Gorfaine-Schwartz Dominates Box Office

FILM MUSIC weekly
ISSUE 34 • OCT. 9, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
Gorfaine-Schwartz Dominates Box Office
n The Gorfaine-Schwartz Agency dominates the film music industry in terms of
films and composers represented at the
US box office so far this year. And no one
comes close to “the big three”, GorfaineSchwartz, First Artists and Kraft-Engel.
Film Music Weekly has analyzed the 2007
US box office statistics so far in order to find out
which film composer agencies are the most prolific in terms of landing of box office hit assignments for their composers – and, if you look at
the survey from the other point of view: which
agency has the most in-demand composers on
their client roster.
It does not come as a surprise that GorfaineSchwartz Agency and its agents Michael Gor-
faine, Samuel Schwartz and Cheryl Tiano, dominates the box office – with its roster featuring
leading names such as John Williams and Hans
Zimmer, GSA has been the leading film music
agency in Hollywood for many years. FMW analyzed the top 100 films at the 2007 US box office
so far, and the total gross for these films is over
$6 billion. p:3
Local 47 ‘Victory’ Email Raises Questions;
Espinosa Labels NES ‘Scab Orchestra’
Arnold in Talks to
Score Third ‘Narnia’
n American Federation of Musicians
Los Angeles Local 47, in a September 28
email to members, hailed the alleged “cancellation” of New Era Scoring “scab orchestra” sessions scheduled for September
22 as a “victory for Local 47.” The Local 47
newsletter failed to mention that the sessions actually took place on September 22.
In a September 28 email sent to Local 47
members titled “Local 47 Scuttles Scab Orchestra Sessions”, Local 47 President Hal Espinosa
celebrated what the newsletter calls the “cancellation” of the New Era Scoring buyout orchestra sessions scheduled for September 22.
While the sessions were forced to move location
due to threats of AFM protests, the sessions
occurred on September 22 as reported in Film
Music Weekly on September 25.
Espinosa could not be reached for comment,
and Film Music Magazine was told he was vacationing in Europe.
In an exclusive interview with Mark
Northam on the Film Music Radio show “Inside The Business,” composer and union activist
Charles Fernandez labeled the Local 47 “victory” email as “fraudulent,” and said it represented “ineffectual leadership by the Local 47
executive officers who are puppets of the RMA
[Recording Musicians Association] leadership.”
Also featured on Film Music Radio is re-
n David Arnold is
currently in talks with
Walt Disney Pictures
to score the third film
in the ongoing Chronicles of Narnia series,
Voyage of the Dawn
Treader.
The third Cronicles of Narnia film is not yet
in production and Arnold is not officially hired
to score the film yet, but both the composer
himself and Walt Disney Pictures have confirmed to Film Music Weekly that the intent is
that Arnold shall be signed to the picture.
The Chronicles of Narnia: Voyage of the
Dawn Treader will be directed by British veteran helmer Michael Apted, who has been
working with David Arnold since the James
Bond movie The World is Not Enough in 1999
and subsequently on Enough and last year’s
Amazing Grace.
It was recently reported that Walt Disney
and Walden Media have postponed the start of
production of the film from January until summer of next year. The film’s release has been
pushed back one year and is now scheduled to
open on May 7, 2010.
Like the first film in the series, the second
one, Prince Caspian, will get original music by
Harry Gregson-Williams. mc
cording artist, educator and Local 47 Executive
Board member Dr. Bobby Rodriguez. Rodriguez
said the Local 47 Executive Board had no control over emails sent by Local 47, but said the
Executive Board was dealing with the best information it had at the time. Rodriguez strongly
defended Local 47’s stance towards former Local 47 members who have chosen financial core
status, stating clearly that these people “were
not union musicians.” To listen to the show, visit
http://www.filmmusicmag.com/itb/
Both Fernandez and Rodriguez spoke at
length on the program about Local 47, the RMA,
and their individual perspectives on the issues
at Local 47 and how Local 47 and the AFM can
better serve its membership and the industry at
large.
EXCLUSIVE AUDIO
Mark Northam interviews
composer and union activist
Charles Fernandez and recording
artist and Local 47 Board member
Dr. Bobby Rodriguez this week on
Inside The Business on Film Music
Click to Listen.
CD REVIEW: Lust / Caution
n With such memorable works as Girl with a Pearl
Earring, Syriana, Hostage and Birth, French composer Alexandre Desplat has shown a real ear for mystery that can be as beautifully dark as it is exotically
intriguing. p:7
MORE INSIDE:
signings & Projects
Chart Doctor:
From Actuality To Immortality
p:10 Technology:
More on the new Vienna Ensemble
p:4
p:9
FILM MUSIC weekly
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This Week on
FMR
FILM MUSIC RADIO
ON THE SCORE
CHARLIE CLOUSER
Daniel Schweiger interviews composer CHARLIE CLOUSER, who
gives an industrial rock shock to the
zombies of
RESIDENT EVIL: EXTINCTION
LISTEN NOW
INSIDE THE BUSINESS
Charles FernandeZ and Dr.
