It’s a good time to be a Sofia Coppola fan. Alongside last fall’s release of one of her finest films, Priscilla, we got an expansive book detailing her career. Now we have two new updates related to other peaks of the director’s career.
First up, a New Yorker profile has revealed that a documentary on the making of her 2006 feature Marie Antoinette is in the works. Sofia Coppola’s mother Eleanor Coppola shot behind-the-scenes footage from the production, as she did for her husband Francis Ford Coppola’s films, most notably resulting in the documentary feature Hearts of Darkness: A Filmmaker’s Apocalypse. For Marie Antoinette, she captured around 80 hours, and both mother and daughter are now in the editing process. Here’s hoping it arrives by the film’s 20th anniversary.
For something that will arrive a bit sooner, a deluxe double vinyl LP of the Lost in Translation...
First up, a New Yorker profile has revealed that a documentary on the making of her 2006 feature Marie Antoinette is in the works. Sofia Coppola’s mother Eleanor Coppola shot behind-the-scenes footage from the production, as she did for her husband Francis Ford Coppola’s films, most notably resulting in the documentary feature Hearts of Darkness: A Filmmaker’s Apocalypse. For Marie Antoinette, she captured around 80 hours, and both mother and daughter are now in the editing process. Here’s hoping it arrives by the film’s 20th anniversary.
For something that will arrive a bit sooner, a deluxe double vinyl LP of the Lost in Translation...
- 2/19/2024
- by Jordan Raup
- The Film Stage
Dark Harvest: "In a cursed town, the annual harvest becomes a brutal battle for survival. On Halloween 1963, Sawtooth Jack, a terrifying legend, rises from the cornfields, threatening the town's children. Groups of boys unite to defeat the murderous scarecrow before midnight. Richie, a rebellious outcast, joins the run, motivated by his brother's previous victory. As the hunt progresses, Richie makes a shocking discovery and faces a pivotal choice to break the relentless cycle."
Directed By: David Slade Screenplay By: Michael Gilio Based on the Novel by: Norman Partridge Produced By: Matt Tolmach, p.g.a., David Manpearl, p.g.a. Executive Producers: Pamela Hirsch, Michael Gilio Music By: Brian Reitzell Cast: Casey Likes, E’myri Crutchfield, Dustin Ceithamer, Elizabeth Reaser with Jeremy Davies
Available On Digital October 13th
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Killher: "Mattie and her three besties--Eddie, Jess, and Rae--head into the woods for a weekend to plan Mattie's upcoming wedding and bachelorette party.
Directed By: David Slade Screenplay By: Michael Gilio Based on the Novel by: Norman Partridge Produced By: Matt Tolmach, p.g.a., David Manpearl, p.g.a. Executive Producers: Pamela Hirsch, Michael Gilio Music By: Brian Reitzell Cast: Casey Likes, E’myri Crutchfield, Dustin Ceithamer, Elizabeth Reaser with Jeremy Davies
Available On Digital October 13th
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Killher: "Mattie and her three besties--Eddie, Jess, and Rae--head into the woods for a weekend to plan Mattie's upcoming wedding and bachelorette party.
- 9/13/2023
- by Jonathan James
- DailyDead
A new urban legend comes to life in the new trailer for Dark Harvest. The trailer starts with the ominous, almost Grimm fairy tale-esque narration that says, “It’s Halloween. You know what that means. Old Sawtooth Jack is gonna rise from the cornfields. It’s gotta be stopped. Kill or be killed.” David Slade returns to a grittier tone after the Hard Candy and 30 Days of Night director took on one of the chapters in the Twilight franchise, helming The Twilight Saga: Eclipse. The director also returns to features after Slade tried his hand at television with Breaking Bad and Black Mirror. He also once set to make a series, Red Bird Lane, with Crispin Glover and Susan Sarandon until Max (HBO Max at the time) opted not to continue with it.
Slade has now adapted Norman Partridge’s Halloween-themed novel (you can pick up a copy of...
Slade has now adapted Norman Partridge’s Halloween-themed novel (you can pick up a copy of...
- 9/13/2023
- by EJ Tangonan
- JoBlo.com
Our latest roundup of recommended reads related to film and pop culture is full of wonderfully outsized personalities like Nicolas Cage, Michael Cimino, and Dennis Hopper; brilliant filmmakers like Sofia Coppola and Sarah Polley; and entertaining figures both real and fictional (James Bond).
Let’s start with Cage, who has more than earned a lengthy career overview.
Age of Cage: Four Decades of Hollywood Through One Singular Career by Keith Phipps (Henry Holt & Co.)
In a recent Rolling Stone interview, Nicolas Cage brought up Keith Phipps’ Age of Cage, commenting that the author “said some pretty articulate, intelligent things about the transformations the filmmaking industry has gone through in the 40 years” Cage has been working. It is very Nicolas Cage for the actor to not only be aware of Phipps’ stupendous book, but to bring it up himself, unsolicited, in an interview. Indeed, Age of Cage is as astute, entertaining,...
Let’s start with Cage, who has more than earned a lengthy career overview.
Age of Cage: Four Decades of Hollywood Through One Singular Career by Keith Phipps (Henry Holt & Co.)
In a recent Rolling Stone interview, Nicolas Cage brought up Keith Phipps’ Age of Cage, commenting that the author “said some pretty articulate, intelligent things about the transformations the filmmaking industry has gone through in the 40 years” Cage has been working. It is very Nicolas Cage for the actor to not only be aware of Phipps’ stupendous book, but to bring it up himself, unsolicited, in an interview. Indeed, Age of Cage is as astute, entertaining,...
- 5/4/2022
- by Christopher Schobert
- The Film Stage
Elevated horror is all the rage these days. The genre goes through phases, to put it mildly. There’s always a new flavor for what audiences want to be scared by, whether it was slasher films, torture porn, J horror, or whatnot. Currently, the renaissance is in classy independent fright flicks. Some are absolutely tremendous and downright award worth. Others, while solid indie offerings, don’t quite live up to the hype. The latest effort on the scene, riding high on phenomenal reviews back in January at the Sundance Film Festival, is Relic. Does this one live up to the hype? Well, not quite, but that doesn’t mean that it isn’t still very effective. Heading to On Demand services this week, it’s horror that undoubtedly also has something to say. The movie is a horror effort, of course, though less overtly concerned with scares than you might initially expect.
- 7/7/2020
- by Joey Magidson
- Hollywoodnews.com
The horror, in Japanese Australian first-timer Natalie Erika James’ “Relic” manifests in many ways. There are frightening dreams that are both portents of things to come and deeply buried memories of traumas past. There is plaster infested with creeping black mold and a scrabbling noise in the brickwork. There are bruises that blossom like rot across breastbones and strips of skin that shear away from flesh the texture of beef jerky beneath. But in many ways the movie’s simplest conceit is its most chilling and gives rise to its most impressively scarifying filmmaking: A house can be a direct metaphor for the mind of its inhabitant. So when that inhabitant is slowly losing herself to dementia, the house begins to collapse in on itself, a labyrinth of dead ends, foreshortened impossible geometries and doorways that turn into solid walls behind your back. If growing up is often portrayed as...
