SESAC Implements Ad/Promo Performance Tracking System

FILM MUSIC weekly
ISSUE 25 • AUG 8, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
SESAC Implements Ad/Promo
Performance Tracking System
SESAC has announced the implementation of its AdVantage Tracking System, a new
methodology utilizing both audio fingerprinting and digital watermarking for tracking
and paying royalties for musical performances in ads and promos on television. The move
puts the organization ahead of competitors
ASCAP and BMI who have not yet implemented digital watermarking or fingerprinting technology for tracking and payment
of music performances in ads or promos on
television, which according to one survey
amounts to over 50% of the music performed
on television.
Academy Bans All
Score and Soundtrack
CD Mailings
James Schafer Wins
Dan Carlin Named
Young Film Composers
Chair of Berklee Film
Scoring Department Competition
The Academy of Motion Picture Arts and
Sciences, in new rules posted this week, has
banned the mailing of nominated score or
soundtrack CDs to members.
The new Academy rule states, “No recordings, sheet music or music videos of eligible songs or scores may be sent to Academy
members at any time,” and according to an
Academy source was recommended by the
Academy music branch executive committee.
The announcement has caused concern in
the composer community, especially inlight
of this year’s Best Score winner Babel whose
score contained a significant amount of previously released instrumental music, and
source music by another composer. The score
composition from Babel played at the Academy Awards event under the film clip had in
fact been released 8 years ago on an album.
Without official academy score CDs of
eligible music, it may be difficult for voting
members watching a DVD screener to tell
which score music was written by the nominated composer and which music may have
been written by others.
Berklee College of Music
in Boston has announced the
appointment of Segue Music co-founder Dan Carlin
as chair of the college’s Film
Scoring Department. He replaces founding Film Scoring
Chair Don Wilkins, who instiDan Carlin
tuted the department in 1979.
“Having been a longtime fan and supporter of
Berklee’s film-scoring program, I am particularly proud and honored to receive this appointment. I am especially fortunate and grateful that
Chair Emeritus Don Wilkins and Interim Chair
Eric Reasoner are remaining on the faculty to
help me meet the related challenges. . And I look
forward to discussing these issues with them at
Fenway Park during the World Series,” he said.
Carlin is an Emmy Award-nominated music
director (The Temptations), an Emmy Awardwinning music editor (Under Siege), was the
music supervisor and principal conductor for two
Golden Globe-nominated film scores (The Black
Stallion and Last of the Mohicans) and was Production Music Supervisor for Quest for Camelot,
which received a Golden Globe® for Best Song.
p:6
Ottman’s Best Superhero Score Yet
n If you’re stuck with a filmscoring niche, you could do worse than being
the equivalent of a Marvel Zombie with a touch of DC madness thrown
in. With X-Men 2, Fantastic Four and Superman Returns to his credits,
John Ottman has given a sweeping, melodically powerful sound to many of
earth’s most popular superheroes. p:7
The system combines data provided by
media tracking companies Competitrack and
DigSound. Competitrack uses audio fingerprinting technology to track music in advertisements, while DigSound utilizes digital
watermarking technology to track music in
promos. p:6
Composer James Schafer
has been selected by a panel of top industry judges as
the grand prize winner of
the 8th Annual TCM Young
Film Composers Competition. The announcement
was made at a gala awards
ceremony held at The Skirball Cultural Center on
James Schafer
July 25.
Other competition finalists also presented
with awards including Apple computers and
software were composers Garth Neustadter,
Jeremy Schrepple, Jaebon Hwang and Edward White. The competition, presented by
Turner Classic Movies and sponsored by Film
Music Magazine, featured over 850 entries
this year from countries around the world
including Spain, France, England, Canada
and the US.
As grand prize winner, Schafer wins a
grand prize of $15,000 and the opportunity
to score the classic restored silent film Beau
Brummel starring John Barrymore. Schafer
will record his score later this year in Los
Angeles. p:4
MORE INSIDE:
p:8 signings & projects
p:10 Chart Doctor: Conduct
Yourself Accordingly
p:12 THE SCOREBOARD
FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
Advertising Sales Manager:
Steve Schatzberg
Copy Editor: Lisa Rawson
Technology Editor: Peter Alexander
Soundtrack Review Editor:
Daniel Schweiger
Website Design: Rakesh Rai
Accounting: Tina Chiang
Legal Advisor: Patricia Johnson, Esq.
Film Music Weekly is published weekly by Global
Media Development Group, Inc.
Executive and Editorial Office: 27023 McBean Pkwy
Suite 618, Valencia, CA 91355. Tel: 310-645-9000
Fax: 310-388-1367,
email: [email protected].
We are not responsible for unsolicited material.
All Rights Reserved. Reproduction in whole or in
part without written permission of the publisher is
prohibited. The opinions of contributing writers and
editors to this publication do not necessarily reflect
the views of Global Media Development Group, Inc.
or any of our divisions, management or staff.
