Score Composed and Performed by Konstantinos Lyrakis
Original Music by Cultural Bastards
Label Plaza Mayor Company Ltd
Un titre à la George Orwell et une histoire qui pourrait s’apparenter à son regard visionnaire. Changer le cours des choses, le cours de la vie en le modelant et le modulant a notre façon.
Ici les relations amoureuses, mystérieuses et qui deviennent un laboratoire d’apprentis sorciers en une aventure romantique et cruelle.
Les musiques de Konstantinos Lyrakis sont féroces et répétitives. Urbaines et névrosées justes ce qu’il faut. Il y a de l’énigme, du pratique et finalement au bout du sentiment. Le sentiment du regard perdu, le sentiment que tout est comédie. Les musiques collent au film dans cette partition dérisoire que pourrait être la vie si elle ne retenait pas dans l’infini petit et le grandiose.
Ca devient magique avec l’intervention déjantée des Culturals Bastards, c’est tout simplement un pan de vie qui s’étire et qui s’exprime. Prenons ces notes et images comme cela : un pan de vie a l’extrême, une autre aventure a vivre.
A family man struggling to hold it all together discovers a hidden parlor that offers a solution…. Sexbots.
Sex robots are becoming more and more of a “thing” these days, so naturally (for better or worse) we are going to see more and more movies involving the “forbidden tango” between man and machine.
In Princeton Holt’s: 2050, we get to see a glimpse of “the future” (which probably due to budget restraints loos remarkably like 2019). An in this new world, we see machines that have become identical in appearance to actual human beings from realistic flesh and hair, to even sweat….
THE MYSTERY OF THE DRAGON SEAL (Original Motion Picture Soundtrack)
Director Oleg Stepchenko
Cast; Jackie Chan, Arnold Schwarzenegger, Jason Flemyng…
Music composed by Aleksandra Magakyan
Song performed by Zhang Yunshan
Label Plaza Mayor Company Ltd
Nous découvrons un nouveau compositeur, ou plutôt compositrice de musique de film. Riche, varie, aérien et fantasmagorique… Il y a peu de mots pour décrire cet univers triomphant, plongeant, intérieur et qui se soulève magistralement vers du plus haut. La partition était compliquée. Créer pour deux monstres du cinéma : Jackie Chan et Arnold Schwarzenegger un comte musical complexe et décomplexé. Créer le chemin du fantastique dans une fresque qui se veut historique avec un mélange des genres loufoques.
Grand orchestre, coup d’archer et syncope juste. Un coup de maitre pour cette compositrice nommée Alekxandra Maghakyan. De sa Russie natale elle la grâce et l’excellence de ces mélomanes, de ces talents qui ont des heures de travail acharne pour maitriser leur art. Le film sorti en Chine, puis en Russie se promène de pays en pays et devrait conquérir la planète entière. La soundtrack est disponible sur toutes les plateformes digitales. C’est un pur moment talentueux et valeureux a écouter.
The English traveler Jonathan Green receives from Peter the Great an order to map the Russian Far East. Once again he sets out for a long journey full of incredible adventures that will eventually lead him to China. The cartographer will unexpectedly face o lot of breathtaking discoveries, encounter bizarre creatures, meet with Chinese Princesses, and confront deadly martial arts masters, and even the king of all dragons, the Dragon King. What could be more dangerous than meeting eye-toeye with Viy, except doing it again? What would be stronger this time, a staunch skepticism of the scientist of the old black magic that has seized power of Eastern lands?
Director note: This music from Alexandra Magakyan allows us to enhance the dramatic moments of movie story and it do it very naturally. Her compositions successfully combine modern sound that relevant to large modern action movie and authentic motifs that help convey the travel spirit of the main movie characters.
Composer note: «The Mystery Of Dragon Seal» is a movie with a wide geography a rich storylines which has been a great inspiration for me while writing music. It gave an opportunity to use many traditional and contemporary musical instruments and styles to mix them with large orchestra and choir to get the diversity of feelings and color.