- 2/6/2020
- by Jessica Kiang
- Variety Film + TV
The Starz adaptation of Neil Gaiman’s award-winning novel American Gods is finally here, and having seen the first four episodes, I can tell you that, like Mad Sweeney in a bar fight, I am all in.
For those who haven’t read Gaiman’s novel, first published in 2001, it and the Starz adaptation featured are centered around an impending battle between two types of American gods – the “old gods” who crossed the seas from other countries with the immigrants who believed in them, and the “new gods” of technology, celebrity, drugs, and mass media that have gained in followers as belief in the old ways of life waned. The conflict is seen through the eyes of Shadow Moon (Ricky Whittle), a recently released convict who finds himself at loose ends after his old life falls apart, and becomes the personal assistant of the mysterious and charming Mr. Wednesday (Ian McShane...
For those who haven’t read Gaiman’s novel, first published in 2001, it and the Starz adaptation featured are centered around an impending battle between two types of American gods – the “old gods” who crossed the seas from other countries with the immigrants who believed in them, and the “new gods” of technology, celebrity, drugs, and mass media that have gained in followers as belief in the old ways of life waned. The conflict is seen through the eyes of Shadow Moon (Ricky Whittle), a recently released convict who finds himself at loose ends after his old life falls apart, and becomes the personal assistant of the mysterious and charming Mr. Wednesday (Ian McShane...
- 5/1/2017
- by Emily S. Whitten
- Comicmix.com
Bryan Fuller is full-on adapting Neil Gaiman’s book. Here’s what book readers and novices can expect from the Starz show.
American Gods is finally coming to television. Published in 2001, the book by Neil Gaiman is more than cinematic enough to warrant an adaptation, but it’s never made it to the screen until now.
And thank God for that.
Had it been made into a movie, the 700-odd page book would have had to be hacked up and reworked to fit into two hours. The atmosphere might have survived, but the story would have suffered. If it had been picked up by network television it might have had the time, but it would have lost a lot to the censors. Neil Gaiman writes children’s books, it’s true, but American Gods is not one of them.
https://medium.com/media/ba837789283019c509cd30d2a5cb4bc5/href
If the first four episodes released...
American Gods is finally coming to television. Published in 2001, the book by Neil Gaiman is more than cinematic enough to warrant an adaptation, but it’s never made it to the screen until now.
And thank God for that.
Had it been made into a movie, the 700-odd page book would have had to be hacked up and reworked to fit into two hours. The atmosphere might have survived, but the story would have suffered. If it had been picked up by network television it might have had the time, but it would have lost a lot to the censors. Neil Gaiman writes children’s books, it’s true, but American Gods is not one of them.
https://medium.com/media/ba837789283019c509cd30d2a5cb4bc5/href
If the first four episodes released...
- 4/26/2017
- by Liz Baessler
- FilmSchoolRejects.com
Let’s analyze the new world Bryan Fuller is bringing to our TV screens.
The promotional posters for Starz’s American Gods feature the real-life manifestations of Neil Gaiman’s original characters. From Shadow Moon to Mr. Nancy to Easter, each of the characters are framed in a world that reflects their (deceptive) personalities. However, while the backgrounds of each characters’ visual profile differs, the letters that are placed centre-frame do not.
These letters form “Omg,” being both a play on the show’s name as well as an apt reaction to its opening titles, which Starz recently released one month before American Gods’ premiere on April 30th.
https://medium.com/media/64ceed9a8f709edda1d499ae5263955d/href
Based on Neil Gaiman’s bestselling book, the TV show has been developed for television by Michael Green (the screenwriter of Logan) and Bryan Fuller (Hannibal). What these opening titles, created...
The promotional posters for Starz’s American Gods feature the real-life manifestations of Neil Gaiman’s original characters. From Shadow Moon to Mr. Nancy to Easter, each of the characters are framed in a world that reflects their (deceptive) personalities. However, while the backgrounds of each characters’ visual profile differs, the letters that are placed centre-frame do not.
These letters form “Omg,” being both a play on the show’s name as well as an apt reaction to its opening titles, which Starz recently released one month before American Gods’ premiere on April 30th.
https://medium.com/media/64ceed9a8f709edda1d499ae5263955d/href
Based on Neil Gaiman’s bestselling book, the TV show has been developed for television by Michael Green (the screenwriter of Logan) and Bryan Fuller (Hannibal). What these opening titles, created...
- 4/3/2017
- by Sinéad McCausland
- FilmSchoolRejects.com
A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
The film industry is still a long way from racial equity, but the last few years have seen strides to bring the young black experience to the screen in films like Dope, Dear White People and Morris From America. All of those films were important in distilling a specific existence, but they all offered black characters who self-identified as outcasts.
Justin Tipping’s debut, Kicks, follows another societal reject, Brandon, a socially awkward black 15-year old living in Richmond, California, but while Brandon feels uncomfortable in his own skin, the script doesn’t demonize the culture he’s come from. Brandon has grown up in a place that idolizes a legacy of gangsters, but there’s just as much an understanding that expressing masculinity is about actively posturing.
As a figure, Brandon naturally recedes into the background, easily overshadowed by his blooming hair, and paling in comparison to his best friends,...
Justin Tipping’s debut, Kicks, follows another societal reject, Brandon, a socially awkward black 15-year old living in Richmond, California, but while Brandon feels uncomfortable in his own skin, the script doesn’t demonize the culture he’s come from. Brandon has grown up in a place that idolizes a legacy of gangsters, but there’s just as much an understanding that expressing masculinity is about actively posturing.
As a figure, Brandon naturally recedes into the background, easily overshadowed by his blooming hair, and paling in comparison to his best friends,...
- 9/14/2016
- by Michael Snydel
- The Film Stage
Justin Tipping’s upcoming indie “Kicks” is one we’ll be eagerly anticipating this fall. Already boasting stellar cinematography and an intriguing plot, the film is adding a dynamic soundtrack to its list of selling points. Read More: The 25 Best Movie Soundtracks Of The 21st Century So Far “Kicks” follows 15-year-old Brandon, played by Jahking Guillory, who […]
The post ‘Kicks’ Soundtrack Features Wu-Tang Clan, RJD2, Charles Bradley, Plus Score By Brian Reitzell, And More appeared first on The Playlist.
The post ‘Kicks’ Soundtrack Features Wu-Tang Clan, RJD2, Charles Bradley, Plus Score By Brian Reitzell, And More appeared first on The Playlist.
- 8/26/2016
- by Hildi Gabel
- The Playlist
Gaspar Noé’s mass, passionate following doesn’t exist by accident. The filmmaker’s four features, from last year’s “Love” to perhaps his most popular film “Enter the Void,” have stunned with their visual beauty and their unique style of filmmaking. Where many filmmakers’ attentions may center on those two elements, Noé also places focus on another tool for immersing the audience: music.