This Week on
YOUR FEEDBACK
We welcome feedback on any aspect of Film Music
Weekly. All letters must include an address and
daytime phone number. We reserve the right to
edit letters for clarity and space and to use them in
all electronic and print editions. Mail to: Film Music
Weekly, 27023 McBean Pkwy Suite 618, Valencia,
CA 91355 or email
[email protected]
ADVERTISING
Our comprehensive advertising programs offer
premier visibility to film and television music professionals, soundtrack collectors, and music executives worldwide. We offer competitive rates on a
wide variety of advertising opportunities including
display advertising and online advertising. For more
information, call 1-800-774-3700 or 310-645-9000 or
email [email protected]
REPRINTS AND COPYRIGHT PERMISSIONS
Before quoting or reusing editorial material, or for
custom reprints (minimum order 100) contact 310645-9000 or email [email protected]
SUBSCRIPTIONS
Subscriptions to Film Music Weekly via email are
available at no cost. To subscribe, visit our website
at www.filmmusicweekly.com and enter your email
address in our subscription section.
Film Music Weekly and its logo are trademarks of
Global Media Development Group, Inc. All Rights
Reserved. Entire Contents © 2007 Global Media
Development Group, Inc
FMR
FILM MUSIC RADIO
ON THE SCORE
MARKETA IRGLOVA AND
GLEN HASARD
Film music journalist Daniel Schweiger interviews MARKETA IRGLOVA
and GLEN HASARD , the singers, and
stars of the indie musical hit ONCE.
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 25 • AUG.8, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Composer Expo Draws Standing
Room Only Crowd in Los Angeles
Director Nick Cassavetes, composer Aaron Zigman, editor Alan Heim and moderator Hummie Mann at the Director/Editor/Composer panel
The 2007 Composer Expo, presented by
Turner Classic Movies and Film Music Magazine drew a standing-room-only crowd of over
300 industry attendees at The Skirball Cultural Center in Los Angeles on July 25. The daylong national conference focused on instrumental music for film, television and video games
featured panels, seminars, demo critiques and
more from top composers, agents and music supervisors in the industry.
The Composer Expo featured top film and
television composers including Hans Zimmer,
Hummie
Mann,
Aaron
Zigman,
M a r k
Mothersbaugh,
Bear McC r e a r y,
Mychael Danna, Teddy Castellucci, Adam
Gorgoni, Sharon Farber, Penka Kouneva, Joe
Carroll, Michael A. Levine, Mark Adler, Shawn
Clement, Roger Neill, Yoav Goren, Geoff Levin
and others. Video game composers featured at
the Expo include Inon Zur, Laura Karpman,
Garry Schyman, Michael Wandmacher and
Carey Chico.
FILM MUSIC weekly ISSUE 25 • AUG.8, 2007
A special session focusing on the director/
editor/composer relationship moderated by
veteran composer Hummie Mann and featuring celebrated film director Nick Cassavetes,
composer Aaron Zigman and veteran film
editor Alan Heim was especially popular with
attendees at the event, as was the keynote
address featuring Mothersbaugh, McCreary,
Danna and Castellucci.
The Expo also featured music supervisors
PJ Bloom, Peymon Maskan, Marcus Barone
and Chris Violette, plus agents Jeff Kaufman,
Stan Milander, Christine Russell and Michael
Rosen plus film and television
music attorney Steve Winogradsky, journalist and networking
expert Dan Kimpel, music editor
Angie Rubin, scoring mixers Michael Stern, Noah Snyder andGreg Townley, K-Mozart’s Gary
Hollis, Film Music Magazine’s
Mark Northam, Steve Rapoport
of West LA Music and more.
Jeff Kaufman and Michael Rosen, Carey Chico
and David Rovin from video game developer
Pandemic Studios, Immediate Music library
co-founder Yoav Goren, and veteran film and
television composer Roger Neill.
The Expo also featured technology companies including Apple, Roland, Big Fish Audio,
Lavry Engineering, Event Electronics, Rode,
Toontrack, ALPS, Universal Audio, Presonus,
and over $5,000 worth of technology prize giveaways.
The demo critique sessions
were very popular and filled up
immediately. Reviewers for the
demo critique sessions included
film and television music agents
FILM MUSIC NEWS
James Schafer Wins
Young Film Composers Competition
Composer James Schafer has been selected by a panel of top industry judges as the grand prize winner of the 8th Annual TCM Young Film
Composers Competition. The announcement was made at a gala awards
ceremony held at The Skirball Cultural Center on July 25.
Other competition finalists also presented with awards including
Apple computers and software were composers Garth Neustadter, Jeremy Schrepple, Jaebon Hwang and Edward White. The competition,
James Schafer
presented by Turner Classic Movies and sponsored by Film Music Magazine, featured over 850 entries this year from countries around the world including Spain, France,
England, Canada and the US.
As grand prize winner, Schafer wins a grand prize of $15,000 and the opportunity to score the
classic restored silent film Beau Brummel starring John Barrymore. Schafer will record his score
later this year in Los Angeles with top studio recording musicians, contractor Ross deRoche,
YFCC finalists Garth Neustadter and Jaebon Hwang, composer
Hans Zimmer, YFCC finalists Edward White, Jeremy Schrepple
session manager Audrey deRoche, and scoring engineer Dan Blessinger.
and YFCC grand prize winner James Schafer
James Schafer was born and raised in southern California and received his BM from California State University in Northridge. He received a Masters Certificate from the University of Southern California in the Scoring for Motion Pictures and Television program where he was awarded the Harry Warren Endowed Scholarship. James has written scores for many short films, video
games, and independent feature length films. Additionally, he has worked with industry film composers creating orchestral mock-ups, orchestrating,
and producing music.
