#kevin phipps

[camyfilms]

TEEN BEACH MOVIE 2013

Remember that movie about the robot who drank liquor from an abandoned spaceship, turned into a vampire middle school teacher who taught the entire school how to salsa dance, and then went on to win the regional championship? That movie made more sense than this.

[moviesandmania]

DR. SAVILLE'S HORROR SHOW (2023) Review of anthology movie with trailer

Dr Saville’s Horror Show is a 2023 American horror anthology film with the protagonist telling three twisted to his victim. Directed Kevin R. Phipps from a screenplay written by Craig W. Chenery based on a story co-written with Kevin R. Phipps, Kirk Levingar and Allen Valor. The movie stars Allen Valor, Michael Hanelin, Ashlieya Mariano, Honda King, Briana Lys, Jedediah Jones, Kristina Cat, Kirk…

[frankendykes-monster]

This week marks the 20th anniversary of Marcus Nispel’s The Texas Chainsaw Massacre, a remake of Tobe Hooper’s iconic The Texas Chain Saw Massacre. Nispel’s gory and grungy slasher is hardly a great piece of cinema, but it is a surprisingly important one. Texas Chainsaw Massacre altered the course of mainstream populist horror cinema, at least for a couple of years, by ushering in an era of horror remakes. Pop culture is inevitably guided by larger trends. This is particularly true of horror cinema, where the tendency to make movies cheaply and quickly allows studios to chase popular fads. The Texas Chainsaw Massacre arrived at the end of one such fad. The renaissance in teen slasher movies sparked by the release of Scream in December 1996 was already dying down, giving way to diminishing returns like Scream 3 and Urban Legend: Final Cut along with spoofs like Scary Movie.

That late ’90s slasher fad was self-evidently nostalgic. In Scream, film nerd Randy (Jamie Kennedy) pauses a pivotal scene from John Carpenter’s Halloween to explain the rules of the slasher movie. Scream writer Kevin Williamson would go on to work on the slasher sequel Halloween H20, which would include a sequence of its characters watching Scream 2. However, there was a layer of irony and self-awareness to this nostalgia. These movies referenced classics, but stood apart from them. The Texas Chainsaw Massacre removes that layer of self-reflexive irony. It doesn’t just pay homage to one of the classics of American horror, it straight up remakes it. It reboots the franchise and starts over, as if offering a young moviegoing audience a chance to witness their version of the beloved horror movie. The gambit worked. The movie grossed $29.1 million in its opening weekend. “To say that it exceeded [our] expectations is an understatement,” conceded David Tuckerman of New Line Cinema.

Nispel’s remake had a profound impact on both the franchise and the larger industry. While many other major classic horror franchises, like Nightmare on Elm Street or Friday the 13th, tended to slow down as they entered the new millennium, Texas Chainsaw Massacre roared to life. The franchise has released more entries in the past twenty years than it did in the previous thirty, including the reboot, a prequel to the reboot, two sequels to the original, and a separate prequel to the original. The Texas Chainsaw Massacre made an even bigger impression on the horror genre as a whole. For the next seven years or so, theaters were flooded with remakes of 1970s and 1980s horror classics: Dawn of the Dead, The Amityville Horror, House of Wax, The Fog, Assault on Precinct 13, Black Christmas, The Hills Have Eyes, The Omen, When a Stranger Calls, The Wicker Man, The Hitcher, Prom Night, Friday the 13th, Sorority Row, The Stepfather, My Bloody Valentine, and many more.

Of course, trends do not exist in isolation. These remakes overlapped with a similar push to adapt Japanese horrors like Ring and The Grudge for American audiences. More interestingly, they seemed to unfold in parallel with the “torture porn” fad, which really kicked into gear with the release of Saw in October 2004 and Hostel in January 2006. Both trends seemed to be displaced by the embrace of “found footage,” and many of these remakes were notably gorier than the originals. It’s worth revisiting this trend in general and Nispel’s Texas Chainsaw Massacre in particular. There is a tendency to overlook the horror genre in discussions of popular cinema. This is most obvious when it comes to awards recognition, but also applies to general discussions of the artform. There’s also an understandable impulse to dismiss these sorts of remakes as inherently unworthy of discussion or scrutiny. Five years ago, Keith Phipps noted that these remakes were largely forgotten.

