it took off. That wasn’t my doing. It was an accident and I was luckily in it early on, so I benefited. [2008]
I wanted to be like those great European filmmakers of the '50s and '60s, and if I was hit by lightning it was The Godfather (1972); that changed my whole life. So I just want to get back to what I was doing when I was first falling in love with films. [2008]
You can’t have great art without risk. It’s simply impossible. If you want to eliminate risk, then you’ll end up making the same movie over and over again, which is what they’re doing now. [2008]
I think the language of cinema and the reason that in just 100 years we’ve become so comfortable with making cinema is from thousands of years of man dreaming. I think it is based on the dream, and the whole language of cinema comes from dreams. [2008]
I think the secret of life is to not be afraid of risk. People go through life risking their money, risking losing this, risking losing that. But the truth of the matter is, there is only one risk. Because for sure you’re gonna die, you are there and you’re thinking about your life and you say, ‘Oh, I wish I’d done this, I wish I’d done that.’ That’s the risk. So basically, I try to say yes more than no. [2009]
Tamara Jenkins made the Slums of Beverly Hills (1998) how many years ago? She’s a wonderful talent and she has no money at all, that girl. She just lives like a poor person because she doesn’t want to take the money and make movies she doesn’t love. I think you have to love what you make, in anything, not just movies. If you are making products, make products you love and then they’ll be good products and you’ll be successful. [2007]
I remember I went to see Punch-Drunk Love (2002) and I said, I never saw a movie like this before. For that reason I loved it even though I don’t know if it was good or not. All I know is that I never saw a movie like that. And that’s why I like, even though other people were disappointed, I like The Life Aquatic with Steve Zissou (2004) because it was weird. It was the first time I saw that movie. I like movies to be the first time. (…) There is this whole group, but it’s any kind of political movement. Movies have to be this! Well, movies don’t have to be anything except beautiful and in some way illuminate life and get you thinking and stuff. [2007]
You can neither make beautiful, great movies without risk as you can make babies without sex. Risk is part of the artistic process. [2016]
I always thought of myself, or charged myself, to be searching and to be somewhat experimental. I didn’t just make one style of movie and then just stick with that. Every film I made I approached differently according its theme. Whereas The Godfather (1972) films, that I’m probably best known for, had a certain classic, Shakespearean style, Apocalypse Now (1979) was totally different. Almost a different person made it. One from the Heart (1981) was yet another experiment and Rumble Fish (1983) was another. I always was trying to learn about cinema by approaching it experimentally and trying to uncover what it was that really connected with me. And I’m still doing it at age 77. I’m still trying to look at it from the standpoint of: What can I learn? [2016]
[on the vanishing distinction between TV, cinema and new media] Cinema is cinema. It can be a minute or less, or it can be 90 hours or more like The Sopranos (1999). It can be shown in theaters and at the same time you can see it in your living room. It’s true you could see it on your iPhone. I’m not sure you would want to, but you could. [2016]
The Cotton Club (1984) was sort of made on the battlefield between the various people who put up the money and the producer [Robert Evans]. At the time, they looked at it and said, “Oh, there’s too many black people in it. Can we cut out some of the tap dancing and put the emphasis less on the black people in the story?” I happened to have a Betamax very rough copy of what the movie had been before all that happened. I realized the movie had been 35 minutes longer. Much of the film had been lost, but through hook and crook, I was able to put it back together. [April 2016]
[on his ‘Live Cinema’ project] I’m thrilled that I’m in a position to search for what the possibilities [of cinema] are. I do feel it’s a pity that the concept of performance has been lost. That basically since the invention of the phonograph and the cinema that all our art forms are canned. By ‘Live Cinema’, I don’t mean like in the form of a television version of a play. I mean cinema, still, with the rules and language of cinema but performed live. That could be very thrilling. (…) Risk is part of the artistic process. That’s why I like performance, because performance is walking a high wire. [2016]
[on the cinematography of Finian’s Rainbow (1968)] It was a source of great embarrassment to me that in a number of scenes when Fred [Fred Astaire] danced his feet were cut off. [2017]
You can’t make a movie without flaws. (…) The difference isn’t that the good ones don’t have the flaws, the difference is that you don’t care about the flaws. You don’t look at them, you don’t notice them because you’re so caught up in the life of the people. [2017]
[on The Dark Knight (2008)] I did see it, and Christopher Nolan’s certainly a fabulous filmmaker, such a talented person. But you know, it’s still a guy dressed up in a silly costume.
I know Donald Trump. I went to the same military school as him. He was a 13-year-old kid going to a boarding school. Over the years, I must say he really didn’t impress me as being as awful as he’s evolving. I wonder why that’s happening…He wasn’t such a bad guy 20 years ago. But I never knew him really well.
[observation, 2018] If America is great, it’s because it was a country of immigrants. Even the Native American is an immigrant. So to turn our backs to immigrants today is more than absurd.
[1990 interview on The Godfather: Part III (1990) shortly before the film’s release] This new Godfather is in an altogether different style, much deeper, more tragic. It is bigger in scale than its two predecessors. This is the cathedral of the Godfather movies.

[youtube]https://www.youtube.com/watch?v=7y4SSg6RbGE[/youtube]

Shaolin kung fu luohan 18 hands
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Fonse
Published on Dec 28, 2016
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instructor: monk Deyang, from Shaolin temple

luohan 18 hands (罗汉十八手 :luohan shiba shou):

  • ‘strategy’: prowess counts. the “empty city tactic (空城计)” is to keep calm with no signs of fear or anxiety, like an empty city with no pretense of offense or defense. it works by deterring enemies in a disability of estimating your hidden powers. this involves combination of simplicity and calmness accompanied by abundant prowess in the moves. this the main strategy of the 18 hands of luohan.

  • ‘history’: this is the oldest and the simplest style of Shaolin kung fu. it is known as the ‘mother of the styles’. a myth states that Bodhidharma, the founder of Zen Buddhism, after entering into Shaolin temple in 527 AD, taught the monks a series of exercises. whether this story is right or wrong, based on Buddhist teachings, monks did daily meditation and had simple exercises to recover. by observing and imitating the forms and expressions in Buddhist teachings and daily activities, those ancient exercises later evolved into a combat form. according to historical records of Shaolin temple, in the Sui dynasty (581-618) monks of Shaolin temple had a select set of about 18 simple moves, which were later combined into a form. since then, these moves have been used as the most basic moves of Shaolin kung fu, based on which all the other styles have been developed.
    _/_


Shaolin kung fu tutorial:

How Eminem is NOT the greatest rapper and a “guest in the house of hiphop”.

“Eminem is nice. For a white dude.”

Dude made a new album apparently trap-rapping only about how he hates trap rap. But he just has no idea of what that style really is, what it reverberates in the soul. He lacks that part of the soul. He can only approach it with sarcasm, irony, distance. He doesn’t have real emotions. But just check it out.

[youtube]https://www.youtube.com/watch?v=-fToGHhnGO0[/youtube]

EMINEM Destroys Mumble Rap & Critics [Kamikaze Album]
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Hip-Hop Universe
Published on Sep 2, 2018
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EMINEM Killshot Kamikaze, EMINEM Destroys The Rap Industry By Dissing Mumble Rap & Critics. All Disses On EMINEM’s Kamikaze Album.

Rappers Get Dissed By EMINEM on the songs The Ringer, Lucky You, Not Alike and Fall

When Eminem dropped Kamikaze on Thursday night (August 30), everyone’s jaws dropped. EMINEM destroyed the industry. From the first syllable he utters, it’s clear Shady came with g*ns blazing.

Album opener “The Ringer” essentially blasts all those who had anything negative to say about Shady or Revival, while several rappers caught his wrath as well.

From Machine Gun Kelly and Lil Pump to Joe Budden and Tyler The Creator, no one was off limits. For good measure, he called the 2018 BET Cypher “weak,” told Charlamagne Tha God to essentially kiss his *ss, obliterated Trump (of course) and ridiculed the Grammy Awards.

Oh — and in case anyone forgot what makes Eminem a rap god, he lays it all out on “Fall” with, “I belong here, clown/Don’t tell me ’bout the culture/I inspired the Hopsins, the Logics, the Coles, the Seans, the K. Dots, the 5’9s and oh, brought the world 50 Cent.”

So, without further adieu, here are all the rappers Eminem calls out on the 13-track project.

Eminem disses Drake, Eminem disses Lil Pump, Eminem disses Tyler The Creator, Eminem disses Vince Staples, Eminem disses Lil Yachty, Eminem disses Charlamagne, Eminem disses Joe Budden, Eminem disses Lil Xan

#hiphopuniverse #Eminem #Kamikaze #hiphopbeefanalysis

Hip-Hop Beefs Playlist: youtube.com/playlist?list….


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Outro (prod. by Phat Crispy): youtube.com/watch?v=s7wQY….

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Category
Music
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Big Sean - Moves (Official Music Video)
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Song
Audi.
Artist
Smokepurpp
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Song
Betrayed
Artist
Lil Xan
Album
single
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Song
Caterpillar (feat. Eminem & King Green)
Artist
Royce Da 5’9"
Album
Book of Ryan (Bonus Track Edition)
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Song
Lucky You
Artist
Eminem
Licensed to YouTube by
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Song
Fall
Artist
Eminem
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Song
The Ringer
Artist
Eminem
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Song
Walk On Water
Artist
Eminem
Licensed to YouTube by
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Song
I Ain’t Got Time!
Artist
Tyler, The Creator
Licensed to YouTube by
SME (on behalf of Columbia); CMRRA, LatinAutor - SonyATV, UBEM, LatinAutor, SOLAR Music Rights Management, Sony ATV Publishing, and 4 Music Rights Societies
Song
Forever (Album Version (Explicit))
Artist
Eminem
Licensed to YouTube by
UMG (on behalf of Interscope); Sony ATV Publishing, UMPG Publishing, EMI Music Publishing, UMPI, LatinAutor - UMPG, PEDL, UBEM, LatinAutor - SonyATV, LatinAutor, Adorando Brazil, LatinAutor - Warner Chappell, Warner Chappell, SOLAR Music Rights Management, BMI - Broadcast Music Inc., and 15 Music Rights Societies
Song
Not Alike
Artist
Eminem
Licensed to YouTube by
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Still thank god he doesn’t manage to sound like Drake. That would be ten times worse to begin with.

