Video by Basa
Directed by Diego Huacuja T.
Producer: Melissa Lopez Ley
Character Design: Diego Huacuja T.
Background Design: Max Vera
Character Animation: Alberto Bala, Francisco OrtĂz, Daniela Espinosa.
Animation & Compositing: Diego Huacuja T., Eduardo Moya
Production Company: Obsidian
Executive Producer: Doug Klinger
Head of Production: Anna Heinrich
Post Coordinator: Maddie Ogden
Directorâs Rep: Doug Klinger, Undine Markus @ Reprobates
Hamir Atwal – drums
Nate Brenner – bass, drum programming, percussion, keys, vocals
Merrill Garbus – vocals, drum programming, DX7, Mellotron, piano, percussion, loops
Matt Nelson – saxophone
Ross Peacock – synths
Mixed by Eli Crews / Mastered by Joe LaPorta
Official website: http://tune-yards.com
Video by Stan Wright.
âNothing is true; everything is permitted.â Welcome to Interzone, the hellish playground of William Burroughsâ âNaked Lunchâ. Along with Jack Kerouac and Allen Ginsberg, Burroughs was among the central figures of the Beat generation. Over a frenzied decade bridging the 1950s and â60s they were instrumental in reshaping Americaâs cultural landscape, tearing up their eldersâ starchy doctrine and blazing the trail for the counterculture that followed. As dynamic, brilliant young things they seemingly make for ideal cinematic subjects, but only one film managed to capture something of the essence of its author and the Beat generation at large: David Cronenbergâs Naked Lunch.
A key idea of the Beat generation was to treat the most authentic, uncensored human thoughts and desires as art. In a buttoned-up society, they challenged social norms via their insatiable appetite for sex, drugs and confessional intimacy. âNaked Lunchâ was banned for years in the US and even taken to court for its perceived obscenity, while Ginsbergâs âHowlâ suffered a similar fate. Both eventually won their respective trials, ultimately helping to liberate American publishing. Liberalisation was, in many ways, what the Beat generation was all about: from strait-jacketed literature, from sexual repression, from lock-step social conformity.
The problem with films about the Beat generation is that so few are genuinely transgressive. But Naked Lunch is a different beast altogether. As is protagonist Bill Leeâs typewriter â itâs an insect that groans with pleasure as he works it, crowing for him to rim its pulsing sphincter with drugs. Bill Lee is really Burroughs, and Cronenbergâs film is about his becoming a writer â his relationship with his typewriter. Rather than attempting to adapt the book in a literal sense, Cronenberg treated Burroughsâ schizoid prose as a secondary source. He gave it structure, but it remains essentially a bizarre work.
To read more of this article by Tom Graham follow the link: https://lwlies.com/articles/naked-lunch-david-cronenberg-william-burroughs/
Following the production struggles of The Lord of the Rings, Ralph Bakshi decided that it was time to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film with an extensive soundtrack of songs which would be given an entirely new context in juxtaposition to the visuals in a film. While the film does not reflect Bakshi’s own experiences, its themes were strongly influenced by individuals he had encountered in Brownsville. The film’s crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams, each of whom brought their own personal touch to the film. Bakshi once again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film’s story. According to Bakshi, “Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.”
The score for American Pop was composed by Lee Holdridge. As the result of his reputation as an innovator of adult animation, Bakshi was able to acquire the rights to an extensive soundtrack, including songs by Bob Dylan, Jefferson Airplane, Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima, for under $1 million in permissions fees. Due to music clearance issues, the film was not released on home video until 1998.