One of the more interesting – and frustrating – aspects of Nispel’s remake is the fact that it is a horror movie that exists in the context of decades of slasher movies. Tobe Hooper’s Texas Chain Saw Massacre may not have been the first slasher movie, but it was released before Halloween codified the conventions of the genre. Even watched today, The Texas Chain Saw Massacre is a delightfully and unsettlingly odd experience. It can seem uncanny to a viewer versed in the films that followed. Hooper’s Texas Chain Saw Massacre begins with a sense of a world that is unraveling, reflecting the chaos of the early 1970s. It begins with a news broadcast about the handing down of an indictment, an invocation of Watergate. Sally (Marilyn Burns) and Franklin Hardesty (Paul A. Partain) are traveling with their friends to visit their grandfather’s grave, following a series of desecrations in the region. There’s an apocalyptic vibe to all this, recalling George A. Romero’s Night of the Living Dead.

In contrast, Nispel’s remake is much more conventional in its framing. It is set in 1973, but there is no real sense that the larger world is collapsing. None of that apocalyptic dread hangs in the air. These teenage leads are not investigating a case of potential grave robbery. Instead, they are driving to a Lynyrd Skynyrd concert after purchasing drugs in Mexico. This is a standard start to a slasher like this. The teenagers transgressed, so will be punished. They broke the rules, so must die. In contrast to the irony that defined the meta-slashers of the previous few years, this is all played remarkably straight. The movie’s final girl, Erin (Jessica Biel), is entirely innocent. She is shocked to discover that her friends used the trip to Mexico as an excuse to buy marijuana. Her friend Kemper (Eric Balfour) jokes that she didn’t even drink the tequila down there. As such, Erin’s survival feels like it plays the socially conservative tropes of the slasher movie remarkably straight.

To give the movie some credit, it is at least somewhat equal opportunity in terms of the violence it inflicts on its teenage victims. In Hooper’s Texas Chain Saw Massacre, the male characters tended to die quickly while the female characters suffered longer. Nispel’s Texas Chainsaw Massacre reverses that dynamic somewhat. Pepper (Erica Leerhsen) dies abruptly in the distance, while Andy (Mike Vogel) hangs from a meat hook in place of Pam (Teri McMinn) in the original. That said, The Texas Chainsaw Massacre is hardly a reconstructed slasher movie. Nispel’s camera lingers on Jessica Biel, particularly her exposed midriff. It seems to luxuriate in shots of her running and panting. It’s an approach that feels very similar to how Michael Bay’s camera would treat Megan Fox during the Transformers films a few years later. Biel may not be hanging on a hook, but there are certainly times when Texas Chainsaw Massacre treats the actor as a piece of meat.

There is a sense that the remake is revisiting the original through the lens of the decades of slasher movies that followed, smoothing down the rougher edges of the original film to make it more easily fit within an established template. This is true of most of the uninspired remakes that followed, which would take messy and clumsy original films that were figuring out what these horror movies looked like in real time, and apply a “one-size-fits-all” structure to them. These movies could be grungy and grimy. They could feature graphic gore. However, these remakes also tended to be products of a more ruthlessly efficient studio system than the films that inspired them. The Texas Chainsaw Massacre sets early scenes to Lynyrd Skynyrd’s Sweet Home Alabama, a song that the original could never have afforded to include. Biel and Balfour may not have been movie stars, but they are more established than any actors in the original. There is a polish to these remakes that exists at odds with the power of the original.

