By Amanda DK
With the annual South By Southwest Music, Film and Interactive Festival now just days away, industry professionals from blogger to supervisor are all hustling to catalog, notate and RSVP to entire inboxes full of artist schedules and event invitations. Of course, the day they land in Austin on March 14 (or earlier), the meticulous work will all be in vain, swept away by word of mouth and tagging along with friends to that secret show no one else knows about. Thus is the glorious standard operating procedure at SXSW.
For most people I know, the above rarely includes conference panels. It’s easy to enjoy the festival without spending the $500 – $750 on a badge, and avoiding the Austin Convention Center entirely. Still though, SXSW was founded on a conference and that is still at it’s core.
By Amanda DK
I’m not sure why, but awards season snuck up on me this year. I can’t believe the 69th Annual Golden Globes are this Sunday! Did a whole twelve months really pass by since last year?
To be perfectly honest though, I’m I suppose I’m not that surprised. There is a reason that does come to mind.
Of all the nominees for Best Original Score, The Girl With The Dragon Tattoo probably had the largest amount of buzz, but caters to a very specific audience. The Artist was likely the most critically loved of the bunch, but is still widely considered more of an “art house” film. War Horse and Hugo were both praised as quality family fare, but nothing transcendent. And all of the films in consideration for best original song were received by audiences as pretty good at best.
There were plenty of solid films this year, just none that wowed audiences on a large scale.
I mean, the only movie that received a nod for both original score and song is W.E., which was written and directed by Madonna. Nothing against Madge, but really?
Below take a look and listen to some of the scores and songs in consideration this year. Who do you think should win?
Check out the full list of nominees here.
by Emily Weber
Many things come to mind when I think of the 80’s: Duran Duran, big hair, jellyshoes, Molly Ringwald, and…. ROBOTS! Yes, robots. We seemed to be pretty obsessed with robots in the 80’s, am I right?
Navigating the sprawling metropolis of Los Angeles, congested with both cars and billboards everywhere you look, staring up Jack Black’s crotch or being forced to accept that Khloe and Lamar are indeed “famously” in love, it’s often hard to remember that being a celebrity used to look quite different.
It’s not that the old Hollywood is gone, you just have to pay attention. Just glance past the flashing lights at the Hollywood sign, drive by Culver Studios, grab a bite at the Formosa Cafe, and even if it’s cheesy, go to the Walk of Fame and see if your hands are as small as Gloria Swanson’s. I might work at a film studio, but sitting in a cubicle under fluorescent lights day in and day out, I often feel as close to “Hollywood” as Ron Livingston in Office Space.
So when composer/orchestrator/arranger/all-around-great-guy, Joe Trapanese asked that I meet him on one of the great old studio lots for our interview (I would tell you which, but I’m sworn to secrecy), it was painfully hard to act cool about it. While I probably said something to the effect of, “Great. Please send over parking instructions. Looking forward to it.” In my mind, I was squealing like a tween.