This song is called “In my feelings”. :confused: :-"

youtube.com/watch?v=DRS_PpOrUZ4

Don’t listen to it.

“She’s a real artist.
There are very few real artists.
Everybody is called an artist these days but trust me
There are very few who are the real thing.”

[youtube]https://www.youtube.com/watch?v=_JAlOTl84yc[/youtube]

“You’ve never seen mud like this”

[youtube]https://www.youtube.com/watch?v=mg824E6K7nI[/youtube]

“He is a god in his own country,y he has his own wok named after him”

[youtube]https://www.youtube.com/watch?v=OGPoJvQhhKk[/youtube]

Hans Zimmer - making of GLADIATOR Soundtrack

Filmography

2019 Apollo: Missions to the Moon (score producer) (completed)
2019 Great Bear Rainforest (Documentary short) (composer: theme music)
2018-2019 Pagan Peak (TV Series) (music producer - 7 episodes)

  • Der Sturm (2019) … (music producer)
  • Aus Fleisch und Blut (2019) … (music producer)
  • Masken (2019) … (music producer)
  • Die Bösen und Unartigen (2019) … (music producer)
  • Der Mann aus dem Wald (2019) … (music producer)
    Show all 7 episodes
    2018 BaseBoys (TV Series) (music - 1 episode)
  • Vi SKAL redde Oliver! (2018) … (music)
    2018 FIFA 19 (Video Game) (composer: additional music)
    Genius (TV Series) (main title theme by - 10 episodes, 2018) (composer - 10 episodes, 2017)
  • Picasso: Chapter Ten (2018) … (main title theme by)
  • Picasso: Chapter Nine (2018) … (main title theme by)
  • Picasso: Chapter Eight (2018) … (main title theme by)
  • Picasso: Chapter Seven (2018) … (main title theme by)
  • Picasso: Chapter Six (2018) … (main title theme by)
    Show all 20 episodes
    2017 Blade Runner 2049 (synth programming)
    Through the Wormhole (TV Series documentary) (main title theme by - 30 episodes, 2010 - 2016) (composer - 6 episodes, 2016 - 2017)
  • Is Gun Crime a Virus? (2017) … (composer: theme music)
  • Can We Hack the Planet? (2017) … (composer: theme music)
  • Is the Force with Us? (2017) … (composer: theme music)
  • Can We All Become Geniuses (2016) … (composer: theme music)
  • Are There More Than Two Sexes? (2016) … (main title theme by)
    Show all 35 episodes
    2017 Rings (executive music producer)
    2016 The Crown (TV Series) (opening titles theme - 9 episodes)
  • Pride & Joy (2016) … (opening titles theme)
  • Assassins (2016) … (opening titles theme)
  • Scientia Potentia Est (2016) … (opening titles theme)
  • Gelignite (2016) … (opening titles theme)
  • Smoke and Mirrors (2016) … (opening titles theme)
    Show all 9 episodes
    2016 The Edge of Seventeen (score producer)
    2016 13 Hours (executive music producer)
    2015 Freeheld (synth programming)
    2015 A.D. The Bible Continues (TV Series) (musical director - 12 episodes)
  • The Abomination (2015) … (musical director)
  • Rise Up (2015) … (musical director)
  • Brothers in Arms (2015) … (musical director)
  • Saul’s Return (2015) … (musical director)
  • The Road to Damascus (2015) … (musical director)
    Show all 12 episodes
    2015 Terminator Genisys (executive music producer)
    2015 The Little Prince (synth programmer)
    2015 Auschwitz (Documentary short) (score producer)
    Sons of Liberty (TV Mini-Series) (theme music - 2 episodes, 2015) (composer - 1 episode, 2015)
  • Independence (2015) … (theme music)
  • The Uprising (2015) … (theme music)
  • A Dangerous Game (2015) … (composer: theme music)
    2014 Interstellar (composer: theme music)
    2014/II Nocturnal (Short) (stock music)
    2014 Transformers: Age of Extinction (composer: additional music)
    2014 Divergent (executive music producer)
    2013 The Bible & You (Documentary) (composer: additional music)
    2013 Beyond: Two Souls (Video Game) (music producer)
    2013 Mr. Morgan’s Last Love (score producer)
    2013 Hansel & Gretel: Witch Hunters (executive music producer)
    2012 Bullet to the Head (music producer - uncredited) / (score producer)
    2012 The Dark Knight Rises (synth programming)
    2012 The 84th Annual Academy Awards (TV Special) (music consultant)
    2011 Pirates of the Caribbean: Tales of the Code: Wedlocked (Short) (composer: theme music)
    2011 Skylanders: Spyro’s Adventure (Video Game) (composer: theme music)
    2011 Curiosity (TV Series documentary) (composer - 1 episode)
  • Is There a Parallel Universe? (2011) … (composer: main title theme)
    2011 Pirates of the Caribbean: On Stranger Tides (composer: theme music) / (score producer)
    2011 The Dilemma (featured musician)
    2010 Mr. J (Short) (composer: music)
    2010 Inception (synthesizer programmer)
    2010 Despicable Me (score producer)
    2009 Sherlock Holmes (music producer)
    2009/I 2012 (executive music producer)
    2009 Call of Duty: Modern Warfare 2 (Video Game) (composer: main themes) / (music producer)
    2009 Transformers: Revenge of the Fallen (composer: additional music)
    2007-2009 HBO First Look (TV Series documentary short) (executive music producer - 2 episodes)
  • Monsters on a Mission: The Making of Monsters vs. Aliens (2009) … (executive music producer)
  • Inside the Hive: The Making of ‘Bee Movie’ (2007) … (executive music producer)
    2009 Monsters vs. Aliens (executive music producer)
    2008 Love Tap (Short) (music producer)
    2008 Madagascar 2 (musician: synthesizers)
    2008 Frost/Nixon (orchestrator)
    2008 Babylon A.D. (executive music producer - uncredited) / (music consultant)
    2008 The Dark Knight (musician: synthesizer - uncredited) / (synthesizer programmer)
    2008 Iron Man (executive music producer)
    2008 Vantage Point (music consultant - uncredited)
    2007 Pirates of the Caribbean Online (Video Game) (composer: theme music)
    2007 Bee Movie (executive music producer)
    2007 August Rush (composer: theme music) / (executive score producer - uncredited)
    2007 Running the Sahara (Documentary) (score music producer)
    2006 The Holiday (soloist: piano)
    2006 The Prestige (executive music producer)
    2006 Impy’s Island (score producer)
    2006 Over the Hedge (executive music producer)
    2006 Ask the Dust (score producer)
    2006 Curious George (executive music producer)
    2005 Blood+ (TV Series) (music producer)
    2005 The Curse of the Were-Rabbit (music score producer)
    2005 All the Invisible Children (music producer: Jordan & Ridley Scott segment)
    2005 The Island (score producer)
    2005 El sueño de Paco (soundtrack)
    2005 The Ring Two (composer: themes)
    2005 The Contender (TV Series) (composer: title theme)
    2004 House of D (executive producer: music score)
    2004 Princess Ella (executive score producer)
    2003 The Last Samurai (score arranger) / (score programmer)
    2003 Threat Matrix (TV Series) (composer - 3 episodes)
  • Patriot Acts (2003) … (composer: main title)
  • Natural Borne Killers (2003) … (composer: main title)
  • Pilot (2003) … (composer: theme music)
    2003 Matchstick Men (music arranger) / (music programmer)
    2003 Pirates of the Caribbean: The Curse of the Black Pearl (music editor) / (music programmer) / (score producer) / (soundtrack producer)
    2003 Johnny English (composer: theme music)
    2002 Live from Baghdad (TV Movie) (executive music producer)
    2001 Black Hawk Down (conductor - uncredited) / (musician: keyboards - uncredited)
    2001 I Am Sam (original music producer)
    1994-2001 The Critic (TV Series) (composer - 34 episodes)
  • Pearl Harbor (2001) … (composer: theme music)
  • Broadway (2001) … (composer: theme music)
  • Harry Potter, Planet of the Apes (2001) … (composer: theme music)
  • Cast Away, The Legend of Bagger Vance (2001) … (composer: theme music)
  • Sleepy Hollow, Pulp Fiction (2001) … (composer: theme music)
    Show all 33 episodes
    2001 Jason X (musician: guitar)
    2000 Mission: Impossible II (conductor) / (musician)
    1998 Antz (executive music producer)
    1998 With Friends Like These… (music producer)
    1998 Endurance (music producer)
    1997 As Good as It Gets (music arranger - uncredited)
    1997 The Borrowers (score producer)
    1997 Pterodactyl Woman from Beverly Hills (music kvetch)
    1997 Fame L.A. (TV Series) (score producer)
    1997 Deceiver (advisor: sound)
    1997 Face/Off (score producer)
    1996-1997 High Incident (TV Series) (composer - 32 episodes)
  • Shootout (1997) … (composer: theme music)
  • Starting Over (1997) … (composer: theme music)
  • Camino High (1997) … (composer: theme music)
  • Remote Control (1997) … (composer: theme music)
  • Show Me the Money (1997) … (composer: theme music)
    Show all 32 episodes
    1997 Smilla’s Sense of Snow (composer: additional music)
    1987-1996 Going for Gold (TV Series) (composer - 699 episodes)
  • Episode #10.58 (1996) … (composer: theme music)
  • Episode #10.51 (1996) … (composer: theme music)
  • Episode #10.53 (1996) … (composer: theme music)
  • Episode #10.54 (1996) … (composer: theme music)
  • Episode #10.50 (1996) … (composer: theme music)
    Show all 699 episodes
    1996 The Rock (music producer) / (score arranger)
    1996 Twister (score producer)
    1996 Muppet Treasure Island (arranger: songs)
    1996 Broken Arrow (score arranger)
    1996 White Squall (composer: additional music) / (score producer)
    1995 Beyond Rangoon (music producer)
    1994 The Lion King (Video Game) (composer: original themes)
    1994 The Lion King (music supervisor) / (original score arranger)
    1994 Monkey Trouble (composer: additional music)
    1993 Batman: Mask of the Phantasm (synthesist)
