May 1, 2007 - Film Music Magazine



May 1, 2007 - Film Music Magazine
ISSUE 13 • MAY 1, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson •
ASCAP loses major
download royalty case
n The performing rights community
is reeling from a major loss in what
may be the most important music
royalty legal case in decades. Last
Wednesday, as originally reported in
Film Music Weekly, federal district
court judge William Conner ruled
against ASCAP declaring there is
no performance right for writers and
publishers in music downloads.
If not reversed on appeal or
otherwise overturned, the decision
could mean huge losses for composers who work under work-for-hire
agreements on films and television
shows as viewers migrate away from
watching television “live” in favor of
downloading films and TV episodes.
Apple’s iTunes site alone has delivered over 18 million films and episodes of television shows. p:3
Opera for
Doyle and
n Film composers Patrick
Doyle and Craig Armstrong
have been commissioned to
write music for a new contemporary opera project by
the Scottish Opera.
Doyle and Armstrong
are Scotland’s most prominent film composers.
Antiphonal ideas in Isham’s ‘Next’ score
© 2007 Paramount Pictures
Mark Isham
Mark Isham did some very original writing for the action sequences in ”Next”: an antiphonal approach for two identical
ensembles, one on the right, the other one on the left.
Film Score Monthly’s latest CDs: Some
Came Running and Raintree County are
like a lush smooch on the lips, writes
Daniel Schweiger. p:11
n Even though the
new Nicolas Cage sci-fi
thriller Next might look
like a fairly ordinary
pop-corn flick, the film
inspired composer
Mark Isham (Crash,
The Black Dahlia, Eight
Below) to a highly
original approach to the
original score. For the
action sequences in the
film, Isham came up
with the idea to write
antiphonal music for an
orchestra divided into
two ensembles – one
on the right, one on the
left. ”And it worked out
tremendously, and the
cues that feature that
– I’m really very, very
happy with,” says Mark
Isham. p:8
p:4 APM and Indie911 announce partnership
p:5 Major proms work by Rachel Portman
p:5 New gigs for powell, rabin, Fischer,
kantelinen, and haslinger
Our Ma^Bg]nlmkrLi^Zdl'
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are the voice of the industry,
reflecting the views of the film
and television music industry at
large rather than any particular
industry organization or society.
Join the industry this year in
people and productions who
Publisher: Mark Northam
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This Week on
Mychael and Jeff Danna
Film music journalist Daniel
Schweiger interviews the
composing brothers Mychael
and Jeff Danna, who team up
for the prosecution in Fracture.
Join host Mark Northam for
an candid, in-depth interview
with composer and music library owner Doug Wood about
his ASCAP Board candidacy
and more. Also hear interviews with Dan Kimpel, John
Braheny and Samm Brown III.
ISSUE 13 • MAY 1, 2007
ASCAP loses major
download royalty case
The performing rights community is reeling from a
major loss in what may be
the most important music
royalty legal case in decades.
Last Wednesday, as originally reported in Film Music
Weekly, federal district court
judge William Conner ruled
against ASCAP declaring
there is no performance right
for writers and publishers in
music downloads.
If not reversed on appeal or otherwise overturned, the decision could
mean huge losses for composers
who work under work-for-hire
agreements on films and television
shows as viewers migrate away
from watching television “live” in
favor of downloading films and TV
episodes. Apple’s iTunes site alone
has delivered over 18 million films
and episodes of television shows.
Composers historically receive no
royalties for DVD or videotape
sales or rentals, and often depend
on performance royalties from
ASCAP, BMI and SESAC generated from public performances of
music on television and elsewhere
for their livelihoods.
While ASCAP remained silent
after the ruling, ASCAP’s opponents were quick to hail the decision as a major victory. Jonathan
Potter, Executive Director of the
Digital Media Association (DiMA)
who filed an amicus brief in the
case opposing ASCAP’s claim, said
of the decision, “Today’s decision
is a tremendous win for digital
media services. DiMA has argued
this case for almost a decade, and
we are pleased the court agreed
with our view of the law. Unfortunately, some digital media services have actually paid double-dip
Doyle and Armstrong
to write mini-operas
Film composers Patrick
Doyle and Craig Armstrong
have been commissioned
to write music for a new
contemporary opera project
by the Scottish Opera.
• Away from Her (Jonathan
• Civic Duty (Terry Huud)
• The Flying Scotsman (Martin
• Hood of Horror (Patrick Copeland)
• Lucky You (Christopher Young)
• Spider-Man 3 (Christopher Young)
• Zoo (Paul Moore)
• Delivery (Jose Zambrano
• Motives 2 (Steven Gutheinz)
• A Secret Handshake (Jeff Jones)
royalties when pressed by ASCAP,
BMI and SESAC. We hope those
companies will demand refunds with interest.”
Entertainment Merchants Association President Bo Anderson
stated, “The position of ASCAP
was nonsensical. Digital downloads are not ‘public’ nor are they
‘performances.’ Had ASCAP prevailed in its attempted end-run
around the clear and established
definitions of copyright law, additional, non-productive royalty
costs would have been added to
motion picture and video game
downloads, potentially stymieing
this delivery system.”
As of press time ASCAP has not
announced whether it will appeal
the ruling or not, and ASCAP’s
website contained no mention of
the ruling or any response to it.
Doyle and Armstrong are Scotland’s most prominent film composers – Doyle’s credits include
Harry Potter and the Goblet of
Fire, Bridget Jones’ Diary and
Donnie Brasco; Armstrong has
scored Moulin Rogue, Love Actually and The Bone Collector,
among others. They are both
among a group of composers and
authors who have been commissioned to write five new 15-minute chamber operas to be staged
in Glasgow and Edinburgh on Feburary 19-March 9 next year.
Doyle will collaborate with
author William Boyd (“A Good
Man in Africa”), while Armstrong
is working with Ian Rankin (best
known for his “Inspector Rebus”
“These new pieces offer the
creative teams a chance to explore the artform in a 21st century context and present their
short operas in an informal and
intimate environment,” writes
Scottish Opera on its website,
“Each opera will have its own
unique musical and thematic
identity and we are sure that
each audience member will have
their own particular favorite.”
Apart from Doyle and Armstrong, composers Lyell Cresswell, Stephen Deazley and
Gareth Williams and authors
Bernard MacLaverty, Ron Butlin and Alexande McCall Smith
have been commissioned to work
on the project. mc
Film music
news is a
fast world!
uick decisions. Rumors. Fast
changes. Rumors again. Politics. More rumors. Prestige. Add
to that – just some more rumors.