The awards ceremony also featured an in-depth interview with veteran film composer Hans Zimmer who served as the spokesperson, judging
chair and mentor for the competition. The interview was conducted by TCM’s Ben Mankiewicz and explored Zimmer’s career, music, and unique
perspectives on the art and craft of film music and the industry.
Veterans and
first-timers
among Emmy
nominees
Many first-time nominees were announced when the nominations for the
59th Emmy Awards were presented
recently.
By Mikael Carlsson
TV veteran Jeff Beal received two nominations, for Rome and Nightmares & Dreamscapes, and other veterans honored are Mark
Snow, W.G. “Snuffy” Walden, George Fenton,
David Mansfield and George S. Clinton. But
the nomination race also includes several
first-time nominees, such as John Keane, Rolfe
Kent, Simon Rogers and Trevor Morris.
The music Emmys will be awarded at the
Primetime Creative Arts Awards on September 8 at the Shrine Auditorium in Los Angeles.
The full list of nominees in the music
categories:
Outstanding Music Composition For A Series (Original Dramatic Score):
• 24 (Sean Callery)
• CSI: Crime Scene Investigation – Law Of Gravity (John Keane)
• Ghost Whisperer – Love Never Dies (Mark Snow)
• Kidnapped – Pilot (W.G. “Snuffy Walden”)
• Planet Earth – Pole To Pole (George Fenton)
• Rome – Philippi (Jeff Beal)
Outstanding Music Composition For A Miniseries, Movie Or A Special
(Original Dramatic Score):
• Boffo! Tinseltown’s Bombs And Blockbusters (Todd Boekelheide)
• Broken Trail (Van Dyke Parks/David Mansfield)
• Bury My Heart At Wounded Knee (George S. Clinton)
• Longford (Rob Lane)
• Nightmares & Dreamscapes: From The Stories Of Stephen King – Battleground(JeffBeal)
• The Librarian: Return To King Solomon’s Mines (Joseph LoDuca)
• The Path To 9/11 (John Cameron)
Outstanding Music Direction:
• 79th Annual Academy Awards (William Ross)
• Dancing With The Stars – Episode Number: 310 (Harold Wheeler)
• Scrubs – My Musical (Jan Stevens)
• The 60th Annual Tony Awards (2006) (Elliot Lawrence)
Outstanding Music And Lyrics:
• Family Guy – Peter’s Two Dads (Walter Murphy/Danny Smith)
• MADtv – 1209 (Bruce McCoy/Greg O’Connor/Jim Wise)
• Saturday Night Live – Host: Justin Timberlake (Katreese Barnes/Andy Samberg/Akiva Schaffer/Jorma Taccone/Asa Taccone/Justin Timberlake)
• Scrubs – My Musical (Debra Fordham/ Robert Lopez/Jeff Marx)
• Scrubs – My Musical (Paul F. Perry/Debra Fordham)
Outstanding Main Title Theme Music:
• 30 Rock – Hard Ball (Jeff Richmond)
• On The Lot (Jeff Lippencott/Mark T. Williams)
• Dexter (Rolfe Kent)
• The Tudors – Episode 5 (Trevor Morris)
• Hu$tle (Simon Rogers)
ISSUE 25 • AUG.8, 2007
FILM MUSIC weekly
FILM MUSIC weekly ISSUE 25 • AUG.8, 2007
FILM MUSIC NEWS
SESAC Implements Ad/Promo Performance
Tracking System for Television
SESAC has announced
the implementation of its
AdVantage Tracking System,
a new methodology utilizing
both audio fingerprinting
and digital watermarking
for tracking and paying
royalties for musical perforHunter Williams
mances in ads and promos
on television. The move puts
the organization ahead of competitors ASCAP
and BMI who have not yet implemented digital
watermarking or fingerprinting technology for
tracking and payment of music performances
in ads or promos on television, which according
to one survey amounts to over 50% of the music
performed on television.
The system combines data provided by media tracking companies Competitrack and DigSound. Competitrack uses audio fingerprinting
technology to track music in advertisements,
while DigSound utilizes digital watermarking
technology to track music in promos. The combined data is subsequently cross-referenced
with SESAC’s works registration data.
Ads and promos are historically among the
least-tracked types of music performances on
television by the performing rights organizations – a situation that has concerned those
writers and publishers whose music is used
in these broadcasts. Despite the investment of
over $20 million member dollars by ASCAP in
its proprietary MediaGuide system which uses
audio fingerprinting, the organization has chosen not to use the system to track and pay royalties to its members for music performances
on television thus far, and the system remains
implemented for radio. BMI’s new Landmark
division utilizing BlueArrow technology promises automated music tracking performance
technology, but implementation of the service
has not yet been announced.
“The SESAC AdVantage Tracking System
represents a new, innovative and highly efficient mode of tracking musical performances
in ads and promos,” said Hunter Williams,
SESAC’s Vice President of Royalty Distribution & Research Services. “SESAC has taken
a lead role in establishing what we know to be
a ground-breaking service that will benefit our
affiliates.”