Read More: Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth
In a collaboration between Cinefamily and Red Bull Music Academy, composer Brian Reitzell sat down with Gaspar Noé for a conversation about not only the music in his films, but also his opinion on some of the great music moments and talents of all time. From his tendency to license songs instead of hiring a composer to the massive inspiration of “2001: A Space Odyssey,” Noé touched on...
Read More: Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth
In a collaboration between Cinefamily and Red Bull Music Academy, composer Brian Reitzell sat down with Gaspar Noé for a conversation about not only the music in his films, but also his opinion on some of the great music moments and talents of all time. From his tendency to license songs instead of hiring a composer to the massive inspiration of “2001: A Space Odyssey,” Noé touched on...
- 7/13/2016
- by Kyle Kizu
- Indiewire
Siouxsie Sioux ended an eight-year songwriting hiatus Saturday night when she contributed a new track titled "Love Crime" to the series finale of Hannibal. The Siouxsie and the Banshees singer's haunting, strings-laden track was spearheaded by the serial killer show's music supervisor Brian Reitzell, who spoke to Entertainment Weekly (via Pitchfork) about how he coaxed Sioux to record the track despite the singer stating she hadn't written a song or entered the studio in nearly a decade.
Reitzell, who previously worked with Sioux on the 2006 film Marie Antoinette, discovered that...
Reitzell, who previously worked with Sioux on the 2006 film Marie Antoinette, discovered that...
- 8/31/2015
- Rollingstone.com
Hannibal, Season 3, Episode 13, “The Wrath of the Lamb”
Written by Bryan Fuller & Steve Lightfoot & Nick Antosca
Directed by Michael Rymer
Aired Saturdays at 10pm (Et) on NBC
With “The Wrath of the Lamb”, Hannibal wraps up its run, at least for now. While all involved have been qualifying the episode as merely the series finale on NBC, the show has yet to be picked up anywhere else and several key figures have moved on to new projects. Creator Bryan Fuller has mentioned the possibility of the team reuniting for a film at some point down the line, but for the foreseeable future, this is the series finale of Hannibal, and given its bloody, spectacular climax, that feels appropriate.
I have been an ardent fan of the series since it premiered, following it closely and reviewing it both here during this most recent season and via the in-depth Hannibal podcast I cohost with Sean Colletti,...
Written by Bryan Fuller & Steve Lightfoot & Nick Antosca
Directed by Michael Rymer
Aired Saturdays at 10pm (Et) on NBC
With “The Wrath of the Lamb”, Hannibal wraps up its run, at least for now. While all involved have been qualifying the episode as merely the series finale on NBC, the show has yet to be picked up anywhere else and several key figures have moved on to new projects. Creator Bryan Fuller has mentioned the possibility of the team reuniting for a film at some point down the line, but for the foreseeable future, this is the series finale of Hannibal, and given its bloody, spectacular climax, that feels appropriate.
I have been an ardent fan of the series since it premiered, following it closely and reviewing it both here during this most recent season and via the in-depth Hannibal podcast I cohost with Sean Colletti,...
- 8/31/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 12, “The Number of the Beast is 666…”
Written by Jeff Vlaming & Angela Lamanna and Bryan Fuller & Steve Lightfoot
Directed by Guillermo Navarro
Airs Saturdays at 10pm (Et) on NBC
Frederick Chilton has had a rough go of it in his time on Hannibal. He makes himself an easy target—the man has learned nothing, it would seem, from his disastrous experiences with serial killers over the years—but when faced with the enormity of the Dragon, Chilton is so unabashedly human, so relatable and terrified one can’t help but feel for him. Raúl Esparza has been a delight in the role throughout his tenure on the series, often giving a comedic lift to otherwise very dour episodes and arcs, but he’s particularly impressive here. Chilton’s terrifying capture by the Dragon makes up the center of the episode, but Esparza gets much more to play than fear.
Written by Jeff Vlaming & Angela Lamanna and Bryan Fuller & Steve Lightfoot
Directed by Guillermo Navarro
Airs Saturdays at 10pm (Et) on NBC
Frederick Chilton has had a rough go of it in his time on Hannibal. He makes himself an easy target—the man has learned nothing, it would seem, from his disastrous experiences with serial killers over the years—but when faced with the enormity of the Dragon, Chilton is so unabashedly human, so relatable and terrified one can’t help but feel for him. Raúl Esparza has been a delight in the role throughout his tenure on the series, often giving a comedic lift to otherwise very dour episodes and arcs, but he’s particularly impressive here. Chilton’s terrifying capture by the Dragon makes up the center of the episode, but Esparza gets much more to play than fear.
- 8/27/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.12, “The Number of the Beast is 666…”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “The Number of the Beast is 666…” here.
Classical piece featured:
Piano Quartet No. 1 in G minor, K. 478, Allegro by Wolfgang Amadeus Mozart (1785): Hannibal receives fanmail
Mozart’s first composition for piano quartet, this piece is lovely and dark, fitting to accompany a gift from Dolarhyde to Hannibal. However, this scene’s placement in the episode makes it a bit of an odd choice. While Reitzell makes...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “The Number of the Beast is 666…” here.
Classical piece featured:
Piano Quartet No. 1 in G minor, K. 478, Allegro by Wolfgang Amadeus Mozart (1785): Hannibal receives fanmail
Mozart’s first composition for piano quartet, this piece is lovely and dark, fitting to accompany a gift from Dolarhyde to Hannibal. However, this scene’s placement in the episode makes it a bit of an odd choice. While Reitzell makes...
- 8/27/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.11, “…And the Beast From the Sea”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “…And the Beast From the Sea” here.
Classical piece featured:
La fille aux cheveux de lin by Claude Debussy (1910): Reba relaxes with Francis
La fille aux cheveux de lin, or “The Girl with the Flaxen Hair”, is a lovely and simple short piece for solo piano composed by Debussy. It’s a fantastic selection for this scene for several reasons, not the least of which is...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “…And the Beast From the Sea” here.
Classical piece featured:
La fille aux cheveux de lin by Claude Debussy (1910): Reba relaxes with Francis
La fille aux cheveux de lin, or “The Girl with the Flaxen Hair”, is a lovely and simple short piece for solo piano composed by Debussy. It’s a fantastic selection for this scene for several reasons, not the least of which is...
- 8/16/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 11, “…And the Beast From the Sea”
Written by Steve Lightfoot and Bryan Fuller
Directed by Michael Rymer
Airs Saturdays at 10pm (Et) on NBC
One of the most exciting aspects of Hannibal is its willingness to vary significantly in structure and aesthetic when appropriate while always adhering to its unique, decidedly expressionist approach, giving writers and directors leeway to make their episodes visually and narratively distinct, while maintaining the show’s central, unifying core. Episodes this season have been sweepingly cinematic (“Antipasto”), atmospheric and psychological (“Secondo”), triumphantly cathartic (“Contorno”), and visceral and foreboding (“The Great Red Dragon”), while each remaining unquestionably Hannibal. After the lush and romantic “And the Woman Clothed in Sun”, this week’s entry slaps cold water on the audience’s face, replacing the tender, empathetic Dolarhyde of the tiger scene with a cold, remorseless predator. “…And the Beast From the Sea” is the...
