A work in constant progress (and occasional regress).
Thought to be a technical and musical genius by many, Sander van Doorn is without a doubt one of the worlds most essential, influential and popular DJ/Producers in dance music today. In very short order, Sander has become a brand synonymous with excellence – both production wise, and in front of the thousands he plays to nightly. He is truly one of the strongholds in dance music, a generation defining artist that reshapes our perception of what dance music can be, and he does it all with that electrifying Sander van Doorn smile. Those with an ear for music have known of Sander for some time now, but 2007 was when the world started whispering “have you heard of Sander van Doorn?” It seemed the secret weapon of so many top Dj’s was out. When Carl Cox stops the music to point you out, telling the nearly 50,000 people “This is one of the best producers in music today, remember his name…Sander van Doorn!” then you can bet the whole world will take notice. And Carl wasn’t the only Sander fan. Armin van Buuren named Sander one to watch early on, and Tiesto championed his productions regularly. Sander seized the opportunities at hand and dedicated himself to a relentless touring and production schedule for the next few years. It was during this time that Sander penned some of his classics. From originals like Grasshopper, Punk’d and Riff, to massive remixes of The Killers (Spaceman), Sia (The Girl You Lost To Cocaine), Robbie Williams (Close My Eyes) and Depeche Mode (Peace) it seemed the lad from Eindhoven was on a collision course for superstardom. With the release of his debut album “Supernaturalistic” in early 2008, Sander showed once again that he was no one trick pony. Preferring to term what he does as ‘SvD Style’, Sander shrugged off the confines of genre typecasting long ago. The album was a critical and commercial success and was the first unabridged glimpse of Sanders musical virtuosity. With the help of his prolific alter egos (Sam Sharp, Sandler, Purple Haze and Filterfunk), Sander has been able to transcended the musical prejudice that so often accompanies being a big name Dj. This is why every Dj, no matter the genre, has an SvD track in their arsenal at all times. But his fans are the real stars in Sander’s phenomenal rise. They send all his records to number one, and helped to make him a required headliner at the most prestigious institutions dance music has ever known. Mysterland, Dance Valley, Global Gathering, Godskitchen, Garudas, Sankeys, Pacha, Cream, Sensation, Space, SW4, Trance Energy, Creamfields, Electrocity, and Electric Daisy Carnival, have all hailed his arrival and given the world the truest refection of Sander’s real power and popularity. Each year the number of countries visited grows, as does his frequent flier status. With a tour diary that see’s the superstar play to more than a million fans each year, there’s no doubt that that Sander van Doorn is dance music’s favorite son. Sander continues to meet the demands of being one of the worlds most sought after artists by continuing to evolve musically, professionally and artistically. In 2010 a deal was reached with global satellite leader SiriusXM to syndicate his radio show called ‘Identity.’ The show airs twice weekly to over 10 million worldwide on channel 38, Electric Area. Sander has also worked tirelessly to bring his clubbing concept, Dusk till Doorn to fruition. It’s a fully produced and musically integrated stage show that showcases not only van Doorn, but seeks to highlight and expose new artists, technologies and music that Sander favors. The concept spawned a successful double mix compilation in 2010 that allowed fans to relive the experience anytime. Dusk till Doorn has been hailed as the future of clubbing. Of course, Sander’s label Doorn Records, has been gaining a strong foothold as one of the most upfront in dance music. Sander is passionate about the music released on his namesake, choosing every track personally. And if this mountain of accomplishments were not enough, he somehow makes time to produce the quarterly ‘how to’ show called ‘Studio Sessions.’ The show airs on his YouTube channel (SanderVanDoornTV) and provides viewers with step by step instructions of his process in the studio. Today, Sander van Doorn is electronic music royalty. He’s a hit-maker, a tastemaker, and musical visionary. With boundary pushing preciscion, Sander has taken music, clubbing and production to the next level. He’s been awarded so many honors from industry and peers alike that his mantle is permanently bowed. Poll after poll cement his status as one of the worlds best, and you can bet that whatever the position or rank he holds, in the hearts and minds of his fans he is always #1.
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.