    1993 The House of the Spirits (music arranger)
    1993 Lifepod (TV Movie) (composer: theme music)
    1993 Sniper (composer: additional music)
    1992 Millennium: Tribal Wisdom and the Modern World (TV Series) (composer: theme music - 1992)
    1992 Toys (music arranger) / (musician)
    1992 Dakota Road (music advisor)
    1991/I White Fang (composer: additional music)
    1988 Prisoner of Rio (composer: additional music)
    1987 The Last Emperor (music producer: London - as Hans F. Zimmer) / (musical associate: London - as Hans F. Zimmer)
    1987 Prick Up Your Ears (musician: synthesizers)
    1986 The Wind (Video) (musician: electronic music)
    1986 Castaway (composer: additional music)
    1985 The Lightship (music producer: electronic music)
    1985 My Beautiful Laundrette (music producer)
    1985 Insignificance (composer: additional music)
    1984 The Story of O 2 (composer: electronic music)
    1983 Eureka (composer: additional music - uncredited)
    1982 Moonlighting (composer: electronic music)
    Hide Hide Composer (202 credits)
    2020 Dune (filming)
    2020 Top Gun: Maverick (filming)
    2020 It’s a Wonderful Sponge (filming)
    2020 Wonder Woman 1984 (post-production)
    2019 The Lion King (post-production)
    2019 X-Men: Dark Phoenix (completed)
    2018 Hollywood in Vienna 2018: The World of Hans Zimmer (TV Movie)
    2018 Widows (music by)
    2018 Ability (Short)
    2018 Oceans: Our Blue Planet (Documentary)
    2018/I Believer (Documentary)
    2017 Dimitri Vegas & Like Mike vs Hans Zimmer: He’s a Pirate (Short)
    2017 Blue Planet II (TV Mini-Series documentary) (7 episodes)
  • Our Blue Planet (2017)
  • Coasts (2017)
  • Green Seas (2017)
  • Big Blue (2017)
  • Coral Reefs (2017)
    Show all 7 episodes
    2017 Hans Zimmer: Live in Prague (Documentary)
    2017 Blade Runner 2049 (music by)
    2017 The Road of Love
    2017 International Rescue: A Minecraft Movie (Short)
    2017 Dunkirk (music by)
    2017 The Boss Baby (music by)
    2017 The Joke is on You!: A Minecraft Movie (Video short)
    2016 Hidden Figures (music by)
    2016 Planet Earth II (TV Mini-Series documentary) (6 episodes)
  • Cities (2016)
  • Grasslands (2016)
  • Deserts (2016)
  • Jungles (2016)
  • Mountains (2016)
    Show all 6 episodes
    2016/I Inferno (music by)
    2011-2016 Through the Wormhole (TV Series documentary) (24 episodes)
  • Are There More Than Two Sexes? (2016) … (music by)
  • Is Privacy Dead? (2016) … (music by)
  • What Makes a Terrorist? (2016) … (music by)
  • Are We All Bigots? (2015)
  • Is Poverty Genetic? (2014)
    Show all 24 episodes
    2016 The Last Face
    2016 Batman v Superman: Dawn of Justice
    2016 Kung Fu Panda 3
    2016 Kung Fu Panda: Secrets of the Scroll (Short) (music by)
    2015 Freeheld
    2015 The Little Prince (music by)
    2015 Les bosquets (Documentary short)
    2015 Thunderbirds Are Minecraft (TV Series short)
    2015 Premier Boxing Champions (TV Series) (2015)
    2015 Chappie
    2015 Woman in Gold
    2015 Sons of Liberty (TV Mini-Series)
    2014 Women of the Bible (TV Movie)
    2014 Interstellar
    2014 The Simpsons Take the Bowl (Video)
    2014 The Amazing Spider-Man 2
    2014 Son of God
    2014 Winter’s Tale
    2013/I Rush
    2013 12 Years a Slave
    2013 Mr. Morgan’s Last Love
    2013 The Lone Ranger
    2013 Brave Miss World (Documentary) (music by)
    2013 Man of Steel
    The Bible (TV Mini-Series documentary) (8 episodes, 2013) (music composer - 1 episode, 2013)
  • Courage (2013)
  • Passion (2013)
  • Betrayal (2013)
  • Mission (2013)
  • Survival (2013)
    Show all 9 episodes
    2013 Inception: In 60 Seconds (Short)
    2012 The Dawkins Movie (Short)
    2012 The Dark Knight Rises
    2012 The Longest Daycare (Short)
    2012 Madagascar 3: Europe’s Most Wanted (music by)
    2011 Kung Fu Panda: Secrets of the Masters (Video short)
    2011 Sherlock Holmes: A Game of Shadows
    2011 Pirates of the Caribbean: Tales of the Code: Wedlocked (Short) (music by)
    2011 Curiosity (TV Series documentary) (1 episode)
  • Is There a Parallel Universe? (2011)
    2011 Jealous of the Birds (Documentary)
    2011 Standing Up for Freedom (Video short)
    2011 Kung Fu Panda 2
    2011 Batman: Night’s End (Short)
    2011 Pirates of the Caribbean: On Stranger Tides
    2011 Crysis 2 (Video Game)
    2011 Megamind: The Button of Doom (Video short)
    2011 Rango
    2011 The Dilemma
    2010 The Cover-Up (Short)
    2010 How Do You Know
    2010 Inception: Motion Comics (TV Series) (2010)
    2010 Kung Fu Panda Holiday (TV Short)
    2010 Megamind
    2010 Inception
    2010 The Pacific (TV Mini-Series) (10 episodes)
  • Home (2010)
  • Okinawa (2010)
  • Iwo Jima (2010)
  • Peleliu Hills (2010)
  • Peleliu Airfield (2010)
    Show all 10 episodes
    2010 Henri 4
    2009 Sherlock Holmes
    2009 It’s Complicated
    2009 Call of Duty: Modern Warfare 2 (Video Game)
    2009 Angels & Demons
    2009 The Boat That Rocked (uncredited)
    2008 Batman: The Dark Knight (Video short)
    2008 Kung Fu Panda: Secrets of the Furious Five (Video short)
    2008 Madagascar 2
    2008 Frost/Nixon
    2008 The Burning Plain
    2008 The Dark Knight (music by)
    2008 Kung Fu Panda
    2008 Casi divas
    2007 The Simpsons Movie (music by)
    2007 Pirates of the Caribbean: At World’s End
    2006 The Holiday
    2006 French Bomber Detective (Short)
    2006 Pirates of the Caribbean: Dead Man’s Chest
    2006 The Da Vinci Code
    2005 The Weather Man
    2005 Der kleine Eisbär 2: Die geheimnisvolle Insel
    2005 Batman Begins
    2005 Madagascar
    2004 Spanglish
    2004 Laura’s Star
    2004 Shark Tale
    2004 Thunderbirds
    2004 King Arthur
    2004 Journey to Safety: Making ‘Tears of the Sun’ (Video documentary short) (from “Tears of the Sun”)
    2003 Something’s Gotta Give
    2003 The Last Samurai
    2003 Matchstick Men
    2003 Tears of the Sun
    2002 The Ring
    2002 The Essence of Combat: Making ‘Black Hawk Down’ (Video documentary)
    2002 Thelma & Louise: The Last Journey (Video documentary)
    2002 Spirit: Stallion of the Cimarron
    2001 Black Hawk Down
    2001 Riding in Cars with Boys
    2001 Invincible
    2001 Breaking the Silence: The Making of ‘Hannibal’ (Video documentary)
    2000-2001 Die Motorrad-Cops: Hart am Limit (TV Series) (23 episodes)
  • Die Schatten der Vergangenheit (2001)
  • Gesicht des Todes (2001)
  • Italienisches Roulette (2001)
  • Blutsbrüder (2001)
  • Adrenalin (2001)
    Show all 23 episodes
    2001 Pearl Harbor
    2001 Hannibal
    2001/I The Pledge
    2000 An Everlasting Piece
    2000 Gladiator Games: The Roman Bloodsport (TV Movie documentary)
    2000 Hans Zimmer: Scoring Gladiator (Video documentary short)
    2000 HBO First Look (TV Series documentary short) (1 episode)
  • Gladiator (2000)
    2000 Mission: Impossible II
    2000 Gladiator
    2000 The Road to El Dorado
    1999 El candidato (TV Series) (218 episodes)
  • Episode #1.217 (1999)
  • Episode #1.215 (1999)
  • Episode #1.216 (1999)
  • Episode #1.214 (1999)
  • Episode #1.213 (1999)
    Show all 218 episodes
    1999 Chill Factor
    1998 The Thin Red Line
    1998 De prins van Egypte (score)
    1998 The Last Days (Documentary)
    1997 As Good as It Gets (music by)
    1997 The Peacemaker
    1997 Smilla’s Sense of Snow
    1996 Muppets Treasure Island (Video Game)
    1996 The Preacher’s Wife
    1996 The Fan
    1996 The Rock
    1996 Muppet Treasure Island
    1996 Broken Arrow
    1995 Two Deaths
    1995 Something to Talk About
    1995 Nine Months
    1995 Beyond Rangoon
    1995 Crimson Tide
    1994 Drop Zone
    1994 Renaissance Man
    1994 The Lion King
    1994 I’ll Do Anything
    1993-1994 Space Rangers (TV Series) (6 episodes)
  • To Be… Or Not to Be (1994)
  • The Trial (1994)
  • Fort Hope (1993)
  • Death Before Dishonor (1993)
  • Banshies (1993)
    Show all 6 episodes
    1993 The House of the Spirits
    1993 Cool Runnings
    1993 True Romance
    1993 Calendar Girl
    1993 Younger and Younger
    1993 Point of No Return
    1992 Millennium: Tribal Wisdom and the Modern World (TV Series) (1992)
    1992 Spies Inc.
    1992 Toys
    1992 A League of Their Own
    1992 The Power of One
    1992 Radio Flyer (music by)
    1991 Where Sleeping Dogs Lie
    1991 K2 (European version)
    1991 To the Moon, Alice (Short) (as Hans Florian Zimmer)
    1991 Regarding Henry
    1991 Backdraft
    1991 Thelma & Louise
    1990 Green Card
    1990 Pacific Heights
    1990 Days of Thunder
    1990 Fools of Fortune
    1990 Bird on a Wire
    1990 Chicago Joe and the Showgirl (credit only)
    1990 Arcadia (Short)
    1989 Gregg Allman: I’ll Be Holding On (Video short)
    1989 Driving Miss Daisy (music composed by)
    1989 Diamond Skulls
    1989 Black Rain
    1989 Twister
    1988 Rain Man
    1988 First Born (TV Mini-Series) (3 episodes)
  • Episode #1.3 (1988)
  • Episode #1.2 (1988)
  • Episode #1.1 (1988)
    1988 Burning Secret
    1988 Paperhouse
    1988 Nightmare at Noon
    1988 A World Apart
    1988 The Fruit Machine
    1988 Taffin
    1988 The Nature of the Beast
    1987 Comeback (TV Movie)
    1987 Going for Gold (TV Series)
    1987 Terminal Exposure
    1986 Vardo (Short)
    1986 The Wind (Video)
    1986 Separate Vacations
    1986 The Zero Boys
    1985 Wild Horses (TV Movie)
    1985 My Beautiful Laundrette (as Ludus Tonalis)
    1985 Insignificance
    1984 Success Is the Best Revenge
    1982 Superhero (Short)