BobbY RodriGueZ
Mark Northam talks with union
activist Charles Fernandez and Local
47’s Dr. Bobby Rodriguez about the
AFM reaction to New Era Scoring
LISTEN NOW
ISSUE 34 • OCT. 9, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Gorfaine-Schwartz Dominates Box Office
By Mikael Carlsson
The Gorfaine-Schwartz Agency dominates the film music industry in terms of films and composers represented at the US box office so far this year. And no one comes close to “the big three”, Gorfaine-Schwartz, First Artists and Kraft-Engel.
Film Music Weekly has analyzed the 2007 US box office statistics so far in order to find out which film composer agencies are the most prolific in
terms of landing of box office hit assignments for their composers – and, if you look at the survey from the other point of view: which agency has the
most in-demand composers on their client roster.
It does not come as a surprise that Gorfaine-Schwartz Agency and its agents Michael Gorfaine, Samuel Schwartz and Cheryl Tiano, dominates
the box office – with its roster featuring leading names such as John Williams and Hans Zimmer, GSA has been the leading film music agency in Hollywood for many years. FMW analyzed the top 100 films at the 2007 US box office so far, and the total gross for these films is over $6 billion. The films
scored by GSA composers grossed a total of $2.1 billion. The runner-up, First Artists Management, comes in at $1.3 billion, and number three, KraftEngel, worked on films grossing a total of $988 million.
So far though, it’s not a GSA composer who has scored the number one film of the year. First Artists’ composer Christopher Young scored SpiderMan 3 which grossed $336.5m. However, GSA’s composers scored all three runner-ups, also grossing over $300m each: Shrek the Third (Harry Gregson-Williams), Transformers (Steve Jablonsky) and Pirates of the Caribbean: At World’s End (Hans Zimmer). And Transformers is still in release.
An example of Gorfaine-Schwartz strength in the industry is that their box office domination is so striking despite the fact that three of their
primary composers – John Williams, James Horner and James Newton Howard – haven’t had a single new film out so far this year. Now, there is
still two months of premieres left to include in the final 2007 statistics, and the list here will change – among “hot” films remaining this year are Saw
IV(Charlie Clouser/ Evolution Music Partners), I Am Legend and Michael Clayton (both by James Newton Howard, GSA), National Treasure: Book of
Secrets (Trevor Rabin/Kraft-Engel) and Elizabeth: The Golden Age (Craig Armstrong/First Artists).
TOP 10 AGENCIES: 2007
The most prolific film music agencies according to the 2007 US box office statistics so far.
1. Gorfaine-Schwartz Agency - $2,128.0m
• Shrek the Third (Harry Gregson-Williams) - $321.0m
• Transformers (Steve Jablonsky)- $316.5m
• Pirates of the Caribbean: At World’s End (Hans Zimmer) - $309.4m
• Ratatouille (Michael Giacchino) - $203.4m
• The Simpsons Movie (Hans Zimmer) - $182.1m
• I Now Pronounce You Chuck and Larry (Rupert Gregson-Williams) - $119.5m
• Blades of Glory (Theodore Shapiro) - $118.2m
• Evan Almighty (John Debney) -$100.3m
• Disturbia (Geoff Zanelli) – $80.1m
• Shooter (Mark Mancina) - $47.0m
• Underdog (Randy Edelman) - $42.8m
• Stardust (Ilan Eshkeri) - $37.9m
• The Number 23 (Harry Gregson-Williams)
- $35.2m
• Balls of Fury (Randy Edelman) - $33.5m
• Mr. Brooks (Ramin Djawadi) – $28.6m
• Hannibal Rising (Ilan Eshkeri) - $27.7m
• War (Brian Tyler) - $22.5m
• Mr. Woodcock (Theodore Shapiro) - $22.3m
• The Hills Have Eyes 2 (Trevor Moris) - $20.8m
• Georgia Rule (John Debney) - $18.9m
• The Hitcher (Steve Jablonsky) - $16.5m
• Daddy Day Camp (James Michael Dooley)
- $13.0m
• Dragon Wars (Steve Jablonsky)- $10.8m
2. First Artists Management - $1,307.3m
• Spider-Man 3 (Christopher Young) - $336.5m
• Rush Hour 3 (Lalo Schifrin) - $138.6m
• Superbad (Lyle Workman) - $120.3m
• Ocean’s Thirteen (David Holmes) - $117.2m
• Ghost Rider (Christopher Young) - $115.8m
• Norbit (David Newman) - $95.4m
• Surf’s Up (Mychael Danna) - $58.9m
• Fracture (Mychael Danna/Jeff Danna) - $39.0m
• Freedom Writers (Mark Isham) - $36.6m
• Smokin’ Aces (Clint Mansell) - $35.7m
• Breach (Mychael Danna) - $33.1m
• The Reaping (John Frizzell) - $25.1m
• Hot Fuzz (David Arnold) - $23.6m
• Amazing Grace (David Arnold) - $21.3m
• Reign Over Me (Rolfe Kent) - $19.7m
• Vacancy (Paul Haslinger) - $19.0m
• Next (Mark Isham) - $18.0m
• Hostel Part II (Nathan Barr) - $17.6m
• Shoot ‘Em Up (Paul Haslinger) - $12.7m
• I Think I Love My Wife (Marcus Miller) - $12.6m
• Primeval (John Frizzell) - $10.6m
3. Kraft-Engel Management - $988.4m
• The Bourne Ultimatum (John Powell) - $224.5m
