When you taught me how to dance mp3
Download Mp3 Keke Taught Me Mp3 Download or Listen Free [5.31 MB] ~ MP3 Music Download
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03:52 5.31 MB 4,944,788
It's a party as Detroit's Brooklyn Queen brings us the official visual for her viral dance hit "KeKe Taught Me" produced by The Crew. The video...
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02:42 3. 71 MB 172,315,239
Watch the official music video for "KEKE" by 6IX9INE Feat. Fetty Wap & A Boogie Wit Da Hoodie. Listen to 6ix9ine’s debut mixtape, Day69: ...
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03:01 4.14 MB 61,645,135
TEACH ME HOW TO DOUGIE ►► InstantRingers.info/d ◄◄
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Detroit's Brooklyn Queen brings us the official visual for "EMOJI", which you can get now on iTunes and Apple Music via BMB Entertainment. ...
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02:40 3.66 MB 36,553,034
ZaZa - What I Do? [Official Video] Download/Stream: smarturl.it/ZaZa_What_I_Do Produced by DownToMars & Nemo Achida Mixed by Steve White, The...
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Drake In My Feelings lyrics video. Official Drake In My Feelings lyrics from the Shiggy Challenge song aka Drake Kiki Do You Love Me lyrics. 🎧 Top...
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03:29 4.78 MB 19,551,380
I know I have mistakes in here . I did this by ear so not all of it is gonna be perfect -.-` LYRICS IN DESCRIPTION TOO (: Keke Palmer and Max...
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Official Music Video for Carl Thomas - "Emotional" directed by Marcus Raboy from 'Emotional' (2000) Subscribe to the channel ...
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03:04 4.21 MB 15,662,113
shirts are available at teachmemommy.bigcartel.com This song was inspired by Cardi B and Bruno Mars song “Please Me” Cardi B reposted the...
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03:43 5.
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The soundtrack from the Disney Channel original movie "Let It Shine" is available now!! Get it on iTunes - smarturl.it/lisiTunesa1 Want more...
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Nigel Westlake - Composer Interview with focus on Miss Potter
This interview was conducted by telephone on 4th January 2007, with Jim Paterson speaking to Nigel Westlake about his musical background and the (soon to be released) film Miss Potter which covers a key period in the life of Beatrix Potter.
An audio version of this interview is also available for download as an mp3 podcast (23Mb).
Musical Background
JP: The Miss Potter film and soundtrack is going to be released shortly in the UK. I've a number of questions about the music, but first I'd like to understand a little bit more about your musical background and how you came to work in film music.
NW: I began my musical career playing the clarinet. My father was the principal clarinettist in the Sydney Symphony Orchestra and he taught me to play from about the age of 10, and for many years I aspired to become an orchestral clarinettist and follow in his footsteps. In my mid-teens I started experimenting with composition, and became quite interested in the process of composing and its impact on my interpretation of existing classical music, namely the music I was studying at the time, that being the clarinet repertoire of great concertos and so on. I began to write little pieces for my friends to play, a very diverse collection of instrumentalists from jazz, classical and rock backgrounds. We formed a band and we toured with the band for a few years along the East coast of Australia with some success. Through that experience I began to get invitations to compose music for Radio and Theatre and Circus, and by and by I became involved in film.
My mother found a little ad in the paper one day which she cut out to show to me, which was asking for applicants to sign up for the first ever music and film course at the Australian Film and Television School based in Sidney.
I applied for it thinking that I didn't have a chance of getting in but I did, and my work was noticed by some producers who were involved in the course and I was subsequently invited to write for some documentaries. During this time I was maintaining a career as a clarinet player. So I had for quite some time a dual career existence as a composer of television and media music, and on the other hand a classical career as a clarinettist in various chamber music ensembles. It was about 11 years ago that my composition career eclipsed my playing career and I started to get some fantastic offers to write film scores. But really it did interfere with my performing career, so at that point I began to concentrate fully on composition and I actually stopped playing the clarinet. So that's where I've come from. I'm a self-taught composer and gained a lot of my skills working as an instrumentalist with other instrumentalists, with a keen interest in contemporary music.