Notably, there is no sense of mystery or ambiguity to Leatherface (Andrew Bryniarski) in The Texas Chainsaw Massacre. The film offers the iconic horror villain a backstory involving horrific skin disease and even a name: Thomas Hewitt. Hooper’s original film was so scary because it suggested that this violence couldn’t be explained or rationalized. It had the logic of a nightmare. It’s very hard to replicate that sense of existential dread when so much of the appeal of a remake is the familiarity. Then again, perhaps this makes a certain amount of sense in context. As with the “torture porn” trend, these horror remakes were largely a product of the Bush era. They existed in the context of the War on Terror. This may explain why they were so much more graphic than the original, and why they tended to fixate upon torture and brutality. The War on Terror was defined by a desire to understand the horrors lurking out in the darkness, to understand, “Why do they hate us?”

Released a little more than two years after 9/11, Nispel’s Texas Chainsaw Massacre is rooted in that moment. The biggest alteration to the original narrative is the introduction of R. Lee Ermey as Sheriff Hoyt, a sadistic local law enforcement official who feels more at home in Deliverance rather than The Texas Chain Saw Massacre. Hoyt is a product of the Bush era. A former governor of Texas, Bush was likened to a western sheriff when he boasted about posting “Wanted” signs in the wake of the attacks. Hoyt physically and psychologically brutalizes these teenagers. He forces Morgan (Jonathan Tucker) to reenact a suicide that the characters witnessed, pushing Morgan to place what he believes to be a loaded gun in his mouth. When Morgan resists, Hoyt handcuffs him and loads him into the back of his police car. He takes Morgan away, but not to experience due process. On the drive, he smashes a nearly empty bottle of liquor in Morgan’s face. It seems likely that Morgan is just going to disappear.

This is perhaps the most unsettling sequence in the film. It resonates with contemporary anxieties over the “enhanced interrogations” and “extraordinary renditions” that defined the War on Terror. Of course, Hoyt doesn’t have any authority to do what he is doing. In perhaps the film’s sharpest jab at the Bush administration, it is eventually revealed that Hoyt isn’t even really the local sheriff. None of this is as overt as the cultural context of Hooper’s original, but these are films of their moment. The Texas Chainsaw Massacre is ultimately an underwhelming, generic, and gory imitation of a much richer film. It takes one of the most transgressive horror films of its era, and reduces it down to a standard slasher template. In doing so, it provided a sustainable model for mainstream horror over the next few years, an assembly line that could reliably churn out low-budget and low-effort films to solid box office returns.

In its own weird and grotesque way, Nispel’s Texas Chainsaw Massacre turned mainstream horror into a charnel house. It pushed away from the knowing detachment of the self-aware slashers, and embraced a more direct mode of recycling. It carved up the corpses of classic horror movies to be repackaged as subprime cuts.

[aajjks]

https://www.primetimer.com/features/netflix-you-joe-goldberg-cage-kevin-phipps

scream baby!JK

‘what is going on? where am i?’

you’re panicking.

you find yourself in a box, with a bed, and a shelf stacked with foods and snacks. you get up and when you see the door, you immediately run up and yank on the handle.

you pull again and again and again and when you’ve finally figured out it’s futile to tug on the locked door, you scream.

“HELP!!! SOMEBODY PLEASEEEEE!!!! GET ME OUT OF HERE!!!!! AAAAAAAAAHHHHHHH!!!!”

you bang on the “glass” even throw the bucket next to you as hard as you could to break it but nothing happened. not a scratch or a crack.

that’s when you figured this box you’re locked in isn’t glass.

you’re panicking again.

thiscan’tbehappening.thiscan’tbereal.i’mjustdreaming.i’mbackhome.i’mgonnawakeupsoon.there’sgottabeawayoutofhere.

there’s gotta be a way out of here.

you’re frustratingly pulling on your head of hair and thinking of ways to get out of this situation you got yourself in.

all you did was catch your ‘friend’ in a lie. a lie that dragged on for years yet you knew deep down that something was up. the missing knife, your past boyfriend, and your ‘could have’ or ‘would have’ been partners missing and killed.

for years he stood by your side and played as the best friend. smiled in your face and wiped your tears away when you were at your lowest and acted as if this “killer” wasn’t as big of a deal because he’d protect you.

he always said that.

but now here you are in some kind of box after confronting your so-called friend with the truth:

you know he is the killer.

after what felt like hours of your distress, he finally reveals himself.

your friend, the ghostface serial killer, jeon jungkook.