• Fantastic Four: Rise of the Silver Surfer (John Ottman) - $131.9m
• Hairspray (Marc Shaiman) - $118.1m
• Meet the Robinsons (Danny Elfman) - $97.8m
• Bridge to Terabithia (Aaron Zigman) - $82.3m
• Licence to Wed (Christophe Beck)- $43.8m
• Because I Said So (David Kitay)- $42.7m
• No Reservations (Philip Glass)– $42.5m
• Epic Movie (Edward Shearmur) - $39.7m
• The Messengers (Joseph LoDuca) - $35.4m
• The Kingdom (Danny Elfman) - $31.4m
• Good Luck Chuck (Aaron Zigman) - $29.1m
• Catch and Release (BT) - $15.5m
• Alpha Dog (Aaron Zigman) - $15.2m
• The Invasion (John Ottman) - $15.1m
• Hot Rod (Trevor Rabin) - $13.9m
• Evening (Jan A.P. Kaczmarek) - $12.5m
4. Soundtrack Music Associates $480.0m
• 300 (Tyler Bates) - $210.6m
• Halloween (Tyler Bates) – $57.1m
• Teenage Mutant Ninja Turtles (Klaus Badelt) - $54.1m
• Premonition (Klaus Badelt) - $47.9m
• The Game Plan (Nathan Wang)- $42.8m
• 28 Weeks Later (John Murphy)- $28.6m
• Reno 911: Miami (Craig Wedren) - $20.3m
• Becoming Jane (Adrian Johnston) - $18.6m
5. Greenspan Artists Management- $421.5m
• Wild Hogs (Teddy Castellucci)- $168.3m
• Live Free or Die Hard (Marco Beltrami) - $134.4m
• Are We Done Yet? (Teddy Castellucci) - $49.6m
• 3:10 to Yuma (Marco Beltrami) - $48.6m
• The Invisible (Marco Beltrami) - $20.6m
FILM MUSIC weekly ISSUE 34 • OCT. 9, 2007
FILM MUSIC NEWS
TOP 10 AGENCIES: 2007
6. Cool Music (UK) - $290.2m
• Harry Potter and the Order of the Phoenix (Nicholas Hooper) - $290.2
7. Evolution Music Partners - $256.9m
• 1408 (Gabriel Yared) – 72.0m
• Stomp the Yard (Sam Retzer/Tim Boland) - $61.4m
• Resident Evil: Extinction (Charlie Clouser) - $43.5m
• Zodiac (David Shire) - $33.1m
• Waitress (Andrew Hollander) - $19.0m
• Dead Silence (Charlie Clouser) - $16.6m
• The Lives of Others (Gabriel Yared)- $11.3m
continued
8. Air-Edel Associates (UK) - $34.3m
• The Brave One (Dario Marianelli) - $34.3m
9. William Morris Agency - $31.4m
• Daddy’s Little Girls (Brian McKnight) – $31.4m
10. Bully Music - $15.6m
• Happily N’Ever After (Paul Buckley) - $15.6m
Source: Box Office Mojo
SIGNINGS & PROJECTS
OPENING THIS WEEK
THEATRICAL
• Elizabeth: The Golden Age (Craig Armstrong/ A.R. Rah
man)
• Fat Girls (Chris Gubisch)
• The Final Season (Nathan Wang)
• Lars and the Real Girl (David Torn)
• Sleuth (Patrick Doyle)
• Terror’s Advocate (Jorge Arriagada)
• Tyler Perry’s Why Did I Get Married (Aaron Zigman)
• We Own the Night (Wojciech Kilar)
DIRECT-TO-DVD
• Deadwood Park (Mario Viele)
Atli Örvarsson:
Babylon A.D.
• Welcome to Paradise (Tor Hyams)
n Iceland-born composer Atli Örvarsson is quickly emerging as a major talent to watch in Hollywood. As we’ve reported
earlier, he has been hired to score the action film Vantage Point with Hans Zimmer as a music consultant. Now, Film Music
Weekly can reveal that Örvarsson will score another major action opus: Babylon A.D. directed by French filmmaker Mathieu Kassovitz (Gothika, La Haine). This is a sci-fi adventure starring Vin Diesel, Michelle Yeoh and Gérard Depardieu.
The film, a co-production between 20th Century Fox and Canal Plus, is scheduled to premiere on February 29 next year. Örvarsson is represented
by Gorfaine-Schwartz. mc
Stephen Barton:
Call of Duty 4
n Activision announced last week that Stephen Barton (Mrs. Palfrey at the Claremont) has written the score and Harry Greg-
son-Williams (The Chronicles of Narnia, the Shrek trilogy, The Number 23), the themes for their upcoming video game Call of
Duty 4: Modern Warfare. Stephen Barton has been a member of Gregson-Williams’ film scoring team for 2003. Although Gregson-Williams is best known for his high-profile feature film scores, he has written several game scores before, including Metal
Gear Solid. The previous releases in the Call of Duty series had music by Graeme Revell and Joel Goldsmith. The game hits
stores on November 5th. mc
David Arnold:
How to Loose Friends and Alienate People
n David Arnold’s next feature film, How to Loose Friends and Alienate People, is a British comedy directed by Robert B. Weide
who is best known for the Curb Your Enthusiasm TV series. The film stars Megan Fox, Kirsten Dunst, Simon Pegg and Jeff
Bridges and is based on writer Toby Young’s memoir about his struggle to fit in at a high-profile New York magazine. Produced
by Number 9 Films and Film 4, the film is scheduled to premiere in October next year. mc
Jesper Kyd:
La Passion de Jeanne d’Arc
n Danish composer Jesper Kyd, who wrote the music for the Hitman video games, composed a new score for the classic Danish
silent La Passion de Jeanne d’Arc, directed by Carl Theodor Dreyer in 1928. The film was shown at the Danish Film Festival in
Los Angeles on October 4, accompanied by Kyd’s new score. mc
ISSUE 34 • OCT. 9, 2007
FILM MUSIC weekly
h BMI’s
udio.