Distribution Sergent Major Company Ltd – The Orchard
Les mouvements électriques se superposent aux mouvements de la vie tout court. Quand les bagnoles grincent, que les gyrophares s’emballent dans les rues de LA, quand tout s’enroule dans le circuit infernal des nocturnes policières. Il n’y a plus rien qui sépare les rigueurs de la nuit avec les rigueurs de la vie. C’est comme un mélange d’alcool et de drogues dures, qui détruit toutes les drogues douces que procurent un semblant de vie. Entre les nappes prophétiques et in sinueuses de Jeffery Alan Jones et les roulements des voitures sur les grands boulevards. Il n’y a que des positions de claviers, de bruissement de guitares, peu de mélodies mais le genre de vibration urbain. C’est une musique urbaine, une musique qui souffle sur l’angoisse du soir. Les images glissent comme un bolide et les lignes qui se pourraient mélodique se partagent entre le souffle et la souffrance. Plus qu’une partition c’est une transition sur la voie lactée que nous offre les compositions énigmatiques de Jeffery Alan Jones. Partons a la découverte de ce nouvel état de création. Hellen Page
I write to music. Always have. “Crown Vic” was no exception. When I was writing our two main characters prowling the dangerous streets of LA at night, I needed something to put me in the right frame of mind. Something moody, cool. Propulsive. Which is to say I knew exactly what I wanted this movie’s score to be from jump street. And to “Crown Vic’s” great benefit, Jeff was able to nail it. Which, believe me, was no small task, given my absolute lack of any kind of musical vocabulary. But Jeff was somehow able to decipher the rudimentary grunting’s and cave drawings that were my wants for Crown’s music, and gave the movie exactly the sound it needed, and the sound I’d always hoped for. The music is at the same time cool and emotive, it supports and enhances the story, and most importantly, just feels like driving around at 2AM in LA. So jump in your car one of these nights. Put this music on. And just drives.
Writer/Director, “Crown Vic”
“Crown Vic” follows one explosive night in the life of a seasoned LAPD veteran as he takes a young cop out on patrol and shows him the brutal reality of life behind the wheel of a Crown Vic. I wanted to create the city’s heartbeat through the music. A rhythmic pulse, always intriguing, in its somehow twisted dark beauty. The cityscape drones, it weeps and is intensely frightening. My aim was to support the narrative and expose the subtext without being noticed. The score lives in the shadows and underlies the complex emotions in both the characters and the city at night. Beautifully dark and sprawling; yet suffocating in it’s own despair.
Jeffery Alan Jones Composer
Special Thanks: Alec Baldwin, Joel Souza, Anjul Nigam, Gregg Bello, Jacques Dejean, Plaza Mayor Company, Screen Media, Bugaboo, and Mary Lou Jones.
Netflix is testing discounted plans in India for some long-term subscribers. The plans are only available to selected new subscribers and not existing ones.
While signing up, new users may be offered a 20% discount on a three-month subscription, a 30% discount on a six-month term and a 50% discount on a 12-month contract. These will be available only in India. Netflix currently offers mobile, basic, standard and premium plans in India.
“We believe that our members may value the flexibility that comes from being able to pay for a few months at once,” a Netflix spokesperson said. “This is a test and we will only introduce it more broadly if people find it useful.”
Netflix chief executive Reed Hastings was in India last week, where he revealed that the streamer is investing $400 million in Indian content in 2019 and 2020. Since its launch in April, Indian animated kids show “Mighty Little Bheem” has been watched by 27 million households worldwide, including in Latin America, Australia, Hastings said.
India has a fiercely competitive OTT market with more than 30 popular services. Dominant players include Disney’s Hotstar, Amazon Prime Video, Zee5, Alt Balaji, MX Player, Eros Now, Viacom18’s Voot and Sony Liv. A recent PwC report projects the Indian OTT market value to reach $1.6 billion by 2023.
