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[
"So Close (Enchanted song)",
"composer",
"Alan Menken"
] |
"So Close" is a song written by composer Alan Menken and lyricist Stephen Schwartz for the musical fantasy film Enchanted (2007), recorded by American singer Jon McLaughlin. In the film, the song is performed by McLaughlin as himself, a band vocalist, musically accompanying main characters Giselle and Robert as they dance together at a costume ball. The song's lyrics describe both their relationship with each other, as well as Giselle's journey and growth as a character.
Enchanted's songs become more contemporary in style as Giselle matures into a modern-day young woman, with "So Close" resembling the style of music featured in Disney films during the 1990s, a theme similarly reflected by the character's choice of wardrobe during the scene. A romantic pop ballad, Menken and Schwartz based "So Close" on the title song from Disney's Beauty and the Beast (1991), a song Menken himself had written the music for, while its cinematography was designed to invoke the camera movement in Beauty and the Beast's famous ballroom sequence. The track was arranged and produced by Robbie Buchanan, who had previously arranged pop versions of the theme songs from Beauty and the Beast, Aladdin (1992) and Pocahontas (1995).
The song has received generally negative reviews from film and music critics, who were unimpressed with its slow tempo. "So Close" was one of three songs from Enchanted nominated for an Academy Award for Best Original Song at the 80th Academy Awards. McLaughlin's live performance during the telecast was met with critical acclaim, and is credited with introducing the singer to a wider audience while bolstering sales of his own material.Writing and recording
"So Close" was written by composer Alan Menken and lyricist Stephen Schwartz. Menken and Schwartz based "So Close" on the title song from Beauty and the Beast (1991), a song Menken himself had written the music for. In addition to conceiving the song's title, director Kevin Lima specifically asked that the song's final lyrics be "So close and still so far" to mirror the idea that this appears to be Enchanted's main characters Giselle and Robert's final moment together. The songwriters enlisted Robbie Buchanan to produce the track; Buchanan had previously arranged and produced the single version of "Beauty and the Beast", as well as "A Whole New World" and "Colors of the Wind" from Aladdin (1992) and Pocahontas (1995), respectively.Menken recorded an early demo version of the song before it was forwarded to Buchanan, who created its backing track. In addition to Buchanan, many musicians contributed to the track before it was finally returned to the producer, and then Menken. Menken proceeded to use Buchanan's track to orchestrate the song while developing an instrumental "middle section" during which the characters would dance. Menken and Schwartz co-produced. Although arranger Danny Troob contributed some orchestration to the song, he attributes the majority of its arrangement to Buchanan. "So Close" was recorded by singer-songwriter Jon McLaughlin, who was recruited from his record label by the film's music supervisor after Menken and Schwartz began searching for a suitable singer. Instrumentalists on the track include bassist Neil Stubenhaus, drummer John Robinson and guitarist Michael Landau, while Buchanan himself contributed both piano and synthesizer.Menken had written an alternative version of "So Close", which the filmmakers enjoyed but ultimately rejected in favor of the final version used in the film. Additionally, a song originally written for the villain Queen Narissa (Susan Sarandon) was eliminated from the film because Lima felt that the musical number would occur too close to "So Close", wanting to prevent the film from becoming a "full out" musical. The song was released on November 20, 2007 as part of the film's soundtrack.
| 4
|
[
"So Close (Enchanted song)",
"performer",
"Jon McLaughlin"
] |
"So Close" is a song written by composer Alan Menken and lyricist Stephen Schwartz for the musical fantasy film Enchanted (2007), recorded by American singer Jon McLaughlin. In the film, the song is performed by McLaughlin as himself, a band vocalist, musically accompanying main characters Giselle and Robert as they dance together at a costume ball. The song's lyrics describe both their relationship with each other, as well as Giselle's journey and growth as a character.
Enchanted's songs become more contemporary in style as Giselle matures into a modern-day young woman, with "So Close" resembling the style of music featured in Disney films during the 1990s, a theme similarly reflected by the character's choice of wardrobe during the scene. A romantic pop ballad, Menken and Schwartz based "So Close" on the title song from Disney's Beauty and the Beast (1991), a song Menken himself had written the music for, while its cinematography was designed to invoke the camera movement in Beauty and the Beast's famous ballroom sequence. The track was arranged and produced by Robbie Buchanan, who had previously arranged pop versions of the theme songs from Beauty and the Beast, Aladdin (1992) and Pocahontas (1995).
The song has received generally negative reviews from film and music critics, who were unimpressed with its slow tempo. "So Close" was one of three songs from Enchanted nominated for an Academy Award for Best Original Song at the 80th Academy Awards. McLaughlin's live performance during the telecast was met with critical acclaim, and is credited with introducing the singer to a wider audience while bolstering sales of his own material.Writing and recording
"So Close" was written by composer Alan Menken and lyricist Stephen Schwartz. Menken and Schwartz based "So Close" on the title song from Beauty and the Beast (1991), a song Menken himself had written the music for. In addition to conceiving the song's title, director Kevin Lima specifically asked that the song's final lyrics be "So close and still so far" to mirror the idea that this appears to be Enchanted's main characters Giselle and Robert's final moment together. The songwriters enlisted Robbie Buchanan to produce the track; Buchanan had previously arranged and produced the single version of "Beauty and the Beast", as well as "A Whole New World" and "Colors of the Wind" from Aladdin (1992) and Pocahontas (1995), respectively.Menken recorded an early demo version of the song before it was forwarded to Buchanan, who created its backing track. In addition to Buchanan, many musicians contributed to the track before it was finally returned to the producer, and then Menken. Menken proceeded to use Buchanan's track to orchestrate the song while developing an instrumental "middle section" during which the characters would dance. Menken and Schwartz co-produced. Although arranger Danny Troob contributed some orchestration to the song, he attributes the majority of its arrangement to Buchanan. "So Close" was recorded by singer-songwriter Jon McLaughlin, who was recruited from his record label by the film's music supervisor after Menken and Schwartz began searching for a suitable singer. Instrumentalists on the track include bassist Neil Stubenhaus, drummer John Robinson and guitarist Michael Landau, while Buchanan himself contributed both piano and synthesizer.Menken had written an alternative version of "So Close", which the filmmakers enjoyed but ultimately rejected in favor of the final version used in the film. Additionally, a song originally written for the villain Queen Narissa (Susan Sarandon) was eliminated from the film because Lima felt that the musical number would occur too close to "So Close", wanting to prevent the film from becoming a "full out" musical. The song was released on November 20, 2007 as part of the film's soundtrack.
| 6
|
[
"Candle on the Water",
"nominated for",
"Academy Awards"
] |
"Candle on the Water" is a torch song written by Al Kasha and Joel Hirschhorn for Walt Disney Pictures' 1977 live-action/animated film Pete's Dragon. Originally recorded by Helen Reddy, who plays Nora in the film, the song was nominated for the Academy Award for Best Original Song in 1977, though it lost to "You Light Up My Life".Context
The setting for the song is entirely on the lantern-room balcony of the lighthouse in which Nora and her father, Lampie, live. Nora sings the song to her fiancé Paul, who has been lost at sea for over a year but Nora believes will one day return.
Leading into the song, one night Lampie scolds Nora, telling her to accept that Paul is no doubt dead and will never return, only to apologize for his outburst and excuse himself. Dismayed, Nora retires to the lighthouse balcony and sings toward the ocean, assuring Paul that she is still waiting for him out there.
"Candle on the Water" was originally intended to be the only song featured in the film, but when it met with such acclaim, the decision was made to turn the film into a musical. According to Helen Reddy, she was told by Kasha and Hirschhorn that "they deliberately placed religious and spiritual symbols within the song."
| 0
|
[
"Candle on the Water",
"performer",
"Helen Reddy"
] |
"Candle on the Water" is a torch song written by Al Kasha and Joel Hirschhorn for Walt Disney Pictures' 1977 live-action/animated film Pete's Dragon. Originally recorded by Helen Reddy, who plays Nora in the film, the song was nominated for the Academy Award for Best Original Song in 1977, though it lost to "You Light Up My Life".Context
The setting for the song is entirely on the lantern-room balcony of the lighthouse in which Nora and her father, Lampie, live. Nora sings the song to her fiancé Paul, who has been lost at sea for over a year but Nora believes will one day return.