FILM MUSIC NEWS
SIGNINGS & PROJECTS
Harry Manfredini
Veteran composer and horror specialist Harry Manfredini
(Friday the 13th) is busy scoring a variety of films, including
lots of genre films. Among his
latest assignments are Black
Friday, a horror film directed
by Ethan Terra and starring
Kane Hodder, Bridget Marquardt and Sage Stallone, and
Pete Carpenter Fellowship winner JamesiMurders,
Woodward
(c) is congratulated
a thriller
directed by
by Post and Livingston.
Robbie Bryan. Manfredini is
also going to score a romantic
thriller entitled Impulse, and
he recently finished work on
Anna Nicole (a biopic about
Anna Nicole Smith) and Dead
and Gone (another horror picture). mc
enjoys surfing off the Southern in 1985 to support the creation,
California coast.
performance, and study of music
The BMI Foundation, Inc. is a through awards, scholarships,
not-for-profit corporation founded commissions and grants.
mn
n
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nners of the Pete Carpenter Fellowship
ditionreative
mposer
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FILM MUSIC weekly
34 • OCT.
9, 2007
FILM MUSIC weekly ISSUEISSUE
ISSUE 34 • OCT. 9, 2007
FILM MUSIC weekly
Album REVIEW
Lust / Caution
Lust / Caution
Composer: Alexandre Desplat
Label: Decca
Suggested Retail Price: $14.99
Grade: A
CD REVIEW
By DANIEL SCHWEIGER
Soundtrack Editor
With such memorable works as Girl with
a Pearl Earring, Syriana, Hostage and Birth,
French composer Alexandre Desplat has shown
a real ear for mystery that can be as beautifully
dark as it is exotically intriguing. It’s a talent
that proves to be another winning combination
for Lust / Caution, his palpably erotic score for
Ang Lee’s NC-17 WW2 spy drama. But unlike
this year’s similarly themed Black Book, Lust’s
flesh-baring tale of female espionage is decidedly more depressing. As usual for Lee, Lust
/ Caution is heavy (and long) psychological
going, where the protagonists are undone by
some truly heavy petting. Thankfully, Alexandre Desplat’s score gives us the film noir satisfaction that Lust is intent on not getting up, in
spite of its numerous, angry sex scenes.
Desplat is a true master of playing a film’s
subtext, as well as its atmosphere. And he’s certainly got a lot to work with here, as Ang Lee
has loaded Lust / Caution with a Hitchcockian
vibe of love and betrayal that would be right
at home in his WW2 thriller Notorious (though
its Suspicion that plays onscreen here). Lust is
a slow, sinister dance between an enemy agent
and the woman who’s sent in to set up his death
– with her allure as the weapon – something
which Desplat picks up on by conjuring a waltz
rhythm. Glamorous smoke also blows through
the screen as freely as air, and Desplat grabs
the film’s visual strengths to create an enticing
fatalism, the kind of music that’s drawn glamorous dames and bad men together since the
day black and white was applied to film noir.
The fact that this is taking place in Japanese-occupied Shanghai is mostly immaterial
to Desplat’s approach. Like his last China-set
score for The Painted Veil, Lust / Caution uses
subtle Oriental flavors to favor a more classically symphonic “thriller” sound. Everything
is as delicate and poised as the two characters
eye each other suspiciously before ripping off
their elegant clothes. And like its score noir
cousins Body Heat and Basic Instinct, Lust /
Caution generates a palpable, erotic beauty in
the build-up. But like the film’s title, Desplat
never lets his music give in to real pleasure.
Even during the slaphappy bump and grind,
Desplat is playing sadness and danger, letting
the characters’ agonized whimpers taking care
of the more carnal sounds.
Increasingly few composers can write great
themes – or themes alone for that matter.
Perhaps it’s a French thing, but Desplat continues to impress as one of the great melodymakers working in film today. Lust / Caution
once again brings out numerous, hypnotically
memorable themes, all tinged with a gossamer
sadness that tells us things aren’t going to end
well for anyone here. But at least musically, it
will be a dangerously sensual ride to the end
of the affair. Desplat creates an enormously
suspenseful score without obviously trying for
it, knowing how to use light strings, wind instruments and bells to sound like the rustle of
clothes against anticipating flesh. And in other
cues, the orchestra hangs ominously over the
characters, its danger played like a breathlessly beating heart.
