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...Atom Egoyan wouldn't have it any other...

Author: By William Gienapp, CRIMSON STAFF WRITER | Title: Independent Means | 2/18/2000 | See Source »

Fiercely independent and critically adored, Egoyan is a filmmaker from Canada best known for films such as The Sweet Hereafter and Felicia's Journey. He has largely avoided the mainstream in recent years by continuing to make only the subtle, deeply unsettling films that have characterized his nearly 20 years behind the camera. Much of Egoyan's early work, which found a home on the film festival circuit, was obscure, edgy, microscopically budgeted and seen only by the most obsessive American art-house addicts...

Author: By William Gienapp, CRIMSON STAFF WRITER | Title: Independent Means | 2/18/2000 | See Source »

...from a film library of 6,600 titles that generates an annual $35 million in cash flow, but it scored its first cult hit with 1998's dark fantasy Pi. Coming are more genre films, including Roman Polanski's The Ninth Gate, as well as works from directors Atom Egoyan, Steven Soderbergh and Jim Jarmusch...

Author: /time Magazine | Title: Cinema: The Studio: They Believed In the Magic | 8/16/1999 | See Source »

...Casals recording albums with jazz singers or Texas fiddlers or Argentine tango musicians as Ma has done. Or either cellist initiating, as Ma has, an ambitious series of six hour-long films inspired by Bach's six Suites for Unaccompanied Cello, involving collaborators as diverse as movie director Atom Egoyan, modern-dance choreographer Mark Morris, ice dancers Jayne Torvill and Christopher Dean and landscape architect Julie Moir Messervy. The films, to be shown on PBS starting in early April (following last month's release on CD of Ma's new recordings of the suites on Sony Classical), are only fitfully...

Author: /time Magazine | Title: Music: Yo-Yo Ma's Suite Life? | 3/23/1998 | See Source »

...impetus for the new recordings and the series of films, collectively titled Yo-Yo Ma: Inspired by Bach, came in the early '90s, when Ma got to musing about the extramusical implications of Bach's work. With the exception of the collaboration with Egoyan on the fourth suite--a fractured but more or less conventional narrative with an enigmatic power similar to the Bach--each film is split in two, documenting the collaborative process as well as its result. The pairing with choreographer Morris (for the third suite) is particularly inspired. Others are more frustrating, with Ma either not quite...

Author: /time Magazine | Title: Music: Yo-Yo Ma's Suite Life? | 3/23/1998 | See Source »

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