Mini Bio (1)
German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents. He featured in the music video for The Buggles’ single “Video Killed the Radio Star”, which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).

Zimmer entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film My Beautiful Laundrette (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer’s career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Driving Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.

Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a pre-eminent talent with the award-winning score for The Lion King (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer’s work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (2000), The Lion King (1994), As Good as It Gets (1997), The The Preacher’s Wife (1996), The Thin Red Line (1998), De prins van Egypte (1998), and The Last Samurai (2003).

With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers’ guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical “think tank.” This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.

In 2000, Zimmer scored the music for Gladiator (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer’s other scores that year included Mission: Impossible II (2000), The Road to El Dorado (2000), and An Everlasting Piece (2000), directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor (2001), The Ring (2002), four films directed by Ridley Scott; Matchstick Men (2003), Hannibal (2001), Black Hawk Down (2001), and Thelma & Louise (1991), Penny Marshall’s Riding in Cars with Boys (2001), and A League of Their Own (1992), Tony Scott’s True Romance (1993), Tears of the Sun (2003), Ron Howard’s Backdraft (1991), Days of Thunder (1990), Smilla’s Sense of Snow (1997), and the animated Spirit: Stallion of the Cimarron (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.

At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Mission: Impossible II (2000), Rain Man (1988), The Lion King (1994), and The Thin Red Line (1998). The concert was recorded by Decca and released as a concert album entitled “The Wings Of A Film: The Music Of Hans Zimmer.”

Last year, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Recently, Zimmer scored Nancy Meyers’ comedy Something’s Gotta Give (2003), the animated Dreamworks film, Shark Tale (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and most recently, Jim Brooks’ Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His upcoming projects include Paramount’s The Weather Man (2005) starring Nicolas Cage, Dreamworks’ Madagascar (2005), and highly anticipated Warner Bros. summer release, Batman Begins (2005).

Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP’s Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.

  • IMDb Mini Biography By: Anonymous

Spouse (2)
Vicki Carolin (19 March 1982 - 7 April 1992) ( divorced) ( 1 child)
Suzanne Zimmer (? - present) ( 3 children)
Trade Mark (6)
Uses elements from the characters culture in the music. Some examples are tribal chants in The Lion King (1994), Guitar with vocals in Gladiator (2000) and Ukulele in Pearl Harbor (2001).
Seamlessly mixes synthesizers with real instruments and soloists. Often uses solo cello and acoustic/electric guitar.
Frequently works with DreamWorks Animation
Frequently works with directors Ridley Scott, Gore Verbinski, Ron Howard and Christopher Nolan.
Famous for his frequent use of what is known as a “Bwaum” wherein a major plot point is revealed and the music blasts out a single note loudly
Frequent use of the ‘Shepard Tone’ to raise tension. This is an auditory illusion of which provides the sense of a note constantly rising in pitch.
Trivia (26)
Last name means ‘room’ in German.
Co-founder (with Jay Rifkin) of Santa Monica-based music studio Media Ventures (now Remote Control), which has housed composers Mark Mancina, Harry Gregson-Williams, Rupert Gregson-Williams, Nick Glennie-Smith, John Powell, Klaus Badelt, Steve Jablonsky, Geoff Zanelli, Jeff Rona, Jim Dooley, Henning Lohner, James S. Levine, Mel Wesson, and several other composers from all over the world.
Hans’ longtime business partner, Jay Rifkin, filed a $10 million suit against him for conspiring to take business for himself. Because of this lawsuit, Media Ventures changed its name to Remote Control. [December 2003]
Gladiator (2000) became into one of the best selling film score albums of all time.
The Last Samurai (2003) marked his 100th score.
Inspired by Ennio Morricone’s The Mission (1986).
His iconic theme “Journey to the Line” from The Thin Red Line (1998) is heavily used in trailers and various other media. This theme was born out of trial and error. Terrence Malick, the director of The Thin Red Line (1998) had been dissatisfied with Zimmer’s results and had him continuously rework melodies and come up with various approaches. Thus “Journey to the Line” was finally born. Many of his latter scores would go on to bear an uncanny resemblance to this classic Thin Red Line theme.
He wrote music for a a 4-minute Maybach commercial.
His favorite movie theme of all time is from Assault on Precinct 13 (1976) by John Carpenter.
Fans and industry insiders in the film music world credit Crimson Tide (1995) as a turning point in both his career and the scoring business. The Grammy-winning score, often heard in trailers since, was a departure from the norm, making use of digital synthesizers, electronic keyboards, and the latest computer technology to digitally produce a rousing score with traditional orchestral arrangements.
The reason why he was chosen for the movie Laura’s Star (2004), was because, in an interview, he said that he feels that German producers forgot him for composing to a German language movie. One of the producers read the interview and he immediately asked him to do the movie.
Completely self-taught, he learned everything he knows through collaboration and experimenting.
He pushes collaboration between composers because that is how he learned. Every composer that has come out of Media Ventures learned by working with him on various scores by conducting, writing additional music, or even co-composing with him. Harry Gregson-Williams, John Powell, Mark Mancina, Klaus Badelt and Steve Jablonsky are just a few composers who are now doing solo work after expanding from Media Ventures.
He told in an interview that he would retire for some years after The Dark Knight (2008), saying he has been exhausted in the past years. He also said that he wants to help young composers and would produce their scores. His future plan is also about touring the world holding concerts with his own music.
Was nominated for a Tony Award for Original Musical Score in 1998 alongside Elton John, Tim Rice, Lebo M., Mark Mancina, Jay Rifkin and Julie Taymor for their work on the musical version of The Lion King (1994).
Was nominated for Film Composer of the Year in 2006 by the International Film Music Critics Association (IFMCA).
Was included on the list of “Top 100 Living Geniuses” published by The Daily Telegraph (2007).
He was awarded a Star on the Hollywood Walk of Fame at 6908 Hollywood Boulevard in Hollywood, California on December 8, 2010.
Hans Zimmer’s score for The Thin Red Line (1998) would inform the direction he would take in style for the rest of his career. Many directors (especially Christopher Nolan) would employ him based on their love for The Thin Red Line (1998) and the desire for its similar ambiance. More specifically based on the track “Journey to the Line”. Ironically, with the exception of “Journey to the Line”, most of Zimmer’s score did not make the final cut of The Thin Red Line (1998) What was used was often sampled with various other music chosen by Malick to create an intricate work that is often mistakenly credited to Zimmer.
As of 2018, he has contributed with the music score of 10 films that were nominated for the Best Picture Oscar: Rain Man (1988), Driving Miss Daisy (1989), As Good as It Gets (1997), The Thin Red Line (1998), Gladiator (2000), Frost/Nixon (2008), Inception (2010), 12 Years a Slave (2013), Hidden Figures (2016) and Dunkirk (2017). Of those, Rain Man (1988), Driving Miss Daisy (1989), Gladiator (2000), and 12 Years a Slave (2013) are winners in the category.
Has 4 children: one daughter, Zoe Zimmer, with his ex-wife Vicki Carolin; a son Jake Zimmer, a daughter Brigitte Zimmer and another unknown child with his current wife Suzanne Zimmer.
He is the only composer to do scores for Batman films under two different directors.
He is the only composer to have done scores for films about Batman and Superman.
He has written and composed scores for all of DC Comics’ trinity of heroes: Batman, Superman and Wonder Woman.
His son Jake was born in 1997.
His children are called Zoe, Jake (born 1997), Max, Anabelle and Brigitte .
Personal Quotes (21)
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King (1994), I wrote over four hours’ worth of tunes, and they were really pretty - but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn’t toying until the last three-and-a-half weeks properly. On Crimson Tide (1995), on the other hand, I just went in and within seconds I knew what I wanted.
I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas… It’s a very irresponsible life. The only decisions I make are about the notes I’m writing.
I don’t drive, so one of my assistants drives me to my writing room, and I have a calendar on the wall telling me how much time I have left, and how far behind I am. I look at it and panic, and decide which scene to work on. And you sit there plonking notes until something makes sense, and you don’t think about it any more. Good tunes come when you’re not thinking about it.
If something happened where I couldn’t write music anymore, it would kill me. It’s not just a job. It’s not just a hobby. It’s why I get up in the morning.
You have to remain flexible, and you must be your own critic at all times.
[on his score for Hannibal (2001)] This is the best love theme I’ve ever written, I keep telling everyone this is a romantic comedy, but nobody believes me.
[on his score for Batman Begins (2005)] I think this one has more electronics in it than anything else. I didn’t want to do straight orchestra because Batman, he’s not a straight character. I mean where do you get those wonderful toys from and the technology? So I thought I could embrace a bit more technology in this one… there isn’t a straight orchestral note on this score.
[on his previous Batman scores] Nobody ever mentions the Elliot Goldenthal scores. And of course, I’m not mentioning any of that either, because quite honestly I didn’t go and look at the old Batman movies again.
I am not saying it is a bad movie or good movie, but it is an odd movie. All of the music was written before Terry would edit a scene. That was just how he wanted to work. It was a very odd way of working for me, because I had to lead the charge up the hill all the time. It gets a little daunting.
[on his score for The Lion King (1994)] I’d never written for talking fuzzy animals before. I knew how to write to human emotions but these were animals. It took me a while to sort of get over that and do what you do which is just treat them like human characters.
[on his score for The Lion King (1994)] I thought how do we deal with in a children’s movie the idea that a father dies and make an emotional yet not horrifying experience. And it’s very simple. It’s my point of view because my dad dropped dead when I was six. I had nobody to talk to about it.
If the secret should be known, which is not much of a secret at all, this is my hobby I love doing this. Anything else feels like work to me.
When you write a theme one of the things you want to do is you want to see how much life it really has. How many possibilities there are. Can it speak to you in joy? Can it speak to you in sorrow? Can it be love? Can it be hate? Can you say all these things with just a few notes? That’s the thing when you figure out if a tune is any good or not. Does it have more than one shallow little character? Does it have just one little thing to tell you. Can it get underneath there under your skin? Can it get dark? Can it talk about the death of a father or something like that.
[on his score for The Lion King (1994)] The main emphasis to me was how we were going to get, in a children’s movie, to the idea that a father dies and make it an emotional yet not horrifying experience but make it something that children might want to start asking some questions about. It’s very simple. It’s my point of view because my dad dropped dead when I was six and I had nobody to talk to about it. So, it’s a very personal sort of thing.
You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
When movies first came out, maybe they were in black and white and there wasn’t any sound and people were saying the theater is still the place to be. But now movies and theater have found their own place in the world. They are each legitimate art forms.
With animated film, you have to create the sonic world; there’s nothing there. You get to color things in more and you’re allowed to overreach yourself a little bit more, and it’s great fun.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
You come from a conversation with the director, and you’re all enthusiastic, because it’s all new possibilities, opportunities, great ideas, etc. And then you get into this room, and you sit in front of this [computer], and it’s all gone and you just go “oh my god, I have no idea what to do”. But you need the courage of starting somewhere.
"I write film music. I don’t do brain surgery. I don’t cure cancer. I just write a little bit of film music.

