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If you want a bottle of The Macallan M, a rare, limited-edition bottle of Highland single malt Scotch, you’re in luck. The gorgeous bottle, designed by Fabien Baron using Lalique crystal, is numbered and presented in a specially designed case.
If you don’t have $4,500 to spare, you can always get a shot at a high-end whiskey bar — for about $300 a pour. Cuaron has stated that he intended to depict space as authentically as possible, and that means that the only sounds we hear (bar voices) occur within the context of the characters' hearing (for example, when the camera moves inside Stone's space-suit). Price pulls this enormously challenging task off with aplomb, all the more impressive when one considers that his solo compositional career is in its infancy.
The soundtrack begins, in "Above Earth", on a note that is alternately ethereal and ominous, with a solo voice gradually being overtaken by a frenzy of growling brass and electronics.
The latter half of the track again reinstates the melodic material, genuinely moving and anguished this time with emphasis on strings to reinforce a sense of tragedy. The subdued tracks "In the Blind" and "Aurora Borealis" are effectively a bridge between the darker part of the soundtrack and the redemptive, beautiful finale. Gravity is undoubtedly one of the most important and significant film music accomplishments of 2013.
Ultimately, the soundtrack is an important artefact in demonstrating the all-important relationship between music and sound design, showing us that the boundaries between the two are often more fluid and flexible than it seems.
As the draft progresses, moving from the 25th to the 20th picks, the selections in this range now come burdened with more hope that the anticipated prospect has the ability to springboard their future team from playoff contender to championship caliber. Teams hope that their selections in this range will have the capacity to provide that one missing piece for a championship run.
Stars like Michael Finley (#21 by Phoenix in '95) and Reggie Lewis (#22 by Boston in '87) show that star power and potential continues to be more readily available as the numbers lower, but most teams selecting here are more apt to find the likes of Rick Fox (#24 by Boston in '91) and Derek Fisher (#24 by The Lakers in '96) - players that compliment stars already ensconced on championship aspiring teams - than the next big thing. Mark Price#25 - Mark Price: Following a woeful 1985-86 season in which The Cleveland Cavaliers went 29-53 and finished fifth in the Central Division, the Cavs' organization made it clear it was time to shake things up. As the rearranging of deck chairs continued, the Cavs were then awarded the #1 overall pick in 1986 draft.
Price was a diminutive, scrappy shooter from Georgia Tech and had been a four-year starter and two-time All-American. Price would spend his first season in the league learning the ropes as the back-up to Bagley. While Price doesn't fit under the category of final piece to a championship hopeful (Price was the first selection in the second round), he did find himself an integral part on a very good Cavs' team. Price was a four-time All Star and managed to make the All-NBA First Team in '93, despite the aforementioned high caliber competition. Following a season in which they finished 55-27 and 2nd in the division, the run-and-gun Golden State Warriors, under Coach Don Nelson, were looking to add more horsepower to their high-revving offense. In his first season as a Warrior, Sprewell took no time making his presence felt, as the rookie started 69 games and averaged an impressive 15.4 points per game on his way to earning All-Rookie Second Team honors. Sprewell's assaulting of Carlesimo, along with the '99 lockout further delaying him from returning to the floor following his suspension, would cost the beleaguered small forward the better part of two seasons (he played 51 games between the '98 and '99 seasons).
Following his trade to New York (for Terry Cummings, John Stark, and Chris Mills), Sprewell would take a while to return to his old form (he only started 4 of his first 37 games as a Knick). While his career may read as a story unfinished, Sprewell was a four-time All-Star, an All-Defensive Team Honoree, and started 95% of the games in which he played (868 of 913).
The Bucks found themselves mired in a rebuilding mode following the departure of perennial all-star Kareem Abdul-Jabar. Things then drastically changed for both English and the scoring books when he was moved midway through the '80 season to the high-scoring Nuggets for former star George McGinnis. The narrative of the life of Reggie Lewis unfortunately is yet another of potential unfulfilled.
In the '87 draft, the Celtics used their 22nd pick to draft Reggie Lewis from little-known Northeastern University. It appeared that Lewis was to be relegated to understudy status once again in the '89 season, until 6 games into the campaign - Larry Bird opted for surgery on bone spurs in both feet. When it became obvious that Bird would never quite be capable of returning from a myriad of injuries besieging his body, Lewis soon emerged as the focal point of the Celtics' attack.
