May 15, 2007 - Film Music Magazine

FILM MUSIC weekly
ISSUE 15 • MAY 15, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
AFM Local 47 blasts
NES and new guild
n Local 47 of the American Federation of Musi-
cians has warned its members about New Era
Scoring (NES) and the newly-formed Professional Musicians Guild, saying the groups “threaten
to undercut current AFM scales and contracts.”
In a front-page story in the current edition
of the Local 47 newspaper “The Overture,”
Local 47 says New Era Scoring (NES) “will
undercut any and all AFM recording agree-
ments, weakening our union and eventually
eliminating the possibility of new-use and
special payments.” NES is currently creating
a buyout orchestra of LA musicians to compete for the increasing amount of buyout recording sessions that are now being recorded
in Seattle and Europe as the AFM does not
currently offer buyout recording rates for film
and television recording in the USA.
p:4
IMG Artists to
represent ‘Video
Games Live’
n One of the world’s leading artist management
agencies, IMG Artists, has acquired the European, Asian and Australian representation of
“Video Games Live.”
Composers Tommy Tallarico and Jack Wall, both
game music veterans with a plethora of popular
games on their resumes, are the producers behind
“Video Games Live,” which was created in 2002. p:3
Martinez creates musical paranoia in ‘First Snow’
BOBYARI FILM GROUP
SCORE OF THE WEEK
FIRST SNOW
Cliff Martinez
n Cliff Martinez has
scored a lot of psychological thrillers and
dramas, and is perhaps
best known for his music
for the films of Steven
Soderbergh (Traffic,
Solaris and Sex, Lies
and Videotape). His latest score is First Snow,
another film in the genre
Martinez knows best.
The composer made
the choice to portray
paranoia musically in an
internal way – avoiding
an external, action-driven approach in favor of
a more character-driven
one.
"I didn’t see it quite as
the ‘nailbiter-on-theseat’ action thing that
Memento was,” said Cliff
Martinez.
p:10
“First Snow”, starring Guy Pearce, features a psychological thriller score by Cliff Martinez.
“Riding high”
Classic western scores True Grit and The
Big Country have never been taller in the
saddle than with the new CD releases,
writes Daniel Schweiger. p:15
MORE INSIDE:
p:5 ASCAP responds to download
royalty defeat
p:6 ‘Lord of the Rings’ still most popular
p:12 Technology: The evolution and
revolution of digital sample playback
p:16 THE SCOREBOARD
Our Ma^Bg]nlmkrLi^Zdl'
The Film & TV Music Awards
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.
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Join the industry this year in
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people and productions who
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FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Nancy Chan
Advertising Sales Manager:
Steve Schatzberg
Technology Editor: Peter Alexander
Soundtrack Review Editor:
Daniel Schweiger.
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Accounting: Tina Chiang
Legal Advisor: Patricia Johnson, Esq.
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This Week on
FMR
FILM MUSIC RADIO
ON THE SCORE:
CHRISTOPHER YOUNG
Film music journalist Daniel
Schweiger interviews
Christopher Young, who spins
his biggest musical web yet with
Spider-man 3.
INSIDE THE BUSINESS:
DOUG WOOD
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.
TUNE IN HERE!
ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Kevin Loh
Video Games Live
to tour in Europe
FROM THE EDITOR
Thoughts on
game and film
scores live
C
oncert hall managers all
over the world are currently looking into the recent game
music trend, and most of them
are looking either at the ‘Play
– A Video Game Symphony’
concept, or at Tommy Tallarico’s
and Jack Wall’s exciting ‘Video
Games Live’.
I
have been involved as a consultant in a few game concert
music discussions myself. We
brought Laura Karpman’s Everquest II music as well as stuff
by Michael Giacchino to a nice
outdoor concert in Sweden last
year, and now the same orchestra will do another game music
concert. That’s lovely. But I’m
afraid the main reason for their
interest in this kind of music is
not the music itself – they are
desperate to find a new way to
bring younger audiences to the
concert hall and everyone knows
that kids play video games!
Jack Wall conducts the orchestra during a Video Games Live performance.
One of the world’s leading
artist management agencies,
IMG Artists, has acquired the
European, Asian and Australian representation of “Video
Games Live.”
Composers Tommy Tallarico and
Jack Wall, both game music veterans
with a plethora of popular games on
their resumes, are the producers behind “Video Games Live,” which was
created in 2002. Joining forces with
IMG Artists, they are determined to
bring their concerts to a wider audience – since 2005, over 75,000 people around the world have attended
“Video Games Live” concerts.
“Partnering globally with IMG
Artists will ensure our success on
a much more rapid time scale than
we had previously expected,” said
Tommy Tallarico. “To have both the
William Morris Agency and IMG
Artists now in our corner is a testament to the strong growth and
rising interest for our show on an
international level.”
William Morris Agency already
handles booking and sponsor inquiries for Video Games Live in the US.
Interestingly, IMG Artists also
represents “Play – A Video Game
Symphony,” another game music
concert concept that is said to be
competing with “Video Games Live”.
“We maintain fulfilling our obligations to both Play and VGL and
we presently represent both products in the Asia Pacific. The video
game concert business is in high demand and we are proud to be a part
of this developing business,” said
Manfred Seipt, Sr. Vice President at
IMG Artists European Division.
“Video Games Live will sure to
be very popular in Asia,” said IMG
Artists Sr. Vice-President and Director of Asian markets Mindy Coppin.
“We’ve already received great interest in the show and are looking forward to growing Video Games Live
to an even larger scale.”
According to a press release
from IMG Artists, plans for a ”Video Games Live” tour in Europe
and Asia 2007–2008 is already
underway. mc
OPENING THIS WEEK
THEATRICAL
• Severance (Christian Henson)
• Shrek the Third (Harry GregsonWilliams)
DIRECT-TO-DVD
• Bunny Whipped (Jessika Zen)
• Creepshow III (Chris Anderson)
• Duplicity (Clive Raymond)
• Half Past Dead 2 (Jon Lee)
• Love Trap III (Frank Cleveland III)
• The Minx (Daniel Agosto)
• The Thirst (Joe Kraemer)
N
ow, this is a tricky situation. As a fan of both game
music and film music, one has
to admit that, of course, it’s
wonderful to be able to hear this
kind of music live. But if this is
going to remain a sustainable
trend, the concert halls need to
think in a different way: they
have to really look at the music,
not the package. Same goes for
film music. Interestingly, when
they programme regular concert
music, a work can be obscure
as hell – but when doing a film
music concert, everything has
to be well-known. Concert hall
managers need to understand
that it’s the quality of the music
that really counts, even if we’re
not talking about music that’s
written exclusively for concert
use. The sad truth is: not all
blockbuster film scores and
game music make for an interesting live experience, no matter how popular its origin is.