For a journalist, the film music
business is indeed a very exciting
field to monitor. Before I started to
devote my professional life to film
music full-time, I worked as news
journalist on various newspapers
for fifteen years. But, I have never
come across a field which is so delicate to cover as the Hollywood film
music industry.
he introduction to this column might look a little like
a riddle… but it’s basically just a
swift description of every-day life
in the film music business. Over
the years I’ve learned that the
one and only thing that counts
is news that has been confirmed
by at least one official source,
preferably two. That’s why we
didn’t write about Brian Tyler’s
involvement in the new Rambo
film earlier than last week – the
scoop had already been out on the
internet for weeks, but in fact the
composer had not been signed to
score the film at that point. So,
knowing how fast things change
in the business, our policy is to
await official confirmation.
o what’s official? We do
indeed regard composer
agencies as an official source,
but as you may have read last
week, they sometimes jump the
gun. Now the best source is, of
course, the film companies. We
have extensive contacts with
film companies that we use to
help verify our news stories. How
about the composers themselves?
Yes, they’re good too. Most of them
have learned their lessons once or
twice... announcing a gig too early
can create an unexpected turmoil.
So, is Danny Elfman really going
to score Hellboy 2? Perhaps. But
he has not been signed to do it. At
least not yet.
Mikael Carlsson
[email protected]
FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
The hottest composers in
Hollywood right now:
1 (1). Danny Elfman
2 (2). John Williams
3 (3). Hans Zimmer
4 (4). Ennio Morricone
5 (6). James Horner
6 (7). James Newton Howard
7 (12). Clint Mansell
8 (10). Thomas Newman
9 (8). Howard Shore
10 (15). John Murphy
11 (9). Philip Glass
12 (5). Michael Penn
13 (new). Christopher Young
14 (14). Harry Gregson-Williams
15 (13). Randy Newman
16 (9). Tyler Bates
17 (16). Gustavo Santaolalla
18 (18). Billy Corgan
19 (19). Klaus Badelt
20 (17). Alan Silvestri
The list is based on data from
Internet Movie Database’s
“StarMeter”, showing “who’s
popular based on the searches
of millions of IMDb users”.
APM and Indie911 announce partnership
APM Music and Indie911
have announced a new partnership to provide television
networks, film studios, trailer
houses, video game companies and other producers
with direct access to independent music for licensing
Artists on Indie911, a popular online social network, artist service
provider and music store, can submit music for consideration to APM,
the EMI/BMG co-venture production music library that supplies
material to thousands of TV shows,
films, commercials and internetbased media. Revenue earned by
the licensing of music through the
APM Music/Indie911 partnership
will be divided between the two entities and Indie911 will make payment directly to the artists.
For quality control, Indie911
reviews all music submissions for
quality of sound and content before adding any new music to the
Indie911 website. APM’s music
directors then further review all
submissions for possible inclusion
in the APM library.
Once material is selected, it is
categorized and then marketed
to APM’s clients including CBS,
NBC, ABC, Fox, Universal, Discovery, Current TV, MTV, BBDO,
Electronic Arts, Midway Games,
Amp’d Mobile and many others.
Recent credits include Heroes,
Scrubs, NIP/TUCK, Oprah Winfrey, Blades of Glory, Borat, Music
& Lyrics, Wild Hogs, The Simpsons
Movie and the NBA Live 07 video
“With the arrival of video podcasts, user-generated content sites,
mash-up sites, digital television
channels, mobile platforms and In-
ternet television, there has never
been a greater need for a wide variety of music to fill the needs of an
expanding production community,”
stated APM Music president, Adam
Taylor. “APM Music’s relationship
with Indie911 provides our clients
with a large and ever-growing collection of quality independent music. This combination will be enormously beneficial for Indie911’s
artists and APM’s clients alike.”
“Indie911 is not simply an online space for artists to display
their work,” says Justin Goldberg,
CEO/founder of Indie911 and the
Hoooka. “We’re finding ways to
enhance the artist services we
provide - uniting the best independent music resource with the biggest and best music library in the
business allows our artists to generate ongoing revenue from their
work while retaining ownership of
their music in other areas.” mn
ISSUE 13 • MAY 1, 2007
© Veva van Sloun / Internationaal Filmfestival van Vlaanderen-Gent
Rachel Portman to write
major BBC Proms work
Rachel Portman, one of
UK’s leading film composers, is currently working
on a major concert work to
be premiered at this year’s
BBC Proms at the Royal
Albert Hall in London.
Rachel Portman, who won an Oscar
for her “Emma” score, is taking time
off film scoring to write a concert
piece for the BBC Proms – and a
stage musical based on “Little
House on the Prairie.”
Portman, who is best known
for her sensitive scores to films
such as Chocolat, The Cider
House Rules and The Lake
House, is composing a work
entitled “The Water Diviner’s
Tale” in collaboration with poet
Owen Sheers. It tells the story
of a group of children who are
lost after a devastating storm,
inspired by the hurricane Katrina, and tackles the subject
of global warming.
“I am very interested in
writing a piece about climate
change,” Rachel Portman commented to Film Music Weekly,
Tribute Film Classics
label announced
n John Morgan, Bill Stromberg and
and continued:
“It’s for full orchestra, five
soloists, large youth chorus, and
spoken storyteller with a children’s chorus for which we are
holding open auditions shortly.”
Portman, whose latest film
score is The Feast of Love for
director Robert Benton, is
also working on a stage musical based on the 1970s family
western TV series Little House
on the Prairie, entitled “Prairie” and set to go into production in the US next summer.
“Film scoring remains my
core writing however,” Rachel
Portman said to Film Music
Weekly. Portman won the 1997
Oscar for her Emma score and
she has worked with esteemed
directors such as Roman Polanski, Jonathan Demme, Wayne
Wang, Mike Newell and Lasse
Hallström. mc
Anna Bonn have announced the formation of Tribute Film Classics, a new
record label that will focus on music
from silver age and golden age films.
Morgan said that the new company
hopes to continue in the tradition of
the Marco Polo (Naxos) label and will
re-record classic film scores that have
been either ignored or have survived
in less than pristine condition. Morgan
also said that the label plans to continue to release complete renditions
whenever possible, including music
that may have been omitted or edited
in the final release of the film.
