January 8, 2008 - Film Music Magazine

FILM MUSIC weekly
ISSUE 45 • JANUARY 8, 2008 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com
New Orchestration Forum Announced
n Film Music Magazine has an-
nounced The Orchestration Forum,
a new online forum dedicated to the
art, craft and technology of music
orchestration for film, television and
video games. The forum is available
at
http://www.orchestrationforum.com
Composers and others are encouraged to visit the forum, discuss
and share experiences and issues
involving orchestration and writing for orchestra, and post replies
and suggestions to others. A special
feature of the forum is the “Orchestration Troubleshooter” area where
composers and orchestrators can
upload PDF files of orchestration issues and invite
solutions and
comments.
The forum
includes a special area about the
Scott Smalley Orchestration Course
where past and present course participants can discuss issues unique
to the course including Scott Smalley’s orchestration techniques, and
AFM Supports Radio
Royalties for Musicians
n The American Federation of Musicians applauded the introduction
of the “Performance Rights Bill”
that the union says will appropriately require large radio stations to
compensate musicians for broadcasting their recordings, while
protecting songwriters, small radio
stations and noncommercial and
religious broadcasters.
“For performers, music is
hardly ever wealth and glamour,”
said AFM President Thomas F.
Lee. “For most, it is hard work and
a modest living. It is only fair that
corporate radio compensate musicians when it uses their recorded
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
work to attract listeners and advertising dollars. This bill strikes
a great balance. It will provide fair
compensation for performers, fair
accommodations for small, noncommercial and religious radio
stations, and fair protections for
songwriters. It will help us all to
survive and bring great music to
the American public.”
The bill was introduced in late
December in the House by Representatives Berman, Issa, Conyers,
Shadegg, Harman and Blackburn,
and in the Senate by Senators Leahy, Hatch and Feinstein. (continued pg.3)
can share experiences about how
Smalley’s techniques can be applied
to film and television music. In addition, the forum offers an “Ask the
Chart Doctor”
where
questions for Film
Music Weekly’s
“The Chart Doctor” columnist Ron
Hess can be submitted.
“We’re excited about providing a
new forum for composers and orchestrators to discuss the art of orchestration,” said Film Music Magazine pub-
lisher Mark Northam."Too often the
challenges and subtleties of great
orchestration and orchestrators are
not given the recognition they deserve in a world dominated by songs
and sample loops.”
Other discussion areas on the
forum include working with live orchestras, conducting issues, working
with the musicians union, financial
issues and orchestrating fees, music
prep and copying, and a forum to
discuss technology used in orchestration.
Notion Music Launches
Composition Contest
n Notion Music, Inc., creators of No-
tion music composition and performance software, has kicked off the
second annual Realize Music Challenge. Composers from around
the world are invited to submit an
orchestral piece completed in Notion software for a chance to win
a recording session with the London Symphony Orchestra at Abbey
Road Studios. The deadline for entries is May 31, 2008.
“We’re going to discover another many great works of art this
year,” said Lori Jarrett, CEO of
NOTION Music.
One Grand Prize winner, ac-
companied by a guest, will be
flown to London to record the winning composition with the London
Symphony Orchestra, which is
the orchestra featured in Notion’s
built-in sound library, and the recording session will take place at
Abbey Road Studios. The Grand
Prize winner will also receive hotel
accommodations while in London
and $2,500 in cash.
Last year’s Grand Prize winner, 23-year old Inal Bilsel, had his
composition, titled “Nilay’s Dream,”
recorded at Abbey Road Studios in
March of 2007.
“Righteous Kill” (Edward Shearmur), “Seventeen” (Rolfe Kent) and more
Daniel Schweiger reviews “The Best Scores of 2007”
“Some Random Thoughts,” er, “Some Thoughts on Random” by Ron Hess
“Peering Into 2008” by Peter Alexander
(continued pg.3)
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FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
Advertising Manager: Steve Schatzberg
Copy Editor: Lisa Rawson
Technology Editor: Peter Alexander
Soundtrack Editor: Daniel Schweiger
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This Week on
FILM MUSIC RADIO
ON THE SCORE
BRIAN TYLER
Film music journalist Daniel Schweiger interviews composer Brian
Tyler, and directors Colin and Greg
Strause, who do the monster mash
for ALIEN VERSUS PREDATOR:
REQUIEM.