imdb.com/

Lisa Gerrard

Filmography

Jump to: Music department | Soundtrack | Composer | Actress | Producer | Thanks | Self
Hide HideMusic department (26 credits)
Down by the Water (composer: additional music) (pre-production)
2018 Tales by Light (TV Series documentary) (vocalist - 1 episode)

  • Children In Need (2018) … (vocalist)
    2017 Remembering Agatha (Short) (special thanks)
    2016 Deep Water: The Real Story (Documentary) (vocalist)
    2015 Jane Got a Gun (vocalist)
    2015 Karbala (vocals)
    2015 Tanna (vocals)
    2014 The Water Diviner (composer: additional music)
    2014 Son of God (soloist)
    2014 I, Frankenstein (composer: additional music) / (vocalist)
    2013 Man of Steel (playback singer - uncredited)
    The Bible (TV Mini-Series documentary) (singer - 10 episodes, 2013) (soloist - 8 episodes, 2013)
  • Courage (2013) … (singer) / (soloist)
  • Passion (2013) … (singer) / (soloist)
  • Betrayal (2013) … (singer) / (soloist)
  • Mission (2013) … (singer) / (soloist)
  • Survival (2013) … (singer) / (soloist)
    Show all 10 episodes
    2011/I Samsara (Documentary) (musician: vocals)
    2011/I Burning Man (vocals: and cimbalom)
    2011 Munster Rugby: A Limerick Love Affair (TV Movie documentary) (Vocalist)
    2011 Priest (composer: additional music) / (vocalist)
    2010 Stairway from Hell (Documentary) (composer: stock music - ending theme)
    2010 The Greater Meaning of Water (composer: additional music)
    Ryômaden (TV Series) (composer - 48 episodes, 2010) (vocalist - 48 episodes, 2010)
  • Ryuu no tamashii (2010) … (composer: theme music) / (vocalist)
  • Taisei houkan (2010) … (composer: theme music) / (vocalist)
  • Tosa no daishoubu (2010) … (composer: theme music) / (vocalist)
  • Ryouma no kyuujitsu (2010) … (composer: theme music) / (vocalist)
  • Ame no toubousha (2010) … (composer: theme music) / (vocalist)
    Show all 48 episodes
    2007 A Seal’s Life (Video documentary) (composer: additional music)
    2005 Fateless (vocals)
    2005 A Thousand Roads (Short) (vocals)
    2004 Man on Fire (score vocalist)
    2003 Tears of the Sun (vocals)
    2002 9/11 (TV Movie documentary) (composer: song “Sacrifice”)
    2000 Mission: Impossible II (musician)
    Hide Hide Soundtrack (59 credits)
    2018 Hollywood in Vienna 2018: The World of Hans Zimmer (TV Movie) (music: “Gladiator”) / (performer: “Mission: Impossible II”, “Gladiator”)
    2018 Mediterranean with Simon Reeve (TV Mini-Series documentary) (performer - 1 episode)
  • Episode #1.4 (2018) … (performer: “Peiputa” - uncredited)
    2018 Lords of Chaos (writer: “The Host of Seraphim”)
    2017 Double Dutchess: Seeing Double (writer: “Hungry”)
    2017 2:22 (performer: “2:23”) / (writer: “2:23”)
    2016 The Grand Tour (TV Series) (writer - 1 episode)
  • Enviro-mental (2016) … (writer: “Montage” - uncredited)
    2016 South Park (TV Series) (performer - 1 episode)
  • Skank Hunt (2016) … (performer: “Gortoz a Ran”)
    2016 Chasing Gold (performer: “The Sea Whisperer”) / (writer: “The Sea Whisperer”)
    2015 Karbala (music: “Karbala”) / (performer: “Karbala”)
    2015 Sanctuaire (TV Movie) (writer: “The Silencer”)
    2014/II The Letters (writer: “Patricide” (from the motion picture tt0172495))
    2013 NHK Special (TV Series documentary) (writer - 1 episode)
  • Sawaki Kôtarô suiri dokyumento: Unmei no ichimai: Senjô shasin saidai no nazo ni idomu (2013) … (writer: “The Host of Seraphim” - uncredited)
    2012 Les seigneurs (performer: “Gortoz a Ran”)
    2012 CSI: Miami (TV Series) (writer - 1 episode)
  • Last Straw (2012) … (writer: “Sanvean”)
    2011/I Samsara (Documentary) (performer: “Modern Life”, “Jerusalem”, “Swimming And Skiing”, “Dubai”, “Dump / Igen”, “Manila”, “Food Chain”, “Geisha”, “War Machine”) / (writer: “Modern Life”, “Jerusalem”, “Swimming And Skiing”, “Dubai”, “Dump / Igen”, “Manila”, “Food Chain”, “Geisha”, “War Machine”)
    2011 InSight (music: “Insight”) / (performer: “Insight”) / (writer: “Insight”)
    2010 Legend of the Guardians: The Owls of Ga’Hoole (performer: “COMING HOME”) / (writer: “COMING HOME”, “THE HOST OF THE SERAPHIM”)
    2010 1916 Seachtar na Cásca (TV Series) (writer - 1 episode)
  • Thomas J. Clarke (2010) … (writer: “Elegy”)
    2010 Takers (writer: “Sacrifice”)
    2009 From Ararat to Zion (Documentary) (performer: “Mirror Medusa”, “Towards The Tower”) / (writer: “Mirror Medusa”, “Towards The Tower”)
    2009 S. Darko (writer: “The Carnival is Over”)
    L’isola dei famosi (TV Series) (performer - 6 episodes, 2007 - 2008) (writer - 2 episodes, 2007)
  • Episode #6.11 (2008) … (performer: “Honor Him”)
  • Episode #6.2 (2008) … (performer: “The Battle”)
  • Episode #5.12 (2007) … (writer: “Honor Him”)
  • Episode #5.11 (2007) … (performer: “Honor Him”)
  • Episode #5.10 (2007) … (performer: “Honor Him”, “The Battle”)
    Show all 7 episodes
    2008 Secret Defense (performer: “Space Weaver”) / (writer: “Space Weaver”)
    CSI: Crime Scene Investigation (TV Series) (1 episode, 2004) (performer - 1 episode, 2008) (writer - 1 episode, 2002)
  • For Warrick (2008) … (performer: “Come Tenderness” - uncredited)
  • XX (2004) … (“Sailing to Byzantium”, uncredited)
  • Abra Cadaver (2002) … (writer: “Rakim”)
    2008 Sarah Brightman: Symphony in Vienna (TV Special) (writer: “Sanvean”)
    2008 Henry Poole Is Here (performer: “On an Ocean”) / (writer: “On an Ocean”)
    2007 The Mist (writer: “The Host of Seraphim”, “The Host Of Seraphim: Special Film Version”)
    2007 Kotkat (Short) (“Now we are free”, “Human Game”)
    2007 Vexille (writer: “The Host of Seraphim” (excerpt))
    2007 Banished (performer: “Shadow Magnet”) / (writer: “Shadow Magnet”, “Yulunga”, “Ascension”)
    2006 L’isola dei famosi - Le Olimpiadi (TV Special) (performer: “Honor Him”)
    Independent Lens (TV Series documentary) (performer - 1 episode, 2005) (writer - 1 episode, 2005)
  • Seoul Train (2005) … (performer: “Tempest”, “Broken”, “Faith”, “Sacrifice”) / (writer: “Tempest”, “Broken”, “Faith”, “Sacrifice”)
