Chris Brown and Ariana Grande look like Romeo and Juliet in their new fantasy video for Don’t Be Gone Too Long. Filmed in a medieval setting with Shakespearian storyline and costumes – this is definitely different! We love it!
(To watch this mini-movie in Creation 5, just tap here.)
Chris Brown’s long-awaited album X is finally due out today (September 16th) and at the weekend he delivered an early treat by sharing this new fairytale video for Don’t Be Gone Too Long, featuring Ariana Grande.
Shot in a dark palette this mini-movie stars Brown and Grande as medieval lovers. Heavies, that look like Royalty, appear on horseback to separate them, and Brown is taken away to prison in chains while Grande is taken as a prisoner and kept on a castle balcony – ala Romeo and Juliet. In between the narrative are shots of Brown dancing, acrobatic style, and a tutu-clad Grande showing off some awesome ballet – complimenting Brown’s dancing style rather perfectly.
The video was directed by Chris Brown himself and the three-and-a-half-minute mini-movie is an unexpected change from Brown’s other music videos. He posted a link to the video on his Twitter page, saying, “I directed this one also.. Wanted to do something different” — (@chrisbrown) September 13, 2014
The album X will feature collaborations with plenty of other artists as well – Lil Wayne, Tyga, Usher, Rick Ross, Nicki Minaj and Kendrick Lamar.
In this first full-length trailer Katniss Everdeen (Jennifer Lawrence) starts a revolution! We even get to see her shoot down planes! Fans get their first look at new characters played by Julianne Moore (President Snow’s rival) and Natalie Dormer (Cressida, another of the Capitol’s rebels).
Lorde was recently announced as the music curator for the “inspired by” soundtrack for the film. The only disappointment for us in this trailer is that it didn’t premiere any of this new music – still, it didn’t stop us wondering what kind of music Lorde will choose.
Jennifer Lawrence stars alongside other returning stars, Josh Hutcherson (Peeta Mellark), Liam Hemsworth (Gale Hawthorne), Woody Harrelson (Haymitch Abernathy) and Donald Sutherland – the evil President Snow. The late actor Philip Seymour Hoffman is also seen reprising his unfinished role of Plutarch Heavensbee.
Directed by Francis Lawrence, ‘Mockingjay Part 1’ is the first part of the adaptation of the third book in Suzanne Collins’ hugely successful fiction trilogy. Part 1 comes out November 21, 2014. The previous two films grossed over 900 million dollars worldwide which puts Jennifer Lawrence in the Guiness Book of Records as the world’s most successful film heroine.
The top 10 actresses on Forbes’ 2014 list of Highest Paid TV Actresses made a combined $120 million – a considerable step up since the days of stay at home wives and soccer moms. Despite their efforts, everyone knows that Hollywood is a male dominated industry. The 10 leading TV actors in Hollywood continue to be the highest earning bread-winners, reaching combined earnings of $214 million, a considerable amount more than the ladies.
That’s not to say the ladies did not shine this year. In fact, their earnings have increased by a hell of a lot over the years. ABC’s Modern Family’s starlet, Sofia Vergara, came in at Nº1 with an estimated $37 million (out-earning Forbes’ second highest-earning star by $24 million), while Mariska Hargitay from NBC’s Law & Order: Special Victims Unit came in at second place with an estimated $13 million and CBS’s sweetheart from The Big Bang Theory, Kaley Cuoco-Sweeting, came in third place with an estimated $11 million.
1. Sofia Vergara ($37 million)
For the third year running, Sofia Vergara, the incredibly sexy 41 year-old Columbian native who plays Gloria Delgado-Pritchett in the hit TV show Modern Family, continues to cash in the biggest checks in Hollywood as the top earning TV actress. However, the dollars flowing her way are not only due to her reported $32,000 per episode she stars in on Modern Family. Vergara has secured endorsement deals with Diet Pepsi, Cover Girl, Head & Shoulders and AT&T, amongst others. She’s also landed great movie roles in, for example, John Favreau’s 2014 indie film Chef (an absolute MUST see) and Woody Allen’s most recent comedy, Fading Gigolo, and has a 12-year contract with K-Mart, as well as her very own fragrance. Indeed, her success is due to far more than her Latino sex appeal and brilliant attitude on and off-screen… The woman has brains! – she’s even co-founded Latin World Entertainment, a talent management and entertainment-marketing firm, and is launching a Spanish-language tech news site. Keep looking fab and rocking it mamacita!
