Syfy developing a miniseries adaptation of Arthur C. Clarke’s “3001: The Final Odyssey” with Scott Free Prods. and Warner Horizon Television. Screenwriter Stuart Beattie is on tap to pen the adaptation of the book that is the final sequel to Clarke’s classic tome “2001: A Space Odyssey.”
“Arthur C. Clarke is the father of modern science fiction,” said Syfy president Dave Howe. “We couldn’t be more excited to be working with Scott Free and Warner Horizon Television to bring to the screen, for the very first time, the final chapter of this extraordinary masterpiece.”
The final “Odyssey” tale continues the story spawned in “2001: A Space Odyssey,” and begins with the discovery of Frank Poole’s frozen body floating in space. The “Odyssey” series has spanned over three decades, with the initial publication of “2001” in 1968, and concluding with “3001” in 1997. The original Stanley Kubrick film has become a classic, while “2010: Odyssey Two” has been the only other novel in the four-book series to be filmed. The “3001” miniseries is the second Clarke project set up at Syfy. The net greenlit an adaptation of novel “Childhood’s End,” which begins production later this year.
Source: Variety
The Cure return to Hammersmith Eventim Apollo for a clutch of Christmas concerts on Sunday 21 and Monday 22 December 2014
The band will be performing a 150 minute show playing songs drawn from their entire 37 year old catalogue including deep cuts, pop songs, fan favourites and surprises galore…
Reprising the role they performed at the same venue 30 years ago each concert will also feature And Also The Trees as support
These are ‘Christmas Specials’ not to be missed!!!
TICKETS ON SALE FROM 8AM FRIDAY 7TH NOVEMBER
Tickets (max 4 per household) available from:
Eventim Apollo: (no counter sales, phone and Internet bookings only)
www.eventim.co.uk and 0844 249 4300
Bookings Direct: www.bookingsdirect.com, 0844 581 4940
Here’s the first trailer for Universal and Illumination Entertainment’s Despicable Me spinoff starring the word-challenged yellow folks who “all share the same goal: to serve the most despicable master around.” Their well-intentioned bumbling leads to the demise of dinosaurs, Napoleon, Dracula and others, until Kevin, Stuart and Bob help the Minions discover their real purpose — and end up in 1968 New York. The voice cast includes a few folks you might have heard of: Sandra Bullock, Jon Hamm, Michael Keaton, Allison Janney and Steve Coogan. Directed by DM and DM2 helmer Pierre Coffin and written by Bryan Lynch, the Illumination Entertainment pic saunters into theaters July 10.
8 juli 2015 in de bioscoop
Universal Pictures en Illumination Entertainment presenteren het verhaal van de MINIONS. eeuwen geleden waren de Minions een eencellig geel organisme. Door de jaren heen zijn ze geëvolueerd tot hulpjes van de meest verschrikkelijke slechteriken, van T.Rex tot Napoleon. Helaas waren ze niet zo succesvol in het uitvoeren van hun taak en raakten ze werkloos.
Maar dan heeft Minion Kevin een plan: samen met zijn vrienden Stuart, de rebelse Minion, en de schattige Bob gaat hij op zoek naar en nieuwe slechterik die de Minions kunnen assisteren. Het trio raakt verzeild in een spannend avontuur en ontmoet een nieuwe geschikte schurk. Scarlet Overkill (Academy Award® winnaar Sandra Bullock), ‘s werelds eerste vrouwelijke superschurk. Kevin, Stuart en Bob maken een reis van Antartica naar New York City in de jaren ‘60. Uiteindelijk belandt het vrolijke gele trio in Londen waar zij hun grootste uitdaging moeten aangaan: het redden van alle Minions.
Van de makers van DESPICABLE ME/VERSCHRIKKELIJKE IKKE. De soundtrack van MINIONS bestaat uit de heerlijke bekende jaren ‘60 muziek. MINIONS is geproduceerd door Chris Meledandri en Janet Healy van Illumination Entertainment. Geregisseerd door Pierre Coffin en Kyle Balda. Geschreven door Brian Lynch. Chris Renaud is uitvoerend producent van de film.
The Dutch harsh electro act XMH are back with a new download single (out on November 14, but already ready for ordering via Bandcamp). You get 2 tracks now plus the complete single the moment it's released if you order via Bandcamp.
The 5-track single holds the title track, 3 remixes by upcoming electro favorites Avarice In Audio, Belgium's Implant and The Last Dance plus the exclusive new song, the B-side "The Ticking Clock".
"The Blind" is the second single taken from their aggrotech album "in Your Face" released on Alfa Matrix back in April.
John Carpenter, the Legendary Director and Composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album Lost Themes out February 3rd on Sacred Bones Records. In anticipation of his debut release, Carpenter shares a new track “Vortex,” a custom-designed video for “Vortex” set to clips from different Carpenter films and the full album artwork and track list.
Jesse von Doom, the creator of the “Vortex” video loop says, “The page takes a bunch of scenes from various John Carpenter films and turns them into a unique video each visit. It was built along with CASH Music, a nonprofit that builds free and open technology for musicians. We start with a list of favorite clips, pull them in a random order, then vary the length of each edit to bring a more unique feel to each visit. Watch long enough and you'll see the best Kurt Russell movie never made.”
John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.
“Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”
As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”
These Lost Themes will doubtlessly inspire listeners to materialize their own eerily atmospheric dimensions, musical lands inspired by John Carpenter’s motifs, even as the composer-director looks ahead with excitement towards brave new musical worlds he can explore. “The best way I can describe what we’ve done is that it’s a ‘soundtrack sampler,’ which is what Cody calls it. They’re little moments of score from movies made in our imaginations. Now I hope it inspires people to create films that could be scored with this music.”
