Episode #707

HDTV, Bass, Neil Young

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Thursday, February 16, 2006

Studio 360 Episode 707, HDTV, Bass, Neil Young HD-ready set designed by Jim Fenhagen's Production Design Group for ESPN's Sportscenter. (im Fenhagen's Production Design Group for ESPN's Sportscenter.)

Kurt Andersen and Oscar-winning composer Rachel Portman pull back the curtains on the usually invisible techniques artists use to make a scene or character or tune more powerful. We'll visit a master artist who spends her time repainting classic works with the key figures removed. And Kurt talks with Neil Young and filmmaker Jonathan Demme about their new concert film Heart of Gold.


Rachel Portman


Kurt Andersen and composer Rachel Portman talk about the amazing effects artists create through the careful use of subtle background elements -- from the scenery in a painting to the score of a movie.


HDTV Takes the Scenic Route

Set designers for television always want their sets to look good; whether a police precinct, fake emergency room, or news magazine backdrop -- but they never want them to upstage the performers in the foreground. As Dave Johns discovered, these days the super-sharp resolution of high definition ...


Bass is Beautiful

It used to be in popular music that you'd feel the bass line more than hear it. Today's bass players have to balance their crucial supporting role with increasing duties as a soloist. Bill Leigh of Bass Player magazine and Victor Wooten, a virtuoso ...


Mona Lisa Has Left the Painting

Sophie Matisse is a New York artist who has been reproducing masterpieces by great painters like Vermeer, da Vinci, Velasquez, and even by her great grandfather Henry Matisse. But her reproductions leave out the crucial people and objects that are supposed to be the focus of our ...


Heart of Gold

Jonathan Demme is best known for directing big Hollywood movies like Silence of the Lambs, but he also made a side career out of concert films and music videos. His latest film is an intimate portrait of the veteran rocker Neil Young.


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