Prior to implementation of the AdVantage
Tracking System, SESAC-affiliated composers
and publishers had to provide proof-of-performance regarding promos and advertisements
via media buys, traffic schedules, or station logs
in order to receive performance royalties. Under the new system, the organization says its
affiliates will automatically receive comprehensive tracking and accurate payments.
SESAC representatives say the organization will pay royalties for all performances of
SESAC music tracked by Competitrack and
DigSound, who use a combination of census
and surveys in their tracking methodology. A
census attempts to track every performance
in a given medium, while a survey uses a sampling of performances to approximate the total
performances in a given medium.
DigSound conducts a census of promos on all
broadcast networks, the top 22 cable networks
and the top 75 Nielsen DMAs (Designated Television Market Areas).
Competitrack conducts a census of advertisements on all broadcast networks, a nearcensus of ads on the top 28 cable networks (16+
hours a day), a sample of 20 additional cable
networks, and a sample of local television in
85 markets. The total cable sample is approx.
200,000 hours annually, and the total local television sample is approximately 900,000 hours
annually.
The AdVantage Tracking System currently
covers television only, but SESAC is investigating the possibility of expanding it to radio and
Internet.
“Competitrack does track ads on radio and
Internet, and as such, we are analyzing the
prospects of expanding our renewal agreement
to include these services,” said Mr. Williams.
“DigSound currently only tracks television
performances, but is intent on expanding its
services to cover other areas, especially the Internet. We will monitor DigSound’s progress in
this regard and give judicious consideration to
any tracking solution it brings to market.”
Dan Carlin Named Chair of Berklee Film
Scoring Department
Photo by Lester Cohen
Berklee College of Music
in Boston has announced
the appointment of Segue
Music co-founder Dan Carlin as chair of the college’s
Film Scoring Department.
He replaces founding Film
Scoring Chair Don Wilkins,
Dan Carlin
who instituted the department in 1979. “Having been a longtime fan and
supporter of Berklee’s film-scoring program, I
am particularly proud and honored to receive
this appointment. I am especially fortunate and
grateful that Chair Emeritus Don Wilkins and
Interim Chair Eric Reasoner are remaining on
the faculty to help me meet the related challenges. And I look forward to discussing these issues
with them at Fenway Park during the World Series,” he said.
Carlin is an Emmy Award-nominated music
director (The Temptations), an Emmy Awardwinning music editor (Under Siege), was the music supervisor and principal conductor for two
Golden Globe-nominated film scores (The Black
Stallion and Last of the Mohicans) and was Production Music Supervisor for Quest for Camelot,
which received a Golden Globe® for Best Song.
He co-founded and, for 25 years, was CEO of
Segue Music, the largest and most successful
music post-production business in Hollywood
history. During that time, Carlin collaborated
with such highly regarded artists as Usher, Tina
Turner, Whitney Houston, Lauryn Hill, Smokey
Robinson, Queen Latifah, Angela Bassett, Julie
Andrews, Tony Bennett, Whoopi Goldberg, Laurence Fishburne, Bette Midler, Barry Manilow,
Phil Ramone, David Foster, Nile Rodgers, Al
Schmitt, Francis Coppola, Michael Mann, Taylor
Hackford, Georges Delerue, Alan Silvestri, Danny Elfman, Hans Zimmer, and many others.
Between 2004 and 2007, Carlin served as Executive Director of the Henry Mancini Institute.
In addition, he recently completed two terms
as Chair of the National Academy of Recording
Arts & Sciences (the GRAMMY® organization),
and has served for over 20 years on the Academy of Motion Picture Arts & Sciences’ Music
Executive Committee. Carlin has been a juror
for the Television Academy and the Irish Film
& TV Awards; helped design, fund and develop
the composer program at Robert Redford’s Sundance Institute; created and co-sponsored Berklee’s first internship program – for Film Scoring
students to work at Segue; helped design the
UCLA Film Scoring Program; and has consulted
for both the ASCAP Composer’s Workshop, and
Screen Training Ireland in Dublin. A passionate
advocate for music education, he is a frequent
contributor to panels, seminars and lectures.
ISSUE 25 • AUG.8, 2007
FILM MUSIC weekly
Album REVIEW
A Lighter Touch Lets John Ottman Compose His Best Superhero Score Yet
• Fantastic Four: Rise of the
Silver Surfer
Composer: John Ottman
Label: Sony Classical
Suggested Retail Price: $ 14.99
Grade: A
CD REVIEW
By: DANIEL SCHWEIGER
Soundtrack Editor
If you’re stuck with a filmscoring niche, you
could do worse than being the equivalent of a
Marvel Zombie with a touch of DC madness
thrown in. With X-Men 2, Fantastic Four and
Superman Returns to his credits, John Ottman
has given a sweeping, melodically powerful
sound to many of earth’s most popular superheroes.
Sure Ottman’s been out of the comic book
store, as evidenced by such cool, diverse works
as Kiss Kiss Bang Bang, The Cable Guy and
Lake Placid. He’s also got the distinctions of
being a director (Urban Legend 2), and the goto scoring and editing guy for director Bryan
Singer, working for him on nearly every movie since The Usual Suspects. Yet all of these
credits haven’t stopped the superheroes from
pulling John Ottman back in. And in the case
of Fantastic Four: Rise of the Silver Surfer, being typecast into molecularly unstable tights
proves to be a very good thing.