Leading into the song, one night Lampie scolds Nora, telling her to accept that Paul is no doubt dead and will never return, only to apologize for his outburst and excuse himself. Dismayed, Nora retires to the lighthouse balcony and sings toward the ocean, assuring Paul that she is still waiting for him out there.
"Candle on the Water" was originally intended to be the only song featured in the film, but when it met with such acclaim, the decision was made to turn the film into a musical. According to Helen Reddy, she was told by Kasha and Hirschhorn that "they deliberately placed religious and spiritual symbols within the song."
| 3
|
[
"Father and Daughter",
"country of origin",
"United States of America"
] |
"Father and Daughter" is a song by the American singer-songwriter Paul Simon. The song, written for the animated family film The Wild Thornberrys Movie, was released as a single in 2002. An alternate version later appeared on Simon's eleventh solo album Surprise (2006). When re-released as a single in 2006, the song became a Top 40 hit in the UK, his most recent to date.
The song is a ballad in which Simon expresses his love for his daughter, Lulu.
The song was nominated for an Academy Award for Best Original Song, as well as the Golden Globe Award for Best Original Song.
| 0
|
[
"Father and Daughter",
"nominated for",
"Academy Awards"
] |
"Father and Daughter" is a song by the American singer-songwriter Paul Simon. The song, written for the animated family film The Wild Thornberrys Movie, was released as a single in 2002. An alternate version later appeared on Simon's eleventh solo album Surprise (2006). When re-released as a single in 2006, the song became a Top 40 hit in the UK, his most recent to date.
The song is a ballad in which Simon expresses his love for his daughter, Lulu.
The song was nominated for an Academy Award for Best Original Song, as well as the Golden Globe Award for Best Original Song.
| 2
|
[
"Father and Daughter",
"instance of",
"single"
] |
"Father and Daughter" is a song by the American singer-songwriter Paul Simon. The song, written for the animated family film The Wild Thornberrys Movie, was released as a single in 2002. An alternate version later appeared on Simon's eleventh solo album Surprise (2006). When re-released as a single in 2006, the song became a Top 40 hit in the UK, his most recent to date.
The song is a ballad in which Simon expresses his love for his daughter, Lulu.
The song was nominated for an Academy Award for Best Original Song, as well as the Golden Globe Award for Best Original Song.
| 4
|
[
"It Might Be You",
"nominated for",
"Academy Awards"
] |
"It Might Be You" is a song with music written by Dave Grusin, and lyrics written by Alan & Marilyn Bergman. It was performed by singer/songwriter Stephen Bishop in the 1982 film Tootsie starring Dustin Hoffman and Jessica Lange. The song was nominated for an Academy Award for Best Original Song in 1983.
Bishop's recording peaked at No. 25 on the Billboard Hot 100 chart on May 7, 1983, and spent eight weeks in the Top 40, becoming his final Top 40 song to date. It also spent two weeks at No. 1 on the U.S. adult contemporary chart in April the same year.
| 1
|
[
"It Might Be You",
"performer",
"Stephen Bishop"
] |
"It Might Be You" is a song with music written by Dave Grusin, and lyrics written by Alan & Marilyn Bergman. It was performed by singer/songwriter Stephen Bishop in the 1982 film Tootsie starring Dustin Hoffman and Jessica Lange. The song was nominated for an Academy Award for Best Original Song in 1983.
Bishop's recording peaked at No. 25 on the Billboard Hot 100 chart on May 7, 1983, and spent eight weeks in the Top 40, becoming his final Top 40 song to date. It also spent two weeks at No. 1 on the U.S. adult contemporary chart in April the same year.Chart performance
Personnel
Stephen Bishop - vocals
Dave Grusin – electric piano, acoustic piano
George Doering, Paul Jackson Jr., Mitch Holder - guitar
Abraham Laboriel - bass
Ian Underwood - synthesizer
Carlos Vega - drums
Steve Foreman - percussion
Becky Porter, Billy Phedford, Marva Holcolm, Paulette Brown - backing vocals
| 7
|
[
"Love (Disney song)",
"language of work or name",
"English"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 0
|
[
"Love (Disney song)",
"form of creative work",
"song"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 1
|
[
"Love (Disney song)",
"nominated for",
"Academy Awards"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 2
|
[
"Love (Disney song)",
"composer",
"George Bruns"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 3
|
[
"Love (Disney song)",
"lyrics by",
"Floyd Huddleston"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 5
|
[
"Love (Disney song)",
"performer",
"Nancy Adams"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 7
|
[
"Love (Disney song)",
"instance of",
"musical work/composition"
] |
"Love" is a song from Walt Disney's film Robin Hood with the lyrics and music by Floyd Huddleston and George Bruns. The lyrics were sung by Huddleston's wife, Nancy Adams instead of Monica Evans, who voiced Maid Marian for the rest of the film.
The song was nominated for the Academy Award for Best Original Song that a young Jodie Foster and Johnny Whitaker performed a singing duet together of their version on stage at the 46th Academy Awards, but lost to "The Way We Were" from the film of the same name.
The song was also used in the soundtrack for the 2009 film Fantastic Mr. Fox, directed by Wes Anderson, as well as on the 2023 Amazon.com Super Bowl ad "Saving Sawyer".
| 8
|
[
"Pi's Lullaby",
"language of work or name",
"Tamil"
] |
"Pi's Lullaby" is the Tamil-language intro song of the 2012 film Life of Pi. It was composed by Mychael Danna, with lyrics by Bombay Jayashri, who also performed the song. The song earned a nomination at the 85th Academy Awards for Best Original Song. The nomination marks the first ever Tamil song to be nominated in the category.
According to Jayashri's blog, in order to convey the mood he wanted for the song, director Ang Lee told her "A child sleeps not because he is sleepy, but because he feels safe."
| 0
|
[
"Pi's Lullaby",
"genre",
"lullaby"
] |
"Pi's Lullaby" is the Tamil-language intro song of the 2012 film Life of Pi. It was composed by Mychael Danna, with lyrics by Bombay Jayashri, who also performed the song. The song earned a nomination at the 85th Academy Awards for Best Original Song. The nomination marks the first ever Tamil song to be nominated in the category.
According to Jayashri's blog, in order to convey the mood he wanted for the song, director Ang Lee told her "A child sleeps not because he is sleepy, but because he feels safe."
| 6
|
[
"Pi's Lullaby",
"performer",
"Bombay Jayashri"
] |
"Pi's Lullaby" is the Tamil-language intro song of the 2012 film Life of Pi. It was composed by Mychael Danna, with lyrics by Bombay Jayashri, who also performed the song. The song earned a nomination at the 85th Academy Awards for Best Original Song. The nomination marks the first ever Tamil song to be nominated in the category.
According to Jayashri's blog, in order to convey the mood he wanted for the song, director Ang Lee told her "A child sleeps not because he is sleepy, but because he feels safe."
| 7
|
[
"Promise Me You'll Remember (Love Theme from The Godfather Part III)",
"performer",
"Harry Connick Jr."
] |
"Promise Me You'll Remember (Love Theme from The Godfather Part III)" is a song written for The Godfather Part III (1990), the third and final film in The Godfather trilogy.Overview
"Promise Me You'll Remember" is the vocal version of the love theme. The music is written by Carmine Coppola, the lyrics by John Bettis. The song is sung by Harry Connick Jr. It is track #12 on The Godfather Part III soundtrack.