While Ang Lee’s Lust / Caution remains
too cool for school in the end (despite its overexplicit sex), elegant restraint proves to be the
key to Desplat’s excellent score. His is the true
power of suggestion, when a melodrama’s delicately plucked harp, lightly-played strings, and
memorable themes did more to get a rise out of
moviegoers than the sight of the actors’ sweaty
bodies tangled in Twister-like intercourse. Indeed, classy make-out music doesn’t get better
than this.
Click here for the Lust / Caution soundtrack
Courtesy of iFmagazine.com
ALBUMS COMING SOON
OUT THIS WEEK
NEW And When Did You Last See Your Father? (Barrington Pheloung) – Silva Screen
• Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore Media
NEW D.O.A. (Dimitri Tiomkin) – Screen Archives
• Elizabeth: The Golden Age (Craig Armstrong/
A.R. Rahman) – Decca
NEW El Greco (Ennio Morricone) – GDM CD Club
NEW Hotel/Kaleidoscope (Johnny Keating/
Stanley Myers) - FSM
• In the Valley of Elah (Mark Isham) – Varèse Sarabande
NEW Lair (John Debney) – iTunes*
• The Jane Austen Book Club (Aaron Zigman) – Varèse Sarabande
• Music from the Pirates of the Caribbean Triogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen
• Return to House on Haunted Hill (Frederik Wiedmann) – Varèse Sarabande
• Sleuth (Patrick Doyle) – Varèse Sarabande
• Transformers (Steve Jablonsky) – Warner Bros.
OCTOBER 16
NEW 100 Greatest TV Themes: Volume 2
(various) – Silva Screen
• Atom Nine Adventures (Robert Gulya) – MovieScore Media
• Reservation Road (Mark Isham) - Lakeshore
• Vampire Conspiracy (Joseph Martin) – Mu-
siclinks*
• The Witches Hammer (Mark Conrad Cham-
bers) – Film Music Downloads*
NEW Without a Clue (Henry Mancini) - BSX
OCTOBER 23
• Battlestar Galactica: Season 3 (Bear MCreary) – La-La Land
NEW The King of California (David Robbins) – Silva Screen
NEW Rendition (Paul Hepker/Mark Kilian) - Milan
• Superman: Doomsday (Robert J. Kral) – La-
La Land
OCTOBER 30
NEW Bee Movie (Rupert Gregson-Williams/
various) - RCA
• Bobby (Mark Isham) - Lakeshore
• Haunting Villisca (David James Nielsen) – MovieScore Media
• The Kite Runner (Alberto Iglesias) – Deutsche Grammophon
• Youth Without Youth (Osvaldo Golijov) – Deutsche Grammophon
NOVEMBER 6
NEW Doctor Who: Series 3 (Murray Gold) – Silva Screen
NEW The Good Night (Alec Puro) - Commotion
• The Lord of the Rings: The Return of the King – The Complete Recordings (Howard Shore) – Reprise
NEW Silk (Ryuichi Sakamoto) – Silva Screen
• Star Wars: 30th Anniversary Collector’s Edi-
tion (John Williams) – Sony
*) Denotes album available exclusively online.
FILM MUSIC weekly ISSUE 34 • OCT. 9, 2007
ISSUE 34 • OCT. 9, 2007
FILM MUSIC weekly
The Chart Doctor
From Actuality To Immortality
By Ron Hess
How often do you think about an afterlife
for your music? Not from the angle of yet-tobe-invented audio formats, speaker design, or
3-dimensional solid storage media. I mean the
written and tangible form we call sheet music
which permits future performances. After all,
your true audience may not even have been
born yet! Shouldn’t your music be saved for
posterity if it’s any good (and as tissue for “posteriority” if it isn’t)?
For music from the days of pen and ink and
vellum and awful-smelling ozalid machines,
archival is a simple process of preserving the
sheets in a safe environment. Computer notation, for all its advantages, is another story.
Such long-term archival has three factors
you must address: storage of existing printouts,
hardware warehousing of the data, and viability of the proprietary software which will allow
practical printing and editing of your compositions using that data.
For storage of printouts, conventional wisdom calls for printing on acid-free paper. Since
most commercially produced paper is now
made with chalk filler and not china clay, it’s
almost all acid-free. I’ve heard speculation that
toner will flake off after ten years. Since my
Boy Scout days left me with a vestigial trace
of an eco-mindset, I’ve always minimized paper usage by doing uncritical printing on the
blank backsides of old notation projects, some
of which go back 15 years with no visible flaking. Since you won’t know until too late which
projects are going to be valuable, and that by
(Theodore) Sturgeon’s Law that ninety percent
of everything is crap, don’t waste money on incredibly fancy paper unless the client is paying
for it. If anyone knows of comparative data on
the afterlife of ink versus toner, let me know.
Digital storage of visual content holds the
most room for growth and development, but you
must pay attention to your storage media. The
trick is to successively transfer your archives
to each newer, more robust medium before the
older one dies and leaves you with trouble finding or connecting the drive which reads it. My
body of computer notation goes back to 1989 or
so and thus has been stored initially on floppy
disks, transferred to Syquest EZ135 SCSI Drive
disks, then hard drives, and finally to optical
media (CDs and DVDs).
