The Green Mile
Frank Darabont (writer-director-producer) in 1999, returned to the director’s chair for the first time in five years. Darabont, who not only directed Shawshank Redemption, but adapted it from a Stephen King story, followed the exact same path with The Green Mile. The film was released by Warner Bros. Pictures, and Produced by Castle Rock Entertainment, Darkwoods Productions, and Warner Bros. David Valdes is the producer, David Tattersall, B.S.C. is the director of photography, Terence Marsh is the production designer, and Richard Francis-Bruce is the film editor.
Thomas Newman is the composer of The Green Mile, who has had the distinct honor of collecting his first two Academy Award nominations for Best Dramatic Score in the same year. He competed against himself as the only double nominee in 1994 for both The Shawshank Redemption and Gillian Armstrong’s Little Women. He received a third Oscar nod for his work on Diane Keaton’s “Unstrung Heroes,” and also earned Grammy nominations for “The Shawshank Redemption” and “Unstrung Heroes.”
Born in Los Angeles, Newman is a member of one of Hollywood’s most esteemed musical families. His father, film composer Alfred Newman (All About Eve, The Diary of Anne Frank, The Hunchback of Notre Dame), won nine Academy Awards (out of 45 nominations). His uncles are renowned film-score artists Emil and Lionel Newman (Oscar-winner for Hello, Dolly!). His cousin, also a multi-Oscar nominee, is singer-songwriter Randy Newman (The Natural), and brother David is also a busy film composer (The War of the Roses).
Newman studied composition at USC with professor Frederick Lesemann and noted film composer David Raksin. He later completed his academic work at Yale University under the tutelage of Jacob Druckman, Bruce MacCombie and Robert Moore. Newman, who composed his first film score at age 29, counts among his most recent film credits American Beauty, Meet Joe Black, The Horse Whisperer, Oscar and Lucinda, Mad City, American Buffalo, Red Corner and Up Close and Personal.
The Green Mile is one of Stephen King’s best works, which all take place in prisons. The film's title refers to the pristine green floors of Cold Mountain Penitentiary, a Deep South, Depression-era prison. The film stars Tom Hanks as prison warder Paul Edgcomb, in charge of the death row (nicknamed “the green mile”) at a southern penitentiary i...
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...t Give You Anything But Love (written by Jimmy McHugh and Dorothy Fields, performed by Billie Holliday) (3:27)
 That’s The Deal (1:37)
 L’Homme Mauvais (2:21)
 An Offense to the Heart (1:08)
 Morphine & Cola (2:56)
 Night Journey (2:12)
 Danger of Hell (2;27)
 Done Tom Turkey (1:00)
 Did You Ever See A Dream Walking (written by Harry Reed and Mack Gordon, performed by Gene Austin) (2:52)
 Trapingus Parish (0:51)
 Boogeyman (3:26)
 Shine My Knob (0:54)
 Briar Ridge (0:42)
 Coffey on the Mile (5:12)
 Punishment (1:52)
 Charmaine (written by Lew Pollack and Erno Rapee, performed by Guy Lombardo and his Royal Canadians) (2:25)
 Now Long Gone (1:08)
 No Exceptions (0:57)
 Green Mile (3:38)
The music, which was composed and conducted by Thomas Newman also includes orchestrations by Thomas Pasatieri. Featured musical soloists include George Doering, Michael Fisher, Rick Cox, Sid Paige, Steve Kujala, Jon Clarke, George Budd, and Bill Bernstein.
In the book Our America: Life and Death on the South Side of Chicago, LeAlan Johns and Lloyd Newman, as two kids grow up in ghetto, document their life from 1993 to 1996 to show the rest of the America the reality of living in a poor black neighborhood. Through vast interviews, diaries and monologues, Johns and Newman provide a new perspective on the ongoing issues in the ignorant black community; they encourage the black residents to express their point of views on gang, drug, crime, and they also address their hope. Since this book is story with long time span and fragmental writing styles, it is impossible to finish the soundtrack for chapters in detail within eight songs. Therefore, if I am going to be the music composer of the movie based on this book, I would choose eight songs for the following eight themes.