    2005 A Thousand Roads (Short) (“Who Are We To Say” score) / (music: “Good Morning Indian Country”, “Rowing Warriors”, “Walk In Beauty’s Way”, “Who Are We To Say” score, “A Thousand Roads: End Title”) / (performer: “Good Morning Indian Country”, “Rowing Warriors”, “Walk In Beauty’s Way”, “Mahk Jehi”, “All My Relations”, “Crazy Horse”) / (writer: “Good Morning Indian Country”, “Rowing Warriors”, “Walk In Beauty’s Way”, “Who Are We To Say” score, “A Thousand Roads: End Title”)
    2004 Collateral (performer: “Exile”) / (writer: “Exile”)
    2004 King Arthur (writer: “Amergin’s Invocation”)
    2004 Salem’s Lot (TV Series) (“Salem’s Lot Aria”)
    The West Wing (TV Series) (performer - 2 episodes, 2003 - 2004) (writer - 1 episode, 2004)
  • Memorial Day (2004) … (performer: “Sanvean (Live at the Mayfair Theatre)” - uncredited) / (writer: “Sanvean (Live at the Mayfair Theatre)” - uncredited)
  • 7A WF 83429 (2003) … (performer: “Sanvean”)
    2004 Man on Fire (performer: “Creasy Dies”) / (writer: “Creasy Dies”)
    2004 Charmed (TV Series) (writer - 1 episode)
  • Spin City (2004) … (writer: “Shine”)
    2004 One Perfect Day (“One Perfect Sunrise”)
    2003 Tears of the Sun (performer: “Yekeleni Part I / Mia’s Lullabye”, “Small Piece For Doumbek And Strings / Kopano Part I”, “Kopano Part II”, “The Jablonsky Variations On A Theme By HZ / Cameroon Border Post”, “The Journey / Kopano Part III”) / (writer: “Yekeleni Part I / Mia’s Lullabye”)
    2002 In America (performer: “Tempest” (1999)) / (producer: “Tempest” (1999)) / (writer: “Tempest” (1999))
    2002 Whale Rider (arranger: “Paikea Legend”, “Journey Away”, “Rejection”, “Biking Home”, “Ancestors”, “Suitcase”, “Pai Calls The Whales”, “Reiputa”, “Disappointed”, “Pai Theme”, “Paikea’s Whale”, “They Came to Die”, “Empty Water”) / (music: “Paikea Legend”, “Journey Away”, “Rejection”, “Biking Home”, “Ancestors”, “Suitcase”, “Pai Calls The Whales”, “Reiputa”, “Disappointed”, “Pai Theme”, “Paikea’s Whale”, “They Came to Die”, “Empty Water”) / (writer: “Paikea Legend”, “Journey Away”, “Rejection”, “Biking Home”, “Ancestors”, “Suitcase”, “Pai Calls The Whales”, “Reiputa”, “Disappointed”, “Pai Theme”, “Paikea’s Whale”, “They Came to Die”, “Empty Water”)
    2002 Ripley’s Game (writer: “Host of Seraphim”)
    2002 Unfaithful (writer: “Dedicace Outo”, “Devorzhum”)
    2002 9/11 (TV Movie documentary) (performer: “Sorrow” - as Lisa Germain Gerrard) / (writer: “Sorrow” - as Lisa Germain Gerrard)
    2001 Black Hawk Down (performer: “Gortoz a ran - J’Attends”)
    2001 The Amazing Race (TV Series) (writer - 1 episode)
  • Race to the Finish: Part 2 (2001) … (writer: “Now We Are Free” - uncredited)
    2001 Ali (performer: “Destiny”, “See the Sun”) / (producer: “Destiny”, “See the Sun”) / (writer: “Set Me Free”, “Destiny”, “See the Sun”)
    2001 The Affair of the Necklace (writer: “Ariadne”)
    2001 Coil (writer: “The Host of Seraphim”, “The Chant of the Paladin”, “Echolalia”, “Mother Tongue”)
    2000 Gladiator (writer: “Now We Are Free”)
    1999 The Insider (performer: “Tempest”, “Sacrifice”, “Meltdown”) / (writer: “Tempest”, “Sacrifice”, “Meltdown”)
    1998 France 1997 (Video short) (writer: “A Passage in Time” (excerpts))
    1995 Heat (performer: “La Bas”, “Celon”, “Gloradin”) / (writer: “La Bas”, “Celon”, “Gloradin”)
    1995 The Crossing Guard (writer: “Ubiquitous Mr. Love Groove”)
    1995 Noe beroligende (lyrics: “Saltarello”, “Wilderness”, “Cantara”) / (music: “Saltarello”, “Wilderness”, “Cantara”) / (writer: “Saltarello”, “Wilderness”, “Cantara”)
    1988 Robak (Short) (writer: “Persephone (The Gathering of Flowers)”)
    1986 Dèmoni 2… l’incubo ritorna (writer: “De Profundis”)
    Hide Hide Composer (36 credits)
    Down by the Water (composer, vocals) (pre-production)
    2018/I Undertow
    2017 West of Sunshine
    2017 2:22 (music by)
    2016 María conversa (Documentary)
    2015 Jane Got a Gun (composer)
    2013 Pleroma (Short)
    2012 My Mind’s Own Melody (Short) (composition)
    2011/I Samsara (Documentary)
    2011/I Burning Man
    2011 InSight
    2010 Oranges and Sunshine
    2010 Tears of Gaza (Documentary)
    2010 On the Trail of Genghis Khan (TV Series documentary)
    2009 Jarin: A Fable by Jim, Knute and Red (Short)
    2009 Balibo
    2009 Kings (TV Series) (1 episode)
  • Goliath: Part One (2009)
    2008/II Solo (Documentary)
    2008 Ichi
    2008 Playing for Charlie
    2008 Romans 12:20 (Short)
    2006 Sanctuary: Lisa Gerrard (Video documentary)
    2005 Ashes and Snow (Documentary)
    2005 A Thousand Roads (Short)
    2004 Layer Cake
    2004 Salem’s Lot (TV Series) (2 episodes)
  • Episode #1.2 (2004)
  • Episode #1.1 (2004)
    2003 Tears of the Sun
    2002 Whale Rider
    2001 Ali
    2001 Coil
    2000 Gladiator Games: The Roman Bloodsport (TV Movie documentary)
    2000 HBO First Look (TV Series documentary short) (1 episode)
  • Gladiator (2000)
    2000 Gladiator
    1999 The Insider
    1998 Nadro
    1994 Dead Can Dance: Toward the Within (Documentary)

Born April 12, 1961 in Melbourne, Victoria, Australia
Height 5’ 7½" (1.71 m)
Mini Bio (1)
With a vision and vocal style that is as unique as it is precise and all-embracing, Lisa Gerrard has established herself as one of the world’s most highly acclaimed film composers, winning a Golden Globe for her work on the score for ‘Gladiator’ with Hans Zimmer.

Lisa also received an Oscar nomination for ‘Gladiator’ along with two further Golden Globe Award nominations for her scores to ‘Ali’ and ‘The Insider’. Lisa’s film work also includes ‘Whale Rider’, a feature which received an Academy Award nomination and garnered Lisa an international award for the score.

Her musical journey began in the early 1980s when she and fellow Australian Brendan Perry formed duo ‘Dead Can Dance’. In 2012 the band reunited for a sell-out world tour. With nine albums released between 1984 and 1995, the duo’s musical canvas expanded with each release to take in a timeless mix of world-music influences, medieval chants, folk ballads, baroque stylings, Celtic flavours, electronics, samples and anything else that took their fancy. Several solo and collaborative albums were well received and Lisa made a natural progression to composing for films.

