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Kenny, a psychotic killer with mommy issues, Monte, a charming crooked cowboy, and Maureen, Monte's beautiful oversexed wife-to-be, steal some jewels and smuggle them across the border surgically implanted inside a horse. Monte turns out to be not a sharing or marrying type of person.
Maureen O'Hara from The Black Swan (1942) Maureen O’Hara from Photoplay magazine (1942) Lobby poster from Miracle on 34th Street – Maureen O'Hara and John Payne in the foreground, Natalie Wood and Edmund Gwenn in background (1947) Fred MacMurray and Maureen O'Hara in Father Was a Fullback (1949) John Wayne and Maureen O'Hara in The Quiet Man (1952) Lobby poster from The Redhead from ...
Year Film Winners/Nominees Country 1990: Quigley Down Under: Tim Chau, Frank Lipson, Gavin Myers, Martin Oswin Australia United States 1991: Black Robe: Penn Robinson (supervising sound editor), Jeanine Chiavlo (supervising dialogue/ADR editor); Karin Whittington (sound editor); Frank Morrone (dialogue/ADR editor/ADR mixer); Stephanie Flack (dialogue & ADR editor); David Grusovin, Susan ...
D. Dark Shadows: Original Motion Picture Soundtrack; Dark Shadows: Original Score; Dead Presidents, Vol. 2; Desperate Teenage Lovedolls (soundtrack) Destination Berlin
A sound effect (or audio effect) is an artificially created or enhanced sound, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media.
Maureen Therese McGovern (born July 27, 1949) is an American singer and Broadway actress, well known for her renditions of the songs "The Morning After" from the 1972 film The Poseidon Adventure; "We May Never Love Like This Again" from The Towering Inferno in 1974; [1] [2] and her No. 1 Billboard adult contemporary hit "Different Worlds", the theme song from the television series Angie.
The Morning After was Maureen McGovern's first studio album, released in July 1973 (see 1973 in music). The album was released by popular demand following an Academy Award win for Best Song for " The Morning After ", written by Al Kasha and Joel Hirschhorn .
The unusual first soundtrack album of the 1939 film The Wizard of Oz, issued in 1956 in conjunction with the film's first telecast, was virtually a condensed version of the film, with enough dialogue on the album for the listener to be able to easily follow the plot, as was the first soundtrack album of the 1968 Romeo and Juliet, and the ...