The Celtics pegged Rondo as the future point guard of their rebuilding effort, hoping that the former Wildcat's tenacious D and lighting quickness were enough to compensate for his car accident of a jumpshot - mangled and difficult to look upon.
Following a complete overhaul of the Cetlics that saw the arrival of Ray Allen and Kevin Garnett, Rondo was named the starter for a team with championship aspirations. As the play of his soon-to-be Hall of Fame teammates began to diminish, Rondo began to shine.
Though Rondo may continue to bewitch fans with his combination of stellar play and sulking demeanor, the on-court results are undeniable. The 76ers were awarded the number one pick in 1986 (via the Clippers), which they could have used to draft Daugherty, but they traded the pick to the Cavs for 6'9" Roy Hinson (Hinson was supposed to be a star alongside Charles Barkley, but he didn't turn into one).
Among others are The Macallan in Lalique and The Macallan 64 Years Old in Lalique Cire Perdue. Essentially a survival movie set in outer space, the film sees a rookie astronaut and a veteran (played by Sandra Bullock and George Clooney respectively) stranded in the great unknown after a devastating accident aboard their space shuttle. Gravity is Price's third solo score, the second being 2013 Simon Pegg comedy The World's End, but he has amassed several years as an orchestrator and musical assistant for such esteemed composers as Howard Shore, Hans Zimmer and David Arnold.

It also means that the role of Price's score is doubly important, having to work on a dual level of music and sound design. In purely musical terms, the challenging but not completely alienating score resembles a fusion of the brutal tones of Elliot Goldenthal crossed with Badalamenti's moody ambience and Mark Isham's more harmonic material. The latter is a device used by Price to represent the threat of the orbiting space debris that lands Bullock's character Stone in danger.
The lengthy "Don't Let Go", running an impressive 11 minutes, begins with relatively melodic material, effectively the main theme, as we learn about Stone's tragic past; the sampled strings and electronics carry with them an aura that is undeniably sad but compelling.
The soundtrack can hardly be described as an easy listen, or even one that's easy to return to, given its enormously complex relationship with the movie itself. Taken as a purely musical experience, Price is able to communicate both the terrifying emptiness of space and also Stone's journey towards personal redemption. While picks 27 through 30 are relegated to teams that - barring any trading - were on the cusp of a championship, the subsequent selections are usually for those teams nipping at the heels of their Eastern and Western Conference Finals representatives. Players like Tayshaun Prince (#23 by the Pistons in 2002) and Sam Cassell (#24 by the Rockets in 1993) epitomize the type of championship linchpins that fringe title contenders are hoping to help put them over the top. This is a direct by-product of teams being far more prudent and judicious in their selections. They got the ball rolling with the dismissal of coach George Karl in mid-March of the prior season, followed by an exit for General Manager Harry Weltman. Following the selection of UNC star Brad Daugherty first overall, and the drafting of a replacement at shooting guard in rangy Miami product Ron Harper, Cleveland persisted by making a draft-day trade with The Dallas Mavericks for point guard Mark Price.
With the trade for Price, the Cavs had seemingly solidified their once shaky back court, as it was only a matter of time before Price replaced ineffective, incumbent John Bagley as the starter. But with Bagley's departure following the '87 season, Price was given the helm and the Cavs were now his to lead. What's even more impressive is that for a six-season stretch from 1989-95, Price averaged a staggeringly high 21.64 PER. Sprewell's superstar potential, mixed with several seasons of All-Star caliber play (including an All-NBA First Team selection in '94), give him the edge over the steadying forces of Derek Fisher and Rick Fox, the potential greatness of Serge Ibaka (too shallow a body of work) or the two titles of fellow enigma Sam Cassell.
They found just the choice in an athletic wingman from the University of Alabama by the name of Latrell Sprewell. Sprewell's rookie campaign was just a portent of the impressive offensive things to come, as Spree would average over 20 points per game in 3 of his next four seasons with Golden State (including finishing sixth in the league at 24.2 per in '97). Questions also remained as to where Sprewell would play, as the combination of his season-long suspension and uncoachable reputation relegated the former star to near pariah status. With that in mind, they drafted the former Gamecock with the 6th pick in what was then the 2nd round. From that point on, English became a scoring machine (he would score the most regular season points during the '80's).