Harry Connick Jr. sang "Promise Me You'll Remember" on the Academy Awards telecast in 1991.Awards and nominations
The song was nominated for the Academy Award and the Golden Globe Award for Best Song.
| 7
|
[
"Real in Rio",
"nominated for",
"Academy Awards"
] |
Rio is a 2011 American computer-animated musical adventure comedy film produced by Blue Sky Studios and 20th Century Fox Animation, and directed by Carlos Saldanha. The title refers to the Brazilian city of Rio de Janeiro, where the film is set. The film features the voices of Jesse Eisenberg, Anne Hathaway, Leslie Mann, Rodrigo Santoro, Jemaine Clement, George Lopez, Tracy Morgan, will.i.am, and Jamie Foxx. It tells the story of Blu (Eisenberg), a domesticated male Spix's macaw who is taken to Rio de Janeiro to mate with a free-spirited female Spix's macaw, Jewel (Hathaway). The two eventually fall in love, and together they have to escape from being smuggled by Nigel (Clement), a cockatoo.
Saldanha developed his first story concept of Rio in 2005, in which a penguin is washed up in Rio. Saldanha learned of the production of the films Happy Feet (2006) and Surf's Up (2007), and changed the concept to involve macaws and their environments in Rio. He proposed his idea to Chris Wedge in 2006, and the project was set up at Blue Sky. The main voice actors were approached in 2009. During production, the crew visited Rio de Janeiro and also consulted with an expert on macaws at the Bronx Zoo to study their movements.
Rio premiered on March 22, 2011, in Lagoa, Rio de Janeiro, followed by its general release on April 15, 2011, by 20th Century Fox. The film received generally positive reviews from film critics, who praised the visuals, voice acting and music. The film was also a box office success, grossing over $143 million in the United States and $484 million worldwide. The film was nominated for Best Original Song for the song "Real in Rio" at the 84th Academy Awards, but lost to the other nominee, "Man or Muppet" from The Muppets. A sequel, Rio 2, was released on April 11, 2014.
| 2
|
[
"Real in Rio",
"performer",
"Anne Hathaway"
] |
Production
Saldanha first had the idea for the film in 2005, involving a penguin being washed up on the beaches of Ipanema; it was changed to the current story after he learned of Happy Feet and Surf's Up (two other films involving penguins) being produced. He pitched the idea to Chris Wedge at Blue Sky in 2006. Saldanha showed the animators maps and books with geographic landmarks and measurements, from which they built a digital version of Rio. Later, a group of artists from the company visited Rio to see the various story locations. The animators also met with an expert on macaws at the Bronx Zoo to gain insight into their movement and personalities. Saldanha himself is a Brazilian from Rio de Janeiro; such elements of Brazilian culture and landmarks were also influenced from Saldanha growing up in Brazil.The lead voice actors were approached in 2009. Jemaine Clement was approached to do the film after seeing test shots of his character Nigel doing a speech from Flight of the Conchords, which was done prior to a script being finalized. Neil Patrick Harris was supposed to voice Blu, but had other commitments outside production; he was later replaced by Jesse Eisenberg. Eisenberg was asked during the filming of The Social Network if he would do his voice recording on the weekends, and he agreed after reading the script, saying: "It was the perfect antidote to get out of the mindset of my character in Social Network who was so severe, and in some ways so joyless."For music, they brought on board Sérgio Mendes to act as music guru and online living library. He in turn was able to reach out to artists such as will.i.am and Carlinhos Brown to provide music for the film.Eisenberg and Anne Hathaway, who voiced Jewel, had acted together before when both were still teenagers, when they played siblings in the short-lived 1999 TV show Get Real. Hathaway stated in an interview that she didn't see Eisenberg during production of Rio except "socially throughout the process," but that she was "very happy for all of his success."
| 3
|
[
"That Thing You Do! (song)",
"country of origin",
"United States of America"
] |
In the film
In 1964, an Erie, Pennsylvania, band named "The Oneders" (later known as The Wonders) goes from a college talent show to climbing up the Billboard charts thanks to the song "That Thing You Do". Written by guitarist/vocalist Jimmy Mattingly II, it was originally crafted as a ballad. During the performance at the talent show, drummer Guy Patterson produces a much more up-tempo beat and the rest of the band follow suit, turning the song from a ballad into an upbeat, Beatles-esque pop-rock number. The song is an instant hit with the audience, and they win the talent show. From there, the band is picked up by a local manager who helps them get more shows in the area, and eventually the song receives radio airplay. The band is then signed to Play-Tone Records, under Mr. White's guidance, and the song climbs up the Billboard Hot 100, starting at number 93, then 71, 49, and 21. The following week, "That Thing You Do" climbs to number 7, becoming the quickest-charting song ever on Play-Tone Records. However, Jimmy walks out on the band before they can produce another record, so they eventually become one-hit wonders.
Early in the film, when Jimmy and Lenny are asking Guy to join them at the talent competition at the college, Jimmy mentions they'll perform a song he wrote. Lenny takes offense to that by slapping Jimmy on the arm. Jimmy begrudgingly corrects himself by saying, "We wrote." Later, when the vinyl 45 is officially released, the label states: Written by James Mattingly II. Later still, when being interviewed live on radio station KJZZ, Jimmy says of the song, "We wrote it in my garage back in Erie, Pennsylvania."
In the film, the song is performed by James "Jimmy" Mattingly II on lead vocals and guitar, Leonard "Lenny" Haise on lead guitar and backing vocals, "T.B. Player" on bass and backing vocals, and Guy "Shades" Patterson on drums. For their live performance of the song on The Hollywood Television Showcase, studio bassist Scott "Wolfman" Pell replaced T.B. Player on bass and backing vocals.
In the fictitious "mockumentary" liner notes from the film soundtrack CD, it is stated that "That Thing You Do" peaked at number 2 on the Billboard Hot 100 during the summer of 1964.
| 0
|
[
"That Thing You Do! (song)",
"nominated for",
"Academy Awards"
] |
"That Thing You Do" is the titular song appearing in the 1996 film of the same name. Written by Adam Schlesinger, the song is performed by the fictional 1960s band The Wonders, who are the focus of the film. The song peaked at No. 41 on the Billboard Hot 100 and was nominated for an Academy Award and a Golden Globe Award for Best Original Song in 1997.
| 1
|
[
"That Thing You Do! (song)",
"instance of",
"single"
] |
"That Thing You Do" is the titular song appearing in the 1996 film of the same name. Written by Adam Schlesinger, the song is performed by the fictional 1960s band The Wonders, who are the focus of the film. The song peaked at No. 41 on the Billboard Hot 100 and was nominated for an Academy Award and a Golden Globe Award for Best Original Song in 1997.
| 3
|
[
"That Thing You Do! (song)",
"nominated for",
"Golden Globe Award"
] |
"That Thing You Do" is the titular song appearing in the 1996 film of the same name. Written by Adam Schlesinger, the song is performed by the fictional 1960s band The Wonders, who are the focus of the film. The song peaked at No. 41 on the Billboard Hot 100 and was nominated for an Academy Award and a Golden Globe Award for Best Original Song in 1997.
| 5
|
[
"That Thing You Do! (song)",
"performer",
"The Wonders"
] |
"That Thing You Do" is the titular song appearing in the 1996 film of the same name. Written by Adam Schlesinger, the song is performed by the fictional 1960s band The Wonders, who are the focus of the film. The song peaked at No. 41 on the Billboard Hot 100 and was nominated for an Academy Award and a Golden Globe Award for Best Original Song in 1997.
| 6
|
[
"The Scarlet Tide",
"form of creative work",
"song"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 0
|
[
"The Scarlet Tide",
"nominated for",
"Academy Awards"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 1
|
[
"The Scarlet Tide",
"nominated for",
"Grammy Awards"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 2
|
[
"The Scarlet Tide",
"lyrics by",
"Elvis Costello"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 4
|
[
"The Scarlet Tide",
"performer",
"Alison Krauss"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 6
|
[
"The Scarlet Tide",
"instance of",
"musical work/composition"
] |
"The Scarlet Tide" is a song written by T-Bone Burnett and Elvis Costello and performed by Alison Krauss from the 2003 film Cold Mountain
According to Costello, Burnett "always said 'Scarlet Tide' was an anti-fear song."The song was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
In 2004, a new version of the song performed by Elvis Costello and Emmylou Harris appeared as the closing track on the Costello album The Delivery Man.