Stream & download: https://dannyelfman.ffm.to/littoc
Director: Sven Gutjahr
Created by Berit Gwendolyn Gilma & Sven Gutjahr
Producer: Berit Gwendolyn Gilma
Production Manager: Philip Treschan
Featuring: DĂŚmon Clelland aka SHREK 666
Co-performer: Carra
Art direction: Berit Gwendolyn Gilma
Cinematography: Sven Gutjahr / 1st AC: Philip Treschan
Set design: Joan Ling-Li Nesbit-Chang
Gaffer: Esra Tanriverdi
Character design & prosthetics: DĂŚmon Clelland
Make-up: Leana Ardeleanu
Custome design: DĂŚmon Clelland & Joan Ling-Li Nesbit-Chang
Choreographer: Franka Marlene Foth
Insert performer: Danny Elfman
Videographer additional footage: Melisa McGregor
Make-up additional footage: Lizbeth Williamson
Casting assistance: Roberta Caminneci
Pizza boy: Alexander Elschner-Linda
Cat: Mango
Strip Club: Angels Berlin
Filmed in Berlin, 2021
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Official Site: https://www.dannyelfman.com/
Music & Lyrics by Danny Elfman
Produced by Danny Elfman
Recorded by Noah Snyder
Additional Engineering: Nick Rives & Matt Tuggle
Mixed by Zakk Cervini
Mix Assistant: Nik Trekov
Mastered by Joe LaPorta at Sterling Sound
Vocals, Guitars & Synths by Danny Elfman
Drums – Josh Freese
Guitars – Nili Brosh
Bass – Stu Brooks
Percussion â Sidney Hopson
Strings â Lyris Quartet
String Orchestration by Steve Bartek
Orchestration Assistant – Marc Mann
Midi Prep â Orlando Perez Rosso
Executive Produced by Laura Engel
Project Produced by Melisa McGregor
Danny Elfmanâs Representation – Kraft-Engel Management
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Love In The Time Of Covid (Lyrics by Danny Elfman)
Living a life in a nutshell â Living a life in a nutshell
Stay inside and youâll do well â break any rules and they might tell
World outside is humming â The mountain goats are sunning
This shit ainât no fun, open the door and runâŚ.
Now nobody likes you, what a shame
Now nobody likes you, now nobody likes youâŚ
Ooh, she likes me â ooh, she likes me, messages excite me
Ooh she likes meâŚ.
Love in the time of Covid
Keeping it, keeping it all inside
I want to see you, I want to see you
Without your clothes, without your skin
Without your skin â Without your skin
Sinning, sinning, sinning – Zoom me at midnight
I want to see you â without your clothes, without your skin
I want to see you â without your skin without your skin
Living a life in a nutshell, staying inside is a tough sell
Sniffing around for some intel – if I run out of buds itâll be hell
Outside birds are singing – church bells are ringing
Iâm filling up with feeling – open the door and run
Now nobody likes me (Nobody likes you)
Ooh, she likes me – her videos excite me,
Under the virtual moonlight, we got a date at midnight
Love in the time of Covid
Watching the cat, watching the cat,
Bouncing off the walls (I feel like that) – letâs make a rendezvous
Itâs almost like having you in the room,
I want to have sex (too soon) – I can almost feel you
Starting to spin, staring to spin
Looking up, looking out, looking in
Iâd give the world just to touch your skin.
Š 2021 Danny Elfman, under exclusive license to Epitaph / Anti Music & lyrics published by Morte Pharmaceutical Music (BMI)
Animation by Jesse Kanda
Art Direction and production by Berit Gwendolyn Gilma
Videographer: Melisa McGregor
Make-up & Hair: Lizbeth Williamson
Music & Lyrics by Danny Elfman
Produced by Danny Elfman
Recorded and co-produced by Noah Snyder
Mixed by Zakk Cervini
Mix Assistant: Nik Trekov
Mastered by Joe LaPorta at Sterling Sound
Vocals, Guitars & Synths by Danny Elfman
Drums – Josh Freese
Guitars – Robin Finck & Nili Brosh
Bass – Stu Brooks
Percussion and Additional Drums â Sidney Hopson
Orchestration by Steve Bartek and Mikel Hurwitz
Choir orchestration by Marc Mann
Midi Prep â Orlando Perez Rosso
Copyist â Scott McRae
Executive Produced by Laura Engel
Project Produced by Melisa McGregor
Danny Elfmanâs Representation – Kraft-Engel Management
Iâm So SorryâŚ
There isn’t time â for revolution
There isn’t time â to evolutionize or hide
Those things most precious – Our most precious
Things that got erased, corrupted, infiltrated
I’m so sorry â I’m so sorry
Iâm gonna try, Iâm gonna try
To get away from your compelling
Mist of lies and misconceptions
No protection, no escape
Where I will never have to see your fucking face
You suffocate me
I canât breathe while youâre alive
I canât breathe while youâre alive
You suffocate, you suffocate
And Iâm so sorry that I didnât die
Or just evaporate into a toxic cloud
It’s gonna break â it’s gotta break,
It’s made of glass, it’s gonna break
And all the hate that you collected
And infused into protected piles of shit
Glass eyed devotees will flock to your gates
Your house is on fire â your house is on fire
Pull it forward â pull it back
Your eyes are empty, cold and black
We gotta break it, we gotta break it
We gotta break that fucking jack whip
on a broken hip â my life is a joke if I can’t even breathe.
