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Martin Scorsese in 2024.. After Raging Bull in the early 1980s, Martin Scorsese considered quitting filmmaking, wanting to travel to Rome to shoot a series of television documentaries on the lives of different saints: "I literally thought it would be my last film," said Scorsese in 2016, referring to Raging Bull.
The docudrama will premiere in two parts, with the first four episodes set … Martin Scorsese Partners With Fox Nation for New Docudrama ‘Martin Scorsese Presents: The Saints’ Skip to main ...
"Just a Little More") is a song by Japanese duo Yoasobi from their second EP, The Book 2 (2021). It was released as a single on May 10, 2021, by Sony Music Entertainment Japan. Written by Ayase and based on Chiharu's short story Meguru, the song is a pop song, telling about giving the courage to take a little more at the beginning of a day.
Docufiction (or docu-fiction) is the cinematographic combination of documentary and fiction, this term often meaning narrative film. It is a film genre [ 1 ] which attempts to capture reality such as it is (as direct cinema or cinéma vérité ) and which simultaneously introduces unreal elements or fictional situations in narrative in order to ...
The 3rd Street Saints, a street gang in the Saints Row series of video games; Saint, an alien race in the Mahoromatic manga and anime series; One half of Boxers and Saints, graphic novels by Gene Luen Yang; Martin Scorsese Presents: The Saints, 2024 docudrama series
The Book 2 is the second Japanese-language EP (third overall) by Japanese duo Yoasobi. It was released on December 1, 2021, through Sony Music Entertainment Japan , eleven months after their debut EP The Book (2021).
This book was mainly a collection of Western folk music tunes with Japanese lyrics and was developed with the collaboration between Japanese educator Isawa Shūji, American music educationist Luther Whiting Mason, and a team of language experts. [1] [2] The songbook recorded 33 songs in its first edition. However, only three of them were ...
Yamada's music during the 1920s and 1930s successfully avoided the pitfall of many contemporaneous Japanese composers, who created awkward hybrids in their attempts to bridge the gap between Western and Japanese music. [6] [10] His music is closer to Japanese melodic ideas, and eschews the formal structural relationships of Western harmony.