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...with John McTiernan's new film, Medicine Man. From Connery's silly Steven Seagal-esque ponytail to the ridiculous Club Med-meets-Muzak soundtrack (available on Varese Sarabande CDs and cassettes), Medicine Man is startlingly dull and ludicrous to the point of self-parody...

Author: By Srikanth Reddy, | Title: A Pony-Tailed Connery in Medicine Man | 2/20/1992 | See Source »

...record industry lavishes on more popular and profitable items, but there are exceptions. Advertisements for the "Three Tenors" concert (with Luciano Pavarotti, Placido Domingo and Jose Carreras) appeared in such unlikely places as subway stations, illustrating the successful use of a formula that was first demonstrated by the soundtrack from Amadeus. It goes like this: In order to guarantee a popular success with a classical recording, bring together popular (and relatively well-known) music, big names and a good pretext, such as a movie or a memorable concert...

Author: NO WRITER ATTRIBUTED | Title: Pavarotti's Gamble | 2/13/1992 | See Source »

...Pavarotti, Kiri te Kanawa and Leo Nucci, with Sir Georg Solti at the helm), and the pretext is a double celebration: the 100th anniversary of the Chicago Symphony Orchestra and the 100th recording on CD of Solti with the CSO. But, unlike the "Three Tenors" concert or the Amadeus soundtrack, a new recording of Otello is the kind of project that must stand up to a close critical scrutiny. The field is already crowded with acclaimed readings, and a new comer can't rely on big names and hype to make a successful entry...

Author: NO WRITER ATTRIBUTED | Title: Pavarotti's Gamble | 2/13/1992 | See Source »

...Commitments--sponsored by the Harvard Irish Cultural Society. Dublin band goes Motown. Great soundtrack. Shoulda been sponsored by the Harvard Irish-African American Society. In Science Center...

Author: NO WRITER ATTRIBUTED | Title: At Harvard | 2/6/1992 | See Source »

...literary base. Film should have more confidence in itself; it should rely on other art forms. All these art forms are related. What I would like to do is regard cinema as a visual meeting with the audience. In a way it isn't. It relies too much on soundtrack, dialogue, story. Continuity of painting through and into cinema is important. You need an attitude of composition, color coding, symbols and metaphors. Cinema is going...

Author: NO WRITER ATTRIBUTED | Title: Adapting The Tempest | 12/5/1991 | See Source »

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