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Karen O and Willie Nelson have partnered for an unlikely cover of Queen and David Bowie’s classic hit, “Under Pressure.”

The pair completely transform the 1981 pop gem into a slow-and-steady country-tinged ballad, with O and Nelson’s vastly different voices combining in a particularly poignant way — the former’s sweet croon intertwines with the latter’s weathered drawl as they move through the song’s bridge. The cover was produced by Dave Sitek and features guitar from Nick Zinner, Imaad Wasif, and Johnny Hanson, as well as background vocals from Priscilla Ahn.

Gkids will release its latest animated film,”My Entire High School Sinking Into the Sea,” this Friday, April 14. And to celebrate, animation fans Carlos Aguilar and Conor Holt, the guys behind the “One Week Only Podcast,” have created a video compilation of its catalogue, to pay tribute to the New York-based indie animated film distributor.

Read More: ‘Ghost in the Shell’ Trailer Parody Lampoons the Film’s Controversial Reception — Watch

The beautiful supercut features clips from all of Gkids releases, including the studio’s Academy Awards-nominated titles: “The Secret of Kells” (2009), “A Cat in Paris” (2011), “Chico and Rita” (2011), “Ernest & Celestine” (2013), “Song of the Sea” (2014), “The Tale of the Princess Kaguya” (2014), “Boy and the World” (2015), “When Marnie Was There” (2015), and “My Life as a Zucchini” (2016).

The footage is set to the tune of four of the duo’s favorite songs from Gkids films, including Christen Mooney’s “Aisling Song” (“The Secret of Kells...

A total of 16 films were submitted for consideration in the Best Animated Feature category at the 88th Oscars. After being absent from the race last year, powerhouse Pixar returns with two films, “Inside Out” and "The Good Dinosaur," of which the former is the clear front-runner. Stop-motion animation is represented by two contenders, Charlie Kaufman and Duke Johnson’s critical hit “Anomalisa” and the equally celebrated, though less contemplative, “Shaun the Sheep Movie” from Oscar-winning Aardman. Of the other major studios the only serious film in competition is Blue Sky’s “The Peanuts Movie.” CG animated films such as “Minions,” “Home,” “Hotel Transylvania 2,” "The SpongeBob Movie: Sponge Out of Water," performed well at the box-office but will likely fail to break in.

Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.

There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.

Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio

"The Boy and the Beast"

Dir.Mamoru Hosoda

Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.

"Boy and the World"

Dir. Alê Abreu

Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year

The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.

Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece

"Kahlil Gibran's The Prophet"

Dir. Roger Allers

Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom

Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.

Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'

"The Laws of the Universe - Part 0"

Dir. Isamu Imakake

Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.

"Moomins on the Riviera"

Dir. Xavier Picard

Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise

Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.

"When Marnie Was There"

Dir. Hiromasa Yonebayashi

Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works

Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.

“So I sit in my room /After hours with the moon/ And think of who knows my name” sings Priscilla Ahn during the closing credits in an emotionally stirring theme song that graciously concludes one of the most profoundly moving cinematic experiences to be had this year. In her lyrics, Ahn flawlessly captures the resilient spirit and tragic melancholy that pervade Hiromasa Yonebayashi’s animated adaption of British writer Joan G. Robinson’s 1967 novel “When Marnie Was There.” Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty.

Replacing England with Hokkaido, Japan, a logical move to fully embed the narrative with Ghibli’s magical allure, Yonebayashi fittingly fabricated a small town surrounded by marshes that could accentuate the fluctuating emotional distance between the two protagonists and their worlds. Following a frightening asthma attack, Anna (Sara Takatsuki/Hailee Steinfeld), a quiet young girl from Sapporo, is sent to spend the summer with relatives in a picturesque seaside community. Yoriko (Nanako Matsushima/Geena Davis), Anna’s foster parent, makes the decision in an effort not only to improve her health, but also her interpersonal skills. Soon we discover that beneath Anna’s silence there is painful resentment towards Yoriko, who she refers to as “auntie” instead of mom.

As with a great number of the famed studio's legendary masterworks, their ability to observe childhood and adolescence with a delicate maturity and truthfulness is present here – a quality that’s often lacking in American fiction aimed at this demographic. Anna can be moody, dismissive, and mean at times, yet Yonebayashi treats these occasional outbursts not as flaws but as valuable nuances that deeply inform our perception of the character. Unlike Miyazaki’s Chihiro who transforms from a spoiled child into a caring daughter or even Takahata’s Kaguya and her journey between freedom and confinement, Anna’s core conflict is an issue of identity much less concerned with the otherworldly circumstances surrounding her than the other heroines. Anna is uncertain about the sincerity of Yoriko’s love, and that translates into troubling insecurities. That’s where the eponymous Marnie (Kasumi Arimura/Kiernan Shipka) comes in.