Sorry you exist because you suck the fucking air out of my lungs
I am not afraid to die â still alive, still alive
And I won’t let you bury me
Š 2021 Danny Elfman, under exclusive license to Epitaph / Anti Music & lyrics published by Morte Pharmaceutical Music (BMI)
Raya and the Last Dragon takes us on an exciting, epic journey to the fantasy world of Kumandra, where humans and dragons lived together long ago in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and itâs up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, sheâll learn that itâll take more than a dragon to save the worldâitâs going to take trust and teamwork as well.
Raya and the Last Dragon features an outstanding voice cast, including Kelly Marie Tran as the voice of the intrepid warrior Raya; Awkwafina as the legendary dragon, Sisu; Gemma Chan as Rayaâs nemesis, Namaari; Daniel Dae Kim as Rayaâs visionary father, Benja; Sandra Oh as Namaariâs powerful mother, Virana; Benedict Wong as Tong, a formidable giant; Izaac Wang as Boun, a 10-year-old entrepreneur; Thalia Tran as the mischievous toddler Little Noi; Alan Tudyk as Tuk Tuk, Rayaâs best friend and trusty steed; Lucille Soong as Dang Hu, the leader of the land of Talon; Patti Harrison as the chief of the Tail land; and Ross Butler as chief of the Spine land.
Animal Farm was written by George Orwell in 1945. It is an allegorical novella, first published in England. The book tells the story of a group of farm animals who rebel against their human farmer, hoping to create a society where the animals can be equal, free, and happy.
Bean (Princess Tiabeanie Mariabeanie de la Rochambeau Grunkwitz) must step up her princess game amid royal plots, deepening mysteries, King Zøg’s increasing instability, and concerns about who will rule Dreamland.
Bean must step up her princess game amid royal plots, deepening mysteries, King Zøg’s increasing instability and concerns about who will rule Dreamland. Set in the medieval fantasy kingdom of Dreamland, the series follows the story of Bean, a rebellious and alcoholic princess, her naive elf companion Elfo, and her destructive “personal demon” Luci. Disenchantment stars the voices of Abbi Jacobson, Eric Andre, Nat Faxon, John DiMaggio, Tress MacNeille, Matt Berry, David Herman, Maurice LaMarche, Lucy Montgomery, and Billy West.
Ralph Bakshi originated the idea for Tattertown in high school, where it was originally a comic strip called Junk Town. The strip made light of the human condition by showing the value of things we throw away.
Bakshi worked with Nickelodeon to bring his strip to life as a regular television series, which would have served as Nickelodeon’s first original animated series. In 1988, they commissioned him to create a pilot, which aired on December 21, 1988 during the network’s Nick at Nite block of programming.
Learn more about Ralph Bakshi at https://www.ralphbakshi.com/
Willie Nelson explores the deep corners of the Frank Sinatra catalog on his new album Thatâs Life, out February 26th. In addition to tackling classics like âYou Make Me Feel So Youngâ and âIâve Got You Under My Skin,â Nelson interprets lesser-known Sinatra recordings like 1959âs âJust in Timeâ and âA Cottage for Sale.â âIâm just glad to be able to do another tribute to him,â said Nelson, who released his first Sinatra tribute, My Way, in 2018. âIâm anxious to get it out there.â
On Friday, Nelson released another track, âI Wonât Dance,â a standard composed by Jerome Kern and recorded by Sinatra in 1957 for A Swinginâ Affair!, his 12th studio album (He cut it in 1962 for SinatraâBasie: An Historic Musical First too.) Nelson recorded the track â which has also been covered by everyone from Fred Astaire to Lady Gaga and Tony Bennett â with Diana Krall. The two star in a joyful animated video by Manuel Casares and Antonio Corral (a.k.a. Crocantes), an animation team who say their video was âinspired by classic cartoons, fashion illustrations and Hollywood glamor, screwball and slapstick comedies.â
Nelson has called Sinatra his favorite all-time singer. âHe had a great choice of songs,â Nelson said recently. âHe picked all the best songs in the world to record â and of course he had access to them. But I loved his phrasing. He and I recorded a couple of songs together many, many years ago. We did âMy Wayâ together, and we did âA Foggy Day (in London Town).â We did a commercial together one time, I forget what it was for. Some satellite or something. I got to hang out with him a little bit but not as much as I wanted to.â
Written by Patrick Doyle for Rolling Stone magazine.
As his town is flooded by water, an aged widower is forced to add additional levels on to his home in order to stay dry. But when he accidentally drops his favorite smoking pipe into the lower submerged levels of his home, his search for the pipe eventually makes him relive scenes from his eventful life.