JP: That's very interesting.
You say that you were self-taught but you did attend that course in Sidney.
NW: Well that was a short couse, about 8 weeks long, and it was more to do with the mechanics of fitting music with film. It wasn't a composition course as such but about applying music to film. I had as my tutor a brilliant American composer called Bill Motzing, who's been involved for many years now in a number of feature scores himself and more recently he's been doing a lot of teaching and orchestration for other composers. That was a wonderful introduction into music for film. I've also had a great opportunity to take my scores to other composers whose work I admire, and get them to commment on the work and give me feedback in a more informal situation. So "self-taught" is a bit of a long shot, but it has been more an informal approach to composition.
JP: Yes, so you didn't study composition formally for 3 or 4 years at University. In your film music you mentioned a number of documentaries but, to my mind at least, you are most familiar as the composer for the Babe films.
NW: A lot of the documentaries I've done have been for lesser known television presentations, but more recently I've been involved in Imax films, which in a sense are documentaries. I've done 5 Imax film scores to date, and that's a wonderful format to work in which is very different to the standard drama feature film score.
Miss Potter - music box theme and song
JP: So going back to Babe then, the first Babe film was directed by Chris Noonan just like Miss Potter. Have you formed a particular close relationship with Chris?
NW: Yes, we formed quite a close relationship. It was a very healthy composer-director relationship that we established on Babe, and we always said that we would look for another project to work on together. Chris has been very busy the last 10 years or so developing a number of film scripts, several of which he'll now be bringing to the screen over the next few years. But Miss Potter was one that he felt would be interesting for us to work on together, so I was invited to submit some ideas for this score.
In fact one particular idea which is in the centre of the film is a very touching scene where Ewan McGregor who is playing the part of Beatrix Potter's publisher, Norman Warne, is taken up to Beatrix's bedroom one Christmas Eve in order for her to present him with a beautiful painting that she has done as a Christmas gift for him to show her appreciation for his support of her work, in the publication of her first children's book "The Story of Peter Rabbit". He notices in the corner of her room a little music box. He picks it up and it begins to play. He says "Oh yes I know this tune which is "Let Me Teach You How To Dance"." He says he's a terrible dancer but the words are rather sweet. Beatrix says to him "Oh, you know the words. Can you please sing the words for me." and then Ewan proceeds to sing this song.
Chris rang me up several says before they were due to film this scene and said we've got this song and we haven't got a tune for it. I think I'd like you to write me a waltz in the style of the popular genre of the period circa 1890s.
It should be very formal, very sweet like a parlour song. This was of course a new venture for me having never written anything like this before, but I quickly dashed off a tune and sent it through to Chris on email as an mp3 file, saying "is this the sort of thing that you want? And if it is I'll keep developing it to make it better for the shoot". He wrote back a couple of days later saying "Yes, we've shot the scene and the tune worked beautifully, thank you very much. Would you like to come to London and write the score? Because I think that this theme should be incorporated as part of the score of this film and you're obviously the person to do it. So it was with great excitement that I packed up and moved to London for several months and worked very closely with Chris on the score. I had the wonderful opportunity to work in London with fantastic, top-of-the-tree session musicians. I had the great priviledge to work with people like Maggie Rodford at Air-Edel and of course Mike Batt and Katie Melua who came on board at the very last moment.
JP: So how did that happen? Were you involved?
NW: What happened was I got a call from Maggie a couple of days before I was due to leave London to return to Sidney, because the score had all been recorded and the job had wound up. Maggie said "Look, the producers are interested in turning the music box tune into some sort of pop song for the end credits." Of course my immediate reaction was "It's a waltz. When was the last time a waltz was like a popular song? Maybe 80 years ago or something." She said "I think you should give it a go, and I think the perfect person to work with would be Katie Melua, and Mike Batt." Of course I'd known of Mike Batt's work for many years, his work on the Wombles and his music theatre piece "The Hunting of the Snark". In fact my mother played in his orchestra when he toured to Australia with that show. She brought home a CD of his work and played it to me, saying here's a distinguished chap who's doing some good stuff.