Written by Steve Lightfoot and Bryan Fuller
Directed by Michael Rymer
Airs Saturdays at 10pm (Et) on NBC
One of the most exciting aspects of Hannibal is its willingness to vary significantly in structure and aesthetic when appropriate while always adhering to its unique, decidedly expressionist approach, giving writers and directors leeway to make their episodes visually and narratively distinct, while maintaining the show’s central, unifying core. Episodes this season have been sweepingly cinematic (“Antipasto”), atmospheric and psychological (“Secondo”), triumphantly cathartic (“Contorno”), and visceral and foreboding (“The Great Red Dragon”), while each remaining unquestionably Hannibal. After the lush and romantic “And the Woman Clothed in Sun”, this week’s entry slaps cold water on the audience’s face, replacing the tender, empathetic Dolarhyde of the tiger scene with a cold, remorseless predator. “…And the Beast From the Sea” is the...
- 8/16/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.10, “And the Woman Clothed in Sun”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “And the Woman Clothed in Sun” here.
Classical piece featured:
Arabesque No. 1, Andantino con moto by Claude Debussy (1891): Reba makes martinis
This gorgeous, early Impressionist piece is a beautiful accompaniment to the continuation of Francis and Reba’s date. It was selected as a specific reference to Harris’ Red Dragon; in the book, Reba remarks on Dolarhyde’s affinity for Debussy’s Deux arabesques and the more romantic Arabesque no.
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “And the Woman Clothed in Sun” here.
Classical piece featured:
Arabesque No. 1, Andantino con moto by Claude Debussy (1891): Reba makes martinis
This gorgeous, early Impressionist piece is a beautiful accompaniment to the continuation of Francis and Reba’s date. It was selected as a specific reference to Harris’ Red Dragon; in the book, Reba remarks on Dolarhyde’s affinity for Debussy’s Deux arabesques and the more romantic Arabesque no.
- 8/13/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 10, “And the Woman Clothed in Sun”
Written by Don Mancini and Bryan Fuller
Directed by Guillermo Navarro
Airs Saturdays at 10pm (Et) on NBC
Through the first half of season three, many fans of Thomas Harris’ Red Dragon eagerly anticipated of the arrival of Frances Dolarhyde and Reba McClane. After “And the Woman Clothed in Sun”, it’s easy to see why. Richard Armitage made a big impression as Dolarhyde in his first episode, “The Great Red Dragon”, as did Rutina Wesley as Reba in “And the Woman Clothed with the Sun…”, but this episode brings them together powerfully, showing the beauty both are capable of and the strength of the connection they share, a connection with the potential to drown out the call of the Dragon. The series of paintings by William Blake which give the episodes of this arc their titles depicts a seven-headed, ten-horned...
Written by Don Mancini and Bryan Fuller
Directed by Guillermo Navarro
Airs Saturdays at 10pm (Et) on NBC
Through the first half of season three, many fans of Thomas Harris’ Red Dragon eagerly anticipated of the arrival of Frances Dolarhyde and Reba McClane. After “And the Woman Clothed in Sun”, it’s easy to see why. Richard Armitage made a big impression as Dolarhyde in his first episode, “The Great Red Dragon”, as did Rutina Wesley as Reba in “And the Woman Clothed with the Sun…”, but this episode brings them together powerfully, showing the beauty both are capable of and the strength of the connection they share, a connection with the potential to drown out the call of the Dragon. The series of paintings by William Blake which give the episodes of this arc their titles depicts a seven-headed, ten-horned...
- 8/9/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.09, “And the Woman Clothed with the Sun…”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “And the Woman Clothed with the Sun…” here.
Classical piece featured:
24 Preludes, Op. 28, no. 2 in A minor, Lento by Frédéric Chopin (1839): Hannibal prepares Abigail for the Red Dinner
Yet another classical piece to previously be featured on the series (this brings the total up to four), this prelude by Chopin is lovely and dark, a natural fit with the scene. The somber feel of the...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “And the Woman Clothed with the Sun…” here.
Classical piece featured:
24 Preludes, Op. 28, no. 2 in A minor, Lento by Frédéric Chopin (1839): Hannibal prepares Abigail for the Red Dinner
Yet another classical piece to previously be featured on the series (this brings the total up to four), this prelude by Chopin is lovely and dark, a natural fit with the scene. The somber feel of the...
- 8/2/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 9, “And the Woman Clothed with the Sun…”
Written by Jeff Vlaming & Helen Shang and Bryan Fuller & Steve Lightfoot
Directed by John Dahl
Airs Saturdays at 10pm (Et) on NBC
Despite spending plenty of time with Will and Hannibal, “And the Woman Clothed with the Sun…” focuses on the women of Hannibal, fleshing out Molly and post-“Digestivo” Alana, resurrecting Abigail and Freddie, and introducing Reba McClane. Will’s clearly shaken by his re-entry into the world of profiling and with his psyche in such a fragile state—the image of Will already seeing himself falling to pieces is foreboding, to say the least—it’s a good thing he has Molly in his life, to ground him and give him distance from his work. As in last week’s episode, Hugh Dancy and Nina Arianda’s chemistry is fantastic here and seeing Will laugh and relax a bit is wonderful.
Written by Jeff Vlaming & Helen Shang and Bryan Fuller & Steve Lightfoot
Directed by John Dahl
Airs Saturdays at 10pm (Et) on NBC
Despite spending plenty of time with Will and Hannibal, “And the Woman Clothed with the Sun…” focuses on the women of Hannibal, fleshing out Molly and post-“Digestivo” Alana, resurrecting Abigail and Freddie, and introducing Reba McClane. Will’s clearly shaken by his re-entry into the world of profiling and with his psyche in such a fragile state—the image of Will already seeing himself falling to pieces is foreboding, to say the least—it’s a good thing he has Molly in his life, to ground him and give him distance from his work. As in last week’s episode, Hugh Dancy and Nina Arianda’s chemistry is fantastic here and seeing Will laugh and relax a bit is wonderful.
- 8/2/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 8, “The Great Red Dragon”
Written by Nick Antosca and Steve Lightfoot & Bryan Fuller
Directed by Neil Marshall
Airs Saturdays at 10pm (Et) on NBC
The first half of Hannibal season three has drawn criticism from some (though not this critic) for its artistic, avant-garde approach to exploring the psychology and relationship between Hannibal Lecter and Will Graham. With “The Great Red Dragon”, the series opens a new chapter, returning to its stylistic roots and introducing a new key figure: Francis Dolarhyde. Fans of Thomas Harris’ work have been eagerly anticipating Dolarhyde’s debut and the start of the show’s Red Dragon arc/adaptation, and after this episode, it’s easy to see why. Being unfamiliar with Hannibal’s source material, this critic can’t speak to the faithfulness of showrunner Bryan Fuller and co.’s take on the character, but the glimpses shown here are certainly compelling.