“LET ME OUT OF HERE RIGHT NOW JUNGKOOK!!! DO YOU HEAR ME YOU CRAZY BASTARD?? GET ME OUT!!!!”

“th-this is crazy..y-you YOU are crazy!! how could you do this?? HOW COULD YOU!! you were my friend. what’s next, huh? you gonna kill me next?“

~🫧 (i got bored lol)

see now, he didn’t want to do this to you.

But you just had to be a smart little detective, and figure out everything, do you know how much effort it took for him to kill your boyfriend, he hates him so much.

And his plan even worked you had almost believed that your now dead boyfriend was the ghost face killer- that is until he hugged you and you saw the knife. So before you could react., jungkook knows you very well, and he knows your body really well.

Your body language is so predictable.

You had figured out it was him the moment he hugged you- so as he didn’t feel your Hands embrace him back, he knew that everything was over, but he couldn’t lose you.

So he had no choice but to hit you on your head, and now 17 hours later, he’s right in front of you.

You’re stuck in this cage that he built and he honestly wish that you didn’t end up being in it but… you just had to find out.

Sometimes you are way too smart,, for your own good and.. that can be troublesome for him. “Yn.. ouch.” Jungkook feigns being hurt when you call him a crazy bastard.

It doesn’t hurt.

“Baby… why did you have to find out? I didn’t want to do this to you, but you left me with no choice. I am so glad that that bastard is now dead. All you had to do was believe that he was the ghost face killer and everything would’ve been fine.” Jungkook smirks, taking off his khaki cap, “you brought this upon yourself.”

You’ve been best friends for so many years and… How can you even think that he would kill you when he has killed for you?

Now he’s a little hurt that he would think that he is going to kill you.. because all he wants to do is to love you, and to have you all to himself forever.

“I love you yn-so stop being a bitch. Don’t test my patience. I can be very nice you know that… but you’ve never seen me being so mean I hope you won’t so don’t provoke me.” Jungkook gets closer to the cage box, you’re banging on it, tears running down your face, and..

Honestly, he feels a little aroused.

You’re so pretty when you cry.

“Yn.. you’re such a pretty crier..”

[theimpossiblescheme]

won’t let anything go wrong - a playlist for skimbleshanks (for @the-cat-at-the-theatre-door)

01. when the booth goes bright - chris jared | 02. from western woods to beaversdam - harry gregson-williams | 03. faithfully – boyce avenue | 04. think of the time I save -eddie foy jr. | 05. locomotives - martin phipps | 06. 2/14 - the band camino | 07. a fhleasgaich oig is ceanalta (the young and gentle lad) - màiri macleod | 08. song on the sand - gene barry | 09. another hundred people - george blagden | 10. the mad hatter’s tea-party - joby talbot | 11. inchworm - danny kaye | 12. see the world – gomez | 13. copshawholme fair - steeleye span | 14. chances are - johnny mathis | 15. in my life - amir darzi | 16. don’t stop believin’ - postmodern jukebox | 17. train song - vashti bunyan | 18. mandatory evac / counting cars - the oh hellos | 19. lavender’s blue (dilly dilly) - burl ives | 20. don’t ask me why - laura marling | 21. father and daughter - paul simon | 22. begin the beguine - melora hardin | 23. étude op. 76 no. 2 arr. for cello and guitar - jean sibelius | 24. children will listen - melissa errico | 25. lucy's fling/s'iomadh rud a chunnaic mi/some say the devil Is dead - kevin burke and mícheál o'domhnaill [listen]

[bloodandchocolatefans]

More about some locations and scenes...