“Although we still plan on continuing with Naxos, we feel there are so
many wonderful scores that need and
deserve restoration and recording that
by creating our own label we would
help get more recordings to the public,”
said Morgan.
The new label plans on doing two
albums in 2007 which they hope to
be ready by the summer, and will be
working with Screen Archives who
will produce the actual CDs. mn
John Powell:
Stop Loss
n Stop Loss, a political drama
about a soldier who refuses to
return to battle in Iraq after returning home from the war, will
get an original score composed
by John Powell. The film, which
will be released by Paramount on November 16,
is directed by Kimberly Peirce and stars Ruan
Phillippe, Channing Tatum, Timothy Olyphant,
Joseph Gordon-Levitt and Jay Hernandez. Director Peirce previously made the very strong
drama Boys Don’t Cry, which had a score by
Nathan Larson. Powell, who is represented by
Kraft-Engel, also has the scores for The Bourne
Ultimatum and the animated feature Horton
Hears a Who and coming up.
Trevor Rabin:
Get Smart
n Trevor Rabin, whose latest
scores include The Guardian,
Snakes on a Plane, Gridiron
Gang and Flyboys, has been hired
to compose the music for Get
Smart, an action comedy directed
by Peter Segal (The Longest Yard) and starring
Anne Hathaway, Steve Carell and The Rock. It’s
based on the 1960s CBS TV series that starred
Don Adams. Warner Bros will release the film
next summer.
Chad Fischer:
The Babysitters
Stellan Skarsgard among others, and it’s directed by Danish helmer Peter Flinth (Eye of the
Eagle). Kantelinen, who has just finished work
on the animated feature Quest for a Heart, has
also been signed to compose the music for Russian director Sergei Bodrov’s Mongol, a historic
drama about the early life of Genghis Khan.
n Chad Fischer, who is best
known for his music for the independent hit Garden State, is doing the music for the drama The
Babysitters, according to Fischer’s agency, Gorfaine-Schwartz.
Starring Cynthia Nixon, John Leguizamo (who
is also producing) and Katherine Waterston,
the film is directed by David Ross who is making his feature film helming debut.
Tuomas Kantelinen:
The Knight Templar
Paul Haslinger:
Gardener of Eden
n Paul Haslinger, whose recent
scores include horror films Turistas and Vacancy, changes pace
with an independent drama comedy entitled Gardener of Eden. The
film tells the story about a young
man whose life is changed when he captures a serial rapist. Kevin Connolly directs, Leonardo DiCaprio produces and Lukas Haas, Giovanni Ribisi
and Erika Christensen star in the film. mc
n Finnish composer Tuomas
Kantelinen, who was nominated
for the European Film Award
for Best Composer last year, has
been hired to compose the music
for The Knight Templar (original
title: Arn – Tempelriddaren), a Nordic co-production which is a film version of Jan Guillou’s
best-selling medieaval adventure novel. The
film stars Joakim Netterqvist, Sofia Helin and
Paul Haslinger, who is best
known for his horror scores,
is doing the music for the
independent drama comedy
“Gardener of Eden”.
FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
depicted in
new musical
The life of legendary composer Harold
Arlen, who wrote songs
for numerous films, including the 1939 classic
The Wizard of Oz, is explored in a new musical entitled A Rainbow
Journey: The Harold
Arlen Story, which was
premiered at the MusicalFare Theatre in
New York on April 18.
The show is directed
by Randall Kramer
and features a plethora
of songs composed by
Harold Arlen.
SONiVOX announces
new LoopLine releases
n SONiVOX today announced the expan-
sion LoopLine, their premium series of loop
based titles. The new titles feature a mix
of street-current beats and sound textures.
The new releases are produced by Simone
Coen of Chocolate Audio.
The new releases include Brushed
Beats, a brush drum collection of over 1200
smooth and classy loops and 500 one-shot
hits; Chocolate Sticks Vol.1, a collection of
classic drum set loops, and Melted Hits, a
collection of brushed drum loops and mixes
that are “mangled, distorted, and melted
in a way that they hardly resemble their
brushed origin,” according to the company.
The titles are Mac and PC compatible,
include Acid/Wav, AppleLoop, AIFF and
REX2 formats, and are scheduled to ship in
May with a retail price of $99.95 each. mn
www For more information visit SONiVOX
Potter composer
n Nicholas Hooper, the com-
poser who has just finished recording the score for the new
Harry Potter film (Harry Potter
and the Order of the Phoenix),
recently won the BAFTA Television Craft Award for his music
for Granada Television’s Prime
Suspect: The Final Act starring Helen Mirren. The British
Academy of Film and Television Arts had also nominated
George Fenton (Planet Earth),
Alex Heffes (Tsunami: The Aftermath) and Rob Lane (Jane
Eyre) to the award.
ISSUE 13 • MAY 1, 2007
Nominations to the
Ivor Novello Awards
n The British Academy of Composers and
Songwriters recently announced its 2007 nominations to the Ivor Novello Awards. Nominated
for best film music are Christian Henson for
Severance, John Powell for Ice Age: The Meltdown and David Arnold for Casino Royale. In the
TV music category, Alex Heffes is nominated for
Shiny Shiny Bright New Hole in My Heart, Martin Phipps for The Virgin Queen and John Lunn
and Jim Williams for Hotel Babylon. The awards
will be handed out at the Grosvenor House Hotel on Park Lane in London on May 24. mc
Marinho Nobre
wins gold medal
to Goldenthal
n Elliot Goldenthal, who
is best known for his film
scores Frida, Batman Foreverand Interview With the
Vampire, was nominated
to the Pulitzer Music Prize
this year. However, his opera Grendel lost to Ornette
Coleman’s Sound Grammar. The third nominee
was Astral Canticle by Augusta Read Thomas. mc
n Brazilian composer Marinho Nobre was awarded this
year’s Silver Medal of Excellence at the Park City Film Music
Festival for his score to the short film The Angel, directed by
Paul Hough. The composer describes his music for the film as
a ”techno orchestral score”. Nobre’s other credits include The
Artists and the upcoming slasher movie Left for Dead. mc
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FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
approach to
Mark Isham’s best known
1. Crash (2004)
2. Blade (1998)
3. October Sky (1999)
4. Point Break (1991)
5. Running Scrared (2006)
6. The Net (1995)
7. Quiz Show (1994)
8. Men of Honor (2000)
9. Don’t Say a Word (2001)
10. The Black Dahlia (2006)
Source: IMDb
Mark Isham is represented
by First Artists Management.