Joan Baez included the song on her 2008 album Day After Tomorrow.
| 7
|
[
"Walk on the Wild Side (David and Bernstein song)",
"form of creative work",
"song"
] |
"Walk on the Wild Side" originated as the title song of the 1962 film of the same name as performed by Brook Benton over the film's coda and closing credits. Lyrics were written by Mack David and music was by Elmer Bernstein. The two earned an Oscar nomination for Best Original Song.Background
The song evokes the jazz and gospel music musical styles of the film's New Orleans setting, and the reputation of its Storyville district. It addresses an unnamed straying Christian — or perhaps all who…walk on the wild side
Away from the promised landand seems to threaten them in terms understood within their life style:
| 0
|
[
"Walk on the Wild Side (David and Bernstein song)",
"genre",
"jazz"
] |
Background
The song evokes the jazz and gospel music musical styles of the film's New Orleans setting, and the reputation of its Storyville district. It addresses an unnamed straying Christian — or perhaps all who
| 1
|
[
"Walk on the Wild Side (David and Bernstein song)",
"nominated for",
"Academy Awards"
] |
"Walk on the Wild Side" originated as the title song of the 1962 film of the same name as performed by Brook Benton over the film's coda and closing credits. Lyrics were written by Mack David and music was by Elmer Bernstein. The two earned an Oscar nomination for Best Original Song.
| 3
|
[
"Walk on the Wild Side (David and Bernstein song)",
"instance of",
"musical work/composition"
] |
"Walk on the Wild Side" originated as the title song of the 1962 film of the same name as performed by Brook Benton over the film's coda and closing credits. Lyrics were written by Mack David and music was by Elmer Bernstein. The two earned an Oscar nomination for Best Original Song.…walk on the wild side
Away from the promised landand seems to threaten them in terms understood within their life style:
| 4
|
[
"You Will Be My Ain True Love",
"composer",
"Alison Krauss"
] |
"You Will Be My Ain True Love" is a song written and performed by Sting and Alison Krauss from 2003, in the film Cold Mountain. The song was nominated for an Academy Award, a Grammy Award and the Golden Globe Award for Best Original Song.
The song is a notable example of the modern use of a drone bass.
Alison Krauss included it on her 2007 compilation, A Hundred Miles or More: A Collection and Sting re-recorded it for his 2010 album, Symphonicities.
| 4
|
[
"You Will Be My Ain True Love",
"performer",
"Alison Krauss"
] |
"You Will Be My Ain True Love" is a song written and performed by Sting and Alison Krauss from 2003, in the film Cold Mountain. The song was nominated for an Academy Award, a Grammy Award and the Golden Globe Award for Best Original Song.
The song is a notable example of the modern use of a drone bass.
Alison Krauss included it on her 2007 compilation, A Hundred Miles or More: A Collection and Sting re-recorded it for his 2010 album, Symphonicities.
| 5
|
[
"You Will Be My Ain True Love",
"lyrics by",
"Alison Krauss"
] |
"You Will Be My Ain True Love" is a song written and performed by Sting and Alison Krauss from 2003, in the film Cold Mountain. The song was nominated for an Academy Award, a Grammy Award and the Golden Globe Award for Best Original Song.
The song is a notable example of the modern use of a drone bass.
Alison Krauss included it on her 2007 compilation, A Hundred Miles or More: A Collection and Sting re-recorded it for his 2010 album, Symphonicities.
| 6
|
[
"The Moon Song",
"instance of",
"song"
] |
"The Moon Song" is a song from the 2013 feature film Her, with music composed by Karen Orzolek (Karen O) and lyrics by Orzolek and Spike Jonze. Performed by O during the film's end credits, the song was also performed by the film's main characters, Samantha (Scarlett Johansson) and Theodore (Joaquin Phoenix). A digital single containing all three versions of the song was released on February 11, 2014, by WaterTower Music.In January 2014, the song was nominated for Best Original Song at the 86th Academy Awards, but lost to "Let It Go" from Frozen. O performed the song at the ceremony accompanied by Ezra Koenig on guitar on March 2, 2014. In December 2014, the song was nominated for Best Song Written for Visual Media at the 57th Grammy Awards, but once again lost to "Let It Go".
| 1
|
[
"The Moon Song",
"nominated for",
"Academy Awards"
] |
"The Moon Song" is a song from the 2013 feature film Her, with music composed by Karen Orzolek (Karen O) and lyrics by Orzolek and Spike Jonze. Performed by O during the film's end credits, the song was also performed by the film's main characters, Samantha (Scarlett Johansson) and Theodore (Joaquin Phoenix). A digital single containing all three versions of the song was released on February 11, 2014, by WaterTower Music.In January 2014, the song was nominated for Best Original Song at the 86th Academy Awards, but lost to "Let It Go" from Frozen. O performed the song at the ceremony accompanied by Ezra Koenig on guitar on March 2, 2014. In December 2014, the song was nominated for Best Song Written for Visual Media at the 57th Grammy Awards, but once again lost to "Let It Go".
| 3
|
[
"The Moon Song",
"performer",
"Karen O"
] |
"The Moon Song" is a song from the 2013 feature film Her, with music composed by Karen Orzolek (Karen O) and lyrics by Orzolek and Spike Jonze. Performed by O during the film's end credits, the song was also performed by the film's main characters, Samantha (Scarlett Johansson) and Theodore (Joaquin Phoenix). A digital single containing all three versions of the song was released on February 11, 2014, by WaterTower Music.In January 2014, the song was nominated for Best Original Song at the 86th Academy Awards, but lost to "Let It Go" from Frozen. O performed the song at the ceremony accompanied by Ezra Koenig on guitar on March 2, 2014. In December 2014, the song was nominated for Best Song Written for Visual Media at the 57th Grammy Awards, but once again lost to "Let It Go".
| 6
|
[
"Raise It Up (August Rush song)",
"nominated for",
"Academy Awards"
] |
"Raise It Up" is a 2007 song written by Jamal Joseph, Charles Mack and Tevin Thomas for the motion picture August Rush. "Raise It Up" is performed in the film by Jamia Simone Nash and Impact Repertory Theatre, an African-American youth theatre group based in Harlem. The song was produced by Joseph and Mack.In the film, August Rush (Freddie Highmore) wanders into Harlem and is drawn to a church by the voice of a young soloist named Hope (Nash) singing this song, which inspires him. Hope ultimately brings him to the attention of her pastor, Reverend James (Mykelti Williamson), who helps August further develop his talent."Raise It Up" was nominated for the Academy Award for Best Original Song at the 80th Academy Awards; however, the nomination announcement originally said "Nominees to be determined". The production notes credit the song to the Impact Repertory Theatre as a whole; however, Oscar rules allow no more than three individuals to be credited with the song for nomination purposes. (This was the same rule that prevented Beyoncé Knowles from sharing in the Oscar nomination for her 2006 song "Listen" from Dreamgirls, even though she co-wrote it.) The next day, the Academy updated its list to show Joseph, Mack and Thomas as the nominees.On July 24, 2008, on The Young and the Restless, the characters Devon Hamilton and Ana Hamilton (played by August Rush's Nash) sang this song in the gala.
| 0
|
[
"Suddenly (Les Misérables)",
"performer",
"Hugh Jackman"
] |
Composition
The song is performed by Jean Valjean, played by Hugh Jackman in the film version. Music is by Claude-Michel Schonberg, while the lyrics are by Herbert Kretzmer and Alain Boublil. A reprise of the song is performed by Marius and Cosette toward the end of the film. The song has been described as "lullaby-like".Performance
The song and its reprise debuted in the 2012 Tom Hooper-directed adaptation of Les Misérables.