Written by Nick Antosca and Steve Lightfoot & Bryan Fuller
Directed by Neil Marshall
Airs Saturdays at 10pm (Et) on NBC
The first half of Hannibal season three has drawn criticism from some (though not this critic) for its artistic, avant-garde approach to exploring the psychology and relationship between Hannibal Lecter and Will Graham. With “The Great Red Dragon”, the series opens a new chapter, returning to its stylistic roots and introducing a new key figure: Francis Dolarhyde. Fans of Thomas Harris’ work have been eagerly anticipating Dolarhyde’s debut and the start of the show’s Red Dragon arc/adaptation, and after this episode, it’s easy to see why. Being unfamiliar with Hannibal’s source material, this critic can’t speak to the faithfulness of showrunner Bryan Fuller and co.’s take on the character, but the glimpses shown here are certainly compelling.
- 7/26/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.08, “The Great Red Dragon”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “The Great Red Dragon” here.
Classical pieces featured:
Alleluia from Exsultate, jubilate, K. 165, by Wolfgang Amadeus Mozart (1773): Hannibal experiences his arrest from his mind palace
This famous movement from Mozart’s solo motet, beautifully performed here by boy soprano Aiden Glenn (the piece was originally composed for a castrato), is a fitting choice to represent how Hannibal elects to experience his arrest and incarceration at the Baltimore State Hospital for the Criminally Insane.
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “The Great Red Dragon” here.
Classical pieces featured:
Alleluia from Exsultate, jubilate, K. 165, by Wolfgang Amadeus Mozart (1773): Hannibal experiences his arrest from his mind palace
This famous movement from Mozart’s solo motet, beautifully performed here by boy soprano Aiden Glenn (the piece was originally composed for a castrato), is a fitting choice to represent how Hannibal elects to experience his arrest and incarceration at the Baltimore State Hospital for the Criminally Insane.
- 7/26/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.07, “Digestivo”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Digestivo” here.
Piano Concerto No. 21 in C major, K. 467, II. Andante by Wolfgang Amadeus Mozart (1785): Mason entertains Hannibal and Will
(15:06)
This lovely piece is a fitting choice to accompany Mason’s dinner—he’s always trying to ape Hannibal and Hannibal is a fan of Mozart—but it’s made all the better by being a reference to The Spy Who Loved Me. In this Bond film the villain, Stromberg,...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Digestivo” here.
Piano Concerto No. 21 in C major, K. 467, II. Andante by Wolfgang Amadeus Mozart (1785): Mason entertains Hannibal and Will
(15:06)
This lovely piece is a fitting choice to accompany Mason’s dinner—he’s always trying to ape Hannibal and Hannibal is a fan of Mozart—but it’s made all the better by being a reference to The Spy Who Loved Me. In this Bond film the villain, Stromberg,...
- 7/22/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 7, “Digestivo”
Written by Steve Lightfoot and Bryan Fuller
Directed by Adam Kane
Airs Saturdays at 10pm (Et) on NBC
From its very first episode, Hannibal has had to contend with a certain element of dramatic irony. One needn’t be a cinephile or fan of Thomas Harris’ novels to know of Hannibal Lecter, Hannibal the Cannibal, and for the name to immediately conjure the image of Anthony Hopkins locked in a cell, or wearing a straightjacket and strapped to a gurney. It feels safe to say that everyone watching the series Hannibal knows that at some point, barring a complete break from the source material, Hannibal Lecter will end up in police custody. With “Digestivo”, Bryan Fuller and company finally bring this moment to pass, catching up to the lesser informed segment of the audience—those only peripherally familiar with Red Dragon or Silence of the Lambs—and doing so in style.
Written by Steve Lightfoot and Bryan Fuller
Directed by Adam Kane
Airs Saturdays at 10pm (Et) on NBC
From its very first episode, Hannibal has had to contend with a certain element of dramatic irony. One needn’t be a cinephile or fan of Thomas Harris’ novels to know of Hannibal Lecter, Hannibal the Cannibal, and for the name to immediately conjure the image of Anthony Hopkins locked in a cell, or wearing a straightjacket and strapped to a gurney. It feels safe to say that everyone watching the series Hannibal knows that at some point, barring a complete break from the source material, Hannibal Lecter will end up in police custody. With “Digestivo”, Bryan Fuller and company finally bring this moment to pass, catching up to the lesser informed segment of the audience—those only peripherally familiar with Red Dragon or Silence of the Lambs—and doing so in style.
- 7/19/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.06, “Dolce”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Dolce” here.
Notturno in E-flat major, Op. 148 by Franz Schubert (1827): Cordell presents Mason with culinary options
This lovely piece for piano trio was likely chosen by Reitzell purely for its beauty, but it is also appropriate as a piece that feels inevitably repetitious, with the theme circling back on itself and the larger form of the piece doing so as well. This ties in nicely with the episode’s themes of...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Dolce” here.
Notturno in E-flat major, Op. 148 by Franz Schubert (1827): Cordell presents Mason with culinary options
This lovely piece for piano trio was likely chosen by Reitzell purely for its beauty, but it is also appropriate as a piece that feels inevitably repetitious, with the theme circling back on itself and the larger form of the piece doing so as well. This ties in nicely with the episode’s themes of...
- 7/17/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 6, “Dolce”
Written by Don Mancini and Bryan Fuller & Steve Lightfoot
Directed by Vincenzo Natali
Airs Thursdays at 10pm (Et) on NBC
Welcome back, Vincenzo. We missed you! A tonal successor to “Secondo”, this week’s episode picks up with Hannibal staggering through the streets of Florence, in bad shape after the spectacular beat-down Jack delivered in “Contorno”. From the first shot, a drop of blood falling into a red liquid, later suspended and dispersed into water, director Vincenzo Natali’s hand is clear. The dream imagery of the season’s first three episodes, also directed by Natali, is back, combining with composer Brian Reitzell’s shimmering score to give the episode a wonderfully impressionistic quality. “Dolce” marks the culmination of Hannibal and Will’s relationship, giving them closure before they move on to something new. The episode attempts to capture the fleeting beauty of their deep understanding...
Written by Don Mancini and Bryan Fuller & Steve Lightfoot
Directed by Vincenzo Natali
Airs Thursdays at 10pm (Et) on NBC
Welcome back, Vincenzo. We missed you! A tonal successor to “Secondo”, this week’s episode picks up with Hannibal staggering through the streets of Florence, in bad shape after the spectacular beat-down Jack delivered in “Contorno”. From the first shot, a drop of blood falling into a red liquid, later suspended and dispersed into water, director Vincenzo Natali’s hand is clear. The dream imagery of the season’s first three episodes, also directed by Natali, is back, combining with composer Brian Reitzell’s shimmering score to give the episode a wonderfully impressionistic quality. “Dolce” marks the culmination of Hannibal and Will’s relationship, giving them closure before they move on to something new. The episode attempts to capture the fleeting beauty of their deep understanding...