What distinguished the first Fantastic Four
was that the film, and its score, didn’t treat
superpowers as a reason for a visit to the psychiatrist. And after the symphonically muscular angst of his scores for X2 and Superman
Returns, being able to indulge in FF’s lighthearted action let Ottman compose effortlessly
enjoyable music. For once, Ottman could luxuriate in fun, old-fashioned symphonic adventure, replete with its own memorable motifs.
While Ottman retains his FF themes for
their far-superior clash with Galactus’ favorite
herald, what’s ironic about Silver Surfer is that
it’s a “heavier” adventure for the blue-clad foursome. Instead of the last film’s Gotham-centric
heroics, Silver Surfer spans the earth and the
surrounding galaxy. Thankfully, the only-incomic-books premise of the Fantastic Four has
allowed Ottman’s music to retain the original
score’s inherent sense of fun. What’s now been
amped up is the music’s emotional depth, and
its melodic expanse. And the results just might
stand as Ottman’s best musical evocation of
the four-colored panel.
FILM MUSIC weekly ISSUE 25 • AUG.8, 2007
COMING SOON!
AUGUST 14
• As You Like It (Patrick Doyle) – Varèse Sara
bande
• The Invasion (John Ottman) – Varèse Sara
bande
Sure Rise of the
Silver Surfer deals
with planet-shattering doom, noble beings from outer space,
and heroes coping
with their place in the
media spotlight. It all
might sound a bit like
Superman Returns – but minus the ponderous aspects that often affected that movie, and
Ottman’s score for it. Here, the world looks like
it’s going to end, but it’ll be a fun ride getting
there. And with the heroes feeling like they’re
trapped in a world they never made, Silver
Surfer can get right to the blazing action, which
Ottman delivers in memorable spades. The
composer is truly in his own musical universe
here, not having to worry about a weighty albatross around his neck like a pre-existing John
Williams’ theme. Here, Ottman has the freedom to score the FF on his own musical terms,
and the sense of liberation is exhilarating.
John Ottman does much to convey the
breathless speed of the Surfer’s ride, especially
through hyperbeat percussion. But what’s better is the nobility of his main surfer theme.
Even though the film alludes to the Surfer’s
humanoid past, it’s Ottman’s music that gives
us a full picture of Noren Radd, a good guy
trapped into abetting a planet-eater. Effectively adding a chorus onto the score to embody
Galactus (and even Oriental percussion for the
final battle in China), Ottman neatly weaves
the FF themes around Noren’s, giving the score
an essential humanity that lets the score take
flight instead of dragging it down with angst.
Through his notable career, Ottman has always had a way with the orchestra, a talent for
rich, dense melodies that are especially apparent here. And the recording of them has never
sounded better. The sound truly envelopes the
speakers, giving the sense that something very
big and powerful is coming in from the horizon – a sense of cosmic dread that pays off in
spades for the climax. It’s probably the most
musically enjoyable alien near-apocalypse
since a gigantic symphony descended from the
sky for Independence Day.
That isn’t to say that Fantastic Four: Rise
of the Silver Surfer aspires to be that kind of
earth-shattering epic. And that’s the reason
this film, and its score are at the top of this
summer’s FX tent poles. By approaching his
• The King of Kong (Craig Richey) - Lakeshore
• The Last Legion (Patrick Doyle) – Varèse Sarabande
• A Tale of God’s Will: A Requiem for Katrina (Terence Blanchard) – Blue Note
AUGUST 21
• Carnaval de Sodoma (David Mansfield) – Film Music Downloads
NEW The Toybox (Miguel d’Oliveira) – Film Music Downloads
AUGUST 28
• Balls of Fury (Randy Edelman) – Varèse Sara
bande
• Prison Break (Ramin Djawadi) – Varèse Sara
bande
• Shoot Em Up (Paul Haslinger) – Varèse Sara
bande
SEPTEMBER 11
• The Brave One (Dario Marianelli) – Varèse Sarabande
SEPTEMBER 18
NEW Haunting Villisca (David James Nielsen) – MovieScore Media
SEPTEMBER 25
• The Kingdom (Danny Elfman) – Varèse Sara
bande
OCTOBER 2
NEW The Monster Squad (Bruce Broughton) -
Intrada
material with unpretentious respect, Ottman
and his vehicle deliver the kind of innocent,
mythic thrills that the best comic book ephemera is all about. Here’s hoping that there are
many caped crusaders to keep Ottman where
he belongs, even if they let him escape their
caped clutches here and there.
