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Tag: Movie (1-10 of 133)

Andre Benjamin on Jimi Hendrix, OutKast, and what's next

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The André Benjamin drought is over. After a long break from the spotlight, the man also known as Andre 3000 not only launched a headline-making reunion tour with his formative rap duo this ­summer but also stars in the excellent Hendrix biopic Jimi: All Is by My Side, written and directed by Oscar-winning 12 Years a Slave screenwriter John Ridley. Thoughtful and forthcoming, Benjamin, 39, spoke via phone from his home in Atlanta about the evolution of Jimi and what takes to be true to the parts he plays both on stage and off.

EW: You’ve been trying to play Jimi Hendrix for a while. What drew you into this script?
André Benjamin: The take that John Ridley devised. I’ve been kind of close to or attached to a few different Hendrix projects over the years. 15 years ago, I started hearing the Hendrix calls from different directors and producers. I’ve read about four or five different scripts—great scripts, at that—but for some reason or another they just didn’t get made. When John Ridley came with this take, years later I’m like, “Wow, I’m pretty old at this point, but if you still feel like it can work…” And John was really, really into it. The first thing he said was, “I’m going to make this movie, and I want you to be in it.” I was just going off of John’s energy. READ FULL STORY

Watch the trailer for the lost Doors film 'Feast of Friends'

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It’s become a cliche of pop music that at a certain point in their career, a popular enough act will have to make a movie about themselves in order to give their audience an “unguarded” (but in reality heavily mediated) look at their life offstage. But when the Doors decided to self-produce their own film in 1968, it was still a fairly novel idea. That film, entitled Feast of Friends, was never officially released, although clips of it have been used in documentaries and music videos, and bootleg copies have been passed from Doors fan to Doors fan for years. In fact it came close to being a quite literally lost project—rumor has it that those bootlegs were all duplicates of a print that Jim Morrison left in a paper bag at a friend’s house just days before he died.

Now, Feast of Friends is finally getting a proper release by Eagle Rock Entertainment on Nov. 11. The DVD/Blu-Ray edition includes not only a complete cut of the film but a companion compilation of outtakes called Feast of Friends: Encore, plus a 1968 Doors doc produced for British television called The Doors Are Open, as well as a 1967 performance of filmed for a Canadian TV pop-music variety show where they drop a full 10-minute version of “The End” on a group of stunned Torontonians.

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Nick Cave talks to EW about his new movie '20,000 Days on Earth' and why he doesn't like meeting his heroes

Over the course of a nearly four-decade music career, Nick Cave has been one of music’s most reliably inscrutable rock stars. The forthcoming documentary 20,000 Days on Earth (in theaters September 19) does a bit to shed some light on Cave’s dark spirit, but it does it with a twist.

Although many of the day-in-the-life conversations aren’t scripted (or very loosely so), and everybody in Cave’s life—from bandmate Warren Ellis to former Bad Seed Blixa Bargeld to Kylie Minogue—plays him- or herself, a lot of the film is built on artifice. The office where Cave undergoes a therapy session, the “archive” where he goes to review old photographs—they’re all built sets and faked scenarios, and constructed to try to wring some truth out of something inherently fake.

20,000 Days on Earth splits its time between those scenes and in-the-studio footage from the sessions that led to Push the Sky Away, Cave’s 2013 record with the Bad Seeds. It’s a remarkable movie, existing in the unique dimension between fiction and reality straddled by filmmaking greats like Werner Herzog and Errol Morris: READ FULL STORY

Seth MacFarlane's galloping theme song for 'A Million Ways to Die in the West': Hear the Alan Jackson tune -- EXCLUSIVE

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Western ballads are no stranger to death and bloodshed. Heck, Marty Robbins probably has more people getting shot in his songs than N.W.A. But Seth MacFarlane’s newly released theme song from his mordantly morbid comedy A Million Ways to Die in the West is probably the first ballad dedicated specifically to the act of getting shuffled off the dusty trail of life.

MacFarlane recorded the ditty with country-music star Alan Jackson, and it’s a quick-pickin’ old-timey tune, filled with Elmer Bernstein swells, fiddle sawing, and baritone lines like “six bullets in the gut/or just a paper cut” and “they’ll blast you into shards/for playing good at cards.” Listen to “A Million Ways to Die” below and let us know what you think. After all, you can never go wrong combining westerns and music. READ FULL STORY

Listen to Grouplove's 'The Fault In Our Stars' soundtrack song 'Let Me In' - EXCLUSIVE

The upcoming The Fault In Our Stars is a love story based on a hugely beloved YA novel, so of course it comes armed with a sweet soundtrack full of decorated alt-pop wonders and feel-good tearjerkers.