LISTEN NOW
INSIDE THE BUSINESS
CELLIST AND FI-CORE
MUSICIAN JOHN ACOSTA
Mark Northam interviews one of
the leading financial core musicians about his journey to financial
core status and his wife’s charges
against local 47
LISTEN NOW
ISSUE 45 • JANUARY 8, 2008
FILM MUSIC weekly
INDUSTRY NEWS
AFM Supports Radio Royalties
for Musicians (continued from pg 1)
“Professional musicians are deeply grateful to the legislation’s sponsors for their leadership and foresight in trying to bring the U.S. in line
with the developed world, where performers routinely are paid royalties for
radio broadcasts,” said Lee. The AFM pledged its support for the legislation and called for swift enactment.
Of some concern to composers and songwriters is the position of some
broadcasters that any new royalties paid to musicians and record labels
would need to be deducted from existing performance royalties paid to ASCAP, BMI and SESAC.
Notion Music Launches
Composition Contest (continued from pg 1)
The Grand Prize winner will be chosen from the categories of Young,
Emerging or Professional Composer. A panel of distinguished composers
and conductors will also select three finalists each receiving $1,000, and
nine runner-ups, who will receive their choice of Notion software. Submitted original compositions must be 5-10 minutes in length and created in
Notion software.
To learn more about the NOTION Realize Music Challenge entry information and rules, visit http://www.notionmusic.com/contest.
D E PA R T M E N T O F M U S I C A N D
PERFORMING ARTS PROFESSIONS
Lawrence Ferrara, Director
2008 NYU/ASCAP
Foundation Film
Scoring Workshop
Exclusive East Coast workshop:
May 16-23, 2008
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FILM MUSIC weekly ISSUE 45 • JANUARY 8, 2008
3
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Jeff & Mychael Danna:
The Imaginarium of
Doctor Parnassus
Brothers Jeff and
Mychael Danna are
scoring another
two major feature
films together in
the near future.
The Imaginarium of
Doctor Parnassus
reunites them with
acclaimed director
Terry Gilliam, with
whom they worked
on Tideland in 2005.
Gilliam’s new film is
another fantasy project, about a theater
company that “gives its audience much
more than they were expecting.” Hugh
Ledger, Christopher Plummer and Verne
Troyer star in the film which is scheduled
to come out in 2009. Jeff and Mychael
Danna are also doing the music for the
thriller Lakeview Terrace directed by Neil
LaBute and starring Samuel L. Jackson
and Patrick Wilson. The film is set to
premiere on September 19.
Rolfe Kent:
Seventeen
Rolfe Kent, who is
known for his ability
to successfully score
quirky comedies
such as Sideways
and About Schmidt,
has been hired to
compose the music
for Seventeen. This is also a comedy,
about a man who suddenly becomes a
17-year-old high school student again,
and it stars Zac Efron and Matthew Perry
under the direction of Burr Steers who
made the award-winning comedy Igby
Goes Down in 2002. Offspring Entertainment produces for release in 2009.
Edward Shearmur:
Righteous Kill
Millennium Films has
confirmed to Upcoming Film Scores and
Film Music Weekly
that Jon Avnet’s new
film, Righteous Kill,
starring Robert De
Niro and Al Pacino,
4
is being scored by Edward Shearmur.
The film is a crime thriller about two New
York City detectives who hunt a vigilante
who might turn out to be one of their
own. Jon Avnet used to work exclusively
with Thomas Newman, their films together include Fried Green Tomatoes and Red
Corner, but in the past few years he has
been working with Edward Shearmur,
both as a director on the recent action
thriller 88 Minutes, and as a producer on
Sky Captain and the World of Tomorrow.