Click here to buy the Fantastic Four: Rise of the Silver
Surfer soundtrack
Courtesy of iFmagazine.com
FILM MUSIC NEWS
SIGNINGS & PROJECTS
THE A-LIST
TOP AGENCIES
The most prolific film music
agencies according to the current
U.S. box office statistics,
July 27-29, 2007:
Klaus Badelt:
Killshot
n German composer Klaus Badelt, whose recent diverse credits include Teenage
Mutant Ninja Turtles and Werner Herzog’s Rescue Dawn, has recorded his score
for Killshot, a new thriller directed by John Madden, with the London Metropolitan Orchestra at Abbey Road. The film stars Diane Lane and Mickey Rourke and
is scheduled to be released by MGM and the Weinstein Co. on October 5. Badelt
replaced British composer Stephen Warbeck, who was previously attached to the
film. mc
James Michael Dooley:
Bachelor Party 2
Alex Wurman:
Quebec
Dimension Films has confirmed to FMW that the music
for Quebec, a comedy directed
by Steve Conrad who wrote the
screenplays for Pursuit of Happyness and The Weather Man, will get a score composed by Alex Wurman (Anchorman: The Legend
of Ron Burgundy and Talladega Nights). Quebec
stars Seann William Scott and John C. Reilly and
is scheduled to hit theaters in September. mc
n
James Michael Dooley has
been hired to score Bachelor
Party 2, a sequel to the 1984
hit film starring Tom Hanks.
The new film is directed by James Ryan and stars
Harland Williams, Emmanuelle Vaugier and Sara
Foster. The studio is Blue Star Pictures, who recently worked with Dooley on the comedy Daddy Day
Camp, due out in theaters on August 8. mc
1. Gorfaine-Schwartz Agency - $109.6m
• The Simpsons
(Hans Zimmer)- $71.8m
• I Now Pronounce You Chuck and Larry (Rupert Gregson-Williams) - $19.1
• Transformers
(Steve Jablonsky) – $11.5m
• Ratatouille
(Michael Giacchino) – $7.2m
2.Kraft-Engel Management - $28.4m
• Hairspray
(Marc Shaiman) – $15.5m
• No Reservations
(Philip Glass) – $11.6m
• License to Wed
(Christophe Beck) - $1.3m
3. Cool Music Ltd (UK) - $17.1m • Harry Potter and the Order of the Phoenix (Nicholas Hooper) – $17.1m
4.Greenspan Artists Management
– $5.4m
• Live Free or Die Hard
(Marco Beltrami) – $5.4m
5. First Artists Management – $3.4m
• I Know Who Killed Me
(Joel McNeely) – $3.4m
Source: IMDb
ISSUE 25 • AUG.8, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Composer Scores a Hit
With Self-Produced Compilation
If you believe strongly in an album of your own music, but don’t think that any regular label would be crazy
enough to release it – why not do it yourself? UK composer
Daniel Pemberton did that and doesn’t regret it one minute.
By Mikael Carlsson
The album “Tvpopmuzik” features musical selections from various TV shows Daniel Pemberton has scored throughout his career.
The BAFTA-nominated composer has provided quirky themes for
shows such as Peep Show, Suburban Shootout and Hells Kitchen
as well as more traditionally rooted music for Prehistoric Park and
the upcoming Napoleon.
“I wanted to put out a collection of all the weird TV music I’d
been making over the past ten years or so. It’s strange because I
don’t think there are really any albums like this, which is pretty
rubbish really. I mean, I’d love more TV composers to put out reworked albums of their output. It’d be great,” says Daniel Pemberton to Film Music Weekly.
“I was kind of hoping this might kick start a new trend. I think
a lot of people dismiss TV music but I think it’s a medium, in Britain at least, where you can write some of your most crazy and experimental music and still get it heard by millions every day!”
1812 is the name of Pemberton’s label and he says he didn’t
believe “anyone else would be crazy enough” to put “Tvpopmuzik”
out.
“It’s never going to be a massive seller, but it got a great level of
coverage, especially considering it is really a one-man operation as I’m the label as well. I just hope it raised people’s awareness of what actually
goes into a lot of TV scores.”
Since the 1960s, TV music has had a certain cult status in the UK. Composers like Ron Grainer, Alan Hawkshaw, Laurie Johnson, Tony Hatch
and Brian Bennett have penned many well-known themes that were performed by their orchestras and released on LP. And Daniel Pemberton is
a fan of those good old tunes.
“I really love a lot of old TV music. I was rewatching The Prisoner the other night and the music is amazing in it. There are loads of shows
that had amazing themes and that trend seems to have disappeared recently in favor of just generic bangs and wooshes. A lot of people seem to
want to play it safe so you have to find directors and producers who let you try out new ideas.…”
Read more:
Check out www.danielpemberton.com for more info about the composer and “Tvpopmuzik.”