So I was really quite familiar with Mike's work.
So I went up to his studio one morning and he said "OK we've got the band booked at midday and the orchestra's coming in at three, and Katie's coming in at six, so where's the song?" I said "Well here's the music box tune. Basically we have to turn the lyrics around." Because in the film it's sung by a male: "Let Me Teach You How To Dance" a sort of patriarchal male gesture. In the case of Katie singing it, Mike turned the whole thing around and in 40 minutes and re-wrote the lyrics for this beautiful song "When You Taugh Me How To Dance". So that in a sense becomes the spirit of Beatrix Potter reminiscing on her early days, and her first romantic encounter with her publisher Norman Warne. When I played it to the editor of the film, Robin Sales, he said it's just like Renee Zellwegger actually singing it in the style of Beatrix Potter as it encaptulates the spirit of it, the slightly eccentric, quirky yet warm spirit of Beatrix herself.
And it happened in 12 hours!
JP: So no time pressures then!
NW: No, you know what it's like in film. So it was great to have Mike there. He works so closely with Katie and understands her voice. To write those lyrics so quickly, he's just a genius you know. That was great. We sent the finished tape along to the mixing session, and all the producers were absolutely overwelmed with the response. They were very excited by it, and so it becomes this prominent song at the end of the film.
JP: I've heard the soundtrack obviously, but I've not seen the film as it's not been released yet.
NW: As you'll see Jim that theme is a recurring theme throughout the score, and in a way it becomes Beatrix's theme that accompanies her through this labyrinth of emotional turmoil that is encapsulated within this six years that cover that period of her life.
Miss Potter - other aspects of the score:
JP: Other than this key theme then, what kind of direction did Chris Noonan give you? What kind of guidance?
NW: The score works on several levels.
The other thing we spoke about in great detail was the fact that you're dealing with characters from the Victorian era, very straightlaced, people never said exactly what they were thinking. It was a very cloistered and repressive environment. All the time there's these deep emotional undercurrents underpinning the action on screen. You're not actually looking at that on the screen but you know that it's there because of the dramatic context of the work. So Chris wanted the music to take on this almost subliminal aspect, and try and support the undercurrents of the dramatic context that was happening between the various characters. So the score in some instances is working on that level, and then in other instances you've got the beauty and wonder of Beatrix's imagination, the creative spark that helps her create these wonderful characters in her books. That in itself is another strand of the score, where a particular theme is used, orchestrated with celeste and harp to give a sort of magical quality to the work.
JP: As I've said I've not seen the film, but trailers from the film have been shown on TV, and some of the characters in the illustrations in her books are animated. Is there a lot of animation and did it require a special approach to the music?
NW: No, I'm not sure that I've seen that particular trailer but the characters only come alive for very brief moments and not very frequently. So more often than not there might be a very subtle musical reference to their actual movement when they're animated. It's more a case of the music supporting Beatrix's inner life, her fantasy world. So there's no great slabs of time where the characters are interacting with her. You only get the occasional blink of an eye or character running off a page or something like that. It's not an animation in that sense, in the traditional understanding of the word animation. Certainly animation is used very effectively but very subtly as part of the film. It wasn't like working on a cartoon.
JP: Yes. It's sometimes hard to get the impression of what a film's like from a trailer because it emphasises particular moments. The other thing I wanted to ask you about is that Rachel Portman is credited with 3 of the tracks on the album. How did that come about?
NW: That was a directive from the producers. They felt that she had a certain approach that was appropriate for several scenes in the film. So it came to be that she wrote a theme which is used on a number of occasions for Beatrix's involvement in the Lake District. Towards the end of the film Beatrix moves to the Lake District and buys up a lot of farm land up there and becomes very attached to this place, because that's one of the great heritages of her life as she left all this land in its original condition to the British people. So it was seen as appropriate that Rachel become involved. I guess she had a particular approach or sound that they were looking for, so she wrote a few tracks for the film.