- 7/17/2015
- by Kate Kulzick
- SoundOnSight
This week's Hannibal breaks season 3's mould by favouring action over dialogue...
This review contains spoilers.
3.5 Contorno
We often observe that it doesn’t matter what people says about themselves, it’s what they do that reveals who they really are. But while generally true, it is the work of profilers, and Will Graham specifically, to look at the actions of (usually) unspeaking killers and give them that voice: this is my design and my why.
This is how a show that is theoretically about serial killing became—as a commenter pointed out a couple weeks ago—less violent than Game Of Thrones, and more conversational. Because if you want to get to the why, there’s only so far that the what of the crime can get you (CSI: Fill-in-the-Blank to the contrary). And when you are delving into a why as labyrinthine as Hannibal’s, it’s going...
This review contains spoilers.
3.5 Contorno
We often observe that it doesn’t matter what people says about themselves, it’s what they do that reveals who they really are. But while generally true, it is the work of profilers, and Will Graham specifically, to look at the actions of (usually) unspeaking killers and give them that voice: this is my design and my why.
This is how a show that is theoretically about serial killing became—as a commenter pointed out a couple weeks ago—less violent than Game Of Thrones, and more conversational. Because if you want to get to the why, there’s only so far that the what of the crime can get you (CSI: Fill-in-the-Blank to the contrary). And when you are delving into a why as labyrinthine as Hannibal’s, it’s going...
- 7/9/2015
- by louisamellor
- Den of Geek
Kate’s Classical Corner: Hannibal, Ep. 3.05, “Contorno”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Contorno” here.
Piano Sonata in B-flat major, K. 333, III. Allegretto grazioso by Wolfgang Amadeus Mozart (1784): Hannibal plays the piano
Both of the classical pieces featured in this episode were presumably chosen as direct references to other works, the first of which is Thomas Harris’ Hannibal, in which Hannibal plays this Mozart Sonata on a harpsichord. The particular performance of the piece used is lovely and fluid, though this makes the shots...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Contorno” here.
Piano Sonata in B-flat major, K. 333, III. Allegretto grazioso by Wolfgang Amadeus Mozart (1784): Hannibal plays the piano
Both of the classical pieces featured in this episode were presumably chosen as direct references to other works, the first of which is Thomas Harris’ Hannibal, in which Hannibal plays this Mozart Sonata on a harpsichord. The particular performance of the piece used is lovely and fluid, though this makes the shots...
- 7/4/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 4, “Aperitivo”
Written by Nick Antosca and Bryan Fuller & Steve Lightfoot
Directed by Marc Jobst
Airs Thursdays at 10pm (Et) on NBC
Four episodes into season three, the reverberations of the season two finale are still being felt. Given the monumental nature of “Mizumono”, that feels appropriate, and the first trio of episodes of season three have dealt primarily with the Red Dinner’s emotional and psychological fallout for Hannibal and Will. These episodes have been full of dream imagery and projections, exploring the psychology of these characters and meditating upon their decisions and pasts through recurring visual motifs and stylish directorial flourishes more than dialogue or plot. With “Aperitivo”, that changes, giving audiences a much more concrete look at the fallout of season two for the characters left in Baltimore.
“Aperitivo” takes viewers through Hannibal’s victims one by one, starting with Chilton and Mason before moving on to Will,...
Written by Nick Antosca and Bryan Fuller & Steve Lightfoot
Directed by Marc Jobst
Airs Thursdays at 10pm (Et) on NBC
Four episodes into season three, the reverberations of the season two finale are still being felt. Given the monumental nature of “Mizumono”, that feels appropriate, and the first trio of episodes of season three have dealt primarily with the Red Dinner’s emotional and psychological fallout for Hannibal and Will. These episodes have been full of dream imagery and projections, exploring the psychology of these characters and meditating upon their decisions and pasts through recurring visual motifs and stylish directorial flourishes more than dialogue or plot. With “Aperitivo”, that changes, giving audiences a much more concrete look at the fallout of season two for the characters left in Baltimore.
“Aperitivo” takes viewers through Hannibal’s victims one by one, starting with Chilton and Mason before moving on to Will,...
- 6/27/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.03, “Secondo”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Secondo” here.
Classical pieces featured:
Piano Concerto No. 2 in B-flat major, Op. 19, II. Adagio by Ludwig van Beethoven (1795): Dinner with Sogliato
While this is a lovely piece, it is a fairly straightforward choice for Hannibal’s dinner with Sogliato. The only thematic ties I note in its selection are that it was the first piano concerto composed by Beethoven (though it was published after Piano Concerto No. 1 in C major, Op.
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Secondo” here.
Classical pieces featured:
Piano Concerto No. 2 in B-flat major, Op. 19, II. Adagio by Ludwig van Beethoven (1795): Dinner with Sogliato
While this is a lovely piece, it is a fairly straightforward choice for Hannibal’s dinner with Sogliato. The only thematic ties I note in its selection are that it was the first piano concerto composed by Beethoven (though it was published after Piano Concerto No. 1 in C major, Op.
- 6/19/2015
- by Kate Kulzick
- SoundOnSight
It’s another light week of TV on the podcast, but a batch of spring finales give us plenty to discuss. First we look at the week’s comedies, including the release of Orange is the New Black s3 and the finales of Silicon Valley and Veep. Next up are the genre offerings, including finales of iZombie and Game of Thrones, and plenty of Sense8 talk. Then afterwards, Kate has an in-depth chat with Hannibal composer Brian Reitzell about his approach to scoring season three.
Our Week in Comedy (8:31-35:52): Orange is the New Black s3, UnREAL, Silicon Valley finale, Veep finale
Our Week in Genre (36:52-1:13:26): iZombie finale, Jonathan Strange and Mr. Norrell, Sense8, Orphan Black, Penny Dreadful, Game of Thrones finale
Interview with Brian Reitzell (1:16:35-end)
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Our Week in Comedy (8:31-35:52): Orange is the New Black s3, UnREAL, Silicon Valley finale, Veep finale
Our Week in Genre (36:52-1:13:26): iZombie finale, Jonathan Strange and Mr. Norrell, Sense8, Orphan Black, Penny Dreadful, Game of Thrones finale
Interview with Brian Reitzell (1:16:35-end)
Download the chaptered m4a version in a new window
Download the unchaptered...