4(%"5,'!2)!.39-0(/.9/2#(%342!¯3)& HASBEENCHOSENFORRECORDINGTHEMUSICSCORESOF
„4HE(ONORARY/SCARWINNER%NNIO-ORRICONE„4HE/SCARNOMINEE"EST-USICSONG"RUNO#OULAISFOR
THEMOVIE±,ES#HORISTES² „4HE%UROPEAN&ILM!WARDSWINNER"EST#OMPOSER!NDREA'UERRAFORTHEMOVIE±(OTEL
2WANDA²„4HE'OLDEN'LOBENOMINEE#ARLO3ILIOTTOFORTHEMOVIE±.OMAD²„4HECOMPOSEROFTHEMOVIE±7HEN
.IETZSCHE7EPT²3HARON&ARBER
'ETYOURFREESAMPLE#$
9OUCANALSORECORDWITHUS*USTCALLOREMAILUSATOF½CE SIFCOM&ORMOREINFORMATIONPLEASEVISITWWWSIFCOM
)FYOUAREINTERESTEDIN½LMPRODUCTIONSERVICEORINTERNATIONALCOPRODUCTIONYOUCANVISITTHEWEBSITEOFOUR½LMPRODUCTIONCOMPANYWWWCHBROSCOM
FILM MUSIC weekly ISSUE 25 • AUG.8, 2007
The Chart Doctor
Conduct Yourself Accordingly
Part 1
By Ron Hess
Recently, we discussed the topic of evaluating and hiring a potential conductor for your
instrumental session. Now let’s look at the
possible situation where, by dint of budget or
the nature of the music you are writing, you
have decided to conduct the session(s) yourself. Let’s also assume you may have had some
podium time previously, you already know the
basic beat patterns, and you can follow a score
without too much effort. However, perhaps
you could use some pointers on elevating your
technique with the goal of helping your players
get a polished performance sooner rather than
later.
This week, let’s look at two potential areas
of improvement: Inefficient and out-of-phase
conducting gestures. One way to always spot
a hack conductor is when he consistently beats
time with both hands in a mirror pattern. It’s
a waste of energy and that left hand should be
reserved for more useful purposes. Like turning pages, cuing, or marking the score on the
fly. The way to get out of this unfortunately
ubiquitous habit is simply to stick your left
hand in your pocket for a while. You could
handcuff it to your left belt loop, or at worst
have it amputated, but try sticking it in your
pocket first. Once you get proficient doing all
the beat patterns with just one hand, work to
get comfortable with varying the character of
those patterns (sharp and angular, smooth and
flowing, abrupt and snapping, etc.)
10
Next (and with the left hand still in your
pocket,) get comfortable with accentuating any
beat within the pattern. One-two-THREEfour. One-TWO-three-four-five, etc. Then do
more than one: One-TWO-three-FOUR. ONEtwo-THREE-one-TWO-three, etc. And, finally,
instead of simply accenting, go outside the beat
pattern to throw cues in any direction and return to the pattern by the next beat: One-twoFORWARD-four. One-two-three-RIGHT-onetwo-three-four, etc. Lastly, try doing all of the
above while increasing or shrinking the overall
size of your gestures to telegraph a crescendo
or diminuendo. When your right arm and hand
get really comfortable being that spontaneous
and versatile, then and only then do you have
my permission to take your left hand out of
your pocket.
Why is this so valuable? Players, especially
those working to a click track, start to visually
“turn off ” extraneous, repetitive, or distracting
gestures in their peripheral vision. Why give
them two elements to keep track of when one
will do? And when you do bring in the other
hand to cue someone, describe a dynamic, or
perform a cutoff, it will have an incredibly
greater impact if the players haven’t already
begun to ignore it.
A second way in which more than a few conductors get ignored by their players is due to
a sluggish or out-of-phase beat pattern, especially when there is a click track in use.
It’s amazing how some conductors have beat
patterns that fall either slightly ahead or behind
a clearly-audible click track or pulse inherent
in the music itself. To check your pattern, videotape yourself beating time to a metronome
loud enough to register on the audio track. On
playback, if you visually sense the points of
your pattern aren’t precisely in phase with the
metronome, then you have a problem.
Here’s an exercise to tighten up your
“beats.” Tape the end of a piece of kite or other
light string about six inches long to the tip of
your baton. Now go through your beat patterns
and try to “crack” your tiny whip in sync with
your metronome. When you can snap the end
of the string consistently in time with the click,
chances are the points in your pattern will be
visually in phase with the beat you want your
players to lock to.
Give these a consistent workout, and in
future columns we’ll look at other ways to get
more out of your players through more skillful
baton techniques. Get “cracking!”
nRon 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]
ISSUE 25 • AUG.8, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
La-La Land
releases Godzilla
La-La Land Records has released David Arnold’s score for Godzilla, the 1998 Tri-Star release directed by Rolan Emmerich. At the time
of the film’s release, a compilation soundtrack
album featuring only a few minutes of Arnold’s
massive orchestral score was released. La-La
Lands’ double disc release of Godzilla features the full score; nearly
two hours of music. The same label has also recently released Trevor
Jones’ score for The Dark Crystal. mc
Intrada to release
Broughton classic
Intrada Records will release a limited CD edition of Bruce Broughton’s score for The Monster
Squad, a 1987 homage to classic horror monster
movies. The CD will include the complete orchestral score (57:22) and is a limited release of
3,000 copies. Intrada has also just released a 1,000-CD edition of Pino
Donaggio’s epic Hercules and a 1,200-CD edition of an album featuring Don Ellis’ The Seven-Ups and Johnny Mandel’s The Verdict. mc
M EG A S AV I NGS!
&82-40
#6/%-&4
WAS $3,190.00
NOW!
$995
Includes
Gold Original
and Gold Pro XP
all for one INCREDIBLE PRICE!!!
MUSIC BY
ORIGINAL MOTION
PICTURE SOUNDTRACK
NIGEL CLARKE &
MICHAEL CSÁNYI-WILLS
NOW!
$195
THE
ROCKET
POST
PERfORMED BY
Thematic,
romantic,
orchestral...