2. Mariska Hargitay ($13 million)
Law & Order: Special Victims Unit actress, Mariska Hargitay, comes in at second place for highest earning TV actress for the second year in a row. Following her Emmy and Golden Globe winning performance as Detective Olivia Benson, Hargitay received an increase in salary to $450,000 per episode. Mariska’s stardom has since had a positive knock-on effect on the show, which was renewed for a 16th season, receiving a double-digit increase in viewership. What’s more, the actress earns notable profits from considerable syndication of SVU. Off-screen, Hargitay runs a non-profit organisation, The Joyful Heart Organisation, as a means to confront childhood sexual abuse.
3. Kaley Cuoco-Sweeting ($11 million)
Taking home a reported $350,000 per episode for Chuck Lorre’s top rated comedy, The Big Bang Theory, and profits from extensive syndication of the show, Kaley Cuoco-Sweeting, at just 28 years old, is one of the youngest actresses on Forbes’ list. What’s more, Cuoco and the rest of The Big Bang Theory gang have recently renegotiated their salaries for a noteworthy raise that is reportedly worth $1 million per episode! Cuoco also has an endorsement deal with Priceline and Toyota and has teamed up with the hilarious Kevin Heart in a The Wedding Ringer, due to be released in 2015.
4. Julianna Margulies ($10 million)
The 48 year-old Emmy and Golden Globe award-winning actress and producer, Julianna Margulies, best known for her knock-out roles as Nurse Carol Hathaway on ER and currently as Alicia Florrick, the ruthless wife, mother and attorney in The Good Wife, has earned a whopping $10 million this year. Aside from her $6.5 million proceeds solely for her roles as actress and producer of The Good Wife, Margulies yields a considerable sum from a multi-window syndication deal for the show as well as a rewarding L’Oreal contract (yes, she does have remarkable hair!). All of the above has helped Margulies move up 9 spots from last year’s ranking. Yes, Margulies has made a killing this year!
5. Ellen Pompeo ($10 million)
Ellen Pompeo’s role as Merdith Grey on the long-time running hit TV series Grey’s Anatomy still has her cashing in millions. The show is ABC’s third top ranking series amongst the adult demographic, falling shortly behind Castle and Scandal.
6. Cobie Smulders ($10 million)
32 year-old Vancouver-native, Cobie Smulders, who stars in CBS’s sitcom How I Met Your Mother earned a reported $34,000 per episode of the show’s final season. Smulders made additional profits from her roles in Captain America: Winter Soldier, The Lego Movie, and in other smaller movies. On top of that, she earned almost $1.5 million in syndication revenues from HIMYM. Smulders has moved up the ladder on Forbes list this year. Although the end of HIMYM has opened a new chapter in her career, she is to continue to appear on the big screen. Look out for her in the Avengers: Age of Ultron– to be released in 2015.
7. Allison Hannigan ($9.5 million)
Like her co-star Smulders, Allison Hannigan earned a reported $35,000 per episode of the final season of HIMYM. Along with the rise in syndication revenues from the show’s ninth season, Hannigan has moved up Forbes’ list by a few slots. In her next role, Hannigan is to star in Ben Affleck and Matt Damon’s sitcom More Time With Family, on CBS.
8. Amy Poehler ($7 million)
For her role as Leslie Knope, in the sixth season of NBC’s sitcom Parks & Recreation, Amy Poehler earned almost $4.5 million. Adding $2 million into the mix for her Old Navy endorsement deal and yields from her role in They Came Together, the star reached the $7 million mark. It looks like Poehler has another successful year ahead; Parks & Rec has been green lighted for a seventh season, and Poehler is working on a new comedy, co-starring Natasha Lyonne from Orange is the New Black.
9. Mindy Kaling ($6.5 million)
After having cashed in a decent sum from The Mindy Project, in which Kaling acts as writer and producer, the comedienne has also earned additional profits from her exclusive syndication deal with Hulu Plus for the popular sitcom, and continues to receive syndication profits and residuals from The Office. Plus her endorsement deal with XFinity, Kaling is up by $2 million since last year. Her new movie, which she co-wrote, and which stars Anne Hathaway, is expected to be released on the Big Screen in 2015.
10. Kerry Washington ($6 million)
Scandal star, Kerry Washington, has doubled her revenue since last year by taking home big chunks of her pay check from endorsement deals with Movado and Neutrogena. It’s been a fantastic year for Miss Washington, A.KA. The Gladiator in a Suit – not only did she earn a killing, she recently married NFL player Nnamadi Asomugha and gave birth to a beautiful baby girl. She also made it to Time’s list of the 100 Most Influential People in the World.