Mikael Carlsson
Editor
[email protected]
FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
FILM MUSIC NEWS
AFM Local 47 blasts
NES and new guild
Local 47 of the American
Federation of Musicians has
warned its members about
New Era Scoring (NES) and
the newly-formed Professional Musicians Guild, saying the groups “threaten to
undercut current AFM scales
and contracts.”
In a front-page story in the current
edition of the Local 47 newspaper
“The Overture,” Local 47 says New
Era Scoring (NES) “will undercut
any and all AFM recording agreements, weakening our union and
eventually eliminating the possibility of new-use and special payments.”
NES is currently creating a buyout
orchestra of LA musicians to compete
for the increasing amount of buyout
recording sessions that are now being recorded in Seattle and Europe
as the AFM does not currently offer
buyout recording rates for film and
television recording in the USA.
NES responded with a pointby-point rebuttal of Local 47’s complaints, stating in part that their goal
is “educating players about options
they have to make individual choices,
with the first hand realization that
it is a global scoring economy.” NES
states that it believes in order to be
competitive with venues such as Seattle, London and Eastern Europe, it
is imperative to have a buy-out option in place in Los Angeles.
The NES response continues,
“The hard reality is that non-union
dates are being performed in Los
Angeles on a daily basis, by union
musicians. NES sessions are conducted professionally, and have
enabled musicians to supplement
their income to make up for the
diminishing amount of union work.
NES’ Fi-Core sessions are a legal
way for LA musicians to work as
much as they can without fear of
fines. Local 47’s opposition to NES
stems from its need to protect the
status quo, which serves a relatively small amount of preferred
members in its union. NES believes
in leveling the playing field for all
Southern California musicians. We
are empowering individuals with
information about their rights, and
are providing more work for musicians by establishing a buy-out rate
for non-signatory clients in order to
supplement AFM contract work.”
Local 47’s criticism was also
aimed at the newly-formed Professional Musicians Guild (PMG),
which appears to be a creation of
LA AFM recording musicians intent on offering alternative videogame scoring agreements that directly compete with the AFM. Little
is known about the new guild, and
despite the criticism by Local 47,
it appears that Local 47 has not
taken any action to penalize any of
the PMG members or leaders who
according so some reports may be
serving as employees or board
members of Local 47. mn
ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
LA union watchdog
group says Local 47
delegate vote illegal
An activist LA musicians
union watchdog group claims
a recent vote to force AFM
convention delegates from
Local 47 to vote as a single
unanimous block was illegal.
The Committee for a Responsible
Local 47, an ad-hoc group of concerned musicians in Los Angeles
which has published scathing exposes aimed at AFM Local 47, the
Recording Musicians AssociationLA, and the newly created Professional Musicians Guild, says a
recent vote to a proposal to force
all Local 47 delegates to the AFM
convention to vote as a single unified block was illegal according to
Local 47 bylaws.
In a newsletter published May
14, the Committee stated, “Accord-
ing to Local 47 Bywlaws, any vote
to bind the Convention Delegates’
votes (Forcing all delegates to vote
how they are told, rather than
their own conscience.) must be
preceded by a 15-day notice of intent to the membership. Any vote
of this type taking place without
this 15-day notice is illegal; and
therefore is null and void.”
The Committee claims that no
such 15-day notice was provided to
Local 47 members, and as a result
the vote is illegal. Previously the
Committee has suggested that the
proposal may have been aimed at
eliminating any dissent from David
Schubach, an outspoken critic of Local 47 President Hal Espinosa who
was elected by the Local 47 members as a delegate to the AFM convention. mn
ASCAP responds to
download royalty defeat
ASCAP CEO John Lofrumento has posted a letter
to its members on the
ASCAP website regarding
their recent court loss.
On April 25, the United States
District Court for the Southern
District of New York ruled that
a download is a transmission of
a reproduction of a musical work
and does not constitute a public
performance. The Court indicated that the ability to simultaneously hear the music was a
prerequisite for a performance.
“Obviously, ASCAP respectfully
disagrees with the Court’s decision,” says John Lofrumento’s
letter. “We believe the law is otherwise, and must reflect the full
value to these Internet services
of the music created by our members. Endorsing ASCAP’s position were legal briefs from: BMI;
SOCAN; SESAC; the Songwriters
Guild of America, together with
the Nashville Songwriters Association International (NSAI); and
the NMPA, joined by the Church
Music Publishers Association, Association of Independent Music
Publishers and NSAI.”
ASCAP left open the possibility for an appeal.
“Now that the Court has ruled
on this legal issue, the proceeding
will go to trial to determine a reasonable license fee for the Internet
services,” said the letter. “The trial
is set to begin on September 10,
2007, and is scheduled to run for
three weeks. There is no way to predict when the Court will issue its
final judgment setting the license
fees. However, once the Court rules
on that issue, it will be possible for
ASCAP to appeal the decision regarding downloads, as well as any
other aspects of the case.”
bn
FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
FILM MUSIC NEWS
‘Lord of the Rings’ still most popular
Howard Shore’s Lord of the Rings
music is still the most popular
among the listeners at radio station
Classic FM.
Lord of the Rings topped the list when Classic FM did a Top 100 countdown last year,
but perhaps the most popular composer this
year is Hans Zimmer. He has five scores included in the list, with Gladiator being the
most popular.