- 6/16/2015
- by Kate Kulzick
- SoundOnSight
Hannibal, Season 3, Episode 2, “Primavera”
Written by Jeff Vlaming and Bryan Fuller
Directed by Vincenzo Natali
Airs Thursdays at 10pm (Et) on NBC
A far cry from the sweeping romance of “Antipasto”, “Primavera” returns viewers to Will Graham and the horror of the Red Dinner, which he relives as he lies in his hospital bed. Beginning the episode with a full five to six minutes of footage directly from “Mizumono” is an odd choice by writers Jeff Vlaming and Bryan Fuller. Though the score is dramatically different—more on this in Kate’s Classical Corner—the scene that opens “Primavera” matches the season two finale almost exactly, with only a handful of shots edited differently to emphasize Will and Abigail’s experiences over Hannibal’s. On first watch, this is frustrating; we want to see what comes next, not spend an eighth of the episode on a scene that’s already emblazoned in our memory.
Written by Jeff Vlaming and Bryan Fuller
Directed by Vincenzo Natali
Airs Thursdays at 10pm (Et) on NBC
A far cry from the sweeping romance of “Antipasto”, “Primavera” returns viewers to Will Graham and the horror of the Red Dinner, which he relives as he lies in his hospital bed. Beginning the episode with a full five to six minutes of footage directly from “Mizumono” is an odd choice by writers Jeff Vlaming and Bryan Fuller. Though the score is dramatically different—more on this in Kate’s Classical Corner—the scene that opens “Primavera” matches the season two finale almost exactly, with only a handful of shots edited differently to emphasize Will and Abigail’s experiences over Hannibal’s. On first watch, this is frustrating; we want to see what comes next, not spend an eighth of the episode on a scene that’s already emblazoned in our memory.
- 6/12/2015
- by Kate Kulzick
- SoundOnSight
Kate’s Classical Corner: Hannibal, Ep. 3.02, “Primavera”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Primavera” here.
Pie Jesu from Requiem in D minor, Op. 48 by Gabriel Fauré (1900): Will gets surgery/Abigail is autopsied
The main classical piece featured in “Primavera” is the Pie Jesu from Fauré’s Requiem. A requiem is the music for a Catholic mass for the dead, of which there are many famous classical examples, the Fauré being one of the most well known. Its most famous aria is the Pie Jesu,...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Primavera” here.
Pie Jesu from Requiem in D minor, Op. 48 by Gabriel Fauré (1900): Will gets surgery/Abigail is autopsied
The main classical piece featured in “Primavera” is the Pie Jesu from Fauré’s Requiem. A requiem is the music for a Catholic mass for the dead, of which there are many famous classical examples, the Fauré being one of the most well known. Its most famous aria is the Pie Jesu,...
- 6/12/2015
- by Kate Kulzick
- SoundOnSight
Hannibal is back with a glorious new episode. Here's Laura's review of Antipasto...
This review contains spoilers.
3.1 Antipasto
Just like every other devotee to Bryan Fuller’s Hannibal, I’ve spent the 12+ months since its last episode trying to convince everyone I know to watch the show. The reasons for this are many.
First, frankly, it is, quite simply, an amazing piece of cinema. Yes, I know it’s on television, but trust me, it might as well be on the silver screen at a film festival for the level of auteuritsm on display. If you aren’t watching, you’re missing out.
Second, many people don’t watch because they are convinced that the show is nothing but an excuse to bring more violence to television. And I am not going to pretend that the show isn’t violent. The season finale last year was nothing less than...
This review contains spoilers.
3.1 Antipasto
Just like every other devotee to Bryan Fuller’s Hannibal, I’ve spent the 12+ months since its last episode trying to convince everyone I know to watch the show. The reasons for this are many.
First, frankly, it is, quite simply, an amazing piece of cinema. Yes, I know it’s on television, but trust me, it might as well be on the silver screen at a film festival for the level of auteuritsm on display. If you aren’t watching, you’re missing out.
Second, many people don’t watch because they are convinced that the show is nothing but an excuse to bring more violence to television. And I am not going to pretend that the show isn’t violent. The season finale last year was nothing less than...
- 6/10/2015
- by rleane
- Den of Geek
Kate’s Classical Corner: Hannibal, Ep. 3.01, “Antipasto”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. I’ll be reviewing Hannibal season three for Sound on Sight and along with each review, I’ll be writing up a few notes (or this week—thanks to the sheer volume of music—many, many notes) on the episode’s scoring and soundtrack choices. This is not intended to be a definitive reading of Reitzell or Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my thoughts on “Antipasto” here.
Prélude à l’après-midi d’un faune by Claude Debussy (1894): Gideon and Hannibal eat dinner, Hannibal tends his snails
Based on L’après-midi d’un...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. I’ll be reviewing Hannibal season three for Sound on Sight and along with each review, I’ll be writing up a few notes (or this week—thanks to the sheer volume of music—many, many notes) on the episode’s scoring and soundtrack choices. This is not intended to be a definitive reading of Reitzell or Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my thoughts on “Antipasto” here.
Prélude à l’après-midi d’un faune by Claude Debussy (1894): Gideon and Hannibal eat dinner, Hannibal tends his snails
Based on L’après-midi d’un...
- 6/5/2015
- by Kate Kulzick
- SoundOnSight
Hannibal returns tonight. The best looking show on television enters its third season, likely as stylish as ever. Accompanying it: Mondo’s 2Xlp Original Television Soundtrack, selected and curated by series composer Brian Reitzell. As you might expect, it’s bloody gorgeous. With art from Phantom City Creative, the Hannibal Original Television Soundtrack features an interview with…
The post Mondo’s Hannibal Soundtrack is Bloody Gorgeous appeared first on Shock Till You Drop.
The post Mondo’s Hannibal Soundtrack is Bloody Gorgeous appeared first on Shock Till You Drop.
- 6/4/2015
- by Samuel Zimmerman
- shocktillyoudrop.com
Occasionally I drop a teacup to shatter on the floor on purpose. I'm not satisfied when it doesn't gather itself up again. Some day, perhaps, the cup will come together. I just finished writing my review and recap of the first episode of this third season of "Hannibal", which I'll be posting immediately after it airs this Thursday, June 4 at 10 Pm Est, but until then I came across a piece at Wired discussing "Hannibal" composer Brian Reitzell. I think most of us that watch this show love Hannibal's use of the teacup metaphor. I don't know how most interpret it, but I best see it as Hannibal believing himself to be something of a god and/or an agent of chaos. In these terms he views those that come into his circle as a teacup, a collective whole of which he has shattered and won't be satisfied until they...
- 6/2/2015
- by Brad Brevet
- Rope of Silicon
For the last few years, I’ve taken it upon myself in my capacity as Sos co-founder and eternal DJ to gather up some of my favorite tracks of the year, along with excerpts of dialogue and scoring from some of my favorite films (and, this year, TV series!) of the year, and cram it into a mix that could fit onto a hypothetical CD-r. But since this has been the year of the mixtape (hello Guardians of the Galaxy, Mommy, and Boyhood), and since there’s been such an overwhelming bounty of great music to choose from, I opted for a “C120″ format – two “sides,” one hour each. Since non-film music is the one area of pop culture Sound on Sight will (hopefully) never devote a subsection to, it’s the one instance I allow myself every year to flex my geekery in this area.
Lots of really great...