“Forbes’s list is determined by estimating pre-tax earnings between June 2013 and June 2014 from the actresses’ TV work, endorsements, residuals and advertising work, and by talking to agents, managers and lawyers. The estimate does not include management fees and other expenses.”
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For those who don’t know, SnapChat is the hugely popular photo and video app whose content is viewed a half-billion times daily. The video premiered exclusively on SnapChat at 11:30am (ET) and was followed by the official worldwide release at noon on Vevo and is now available for purchase on Beatport.
The trippy video was directed by Drew Cox and it has a slightly creepy feel which does keeps you hooked. The whole thing is in striking black and white and uses slow-motion imagery of different characters who are ready, we suppose, to ‘tear the roof up’. “It’s very intense, it’s very energetic and it’s a lot of fun,” explains Alesso.
The Grammy-nominated chart-topper looks set to make the transition from budding producer to household name. He is only 23 years old and has amassed 2.5 million followers on Facebook, almost a million followers on Twitter and 506,000 followers on Instagram. His upcoming debut album is highly anticipated by his army of fans – something they have been yearning for since the start of his career.
Burning Man is over for another year and all the wonderful pictures taken this year are gradually surfacing across the internet. We’ve gathered a few of our favourites, plus some videos.
The Burning Man Project takes place in the middle of the Nevada’s Black Rock Desert, USA. For 7 days, Black Rock City is a place of community, art, self-expression and self-reliance. Participants at this festival enjoy a transformative experience unlike any other on the planet. The night that they ‘burn the man’ is akin to a New year’s Eve celebration.
The event runs almost entirely from social capital. Art projects are mostly crowd-sourced, music stages are self-funded and all the performers and visitors volunteer their time and give away free stuff to everybody – the gift economy. Of course the organisation behind the event BMOrg (Burning Man Organization) does a huge amount of work to set up the city which becomes home to 70,000 people for a week.
Below: The Candymen – visitors from the Bay Area, San Fransico, contributing to the “gift economy” by handing out sweets.
This year there were plenty of climbable art projects including a huge Xenomorph alien queen fortress, a metal spinning globe and a massive tower with a globe on top that required basic rock-climbing skills to reach the top.
The most talked about art was undoubtedly the Embrace Art Structure. Both of the human structures had passage ways and windows and you could climb to the top. The male had a heart with gears (showing logic) and the female had lightbulbs inside her heart (showing creativity).
The electronic music stages were filled with some great talent including Skrillex, Major Lazer, Above & Beyond, Robot Heart and many more.
The fireworks at Burning Man are some of the best in the world and this year an art piece called Nuclear Dream was detonated. The huge mushroom cloud explosion was heard across the whole playa. Take a look at the video below.
The clip was directed by Robert Hales and written by both Hales and White. According to the press release the whole video was “conceptualized, produced and shot within a 24-hour period,” and filmed in 6 hours at the historic Cruise Room at the Oxford Hotel in Denver.
With a slick new haircut and a classic blue suit, the dapper-looking singer sits alone at a bar fidgeting with a drink (“It’s not enough that I love you / There’s all these things I have to prove to you”). He sings about his frustrations of feeling like a ghost and wondering why he can’t be loved back. He tries to avoid eye contact with the mysterious female that appears throughout the clip. Only the jukebox and an old-school microphone provide some solace for the troubled rocker.
The song comes from White’s chart-topping album Lazaretto, released in June this year on his Third Man Records label through Columbia. The album shot straight to Nº1 on the Billboard 200, selling 138,000 copies its first week, of which 40,000 were vinyl – the biggest selling record since Nielsen SoundScan started tracking record sales in 1991.
Jack White is currently on tour in North America and is heading to Europe and the UK in November.
SHOWTIME! We continue our series of ‘In Performance at the White House’ – a series of concerts created to showcase the rich fabric of American culture in the exclusive setting of the nation’s most famous home. To see last weeks post, Motown Sound, click here.
