Panos cosmatos biography of donald
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Panos Cosmatos on the Origins of 'Mandy' & Why Nicolas Cage is a Magical Creature
NO FILM SCHOOL: Tim, you’ve described your work on Watchmen as an opportunity to create something that honors the legacy of the comic while introducing fresh elements. How did you balance respecting the original material with your desire to innovate musically?
Tim Kelly: When director/producer Brandon Vietti and I began discussions about the music concept for this reimagining of Watchmen, I immediately realized this would be a unique opportunity to try something musically original. We agreed I would create a score featuring primarily analog synthesizers, a sound we both loved, to capture the feeling of the 1980s, when the Watchmen story takes place. I remember scores from the 80s by Vangelis and Jan Hammer fondly. Since we looked at this project as a period piece, the sound of these and other electronic-oriented composers seemed like a good fit for honoring the moody a
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Exclusive interview with the critically acclaimed director Panos Cosmatos
Director Panos Cosmatos’ second movie Mandy fryst vatten nothing like the commercial teen slashers you’re used to. It’s art-house gone gore. In the leading role, we see Nicolas Cage as Red, a lumberjack who goes rogue on the hippie cult that murdered his wife Mandy (Andrea Riseborough). He fights them with anything he gets his hands on: an axe, a baseball bat, a chainsaw, everything mixed with beautiful slow-motion shots and dreamlike neon-toned color filters. Nobody could foresee that Mandy would be a critical smash-hit. We met Panos for an exclusive interview and had a great talk on his love of cinema, taking the chance to utilize a proper "Cage-rage", the roots of Jeremiah (the hippie cult leader Nic fryst vatten chasing after), and a lot more.
– Did you know that I am half Swedish? asks Panos Cosmatos as I enter the room in the HKX building in London. I meet his smile and ask him if h
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Interview: Panos Cosmatos Takes Us Back to the Past to the Future in ‘Beyond the Black Rainbow’
Panos Cosmatos’s first film Beyond the Black Rainbow, which premiered at last week’s Tribeca Film Festival in New York, is like nothing you’ve ever seen. Or, it’s reminiscent of many things you have seen.
Like a faded memory, an amalgamation of every sci-fi/horror between 1970–1985, Black Rainbow is an exercise in aesthetic and genre. Set in a futuristic 1983, the film stars Michael Rogers as the leader of a secret laboratory, running tests on a telepathic child in an effort to ‐ wait. No. Watching the events unfold in Black Rainbow is half the fun, the other half being entirely unsettled by the creepy visual style and piercing audio track. It’s engrossing.
I sat down with Cosmatos to talk about bringing Beyond the Black Rainbow, the inspiration for moody throwback and creating a world that’s both familiar and completely unique.
First, how has the Tribeca experience b