Luc Paul Maurice Besson is a French film director and producer. He directed or produced the films Subway, The Big Blue, La Femme Nikita. Besson is associated with the Cinéma du look film movement, he has been nominated for a César Award for Best Director and Best Picture for his films Léon: The Professional and The Messenger: The Story of Joan of Arc. He won Best French Director for his sci-fi action film The Fifth Element, he wrote and directed the 2014 sci-fi action film Lucy and the 2017 space opera film Valerian and the City of a Thousand Planets. In 1980, he founded his own production company, Les Films du Loup, Les Films du Dauphin, which were superseded in 2000 by his co-founding EuropaCorp film company with his longtime collaborator, Pierre-Ange Le Pogam; as writer, director, or producer, Besson has so far been involved in the creation of more than 50 films. Besson was born to parents who both worked as Club Med scuba-diving instructors. Influenced by this milieu, as a child Besson planned to become a marine biologist.
He spent much of his youth travelling with his parents to tourist resorts in Italy and Greece. The family returned to France when Besson was 10, his parents promptly divorced and each remarried. "Here there is two families, I am the only bad souvenir of something that doesn't work," he said in the International Herald Tribune. "And if I disappear everything is perfect. The rage to exist comes from here. I have to do something! Otherwise I am going to die." At the age of 17, Besson had a diving accident. He worked on the first drafts of Le Grand Bleu while still in his teens. Out of boredom, Besson started writing stories, including the background to what he developed as The Fifth Element, one of his most popular movies; the film is inspired by the French comic books. Besson directed and co-wrote the screenplay of this science fiction thriller with the screenwriter Robert Mark Kamen. At 18, Besson returned to his birthplace of Paris. There he took odd jobs in film to get a feel for the industry, he worked as an assistant to directors including Patrick Grandperret.
Besson directed three short films, a commissioned documentary, several commercials. After this, he moved to the United States for three years, but returned to Paris, where he formed his own production company, he first changed it to Les Films du Dauphin. In the early 1980s, Besson met Éric Serra and asked him to compose the score for his first short film, L'Avant dernier, he used Serra as a composer for other films of his. Since the late 20th century, Besson has written and produced numerous action movies, including the Taxi and The Transporter series, the Jet Li films Kiss of the Dragon and Unleashed/Danny the Dog, his English-language films Taken, Taken 2 and Taken 3, all starring Liam Neeson, have been major successes, with Taken 2 becoming the largest-grossing export French film. Besson produced the promotional movie for the Paris bid for the 2012 Summer Olympics. Besson won the Lumières Award for Best Director and the César Award for Best Director, for his film The Fifth Element, he was nominated for Best Director and Best Picture César Awards for his films Léon: The Professional and The Messenger: The Story of Joan of Arc.
French actor Jean Reno has appeared in several films by Besson, including Le dernier combat, The Big Blue, La Femme Nikita, Léon: The Professional. Critics cite Besson as a pivotal figure in the Cinéma du look movement, a specific visual style produced from the 1980s into the early 1990s. Subway, The Big Blue and La Femme Nikita are all considered to be of this stylistic school; the term was coined by critic Raphaël Bassan in a 1989 essay in La Revue du Cinema n° 449. A partisan of the experimental cinema and friend of the New Wave directors, Bassan grouped Besson with Jean-Jacques Beineix and Leos Carax as three directors who shared the style of "le look." These directors were described critically as favouring style over substance, spectacle over narrative. Besson, along with most of the filmmakers so categorised, was uncomfortable with the label in light of the achievements of their forebears: France's New Wave. "Jean-Luc Godard and François Truffaut were rebelling against existing cultural values and used cinema as a means of expression because it was the most avant-garde medium at the time," said Besson in a 1985 interview in The New York Times.
"Today, the revolution is occurring within the industry and is led by people who want to change the look of movies by making them better, more convincing and pleasurable to watch. "Because it's becoming difficult to break into this field, we have developed a psychological armor and are ready to do anything in order to work", he added in this same interview. "I think our ardor alone is going to shake the pillars of the moviemaking establishment."Besson directed a biopic of Aung San Suu Kyi called The Lady, released in the fall of 2011. He worked on Lockout, released in April 2012. Many of Besson's films have achieved popular, if not critical, success. One such release was Le Grand Bleu. "When the film had its premiere on opening night at the 1988 Cannes Film Festival, it was mercilessly drubbed, but no matter. "Embraced by young people who kept returning to see it again, the movie sold 10 million tickets and q
Wrights & Sites is a group of British artists who work with site-specific performance and walking art. Founded in 1997, Wrights & Sites consists of artist researchers Stephen Hodge, Simon Persighetti, Phil Smith and Cathy Turner, their work is inspired by the Letterist and Situationist Internationals the practice of dérive.in 1998, Wrights & Sites produced a three-week site specific festival, The Quay Thing that resulted in six new performance works, as well as a variety of smaller performances throughout the site. Professor Deirdre Heddon has identified this as her introduction to site-specific performance, an influence on her future work. Subsequently, the group began to explore walking as their primary mode of artistic exploration. Phil Smith has noted, Wrights & Sites walking'began as an anti-theatrical act' and'the site-based performances of Wrights & Sites revealed places to be as performed as the performances in them.'Wrights & Sites walking practices are best known through their'Misguides', a series of texts they published with contributions from Tony Weaver.