Tap video titles to play them in Creation 5
Paul McCartney – The Gerswhin Prize for Popular Song 2010
“In Performance at the White House: Paul McCartney” is a PBS music special taped in the East Room of the White House. President and Mrs. Obama hosted the concert in honor of musician Sir Paul McCartney’s receipt of the Library of Congress Gershwin Prize for Popular Song. The evening included performances by McCartney himself and Stevie Wonder, Elvis Costello, Jonas Brothers, Herbie Hancock, Corinne Bailey Rae, Dave Grohl, Faith Hill, Emmylou Harris, Lang Lang and Jack White, with remarks by Jerry Seinfeld. President Obama presented the Gershwin Prize to Paul McCartney during the event.
Paul McCartney wrote his first song at the age of 14 and since then he has always dreamed and dared to be different. As the writer of the Beatles’ greatest songs, he basically changed the world of music. Since The Beatles he has continued to push the boundaries of music, first as a solo artist, then with the band Wings and now as a solo artist again. Paul has spent most of the last few years performing to sold out concerts all over the world.
President Obama said: “It’s hard to believe that it’s been nearly half a century since four lads from Liverpool landed on our shores and changed everything overnight.”
McCartney commented in an interview with the AP: “One of the highs was singing ‘Ebony and Ivory’ with Stevie because we’d never done it live together, so that was great. To sing it live together for the very first time with the first black president there, it suddenly gave a great significance to the song….To sing it with Stevie in front of President Obama was very emotional.”
When accepting the award, McCartney said: “This is such a fantastic evening for me. I mean, getting this prize would just be good enough, but getting it from this President…” which resulted in cheers and applause from the audience.
Download these shows and add them to your music library
This is part of a 10-week series that we will be running on our blog, with the music videos conveniently separated into individual performances so that you can save and download your favourite artists, or the whole show if your prefer. Creation 5’s YouTube feature lets you download videos so you can watch offline when you’re travelling and enjoy great music on-the-go. Don’t forget that you can download Creation 5’s YouTube In-app purchase absolutely FREE, which normally costs €4.49 ($4.99), as we currently have a promotion running in celebration of hitting 450,000 downloads on the App Store!
01 Paul McCartney – Got to Get You Into My Life 02 Stevie Wonder – We Can Work It Out 03 Jonas Brothers – Drive My Car 04 Jerry Seinfeld comedy routine 05 Jack White – Mother Nature’s Son 06 Faith Hill – The Long and Winding Road 07 Corinne Bailey Rae & Herbie Hancock – Blackbird 08 Elvis Costello – Penny Lane 09 Emmylou Harris – For No One 10 Lang Lang – Celebration (instrumental from Standing Stone) 11 Dave Grohl – Band on the Run 12 Paul McCartney & Stevie Wonder – Ebony and Ivory 13 President Obama’s dedication speech 14 Paul McCartney – Michelle 15 Paul McCartney – Eleanor Rigby 16 Paul McCartney – Let It Be 17 Paul McCartney – Hey Jude
Calvin Harris and soul-singer John Newman have finally released the music video for their killer track Blame where they’re surrounded by lingerie-clad women…It’s tough at the top you know…
Directed by Emil Nava the video opens with the boys at their respective mansions giving the cold shoulder to girls they have just spent the night with. The ending is completely bizarre – the girls dive into water – sinks, ice-buckets, hot tubs – and are all teleported to the same pool miles away. Anyway, without trying to understand it, the visual is beautifully put together and compliments the song perfectly. Although trying to blame it ‘on the night’, instead of the fact that they are such players is questionable… 🙂
Following the song’s worldwide premier last week, it is currently leading the race to the Nº1 spot on the UK charts. If nothing changes from now until Sunday it will be Calvin Harris’s 5th UK Nº1 – I’m Not Alone (2009), Sweet Nothing (2012), Under Control (2013) and Summer (2014).
The track already hit the Nº1 spot on Spotify’s Global Chart – within 3 days of being released, making it the fastest-ever climber to the top.
Blame is the second cut to be taken from Harris’s upcoming new album, following the previous chart topper Summer.
How exactly is one to introduce a veritable institution in modern music? The critically acclaimed underground legend Sasu Ripatti has been at the forefront of so many genres and sub-genres of electronic production as to defy expectation. Over the years after his breakout release (Vocalcity, composed under the moniker Luomo when he was only 25, remains an oft referenced landmark in house music), Ripatti has only gone from strength to strength, mastering house, techno, dub, experimental, ambient, jazz (he’s originally a percussionist) and whatever else he chooses to dabble in – he’s a polyglot with the Midas touch. It’s impossible to condense Sasu Ripatti’s output into this space, so to find out more about the artist, read his biography here.
In this revealing interview, the reclusive genius (he lives in near isolation on an island near the Arctic Circle) behind the many monikers speaks out.