The forward was an eight-time All-Star, three time All-NBA Second Team member, and is still 17th all-time on the NBA scoring list. It's a story that the Boston Celtics fans had already become far too familiar with, with the passing of former first-round pick Len Bias from a drug overdose just shortly after the Celtics selected the Maryland star 2nd overall in 1986. Lewis was a rangy, versatile forward whom the Celtics had hoped would help further solidify one of the greatest compilations of NBA talent the league had seen. Shortly thereafter, the Celtics traded Danny Ainge to the Sacramento Kings for big man Joe Kleine.
The versatile wing (he is the only Celtic to record 100+ rebs, assists, steals, and blocks in a season) responded by averaging 19 points per game over his five seasons as a Celtics starter. The former Kentucky Wildcat has the ability to dominate a game, and subjugate the nerves, of both friend and foe.
Rondo quickly proved the Celtics' scouts right, at least on the defensive end, as he averaged 1.6 steals per in his inaugural campaign.
While not quite up to the star level he'd eventually show, Rondo's play was steady and helped the Celtics win the '08 title.
Since the beginning of the '09 season, Rondo has averaged a robust 10.28 assists, including having lead the league in both '12 and '13 in the category. Daugherty, Harper, and Price were all great picks by the Cavs because there were a lot of disappointments in the '86 draft, including Len Bias (died of cocaine), Chris Washburn (drugs), William Bedford (drugs).
Please check the layout with the dealer before signing the purchase contract.The pictures show a version that may not be available. With Bullock's character Stone off-structure and drifting on her own, the film details her attempts to survive.
As Price himself explains: 'Virtually everything we did was designed to morph between the electronic and the organic'. As befits the film, the music is fluid, ever-shifting, often engulfing the listener in harsh, seemingly unending dissonance before reaching a somewhat tranquil conclusion, expertly conveying the rhythm of chaos and calm on-screen. The end of the track is more soothing and beautiful, celebrating the majesty of space and the jaw-dropping beauty of Earth as seen from above. But the score really takes flight in the highly emotional trio of "Tiangong" "Shenzou" and "Soyuz", where the strings reach stunning heights, powerfully depicting Stone's quest to get home.
In fact, viewing of the film is essential for appreciating the intricacy and brilliance of Steven Price's achievement.
Much like the movie itself, the soundtrack is visceral, uncomfortable but ultimately hopeful and uplifting, a vital component in ensuring the success of Alfonso Cuaron's vision. GMs drafting here usually view their team as missing just a piece to the championship puzzle, so rather than rearrange the team's tableau of talent, they'd rather just add a new hue, a player they hope completes the championship picture.
It should be noted that the Cavs kept the pressure on Price with the drafting of Cal star, and fellow point guard, Kevin Johnson - the 7th overall pick in the '87 draft. Price's acknowledgements of brilliance were also mitigated as he played at a time where the league was stacked with great point guards: Hardaway, Thomas, Stockton, Johnson (Magic), Johnson (Kevin), and Gary Payton to name a few, and thusly his accomplishments sometimes go underwhelming noticed.
Price never won a title, but going down as one of the premier shooters, as well as one of the most efficient, isn't a bad reputation for a former 25th pick. Sprewell was on his way to his fourth season of more than 20 points per game, when sixteen games into the '98 season, Spree would infamously choke Warriors coach P.J. Fortunately for Sprewell, The New York Knicks were still willing to take a chance on the tempestuous talent.

English was an established scorer, having averaged nearly 18 per game in his four years in Columbia, yet he struggled to find playing time in his two seasons with The Bucks. English's 21.5 career points per game is impressive, but the average is brought down significantly by the comparatively humble numbers he posted to book-end his career.
The '87 Celtics had just come off of a run of four straight Finals' appearances and featured five future Hall of Famers: Dennis Johnson, Larry Bird, Kevin McHale, Robert Parrish, and Bill Walton (though Walton would not return in '88). He also garnered an All-Star appearance in '92 - a difficult feat considering the number of future Hall of Famers playing the same positions in the East at the time (Dominique, Scottie, Dumars, Jordan). Like Sprewell, Lewis' brief excellence seems tainted with the sadness induced by the feeling of potential untapped and brilliance prematurely dampened. With that said, his eye-popping assists' number and his dominate defense keep Rondo firmly in place as the best #21 ever taken over the steady professionalism of Michael Finley.
Rondo has also been an All-Star in each of the last four seasons, an accomplishment buoyed by achieving it during a time in which there's been a point guard renaissance.
Vessel design and engine characteristics, performance, cruising range, technical data, equipment and furnishing may vary from the description and illustrations herein provided. Gravity's greatest accomplishments are arguably in the realms of effects and atmosphere: the film's depiction of space is so jaw-droppingly convincing that one could be forgiven for thinking it was actually shot there.