The last, and most head-scratching element
with which to grapple is the question of “host”
software. Your first impulse is to archive everything using Adobe’s PDF (Portable Document
Format). No one anticipates even a fly-by-night
outfit like Adobe to disappear anytime soon,
and if history teaches us anything, it’s that any
triumphant successor will still read the legacy
format. But, to be safe, you should re-archive
often enough (possibly every 3-4 years) to stay
abreast of advancing formats.
But the PDF, for all its ubiquity, is essentially an uneditable digital Xerox copy. To retain practical edit capability of your composition, you have to maintain the software that
generated it. Working backwards, this means
you’d better be super careful which software
you build your career upon. I have a colleague
who did a sizable body of work using Composer’s Mosaic by Mark Of The Unicorn. When
MOTU inexplicably and utterly ceased Mosaic
development on the eve of OS X, his entire archive was orphaned, sort of like having his ga
rage burn down with all his scores inside.
I have always been careful to periodically
check the health (and market share) of my most
crucial software. Consequently, on my computer there are 10 different versions of Finale (going back to 3.5.2!) making my whole digital archive, spanning almost 20 years, available and
still usable to me and my clients. Since I also
hedge my bet through Sibelius and XML-filegenerating plug-ins like Dolet (recordare.com)
that allow Finale/Sibelius/Finale interchange,
I have several other means of escaping the potentially deadly laws of obsolescence.
So, to recap: Store paper, but keep an eye on
it. Upgrade your digital media to assure viability. Use PDFs, but monitor the format. Remember all this when you “VHS or Betamax?” the
crucial tools of your trade, and never let your archives outlive the upgrades which will still edit
them. Additionally, since your music may outlive you, make it a habit to label everything on
your pages (composer and copyright info, page
numbers, instrument and project names, etc.).
Your heirs will be grateful. And, of course, all
the standard backup strategies against shortterm workplace disaster still apply.
Here’s to immortality!
n Ron Hess works as a studio conductor, orchestrator,
copyist and score supervisor in Los Angeles, where
he’s well-known for his quick ability to ferret out the
most hidden performance problems and spot score
glitches rapidly. He holds a Master’s Degree from the
New England Conservatory, and is considered one of
the top Finale experts in Los Angeles.
Email Ron at [email protected]
FILM MUSIC weekly ISSUE 34 • OCT. 9, 2007
TECHNOLOGY
More on the new Vienna Ensemble
MUSIC TECHNOLOGY AND YOU
By PETER LAWRENCE ALEXANDER
On September 27, 2007, Herb Tucmandl,
president of the Vienna Symphonic Library,
posted a mini-overview of what’s coming with
the new Vienna Ensemble which is being offered as a free update on approximately October 25, 2007. The significance of the Vienna
Ensemble is that VSL is giving users the option of their virtual mixing board vs. vStack
from Steinberg or Forte from Brainspawn. The
Vienna Ensemble is completely proprietary. No
other instruments can run in it. What you’ll
see in these screenshots is the seamless way in
which the Vienna Instruments interface with
this virtual console.
At the same time, there’s going to be a need
for many composers using the Vienna Instruments to determine how they’ll system integrate Vienna and VSTi’s (virtual studio instruments) from other companies. Once Leopard
releases in October, the trail should be made c
lear as to which way to go. But then again, we
are talking about technology… .
System Requirements
Vienna Ensemble will run on 32- and 64bit systems. Windows XP 64 and Vista 64 are
scheduled for release on October 25th. The
OSX 32-bit version also releases on October 25
and will work on Leopard, the OSX Leopard
64-bit version will be delayed a little.
Tucmandl’s test system, he set up four MIDI
ports using MIDIoverLAN (MOL) allowing for
64 (16 channels x 4 ports) instances.
Audio Out
Power Panning
There are two pan modes included. Normal panning is where the volume of left or
right channel is lowered. But with the new
Power Panning, there’s no loss of stereo information. You get a good overview of the stereo positioning of all Vienna Instruments.
Mr. Tucmandl is running 8 stereo pairs (16
audio outs) on his test system. This can be set
for each instrument individually. Vienna Ensemble is designed to handle 32 stereo outs!
Instrument switching
Defining Play Ranges
The Vienna Instruments GUI is coded directly into the Vienna Ensemble. You don’t
have to open a VSTi plug-in to switch between
different instruments. It’s always there without any opening latency. Just click on the desired track on the left panel.
Switching from Cello to Flute Track
The Vienna Ensemble lets you set the play
range for each instrument individually.
For example, you can stack all string sections (violins, violas, cellos, basses) using four
different instances but applying to all the same
MIDI channel. This enables you to set up your
custom string-all patches using any articulation you like, even performance legato patches.
Vienna Ensemble: Standalone or Plug-In
Selecting Flute
Conclusion
Vienna Ensemble can be used as standalone, but also used as a plug-in to your host.
To start, plug-in versions are limited to 16
MIDI channels per Vienna Ensemble instance.
When used standalone (on a separate machine), Vienna Ensemble can handle multiple
ports (8 ports each 16 MIDI channels). On Mr.
Mr. Tucmandl posted that features are
subject to change during beta testing. So don’t
consider what’s been reported here the finis of
what’s to be. But do consider it something to
look forward to.
n Peter Alexander is preparing to score The Good
Samaritan. His most recent books are How Ravel
Orchestrated: Mother Goose Suite, and Professional
Orchestration. He has also written White Papers on
music education.