Mark, looking at your filmography, what strikes
me is that you are one of few Hollywood composers who have really managed to avoid being typecast. Most composers are doing either comedies,
intimate dramas or horror films – but you always
seem to go from one type of film to a completely
different one!
This variation is very important to me. That way I can
stay inspired and keep demanding that I learn something
about music every time I score a picture, which is really
one of the reasons that I truly love this job. Every score
does, in fact, present an opportunity to learn something
about music, and the more different types of scores that I
can approach and score successfully, the more I can learn.
So, after the stylish noir of The Black Dahlia, the
heroic Invincible, and the pretty serious dramas
Bobby and Freedom Writers, was it a blast to do
something a little wilder like Next?
Well, it was quite a bit of fun. I love doing fun movies
that purely entertain. With all the chaos around the globe
– from the Virginia Tech shootings to the Darfur genocide – these films that entertain are vital. They’re popcorn
thrillers. You know, “let’s be thrilled, and wowed and just
have a fun time.” So I think you can be a little more on
the nose emotionally. You can be a little more extravagant
with your gestures. It’s a little more over the top - bigger,
bolder. And that’s always fun to do, especially after Bobby
and Freedom Writers, which are very intimate pictures
where subtlety really is the key to a successful score.
How did you approach this score stylistically and
how did you structure your score thematically?
Stylistically, I wanted to do something that felt legiti-
mately orchestral, and yet at the same time had very contemporary percussion and a few synth elements, but not
overwhelmingly so. I still wanted the whole score to feel
organic, so all the percussion programming was designed
to feel organic. Because, in spite of the fact that this has
a sci-fi element to it, [director] Lee Tamahori was very
specific from the very beginning that he was looking at
this as a love story. None of the action would take place if
it weren’t for the fact that our hero is in love – madly in
love. At first she’s a mystery, and then as he gets to know
her, obviously his passion and care for her increases. So,
the backbone of this score, to me, always had to be able to
reflect that, and therefore I just made the choice to keep
a very organic feel about it.
How big an orchestra did you use?
For Next we did something actually very, very interesting and completely different. As I was writing, I found
myself writing a lot of faster, 8th/16th-note passages for
the chasing and the running, and all of a sudden I had
this idea of antiphony – two sides to the space, call and
response. If you have 8th notes coming from the left, they
could be answered by 8th notes coming from the right, so
maybe we should do something other than just have the
violins do it in answer to the cellos. Maybe we could actually try a stereo orchestra. So I sat down with my orchestrator, Conrad Pope, and we thought this through, and we
actually came up with, for about 40 percent of the score, a
dual orchestra scenario, where we had a complete string
section on the left, and a complete string section on the
right. And it worked out tremendously, and the cues that
feature that – I’m really very, very happy with. So for
that stereo orchestra, winds and brass were kept just to
tubas and French horns, and again, had a right tuba and
French horns, and a left tuba and French horns. Woodwinds we did separately, because it was all exotic woodISSUE 13 • MAY 1, 2007
© 2007 Paramount Pictures
Nicolas Cage is the main star and producer of “Next”, directed by Lee Tamahori and with a score by Mark Isham, who came up with the idea of an anitphonal approach to the action music in the film.
winds, duduk, alto flutes, bass clarinets, that sort of thing
– instruments that are naturally very soft, but then in
the recording environment, of course, we could put them
up in front of the orchestra a little bit. The other major
bulk of the score was done with a little more traditional
orchestra and traditional arrangement, and we did add
a slightly different brass configuration. I used no trumpets, but I did use a flumpet and a flugelhorn, at the top
of the trombone section. We had quite a lot of trombones
– trombones, French horns, tubas, and then the two upper brass, so that they would be like soprano trombones.
The score never felt comfortable to me if anything sort
of played to the higher register. It always seemed like
this was a mid-range and low-range score. That way you
could keep it very organic and still feel very weighty and
powerful when you needed it.
Where did you record the score and how much
music did you write?
We recorded at Todd AO, and it was fantastic, with
the team – Shawn Murphy and his guys, and Conrad
Pope and his team of orchestrators. How much music?
It wasn’t massive, like some thriller/action films can be.
I think it was somewhere around the 80 minute mark,
something like that. Maybe a little less – high 70’s.
Lee Tamahori has worked with some great composers before, including Jerry Goldsmith and
Dave Grusin. How would you like to describe him,
and how does he like to use music? Is there a lot
of room for musical statements, or did you have to
be very subtle in your choices?
Lee is an excellent director. He’s very clear thinking,
and expresses himself very well. Like I said, the main instruction from him is that we can never lose sight of the
romance here, and the love story. Of course when people
are shooting each other you have to do what you have
to do there. He wasn’t as concerned with that aspect of
the score as long as it did its job. He responded well to
the stereo ideas, and the orchestration ideas – all of that
he found to be very good solutions that he wholeheartedly agreed with. I didn’t have to be that subtle with Lee.
When music is needed, he has no compunction about
pulling it up and just putting it there. He had the normal
concerns that most directors have, you know – in certain
key points the dialogue has to be heard, or else you don’t
understand the story. But he’s fun in the sense that he’s
definitely willing for the music to rise up and take a full
role in telling the story.
What elements of the film gave you the key to the
score? What was the most inspiring aspects of the
film and the story?
The element of the film that gave me the key to the
score was probably, like I described, this organic sense in
that the whole backbone of the story is a love story. And
that helped really define this orchestrational choice, so
we can keep an organic feel, and yet be powerful, and
yet still be contemporary. As the film develops and we
get more into the chase stuff, and in the back one third
of the film, the fact that he starts to do this time travel
thing seriously to help win his battle – that required
some orchestration and composing of a motif. I wanted a
little sound to appear when that was something he was
doing, so that even if the picture wasn’t clear if he was
doing that or not, the music would help the audience
understand that, “oh, maybe he’s using his special gift
there to help solve a particular situation.” So that aspect
of the story was definitely inspiring in the sense that it
demanded that we come up with this little motif. Again,
Plot outline: Magician Cris
Johnson can see a few minutes into the future. When a
terrorist group threatens to
detonate a nuclear device in
Los Angeles, he is called in
to stop the cataclysm.
Director: Lee Tamahori.
Producers: Nicolas Cage,
Todd Garner, Norman Golightly, Graham King, Arne
Stars: Nicolas Cage, Julianne Moore, Jessica Biel,
Thomas Kretschmann, Tory
Production companies:
Revolution Studios, Saturn
Films, IEG.
FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
a mixture of organic and synthetic elements, but trying to feature the
organic elements – Fender Rhodes, gamelan, electronic stuff thrown in,
and then sometimes with double acoustic piano, so that it can have a
slightly ethereal, or for lack of a better word, “science fiction” feel to it,
but at the same time it’s rooted in organic sound.
You have done a few science fiction films before - I suppose Next is
more of a thriller than a sci-fi movie, though. Usually sci-fi means
“big” in terms of the music, and your own music for Timecop is
one example of that. How does Next relate to that score?
I haven’t thought of that score in quite a few years! It was done a
number of years ago. They are similar stories. There was a love theme
in Timecop, although I don’t think it had as much screen time as the love
story does in Next. I think Next is obviously just an evolution for me as
a composer. I know a lot more about the language of music, especially
larger orchestral music. I think I can attack an action scene now with
perhaps a more personal point of view. I think it’s probably just time –
time and experience allowed me to perhaps look at this picture through
the eyes of time and experience. Certainly Timecop was one of the first
larger scores I did do, and it was a big learning experience for me, so I
wanted to make sure I pushed myself on Next in a similar way.
This was your first film with music editor Robb Boyd, right?
How did you work together on this film – and what was on the
temp track? Was the temp a blessing or a curse on Next?
Yes, it is my first film with Robb Boyd. The temp track was first done
by Chris Wagner. Chris Wagner was the picture editor, and Chris is well
known for his post-production expertise – one of the great masters of
the action/thriller film style, inventor of many techniques over the years
that are highly regarded – and he does the first pass on a temp. He and
Robbie worked together, so I’m not quite sure how much it goes back
and forth between them, but certainly Chris is the guy who does the
first pass, and then Robbie worked with me filling things in, and getting things ready for previews. I think one of Chris’s strengths is that he
temps things to the degree where he can show himself and the director
and the studio that the movie is working, but he always manages to leave
it in the condition where the composer can come in and start to do an
original score. I feel this temp was a very
useful tool, and Chris was very helpful in
that I would run the score past him – especially the action sequences, because this is
his area of expertise.
Composer: Mark Isham.
Conductor: Mike Nowak.
Orchestrator: Conrad Pope.
Scoring mixer: Shawn
Music editor: Robb Boyd.
Contractor: Peter Rotter.
Other team members:
Cindy O’Connor (assistant),
Mark Graham (librarian),
Justin Reeve (coordinator).
Score album: Lakeshore
What other key members do you have
in your team these days and what do
they bring to the process creatively?
Conrad Pope has been doing my orchestrating, and he’s brilliant. Black Dahlia
was done by Brad Dechter, who’s also a
brilliant orchestrator. I’m working with
[scoring mixer] Shawn Murphy, which I’m
really enjoying. And then the team here
at home is Tyler Parkinson and Cindy
O’Connor – Cindy more on the music compositional side, and Tyler on the technical,
programming, recording side.
After Next, what’s coming next?
Well, I’m just finishing up a Terry
George movie with Joaquin Phoenix,
Mark Ruffalo, and Jennifer Connelly entitled Reservation Road, and finishing
Gavin O’Connor’s Pride and Glory, which
we started last year. They finished their
re-shoots, and now we’ll be finishing up.
Then moving on to Paul Haggis’ In the
Valley of Elah. n
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ISSUE 13 • MAY 1, 2007
Classic romance gets its day
at Film Score Monthly
Some Came Running / Raintree County
• Elmer Bernstein / Johnny Green • Film
Score Monthly.
1950’s all-star romance doesn’t get more
extravagant than Some Came Running and
Raintree County. And as scored by Elmer Bernstein and Johnny Green, they’re like a shot to
the kisser, and a lush smooch on the lips. But
no matter how they’re getting the peck, fans
of these two, long sought-after scores will be
heaven-sent by FSM’s typically extravagant
treatment of old-school Hollywood scoring.
First off, the manly treatment of guys and
dolls, as done by Elmer Bernstein at the peak of
his jazzy powers. No one could blow for the orchestra and night owl brass like the composer,
whose soundtracks for Walk on the Wild Side
and The Sweet Smell of Success are two greats
in the cannon of jazz scoring. And perhaps
no actor better embodied Bernstein’s swagger than Frank Sinatra, who’d shot up to the
composer’s powerhouse strains in Man With
the Golden Arm. Here Sinatra is off the junk,
and causing small town trouble as a writer in
Some Came Running. And while the film might
not have the popular cache of Sweet Smell or
Golden Arm, its music is right up there.
That isn’t to say that Bernstein couldn’t
swoon, as Running has positively girlie emotions, strings capturing the heart-melting effect of Sinatra and co-star Dean Martin on
Shirley MacClaine and Martha Hyer. While
the year is 1958, the raw, pleading dynamism
FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
of Bernstein’s scoring still rings true. Where
other composers had hopelessly repressed
characters, Bernstein was lucky enough to get
films whose lovers wore their angry, bleeding
hearts on their sleeves. And the passion of
Some Came Running remains dazzling among
the composer’s melodramas, way more fun for
my taste than his more poetic stylings for his
final, 1950’s-styled score to Far From Heaven.
But it’s jazz you want from Bernstein, and
Some Came Running has it in spades on the
CD’s numerous source cues, ranging from
mambos to cocktail and the hard-ass. Even
more impressive is the appearance of the standards “After You’ve Gone,” “Don’t Blame Me”
and “Blue Moon,” making this CD the perfect
swing between more traditional scoring and a
Sinatra night on the town with Bernstein as
his love ‘em and leave ‘em drinking buddy.
Far more tender, and no less effective for
it, is Johnny Green’s Oscar-nominated score
to 1957’s Raintree County. Though this Civil
War romance didn’t turn into another Gone
With the Wind for MGM, it’s star-crossed turn
between Montgomery Clift and Elizabeth Taylor delivered the romantic goods - especially
in its lovely score. Though the prolific Green
(Pepe, Alvarez Kelly) wouldn’t reach
the recognition of Bernstein, listening
to the numerous, wonderfully melodic
themes here shows you he would have
if given more blockbusters like this.
The glory of the Old South is certainly on display in this County, from
the banjo, harmonica, chorus and
strings that carry its memorable
theme (also sung here by Nat King
Cole) to music that sounds of chivalry and Belles being swept off their feet. Bigger studio composers for scores like this often
have their cues become indistinguishable due
to non-stop music. But as presented on two
CDs with 2 ½ hours of music, Raintree County
proves constantly enchanting and interesting
in its musical progression.