The Fault In Our Stars — Music From The Motion Picture arrives on May 19 and features brand new tracks from Ed Sheeran, Charli XCX, M83, Lykke Li, Jake Bugg, Ray LaMontagne, and a host of others. (Check out the entire track list at the bottom.)

One of those new songs is Grouplove’s “Let Me In,” a dreamy, synthy sing-along that gets its exclusive premiere below.

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Want to buy the Oscar-nominated music from the 'Her' soundtrack? You can't

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When the chatter first began about Spike Jonze’s warm, lovely film Her, one of the talking points was the music: Arcade Fire member William Butler and fellow Canadian Owen Pallett (known to the pop world as Final Fantasy) would be writing the score, Arcade Fire would perform it, and additional musical input would come from Yeah Yeah Yeahs frontwoman Karen O (who had previously collaborated with Jonze on the music for Where The Wild Things Are).

The results lived up to the anticipation; the music in Her perfectly complements the internal life of lead character Theodore Twombly (played by Joaquin Phoenix). The Academy of Motion Picture Arts and Sciences agreed, and when the Oscar nominations were handed down last week, both the score (by Butler and Pallett) and the original song “The Moon Song” (performed by Karen O and written by her and Jonze) were included in the race for prizes. 

But despite the accolades, the music from Her is unavailable for purchase, either in physical or digital form. READ FULL STORY

The Oscar music snubs: no love for Taylor Swift, Lana Del Rey, 'Llewyn Davis' or Coldplay

Check to make sure the rivers haven’t turned to blood and all first-borns aren’t suddenly afflicted with pox, because the impossible has happened: Taylor Swift was not nominated for an award.

The Academy of Motion Picture Arts and Sciences’ passing on Swift’s “Sweeter Than Fiction” (from the film One Chance) is easily one of the most high-profile snubs from this morning’s Oscar nominations announcement. The song was nominated for a Golden Globe and seemed like an obvious pick for an invite on Oscar night, if only because people love giving Taylor Swift gold trophies (and also because it would have brought some much-needed youth to the Oscar party).

Instead, the contenders in the Best Original Song category are U2’s “Ordinary Love” (from Mandela: Long Walk To Freedom), Karen O’s “The Moon Song” (Her), Pharrell Williams’ “Happy” (Despicable Me 2), Bruce Broughton and Dennis Spiegel’s “Alone But Not Alone” (from the deeply obscure Christian film of the same name), and the song “Let It Go” from the Disney blockbuster Frozen, which is performed by Idina Menzel and written by Kristen Anderson-Lopez and Robert Lopez. (It’s the writers, not the performers, who take home the gold.)

The race seems to be down to the Golden Globe winner and sentimental favorite “Ordinary Love” (which would be as much an award for the late Nelson Mandela as it would be for U2) and the sales juggernaut “Let It Go” (which has propelled the Frozen soundtrack to the top of the mainstream album chart and elevated it to gold status). “Happy” and “The Moon Song” are much longer shots, but both are both cool choices crafted by deeply respected members of the music world.

Of course, that leaves “Alone But Not Alone,” one of the most inexplicable Oscar nominations in the history of the awards. The film barely exists, and the song itself is a dreary dirge of a hymn that sounds like it should be played in the midst of a sleepy Sunday morning mass. It has virtually no chance of winning, and its legacy will be as a bizarre curiosity in a category notorious for them.

It would be a less shocking inclusion if the Oscar nomination shortlist (75 songs in all) didn’t contain so many markedly stronger options. READ FULL STORY

On the 30th anniversary of the release of 'Scarface,' hear Giorgio Moroder's new remix of 'Tony's Theme' - EXCLUSIVE

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Dance music legend Giorgio Moroder has spent the better part of 2013 looking back. He explored his own biography with the help of some French robots on Daft Punk’s “Giorgio By Moroder,” from the Grammy-nominated Random Access Memories, and remixed Donna Summer’s “Love To Love You Baby” (a song he initially built in 1975) for an album commemorating the late disco diva.