Shearmur’s other upcoming films include
Passengers, Bill and College Road Trip.
Gustavo Santaolalla:
I Come With the
Rain
Academy Awardwinning composer
Gustavo Santaolalla
(Babel, Brokeback
Mountain, The
Motorcycle Diaries)
is currently working
with acclaimed director Anh Hung Tran
(Cyclo) on his new film entitled I Come
With the Rain. Starring Josh Hartnett,
Elias Koteas and Takuya Kimura, this is a
French-Spanish crime thriller produced
by Morena Films and Canal+ for release
this year. This is the Vietnamese director’s first feature film in eight years. It
tells the story about an American private
detective who goes to Hong Kong to
search for the missing son of a billionaire.
Gustavo Santaolalla is also going to score
Brazilian director Walter Salles’ new film,
On the Road, based on Jack Kerouac’s
novel.
David E. Russo:
The Hottie and
the Nottie
The Hottie and the
Nottie, a romantic
comedy starring
Paris Hilton, Joel
David Moore and
Christine Lakin, gets
an original score by
David E. Russo. He’s
a composer who
has worked extensively as an arranger,
orchestrator and programmer for Graeme
Revell (their projects together include
Sin City, Daredevil and The Chronicles
of Riddick), as well as writing scores in
his own right for films such as Evil Alien
Conquerors, Alone With Her and House.
The Hottie and the Nottie is produced by
Purple Pictures and Summit Entertainment, will be released by Regent, and is
by MIKAEL CARLSSON
[email protected]
directed by Tom Putnam whose previous
credits include the blaxploitation spin-off
Shafted!
THE SCOREBOARD
Panu Aaltio: The Home of Dark Butterflies.
Tree Adams: Emilio • Farewell Bender.
Eric Allaman: Race.
John Altman: The Master Builder.
Marco D’Ambrosio: Say Hello to Stan
Talmadge.
David Arnold: How to Loose Friends and
Alienate People • Bond 22.
Alexandre Azaria: L’auberge rouge.
Niclas Baby: Cortex,
Luis Bacalov: L’uomo privato.
Angelo Badalamenti: The Edge of Love.
Klaus Badelt: Heaven and Earth • Killshot
• Dragon Hunters.
Roque Baños: Las 13 Rosas • The Oxford
Murders.
Lesley Barber: A Thousand Years of Good
Prayers.
Nathan Barr: Watching the Detectives •
Tortured.
Tyler Bates: Day of the Dead • Doomsday
• Watchmen.
Kyle Batter: Secret Society (co-composer).
Jeff Beal: Where God Left His Shoes • Salomaybe? • The Deal • The Pixar Story.
Christophe Beck: Drillbit Taylor.
Marco Beltrami: In the Electric Mist with
Confederate Dead • The Eye.
Jean-Michael Bernard: Be Kind Rewind
• Détrempoez-vous.
Charles Bernstein: Tenebrous.
Doug Besterman: Exit Speed.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Buckley: Town Creek • The Forbidden
Kingdom (co-composer).
Kenneth Burgomaster: Garfield’s Fun Fest •
Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: In Bruges.
Edmund Butt: The Waiting Room.
Niall Byrne: How About You.
Brian Cachia: Gabriel.
Peter Calandra: The Sickness.
Paul Cantelon: The Other Boleyn Girl.
Jeff Cardoni: Save Me • American Pie: Beta
House.
Jamie Christopherson: Ghost Image.
Nigel Clarke & Michael Csányi-Wills: The
Grind.
George S. Clinton: Harold and Kumar 2.
Elia Cmiral: The Deaths of Ian • Missionary
Man • Tooth and Nail.
Chandra Cogburn: Fiesta Grand • Orgies
and the Meaning of Life • The Bard: The Story
of Robert Burns.
Graham Collins: Black Kissinger.
Juan J. Colomer: Dark Honeymoon.
Eric Colvin: Mariposa.
Normand Corbeil: Ma fille, mon ange • Boot
Camp • Emotional Arithmetic.