Hugh Jackman performed the song as part of a Les Misérables medley at the 85th Academy Awards.
| 5
|
[
"Suddenly (Les Misérables)",
"lyrics by",
"Alain Boublil"
] |
Composition
The song is performed by Jean Valjean, played by Hugh Jackman in the film version. Music is by Claude-Michel Schonberg, while the lyrics are by Herbert Kretzmer and Alain Boublil. A reprise of the song is performed by Marius and Cosette toward the end of the film. The song has been described as "lullaby-like".
| 7
|
[
"Lost Stars",
"nominated for",
"Academy Awards"
] |
Charts
Certifications
Accolades
"Lost Stars" was nominated for a 2015 Critics Choice Award for Best Original Song, but lost to "Glory" by John Legend and Common from Selma. The song was also nominated for Best Original Song at the 2015 Academy Awards, where it also lost to "Glory". However, the song did win Best Original Song in a Feature Film at the Hollywood Music in Media Awards.
| 1
|
[
"Grateful (Rita Ora song)",
"form of creative work",
"song"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 0
|
[
"Grateful (Rita Ora song)",
"nominated for",
"Academy Awards"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 1
|
[
"Grateful (Rita Ora song)",
"genre",
"pop music"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 2
|
[
"Grateful (Rita Ora song)",
"lyrics by",
"Diane Warren"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 4
|
[
"Grateful (Rita Ora song)",
"part of",
"Beyond the Lights"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 5
|
[
"Grateful (Rita Ora song)",
"instance of",
"musical work/composition"
] |
"Grateful" is a song performed by British singer Rita Ora, taken from the Beyond the Lights soundtrack. It was written by Diane Warren.Billboard premiered the song's audio on 22 October 2014, from Relativity Music Group's official SoundCloud. The song was released on 11 November 2014 on iTunes as a part of Beyond the Lights soundtrack. Ora performed "Grateful" at the 87th Academy Awards on 22 February 2015.
| 6
|
[
"Earned It",
"language of work or name",
"English"
] |
"Earned It", alternatively titled "Earned It (Fifty Shades of Grey)", is a song by Canadian singer the Weeknd. The song was released as the lead single from the soundtrack to the 2015 film Fifty Shades of Grey and was included on the Weeknd's second studio album Beauty Behind the Madness (2015).
"Earned It" was lauded by critics upon release, and peaked at number three on the Billboard Hot 100, becoming the Weeknd's first top five single. The song's popularity made Fifty Shades of Grey the latest soundtrack to generate concurrent top-ten singles with Ellie Goulding's "Love Me like You Do", which also peaked at number three. Its music video was directed by the film's director, Sam Taylor-Johnson, features the film's lead actress, Dakota Johnson, and has the same BDSM theme. The song was nominated for Best Original Song at the 88th Academy Awards and won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards. On February 16, 2023, it was certified diamond by the Recording Industry Association of America (RIAA) for selling more than ten million copies in the United States.
| 0
|
[
"Earned It",
"nominated for",
"Academy Awards"
] |
Accolades
The song won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards, while also being nominated for Best R&B Song, and Best Song Written for Visual Media. The song also received a nomination for Best Original Song at the 88th Academy Awards.
| 2
|
[
"Earned It",
"instance of",
"single"
] |
"Earned It", alternatively titled "Earned It (Fifty Shades of Grey)", is a song by Canadian singer the Weeknd. The song was released as the lead single from the soundtrack to the 2015 film Fifty Shades of Grey and was included on the Weeknd's second studio album Beauty Behind the Madness (2015).
"Earned It" was lauded by critics upon release, and peaked at number three on the Billboard Hot 100, becoming the Weeknd's first top five single. The song's popularity made Fifty Shades of Grey the latest soundtrack to generate concurrent top-ten singles with Ellie Goulding's "Love Me like You Do", which also peaked at number three. Its music video was directed by the film's director, Sam Taylor-Johnson, features the film's lead actress, Dakota Johnson, and has the same BDSM theme. The song was nominated for Best Original Song at the 88th Academy Awards and won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards. On February 16, 2023, it was certified diamond by the Recording Industry Association of America (RIAA) for selling more than ten million copies in the United States.
| 3
|
[
"Earned It",
"genre",
"contemporary R&B"
] |
"Earned It", alternatively titled "Earned It (Fifty Shades of Grey)", is a song by Canadian singer the Weeknd. The song was released as the lead single from the soundtrack to the 2015 film Fifty Shades of Grey and was included on the Weeknd's second studio album Beauty Behind the Madness (2015).
"Earned It" was lauded by critics upon release, and peaked at number three on the Billboard Hot 100, becoming the Weeknd's first top five single. The song's popularity made Fifty Shades of Grey the latest soundtrack to generate concurrent top-ten singles with Ellie Goulding's "Love Me like You Do", which also peaked at number three. Its music video was directed by the film's director, Sam Taylor-Johnson, features the film's lead actress, Dakota Johnson, and has the same BDSM theme. The song was nominated for Best Original Song at the 88th Academy Awards and won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards. On February 16, 2023, it was certified diamond by the Recording Industry Association of America (RIAA) for selling more than ten million copies in the United States.
| 8
|
[
"Earned It",
"award received",
"Grammy Award for Best R&B Performance"
] |
"Earned It", alternatively titled "Earned It (Fifty Shades of Grey)", is a song by Canadian singer the Weeknd. The song was released as the lead single from the soundtrack to the 2015 film Fifty Shades of Grey and was included on the Weeknd's second studio album Beauty Behind the Madness (2015).
"Earned It" was lauded by critics upon release, and peaked at number three on the Billboard Hot 100, becoming the Weeknd's first top five single. The song's popularity made Fifty Shades of Grey the latest soundtrack to generate concurrent top-ten singles with Ellie Goulding's "Love Me like You Do", which also peaked at number three. Its music video was directed by the film's director, Sam Taylor-Johnson, features the film's lead actress, Dakota Johnson, and has the same BDSM theme. The song was nominated for Best Original Song at the 88th Academy Awards and won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards. On February 16, 2023, it was certified diamond by the Recording Industry Association of America (RIAA) for selling more than ten million copies in the United States.Accolades
The song won the Grammy Award for Best R&B Performance at the 58th Annual Grammy Awards, while also being nominated for Best R&B Song, and Best Song Written for Visual Media. The song also received a nomination for Best Original Song at the 88th Academy Awards.
| 11
|
[
"I'm Not Gonna Miss You",
"nominated for",
"Academy Awards"
] |
"I'm Not Gonna Miss You" is a song recorded by American country music artist Glen Campbell and The Wrecking Crew. Co-written by Campbell and producer Julian Raymond, the song was released on September 30, 2014 for the soundtrack to the documentary Glen Campbell: I'll Be Me, which focuses on the singer's diagnosis of Alzheimer's disease and his final tour."I'm Not Gonna Miss You" is the last song to be recorded by Campbell. The song was nominated for Best Original Song at the 87th Academy Awards. During the ceremony, the song was performed by Tim McGraw. It also won the Grammy Award for Best Country Song.
| 1
|
[
"I'm Not Gonna Miss You",
"author",
"Glen Campbell"
] |
"I'm Not Gonna Miss You" is a song recorded by American country music artist Glen Campbell and The Wrecking Crew. Co-written by Campbell and producer Julian Raymond, the song was released on September 30, 2014 for the soundtrack to the documentary Glen Campbell: I'll Be Me, which focuses on the singer's diagnosis of Alzheimer's disease and his final tour."I'm Not Gonna Miss You" is the last song to be recorded by Campbell. The song was nominated for Best Original Song at the 87th Academy Awards. During the ceremony, the song was performed by Tim McGraw. It also won the Grammy Award for Best Country Song.
| 3
|
[
"I'm Not Gonna Miss You",
"published in",
"Glen Campbell: I'll Be Me"
] |
"I'm Not Gonna Miss You" is a song recorded by American country music artist Glen Campbell and The Wrecking Crew. Co-written by Campbell and producer Julian Raymond, the song was released on September 30, 2014 for the soundtrack to the documentary Glen Campbell: I'll Be Me, which focuses on the singer's diagnosis of Alzheimer's disease and his final tour."I'm Not Gonna Miss You" is the last song to be recorded by Campbell. The song was nominated for Best Original Song at the 87th Academy Awards. During the ceremony, the song was performed by Tim McGraw. It also won the Grammy Award for Best Country Song.Background
"I'm Not Gonna Miss You" was initiated by Julian Raymond who pitched an idea of recording the song to James Keach, director of Glen Campbell: I'll Be Me, who eventually decided to use the footage of the recording session as one of the final scenes in the documentary. Raymond discussed the inspiration behind the song:
[Campbell] had a hard day of people asking him about Alzheimer's and how he felt about it. He didn't talk too much about it, but came up to me and said, 'I don't know what everybody's worried about. It's not like I'm going to miss anyone, anyway.' [...] The song by design is simple. I knew we couldn't do something like "Wichita Lineman" that had complicated key changes or bigger-range stuff.