Amazon Prime Video has greenlit an untitled, unscripted dance show to be executive produced and featuring power couple Priyanka Chopra Jonas and Nick Jonas. The show is inspired by the Indian pre-wedding tradition known as ‘sangeet’ where the families of the betrothed participate in an evening of song and dance. Casting for the series is currently underway and filming will take place in 2020. Amazon Studios, Dan Cutforth and Jane Lipsitz’s Alfred Street Industries, Chopra Jonas’ Purple Pebble Pictures, and Jonas’ Image 32 are producing.
FALCO (Original Television Soundtrack) Director Ernesto Contreras, Julian de Tavira Music composed by Andres Sanchez Maher & Gus Reyes Label Plaza Mayor Company Ltd
Winner of Best Prime Time Show International Emmy Award
Les histoires s’enchainent comme la vie peut passer en images et en couleurs. C’est du roman, c’est du déchirement, c’est de la réconciliation… enfin la vie quoi. Falco est un de ces personnages qui aura perdu une partie et sa vie et aura gagné l’autre partie. Mais gagner après avoir tant perdu, cela n’est pas si évident.
Musique angoissante, musique automnale, musique des fonds de couloir sombre pour exploser au grand jour.
Belle explosion puisque la Tv série Falco vient de gagner les Emmy Awards dans la catégorie des Tv séries.
C’est une très belle récompense, une reconnaissance internationale et un encouragement pour toute l’équipe de production : des réalisateurs aux acteurs et aux acteurs de la musique : Andres Sanchez Maher et son complice Gus Reyes.
Signature d’un très beau score, aux vraies sonorités, aux images tapies dans les notes de velours ou notes assassines. Un score digne d’une grande série. On aime, on aimera.
It’s 1994 in Mexico City, and Alejandro Falco is a good policeman with a promising future and a young family. However, his perfect world is shattered when he is shot by a mysterious attacker in the line of duty. With a bullet lodged in his head, Falco falls into a coma – for the next 24 years. He awakes in 2018 with no memory of what happened, and to a world he doesn’t recognize – including the internet and mobile phones. But far more devastating is the news that his wife has remarried, and the baby daughter he once knew is now a grown woman.
Scooter Braun, painted as the villain of the piece by Taylor Swift in her ongoing complaints about the ownership of her masters, has spoken out.
Braun, manager of the likes of Justin Bieber, J Balvin and Ariana Grande, has just posted a lengthy open letter on social media, directly addressed to Swift.
In it, he reveals that, following the release of Swift’s own open letter last week concerning her performance on the American Music Awards, “there have been numerous death threats” directed at Braun’s family.
Swift claimed in that letter that Big Machine and Braun – whose Ithaca Holdings acquired the music company for $300m earlier this year – were blocking her from performing her old hits at the AMAs on Sunday (November 24) due to a legal re-recording restriction.
That led to confusion in some quarters, as Braun and Big Machine only own the recorded master of these songs, rather than the publishing rights. However, some have observed that, should the AMAs subsequently distribute the live recording of Swift’s performance on digital platforms, it could be argued that a new master had been made commercially available.
According to Big Machine, this situation has since been resolved, with Swift clear to perform her back catalog on the show.
In his new letter, Braun says: “As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.”
He also calls on Swift and her team “to come together [with Braun] and try to find a resolution”.
You can read his letter in full below.
Since your public statement last week there have been numerous death threats directed at my family. This morning I spoke out publicly for the first time saying I wouldn’t participate in a social media war. However I came home tonight to find my wife had received a phone call threatening the safety of our children as well as other threats seen above. I won’t go in to the details of this past week. I have been at a loss. Thinking of my wife and children, my team and their families, I have gone through a range of emotions on how to deal with this. I write this now only after a deep breathe and much reflection. I am certain there is no situation ever worth jeopardizing anyone’s safety.
I assume this was not your intention but it is important that you understand that your words carry a tremendous amount of weight and that your message can be interpreted by some in different ways. While disappointed that you have remained silent after being notified by your attorney 4 days ago of these ongoing threats, I’m still hopeful we can fix this.
We are living in a time of pointless violence and as a husband and father I am concerned.