Kevin Phipps, who has worked as an art director on some of the most stylistically distinct films of all time, crafted a world of shadow and muted color for the wolves to inhabit. “He is one of the best art directors in the business and this is his first job as production designer,” says executive producer Hawk Koch. “The sets he created on this film were simply spectacular.”

Phipps was able to use the visual richness of existing locations in Bucharest to the production’s advantage in many instances. He transformed a former heating plant into the Brookwood Absinthe Distillery, which serves as Gabriel’s lair 

and created the Dacian Club by modifying a derelict half-finished concrete structure: Ceaucescu’s (the former leader of Communist Romania) Biblioteca Nationala (the National Library). 

Dancy attests to the seamless integration of Phipps’s sets with the city itself. “The attention to detail is such that the sets fit in perfectly with the city as it really is.”

The filmmakers’ urgent need to provide a secure shooting environment for the wolves as well as for the cast and crew resulted in Phipps’s greatest challenge: the creation of several naturalistic forest sets, including a creek and a river, on MediaPro’s soundstages.

Phipps and his team rose to the challenge by using some 2000 cubic meters of soil, 50-60 real trees along with some polystyrene and fiberglass trees to reproduce a Romanian forest so authentic that it soon attracted its own mosquitoes, lizards as well as a resident owl. He recalls, “The first time we had a show-and-tell on that forest set, suddenly I looked up and there was an owl flying around in the canopy of our trees. Katja looked up and saw the owl and said ‘Kevin, you know that’s a really good sign that we’ll be really happy shooting on this set.’”

Once the creek and river sets were conceived, Phipps worked closely with SFX supervisor Allder on the mechanics, the water system, the pumping system, the filtration and the volume of water that would bring the sets to life.

The filmmaking team had already previsualized the world of the film using small scale models. “You can get down and get your lens into the model and really see how the set is going to shoot and what will be in each frame,” explains Phipps. “This approach was especially useful given the amount of running in the film. Everybody knew what they were getting – stunts, camera, lighting, even the actors.”

sources:

https://www.vladvieru.com/blood--chocolate---2005.html

http://www.kevinphipps.com/b-l-o-o-d--c-h-o-c-o-l-a-t/b-l-o-o-d--c-h-o-c-o-l-a-t/

http://blood-and-chocolate.katja-von-garnier.com/

http://madeinatlantis.com/movies_central/2007/blood_and_chocolate.htm

[movies-to-add-to-your-tbw]

Title: Teen Beach

Rating: NR

Director: Jeffrey Hornaday

Cast: Maia Mitchell, Ross Lynch, Grace Phipps, Garrett Clayton, John DeLuca, Chrissie Fit, Kevin Chamberlin, Steve Valentine, Jordan Fisher, Kent Boyd, Mollee Gray, William Loftis, Jessica Lee Keller, Lavon Fisher-Wilson

Release year: 2013

Genres: comedy, romance

Blurb: Life’s a beach for surfers Brady and McKenzie...until a rogue wave magically transports them inside the classic ‘60s party flick Wet Side Story, where a full-blown rivalry between bikers and surfers threatens to erupt. There, amidst a sea of surfing, singing, and dancing, Brady and Mack accidentally change the storyline, and the film’s dreamy hero and heroine fall for them instead of each other. Can Brady and Mack get the plot back on track, or will they be trapped there forever?

[sonyclasica]

MARTIN PHIPPS

BANDA SONORA DE NAPOLEÓN, LA PELÍCULA ORIGINAL DE APPLE

Milan Records lanza NAPOLEON (BANDA SONORA DE LA PELÍCULA ORIGINAL DE APPLE) del compositor ganador de los premios BAFTA e Ivor Novello, MARTIN PHIPPS. Ya disponible, el álbum cuenta con una partitura original escrita por Phipps para la épica de acción del director Ridley Scott, protagonizada por el ganador del Oscar® Joaquin Phoenix como el icónico emperador francés. 

