Word: conductor
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...made 10 appearances in the past year--he harbors no illusions about making conducting a second career. He donates his fees to charity and turns down invitations to lead other Mahler works, most recently a Das Lied von der Erde in Vienna. "I don't regard myself as a conductor," he says. "The driving force with me was always the music." In this day of bored, globe-trotting professionals, those are sentiments to be resurrected...
...Expressway. Here it is still around 1948. The people work for a living, know one another's business, tend to their green squares of land and (most of the time) love America. Take the Long Island Rail Road from Manhattan, and you understand these places at once. After the conductor calls out the suburbs, the names of the stations get rougher: "Patchogue!" "Moriches!" You are too far east to commute to the city and not far east enough, or rich enough, to occupy what a young woman here calls "those houses that nobody lives...
Emmerich, 40, the conductor of ID4's wild ride, is a can-do scholar of Hollywood moviemaking; he has built a reputation for efficient melodramas on modest budgets. (For all its locations and effects and the mandatory cast of thousands, ID4 reportedly cost a thrifty $71 million.) Emmerich first fell under the spell of science fiction as a boy watching U.S. films as well as local sci-fi TV shows in his native Germany. "For me," he says, "going on a science-fiction movie set is like visiting toyland. You see, my brother trashed all my toys when...
...Paris audience a brief film of workers leaving a factory, cinema officially began. (They exhibited the train film a few months later.) France also nurtured film's first artist, Georges Melies, a master conjurer who, in the 1900 One Man Band, plays six members of a band and the conductor--all in one shot. Melies made color films; the Germans, in 1905, made talking pictures. Italians developed the historical epic. The French persuaded Camille Saint-Saens to compose a score for a 1908 film and Sarah Bernhardt to bless the infant medium with her stage-star quality...
...musical score itself, courtesy of Peter Ilyich Tchaikovsky, could be at fault. During the prologue, the orchestra remains just a little bit off beat, but enough to make one sit up and take notice. Fortunately conductor Jonathan McPhee soon shepherds his fellow musicians into a warm, rolling succession of tunes you'll be sure to recognize from the Walt Disney cartoon. (Hint--if you go to a matinee showing, expect to hear at least four little future prima donnas around you singing along with the "Once Upon A Dream" segment.) The score is simply so relaxing and lucid that...