That isn’t to say that Raintree County is
lacking for the portentous notes that signal the
war to end the South, or the Civil War perils
that follow. But whether the orchestra is raging or going for intimacy, there’s a true sense
of a romantic journey. Raintree County often
verges on the mystical power of love, i.e. the
kind that ends with both tragedy and the hope
of a new life. It’s the kind of soaring stuff that
brings on the handkerchiefs, all carried by a
theme that will hopefully be re-discovered as
being one of Hollywood’s best romantic motifs.
With Raintree County’s long-sought release
by Film Score Monthly, the South has indeed
risen again.
Film Score Monthly’s soundtracks for Some
Came Running and Raintree County can be ordered through
Courtesy of
Jerry Goldsmith:
The Arc of a Stellar Career
Jerry Goldsmith:
Scenario 1: rural Arizona desert, circa 1963.
The premise: 5 Roman Catholic nuns, refugees
from behind the Iron Curtain, are befriended by a young black man during his travels
through the American southwest. The picture:
Lilies Of The Field, starring Sidney Portier as
Homer Smith and Lilia Skalla as the Mother
Scenario 2: a military fortress in the deserts
of ancient Judea, circa 70 A.D. The premise:
900 Jews stand between the might of imperial Rome and the utter conquest of the Jewish nation. The picture: Masada, starring Peter
O’Toole as the commander of the Roman 10th
legion, and Peter Strauss as commander of the
Jewish forces defending the fortress Masada.
At first glance, these two pictures have
nothing to do with each other—save for their
mutually arid surroundings in the desert. In
short order, however, I hope to demonstrate just
how closely related they are. For starters, the
screenplays for each production contain deeply
religious foundations and are highly spiritual
in nature. All that, despite the enormous entertainment value exhibited in each. Further,
the protagonist in each production invokes the
name of God for deliverance from their vastly
contrasting circumstances. Most intimately,
however, each production contains a film score
composed by Jerry Goldsmith.
Yes, this little piece is intended as pure
homage to the late Goldsmith’s abundance of
creativity, innovation, ingenuity, and heart.
The scores to Lilies of the Field and Masada
could scarcely be more contrasting. Lilies features a very small ensemble more resembling
a country band than an orchestra; more folk
music and hoedown than one would expect
from any Oscar-nominated film of this day or
that. Even with the use of clever melodic figures and unexpected cadences, Goldsmith’s
score is genuinely friendly and disarming. So
much so, that when it’s time to weave the score
into deeper matters, the composer pulls us so
gently into those dramatic situations that we
hardly notice the transition—we’re already
hooked. On the lighter side, Goldsmith played
the natural humor in Lilies with understated
poise and grand effectiveness. After all, he was
only 34-years-old when he scored
the picture. For a composer perhaps
best known for his action, drama,
sci-fi, and psychological thriller
chops, Jerry scored comedy like the
master he was.
In stark contrast to Lilies of the
Field, the orchestra for Masada is
gargantuan. Truly, one of the largest orchestras ever assembled for
a made-for-television production.
In this context, all the power of ancient Rome is depicted. But it’s for
the defenders of Masada that Goldsmith reserves his tastiest scoring.
It’s not all impending danger and
death up on that mountain citadel—Jerry works quizzical mirth
and subtle humor into certain scenarios—not unlike Lilies in effect,
but by utilizing completely different techniques to achieve the same
emotional space. Marvelous work.
Despite the huge orchestra, Goldsmith never hesitated to have 70
pieces tacit if only 12 pieces were
needed in a given instance. Or, to
withhold an instrument for entire
reels until the precise moment he
needed it. As with so many of his
scores, Goldsmith achieves a real
intimacy when he’s after it. When
it’s time for the power, however, he
unleashes some of the most horrific and terrorizing cues of his career. Additionally, and rather
unique to Masada is his use of certain modes
and scales, some of them dating back to antiquity, that give the score not only a historical
authenticity (that is, within Hollywood parameters), but a deliciously Hebrew ambience as
befitting the subject. As for the drama proper,
the intelligence and interplay between screenplay, dramatic performances and score may be
as engaging as any motion picture you have
ever seen. That is, perhaps, with the exception
of Schindler’s List and a very few others.
Be it with Christians in 1963 or with Jews
in 70 A.D., it’s Jerry Goldsmith’s uncanny ability to weave threads of spirituality that connect these two radically different productions.
Using wholly different instrumentations, vocabularies, and techniques, Jerry helps us get
to the heart of things—a deeper understanding
of humankind and a higher plane of consciousness from which to observe it.
I mentioned to Jerry this spiritual arc con-
necting Lilies and Masada at a seminar at the
Director’s Guild in 1999. He smiled and thanked
me most graciously—the comparison being made
despite all the apparent differences seemed to
please him. And of Masada, Goldsmith stated,
“It was the score I was born to write.”
He said this with no special emphasis. He
simply stated it. Here we have one of the most
creative, successful, and awarded composers the world has ever known. All manner of
wealth and acclaim, critical and commercial,
were in his achievement. And with no one having to ask in particular, it seems that Jerry
Goldsmith told us which of his scores was closest to his heart.
And so the spiritual arc between Lilies of
the Field and Masada takes on an even greater significance in the vastly diverse and brilliant works composed by Jerry Goldsmith. If
you have never seen these motion pictures, I
highly recommend that you treat yourself to
some extraordinary entertainment, high art,
and spirituality.