Classic FM’s listeners have voted for
the “Top 50 Film
Soundtracks” in
the last weeks,
and the results include more recent
scores than classic ones – for instance, no scores
by Bernard HerFavorite score among
rmann or Franz
the Classic FM listenWaxman were iners: “Lord of the Rings” cluded.
by Howard Shore.
mc
Classic FM’s top 50
1. Lord of the Rings (Howard Shore)
2. Gladiator (Hans Zimmer)
3. Schindler’s List (John Williams)
4. Star Wars: A New Hope (John Williams)
5. Out of Africa (John Barry)
6. Dances With Wolves (John Barry)
7. Pirates of the Caribbean: Dead Man’s Chest (Hans
Zimmer)
8. The Mission (Ennio Morricone)
9. Jurassic Park (John Williams)
10. Harry Potter and the Philosopher’s Stone (John
Williams)
11. Pirates of the Caribbean: Curse of the Black Pearl
(Klaus Badelt)
12. The Magnificent Seven - Elmer Bernstein)
13. Ladies In Lavender (Nigel Hess)
14. Gone With the Wind (Max Steiner)
15. Dangerous Moonlight (Richard Addinsell)
16. Pride & Prejudice (Dario Marianelli)
17. E.T. The Extra Terrestrial (John Williams)
18. The Piano (Michael Nyman)
19. 633 Squadron (Ron Goodwin)
20. Raiders of the Lost Ark (John Williams)
21. Henry V (William Walton)
22. The Last Samurai (Hans Zimmer)
23. Titanic (James Horner)
24. Sense & Sensibility (Patrick Doyle)
25. Once Upon a Time in the West (Ennio Morricone)
26. Cinema Paradiso (Ennio Morricone)
27. American Beauty (Thomas Newman)
28. Superman The Movie (John Williams)
29. The Gadfly (Dmitri Shostakovich)
30. The Hours (Philip Glass)
31. The Godfather (Nino Rota)
32. Braveheart (James Horner)
33. Harry Potter and the Goblet of Fire (Patrick Doyle)
34. The Empire Strikes Back (John Williams)
35. The Unforgettable Year 1919 (Dmitri Shostakovich)
36. The Da Vinci Code (Hans Zimmer)
37. Becoming Jane (Adrian Johnston)
38. Captain Corelli’s Mandolin (Stephen Warbeck)
39. Memoirs of a Geisha (John Williams)
40. Born on the Fourth of July (John Williams)
41. The Big Country (Jerome Moross)
42. Les Choristes (Bruno Coulais)
43. The Illusionist (Philip Glass)
44. Merchant of Venice (Jocelyn Pook)
45. King Arthur (Hans Zimmer)
46. Angels in America (Thomas Newman)
47. Apollo 13 (James Horner)
48. Emma (Rachel Portman)
49. Crouching Tiger, Hidden Dragon (Tan Dun)
50. Back to the Future (Alan Silvestri)
ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
SIGNINGS & PROJECTS
Ry Cooder returns to the world
of film scoring. Universal Pictures
has confirmed to Film Music
Weekly that Cooder is doing the
music for Charlie Wilson’s War.
Charlie Wilson’s War is Mike Nichols’
new film is based on George Crile’s
book taking place in Afghanistan
during the war. Tom Hanks stars as
Charlie Wilson, and other cast members include Julia Roberts and Philip
Seymour Hoffman.
The film is scheduled to open during Oscar season on December 25,
and has already been mentioned as
one of the major contenders for next
year’s awards.
The film marks the first feature
film score for blues icon Ry Cooder
since Primary Colors, which was also
Harry GregsonWilliams:
Shrek the Hall
Universal Pictures
Cooder makes comeback
in time for Oscar race
n Following Shrek the Third,
Tom Hanks and Julia Roberts star
in Mike Nichols’ upcoming “Charlie
Wilson’s War” – a film that marks the
comeback of Ry Cooder to the world of
film scoring.
directed by Mike Nichols. Cooder, who
turned 60 in March this year, is best
known for his guitar driven scores to
Wim Wenders’ Paris Texas and Walter
Hill’s Last Man Standing, Brewster’s
Millions and Streets of Fire.
mc
which opens in cinemas this
week, Harry Gregson-Williams will provide the music for a TV special spinoff
entitled Shrek the Halls,
which will be aired on ABC
in December. Gary Trousdale (Beauty and the Beast)
directs. Other upcoming film
scores on Gregson-Williams’
plate include Joelen for director Dan Ireland and Gone
Baby Gone for Ben Affleck.
W.G. Snuffy Walden:
Lipstick Jungle
TV veteran Snuffy
Walden
is
doing
the
music for the
pilot of Lipstick Jungle,
a new NBC
series
directed by Gary Winick (Charlotte’s Web, 13 Going on 30).
Starring Kim Raver, Brooke
Shields and Andrew McCarthy, the series is set to air in
the 2007-08 season. According to the Gorfaine-Schwartz
Agency, Walden is also doing
the theme and music editing for Heartland for TNT, a
drama series starring Treat
Williams, produced by David Hollander and directed
by Milan Cheylov and Steve
Gomer. mc
n
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FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
Providing professional training in the art of
contemporary film scoring
Founded in 1997 by two-time Emmy Awardwinning film/television composer Hummie Mann,
(“Robin Hood: Men in Tights”, “In Cold Blood”,
“Cyberworld 3d” Imax Film), this internationally
recognized program - taught by the
program's creator - offers both theory
and methods for writing dramatic music
for motion pictures, television, video
games and other media as well as indepth, first hand knowledge and tools to
succeed in the film scoring industry.
Experience this invaluable program in the
Register
Now
“2007 Two-Week Summer Intensive Session”
July 9th ~ 20th
Seattle, Washington
Recent graduates of The Pacific NW Film Scoring Program offer the following feedback;
“…It has been about a year since I graduated from Hummie's class. In that time I have scored 13 short films, one of which is
at Sundance this year, and I just finished conducting the recording of my first feature film score with a small string orchestra
at Capitol Records in Hollywood.”
“…I have already earned a Master's Degree in Music, but the material I learned from Hummie Mann at the Pacific Northwest
Film Scoring Program has been some of the most useful and practical instruction I have been given.”
“…This course was stimulating and well-defined, and conducted with flair & intellect. No stale academia here!!!”
“…As far as we all know, this is the only place in the world where budding film composers can score for an orchestra and
have the incredible learning experience of all that is involved in the process, guided by a composer who makes his
living this way. An incredible in-depth, hands-on journey.”
Students recently completing the Pacific NW Film Scoring Summer Intensive Program had this to say;
“…The most practical course an aspiring film composer can take.”
“…I can’t imagine how I could have learned this much about film scoring so quickly in any other way.”
“…The amount of practical knowledge and tools that were conveyed were well beyond
what I expected or paid for!”