Originally hired as a sound designer by Cuaron, Price's work so impressed the director that he was eventually signed on as a composer. This isn't uncommon in film scores a€“ one only need think of Angelo Badalamenti's score for many of David Lynch's movies (Mulholland Dr.
Gradually (and brilliantly), the warmth is stripped away as we're once again plunged into imminent danger. The glacial "ISS" is a soothing rendition of the main theme but "Fire" soon pulls the rug out from underneath again with the most conventionally exciting action piece of the score; the frantic strings running beneath the electronic groans carry a hint of Hans Zimmer's more abrasive material.
In the film, the score straddles the divide between music and sound, as essential a character as the visuals and acting. The drafting of Kevin Johnson made it clear that Price needed to prove to the Cavs' organization that he was the man for the job.
The Warriors were looking to add more athleticism on the wing and Sprewell fit exactly what the Warriors needed, a great open floor athlete and competitive defender. Following his success with New York, Sprewell then played an integral part in a Western Conference Finals run in '04. After toiling with Milwaukee, English was moved to Indiana and began to show flashes of a scoring punch that would define his career (he averaged 16 points per game in his first season as a starter).
Between the '82-'89 seasons, English averaged 27 points per game, shooting an astounding 51%, and averaging a hearty PER of 21.38 during the stretch - one of the most abundant scoring stretches in league history. From the moment he became the full-time starter 27 games into the '89 campaign, until the end of the season, Lewis averaged 21 points per game, and 18.5 per game for the entire season. Leaving the feeling that his career, like his heart, gave out before everyone else was ready.
The intensity ratchets up as Stone struggles to survive in an environment where simply reaching and grabbing for something becomes fraught with peril.
The oppressive and menacing "Debris" brings back the textural growling as we see devastating damage caused to the characters' space shuttle in the film's white-knuckle opening sequence. Price pans the musical effects from left to right so that we're once again fully immersed in the music, before letting rip in an uncomfortable yet propulsive action piece in which the wailing strings expertly capture the frantic attempts of the characters to grab onto anything.
The thrumming electronic undercurrent in "Shenzou" adds a propulsive sense of movement to the film's final scenes and the strings are also there to add a sense of human drama.
Divorced from the movie, it's a far more challenging prospect, with vast swathes of dark material eventually giving way to a beautiful finale. In line with his often unhinged behavior, Sprewell made an unexpected and strange exit from the league with the Minnesota Timberwolves in '05, feeling that he had been slighted by The Timberwolves' contract offers. English was this offensively dominant, all while leading the Nuggets to nine consecutive playoff appearances. In his seven seasons in the NBA, he's been named to the All-Defensive team four times (two 1st teams and two 2nd teams) and lead the NBA in steals in '10.
In terms of plotting, the movie is fairly mechanical with a series of escalating crises interspersed with more reflective moments. But within the context of Gravity, Price's work is all-encompassing a€“ present in virtually every scene, it must be musical and non-musical almost at the same time, suggesting both the deadly, desolate, satellite-littered environment of space and the emotional journey of Stone's character. It's extremely difficult music but Price's skill resides in the way that he layers aspects of the music on top of one another, altering the interaction of brass and electronics so that the sound becomes amorphous and flexible, as flexible in fact as the debris and characters flying around on-screen. The climactic "Gravity" finally allows the listener to breath, ending the score on a triumphant note in which the electronics, strings and choir form a harmonious whole. However, Price has both layered the music and structured the album in such a way that communicates the movie's emotional narrative perfectly, even if a great deal of what features might not be what the average listener considers as 'music'. In his first full season as the starting point guard, Price was more than just right, he was superb. But such a visceral experience is it that one forgives the film its flaws; first and foremost, it's a film that's designed to wash over and engulf the viewer. Buried underneath (heavily at this stage) are the remnants of the opening vocals, representing the humanity that is threatened in this hostile environment.
The tenancious floor general averaged 16 points per game while adding 6 helpers per contest as well.
It's also one of the very few movies to have justified the much-maligned 3D format: with the film composed largely of long takes, the 3D actually gets a chance to complement and enhance the drama. For the '88 season, Price shot 51% from the field, 88% from the free throw line and an elite 49% from the arc. By season's end, Price was just two percentage points away at the line from joining the shooting elite in the 50-40-90 club (along with Bird, Nash, Miller, Nowitzki, Durant) - in just his second full season in the league!

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