In 2009 Lisa scored the highly acclaimed feature ‘Balibo’ for which she won the 2009 Screen Music Award for Best Feature Film Score, an Aria Award and 3 further nominations. In 2010 Lisa finished her score for ‘Oranges and Sunshine’ and the controversial film ‘Tears of Gaza’. In 2011 she completed the score for ‘Burning Man’ which won her Best Music Score at the 2011 Film Critics Circle of Australia Awards.

In 2013 Lisa performed the principal vocal role in leading European film composer Zbigniew Preisner’s poignant concert piece ‘Diaries of Hope’, inspired by diaries and poems of Polish children who were victims of the Holocaust. This was premiered both in Wroclaw, Poland and at the Barbican in London. Lisa’s vocal performances continue to be heard across the world, with a number planned for 2018, including a performance of ‘Gladiator Live’ at The Royal Albert Hall in London.

In 2016 Lisa collaborated with James Orr on the score for Paul Currie’s thriller ‘2:22’. She also collaborated with Marcello De Francisci on the score for the feature ‘Jane Got a Gun’ directed by Gavin O’Connor and starring Natalie Portman and Ewan McGregor. Most recently she completed the score with James Orr to ‘West of Sunshine’, which premiered at the Venice International Film Festival.

Most recently, Lisa collaborated with The Mystery of the Bulgaria Voices on their up-coming album, due for release by Prophecy Records on 25th May 2018. The first single from the album ‘Pora Sotunda’ was released in November 2017 and Lisa plans to perform with the choir throughout Europe during 2018.

  • IMDb Mini Biography By: Air-Edel

Spouse (1)
Jacek Tuschewski (? - ?) ( 2 children)
Trade Mark (2)
Jaw-droppingly soaring contralto vocals, wordless lyrics
Singing in a made-up language
Trivia (2)
Formed the group Dead Can Dance with Brendan Perry.
Vocal range spans from contralto to dramatic mezzo-soprano on, “The Host of Seraphim”, “Elegy”, “Space Weaver”, “Come This Way” and “One Perfect Sunrise”. Performs in the dramatic contralto range on the other songs, “Sanvean”, “Sacrifice”, “Largo”, “Lament” and “Not Yet”.
Personal Quotes (3)
I have never dared to face the disappointments that my true vocal range may bring. I have many fundamentals in my voice that give the appearance of it being very deep or very high, when in fact I believe it’s quite narrow and limited.
I sing in the language of the Heart, Its an invented language that I’ve had for a very long time. I believe I started singing in it when I was about 12. Roughly that time. And I believed that I was speaking to God when I sang in that language.
Music is a Place to take Refuge. It’s a Sanctuary from Mediocrity and Boredom. It’s Innocent and it’s a Place you can loose yourself in Thoughts, Memories and Intricacies.

[youtube]https://www.youtube.com/watch?v=o9qCEEy2XcU[/youtube]

The Insider - Lisa Gerrard, Peter Bourke - Meltdown (HD)

The Insider - Full Sountrack playlist

[youtube]https://www.youtube.com/watch?v=QAWtcYOVbWw[/youtube]

Margin Call (2011)

Follows the key people at an investment bank, over a 24-hour period, during the early stages of the 2008 financial crisis.
Director: J.C. Chandor
Writer: J.C. Chandor
Stars: Zachary Quinto, Stanley Tucci, Kevin Spacey |
imdb.com/title/tt1615147/

Cast

Cast overview, first billed only:
Kevin Spacey Kevin Spacey … Sam Rogers
Paul Bettany Paul Bettany … Will Emerson
Jeremy Irons Jeremy Irons … John Tuld
Zachary Quinto Zachary Quinto … Peter Sullivan
Penn Badgley Penn Badgley … Seth Bregman
Simon Baker Simon Baker … Jared Cohen
Mary McDonnell Mary McDonnell … Mary Rogers
Demi Moore Demi Moore … Sarah Robertson
Stanley Tucci Stanley Tucci … Eric Dale
Aasif Mandvi Aasif Mandvi … Ramesh Shah
Ashley Williams Ashley Williams … Heather Burke
Susan Blackwell Susan Blackwell … Lauren Bratberg
Maria Dizzia Maria Dizzia … Executive Assistant
Jimmy Palumbo Jimmy Palumbo … Security Guard
Al Sapienza Al Sapienza … Louis Carmelo

Storyline

A respected financial company is downsizing and one of the victims is the risk management division head, who was working on a major analysis just when he was let go. His protégé completes the study late into the night and then frantically calls his colleagues in about the company’s financial disaster he has discovered. What follows is a long night of panicked double checking and double dealing as the senior management prepare to do whatever it takes to mitigate the debacle to come even as the handful of conscientious comrades find themselves dragged along into the unethical abyss. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Plot Synopsis
Plot Keywords: financial crisis | financial disaster | capital management | investment fraud | 21th century | See All (72) »
Taglines: Be first. Be smarter. Or cheat.
Genres: Drama | Thriller
Certificate: 14A | See all certifications »
Parents Guide: View content advisory »
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Details

Official Sites: Official Facebook | Official site | See more »
Country: USA
Language: English
Release Date: 10 November 2011 (Netherlands) See more »
Also Known As: Marge de manoeuvre See more »
Filming Locations: Vornado Realty Trust, Manhattan, New York City, New York, USA See more »
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Box Office

Budget:$3,500,000 (estimated)
Opening Weekend USA: $561,904, 23 October 2011, Limited Release
Gross USA: $5,354,039, 12 May 2012
Cumulative Worldwide Gross: $19,504,039, 31 December 2012
See more on IMDbPro »
Company Credits

Production Co: Before The Door Pictures, Benaroya Pictures, Washington Square Films See more »
Show more on IMDbPro »
Technical Specs

Runtime: 107 min
Sound Mix: Dolby Digital
Color: Color
Aspect Ratio: 1.85 : 1

Runtime 1 hr 47 min (107 min)
Sound Mix Dolby Digital
Color Color
Aspect Ratio 1.85 : 1
Camera Arriflex 435 (helicopter shots)
Canon EOS 5D Mark II (driving scenes)
Red One MX, Zeiss Standard Speed and Angenieux Optimo Lenses
Laboratory Offhollywood, New York (NY), USA (laboratory)
Technicolor, New York (NY), USA (digital intermediate)
Film Length 2,916 m (Sweden)
2,926 m (Portugal)
Negative Format 35 mm (Kodak Vision3 500T 5219)
Redcode RAW
Cinematographic Process Digital Intermediate (2K) (master format)
Redcode RAW (4.5K) (source format)
Spherical (source format) (aerial shots)
Printed Film Format 35 mm (Fuji Eterna-CP 3514DI)
D-Cinema

The film was shot in seventeen days.
143 of 145 found this interesting | Share this
The Moundsville Bridge mentioned by Eric Dale (Stanley Tucci) actually exists. It was completed in 1986, which would have been twenty-two years before the debt crash of 2008, which is the subject of this movie.
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The CEO’s name, John Tuld, rhymes with the name of the ex-CEO of the now-defunct investment bank Lehman Brothers, Richard S. Fuld. Lehman Brothers, like the firm in this film, found themselves catastrophically over-leveraged in mortgage-backed-securities in the financial crisis of 2008. They eventually declared bankruptcy, and Richard Fuld was heavily criticized for his involvement in these events.
105 of 109 found this interesting | Share this
J.C. Chandor said that he wrote the script for the story he had been carrying around in his head for about a “year-and-a-half” in just four days, filling time between job interviews in Boulder, Colorado.
50 of 55 found this interesting | Share this
John Tuld (Jeremy Irons) was originally offered to Sir Ben Kingsley, but due to other projects, he couldn’t play the role. Billy Crudup and Tim Robbins were also interested in taking parts, but had to refuse, due to other obligations.
45 of 51 found this interesting | Share this
This was Writer and Director J.C. Chandor’s first feature-length film.
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The screenplay for this film was featured in the 2010 Blacklist; a list of the “most liked” unmade scripts of the year.
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Carla Gugino was attached for over a year to play Sarah Robertson, but had to withdraw last minute due to another project. Fortunately Demi Moore was able to join the project.
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Grace Gummer, Meryl Streep’s third child, was set to appear in a scene in which she played Zachary Quinto’s ex-girlfriend. Due to what the director and producer called “poor directorial work” during the shoot, the scene was cut out of the film. It can be seen, however, in the “Deleted Scenes” section of the DVD.
34 of 39 found this interesting | Share this
In one scene, John Tuld (Jeremy Irons) picks up a toy that looks like Mufasa from The Lion King (1994), a possible nod to the film, in which Irons also famously starred as Scar.
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Simon Baker and Kevin Spacey previously appeared in L.A. Confidential (1997).
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Directorial debut of J.C. Chandor.
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Stanley Tucci and Demi Moore also starred in Deconstructing Harry (1997).
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In the DVD commentary director/writer J.C. Chandor and producer Neal Dodson refer to their project as “a tiny … low-budget … three million dollar film with one and a half weeks prep.”
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The wine that John Tuld is drinking with his meal after the close of market is Monsanto Chianti Classico Riserva.
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Kevin Spacey and Al Al Sapienza worked together in House of Cards.

User Reviews

Fantastic film, but not for everyone.
23 October 2011 | by J. Ryan – See all my reviews
It’s difficult to review Margin Call. Those of us who were close to the events of 2008 will find something personal in the story-telling. Others may see it as more examples of greed and hubris. In any case, the following observations apply to both groups.

The performances are top notch. Everyone from Zachary Quinto to Demi Moore brings their A-game. Even supporting characters are oddly fleshed out for a film with such an ensemble cast. Kevin Spacey and Paul Bettany give the performances of their careers, I think. Only the Jeremy Irons character (John Tuld, aka Dick Fuld) feels a bit over the top, while the rest are truly believable well-rounded depictions.