Consíguelo AQUÍ

La primera colaboración entre Scott y Phipps, era importante para Scott que la música reflejara la personalidad de Napoleón como un forastero de Córcega, con Phipps incorporando coros tradicionales corsos, Ensemble Organum y Ensemble Spartimu, en toda la partitura.

Este énfasis en la autenticidad se extiende a la instrumentación de la partitura, con Phipps utilizando instrumentos más toscos y folclóricos como el acordeón y la zanfona, así como un piano que una vez fue propiedad del propio Napoleón para capturar los orígenes del icónico gobernante mientras crea un paisaje sonoro distintivo para la película. Napoleón, de Apple Original Films  , ya está disponible exclusivamente en cines de todo el mundo en asociación con Sony Pictures Entertainment.

ACERCA DE NAPOLEÓN

Napoleón es una epopeya de acción llena de espectáculo que detalla el accidentado ascenso y caída del icónico emperador francés Napoleón Bonaparte, interpretado por el ganador del Oscar® Joaquin Phoenix. Con un impresionante telón de fondo de cine a gran escala orquestado por el legendario director Ridley Scott, la película captura el implacable viaje de Bonaparte hacia el poder a través del prisma de su adictiva y volátil relación con su único amor verdadero, Josephine, mostrando sus visionarias tácticas militares y políticas contra algunas de las secuencias de batalla prácticas más dinámicas jamás filmadas.

Escrito por David Scarpa. Producido por Ridley Scott, Kevin J. Walsh, Mark Huffam y Joaquin Phoenix. Los productores ejecutivos son Raymond Kirk, Aidan Elliott y Michael Pruss. La película también está protagonizada por Vanessa Kirby.

CONECTA CON NAPOLEÓN

SITIO WEB | TRÁILER | FACEBOOK | INSTAGRAM | TWITTER

NAPOLEÓN (BANDA SONORA DE LA PELÍCULA ORIGINAL DE APPLE)

LISTA DE CANCIONES –

1.       Piano de Napoleón

2.       Toulon

3.       Josephine

4.       Soldados del 5º Regimiento

5.       Damas de Honor

6.       Austeritz Kyrie - Martin Phipps & Ensemble Organum

7.       Somos descubiertos

8.       Haz que la lluvia se detenga

9.       Mira hacia abajo

10.    Primer Consejero

11.    Rusia

12.    Regreso a Francia

13.    Réquiem de Waterloo

14.    Downfall - Martin Phipps & Ensemble Organum

15.    El lamento de Bonaparte - Martin Phipps & Ensemble Spartim

ACERCA DE MARTIN PHIPPS

Procedente de un entorno musical (es ahijado de Benjamin Britten), Martin estudió arte dramático en la Universidad de Manchester y, afortunadamente para la profesión de actor, decidió concentrar sus energías en escribir música. Desde que compuso su primer drama televisivo, Eureka Street en 2002, ha ganado 2 premios BAFTA, 5 premios Ivor Novello y ha recibido múltiples nominaciones al Emmy por escribir música para muchas de las series más interesantes de los últimos años. Entre ellas se encuentran Guerra y paz de la BBC, The Honourable Woman de Hugo Blick, Peaky Blinders, Black Mirror y las temporadas 3 a 6 de la aclamada serie de Netflix The Crown.

Recientemente, Martin ha compuesto la banda sonora de Napoleón de Sir Ridley Scott, La princesa de Ed Perkins y la serie Solos de Amazon Studios  protagonizada por Morgan Freeman. Otros créditos cinematográficos incluyen Woman In Gold (con música de Hans Zimmer), protagonizada por Ryan Reynolds y Helen Mirren, The Aftermath de Fox Searchlight, protagonizada por Keira Knightley, Alexander Skarsgård, Harry Brown y Brighton Rock.