British composers Nigel Clarke and Michael Csányi-Wills
has composed a wonderful score for The Rocket Post,
a romantic orchestral work filled with memorable themes
and exciting dramatic writing – performed by the legendary
Royal Philharmonic Orchestra and featuring a beautiful song,
“Distant Shores”, sung by Mae McKenna.
Available on CD and online now!
MovieScore Media
FILM MUSIC weekly ISSUE 25 • AUG.8, 2007
WAS $995.00
NOW!
$495
2VBOUVN-FBQ
4ZNQIPOJD0SDIFTUSB
4JMWFS1SP#VOEMF
Includes
Silver Original
and Silver Pro XP
all for one INCREDIBLE PRICE!!!
&"458&45
$PNQPTFS#VOEMF
THE ROYAL PHILHARMONIC ORCHESTRA
m
Includes
Platinum Original
and Platinum Pro XP
all for one INCREDIBLE PRICE!!!
2VBOUVN-FBQ
4ZNQIPOJD0SDIFTUSB
(PME1SP#VOEMF
WAS $295.00
ROCKET
2VBOUVN-FBQ
4ZNQIPOJD0SDIFTUSB
1MBUJOVN1SP#VOEMF
Includes:
•2-40(0-%03*(*/"•2-40(0-%13091
•2-4:.1)0/*$$)0*34
•2-3"
•#04&/%03'&31*"/0
WAS $2380.00
NOW!
$1195
LAST CHANCE TO BUY!
2-401SP91&EJUJPOT
PLATINUM PRO XP WAS $1595 NOW $595!
GOLD PRO XP WAS $595 NOW $295!
SILVER PRO XP WAS $195 NOW $99.00
(For owners of QLSO ORIGINAL EDITIONS)
8 8 8 5 3 6 & 4 1 & $ $ 0 .
11
Neal Acree: Juncture • Hallowed Ground.
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).
Angelo Badalamenti: The Eye • The Edge of Love.
Klaus Badelt: Heaven and Earth • Killshot.
Roque Baños: The Last of the Just.
Nathan Barr: Watching the Detectives.
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.
Christophe Beck: Drillbit Taylor • The Dark Is Rising.
Marco Beltrami: In the Electric Mist with Confederate Dead
• 3:10 to Yuma.
Charles Bernstein: Bull Run • Let My People Go.
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.
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).
Nigel Clarke/Michael Csányi-Wills: The Grind.
Charlie Clouser: Death Sentence.
Elia Cmiral: The Deaths of Ian • Missionary Man.
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.
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: Daddy Day Camp • Bachelor Party 2.
Patrick Doyle: The Last Legion • Mr. Magorium’s Wonder
Emporium.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Butterfly on a Wheel.
Randy Edelman: Balls of Fury • 27 Dresses.
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.
Ilan Eshkeri: The Virgin Territories • Stardust • Straightheads
• Strength and Honour.
Evan Evans: The Mercy Man.
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.
Jason Frederick: Chinaman’s Chance.
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.
David Glen Russell: Contamination.
Erik Godal: The Gift.
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.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ • Love Lies Bleeding.
Andrea Guerra: L’uomo di vetro.
Robert Gulya: Atom Nine.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden • Shoot ’Em Up.
Alex Heffes: My Enemy’s Enemy.
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.
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 • Lions for
Lambs.
Steve Jablonsky: D-War.
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 • 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.
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).
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 • Greater Threat.
Christopher Lennertz: This Christmas • The Comebacks.
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: 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.
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 • The Frog Princess.
Guy Michelmore: Doctor Strange.
Randy Miller: Last Time Forever • Shanghai Red • Second
Chance Season.
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.
Trevor Morris: Matching Blue.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys.
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 • Nobel Son (co-composer).
Dean Ogden: Oranges.
John Ottman: The Invasion.
Atli Örvarsson: Vantage Point.
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl •
Running the Sahara.
Barrington Pheloung: And When Did You Last See Your
THE
SCORE
BOARD
Father?.
Leigh Phillips: The Legend Trip • War Made Easy • Still Life.
Martin Phipps: Growing Your Own.
Nicholas Pike: The Shooter • Parasomnia.
Antonio Pinto: Love in the Time of Cholera.
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.
Michael Price: Sugarhouse Lane.
Trevor Rabin: National Treasure 2: The Book of Secrets • Get Smart
• Hot Rod.
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.
Anton Sanko: Life in Flight
Brian Satterwhite: Cowboy Smoke.
Mark Sayfritz: Until Death.sake.
Brad Sayles: The Bracelet of Bordeaux.
Lalo Schifrin: Rush Hour 3.
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.
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.
BC Smith: Greetings from the Shore.
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.
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: Time to Kill • 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.
Benjamin Wallfisch: The Escapist.
Michael Wandmacher: The Killing Floor • Man of Two Havanas.
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Flawless • Miguel and William.
Matthias Weber: Silent Rhythm.
Cody Westheimer: Benny Bliss and the Disciples of Greatness.
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 • A Dog’s Breakfast.
Debbie Wiseman: Flood • Amusement.
Lyle Workman: Superbad.
Alex Wurman: The Nines • The Baker • Bernard and Doris •
Baggage • Quebec.
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.
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].