This is a world filled with toxic division where people express their opinions over social media instead of having conversations in person. I want no part in that. To be frank I was shocked and disheartened to hear that my presence in the Big Machine deal caused you so much pain as the handful of times we have actually met I have always remembered them to be pleasant and respectful. Knowing what I know now all I have wanted to do is rectify the situation. I’m open to ALL possibilities. My attempts and calls to have an open discussion with you over the last 6 months have all been rejected. While some on your team and many of our mutual friends have tried to get you to the table, all have had no luck. It almost feels as if you have no interest in ever resolving the conflict. At this point with safety becoming a concern I have no choice other than to publicly ask for us to come together and try to find a resolution. I have tried repeatedly through your representatives to achieve a solution but unfortunately here we are. This game of telephone isn’t working.
While I am frustrated with your accusations and respectfully disagree with many of your statements, it is important that I am clear – no artist should ever feel cornered or bullied. I have spent my entire career in service of creatives and artists, never the other way around.
As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.
Moving forward I would like to find a resolution. I will make myself available whenever works for you. Many have told me that a meeting will never happen as this is not about truth or resolution but instead a narrative for you. I am hopeful that is not the case. I’m right here, ready to speak directly and respectfully. But if you would prefer to make large public statements while refusing to work towards resolving things amicably then I just pray that nobody gets seriously hurt in the process. I continue to wish you the best and hope we can resolve this.
PARADISE WAR: The Story of Bruno Manser (Original Motion Picture Soundtrack) Director Niklaus Hilber Music composed by Gabriel Yared Label Plaza Mayor Company Ltd Distribution Sergent Major Company Ltd – The Orchard
La fluidité des grands maitres. Le geste précis et toujours un petit air qui revient a la source, a la mémoire. Gabriel Yared est un de ces maitre de musique. Les compositeurs français ont mis en mémoire et en action quantité de films, qui sans les musiques, ritournelles, ne seraient pas ce qu’ils sont. Oui les compositeurs français sont passes des experts dans cette mémoire musicale. Oui Gabriel Yared est le parfait exemple d’une mélodie, d’un mouvement et d’une suite d’images. On pourrait croire a des orchestres Philharmonique, Symphonique, lourd, difficile a gérer ; Il n’en est rien. La simplicité, rien que la simplicité mais la précision et l’horizon devant soi. Le score de Paradise War, va s’inscrire dans les records de Gabriel Yared et certainement dans les records des sorties en salles de ce film riche et percutant. Image sublimes, histoires vraies et la conscience qui s’éveillent aujourd’hui avant demain et les lendemains. Il y a une partition, il y a un vertige d’image… d’un grand film a une grande musique, une alchimie s’est créée. Un vent d’espoir et un temp de douleur qui vont se transformer en une formidable aventure mélodique. Ecouter et regarder ensuite ou avant ou après… Mais n’oubliez pas vous avez un grand score d’un des plus grands compositeurs français : Gabriel Yared. Hellen Page
1984: Searching for an experience that goes deeper than the superficiality of modern civilization, Bruno Manser travels into the jungles of Borneo and finds it with the nomadic Penan tribe. It is an encounter that changes his life forever. When the existence of the Penan is threatened by relentless deforestation, Manser takes up the fight against logging with a courage and determination that makes him one of the most renowned and credible environmentalists of his times. Eventually, it costs in him everything. Based on a true story.
Gabriel Yared Note
When Niklaus sent me a short 15-minute teaser of his film, I was immediately struck by the beauty and majesty of the images, and inspired by the authenticity of the tribes and the lead actor. I dived into this project straight away, putting all my energy and consciousness into searching for the right music. I thought it was important for me not just to “collaborate”, but to bring all my skills to help defend the film, the tribes, and the forests. Niklaus made so much space for the music, and allowed me the freedom to express the spirit of the forests, and the emotions of the Penan through my composition.
Although we have almost lost these tribes and the forests, we have gained a truly remarkable film, which I hope will make audiences around the world understand and wake up to these important environmental issues. I feel honored to have been a part of this journey, and to have had the wonderful opportunity to write the most beautiful themes I could.