Nada! is the third studio album by English neofolk band Death in June. It was released in 1985, through record label New European Recordings.
"No sense makes sense", a Charles Manson quote, is scratched into the vinyl.
All songs written and composed by Death in June (Christ '93', Douglas Pearce, Patrick Leagas, Richard Butler), except as noted.
Nada may refer to:
Nada is a 1947 Spanish drama film directed by Edgar Neville. It is based on Carmen Laforet's famous novel Nada which won the Premio Nadal. It was written by Carmen Laforet.
The novel was filmed also in Argentina in (1956) by Leopoldo Torre Nilsson with the title Graciela.
Although the film is an entirely Spanish production, the cast includes some Italian actors: Fosco Giachetti, María Denis, Adriano Rimoldi.
The film was censored and cut by 30 minutes, so credited actors such as Félix Navarro, María Bru and Rafael Bardem disappeared from the film. The role of José María Mompín was hardly reduced. Most of the Barcelona exteriors were removed.
"Marlene" is the first single from British artist Lightspeed Champion's second album Life is Sweet! Nice to Meet You, released on 25 January 2010.
A preview of the music video was posted on the Domino Records' YouTube channel on 3 November 2009, which was then followed a month later on 3 December 2009, by the full-length video.
It features Dev Hynes sitting in the back of a pick-up truck in a mountainous area, before the truck driver stops to pull Dev out of the truck and kick him down to the floor. This leads Dev into a psychedelic dream of dancing girls, only to wake up and find himself having an argument in a cafe with what appears to be his girlfriend. He soon wakes up from this to the truck driver throwing water at him, who then drags Dev to see two dancing girls similar to those in his dream. This sends him into another psychedelic dream. He then wakes up one more time in the back of the pick-up truck with the dancing girls in the distance, as if none of it had happened.
This is a list of characters that have appeared in the Madagascar films, the television series The Penguins of Madagascar, and the Netflix series All Hail King Julien.
Tom McGrath explained in an interview that the intention of Madagascar was not to take a political stance on whether "zoos are bad and the wild is better, or that the wild is bad," but to show "the most extreme 'fish out of water' story that [they] could do". McGrath stated "the basic irony to the story is that, you think animals do belong in the wild, but if they're so accustomed to civility, they wouldn't know where food even came from," and the animals were meant to "love the zoo and to love where they are because they've got" 5,000 square feet (460 m2) "right off Fifth Avenue".
McGrath also described, during the research of Madagascar, they "found these crazy, weird animals that were already cartoons in their own right."
Voiced by:
Marlene, also known in Germany as Marlene Dietrich - Porträt eines Mythos, is a 1984 documentary film made by Maximilian Schell about the legendary film star Marlene Dietrich. It was made by Bayerischer Rundfunk (BR) and OKO-Film and released by Futura Film, Munich and Alive Films, (USA).
Marlene Dietrich and Maximilian Schell had worked together on Judgment at Nuremberg in 1961. Dietrich had become a virtual recluse in her Paris apartment on the Avenue Montaigne. Schell tried to persuade her for years to participate in a documentary about her life. She continuously refused. In 1982, she eventually agreed to participate in the project on condition that she did not appear. The film therefore consists of an audio commentary and the visuals illustrate her career by showing film clips and stills from her films, as well as newsreel footage. She was contracted for "40 hours of talking" as she reminds Schell during one of their exchanges. The film consists of voice interviews between Schell and Dietrich in which she often ignores his questions, makes acerbic comments about, among other things, some of the people she has worked with and some of the books written about her life and films. In the process, she touches on the subjects of life and death, reality and illusion and the nature of stardom. By her very reluctance to reveal much about herself, she gives one a much deeper understanding of her character than if she had participated in a more conventional format.