The film soundtrack was an important element in creating the juxtaposed world that Taymor desired. Taymor selected Elliot Goldenfall, a veteran composer for the stage and screen whom she had known for twenty years, to head the scoring. Their long association served them well in this endeavor - the final film score was both stunning and effective in combining ancient and modern musical elements. Goldenfall manipulated four main musical styles to score the film (symphonic, jazz, hard rock, and aria), and each style represented particular emotions.
Finally, as the mentioned examples show us: composers becoming immersed with a filmmaker at an early stage of their careers can end up to be one of the most natural, harmonic and fruitful artistic relationships for both of them. Hopefully in future more composers can become a more active part in the storytelling as a co-author of the film, while remaining a versatile and original author of music, in other words a great composer.
The Shawshank Redemption was directed and written by Frank Darabont who adapted horror master Stephen King's 1982 novel Rita Hayworth and Shawshank Redemption. This films main characters consisted ofAndy Dufresne (Tim Robbins), Boyd Ellis Redding Red (Morgan Freeman), The Warden (Bill Gunton), Hadley (Clancy Brown) and Brooks played by James Whitmore.
He got offered to compose for the movie “Rainman,” by the director Barry Levinson. He did such an amazing job that his score was then nominated for an Academy Award in 1989. Later on he caught Walt Disney Animation Studios attention and was then asked to write a score for the upcoming new animation “The Lion King.” To write this score he wanted it to sound authentic so he traveled to Africa to use African choirs and drums for his score. The score was later nominated for a Golden Globe and a Grammy. Hans ended up winning Best Original Score for an Academy Award,a Golden Globe, and a Grammy for that movie. When we got offered to write the score for Pirates of the Caribbean, He was busy with other projects and declined the offer. It was then later he provided themes for the movie that are now easily memorable and are used throughout the whole
He is a very happy man that has a true love for music. He has left us music to some of our all time favorite movies, and has inspired us to continue on making great film music. I chose to write about John Williams because the Star Wars sequel is one of my most favored sequels; and it is mainly because of it’s music. I have learned most about his achievements, and what movies that I did not know he had produced music for. John Williams is a very happy person, he is also very wise. But, he does like to keep to himself, whereas he is more of an introvert person. Also, most of the music he writes is inspired by classical music from the 1940s. For example, the Star Wars theme song, is almost identical to the 1942 theme song of the movie King’s Row. People have also compared some music of other movies such as: Superman, Home Alone, and Jaw’s to some classics. I have been deeply impressed by this composer, and I plan to listen to any music that he will come out with again; and if not I will enjoy the musical legacy that he has left behind in his
directed by Sean Penn won ten awards including a Golden Globe award for best original song
Webber grew up in South Kensington to parents William who was a professional in theory and composition at the Royal College of Music in England and Jean who was a singer and a violinist in the same school. By age three Webber was playing the violin. Then by age six he composed his own songs. Then by age nine he had a piece of music published in the magazine, “Music Teacher.” Thanks to Webber’s Aunt Vi who got him into theatre. She took him to many big production shows like “My Fair Lady.” Vi and Weber also have seen many films together too. “Gigi” and “South Pacific” are some just to name.
The Shawshank Redemption is a 1997 drama film which takes place in a prison during the late 40’s. The film focuses on Andy Dufresne’s transition from his old life as banker to becoming a prisoner in the Shawshank penitentiary. The life shown in the Shawshank penitentiary is similar to that of normal society such as norms, economic transactions, and functions both prisoners and the officials. The roles the prisoners and officials take shows that Functionalism does not only take place in a normal functioning society, it also takes place in a total institution such as the prison shown in the film.