You’ve been putting out music under a different name for nearly every sub-genre you experiment with. Why choose to do this when output from a single pseudonym can be far more recognizable to listeners? Don’t you want a familiarity to exist? First off, I’m really not about being recognizable or having a brand or any such thing. Overall, it just feels right to give differing names to different projects or concepts. I like to produce and be involved with lots of different kinds of music, and they don’t always go hand in hand. To me, it wouldn’t make sense to put out the material I do as Delay and as Luomo under the same alias, it would be rather confusing for people. What really matters, actually, is that it doesn’t feel right to me. I’m all for confusing people, after all. Often people are only aware of a certain strain of my music, or like a specific project.
Not only do you perform and record as a percussionist in the Moritz von Oswald trio (headed by Moritz von Oswald, one of the fathers of 90s techno), but you also have your own experimental jazz quartet. This is, of course, besides your electronic output as Luomo, Conoco or Sistol – not to mention Vladislav Delay. That’s a mammoth oeuvre. How do you manage it all? From my perspective it’s the other way around. Had I only been making experimental ambient music for the past ten years, for example, I’d need professional help. I can’t imagine restricting myself like that. Again and again I come back to the analogy of food. There’s no way I would eat any food for more than a week in a row, no matter how good. And the same goes for my favourite albums: there’s a limit after which (the music) just doesn’t work anymore, you need variety. Making music is exactly the same thing. There’s a whole world out there, why would I stick to one genre? It makes no sense to me. But this also means that you can’t keep doing everything all the time. I’m not working on Luomo/ Conoco/ Sistol nowadays, and I recently stopped playing with the Moritz von Oswald trio as well – it’s time to move on and do other things. There are other collaborations and projects to look forward to. I don’t like to get stuck on a particular thing and, more often than not, things eventually tend to slow down creatively. It’s hard to bring new fire into a project sometimes. In the end, it’s just waveforms that you try to create emotions with. This tempo or that tempo, this mood or that… I’m rather omnivorous.
In 2011, Animal Collective invited you to perform at the All Tomorrow’s Parties that they curated. How was the experience? It was one of my better shows for sure. A dedicated audience and a massive high quality PA – what more could one ask for? I also enjoyed seeing some bands that I had no idea existed, trendy indie stuff and acts I wasn’t very familiar with.
Vocalcity is my personal favourite Sasu Ripatti album – like all your best work, none of the cinematic tracks dips below ten minutes in length. Do you believe longer, free-flowing compositions afford the artist greater scope? It’s not that simple. I often seem to just need time to build things, and I don’t really work well with the ‘three minutes thirty seconds’ format (even when it’s something relatively pop-like, such as Luomo). I’m in no rush, I don’t need to shorten tracks for any practical reasons, and I like to take my time. Lots of the music I’m influenced by is also lengthy and developing in structure, although I do enjoy some mainstream forms of music that clock in at 3:30 each and every time – no surprises there. It’s difficult for me personally to make short tracks, let’s put it like that. There’s always too much to say, too much to put into a very short format; but I never try to extend tracks intentionally to make them long. I’ve done smaller pieces, and some of them are my favourites. I have, slowly, also perhaps become slightly better at arranging and composing and need less time to say what I want to say musically.
Where did the ideas for Luomo and Vocalcity come from? What propelled you to try to inject emotion and warmth to the niche sub-genre of micro-house at such a young age? Did it not daunt you, a task that would daunt even a far more experienced and mature artist? I didn’t care at all, to be honest. I had no idea what house music was, never mind micro-house… it was one of the least interesting forms I could ever imagine listening to. I really hadn’t even heard any actual house music, just the cheap commercial stuff off the radio. For me it was never about house music: it was about pop music. I never wanted to start a band for my pop or vocal music. Electronic backing, however, suits me well when I choose to write pop with vocals. It’s just a vehicle. Back then I was doing lots of ambient stuff and getting a little bored of it. I was garnering attention for said ambient stuff, and the labels attached to me bothered me to the extent that I decided to do something totally different. I had made strange electronica for years on end and I think I had a little breakdown or something. I knew a jazz singer from the time I was heavily into the jazz scene and used to play drums. I asked her and a keyboard player to join me. I just got on with it without much planning or thought. I remember the time I sent the first tracks to the label that released Luomo. They said there weren’t enough kick-drums… I remember I tried putting them in – and that’s the house thing I guess. It was a hard period in my life, personally. I was quite a mess and it was somehow therapeutic to write those lyrics and make emotional music.