The song was recorded over four takes within one day. The song also features the members of The Wrecking Crew, the musicians that Campbell has collaborated with before. It was recorded in January 2013 in Los Angeles, and is part of the soundtrack for Glen Campbell: I'll Be Me which premiered on October 24, 2014.
| 8
|
[
"I'm Not Gonna Miss You",
"author",
"Julian Raymond"
] |
"I'm Not Gonna Miss You" is a song recorded by American country music artist Glen Campbell and The Wrecking Crew. Co-written by Campbell and producer Julian Raymond, the song was released on September 30, 2014 for the soundtrack to the documentary Glen Campbell: I'll Be Me, which focuses on the singer's diagnosis of Alzheimer's disease and his final tour."I'm Not Gonna Miss You" is the last song to be recorded by Campbell. The song was nominated for Best Original Song at the 87th Academy Awards. During the ceremony, the song was performed by Tim McGraw. It also won the Grammy Award for Best Country Song.
| 9
|
[
"Husavik (song)",
"nominated for",
"Academy Awards"
] |
"Husavik" (also known as "Húsavík" or "Husavik (My Hometown)") is a song performed by Will Ferrell and Molly Sandén (under the stage name My Marianne) for the film Eurovision Song Contest: The Story of Fire Saga (2020). The song was written by Fat Max Gsus, Rickard Göransson, and Savan Kotecha, and received a nomination for Best Original Song at the 93rd Academy Awards.Accolades
"Husavik" was nominated for Best Original Song at the 93rd Academy Awards. It was also nominated for Best Song at the 26th Critics' Choice Awards and for Best Original Song in a Feature Film at the 11th Hollywood Music in Media Awards.At the 2021 Society of Composers and Lyricists Awards, "Husavik" won Outstanding Original Song for Visual Media. It won the Hollywood Critics Association Awards for Best Original Song.The town of Húsavík, which is described in the song, has adopted it as their local anthem.
| 0
|
[
"Aki Kaurismäki",
"instance of",
"human"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 0
|
[
"Aki Kaurismäki",
"languages spoken, written or signed",
"Finnish"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 1
|
[
"Aki Kaurismäki",
"country of citizenship",
"Finland"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 3
|
[
"Aki Kaurismäki",
"nominated for",
"César Award for Best Film from the European Union"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 4
|
[
"Aki Kaurismäki",
"nominated for",
"European Film Award for Best Film"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 8
|
[
"Aki Kaurismäki",
"given name",
"Olavi"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 12
|
[
"Aki Kaurismäki",
"occupation",
"screenwriter"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 15
|
[
"Aki Kaurismäki",
"sibling",
"Mika Kaurismäki"
] |
Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 16
|
[
"Aki Kaurismäki",
"nominated for",
"César Award for Best Film"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 18
|
[
"Aki Kaurismäki",
"award received",
"Silver Bear for Best Director"
] |
List of awards
Silver Bear2017 The Other Side of HopeCannes Grand Prix2002 The Man Without a PastCannes Ecumenical Jury Special Mention1996 Drifting CloudsCannes Prize of the Ecumenical Jury2002 The Man Without a PastFIPRESCI Award2011 Le HavreJussi for Best Film2006 Lights in the DuskJussi for Best Debut Film1983 Crime and PunishmentJussi for Best Script1983 Crime and Punishment1996 Drifting Clouds2002 The Man Without a Past2011 Le HavreJussi for Best Direction1990 The Match Factory Girl1992 La vie de bohème1996 Drifting Clouds2002 The Man Without a PastSão Paulo Audience Award for Best Feature1996 Drifting Clouds
| 22
|
[
"Aki Kaurismäki",
"given name",
"Aki"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 24
|
[
"Aki Kaurismäki",
"occupation",
"theatrical director"
] |
Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 29
|
[
"Aki Kaurismäki",
"award received",
"Cannes Film Festival Grand Prix"
] |
List of awards
Silver Bear2017 The Other Side of HopeCannes Grand Prix2002 The Man Without a PastCannes Ecumenical Jury Special Mention1996 Drifting CloudsCannes Prize of the Ecumenical Jury2002 The Man Without a PastFIPRESCI Award2011 Le HavreJussi for Best Film2006 Lights in the DuskJussi for Best Debut Film1983 Crime and PunishmentJussi for Best Script1983 Crime and Punishment1996 Drifting Clouds2002 The Man Without a Past2011 Le HavreJussi for Best Direction1990 The Match Factory Girl1992 La vie de bohème1996 Drifting Clouds2002 The Man Without a PastSão Paulo Audience Award for Best Feature1996 Drifting Clouds
| 31
|
[
"Aki Kaurismäki",
"place of birth",
"Orimattila"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 32
|
[
"Aki Kaurismäki",
"field of work",
"film direction"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 34
|
[
"Aki Kaurismäki",
"family name",
"Kaurismäki"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 36
|
[
"Aki Kaurismäki",
"spouse",
"Paula Oinonen"
] |
Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 38
|
[
"Aki Kaurismäki",
"sex or gender",
"male"
] |
Aki Olavi Kaurismäki (Finnish pronunciation: [ˈɑki ˈkɑu̯rismæki] (listen); born 4 April 1957) is a Finnish film director and screenwriter. He is best known for the award-winning Drifting Clouds (1996), The Man Without a Past (2002), Le Havre (2011) and The Other Side of Hope (2017), as well as for the mockumentary Leningrad Cowboys Go America (1989). He is described as Finland's best-known film director.
| 39
|
[
"Aki Kaurismäki",
"educated at",
"University of Tampere"
] |
Career
After graduating in media studies from the University of Tampere, Kaurismäki worked as a bricklayer, postman, and dish-washer, long before pursuing his interest in cinema, first as a critic, and later as a screenwriter & director. He started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife, Paula Oinonen, to Portugal, saying "in all of Helsinki there is no place left where I could place my camera". In 1992, the New York Times film critic Vincent Canby declared Kaurismäki "an original ... one of cinema's most distinctive and idiosyncratic new artists, and possibly one of the most serious.... [He] could well turn out to be the seminal European filmmaker of the '90s."
| 41
|
[
"Samira Makhmalbaf",
"instance of",
"human"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 0
|
[
"Samira Makhmalbaf",
"languages spoken, written or signed",
"Persian"
] |
Samira Makhmalbaf (Persian: سمیرا مخملباف, Samira Makhmalbaaf) (born 15 February 1980) is an Iranian filmmaker and screenwriter. She is the daughter of Mohsen Makhmalbaf, the film director and writer. Samira Makhmalbaf is considered to be part of the Iranian New Wave. She has won multiple awards including 2 Jury Prizes at Cannes Film Festival, and has been nominated for numerous awards.
| 1
|
[
"Samira Makhmalbaf",
"country of citizenship",
"Iran"
] |
Samira Makhmalbaf (Persian: سمیرا مخملباف, Samira Makhmalbaaf) (born 15 February 1980) is an Iranian filmmaker and screenwriter. She is the daughter of Mohsen Makhmalbaf, the film director and writer. Samira Makhmalbaf is considered to be part of the Iranian New Wave. She has won multiple awards including 2 Jury Prizes at Cannes Film Festival, and has been nominated for numerous awards.Early life
Samira Makhmalbaf was born 15 February 1980 in Tehran to filmmaker Mohsen Makhmalbaf. She joined her father on his film sets as a child and watched him edit afterwards. In her official biography, Makhmalbaf stated that her first taste for cinema came as a 7-year-old when she played a role in her father's film The Cyclist in 1987. Makhmalbaf left high school when she was 14 years old to study cinema in the Makhmalbaf Film House for five years. At age 20, she studied Psychology and Law at Roehampton University in London.