JP: It seems to blend quite well together on the CD.
NW: That's good, I'm glad you said that, Jim. We didn't actually collaborate at all, we were working quite separately. She was being supervised by producers so I wasn't really sure what they were up to. She had been listening to my score when she started work on the film, so she followed a very similar pattern in orchestration.
JP: Yes, that's right, the instrumentation is obviously very similar, just strings and woodwind with piano, and you mentioned harp and celeste.
NW: Yes, that's right. We had pretty much an identical orchestra between us.
JP: Were there any other aspects of the film that you saw as being key to the music, or particularly difficult to score.
NW: I guess the most challenging aspect of the score was dealing with transitional passages in time. For instance there's one track on the score which is track 9 on the soundtrack which is "Beatrix and Norman", which is basically establishing Beatrix's relationship with her publisher.
She is forbidden to marry him by her parents because he is seen to be a tradesman and beneath them. So the parents say we're going on a vacation for 6 months. If at the end of that time you still love him then you can proceed and get married. There's this wonderful scene, a big romantic emotional peak of the film where he comes to see her off at the station on her way to the Lake District for her vacation. As you'll see in the picture this has to traverse some very interesting, emotional moments, and either side of that railway sequence is a bunch of footage of Beatrix and Norman together. That was quite difficult to make those transitions between those quite intimate scenes and then lightening up into a larger orchestral palette for the farewell at the station and situations like that. Once I had the thematic material at my finger tips it was then a matter of fitting it to picture and making those transitions seemless and as effortless as possible which is always a challenge. So that was the most challenging aspect of it.
Next Steps:
JP: I'll look out for that scene in the film when it comes out. So what's next for you musically. Have you got other projects lined up, or maybe you're already in the middle of some projects?
NW: Yes I've got many things lined up over the next couple of years, several orchestral commissions for local orchestras here in Australia and some chamber music works. And I'm looking at a few film scripts at the moment, one of which is with Chris Noonan again, based in South Africa, a film called called Zebras. This is a very exciting script, and he's going into pre-production shortly on that one. It will involve a lot of traditional African music as well as orchestral underscore. So I'm very excited about that. We'll see if that comes off, you know how it is with films: You never know until it's actually in the can. So plenty of work which is great.
JP: I think we're coming towards the end of our allotted time, I want to thank you very much for your time.
It's been very interesting listening to you and I'm looking forward to seeing the film when it comes out.
NW: Great, Jim, great to talk to you and I hope you enjoy it.
JP: Thanks very much and best wishes on those future projects that you talked about including Zebras.
NW: Thanks very much, Jim, and best wishes to you also.
JP: Thanks very much and goodbye.
Only you lyrics ft Pablo ALEMOND
See all lyrics Xcho
Take me, take me out of this cage
Only you in the heart of only you, you know baby
You are my dream and love but forever
Give me time I am your lion
Hands on the waist and delve into
Take care of love while I fly there
I know I don't change
And carries on the waves
After all, I was worried
This look is your secret
And you are May lover
Baby I love you
Sleepy eyes gives faya
I will not let you miss my lady
Turn around for a moment, please
Take my parachute
And we will leave the sky together
Without further ado without this flattery
I didn’t understand how I found
You my magic this music show
Only you in the heart only you, you know baby
Take me, take me out of this cage
Only you in the heart of only you, you know baby
You are my dream and love but forever
I am still devoted to this day
Give love, prohibitions ma
Flying high in the mountains
Kepasu will blow away with the wind
Came purely downwind
talk to me
Apogee of my music for happiness
And we used e
Money gives deceit (ooh)
This is my nefarious plan (hey)
Burned out where
You burned yourself
I will raise my clan
On the mountain, awesome
Bleek taught us to live for happiness
Streams of light in this darkness
I will move we dance
Only you in the heart of only you, you know baby
Take me, take me out of this cage
Only you in the heart of only you, you know baby
You are my dream and love but forever
Know behind my back
It won't hurt you be with me
Madame make it easier hug tight
This is our evening melting
Change days to minutes
With you happy everything is like
And the wind will fall as loot
Doing everything with my mind
My mood your mood in reflection
As if they measured those minutes
What with you we have been waiting for a long time
You trust me, trust warm
Let the winds bring us only good news
Only you in the heart only you, you know baby
Take me, take me out of this cage
Only you in the heart of only you, you know baby
You are my dream and love but forever
Only you in the heart of only you, you know baby
Take me, take me out of this cage
Only you in the heart of only you, you know baby
You are my dream and love but forever
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- Only you (ft. Pablo, ALEMOND)
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the path to truth leads through the bed - DW - 06/17/2010
Photo: 2010 Independent Partners Film
June 17, 2010
restricted areas.
