Don Davis
Don Davis
Most famous for his distinctive, atonal musical score for the popular film The Matrix (and its sequels), this cinematic composer also worked on The Good Life, Jurassic Park III, and numerous other movies. Also a television composer, he won Emmy Awards for his work on SeaQuest DSV and Beauty and the Beast.
ProfessionComposer
Date of Birth4 February 1957
It's just kind of grown. To do anything 14 years - after a while you kind of get it down.
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The only way I got through this point in my life was by the grace of God. I had done nothing to deserve getting picked up. I could have just been an average guy who once had a shot. But thanks to God, I'm where I am today.
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We are pleased to have entered into this agreement to sell our stake in Progress Telecom to Level 3. We will continue to rely on Progress Telecom for transport and network management services that are critical to our business.
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I think that's the reality of the business. It's not about what you did. It's what have you done for me lately. We're in the production business. What you did before is irrelevant. Everyone knows that.
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Two things made this country great: White men & Christianity. The degree these two have diminished is in direct proportion to the corruption and fall of the nation. Every problem that has arisen (sic) can be directly traced back to our departure from God's Law and the disenfranchisement of White men.
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Adam's going to be missed, that's for sure. He's done a lot for this organization. Obviously, most definitely, he's going to be missed.
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Rohan has a strong throwing arm, so he was definitely able to give us the look when we faced big-armed quarterbacks who could throw the ball deep. He?s a professional. He always came in and did his job and you always want a guy like that, not someone with a bad attitude. He accepted his role knowing that he was behind Tom Brady and had to help get the defense together. He was competitive with it, and I think that helped. Those are the things that made him a good quarterback.
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There are situations where directors give composers directives just to give them directives Just to show 'who's boss in this room.'
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