For additional information and to register please visit our website at
www.pnwfilmmusic.com
or call 206.230.0222 or 800.546.8611
ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Clausen records
400th Simpsons
n Alf Clausen recently recorded the
music for the 400th episode of The
Simpsons, which is scheduled to air
on Fox on May 20. Clausen has been
scoring the series since its launch in
1989, and has been the John Williams of the Emmy Awards, being
nominated for his Simpsons music
almost every year. Despite Clausen’s
unparalled experience in the Simpsons musical universe, the upcoming feature film based on the series
is being scored by Hans Zimmer.
www Click here for a full report on the
400th Simpsons score.
THE A-LIST
The hottest composers in
Hollywood right now:
1 (2). Danny Elfman
2 (1). John Williams
3 (3). Hans Zimmer
4 (13). Christopher Young
5 (4). Ennio Morricone
6 (6). James Horner
7 (5). James Newton Howard
8 (7). Thomas Newman
9 (9). Clint Mansell
10 (14). Howard Shore
11 (11). Philip Glass
12 (12). Michael Penn
13 (16). Randy Newman
14 (15). Harry Gregson-Williams
15 (17). John Murphy
16 (20). Gustavo Santaolalla
17 (10). Nicholas Hooper
18 (new). George S. Clinton
19 (new). Klaus Badelt
20 (new). Billy Corgan
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”.
Albums coming soon!
MAY 22
• Bug (Brian Tyler) – Lionsgate (online)
NEW Clint Eastwood’s Iwo Jima: Flags of Our Fathers & Letters from Iwo Jima
(Clint Eastwood/Kyle Eastwood/Michael Stevens – 2-CD set) - Milan
• The Essential Hans Zimmer Film Music Collection (Hans Zimmer) - Silva Screen
• First Snow (Cliff Martinez) – Superb
• 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
MAY 29
• 100 Greatest Film Themes (6-CD set, various) – Silva Screen
• I Capture the Castle (Dario Marianelli) - MovieScore Media
JUNE 5
• Lucky You (Christopher Young) – Varèse Sarabande
JUNE 12
• The Lives of Others (Gabriel Yared/Stéphane Moucha) - Varèse Sarabande
JUNE 19
• Bloodsport (Paul Hertzog) - Perseverance
• Evan Almighty (John Debney) – Varèse Sarabande
• Shrek the Third (Harry Gregson-Williams) – Varèse
Sarabande
NEW Fantastic Four: Rise of the Silver Surfer (John
Ottman) - Sony
JUNE 26
• The Enforcer (Jerry Fielding) - Aleph
NEW Lady Chatterley (Beatrice Thiriet) - Milan
• Live Free or Die Harder (Marco Beltrami) – Varèse Sarabande
JULY 10
• Harry Potter and the Order of the Phoenix (Nicholas Hooper) – Warner Bros
mc
What do you mean,
you don’t know who
Maurice Ravel is?
His music is alive and well and still
influencing film composers today.
But what about you?
H
ow Ravel Orchestrated:
Mother Goose Suite
may be the one
book you must have in
your library with its
newly engraved score,
complete analysis, and
CD of the recorded
performance licensed from
the Grammy winning
Naxos Recordings. It was
composed by a Frenchman
passionate about sound
and color, who spent hours
questioning musicians
and pondering musical
combinations in his
imagination, hearing
internally how to voice the
low end of the clarinet with
the celeste, muted French
horn with pizzicato violas,
rising string ensembles that lift you into the heavenlies
(hello E.T.) then anchor you to earth with the entrance of
the basses, love at first sight, happily ever after, the sound
of the orient, and many more devices and combinations in
this one score that originally started out life as a four-hand
piano piece for children.
There are five suites matched to their original short story
(several of which are surprisingly violent to the point you
might not want to read them to your own children!): The
Sleeping Beauty In The Woods, Little Tom Thumb, Little Ugly:
Empress of The Pagodas, Beauty & The Beast, and The Fairy
Garden.
In one book, you get the story, the score, and a very
practical orchestration analysis with techniques you
can apply immediately in your writing, and can test out
through sequencing with your libraries. Such learning!
There’s also a bonus piece written by one of Ravel’s
favorites, Edgar Allan Poe.
For easy study, the score is 8.5 x 14, and you can
download a bonus PDF version that you can mark up to
your heart’s content.
How Ravel Orchestrated: Mother Goose Suite book/CD
combination, is a mere $49.95 (including the bonus score).
Father’s Day is coming, so treat yourself. But if you’re not
a father, treat yourself anyway. Available exclusively and
only at Alexander University’s TrueSpec Systems. To order,
visit our web site or call 1-804-733-6122 (Monday through
Friday from 10AM to 4:30PM Eastern Daylight Time).
X X X U S V F T Q F D D P N
FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
SCORE OF THE WEEK
Paranoia in
CLIFF MARTINEZ scores FIRST SNOW
By DANIEL SCHWEIGER
THE TOP 10:
CLIFF MARTINEZ
Cliff Martinez’ best known
film scores:
1. Traffic (2000)
2. Solaris (2002)
3. Narc (2002)
4. Sex, Lies and Videotape
(1989)
5. The Limey (1999)
6. Wicker Park (2004)
7. Pump Up the Volume
(1990)
8. Wonderland (2003)
9. Havoc (2005)
10. Kafka (1991)
Source: IMDb
Cliff Martinez is represented by Soundtrack Music
Associates.
Did you ever have the intentions of becoming
a film composer when you were playing with
groups like The Weirdos and The Dickies?
No, it came about after that, after I was unemployed
and kicked out of the Red Hot Chili Peppers, and was
brainstorming my next mid-life crisis career move... It
kind of came with my interest in music technology, which
really began to happen in the late 80s. I was fascinated
with sampling and drum machines, the kind of primitive
technology that existed then. And then, when the computer became linked to electronic music, I became very
fascinated in the gadgetry of music, and I think that’s
what led me into film scoring. I started writing music,
and didn’t really know where this music I was creating
would fit – I was creating odd sound design collages that
were neither musical nor like songs. When I was channelsurfing one day a saw an episode of Pee-Wee’s Playhouse
and I thought, “maybe I could do that”. I just happened
to know the director and I gave him a call, and that was
my first scoring gig.
Your new score is First Snow, which returns you
to the psychologically obsessive territory that you
started off with Steve Soderbergh on movies like
The Underneath and The Limey. What is it like to
return to that kind of very dark, interior territory?