| 2
|
[
"Samira Makhmalbaf",
"father",
"Mohsen Makhmalbaf"
] |
Samira Makhmalbaf (Persian: سمیرا مخملباف, Samira Makhmalbaaf) (born 15 February 1980) is an Iranian filmmaker and screenwriter. She is the daughter of Mohsen Makhmalbaf, the film director and writer. Samira Makhmalbaf is considered to be part of the Iranian New Wave. She has won multiple awards including 2 Jury Prizes at Cannes Film Festival, and has been nominated for numerous awards.Early life
Samira Makhmalbaf was born 15 February 1980 in Tehran to filmmaker Mohsen Makhmalbaf. She joined her father on his film sets as a child and watched him edit afterwards. In her official biography, Makhmalbaf stated that her first taste for cinema came as a 7-year-old when she played a role in her father's film The Cyclist in 1987. Makhmalbaf left high school when she was 14 years old to study cinema in the Makhmalbaf Film House for five years. At age 20, she studied Psychology and Law at Roehampton University in London.Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 3
|
[
"Samira Makhmalbaf",
"given name",
"Samira"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 6
|
[
"Samira Makhmalbaf",
"sibling",
"Hana Makhmalbaf"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 7
|
[
"Samira Makhmalbaf",
"family name",
"Makhmalbaf"
] |
Samira Makhmalbaf (Persian: سمیرا مخملباف, Samira Makhmalbaaf) (born 15 February 1980) is an Iranian filmmaker and screenwriter. She is the daughter of Mohsen Makhmalbaf, the film director and writer. Samira Makhmalbaf is considered to be part of the Iranian New Wave. She has won multiple awards including 2 Jury Prizes at Cannes Film Festival, and has been nominated for numerous awards.Early life
Samira Makhmalbaf was born 15 February 1980 in Tehran to filmmaker Mohsen Makhmalbaf. She joined her father on his film sets as a child and watched him edit afterwards. In her official biography, Makhmalbaf stated that her first taste for cinema came as a 7-year-old when she played a role in her father's film The Cyclist in 1987. Makhmalbaf left high school when she was 14 years old to study cinema in the Makhmalbaf Film House for five years. At age 20, she studied Psychology and Law at Roehampton University in London.Career
At the age of 17, after directing two video productions, Makhmalbaf went on to direct her first feature film, La Pomme (The Apple). She presented La Pomme at Cannes Film Festival. In an interview at the London Film Festival in 1998, Samira Makhmalbaf stated that she felt that The Apple owed its existence to the new circumstances and changed the atmosphere in Iran due to the Khatami presidency. The Apple was invited to more than 100 international film festivals in two years while going to the screen in more than 30 countries. In 2000 she was a member of the jury at the 22nd Moscow International Film Festival.Samira Makhmalbaf has been the winner and nominee for numerous awards. She was nominated twice for Golden Palm of Cannes Film Festival for Takhté siah (Blackboards) (2001) and Panj é asr (At Five in the Afternoon) (2003). She won Prix du Jury of Cannes for both films in 2001 and 2003, respectively. Samira Mohmalbaf also won the Sutherland Trophy at the London Film Festival for The Apple in 1998 and the UNESCO Award at the Venice Film Festival in 2002 for 11'09"01 September 11. In 2003, a panel of critics at the British newspaper The Guardian named Makhmalbaf among the best 40 best directors at work today.During the production of Asbe du-pa (Two Legged Horse), Makhmalbaf and her cast and crew suffered an attack while filming in Afghanistan. Production stopped when a man who infiltrated the set as an extra tossed a hand grenade from the rooftop of a local bazaar. The attack severely injured six cast members and killed a horse. In an interview, Makhmalbaf stated, "I saw little boys falling to the ground, and the whole street was full of blood... My first thought was that I wouldn't see my father anymore." Determined to carry on, Makhmalbaf completed her film and held the initial release in 2008 in France.
After completing Asbe du-pa, Makhmalbaf earned nominations at various international film festivals. Ultimately winning awards at Ghent International Film Festival, San Sebastián International Film Festival, and Tallinn Black Nights Film Festival.Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 8
|
[
"Samira Makhmalbaf",
"sex or gender",
"female"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 12
|
[
"Samira Makhmalbaf",
"place of birth",
"Tehran"
] |
Early life
Samira Makhmalbaf was born 15 February 1980 in Tehran to filmmaker Mohsen Makhmalbaf. She joined her father on his film sets as a child and watched him edit afterwards. In her official biography, Makhmalbaf stated that her first taste for cinema came as a 7-year-old when she played a role in her father's film The Cyclist in 1987. Makhmalbaf left high school when she was 14 years old to study cinema in the Makhmalbaf Film House for five years. At age 20, she studied Psychology and Law at Roehampton University in London.
| 14
|
[
"Samira Makhmalbaf",
"occupation",
"screenwriter"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 16
|
[
"Samira Makhmalbaf",
"occupation",
"film producer"
] |
Personal life
Mohsen Makhmalbaf married Fatemeh Meshkini, who gave birth to their three children – Samira (or Zeynab, born in 1980), Meysam (or Ayyoub, born in 1981), and Hana (or Khatereh, born in 1988).Mohsen Makhmalbaf says in an interview, "When I left the political organizations and moved into radio, Fatemeh came with me. I wrote programming, and she became an announcer. When Samira was born, we'd take her to the radio station. We worked, and she was always with one of us." Fatemeh Meshkini died in an accident in 1982. Mohsen Makhmalbaf subsequently married Fatemeh Meshkini's sister, Marziyeh Meshkini.Samira Makhmalbaf has been a great activist for women's rights almost all her life. In an interview with The Guardian, she says, "We have a lot of limitations from all the written and unwritten law. But, still, I hope, and I believe that it will get better. It started with the democratic movement. But some things don't happen consciously. I wanted to make films, I made films to say something else, but in a way, I became a kind of example. It was breaking some cliche. Another new way of thinking started. Yes, we have a lot of limitations, but these limitations made a lot of strong, different kinds of women in Iran who, if they find a chance to express themselves, have plenty of things to say. They may have found a deeper way through all these limitations." In the same interview, she talks about politics and says, "Even if I made that kind of direct movie talking about politics, it's nothing. Nothing, because it's just talking like a journalist. You are saying something superficial. The movies I make are deeper. This kind of work can live longer and deeper than that kind of journalistic work."At Five in the Afternoon is the first feature film in a post-Taliban environment. She talks about her film to the BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf. "Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan."In an interview with the BBC, she discusses the difficulties women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a filmmaker. It is, therefore, very much harder for a woman. Also, when you live in this kind of situation, there is a danger that you can start to develop a similar mindset. So the thing is to challenge this situation, and then slowly, the situation will also change in the minds of others. I very much hope that in the advent of freedom and democracy, Iran can produce many more women directors."
| 17
|
[
"Samira Makhmalbaf",
"field of work",
"writing"
] |
Samira Makhmalbaf (Persian: سمیرا مخملباف, Samira Makhmalbaaf) (born 15 February 1980) is an Iranian filmmaker and screenwriter. She is the daughter of Mohsen Makhmalbaf, the film director and writer. Samira Makhmalbaf is considered to be part of the Iranian New Wave. She has won multiple awards including 2 Jury Prizes at Cannes Film Festival, and has been nominated for numerous awards.
| 18
|
[
"Jonathan Nossiter",
"nominated for",
"César Award for Best Film from the European Union"
] |
Film career
It was during the filming that Nossiter met Quentin Crisp, who later became the star of his first feature film, Resident Alien, a hybrid fiction-documentary also starring John Hurt and Holly Woodlawn. Theatrically released in 1991, after premieres at the Berlin and Toronto Film Festivals, Resident Alien, which he wrote, produced and directed, is a comic portrait of the last, tattered days of New York's bohemian underground. It was rereleased in 2005 on DVD in the US in an edition with a later, twinned film Losing The Thread, a comedy about art world follies and the triumph of tourism in Florence, Italy. His second feature film Sunday (1997), which he produced with Alix Madigan, co-wrote with James Lasdun and directed, won the Sundance Film Festival's Grand Jury Prize for Best Film and Waldo Salt award for Best Screenplay and the Deauville Film Festival's Grand Prize for Best Film and their International Critics' Prize, as well as earning a selection in Un Certain Regard in Cannes. Starring David Suchet, Sunday is a dark romantic comedy about the travails of an unemployed IBM employee among the homeless in Queens and his fairy tale one day love affair with an ageing actress.