Despite having good characters and amazing cinematography, the film lacks plot. The backdrop and setting are tense, but this doesn’t feel like a “movie” in the traditional sense. There’s no evolution of characters, no arcs, and the ending may leave some wanting. You can compare it to Michael Mann films where plot and pace are unconventional.

Not sure how the film will perform commercially, given the material is esoteric. If you’re a film buff (and enjoy great performances) or you’ve been in finance, this is a must-see. Other may likely pass.

[youtube]https://www.youtube.com/watch?v=J6HEWobwgAo[/youtube]

The only valuable thing to ever come out of Facebook is probably this movie about it. David Fincher is known for making art out of the darkest corners of human depravity.

[youtube]https://www.youtube.com/watch?v=BPazh2kDdvA[/youtube]

The Social Network (2010) - Hacking scene

Imdb:

Harvard student Mark Zuckerberg creates the social networking site. That would become known as Facebook but is later sued by two brothers who claimed he stole their idea, and the co-founder who was later squeezed out of the business.
Director: David Fincher
Writers: Aaron Sorkin (screenplay), Ben Mezrich (book)
Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake

On a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later, Mark Zuckerberg is the youngest billionaire in history… but for this entrepreneur, success leads to both personal and legal complications.

Trivia

Jesse Eisenberg, who is diagnosed with obsessive compulsive disorder (OCD), said in an interview that one of the hardest things about the role was having to deliberately speak and behave in a manner he had struggled against in his own personality his entire life.

Justin Timberlake was the only actor who met his real-life character (Sean Parker) before the founding of Facebook and this film. Armie Hammer and Josh Pence met their real-life characters, the Winklevoss twins after filming. The twins enjoyed Hammer and Pence’s performance so much they attended a couple screenings of the film.

Mark Zuckerberg originally planned never to see this movie. He ended up taking several of his employees to see it. He later remarked that, despite some of the film’s inaccuracies, they got his clothing right.

Andrew Garfield came into rehearsal with a copy of Economics for Dummies. Inspired by that move, Jesse Eisenberg bought C++ for Dummies. According to Eisenberg, both he and Garfield read the introductions of their books and then put them down.

During one of the depositions, it is mentioned that the invention of Facebook made Mark Zuckerberg “the biggest thing on a campus that included nineteen Nobel Laureates, fifteen Pulitzer Prize winners, two future Olympians, and a movie star.” One of the lawyers then asks, “Who was the movie star?” and the response is, “Does it matter?” This movie star was, in fact, Natalie Portman, who was enrolled at Harvard from 1999 to 2003 and helped screenwriter Aaron Sorkin by providing him insider information about goings-on at Harvard at the time Facebook first appeared there.

Natalie Portman revealed during “Newsweek’s 2011 Oscar Roundtable” that she gave a dinner party for writer Aaron Sorkin, while he was writing the script for this movie, to which she invited a bunch of her friends from Harvard. She wanted to give him the chance to listen to first-hand stories about the social life at Harvard University.

Bill Gates is portrayed by Steve Sires, a “professional Gates impersonator,” but his voice was dubbed by a “24-year-old African American kid with dreadlocks,” who just happened to sound like Gates.

David Fincher’s favorite line in the film is, “I’m just checking your math on that. Yes, I got the same thing.”

David Selby, plays one of the attorneys for the Winkelvoss and his character is named Gage. Gage Whitney (sometimes referred to as Gage Whitney Pace) appears multiple times in the works of writer/director Aaron Sorkin, most notably as the law firm where Sam Seyborn was working at before joining the Bartlet Presidential campaign on “The West Wing.” The firm is also mentioned in “Studio 60 on the Sunset Strip” and “The Newsroom,” the two television series created by Sorkin after he left "The West Wing. It also appeared in Molly’s Game, which was written and directed by Sorkin.

[youtube]https://www.youtube.com/watch?v=yydZbVoCbn0[/youtube]

Trent Reznor And Atticus Ross - The Social Network Soundtrack [Full Album]

Born May 17, 1965 in Mercer, Pennsylvania, USA
Birth Name Michael Trent Reznor
Height 5’ 7½" (1.71 m)

Trent Reznor is an American songwriter/musician/producer and sole member of multi-platinum act Nine Inch Nails, and now an Academy Award winning film composer. He began creating music as a child in Western Pennsylvania, first on piano and then taking up other instruments. He eventually moved to Cleveland, OH where he took a job at a local recording studio as an assistant engineer/janitor, recording his own material during unused studio time.

Those recordings became the first Nine Inch Nails album, 1989’s Pretty Hate Machine. NIN soon developed a reputation as one of the best live acts in rock and joined the inaugural Lollapalooza tour in 1991. The Broken EP followed in 1992, garnering NIN’s first Grammy Award (NIN has received twelve Grammy nominations and won two awards). In 1994, the breakthrough album The Downward Spiral was released and featured the radio hits “Closer” and “Hurt.” The controversial music video for “Closer” was directed by Mark Romanek and is considered among the best music videos of all time having won various awards (it is one of the few music videos included in the permanent collection of the Museum of Modern Art in New York City). NIN’s mud-covered appearance that Summer at Woodstock 1994 is now legendary. Also released that year was the Reznor produced soundtrack to Oliver Stone’s Natural Born Killers. He returned to film 3 years later, producing the soundtrack for David Lynch’s Lost Highway. In 1997, Reznor appeared on Time magazine’s most influential people list, and Spin magazine named him “the most vital artist in music.”

Billions is up to speed.

AXE
Just because I don’t listen to you doesn’t mean I don’t value you.

Wendy smirks, hurt

WENDY
It really kinda does.

[youtube]https://www.youtube.com/watch?v=pXB3W6y7DiM[/youtube]

Dragon Strength Set performed by Grandmaster Wong Kiew Kit
1,096 views

12

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Emiko Hsuen
Published on May 2, 2015
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This set was performed publicly by Grandmaster Wong Kiew Kit at the University of Science of Malaysia more than 30 years ago. Grandmaster Wong is the head of the Shaolin Wahnam Institute (shaolin.org). He is the 4th generation successor of Ven. Jiang Nan of the Southern Shaolin Monastery.

beforethelight.forumotion.com/t4 … in-kung-fu

“back in the good old world”

this movie is awesome. If you’re skeptical skip to the second chapter.
“Is allowed?”
“Is it… yeah its allowed! This is New York!”

[youtube]https://www.youtube.com/watch?v=wKX--PYHp7w[/youtube]

Night on Earth - Jim Jarmusch (1991)

An anthology of 5 different cab drivers in 5 American and European cities and their remarkable fares on the same eventful night.
Director: Jim Jarmusch
Writer: Jim Jarmusch
Stars: Winona Ryder, Gena Rowlands, Lisanne Falk

[b]Music by
Tom Waits

Cinematography by
Frederick Elmes

Film Editing by
Jay Rabinowitz [/b]

"For the New York scene where Giancarlo Esposito is trying unsuccessfully to hail a cab, the crew were worried that one of the real cabs passing by might stop for him and ruin the take. But just as it was written in the script, none of the cabs would stop.

Cinematographer Fred Elmes said that the best thing about shooting overnight in Paris was that the bakeries would just be opening as the crew wrapped every morning. So he could cap of his work day with a cup of coffee and a nice, fresh pastry."

imdb.com/title/tt0102536/tr … tt_trv_trv

Trop de Bonheur (1994)

Directed by
Cédric Kahn

Writing Credits
Ismaël Ferroukhi
Cédric Kahn

Cast
Malek Bechar … Kamel
Naguime Bendidi
Didier Borga … Didier
Salah Bouchouareb Salah Bouchouareb
Caroline Ducey … Mathilde (as Caroline Trousselard)
Emmanuel Gautier
Laetitia Palermo … Solange
Estelle Perron … Valerie
imdb.com/title/tt0111497/

If anyone can find me this film I will pay top dollar for it.
Well, just, I guess twice what it cost would be worth it.

Possibly the greatest coming of age movie ever, and it seems to have vanished from the earf.
Even he picture of the lead across has been removed from imdb. No screenshot of the film anywhere. It was planned for a screening a few years back a a film festival and that never happened, it was quietly removed from the schedule in the months ahead.

[youtube]https://www.youtube.com/watch?v=cYhLnYnrivI[/youtube]

Ruby Friedman & Nick Page – You’ll Never Leave Harlan Alive

[youtube]https://www.youtube.com/watch?v=jTBP3yGzJqE[/youtube]

GTA Vice City Fever 105 Full Radio Station

[youtube]https://www.youtube.com/watch?v=-V46NFCtaJI[/youtube]

Fat Larry’s Band - Act Like You Know 1982 (remastered audio)

[youtube]https://www.youtube.com/watch?v=m7sXJjSuTAw[/youtube]

TWO IF BY SEA(BULLOCK/LEARY)
imdb.com/title/tt0118002/

[youtube]https://www.youtube.com/watch?v=Qem3h4fAqhA[/youtube]

Sandra Bullock & Denis Leary, promo-interview about their movie “Two If By Sea” (1996)

Ah, Rumiesque

How do we come to recognize them - to know them?

youtu.be/BLZo_ILZhfk

Love.

Ah, Jakob, that is not a satisfactory answer for me. It leaves me hungry for more.

Do you mean “God” when you say “Love”?

Do you mean a love of something, like passion (non-sexual) and curiosity which leads us to seek those answers?

I am not sure if Barbarianhorde was speaking of a process where the questions eventually lead to the answers or if he meant, literally, that the question itself is or was always the answer!

I was wrong. It was not Rumi, though I love his words. It was Rilke I was thinking of.

“Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

That is so profound, One of my favorite quotes though not such an easy thing to follow.

How does love do it?
Oh, if only I had a telescope.