Well, it’s pretty familiar, it’s also a little like Narc. I
guess, if you stay in the business longer, people come to
you for a certain type of film, and this felt like a return to
familiar territory. I was encouraged to do it in a different
way, it was similar to films I had done before, but I was
expected to turn out something different. And I think for
me, the big difference was the color of the instrumentation. I got to finally use the crystal extensively, I used
drumstick acoustic guitar, which was a lot of fun. But
yeah, it was kind of a return to a familiar type of film.
So, it was a bit of a stretch to try to figurate out a new
way to do it.
How did you approach First Snow?
I wish I could say that I have some original thoughts
about how to approach any film, but the truth is that I
always try to end up with something that sounds unique
and original, and functional for the film. But I usually get
there by the help of the director or whoever has created
some kind of general outline for the direction of the approach of the score.
First Snow is about a very well adjusted guy
whose world falls apart and his descent into paranoia, and there seems to be no escape for him.
What to you equals paranoia musically?
I suppose a sense of isolation and loneliness, that you
are the only person who sees things as you do. I think
dissonance and tension is a big part of the paranoia. I
thought of the paranoia as a psychological condition for
the music – I didn’t see it quite as the “nailbiter-on-theseat” action thing that Memento was, but something that
was pretty much in your mind, and therefore perhaps not
that active, something that’s isolated and lonely. I think
that was a point of contention in the film: do we make
this an edgy thriller with a lot of active music, or do we
make it less about the situation and more about the character? I think I tried to restrict the paranoia to be an
internal and not an external thing. That was my take on
it. It was kind of a balancing act, they were kind of wondering: is this a thriller or is it a psychological thriller,
and I chose to make it more psychological, which is what
I think they wanted in the first place.
There is also a sense of almost a religious acceptance at the end of the film, which I think gives
the scores its arc in a way?
Yeah, like Solaris where there is a cosmic, existential
backdrop to the whole film – you knew that he was going
to get to the point of accepting that he was going to die.
There was something religious and cosmic and existential about it, and that is what I wanted the music to lead
to, the final act of the film takes you to this place that is
somewhat cosmic and celestial.
Later this year you’re going to be returning to
the mean streets of Vice – once again, like Narc,
dealing some very twisted cop-and-robber games.
What can we expect from that?
These guys came to me with a temp score that was
like Traffic. It was two minutes of [makes strange noise],
and I thought, “my God, these guys really have a minimalist fetish,” they don’t want any music. This could
easily be taken care of by the sound department if they
wanted non-musical sound design. But they came to me,
I assumed, to make some kind of emotional semi-musical
sound design. Again, like Traffic, there was a temp score
that indicated a completely non-musical direction, and
I tried to take it maybe three or four notches in a more
musical direction. But I realized that they were right,
that it was a good direction to go in – to make it more
10ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
© 2007Yari Film Group
music
musical turned it into a television cop show. So I kind of
honored their intention to keep it very atmospheric. Approach and concept was not a great deal different from
past projects... but I decided to buy a guitar! And I had
never played the guitar, so I took a lesson from my guitar hero, David Torn – so that was different! I played the
guitar for the first time, and I had a lot of fun with that.
Sonically, it’s different than anything you’ve heard - it’s
pretty primitive, pretty raw, but it has a lot in common
with past scores.
Despite being crowned the king of minimalism,
would you welcome a balls-out to-the-wall music
exploding score?
Balls-out – definitely! I’m in favor of balls-out! Yeah,
but I don’t think anyone would ever hire me for that, I
haven’t done a lot of that stuff so people would just assume that I would be a poor choice for that. There are a
lot of things that I would love to do – maybe somebody
would give me a chance to do a romantic comedy, another
science fiction movie, a horror film or something that
is intensely musical. But the more you do these stark
things, the more you get pigeon-holed.
What do you think is the best way to sell to people
the fact that you are very versatile?
The only way is to demonstrate it. Generally, people
will not give you the chance to do something completely
different. For example, Solaris is very similar to other
things, but it was science fiction. So gradually you get acceptance into some new genre, but I don’t think you can
do a 180 and do something completely different, you’ve
got to gradually move towards those things. I think Wicker Park was a move towards something that was more
romantic, I had not done anything that was overtly romantic before. I think at some point I’m going to have to
say that I’m not going to do any more films about drugs
or cops.
As the composer who pioneered the sound of the
indie film, along the same way Soderbergh’s Sex,
Lies and Videotape changed the whole face of indie filmmaking, what do you think the next music
revelation is going to be in terms of instruments
and samples? What’s the next thing that is going
to change everything again?
Gee, that’s a challenging question... I think right now,
this century is preoccupied with computer technology
and sound for its own sake. Previously, music was preoc-
FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
THE FILM:
FIRST SNOW
Guy Pearce stars as a paranoid man in “First Snow”, which
features a psychological thriller score by Cliff Martinez.
cupied with harmony and orchestral texture. Nowadays,
you can make a lot of sounds that you could only imagine
previously. I think that’s going to be the direction, you’re
going to hear sounds, textures and instruments you’ve
never heard before. That might be one direction. I also
think that the music technology will allow a lot more
people that have great musical instincts but no formal
musical training to make music. You already see DJ’s and
music supervisors becoming composers. I think a lot of
people without the formal training of the past will become more and more prevalent in composing. That will
change – you will see a lot of stuff invented without following the usual patterns of trained musicians. It’s going
to open things up to a lot new ideas, maybe not all good,
but that will probably be the direction of the future. n
www Listen to the complete Cliff Martinez interview at Film Music
Radio!
Plot outline: A psychic’s
ominous reading sends a
man into a tailspin.
Director: Mark Fergus.
Producers: Bryan Furst,
Sean Furst, Toma Lassally,
Robyn Meisinger, Bob Yari.
Stars: Guy Pearce, Piper
Perablo, William Fichtner,
J.K. Simmons, Shea
Whigham.
Production companies:
Furst Films, Kustom
Entertainment, El Camino
Pictures, MHF Zweite Academy Film, Yari Film Group.