Nossiter's subsequent feature, Signs and Wonders (2000), starred Charlotte Rampling and Stellan Skarsgård. Shot in Greece and produced by MK2 and Nick Wechsler (the only film Nossiter did not act as a producer), this psychological thriller was nominated for a Golden Bear at the Berlin Festival in 2000.
His fourth feature film, Mondovino (2004), which he produced, directed, shot and edited, is a documentary set in the real world of wine. It was nominated for the Palme d'Or in Cannes in 2004 (one of only four documentaries ever nominated in the history of the festival). It was also the only documentary ever nominated for Best European Film at the Césars in 2005. A 10 part series derived from the feature, which he also directed and produced, was given a gala premiere at the Museum of Modern Art in New York and released by Diaphana on DVD in France in 2006. It was released in the US in 2007 and has been shown on television in more than 20 countries.
Nossiter's other films include Losing The Thread for RAI in Italy and the Sundance Channel in the US (premiere Rotterdam Festival 2001) and Searching for Arthur, a look at Arthur Penn in New York, for Telepiu's Italian series Directors on Directors (premiere at Locarno Festival 1997).
His most recent films are Rio Sex Comedy, a comedy from 2010, and Last Words, a drama from 2020.
| 3
|
[
"Jonathan Nossiter",
"occupation",
"sommelier"
] |
Wine
A trained sommelier, in parallel to his film career, he has made wine lists and trained staffs for a variety of restaurants in New York, Paris and Rio de Janeiro, including Balthazar, “Rice”, “Il Buco” “Man Ray”, “Roberta Sudbrack”, Claude Troisgros and “Aprazivel”.
His book Taste & Power: The wine world wars, (French: Le Goût et le Pouvoir), was published in 2007 by Editions Grasset in France, drawing varied reactions from the wine community, including Robert M. Parker, Jr who accused Nossiter of stupidity and bigotry.An English edition of the book, entitled Liquid Memory and translated by Nossiter, was published by Atlantic Books in 2010.
| 10
|
[
"Jonathan Nossiter",
"educated at",
"École des Beaux-Arts"
] |
Early life and education
Nossiter was born to a Jewish family in the United States in 1961, the son of Washington Post and New York Times foreign correspondent Bernard Nossiter. He was raised in France, England, Italy, Greece and India. He studied painting at the Beaux Arts in Paris and at the San Francisco Art Institute, as well as Ancient Greek at Dartmouth College (Phi Beta Kappa, Senior Fellow.) After work as an assistant director in the theatre in England (The Newcastle Playhouse, King's Head), he went to New York where he landed a job moving office furniture for the film Fatal Attraction, which led to a position as assistant to the director Adrian Lyne for the length of the shoot.
| 14
|
[
"Donnie Yen",
"instance of",
"human"
] |
Donnie Yen Ji-dan (Chinese: 甄子丹; born 27 July 1963) is a Hong Kong actor, martial artist, and action director. Regarded as one of Hong Kong's top action stars, Yen is widely credited for bringing mixed martial arts (MMA) into mainstream Asian cinema by choreographing MMA in many of his films since the early 2000s. The first Chinese UFC champion Zhang Weili stated that Yen's films introduced her to MMA. Yen has displayed skill in an array of martial arts, being well-versed in Tai Chi, Boxing, Kickboxing, Jeet Kune Do, Hapkido, Mixed martial arts, Taekwondo, Karate, Muay Thai, Wrestling, Brazilian jiu-jitsu, Hung Ga, Sanda, Judo, Wing Chun, and Wushu. One of the most popular film stars in Asia of the early 2000s, Yen is consistently one of the highest-paid actors in Asia. Yen earned HK$220 million (US$28.4 million) from four films and six advertisements in 2013.Yen is credited by many for contributing to the popularisation of Wing Chun in China. He portrays Wing Chun grandmaster Ip Man in the Ip Man film series, which has garnered box office success and led to an increase in the number of people taking up Wing Chun, with hundreds of new Wing Chun schools being opened up in mainland China and other parts of Asia. Ip Chun, the eldest son of Ip Man, even mentioned that he is grateful to Yen for making his family's art popular and allowing his father's legacy to be remembered. He has also gained international recognition for playing Chirrut Îmwe in Rogue One (2016) and Xiang in XXX: Return of Xander Cage (2017), as well as Commander Tung in Mulan (2020) and Caine in John Wick: Chapter 4 (2023).
| 0
|
[
"Donnie Yen",
"native language",
"Cantonese"
] |
Donnie Yen Ji-dan (Chinese: 甄子丹; born 27 July 1963) is a Hong Kong actor, martial artist, and action director. Regarded as one of Hong Kong's top action stars, Yen is widely credited for bringing mixed martial arts (MMA) into mainstream Asian cinema by choreographing MMA in many of his films since the early 2000s. The first Chinese UFC champion Zhang Weili stated that Yen's films introduced her to MMA. Yen has displayed skill in an array of martial arts, being well-versed in Tai Chi, Boxing, Kickboxing, Jeet Kune Do, Hapkido, Mixed martial arts, Taekwondo, Karate, Muay Thai, Wrestling, Brazilian jiu-jitsu, Hung Ga, Sanda, Judo, Wing Chun, and Wushu. One of the most popular film stars in Asia of the early 2000s, Yen is consistently one of the highest-paid actors in Asia. Yen earned HK$220 million (US$28.4 million) from four films and six advertisements in 2013.Yen is credited by many for contributing to the popularisation of Wing Chun in China. He portrays Wing Chun grandmaster Ip Man in the Ip Man film series, which has garnered box office success and led to an increase in the number of people taking up Wing Chun, with hundreds of new Wing Chun schools being opened up in mainland China and other parts of Asia. Ip Chun, the eldest son of Ip Man, even mentioned that he is grateful to Yen for making his family's art popular and allowing his father's legacy to be remembered. He has also gained international recognition for playing Chirrut Îmwe in Rogue One (2016) and Xiang in XXX: Return of Xander Cage (2017), as well as Commander Tung in Mulan (2020) and Caine in John Wick: Chapter 4 (2023).
| 8
|
[
"Donnie Yen",
"place of birth",
"Guangzhou"
] |
Early life
Yen was born on 27 July 1963 in Guangzhou, Guangdong, China. His mother, Bow-sim Mark, is a Fu Style Wudangquan (internal martial arts) and Tai Chi grandmaster, while his father, Klyster Yen (甄雲龍), was a newspaper editor. When he was two years old, his family moved to Hong Kong and then to the United States, settling in Boston when he was 11. He attended Newton North High School.His younger sister, Chris Yen, is also a martial artist and actress, and appeared in the 2007 film Adventures of Johnny Tao: Rock Around the Dragon.
At a young age, under the influence of his mother, Yen developed an interest in martial arts and began experimenting with various styles, including t'ai chi and other traditional Chinese martial arts. At age 16, Yen began practising Wushu after his parents sent him to Beijing to train with the Beijing Wushu Team.When Yen decided to return to the United States, he made a side-trip to Hong Kong, where he met action choreographer Yuen Woo-ping.Yen also came from a family of musicians. His mother is a soprano, in addition to being a martial arts teacher in Boston, while his father is a violinist. From a young age, he was taught by his parents to play musical instruments, including the piano.
| 9
|
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