ISSUE 13 • MAY 1, 2007
stage score
on CD
• O Jerusalem (Stephen Endelman) – Milan
MAY 15
• Spellbound (Miklós Rózsa) – Intrada
n Buysoundtrax has released
MAY 22
NEW Bug (Brian Tyler) – Lionsgate (online)
NEW First Snow (Cliff Martinez) – Superb
• I Capture the Castle (Dario Marianelli) - MovieScore Media
• Paprika (Susumu Hirasawa) - Milan
• Pirates of the Caribbean: At World’s End (Hans Zimmer) - Walt Disney
• Frankenstein Vs. The Creature from Black Cove (Mel Lewis) – Lakeshore
an album featuring music composed by Australian film composer Bruce Rowland for the
stage show Chinois: The New
Millennium Theatrical Spectacular which was commissioned
by the Ministry of Culture in Beijing, China. The CD release is limited to 1,000 copies and features eleven tracks from the original score
Rowland composed for the show. mc
NEW Lucky You (Christopher Young) – Varèse Sarabande
• The Essential Hans Zimmer Film Music Collection (Hans Zimmer) - Silva
• The Lives of Others (Gabriel Yared/Stéphane Moucha) - Varèse Sarabande
Lionsgate releases
score albums online
• Bloodsport (Paul Hertzog) – Perseverance
• The Enforcer (Jerry Fielding) - Aleph
n Lionsgate are releasing two current film scores online on iTunes. On
May 1, Jonathan Goldsmith’s music for Away from Her, Sarah Polley’s
acclaimed drama starring Julie Christie, Michael Murphy and Olympia Dukakis, comes out, and on May 22, Brian Tyler’s score for Bug,
the new horror thriller directed by William Friedkin, will be released.
• Harry Potter and the Order of the Phoenix (Nicholas Hooper) – Warner Bros
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Film Scoring I: Form and Function
Film Scoring III: Composing and Conducting to Picture—A Workshop
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FILM MUSIC weekly ISSUE 13 • MAY 1, 2007
Neal Acree: Juncture.
Tree Adams: Keith.
Mark Adler: Noble Son (co-composer) • The Far Side of
Eric Allaman: Race.
John Altman: The Master Builder.
Craig Armstrong: The Golden Age (co-composer).
David Arnold: Hot Fuzz.
Angelo Badalamenti: The Eye.
Klaus Badelt: Heaven and Earth.
Roque Baños: The Last of the Just.
Nathan Barr: Rise • Watching the Detectives • Hostel: Part II.
Tyler Bates: The Haunted World of El Superbeasto • Halloween • Day of the Dead • Watchmen.
Jeff Beal: He Was a Quiet Man • Where God Left His Shoes
• The Situation.
Christophe Beck: License to Wed • Drillbit Taylor • The Dark
Is Rising.
Marco Beltrami: Captivity • In the Electric Mist with Confederate Dead • Live Free or Die Hard. • 3:10 to Yuma.
Charles Bernstein: Bull Run • Let My People Go.
Terence Blanchard: Talk To Me.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Bridie: Gone.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: No Country for Old Men.
Niall Byrne: How About You.
Jeff Cardoni: Firehouse Dog • Save Me.
Sam Cardon: A House Divided • The Dance • Mummies.
Teddy Castellucci: Are We Done Yet?.
Nick Cave: The Assassination of Jesse
James by the Coward Robert Ford (cocomposer).
Nigel Clarke/Michael Csányi-Wills: The
Charlie Clouser: Death Sentence.
Elia Cmiral: The Deaths of Ian.
Graham Collins: Black Kissinger.
Joseph Conlan: American Pastime.
Normand Corbeil: Ma fille, mon ange •
Boot Camp • Emotional Arithmetic.
Jane Antonia Cornich: Island of Lost Souls
• Solstice.
Burkhard Dallwitz: Romeo and Me •
Taking Tiger Mountain • The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Closing the Ring • C7.
Mychael Danna: Surf’s Up • Fracture.
John Debney: Georgia Rule • Evan Almighty • Big Stan • Sin
City 2 • Sin City 3 • Iron Man.
Alexandre Desplat: Mr. Magorium’s Wonder Emporium • His
Dark Materials: The Golden Compass.
Ramin Djawadi: Mr. Brooks • Fly Me to the Moon.
James Michael Dooley: Daddy Day Camp.
Patrick Doyle: The Last Legion.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Butterfly on a Wheel.
Randy Edelman: Underdog • Balls of Fury • 27 Dresses.
Steve Edwards: Finding Rin-Tin-Tin.
Danny Elfman: The Sixth Element • The Kingdom.
Warren Ellis: The Assassination of Jesse James by the Coward Robert Ford (co-composer).
Paul Englishby: Magicians.
Tobias Enhus: Paragraph 78.
Ilan Eshkeri: The Virgin Territories • Stardust (co-composer) •
Straightheads • Strength and Honour.
Evan Evans: The Mercy Man.
Sharon Farber: When Nietzsche Wept • The Tribe.
Guy Farley: The Flock • The Christmas Miracle of Jonathan
Toomey • Knife Edge • Dot Com • The Broken • Dylan.
Louis Febre: Tenderness.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury • Magdalene • Vivaldi.
Jason Frederick: Chinaman’s Chance.
John Frizzell: Careless • First Born.
Michael Giacchino: Ratatouille.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It
in Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone
Philip Glass: No Reservations • Cassandra’s Dream.
Elliot Goldenthal: Across the Universe.
Jonathan Goldsmith: Away from Her.
Howard Goodall: Mr Bean’s Holiday.
Adam Gorgoni: Starting Out in the Evening.
Jeff Grace: The Last Winter • Triggerman • I Sell the Dead.
Harry Gregson-Williams: Shrek the Third • Gone, Baby, Gone
• Jolene • The Chronicles of Narnia: Prince Caspian.
Rupert Gregson-Williams: I Know Pronounce You Chuck and
Larry • Bee Movie.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ.
Andrea Guerra: L’uomo di vetro.
Christopher Gunning: La Vie en Rose.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Alex Heffes: My Enemy’s Enemy.
Christian Henson: Scorpion.
Paul Hepker: Rendition (co-composer).
Eric Hester: Lost Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the Devil.
Ben Holbrook: Kiss the Bride.
Lee Holdridge: I Have Never Forgotten You - The Life and
Legacy of Simon Wiesenthal.
Andrew Hollander: East Broadway.
David Holmes: Ocean’s Thirteen.
Nicholas Hooper: Harry Potter and Order of the Phoenix.
James Horner: The Spiderwick Chronicles.
Richard Horowitz: Genghis Khan.
James Newton Howard: Michael Clayton • The Waterhorse
• I Am Legend.
Terry Huud: Plaguers.
Alberto Iglesias: Savage Grace • Her Majestic Minor.
Mark Isham: Pride and Glory • Reservation Road • Gracie.
Steve Jablonsky: D-War • Transformers.
Corey Allen Jackson: God’s Ears • Ogre.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Becoming Jane.
Bobby Johnston: American Fork • Stuck.
Tim Jones: Cryptid.
Trevor Jones: Fields of Freedom.
David Julyan: Outlaw.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (cocomposer).
George Kallis: Highlander: The Source •
Tuomas Kantelinen: Quest for a Heart •
The Knight Templar • Mongol.