Lots of really great...
- 12/22/2014
- by Simon Howell
- SoundOnSight
All week long, the Paley Center for Media has been hosting PaleyFest New York, its annual East Coast TV extravaganza celebrating a number of notable shows. Its penultimate night featured a panel celebrating an EW reader favorite: the beautiful, macabre psychological thriller Hannibal. The panel included showrunner Bryan Fuller, as well as cast members Hugh Dancy, Mads Mikkelsen, Laurence Fishburne, and Caroline Dhavernas. Amid plenty of jokes directed at both each other and the audience, the Hannibal panel spoke pretty openly about the show and what's in store for next season. Here's what we learned. Gender-bending was necessary. One of...
- 10/19/2014
- by Joshua Rivera
- EW - Inside TV
The score for NBC’s Hannibal might be the closest someone’s come on TV to soundtracking the experience of losing one’s marbles. That someone is Brian Reitzell, who’s composed and supervised soundtracks for Sofia Coppola, Rian Johnson, and Peter Berg. Reitzell released a solo album, Auto Music, earlier this summer and now has the original score for Hannibal’s first two seasons. Reitzell got on the phone with Vulture to discuss creating a “constant heightened state of reality,” preparing a Hannibal concert, and how bad commercials suck. [This conversation is spoiler-free.]Congratulations on the soundtrack album. Is that somewhat rare for TV scores?I've done two TV shows [Ed. note: Starz’s Boss is the other] and they both had CD and vinyl releases. I know there’s probably lots of compilations like Grey’s Anatomy pop songs or things of that nature, but I think Hannibal is a very different — sonically, it’s quite different. It’s...
- 9/11/2014
- by Zach Dionne
- Vulture
NBC’s Hannibal is probably my favorite TV show since Lynch’s Twin Peaks. The focus on characters is amazing and it’s quite possibly one of the most beautiful looking shows I’ve seen on TV. Another aspect that’s amazing is the score by composer Brian Reitzell (Watch Dogs). And coming tomorrow are two volumes that comprise the […]...
- 9/1/2014
- by JonathanBarkan
- bloody-disgusting.com
At the beginning of the month we got word that soundtracks (of two volumes each) are being released for "Hannibal" Seasons 1 and 2, but details on the latter were scant. Today that changes as we have the official Season 2 artwork and more!
From the Press Release:
Lakeshore Records will release two new volumes of music from the hit NBC television series Hannibal, composed by Brian Reitzell (Lost in Translation, "Boss").
The Hannibal Season Two Volumes 1 & 2 Original TV Soundtracks will be available digitally on September 2nd and on CD September 23, 2014. As with the two volumes of music from Season One, released digitally August 5th and arriving on CD September 2nd, each track on these two albums is a suite of music from an episode of the series.
“In this second season of Hannibal each episode is named after a Japanese food course,” said Reitzell. “It kind of gave me the opportunity to...
From the Press Release:
Lakeshore Records will release two new volumes of music from the hit NBC television series Hannibal, composed by Brian Reitzell (Lost in Translation, "Boss").
The Hannibal Season Two Volumes 1 & 2 Original TV Soundtracks will be available digitally on September 2nd and on CD September 23, 2014. As with the two volumes of music from Season One, released digitally August 5th and arriving on CD September 2nd, each track on these two albums is a suite of music from an episode of the series.
“In this second season of Hannibal each episode is named after a Japanese food course,” said Reitzell. “It kind of gave me the opportunity to...
- 8/20/2014
- by Debi Moore
- DreadCentral.com
Everyone has been concerned about finding out who'll end up playing Doctor Strange in Marvel's planned adaptation, that the following nugget from San Diego Comic Con seems to have gone unnoticed. During the “Behind the Music: Crime, Death and Resurrection” panel -- which also included Jeff Russo (Fargo), James Levine (American Horror Story), Daniel Licht (Dexter), Brian Reitzell (Hannibal), and Steve Jablonsky (Transformers franchise) -- Scott Derrickson's Sinister/Deliver us From Evil composer Chris Young stated that he looked forward to working with the director on his next project. Perhaps not aware of the level of secrecy Marvel like to maintain when it comes to their movies, he elaborated when pushed: “Am I gong to do Doctor Strange? Oh, I better had. All I know is, I spoke to [Scott Derrickson] and did a little pitch on the phone and he kind of laughed. He didn’t say, ‘and by the way,...
- 8/15/2014
- ComicBookMovie.com
It’s not quite time for the fall TV season, but a handful of new shows are premiering soon nonetheless and this, along with a number of excellent episodes from continuing favorites, gives us plenty to discuss on this week’s podcast. First we look at a full week in comedy, including a preview of IFC’s upcoming Garfunkel and Oates, the delightful return of Gravity Falls, and the inexplicable pilot of Partners. Then we talk a little genre and reality, including a preview of Starz’s much-anticipated Outlander, and we wrap up the week’s television with the dramas, including a preview of the Steven Soderbergh-helmed The Knick and the pilot of BBC Two and SundanceTV’s The Honourable Woman.
Afterward, in lieu of the DVD Shelf this week, we have part one of Kate’s CW3PR composer roundtables from Sdcc 2014. Kate, along with Tina Charles (TVGoodness.
Afterward, in lieu of the DVD Shelf this week, we have part one of Kate’s CW3PR composer roundtables from Sdcc 2014. Kate, along with Tina Charles (TVGoodness.
- 8/6/2014
- by Kate Kulzick
- SoundOnSight
Few current TV shows are as cinematic as NBC's "Hannibal," and that includes the stellar music that accompanies each episode. If you're a fan of the series who's looking to add to your CD collection, then read on for some very cool news!
From the Press Release:
Lakeshore Records will release four volumes of music from the hit NBC television series Hannibal, composed by Brian Reitzell (Lost in Translation, "Boss").
The Hannibal Season One Volumes 1 & 2 soundtrack will be available digitally on August 5th and on CD September 2nd. The Hannibal Season Two Volumes 1 & 2 Original TV Soundtracks will be available digitally on September 2nd and on CD September 23rd.
“Visually it’s so artfully done and quite fantastical so I see it like an opera staging; otherwise, I might be more disturbed,” said Reitzell of Hannibal. “Listening to the music alone is scarier than in the context of the show.”
One...
From the Press Release:
Lakeshore Records will release four volumes of music from the hit NBC television series Hannibal, composed by Brian Reitzell (Lost in Translation, "Boss").
The Hannibal Season One Volumes 1 & 2 soundtrack will be available digitally on August 5th and on CD September 2nd. The Hannibal Season Two Volumes 1 & 2 Original TV Soundtracks will be available digitally on September 2nd and on CD September 23rd.
“Visually it’s so artfully done and quite fantastical so I see it like an opera staging; otherwise, I might be more disturbed,” said Reitzell of Hannibal. “Listening to the music alone is scarier than in the context of the show.”
One...
- 8/1/2014
- by Debi Moore
- DreadCentral.com
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