Sony Music Masterworks se compone de los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. www.sonymusicmasterworks.com/.

[abcnewspr]

ABC NEWS STUDIOS DOCUMENTARY HOUR EXPLORES USE OF LYRICS IN CRIMINAL CASE AGAINST HIP-HOP STARS YOUNG THUG AND GUNNA

‘Rap Trap: Hip-Hop on Trial’ Traces Rise and Impact of Young Thug and Gunna

Documentary Explores Historical Mischaracterizations of Hip-Hop and Revisits Case of Rapper and Activist McKinley Phipps Jr.

‘Rap Trap: Hip-Hop on Trial’ Begins Streaming Thursday, Feb. 23, Only on Hulu

*ABC News

The 2022 arrest and indictment of hip-hop stars Young Thug (Jeffery Williams) and Gunna (Sergio Kitchens) stunned the hip-hop world and reignited a national conversation about the use of lyrics in the courtroom. For some, the lyrics were evidence of potential wrongdoing. But for others, the case spotlighted a disturbing trend of criminalizing Black art that goes back decades, prompting a national movement to protect art and creative expression. A new ABC News Studios documentary hour, “Rap Trap: Hip-Hop on Trial,” explores the criminal case against the rappers and asks the question: Should rap lyrics be used in criminal prosecutions, and what effect would that have on artists’ free speech rights?

The documentary dives into historical perceptions of the genre and other examples of when lyrics have been used against an artist in the courtroom, including the case of activist and rapper McKinley Phipps Jr., who served 21 years in prison for a crime he says he did not commit. Phipps and his family open up about the lasting impact of incarceration and the healing power of art. “Rap Trap: Hip-Hop on Trial” also features interviews with hip-hop artists will.i.am, Jerrika Karlae, Fat Joe and Killer Mike, who reflect on the importance of protecting and standing up for artists’ right to express themselves. Additional interviews include Kevin Liles, co-founder and CEO of 300 Elektra Entertainment, who spearheaded the “Protect Black Art” movement; scholar Michael Eric Dyson; and Erik Nielson, co-author of “Rap on Trial.” “Rap Trap: Hip-Hop on Trial” begins streaming Thursday, Feb. 23, only on Hulu.

“Rap Trap: Hip-Hop on Trial” is produced for Hulu by ABC News Studios.

ABOUT ABC NEWS STUDIOS

ABC News Studios, inspired by ABC News’ trusted reporting, is a premium, narrative non-fiction original production house and commissioning partner of series and specials. ABC News Studios champions untold and authentic stories driving the cultural zeitgeist spanning true-crime, investigations, pop culture, and news-adjacent stories. Its subsidiary, ABC News Films, acquires and produces feature documentary films.

*COPYRIGHT ©2023 American Broadcasting Companies, Inc. All photography is copyrighted material and is for editorial use only. Images are not to be archived, altered, duplicated, resold, retransmitted or used for any other purposes without written permission of ABC. Images are distributed to the press in order to publicize current programming. Any other usage must be licensed. Photos posted for Web use must be at the low resolution of 72dpi, no larger than 2x3 in size.

-- ABC --

[maninasry]

Grateful Acknowledgment to our wonderful Post Production Team: Re-recording Mixer, Supervising Sound Editor: Steph Carrier Music Editor: Kevin Banks Dialogue Editor: Cailey Milito Sound Effects Editor: Kristi McIntyre Film Editor: Robert Jackson Colourist: Glen Castinho Poster Designer: Juliusz Wojciechowski Film Composers: Martin Phipps Matt Dunkley Janal Bechthold Thank you so much. Without this extraordinary team there would be no film. I am so grateful to have this wonderful team make 'we' happen. Yes, we did it. Thank you so much Juliusz Wojciechowski Thank you DELUXE Thank you DGC & ACTRA Toronto Thank you POST CITY PICTURE AND SOUND Special Thanks to The President of POST CITY: Pino Halili Thank you God. https://www.instagram.com/p/ClKIZjHv5OK/?igshid=NGJjMDIxMWI=

[maslue90]

Meet You At The Light | Desirée Dawson from Alexander Farah on Vimeo.