11
TECHNOLOGY
The evolution and revolution
of digital sample playback
For the vast majority of composers, digital sample libraries make up the musical
palette of instruments and colors that
are used to create realistic sounding
demos that can just as easily thrill a
director as create issues for composers
that can make or break jobs and careers.
a composer want to run screaming naked into
the night (preferably if they live in the Hollywood Hills where they won’t be reported for
indecent exposure or streaking). Fortunately,
Film Music Magazine is here to sort it all out
for you. So don’t call that therapist yet.
MUSIC TECHNOLOGY AND YOU
Formats
Composers have now been moved from the
simplicity of one or two relationships to the
technological equivalent of having as many
formats as Solomon had wives. This biz-type
chart explains.
Lots of samplers f GigaStudio f Kontakt →
Oh Crap.
•Lots of Samplers
Those under the age of 25 may not remember
(or have cause to remember) that 10-12 years
ago, composers worked with sequencers (computers and/or hardware) that triggered hardware synths and samplers. Audio was patched
into long, large, and expensive mixing boards,
which was then connected to either reel-to-reel,
DA88, or even an ADAT from Alesis. You left
everything turned “on” because it could take,
literally, 45 minutes to an hour to turn on the
studio and reload all the samples into the samplers, one at a time, manually. If your synth
didn’t have a digital readout to recall the patch
you edited, or didn’t have the ability to save
the patch, you drew, again manually, diagrams
of where each knob was positioned. In those
days, brown-outs made a bad hair day look like
Christmas. With all the heat in the studio, unless you lived near Malibu where you could just
open the door and catch a sea breeze to cool
By PETER LAWRENCE ALEXANDER
Indeed, with the advent of the realistic orchestral mockup, digital sample libraries have
become a mission-critical part of a composer’s
studio setup, and the ability to quickly create
great sounding digital sample-based demos has
rapidly become one of the most important skills
composers must have today. In this article, we’ll
look at the evolution of digital sample libraries
and what the future may look like for this rapidly changing and evolving area of technology.
More than ever, digital sample libraries
and software based instruments (also known
as “virtual instruments”) are computer-based.
Right now, composers are facing the biggest
computer/virtual instrument transition in
memory with Windows XP moving to Vista and
Macintosh computers transitioning to both the
MacIntel platform and OSX Leopard. As operating systems change, so do the computers themselves, the audio drivers, and the programs.
If this wasn’t bad enough, composers are
now facing the ongoing transition from two
stable studio-building approaches, to one requiring multiple choices and potentially more
machines to sort it all out. It’s enough to make
n Transition the I – Sampler
things down, you added lots of air conditioning.
Window units if you rented, central air if you
owned. Either way, with everything turned on,
your monthly electric bill would easily surge
over the $200 - $300 mark per month.
The transition here was from lots of stuff
with low memory to the Roland S770 with
32MB of memory, which was replaced by the
Emulator E4 which had 128MB of memory
which was replaced and displaced by…
1 GigaStudio
With GigaStudio, the breakthrough was being
able to load 512MB of RAM, or better with the
right tweaking. So now, with one computer equaling four E4s, it was syonara to the E4 as sample
developers took advantage of GigaStudio’s capabilities, building bigger, better and more realistic
sounding libraries. GigaStudio advanced to v2.54
operating under either Windows 98 or XP.
The key orchestral libraries were Advanced
Orchestra, Miroslav, Garritan Orchestral
Strings (GOS), Sonic Implants Symphonic
Strings (SISS), and a newcomer, the Vienna
Symphonic Library (VSL) with its First, then
Pro Editions. Within this group were two innovations for more realistic sample performance:
the Maestro Tools from Garritan and several
years later, the Performance Tool from VSL.
During the development of Vienna’s First Edition, the industry was expecting the imminent
release of GigaStudio 3.0. It was delayed. Tascam not only went quiet, but they dropped virtually all communication with their customers by
eliminating the Tascam newsletter and closing
down the Tascam Giga forums. As a tangible result, VSL was released in 16-bit rather than the
1
12ISSUE 15 • MAY 15, 2007
2
FILM MUSIC weekly
planned for 24-bit, and soon there arose…
2 Native Instruments’ Kontakt
The industry move to Kontakt, produced by
Native Instruments, was not technological,
like the change was from hardware to software
samplers. Instead, it was what professional
marketers call, a “people” issue. The GigaStudio format dominated with products from EastWest, Garritan, Sonic Implants and Vienna.
But Tascam’s silence and delay in releasing GigaStudio 3, along with their decision to
not add copy protection to protect samples, set
up the mass exodus to Kontakt. Native Instruments just outlistened and outserviced Tascam. They responded people-to-people. When
a change was needed, developers could get it
within a few days, or even shorter.
And so began the exodus from Tascam starting with EastWest and Garritan. EastWest released the Kontakt only Quantum Leap Symphonic Orchestra, Storm Drums, Voices of the
Apocalypse, and many others. Garritan released
the value-priced Garritan Personal Orchestra.
However Vienna’s decision was different.
Vienna originally launched in GigaStudio
and EXS24 formats (Logic on the Mac) and the
Performance Tool became part of Logic (which
had its own set of implantation problems).
With the Horizon libraries, VSL expanded to
Kontakt, Giga and EXS24. With Kontakt 2, a
team of users created scripts which eliminated
the need for the Performance Tool.
Duality
With samplers, composers had two standards.
On one side was GigaStudio. On the other
Kontakt, with EastWest,Vienna, and later
SONiVOX (formerly Sonic Implants).
With Kontakt, you can have 16 channels
per instance. Within that format, are Garritan,
EastWest, Vienna and SONiVOX operating
within the same standard. This means all the
systems can be built the same way, and aside
from the sequencing program, there’s only one
graphic user interface (GUI) to learn. Everything operates on the same standard.
Composers using this standard will have
older Giga machines running on either Windows
98 or XP, and Kontakt on XP. At the low end for
computers are Pentium IIIs (running GigaStudio, and for some, the newer Vienna Instruments), and at the high end are Pentium 4s.
With computer processing, the P4s have
given way to the Dual Core, but few programs,
and even fewer VSTi’s [INSERT VSTi DEFINITION HERE] are written to take advantage of
the Dual Core’s capabilities.
The Future is Now.
n Transition the II - NAMM 2006
The announcement of the new Vienna Instruments came in late 2005, but no one saw its
demonstrated capabilities until NAMM 2006 in
Anaheim, California. Over the next year, what
was squeaked out but not announced, was that
support for the EXS24, Kontakt and GigaStudio was ending. Modeling Native Instruments,
instead of one library being developed in multiple formats, Vienna would develop one library
in one player format that would be dual platform (Mac and PC).