What are your favourite places in the world to perform at, and why? I have noticed I’m changing in this respect. It’s partly due to having moved to a remote location (an island in the Baltic Sea, near the Arctic Circle) which makes traveling rather challenging, but beyond that I have realized more and more that my main interest lies in the studio rather than in playing concerts. Don’t get me wrong, I like to play some good shows (and still do every now and then) – but the fact is also that not every show is a good one, and often unrelated to what you’re producing. Those tend to kill me every time a little bit. Anyway, Tokyo and Kyoto are probably my favourite places followed by random smatterings everywhere. If it’s more dance-oriented music it’s often better the more south you go; for experimental stuff it’s often places where conditions are harsher, or at least less sunny. Still, these are stereotypes and they often fall short. Shows in Japan usually don’t fail, though. People are very considerate and interested in what you’re doing, there’s a certain dedication in Japan that’s more of a norm there than the random, surprise adulation you get elsewhere.
You’re a Pitchfork darling, and arguably one of the most respected producers in the world today. What are your own inspirations? And what new talent have you heard that impresses you? Am I a Pitchfork darling? I think they’ve routinely ignored everything I have done for years. I’m just not trendy enough. My own inspirations are rather varied. Obviously there’s music, which has been a part of my life non-stop ever since I was a child. My first memories are almost all connected to music or other creative media. Music in its many forms still inspires me: mainly older jazz, Jamaican, world music, hip-hop, classical. But I must say I’m connecting less and less with most of the music being made today, compared to some music I’ve truly been inspired by in the past. I still look for new stuff, but maybe less than I used to. It’s just that there’s so much, and not all of it is good. My time is limited. The music I listen to is therapeutic above all. I easily spend 10 to 12 hours in the studio every day, listening to stuff I’m working on. After that I really don’t want to challenge my ears, I want to do the opposite. More often than not it’s something like Bill Evans trio or Chet Baker or I-Roy or some entertaining hip-hop, maybe some solo piano music. Not the latest electronic assault, though; it’s too much. I must add that I generally just don’t like the sound of most music made in the past few years. I’m not contesting its musicality – just what it sounds like. I mean it’s fucking loud, and it’s over-processed, -produced, and pushed to its limits – often, nowadays, with cheap digital gear by people who don’t know much about the technical side of things… about the art of recording. There’s not much room for my own creativity to play around there because there’s no space. The music I love always has plenty of room to hang around and add your self to. Books have also been quite an inspiration, since my both parents are/were authors. Movies to some extent. Food and cooking to a much greater extent. I cook almost every day. My daughter is arguably the biggest inspiration of them all. I’m inspired by interesting people, from farmers and fishermen to artists and criminals and everything in between. I’m inspired by travel, what I see and learn and notice. There’s so much inspiration around, it just flows in…
Vladislav Delay is possibly your most famous and prolific project. Is there an especial stylistic attachment you have to it over your other work? Somewhat. It’s more of my own thing than anything else I’ve done. Delay’s music is more expressive and true to my self, to the point that I don’t have to work all that much on this project as compared to the sportsman-like feeling I sometimes get when I’m making vocal or club music. There’s no intention or trying, I just let it go where it wants to.
Despite the incredible adulation and critical acclaim most of you projects have received, you have, somehow, remained reluctant to toy with mainstream success. Was it a conscious choice to remain an underground artist? Yes.
The eagerly-anticipated trailer for I am Ali is here! The film promises to deliver a never-seen-before look at the iconic fighter, a personal and intimate look at the man behind the legend, told from the inside.
From the producers of the award-winning Searching for the Sugarman this documentary is a really personal and up-close look at Muhammad Ali. The story is told through exclusive access to Ali’s personal archive of ‘audio journals’ combined with intimate interviews from his inner circle of family and friends – his children, ex-wife, brother, plus legends form the boxing community like Mike Tyson, George Foreman and Gene Kilroy.
Executive producer John Battsek comments: “It’s a film built around phone conversations that Ali recorded for many years with his family. That’s the spine of the film. It’s a very personal perspective on Ali, from Ali – in a way – through a 20-year period of his life when he was still fighting,” he told Screen Daily.
Directed by Clare Lewins and produced by Clare Lewins, George Chignell and Greg Hobden this intimate portrait tells the story of Cassius Clay’s transformation into a living legend. It arrives in theatres and on demand on October 10, 2014.