Settled into her temporary home with her nonchalant and affectionate adoptive aunt and uncle, Anna spends her days sketching and exploring nature. She avoids other kids her age and has learned to be comfortable by herself. But when she comes across an isolated old mansion beyond the marshes, an overwhelming need to know more about it takes over her. This imposing Marsh House has a hypnotizing pull, and up close, at least in Anna's eyes, it doesn’t seem to be abandoned - a beautiful blond girl can be seen from a window. Enticed by the mysterious aura of the place Anna can't help but return and this time she meets the vibrantly gorgeous and welcoming Marnie, who appears to be around the same age but exudes an enchanting glow from another time.

Immediately, the girls become inseparable and establish a secret friendship. Under the moonlight they share each other's secrets with the trust of old confidants. Anna finds in Marnie the companionship she was missing, but there is a magical spark between them that will prove to be more than a coincidence. Still, even as comforting as spending time with her new friend is, Anna suspects that she has tapped into something beyond reality. Expertly structured to reveal itself with cautious pace, Yonebayashi's magnificent tale of unconditional love and forgiveness confronts the viewer with a number of plot twists and measured revelations that never blatantly point to its tempestuous conclusion. Marnie could simply be a coping mechanism for Anna to battle loneliness, a vision from a different era, or a tangible memory.

It's the heartwarming and intensely depicted bond between these longing souls that renders the film utterly devastating. They are connected through the shared pain of loss and their unfortunate destinies. Intelligently, the affecting topics discerned in "Marnie" are not toned down or simplified but affronted through the characters' conviction to overcome, and it's absolutely touching. Adoption, neglect, and even despair appear on screen as situations that are unquestionably rough but never unbeatable. Hope is another color Yonebayashi's uses to paint his frames.

Radiant landscapes, as luminous as masterful watercolors, are the backdrop for Ghibli's eternally detailed and uniquely stylized animation. Although "Marnie" doesn't exist in a fully fantastical realm as Yonebayashi's debut film "The Secret World of Arrietty" - which is the highest grossing Ghibli release in North America - this follow up uses those elements subtly and in a way that is cohesive with the subject at hand. It's a distinct form of fantasy that's derived not from an alternate reality, but from the vivid memories of past disillusionment sipping into the present to be be rectified. Needless to say the quality of the craft employed is reminiscent of the studio's best work, yet "Marnie" is destined to become a classic on its own merits.

Elegantly scored by renowned composer Takatsugu Muramatsu, this intimate film is a pleasure to watch because its emotive powers are fueled by every element at work, up to the last note on Ahn's poignant song "Fine on the Outside." More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal, even from the most indomitable tricks of fate.

"When Marnie Was There" opens today at the Nuart in L.A and in NYC at IFC Center...

The first trailer for the new Studio Ghibli movie When Marnie Was There was barely a trailer at all. Rather, it was more of a music video for the film’s primary song, by Priscilla Ahn. Now we’ve got a proper look at the film, in HD, via the When Marnie Was There Japanese trailer. This sets […]

The post ‘When Marnie Was There’ Japanese Trailer: Friendship Transcends Boundaries appeared first on /Film.

With her vibrant voice and honest songwriting, Schuyler Fisk draws legions of fans to her music, both onstage and online. Her first album The Good Stuff debuted on Billboard’s Heatseekers Chart and at #1 on the iTunes Singer/Songwriter Chart. Her single Love Somebody was released exclusively on iTunes with all proceeds benefitting the Caspca. Schuyler has performed with artists including Sheryl Crow, Rachael Yamagata, Cary Brothers, Priscilla Ahn, Harper Blynn and The Weepies. She has also played across North America with the Hotel Café tour, with fellow singer-songwriter, friend and collaborator, Joshua Radin and most recently with Ben Taylor. Schuyler’s pure sound and soulful lyrics have grabbed the attention of [ Read More ]

The post Exclusive: Hot Air Gets A New Image appeared first on Shockya.com.

Tokyo – American singer-songwriter Priscilla Ahn is providing the theme song Studio Ghibli film When Marnie Was There (Omoide no Marnie), the first English-language theme tune for a production from the Japanese anime hit factory. Ahn will record Fine on the Outside, a song she wrote in high school, for the upcoming Ghibli film. "My biggest dream came true - I'm writing & singing the theme song to the next Studio Ghibli film - out this Summer!!!" Ahn tweeted after the announcement. Story: 'Frozen' Heading Toward $100 Million at Japan Box Office Ahn's music has appeared in numerous U.

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WaterTower Music has confirmed that the official soundtrack for Guillermo del Toro's Pacific Rim (which features the original score composed by Ramin Djawadi) will be released on July 9th, three days before the film's theatrical debut. As well as Djawadi's score, singer Priscilla Ahn and former Rage Against the Machine guitarist Tom Morello feature on a handful of tracks as soloists. We don't have audio clips or the cover art just yet, but you can take a look at the album's tracklist below. Keep in mind that the following may hint at key scenes from the movie, so read at your own risk. Do you plan on picking up the Pacific Rim soundtrack? 1. Pacific Rim (feat. Tom Morello) 2. Gipsy Danger 3. Canceling The Apocalypse 4. Just A Memory 5. 2500 Tons Of Awesome 6. The Shatterdome 7. Mako (feat. Priscilla Ahn) 8. Call Me Newt 9. Jaeger Tech (feat. Tom Morello) 10. To Fight Monsters, We Created Monsters...