3 Here’s how Herb Tucmandl, VSL President,
describes what can be done in a single opening of the Vienna Instruments player, “You can
manage 1728 articulations in only one VI instance (on one miditrack). And each articulation
can also be stacked with a second articulation
(layering or crossfading). One Vienna Instruments holds 12 matrices which can be switched
via keyswitches or program changes. And each
matrix can be set up with 144 patches/articluations. You would need two controllers (or keyswitches), one controller, for example modwheel,
to switch between 12 horizontal cells/articulations, and a second controller of your choice,
switching between 12 vertical cells.”
For a period of time, composers had the GigaStudio standard. continued on pg 14 »
Extension
Entertainment Studies & Performing Arts
Study it. Imagine it.Create it.
Film Scoring
Spring Quarter Classes begin March 31, 2007
The Music Business
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The Musician’s Crash Course: A Practical Approach to Understanding
and Succeeding in the New Music Business
– Music Marketing in the New Music Industry Era: Sales, Retail, and
Digital Distribution
– Understanding Contracts and Deals in Today’s Music Industry
Music Technology
– Introduction to Logic Pro (Apple Certified)
– Introduction to Pro Tools
– Composing Computer-Based Electronic Music (Online)
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Film Scoring Dialogues: A Seminar with Trevor Rabin
Anatomy of the Film Score: Past and Present
Orchestration I: Introduction to Instrumentation and Orchestral Usage
Orchestration III: Score Analysis and Reduction
Music Editing for Film, Television, and Beyond
Film Scoring I: Form and Function
Film Scoring III: Composing and Conducting to Picture—A Workshop
Synthestration: Producing Orchestral Music with Samplers
Survival Guide for Film and Television Composers
Composing Music for Video Games
Conducting: A Weekend Workshop for Composers
Workshop in Music Notation Using Finale
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FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
6739
ALSO OFFERING CERTIFICATE PROGRAMS IN:
13
TECHNOLOGY
3
4 Said Garritan’s press release through
BusinessWire, “This new intuitive ‘drag
and drop’ interface will incorporate highquality samples, MIDI performance tools
and impulse response technology. Audio
characteristics of the sounds such as volume, panning and stereo spread, reverb
reflections and spatial cues, are controlled by positioning the scalable musical instrument icons on a Virtual Soundstage. As an instrument icon is placed
closer to the front to the Virtual Soundstage, the musical instrument icon grows
larger and the volume increases. Conversely, when placed towards the rear of
the stage, the icon becomes smaller and
the volume decreases. As an instrument
icon is placed further to the left or right
of the Virtual Soundstage, the panning
correspondingly goes to the left or right
position. Regions or zones on stage correspond to sampled reverb impulses to
provide the appropriate spatial effects.”
Any number of musical instruments
can be placed into position on the virtual soundstage - ranging from a soloist to
a small ensemble to a grand symphony
orchestra - all with simple movements
of a mouse. Instruments are unloaded
by removing them from the stage and
various instrument arrangements can
also be saved and recalled by the user.
“We have been working on this interface for several years to provide an
easier and simpler system to load and
mix software musical instruments,” says
Gary Garritan, inventor of the drag and
drop interface. “Working with samples
is no longer textual or spreadsheet-like,
but now graphical and intuitive. This is
a natural way of working with musical
instruments and this new system visualizes
what the user will hear in real-time.”
A team of programmers led by David Viens from Plogue Art & Technologies developed
the custom sample engine for Garritan. Viens
bring years of experience and expertise in audio/DSP programming. Plogue Art & Technologies is known for developing Bidule, the finest
VST [INSERT DEFINITION OF VST HERE]
host available.
5 EastWest announced their own system
called PLAY.
PLAY includes custom designed virtual instruments. With its 64-bit support, Play can
load more instruments and voices, limited
only by the system RAM (32-bit support is included also). Play’s built-in Network Control
allows composers to load instruments on other
machines controlled from the host computer.
All the instruments are listed in one browser
which displays all of the instruments, and allows the composer to audition other collections
before purchase. Composers can access the
EastWest online server from the PLAY software and audition individual instruments in a
4
5
People issues with Tascam created the Kontakt standard. And now the first major breakaway for independence came with Vienna and
the new Vienna Instruments. Now there were
three standards, two with different approaches
to streaming that cannot operate together simultaneously on the same machine, and another which loads samples into RAM.
Composers were now looking at three different formats, and potentially, different sets of
machines for each format.
n Transition the III –
Approximately The Consumer
Electronics Show and AES 2006
Composers didn’t have much time to adjust to
the Vienna Instruments paradigm before the
next announcements came out: both Garritan
and EastWest were pulling away from Native
Instruments.
For GPO advanced, Garritan announced its
own new player using a drag and drop feature
to position and pan the instruments. The player runs natively on OSX (including Mac Intel),
Windows XP & Vista (32bit and x64)
track, and then purchase them 24/7. Composers can load and audition other collections, and
purchase at any time with an authorization
code. While PLAY has many features, its Mic
Mixer can control all mic positions for the orchestra, choirs, pianos, and other instruments
with multiple mic positions with the built-in
mic mixer. PLAY’s effects engine was built
from the ground up. Its Space Control includes
multiple impulse responses from halls, and the
famous EastWest studios.
While PLAY has many features composers
have been asking for, perhaps the most significant is the ability to demo an instrument 24/7
and buy it on the spot. This feature, depending
on how EastWest deploys it, essentially, turns
the entire EW library into a massive database
enabling a user to audition and choose.
64-Bit Compatibility
On the Mac or PC, according to their announcements, both Garritan and EastWest will be 64bit compliant on their release. Vienna has no
64-bit announcements other than, “later this
year.” Neither GigaStudio 3 or Giga Virtual Instrument (GVI) are 64-bit compatible. However,
we hear that Giga 4 is in development, so composers will have to wait for details. At this writing, only a few audio cards are Vista-ready.
For Kontakt, VSL will sell out its inventory of
Horizon. Smaller developers will continue creating for it. Only SONiVOX has a major orchestral
library in that format. And Audio Impressions?