Laura Karpman: Man in the Chair • Out at
the Wedding.
Rolfe Kent: Fred Claus • Spring Break in
Bosnia • Sex and Death 101.
Mark Kilian: Rendition (co-composer).
David Kitay: Because I Said So • Shanghai
Harald Kloser: 10,000 BC.
Penka Kouneva: The Third Nail • Richard III.
Ivan Koutikov: Wanted Undead Or Alive • Living Hell.
Aryavarta Kumar: The Rapture •
Christopher Lennertz: This Christmas • The Comebacks.
Sondre Lerche: Dan in Real Life.
James S. Levine: Delta Farce.
Michael A. Levine: Adrift in Manhattan.
Andrew Lockington: Step • How She Move • Journey 3-D.
Joseph LoDuca: Bar Starz • My Name Is Bruce • Ocean of
Pearls • Boogeyman 2.
Henning Lohner: In the Name of the King: A Dungeon Siege
Steve London: Decoys 2: Alien Seduction • Kaw.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Deborah Lurie: Spring Breakdown.
Mark Mancina: Sheepish • August Rush • Camille • Without
a Badge • Like Dandelion Dust.
Harry Manfredini: Dead and Gone • That’s Amore.
David Mansfield: Carnaval de Sodoma • Then She Found Me
• The Guitar.
Dario Marianelli: We Are Together • Goodbye Bafana • Atonement • Shrooms • The Brave One.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Joel McNeely: Fox and the Hound II • The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted • The Frog Princess.
Guy Michelmore: Doctor Strange.
Randy Miller: Last Time Forever • Shanghai Red.
Robert Miller: Teeth • The Key Man.
Charlie Mole: Fade to Black • I Really Hate My Job • St.
Deborah Mollison: Infinite Justice.
Paul Leonard-Morgan: Popcorn.
Andrea Morricone: Raul – Diritto di uccidere • Veronica
Decides to Die.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo •
John Murphy: Sunshine • 28 Days Later.
Peter Nashel: Wedding Daze.
Blake Neely: Elvis and Anabelle.
Roger Neill: Take • Scar.
Randy Newman: Leatherheads.
Thomas Newman: Nothing Is Private.
Marinho Nobre: Left for Dead.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims • Nobel Son (co-composer).
Dean Ogden: Oranges.
John Ottman: The Invasion • Fantastic Four: Rise of the
Silver Surfer.
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl.
Barrington Pheloung: And When Did You Last See Your
Leigh Phillips: The Legend Trip.
Nicholas Pike: The Shooter.
Douglas Pipes: Trick r’ Treat.
Steve Porcaro: The Wizard of Gore • Cougar Club.
Rachel Portman: The Feast of Love.
John Powell: The Bourne Ultimatum • Horton Hears a Who.
Michael Price: Sugarhouse Lane.
Trevor Rabin: National Treasure 2: The Book of Secrets • Get
Didier Lean Rachou: How to Rob a Bank • An American in
China • Moving McAllister.
A.R. Rahman: The Golden Age (co-composer).
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & You, Us, Forever.
Brian Reitzell: 30 Days of Night.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Marigold.
Graham Reynolds: I’ll Come Running.
Carmen Rizzo: The Power of the Game.
Matt Robertson: The Forest.
Philippe Rombi: Angel.
Jeff Rona: Whisper.
Brett Rosenberg: The Skeptic.
William Ross: September Dawn.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What We Did on Our
Brian Satterwhite: Cowboy Smoke.
Mark Sayfritz: Until Death.sake.
Brad Sayles: The Bracelet of Bordeaux.
Lalo Schifrin: Rush Hour 3.
Marc Shaiman: Hairpsray • Slammer • The Bucket List.
Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh • The Girl in the Park.
Edward Shearmur: 88 Minutes • The Ex • Dedication • The
Other Boleyn Girl.
Howard Shore: Eastern Promises.
Ryan Shore: The Girl Next Door • Numb.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
BC Smith: Greetings from the Shore.
Jason Solowsky: 110%: When Blood, Sweat and Tears Are
Not Enough • The Deepening • L.A Takedown • Unemployed
• North by El Norte.
Mark Hinton Stewart: Man from Earth.
Marc Streitenfeld: American Gangster.
William T. Stromberg: TV Virus.
Mark Suozzo: The Nanny Diaries.
John Swihart: The Brothers Solomon.
Johan Söderqvist: Walk the Talk.
Joby Talbot: Son of Rambow.
Frederic Talgorn: Asterix at the Olympic Games • Largo Winch
• Dragon Hunters.
Francois Tétaz: Rogue.
Mark Thomas: Moondance Alexander • Tales of the Riverbank.
tomandandy: The Koi Keeper.
Pinar Toprak: Blue World • Dark Castle • Serbian Scars.
Jeff Toyne: Shadow in the Trees • The Third Eye.
Thanh Tran: Cult.
Ernest Troost: Crashing.
Brian Tyler: Bug • Time to Kill • War • Finishing the Game •
Alien vs. Predator 2 • John Rambo.
Shigeru Umebayashi: A Simple Love Story.
Johan van der Voet: Clocking Paper.
John Van Tongeren: War Games 2 - The Dead Code
Waddy Wachtel: Strange Wilderness.
Michael Wandmacher: The Killing Floor • Man of Two
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Killshot • Flawless • Miguel and William.
Craig Wedren: The Ten.
Cody Westheimer: Benny Bliss and the Disciples of Greatness.
John Clifford White: Macbeth.
Alan Williams: Angst • Snow Princess • He Love Her, She
Loves Him Not.
David Williams: The Conjuring.
John Williams: Indiana Jones IV • Lincoln.
Tim Williams: Afterthought • A Dog’s Breakfast.
Debbie Wiseman: Flood.
Lyle Workman: Superbad.
Alex Wurman: The Nines • The Baker • Bernard and Doris •
Gabriel Yared: Manolete • 1408.
Christopher Young: Spider-Man 3.
Geoff Zanelli: Delgo.
Marcelo Zarvos: The Air I Breathe • You Kill Me.
Aaron Zigman: The Martian Child • Good Luck Chuck • Jane
Austen Book Club.
Hans Zimmer: Pirates of the Caribbean: At World’s End • The
Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments.
New additions are highlighted in orange print. Edited by Mikael Carlsson. Updates should be sent to [email protected]
ISSUE 13 • MAY 1, 2007

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