Ford, John. Orig. Sean Aloysius O' Feeney o-'fe-ne . 1895-1973. American motion-picture director, b. Cape Elizabeth, Me. Director of The Iron Horse (1924), The Informer (1935, Academy Award), Stagecoach (1939), The Grapes of Wrath (1940, Academy Award), Tobacco Road (1941), How Green Was My Valley (1941, Academy Award), My Darling Clementine (1946), Wagonmaster (1950), Rio Grande (1950), The Quiet Man (1952, Academy Award), Mister Roberts (1955), The Searchers (1956), How the West Was Won (1962), Cheyenne Autumn (1964), etc.
The movie Shawshank Redemption depicts the story of Andy Dufresne, who is an innocent man that is sentenced to life in prison. At Shawshank, both Andy and the viewers, witness typical prison subculture.
Creating a sound that was distinctively American was Copland’s motive after discovering his passion for music. Along with his awards for Appalachian Spring he also won many other awards such as, The Presidential Medal of Freedom and The Guggenheim Foundation 1st Music Fellowship Award (“Newsmakers” 1). Even during this Copland was not bored with his current successes, he also began scoring films in 1939, in his lifetime he scored five movies, they were: Of Mice and Men (1939), Our Town (1940), North Star (1943), The Red Pony (1948), and The Heiress (1949) (“UXL Biographies” 3). Many people say in his film scores for Of Mice and Men and Our Town he produced perhaps the finest film music ever, honoring rural America by way of an intelligent subservience to a mechanized medium. Hollywood didn't fail to recognize Copland’s achievements. Copland received an Academy Award nomination for best dramatic film score for his first three motion pictures in 1940-1941 and was eventually given the Oscar for The Heiress in 1950 (“UXL Biographies” 3). After that Copland’s media coverage decreased although he was still composing some of his famous
When asked about his work, John Williams once said, "So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it's gratifying to have something you have done linger in people's memories" (Williams qtd. in Clemmensen). This quote really emphasizes how the music of John Williams becomes ingrained in people's minds. People forget so much of what they hear, but his music is always remembered because of the amazing musical qualities of his work. Jeff Tyzik, a conductor for the Utah Symphony, observed that John Williams' ability to create memorable melodies and define characters has made him one of the most successful film composers (Palmer). Not only does John create memorable music, he helps to define characters. If a group of people were to think of Indiana Jones, most likely John's theme will pop into their heads. People's perception of characters in movies like Star Wars and Indiana Jones is strongly influenced by music whether that is a conscious decision or not. He also has impacted many people's lives. Travis Peterson, the principal trumpet player for the Utah Symphony, recalled that he found his love for music when he watched Jurassic Park for the first time (Palmer). A very successful musician found his love for music because of John Williams' soundtrack from
Juror #1 originally thought that the boy was guilty. He was convinced that the evidence was concrete enough to convict the boy. He continued to think this until the jury voted the first time and saw that one of the jurors thought that the boy was innocent. Then throughout the movie, all of the jurors were slowly convinced that the boy was no guilty.
addresses the process of adaptation used when converting a literary hypotext to the film medium; The Shawshank Redemption (Darabont, Frank) is the film adaptation of Rita Hayworth and the Shawshank Redemption (King, Stephen). The story follows characters Red and Andy who serve life sentences in Shawshank Prison. Over many years a strong bond develops, and Andy, wrongly convicted, inspires many at the prison. After Andy escapes, Red decides to follow him upon being granted parole. The story privileges themes of hope, freedom, institutionalisation, friendship, time, and brutality. The film is similar to the novella, however, some aspects differ from the hypotext. Within the novella, Brooks is a minor character, Tommy Williams doesn’t die, and Warden Norton merely retires. Through altering the story, the film modifies the essence of Rita Hayworth and the Shawshank Redemption for film audiences and utilises film language to convey meaning. By adding certain scenes, the text takes on stronger themes of hope, institutionalisation and brutality. This draws attention to the themes within the hypotext and thus enhances the parallels between texts.