Jane Antonia Cornich: Solstice.
Bruno Coulais: Max & Co.
Burkhard Dallwitz: The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (co-composer)
• The Imaginarium of Doctor Parnassus (cocomposer).
Mychael Danna: Lakeview Terrace (cocomposer) • The Imaginarium of Doctor
Parnassus (co-composer).
Marty Davich: Mad Money (co-composer).
Carl Davis: The Understudy.
Erik Desiderio: He’s Such a Girl.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Tribe.
Jessica de Rooij: Postal • Tunnel Rats • Far
Cry • In the Name of the King: A Dungeon
Siege Tale.
John Debney: Big Stan • Bachelor No. 2 •
Starship Dave • Swing Vote • Old Dogs •
Sin City 2.
Alexandre Desplat: Largo Winch.
Ramin Djawadi: Fly Me to the Moon • The
Tourist • Iron Man.
James Michael Dooley: Bachelor Party 2 •
Little Mermaid III • Impy’s Island 2.
Patrick Doyle: Nim’s Island.
Ludek Drizhal: Life Goes On.
Clint Eastwood: Grace Is Gone.
Randy Edelman: 27 Dresses • The Mummy:
Tomb of the Dragon Emperor.
Jonathan Edwards: The Golden Boys.
Steve Edwards: Finding Rin-Tin-Tin • The
Neighbor • The Intervention • Sharks in
Venice.
Cliff Eidelman: He’s Just Not That Into You.
Danny Elfman: Wanted • The Sixth Element
• Hellboy 2: The Golden Army.
Stephen Endelman: The Grand • Redbelt.
Paul Englishby: Miss Pettigrew Lives for
a Day.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Virgin Territories.
Evan Evans: The Mercy Man • You’re Nobody
‘Til Somebody Kills You.
Nima Fakhara: Lost Dream.
Guy Farley: The Flock • The Christmas
Miracle of Jonathan Toomey • Knife Edge •
Dot Com • The Broken • Dylan.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury •
Magdalene • Vivaldi.
Jason Frederick: Good Chemistry • Bears.
John Frizzell: Careless • First Born.
Michael Giacchino: Speed Racer • Star
Trek XI.
Vincent Gillioz: The Appearance of Things
• Portal.
Scott Glasgow: Toxic • The Gene Generation
• Bone Dry • Lo • The Bridge to Nowhere.
Philip Glass: Cassandra’s Dream • Les
animaux amoreux.
Erik Godal: The Gift • Ready Or Not • Irreversi.
Jonathan Goldsmith: Tenderness.
Jeff Grace: Trigger Man • I Sell the Dead •
Liberty Kid.
John Graham: Long Flat Balls 2.
Harry Gregson-Williams: Jolene • The
Chronicles of Narnia: Prince Caspian • GForce • Wolverine • The Forbidden Kingdom
(co-composer).
Rupert Gregson-Williams: You Don’t Mess
With the Zohan • Made of Honor.
ISSUE 45 • JANUARY 8, 2008
FILM MUSIC weekly
Film Music Weekly’s “The Scoreboard” 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.
Andrew Gross: Forfeit • National Lampoon’s
Bag Boy • Diamond Dog Caper.
Larry Groupé: Love Lies Bleeding • The
Hungry Woman • Straw Dogs.
Andrea Guerra: Donkey Xote • The Accidental Husband.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus
Azteca.
Richard Harvey: Eichmann • Les Deux
Mondes.
Paul Haslinger: Prom Night • Make It Happen.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State
of Play.
Reinhold Heil: One Missed Call (co-composer).
Christian Henson: Zomerhitte.
Eric Hester: The Utopian Society • Lost
Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the
Devil.
Ben Holbrook: Kiss the Bride.
James Horner: The Spiderwick Chronicles •
The Boy in Striped Pyjamas • Avatar.
Richard Horowitz: Genghis Khan • Kandisha
• The Whisperers.
James Newton Howard: The Waterhorse
• The Great Debaters • Mad Money (cocomposer) • The Happening • The Dark
Knight (co-composer).