RP Kahl, director from Germany, presents his film "Bed Scenes" at the Moscow Film Festival.
https://p.dw.com/p/NtI4
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Six German films, excluding films co-produced with Germany, participate in the 32nd Moscow International Film Festival, which takes place in the capital of Russia from June 17 to 26 . The feature film by Matti Geschonneck "Berlin, Boxhagener Platz" is in the main competition. Three more tapes - "Max Schmeling", "Hairdresser" and "Stranger" - will be shown out of competition.
A film from Germany even had the honor of opening the Perspectives program, where experimental films from all over the world compete for Moscow awards. The film is called Bedways. Unusual and a bit outrageous. "Arthouse porn" is what other film critics call it.
Photo: 2010 Independent Partners Film The story goes like this. Director Nina Baden decided to make a film about sex, love and relationships.
Actors Hans and Marie agreed to the experiment. In a huge Berlin apartment, which did not even dream of a European-style renovation, screen tests are underway. There is no script in the film, there is a certain idea: through sex to get to the truth, to find something important at the physiological level, something like an abstract formula of love. But where does acting end and the reality of real emotion begin?
Bed Scenes begins with an off-screen moan of pleasure, passes through a series of scenes of varying degrees of frankness, and ends with a powerful solo of the main character, who found the truth in a completely different place than she was looking for.
And yet "Bed scenes" - this is not pornography, and not even erotica. Libido is silent at the sight of bed experiments, seen as if through the lens of a video camera in the cold gray-blue haze of a rather unfriendly Berlin. Sex as a methodology. What is the director looking for? Rolf Peter Kahl, better known as RP Kahl, spoke about this in an interview with Deutsche Welle on the day of his departure to Moscow.
Deutsche Welle: How do you feel about going to the festival?
Photo: Joachim BaldaufRP Kal: Everything seems to be very well organized. Luxurious hotel meeting at the airport, a car with a driver, an interpreter. Although it took too much effort and time to fulfill customs requirements. The film was on the way for over a week. I am silent about obtaining a visa at the Russian consulate. This is a nightmare that reminded me of the times of the GDR! It's just a pity for the Russians, who need to visit the embassy regularly.
The last time I was in Moscow was thirty years ago, when I was still a child. We had friends in Moscow, and we lived in the atelier of a sculptor, a friend of my father. I still remember how I was struck then by Muscovites chewing ice cream in the most severe frost.
- Today Russia is not the same anymore. What new Moscow does your imagination draw for you?
- A huge city at the intersection of capitalism and socialism? Outdoor advertising at every turn? Something along those lines.
Like in Warsaw, where I happened to visit a couple of years ago. It seems to me that in Moscow there should also be a feeling of a "gold rush", when everyone is rushing somewhere, striving for something. The feeling that you need to do something, that you can achieve something if you do not sit still.
- Have you heard about the rampant Moscow nightlife ? As a person from Berlin, as well as the director of a notorious film about the Berlin club scene, you would also be interested in immersing yourself in Moscow realities...
- Of course. But I don't plan anything like that. Age is not the same .... (Laughs) Although, on the spot, I think curiosity will still prevail! To be honest, I have already studied the guide to Moscow and rummaged through the Internet, and tried to brush up my knowledge of Russian. After all, I studied Russian at school in the GDR for seven years, but I forgot everything!