A bittersweet and heartfelt portrait of a young woman and her diabetic father. Performed by Ishaval Gill and her father Kamaldevinder Gill.

Winner: Grand Jury Prize, Best Music Video - SXSW 2022 Winner: Audience Choice Award, Best Music Video - SXSW 2022 Winner: International Grand Prix & Best Music Video - Kinsale Shark Awards 2022 Winner: Audience Choice Award, Best Music Video, South Asian Film Festival of America 2022

With Harinder Saini, Balinder Johal and Shrey Vyas. Featuring Alisa Lindley, Katrina Kwan, Ruvarashe Marikano, JP Padda, and Ameliya Jagpal. Produced with the co-operation of the Union of B.C. Performers.

Writer/Director: Alexander Farah Cinematographer: Farhad Ghaderi Produced by: Shyam Valera, Kashif Pasta Exec. Producers: Katherine Koniecki, Martin Glegg Production Co: Wallop Film, Dunya Media Casting: Kara Eide, CSA and Kris Woznesensky, CSA Production Designer: Charlie Hannah Art Direction: Mona Fani 1st AD: Tamara Black 1st AC: Mikael Bidard 2nd AC: Soloman Chiniquay, John Fleming
 Steadicam Op: Peter Park Gaffer: Terrance Azzuolo, Michael Yeung
 Grip: Ron Okinawa Wardrobe Stylists: Madison Cannell, Pooja Patel Hair/Makeup Artists: Charmi Khetia, Aratrika Das Production Assistant: Kevin Kim Sound Design/Mix: Eugenio Battaglia Colourist: Sam Gilling Film Scan: Peter Hagge at Filmhouse VFX Support: Lucas Hrubizna


Special thanks to Lecily Corbett, Tug Phipps, Met Post NY, The Gill Family, Ian Garrett, Gillian Pyper, Phillip Wong, Sydney Robertson, Julie Lajeunesse, Christine Ackerley, Justin Karasick, Maria Crisa Cardente, Myriam Farah, Sydney Robertson, Salar Pashtoonyar, Meysam Motazedi, Minhal Baig, David Findlay and Francis Arevalo. 


This video was created thanks to the generous support of the MVP Project, a joint initiative of RBCxMusic and the Prism Prize (administered by the Academy of Canadian Cinema & Television).

[sesiondemadrugada]

Eyes Wide Shut (Stanley Kubrick, 1999).

[officialyourdailyinspiration]

In the midst of trouble and pain, we look to the cross. We don't have to figure out how to manipulate the Almighty. We don't have to settle for a pseudo-faith that is trying to get God to act. We look at the way that He has acted through his Son.

Kevin Phipps

[danirimicuara]

undefined

American Gods.

- Creators: Bryan Fuller and Michael Green, based on the novel by Neil Gaiman.

- Music: Brian Reitzell.

- Production Design: Patti Podesta, Rory Cheyne and Kevin Phipps.

-  Cinematography: Darran Tiernan, Jo Willems and Aaron Morton.

[nofatclips]

Caught Up by Death From Above from the album Outrage! Is Now - Director - Eva Michon

[allenwhite]

Small Groups are a Leadership Development Factory

Small Groups are a Leadership Development Factory

If you need more leaders and even people just to help in your church, you are in good company these days. With low attendance numbers dragging on into the third year since COVID began, the leadership deficit in most churches is bigger than it’s ever been. Small groups are a great catalyst for growing leaders. Every Disciple Can Make a Disciple Sometimes you can get a little triggered when we…