Now he’s remixed himself once again, this time taking the digital scalpel to “Tony’s Theme,” from one of Moroder’s finest film scores: Scarface, which hit theaters exactly 30 years ago today.

In a conversation today with EW, Moroder remembere getting the call from director Brian De Palma about the project and creating the now-legendary score for Al Pacino’s Tony Montana, one of cinema’s most iconic gangsters. “I wanted something a little bit mysterious, because this character is very complex and kind of mysterious coming from Cuba,” Moroder recalls.

“I wanted it to have a little bit of a classical feel in the sequence of the chords. The idea came from a German half-classical singer called Klaus Nomi. He had one song where he did a very high voice, a staccato, a little bit like Laurie Anderson on ‘O Superman.’ Those two songs kind of inspired me, so I came up with the chords and then brought in the big choir and strings and all the rest.”

The new remix of “Tony’s Theme” is more of a complete reinvention — Moroder did not use any of the original tracks to construct the new song. That points to the tune’s versatility. “It works quite well with a big orchestra, and it works quite well with just a piano,” he said. “There’s one section [in the movie] when Tony kills someone, and there I played kind of soft; I think it’s just a bass line. So it works well both big and small.”

Check out the exclusive premiere of Moroder’s new remix of “Tony’s Theme” below.  READ FULL STORY

Ed Sheeran on working with Peter Jackson on 'The Hobbit' song 'I See Fire': 'I'm a massive fan of Tolkien and of Peter' - EXCLUSIVE

Yesterday, The Hobbit director Peter Jackson pulled back the curtain on “I See Fire,” the Ed Sheeran song that will play over the closing credits of The Hobbit: The Desolation of Smaug. As Jackson explained on his Facebook page, the process began when the two had lunch during Sheeran’s tour through New Zealand, and continued after Jackson brought Sheeran in to view the movie and work on the song.

Sheeran has worked with a number of high-profile musicians—including Taylor Swift and Lupe Fiasco—but “I See Fire” was his first collaboration with a filmmaker. “He was fantastic,” Sheeran tells EW. “At every point where I’d be adding something, I’d play him the song afterwards. I was there for three days, and at the end of every day he would come and listen to the song and give me notes.”

“He knows what he wants,” he continued, “but he doesn’t pretend to be musical in any way. He let me go on with it, but he also knows his movie, so he would tell me something needs to be less energetic, or more relaxed, or whatever. He knows the colors and templates of what the song should be rather than how the melody should go.”

Sheeran’s also a longtime devotee of the work of J.R.R. Tolkien—The Hobbit was the first book his dad read to him as a child, and Sheeran’s grandfather owns a first edition of the novel. READ FULL STORY

'The Amazing Spider-Man 2' composer Hans Zimmer recruits Pharrell Williams, Johnny Marr, others for movie music supergroup

Hans Zimmer has never had any trouble crafting movie scores on his own. He has worked on over 150 movies, won himself an Oscar (for The Lion King, in 1995), and gave birth to the BWOOOM that just about every other movie composer has stolen.

But everybody needs a little company, and for the score to the forthcoming The Amazing Spider-Man 2, Zimmer went ahead and got himself a super group. According to Sony Pictures, Zimmer and director Marc Webb have recruited Pharrell Williams, former Smiths guitarist Johnny Marr, Incubus’ Michael Einziger, and former Eurythmic/current blues revivalist Dave Stewart.

“Marc and I were talking about Spider-Man, and as the word got out, so many of our friends and musicians started calling us up, wanting to be a part of it, because they love Spider-Man,” Zimmer said in a statement. “That was the thing that united all of us ­ the great love for Spider-Man.  With all of these hugely talented people wanting to join us, it was Marc who said, ‘Why not start a band?’ Marc and I have had a great start jamming with everybody, and we still have a few surprises up our sleeve.”

Nobody is a stranger in this collective: Zimmer and Williams previously worked together on the music for Despicable Me and also at the 2011 Academy Awards ceremony, and Marr, Einziger, and Stewart have all lent their guitar playing talents to Zimmer scores in the past (on Inception, The Lone Ranger, and Madagascar 3, respectively).

The Amazing Spider-Man 2, which again stars Andrew Garfield as the web-slinger and welcomes Jamie Foxx as the villain Electro, will be in theaters on May 2, 2014.

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