At this point, until something is released and the
company cleans up its three-country-across-theworld-time-zone implementation with Kontakt
in Germany, FX Teleport in Russia, and AudioMulch in Australia, it’s a non-factor.
On the Mac, the move to the MacIntel and
Jaguar is a mess. That’s what developers report.
Then we hear through the grapevine, on the
release of Jaguar, now rescheduled for October
2007, that Logic may not only change, but also
have a new name.
On the PC side, the good news is that
motherboards that operate with XP and are
Vista compliant are ready and are shipping
with slots up for up to 8GB of RAM (mindful,
of course, that Vista can require up to 2GB of
RAM to work properly).
n Where Does This Leave Compos-
ers With System Integration?
No one can entirely say, but it appears that
EastWest and Vienna are going to loom large,
and that among professionals, these will be the
dominant player formats. That’s going to be Tier
1. Tier 2 will be Spectrasonics and a few other
players who have developed products that have
proven themselves to be essential to composers.
Tier 3 will be everyone else, which will probably
be the ever-expanding Prosumer market, provided that companies selling into this market
segment can explain what they do in a way that
the public gets it the first time and understands
the technology concepts well enough to vote
with their wallets, “Count me in.”
n
14ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly
NEW SOUNDTRACKS
Scores continuing to ride high
• The Big Country (Jerome Moross) – La
La Land
• True Grit (Elmer Bernstein) - Tadlow
ALBUM REVIEW
By DANIEL SCHWEIGER
Jerome Moross might have been from a city
slicker from Brooklyn, but a finer western composer there was none. In 1958, America’s musical outback was a place of lush, swirling melodies, a sonic landscape inspired by such Aaron
Copeland concert pieces as “Billy the Kid,” “Rodeo” and “Appalachian Spring.” Moross doubtlessly listened, and made this majestic, rollicking style into his own for the big and small
screens. Take a ‘kinder to Moross’ music for
The Proud Rebel, The Jayhawkers! Gunsmoke
and Wagon Train, and you’ll hear sweeping orchestral landscapes, the sweet tunes of comely
lasses and bold themes for the sheriffs and varmints. Even when cowboys mixed it up with dinosaurs in Moross’ score for The Valley of the
Gwangi, there was no mistaking his music’s
lasso -twirling swagger.
But it’s The Big Country that stands tall as
Moross’ landmark score- not to mention one of
the greatest western soundtracks ever to ride
the celluloid plains. From its instantly recognizable theme, you know you’re among men as
chiseled as the mountains they ride through.
But while there’s no lack of symphonic heroism,
what’s striking about The Big Country is its
playfulness and romantic vulnerability. Nearly
every swelling, symphonic cue is carried by the
main theme or an instantly identifiable character motif. Like Copland’s best classical work,
Moross finds a tuneful, pastoral expanse to symbolize The Big Country. And it’s a lyricism that
can switch from beautiful gentility to stampeding excitement at the drop of a good guy’s hat.
FILM MUSIC weekly ISSUE 15 • MAY 15, 2007
Now released after nearly four decades
in its complete form by La La Land, The Big
Country retains its landmark status with
pride. And even if some Italian slicker named
Ennio Morricone shook up that classic western
sound in the 1960’s with stuff like The Good,
The Bad and The Ugly, Moross’ torch would be
firmly carried on by the other great “western”
composer Elmer Bernstein, no more so than
with True Grit.
Before Tadlow Music’s newly-recorded release, just about the only way you could hear
pieces of True Grit was on other Bernstein tribute albums. And God forbid if you had actually
picked up the “official” album, which was nothing but ultra-70’s easy listening. Now under
James Fitzpatrick’s baton, the City of Prague
Philharmonic Orchestra resurrects Bernstein’s
score in its full, heroic glory.
Westerns had grown up a bit since The Big
Country by the time that True Grit got its star
John Wayne a Best Actor Oscar. And while this
1969 film didn’t ask for the kind of swooning, musical landscapes that Moross specialized in, the
composer’s string-driven sensibilities could still be
heard in Bernstein’s rugged score. Grit’s perky
heroine was bent on revenge, and it was up to
Wayne’s boozy sheriff to get it for her- a comraderie that allowed Bernstein to go for humor, as
well as macho emotion. There’s just a bit of “Billy
the Kid” sound in True Grit, as Bernstein takes
the Copeland approach out for a mean gallop,
with a Mexican flavor added for good measure.
Next to The Magnificent Seven, True Grit
stands as the favorite of Bernstein’s many
western scores, especially those for John
Wayne. And it’s easy to see why the towering
Iowan went for the short, humorous musician
from New York City (the homestead of all great
western composers). For in his big, muscular
rhythms, Bernstein was able to capture Wayne
as the stuff of untamed melodic legend - a bigbritched sound that’s nicely conveyed in this
re-recording (if with a touch too much reverb).
Symphonically bold, thematically-driven western scores like True Grit and The Big Country
may have ridden into the Hollywood sunset.
But they’ve never been taller in the saddle
than with these new releases.
n
Courtesy of iFmagazine.com
15
Neal Acree: Juncture.
Tree Adams: Keith.
Mark Adler: Noble Son (co-composer) • The Far Side of
Jericho.
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
Grind.
Charlie Clouser: Death Sentence.
Elia Cmiral: The Deaths of Ian.
Graham Collins: Black Kissinger.
Joseph Conlan: American Pastime.
Ry Cooder: : Charlie Wilson’s War.
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: 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
Dry.
Philip Glass: No Reservations • Cassandra’s Dream.
Elliot Goldenthal: Across the Universe.
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.
Jan A.P, Kaczmarek: Evening.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (cocomposer).
George Kallis: Highlander: The Source •
Antigravity.
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
Kiss.
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.
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 Tale.
Steve London: Decoys 2: Alien Seduction • Kaw.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert Into Fire.
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 • Trumbo.
Charlie Mole: Fade to Black • I Really Hate My Job • St.
Trinian’s.
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 •
Fanboys.
John Murphy: Sunshine.
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).
THE
SCORE
BOARD
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
Father?.
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
Smart.
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 • The Secrets of
Jonathan Sperry.
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
Holidays.
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 • 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.
Samuel Sim: Awake.
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 Havanas.
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 •
Baggage.
Gabriel Yared: Manolete • 1408.
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
Simpsons.
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].
16ISSUE 15 • MAY 15, 2007
FILM MUSIC weekly