The'Misguides' provide instructions to make familiar places unfamiliar and inspire the reader to playfully subvert the city through walking. 4 Screens #4: Possible Forests, Centre for Contemporary Art and the Natural World, Haldon Forest Park 4 Screens #2: A Mis-Guide To Anywhere Gallery of Utopias, for PSi#12 Performing Rights, London tEXt & the city Exeter Picture House Mis-Guided To Anywhere Urbis, Manchester An Exeter Mis-Guide Exeter Central Library An Exeter Mis-Guide Exeter Phoenix A Courtauld Mis-Guide Courtauld Institute, London An Exeter Mis-Guide Exeter Picture House Stephen Hodge & Daniel Belasco Rogers'What is a theatre? Where is it and how do you get there?', in Performance Research, 12.2. Phil Smith'From Theatre To Dispersal: A Journey From Stalowa Wola To Mobile Machinoeki', in Performance Research, 12.2. Wrights & Sites"A Manifesto for a New Walking Culture:'dealing with the city", in Performance Research, 11.2. Cathy Turner'Palimpsest or Potential Space? Finding a Vocabulary for Site-Specific Performance' New Theatre Quarterly, XX.4.
Wrights & Sites'SITE-SPECIFIC: The Quay Thing Documented', in Studies in Theatre and Performance, Supplement 5
The Symphony No. 104 in D major is Joseph Haydn's final symphony. It is the last of the twelve London symphonies, is known as the London Symphony. In Germany it is known as the Salomon Symphony after Johann Peter Salomon, who arranged Haydn's two tours of London though it is one of three of the last twelve symphonies written for Viotti's Opera Concerts, rather than for Salomon; the work was composed in 1795 while Haydn was living in London, premiered there at the King's Theatre on 4 May 1795, in a concert featuring Haydn's own compositions and directed by the composer. The premiere was a success. I made 4000 gulden on this evening: such a thing is possible only in England." The work is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D and G, two trumpets in D, timpani and strings. Adagio – Allegro Andante Menuetto and Trio: Allegro Finale: Spiritoso The symphony opens with a slow and grand introduction in D minor, whose first two bars are as follows: This leads to the main body of the sonata form movement, in D major.
Its opening theme is as follows: The movement is monothematic: the second theme is the first theme transposed to A major. The exposition is with the strings playing the first theme; the theme goes straight into A major with the woodwinds to form a second theme. The exposition closes with a codetta and is followed by the development which begins in B minor, using the rhythmic pattern of the second half of the theme; the development ends with the full orchestra. In the recapitulation, the first theme is heard again in D Major, it uses imitative patterns of the woodwinds in the second theme. The movement closes with a coda in D major; this movement, in G major, opens with the main theme in the strings. After this, a brief episode highlighting A minor and D minor leads to a modified repeat of the main theme in both strings and bassoon. From here, a second section begins which modulates to various other keys, including G minor and B♭ major, but continues to feature the melody of the main theme. After arriving on the dominant of G major, the music of the first section returns.
The rest of the movement consists of a modification of the first section of music, with several changes in rhythm and more prominence to the winds the flute. The third movement is a trio in D major; the minuet section consists of a rounded binary form with an opening section emphasizing the tonic, while the second section visits the relative minor and the dominant. The trio is in B♭ major, uses the oboe and bassoon extensively. Like in the minuet, this trio's B section emphasizes the relative minor; the trio ends with a transition back to dominant of the main key in preparation for the return to the minuet. The exuberant finale, in fast tempo and in sonata form, opens in the mode of folk music using a drone bass and a theme claimed to have originated as a Croatian folk song; the development section settles on the dominant of the main key, as is typical, but the recapitulation does not occur immediately. Instead, the development is extended with a section in F♯ minor, after which the recapitulation in D major follows immediately.
List of symphonies by name The Finale can be found on http://www.pointclassics.com/dl/2650902.4. Finale-%20spirituoso.48k.mp3 to listen to. Piano reduction Symphony No. 104 is available in PDF format created from MuseData. Symphony No. 104: Scores at the International Music Score Library Project