- At festivals there is always a scandalous film that is shown towards the middle to bring tired audiences to their senses.
Your film "Bed Scenes" opens the "Prospects" program, but, apparently, also serves as a "festival shocker" ?
- I think that it was in this function that he was invited. Because all other, at least German films are classic narrative films. And "Bed Scenes" is such a "wild" movie from Germany. And it is very good that my film will be shown first. All the fuss about the opening will be ours! And it's even funny. Because the film is chamber, dirty and evil.
I am very glad that the selection committee of the Moscow Film Festival considered it necessary to show it. Perhaps they saw echoes of some of their ideas in it. I am very proud to be invited to Moscow, especially considering who else shows their films there.
Claude Lelouch opens the festival. Legendary director! I have a souvenir for him. He has a 15 minute film of a Ferrari driving through Paris without stopping at a red light. I repeated something similar in Oldenburg. I also drove through a red light and took pictures.
Two minutes total. But if I have the opportunity, I will certainly show Lelouch. By the way, this is a real axis: Paris-Berlin-Moscow. Real, necessary, durable. I have always thought so, and the festival in Moscow is proof of that.
- There is practically no independent film production in Germany. Movies pay off before the audience even sees them. Like in the USSR: the state pays, directors shoot. The risk is zero. You filmed "Bed Scenes" exclusively with your own money. What are the pros and cons of independent filmmaking for a director?
- Risk is a minus. If the film does not pay off, there is no money for a new project. But there is also benefit from the risk. I work more efficiently, for example, because I know that every cent counts and that this is my money. But the plus is freedom. I decide what to do and how.
Of course, no one removes responsibility for the project, but you are responsible to yourself, you do not have an internal censor who looks back at others in advance.
I do not presume to assert that one must always work without outside help, after all, film production requires a lot of money. But this time I was lucky that I could not or did not want to look for sponsors.
- Are you satisfied with the result ?
- There are no limits to perfection. But, in general, yes.
- How did it all start?
- At the beginning there was a specific idea. I wanted to understand why other forms of art are more casual with the nude than cinema. Why erotica, sex, love are commonplace in painting and literature, but not everyone dares to step into these troubled waters in cinema. This is where it started. I wanted to try what was possible on set and what wasn't, what was brave and what wasn't.
But over time, I felt that sex is not everything. There is something else important. For example, love and lust. It's not the same thing. Thought began to work with specifics, and then the film acquired its own dynamics.
And this is good. It is much more interesting when something unpredictable is born. Sometimes it is useful to look from the outside what you shot there. As a result, it turned out that the film is not about sex at all, but about why it interests us so much.
- And why?
- (Laughs) That's a good question, one that the movie may not answer. He presents this question as if on a silver platter, and everyone is looking for answers himself. Hence the static frames, a minimum of emotions and psychological depth, so that the viewer can squeeze his personal experience, his thoughts into the plot on the screen and see what happens. Someone will reject the film, someone will accept it, but no one will find ready-made answers in it.
I have been wondering for a long time whether there is truth in the image. Or is the depiction of reality a new reality that has nothing to do with the depicted reality? Or is the image more like the truth than reality itself? Such is the game with levels, an attempt to determine what happened in the beginning.
In our daily life, we, too, often without realizing it, behave in the way that others prescribe it to us. That's what I tried to play in the film, to see how the lines between real life and acting on the set blur.
The director gives instructions, but for the actors what they do is already quite an objective reality. For me, it was a very fun game with quotes, references to other films and directors that I admire.
- And why the director in search of truth is not a man? Just like Hitchcock, who knew that the true object of desire in the movie is a suffering woman.
- I don't think she's failing. Yes, Nina did not make the film, but she found something else, her own desires, lust, hopes. Why a woman? I'm just much more interested in watching women. A story about a man would have been more predictable. But Nina in the film is not me. She had other prototypes.
There are very few heroines in cinematography who do not react, but set things in motion themselves.