10ISSUE 34 • OCT. 9, 2007
FILM MUSIC weekly
Neal Acree: Hallowed Ground.
Tree Adams: Keith.
Eric Allaman: Race.
John Altman: The Master Builder.
Craig Armstrong: The Golden Age (co-composer).
David Arnold: Hot Fuzz • How to Loose Friends and Alienate People.
Angelo Badalamenti: The Eye • The Edge of Love.
Klaus Badelt: Heaven and Earth.
Roque Baños: The Last of the Just.
Nathan Barr: Watching the Detectives • Tortured.
Tyler Bates: The Haunted World of El Superbeasto • Hallo-ween •
Day of the Dead • Watchmen.
Jeff Beal: Where God Left His Shoes • Salomaybe? • The Deal.
Christophe Beck: Drillbit Taylor • The Dark Is Rising.
Marco Beltrami: In the Electric Mist with Confederate Dead.
Doug Besterman: Exit Speed.
Charles Bernstein: Bull Run • Let My People Go.
Jean-Michael Bernard: Be Kind Rewind.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Bridie: Gone.
Kenneth Burgomaster: Garfield Gets Real • Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: No Country for Old Men.
Niall Byrne: How About You.
Brian Cachia: Gabriel.
Peter Calandra: The Sickness.
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 (co-composer).
Jamie Christopherson: Ghost Image.
Nigel Clarke/Michael Csányi-Wills: The Grind.
Charlie Clouser: Saw IV.
Chandra Cogburn: Fiesta Grand • Orgies and the Meaning
of Life • The Bard: The Story of Robert Burns.
Elia Cmiral: The Deaths of Ian • Missionary Man • Tooth and Nail.
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: Fracture.
Erik Desiderio: He’s Such a Girl.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Tribe.
Jessica de Rooij: Postal • BloodRayne II: Deliverance • Tunnel Rats
• Far Cry..
John Debney: Evan Almighty • Big Stan • Sin City 2 • Sin City 3 •
Iron Man.
Alexandre Desplat: His Dark Materials: The Golden Compass • Lust,
Caution.
Ramin Djawadi: Fly Me to the Moon • The Tourist.
James Michael Dooley: Bachelor Party 2.
Patrick Doyle: Mr. Magorium’s Wonder Emporium.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Shattered.
Clint Eastwood: Grace Is Gone.
Randy Edelman: 27 Dresses • The Mummy: Tomb of the Dragon
Emporer.
Steve Edwards: Finding Rin-Tin-Tin The Neighbor.
Danny Elfman: The Sixth Element • The Kingdom • Hellboy 2.
Warren Ellis: The Assassination of Jesse James by the Coward
Robert Ford (co-composer).
Paul Englishby: Magicians.
Tobias Enhus: Paragraph 78.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Virgin Territories • Strength and Honour.
Evan Evans: The Mercy Man • You’re Nobody ‘Til Somebody Kills
You.
Nima Fakhara: Lost Dream.
Sharon Farber: When Nietzsche Wept.
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.
John Frizzell: Careless • First Born.
Michael Giacchino: Star Trek XI.
Richard Gibbs: Cleaner.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It in
Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone Dry.
Philip Glass: Cassandra’s Dream • Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not.
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 • Liberty
Kid.
Harry Gregson-Williams: Gone, Baby, Gone • Jolene • The
Chronicles of Narnia: Prince Caspian.
Rupert Gregson-Williams: I Know Pronounce You Chuck and Larry •
Bee Movie • You Don’t Mess With the Zohan.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ • Love Lies Bleeding.
Andrea Guerra: L’uomo di vetro.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State of Play.
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.
James Horner: The Spiderwick Chronicles. • Avatar • In Bloom.
Richard Horowitz: Genghis Khan • Kandisha • The Whisperers.
James Newton Howard: Michael Clayton • The Waterhorse • I Am
Legend • The Happening.
Terry Huud: Plaguers.
Alberto Iglesias: Her Majestic Minor • The Kite Runner.
Mark Isham: Pride and Glory • Reservation Road • Lions for Lambs.
Steve Jablonsky: D-War.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle.
Bobby Johnston: American Fork • Stuck.
Tim Jones: Cryptid.
Trevor Jones: Fields of Freedom • The Power of the Dark Crystal.
David Julyan: Outlaw • Waz.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (co-composer).
George Kallis: Highlander: The Source • Antigravity.
Tuomas Kantelinen: Quest for a Heart • The Knight
Templar • Mongol.
Yagmur Kaplan: The Elder Son • The Lodge • Broken
Windows.
Laura Karpman: Man in the Chair • Out at the Wedding.
Rolfe Kent: Fred Claus • Spring Break in Bosnia • Sex and Death 101.
Wojciech Kilar: We Own the Night.
Mark Kilian: Rendition (co-composer) • Before the Rains.
David Kitay: Because I Said So • Shanghai Kiss • Blonde Ambition.
Harald Kloser: 10,000 BC.
Abel Korzeniowski: Terms.
Penka Kouneva: The Third Nail • Richard III.
Ivan Koutikov: Wanted Undead Or Alive • Living Hell.