Looking for a soundtrack to your amorous endeavors this Valentine's Day and beyond? Look no further than ohsweethearts.com, where individually accomplished, L.A.-based songwriters Priscilla Ahn and Charlie Wadhams, recording under the name Sweet Hearts, have teamed up to deliver a free, five-song gift to lovers everywhere.

Ahn, who has recently released two albums for Blue Note (When You Grow Up and A Good Day) has a warm, welcoming voice, and Wadhams, whose songwriting was featured in Walk Hard, is no vocal slouch either. (He co-wrote "Let's Duet," one of the funniest things in the movie.) Together, they sound like Belle & Sebastian -- minus the twee.

Ahn and Wadhams met when he was brought in to sing background vocals on When You Grow Up, and their connection was cemented when they co-wrote "I Don't Have Time To Be in Love" for that record. The song was meant to be a duet,...

Priscilla Ahn is a 27-year-old singer-songwriter who has just released her second album on Blue Note, the jazz label that made an unexpected bundle after it signed an unknown folk-pop-jazz singer named Norah Jones. Ahn is even less of a jazz singer than Jones; in fact, she’s not a jazz singer at all, but she’s got a warm, buoyant, pitch-perfect voice, she writes pretty songs with just enough melancholy to keep them from being too pretty, and she takes a nice picture, so maybe Blue Note will mine another cross-over bonanza with Ahn. The new album is titled When You Grow Up and has twee cover art featuring little girls and bunnies, but don’t let the middle-school-yearbook vibe deter you. (Or the fact that Ahn’s songs have been used on Grey’s Anatomy.) This is a fine folk-pop record full of strong melodies that aren’t...

Happy Cinco de Mayo! Today we celebrate the brilliance of Corona's marketing team in discerning that Americans are extremely fond of cultural holidays that we perceive to be centered around drinking themed alcohol (see: St.Patrick's Day) and that any excuse to eat nachos is a good one. It sends a clear and coherent message to other cultures that we will adopt your fun holidays with glee but god forbid you ever try to move here. I do not yet have a comically oversized margarita in my hand, but as I'm writing this it's not even 2:30pm, so it's only a matter of time. Of course, if you're not in a celebratory mood, it appears that the Thursday night shows are new and where they're supposed to be for like, the second week in a row now which shouldn't be remarkable but unfortunately is. Here's your Thursday night TV:...

Given all the dramatic story lines on last week’s Dancing With The Stars results show — Pia Toscano mania! Boy band madness! Royal Wedding fever! — it was a welcome relief to see the spotlight back on the question that is most vital to this particular telecast: Who’s going home?

We all knew diva rapper Nicki Minaj’s performances would be eye-popping, potentially naughty (would Len get a lap dance?) and maybe even erupt into controversy (would arch enemy Lil’ Kim throw another Twitter tantrum during her performance?). But c’mon, didn’t we have enough intrigue discovering the fate of potted plant-hurling,...

Singer-songwriter Priscilla Ahn is preparing to release her album, When You Grow Up, and needs a bit of help designing the cover. Ahn, along with Blue Note Records, have partnered with Creative Allies to hold an album cover design contest. The winner will recieve a credit in the album packaging, a Priscilla Ahn prize pack, $1,000, and will work to develop the rest of the album layout with the creative director. Submissions must entered by midnight on March 1. For complete guidelines and a video message from Ahn visit CreativeAllies.com....

What is a romantic comedy, exactly? I’ll attempt to answer that briefly by explaining how I define a romantic comedy. Of course, there has to be romance and there has to be comedy, but more importantly the story needs to be primarily focused on the development of a romantic relationship. So, why do I bother to bring this up when it seems so obvious that Love Happens is a romantic comedy? Because it’s not.

So the film has romance and it has comedy, but the primary focus of the story is Not the romantic relationship between Aaron Eckhart and Jennifer Aniston, as the marketing of the film would have you believe. Love Happens is a much deeper story than the average rom-com, but for the sake of reviewing the film, we’ll just assume it fits nicely into my abnormally strict definition of what make a romantic comedy.

James Roday and Dulé Hill, who play the characters of Shawn Spencer and Gus Guster on the witty Psych, just want to have fun.

The two actors took part in an interview last week in support of the premiere of their fourth season on USA Network (in Canada, E! Entertainment is currently airing the show's third season), and it's clear that they have fun during every step of the process of making the series, from shooting to publicity.

In this conversation we get more details on the American Werewolf in London and Twin Peaks inspired episodes of the show, and find out what Monica Bellucci and Halle Berry have in common.

The fourth season of Psych premieres on Friday, August 7.

Question: I know that you’ve both played very different characters. Mr. Roday played alongside Maggie Lawson in Fear Itself and Mr. Dulé had a wonderful part on West Wing.