Aryavarta Kumar: The Rapture • Greater Threat.
Jim Latham: Greetings from the Shore • Swishbucklers • Parental
Guidance Suggested.
Christopher Lennertz: The Comebacks • Alvin and the Chipmonks •
The Perfect Christmas • Hunting and Fishing.
Sondre Lerche: Dan in Real Life.
Michael A. Levine: Adrift in Manhattan.
Christopher Libertino: Off the Grid – Life on the Mesa • The Forgotten Kingdom.
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 •
Timber Falls.
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.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • August Rush • Camille • Without a
Badge • Like Dandelion Dust.
Harry Manfredini: Black Friday • iMurders • Impulse • Anna Nicole
• Dead and Gone.
David Mansfield: Carnaval de Sodoma • Then She Found Me • The
Guitar.
Dario Marianelli: We Are Together • Goodbye Bafana • Atonement
• Shrooms.
Anthony Marinelli: Grizzly Park.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted.
Matt Messina: Juno • The Least of These.
Guy Michelmore: Doctor Strange • Bono, Bob, Brian and Me.
Randy Miller: Last Time Forever • Shanghai Red • Second Chance
Season.
Robert Miller: Teeth • The Key Man • Trumbo.
Sheldon Mirowitz: Renewal • Operation Filmmaker.
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.
Trevor Morris: Matching Blue.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys.
John Murphy: Sunshine.
Sean Murray: The Lost • Clean Break.
Peter Nashel: Wedding Daze.
Javier Navarrete: His Majesty Minor.
Blake Neely: Elvis and Anabelle.
Roger Neill: Take • Scar.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog Princess.
Thomas Newman: Nothing Is Private.
Marinho Nobre: Left for Dead.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers • A Perfect Season.
John Ottman: Valkyrie
Atli Örvarsson: Vantage Point • Babylon A.D.
THE
SCORE
BOARD
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl • Running the Sahara.
Mark Petrie: The Road to Empire • Lake Dead • Mr. Blue Sky • Valley
of Angels.
Barrington Pheloung: And When Did You Last See Your Father?.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Growing Your Own.
Nicholas Pike: The Shooter • Parasomnia.
Antonio Pinto: Love in the Time of Cholera.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat.
Steve Porcaro: The Wizard of Gore • Cougar Club.
Rachel Portman: The Feast of Love.
John Powell: Horton Hears a Who.
Reg Powell: The Ten Commandments.
Michael Price: Sugarhouse Lane • Agent Crush.
Trevor Rabin: National Treasure 2: The Book of Secrets • Get Smart.
Didier Lean Rachou: How to Rob a Bank • An American in China.
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: Pineapple Express • Derfur Now • Days of Wrath.
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.
David Glen Russell: Contamination.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What We Did on Our Holidays.
Anton Sanko: Life in Flight.
Gustavo Santaolalla: Things We Lost in the Fire (themes).
Brian Satterwhite: Cowboy Smoke • Maidenhead.
Mark Sayfritz: Sake.
Brad Sayles: The Bracelet of Bordeaux.
David Schommer: War, Inc.
Marc Shaiman: Hairpsray • Slammer • The Bucket List.
Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh •
The Girl in the Park • Semi-Pro • Tropic Thunder • The Heartbreak Kid.
George Shaw: Victim • Sailfish.
Edward Shearmur: 88 Minutes • Dedication • The Other Boleyn Girl.
Howard Shore: Eastern Promises.
Ryan Shore: The Girl Next Door • Numb • Jack Brooks – Monster
Slayer.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
Samuel Sim: Awake.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts • Disgrace.
Damion Smith: Stompin.
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 • Army of the Dead.
Jina Sumedi: Sextet.
Mark Suozzo: The Nanny Diaries.
John Swihart: The Brothers Solomon.
Johan Söderqvist: Walk the Talk • Things We Lost in the Fire • A
Man Comes Home.
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 • Within • Fast Company.
Thanh Tran: Cult.
Michael Tremante: If I Didn’t Care.
Gregory Tripi & Kyle Batter: Dark Storm • Termination Point.
Ernest Troost: Crashing.
Brian Tyler: Bangkok Dangerous • War • Finishing the Game • Alien
vs. Predator 2 • John Rambo • The Heaven Project.
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 •
Train • Get Some.
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Flawless • Miguel and William.
Matthias Weber: Silent Rhythm • Weekend Interupted.
Craig Wedren: The Ten.
Cody Westheimer: Benny Bliss and the Disciples of Greatness •
Hysteria.
Alan Williams: Angst • Snow Princess • He Love Her, She Loves
Him Not.
David Williams: The Conjuring.
John Williams: Indiana Jones IV • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: Afterthought.
Debbie Wiseman: Flood • Amusement.
Alex Wurman: The Baker • Bernard and Doris • Baggage •
Quebec..
Gabriel Yared: Manolete • 1408.
Geoff Zanelli: Delgo • Hitman • Outlander.
Marcelo Zarvos: The Air I Breathe • You Kill Me.
Aaron Zigman: The Martian Child • Good Luck Chuck.
Hans Zimmer: Frost/ Nixon
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 red print. Edited by Mikael Carlsson. Updates should be sent to [email protected].