Terry Huud: Plaguers.
Alberto Iglesias: The Argentine • Guerrilla.
Mark Isham: Pride and Glory • The Express.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Brideshead
Revisited.
Bobby Johnston: American Fork • Stuck •
Hotel California • Happiness Runs.
Evan Jolly: Tonight Is Cancelled.
Tim Jones: Cryptid.
George Kallis: Antigravity.
Tuomas Kantelinen: Quest for a Heart • Arn:
The Knight Templar • Mongol.
Yagmur Kaplan: The Elder Son • The Lodge •
Broken Windows.
Laura Karpman: Out at the Wedding.
Rolfe Kent: Spring Break in Bosnia • Sex and
Death 101.
Wojciech Kilar: Black Sun.
Mark Kilian: Before the Rains.
David Kitay: Shanghai Kiss • Blonde Ambition.
Johnny Klimek: One Missed Call (cocomposer).
Harald Kloser: 10,000 BC.
Abel Korzeniowski: Terms.
Penka Kouneva: The Third Nail • Richard III
• Midnight Movie.
Ivan Koutikov: Wanted Undead Or Alive •
Living Hell.
Aryavarta Kumar: The Rapture • Greater
Threat.
Nathan Larson: August • Choke.
Jim Latham: Greetings from the Shore •
Swishbucklers • Parental Guidance Suggested.
Christopher Lennertz: The Perfect Christmas
• Meet the Spartans.
Craig Leon: Maestro.
Geoff Levin: Triloquist • The Rat Thing •
Agenda • The Fallen.
Michael A. Levine: Adrift in Manhattan.
Christopher Libertino: Off the Grid – Life on
the Mesa • The Forgotten Kingdom.
Gary Lionelli: Oswald’s Ghost.
Jason & Nolan Livesay: Bounty • Limbo
Lounge • Little Iron Men.
Andrew Lockington: Step • How She Move
• Journey 3-D.
Joseph LoDuca: Bar Starz • My Name Is
Bruce • Boogeyman 2.
Henning Lohner: In the Name of the King: A
Dungeon Siege Tale • Kleiner Dodo.
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 • Camille • Without
a Badge • Like Dandelion Dust.
Aram Mandossian: The Last Resort.
Harry Manfredini: Black Friday • iMurders •
Impulse • Anna Nicole • Dead and Gone.
Clint Mansell: Definitely, Maybe.
David Mansfield: Then She Found Me • The
Guitar.
Dario Marianelli: Shrooms • Far North • The
Soloist.
Anthony Marinelli: Grizzly Park.
Gary Marlowe: Los Pereyra • Das echo der
Schuld.
Phil Marshall: Live.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah
Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi • Le Dernier
gang • La Chambre des morts.
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
• On the Hook • Wherever You Are.
Sheldon Mirowitz: Renewal • Operation
Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really Hate
My Job • St. Trinian’s.
John Morgan: The Opposite Day (cocomposer).
Paul Leonard-Morgan: Popcorn.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo • Fanboys • Cloudy with a Chance of Meatballs.
Sean Murray: The Lost • Clean Break.
Peter Nashel: Wedding Daze.
Javier Navarrete: His Majesty Minor • Mirrors • Inkheart • Fireflies in the Garden.
Blake Neely: Elvis and Anabelle • The Great
Buck Howard.
Roger Neill: Take • Scar.
David Newman: Welcome Home Roscoe
Jenkins.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog
Princess.
Thomas Newman: Nothing Is Private • WallE • Revolutionary Road.
Marinho Nobre: Left for Dead.
FILM MUSIC weekly ISSUE 45 • JANUARY 8, 2008
Adam Nordén: Everybody’s Dancing • Wolf
• De Gales hus.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers •
A Perfect Season • The Sensei.
John Ottman: Valkyrie.
John Paesano: Shamrock Boy.
Heitor Pereira: Suburban Girl • The Canyon •
Running the Sahara.
Mark Petrie: The Road to Empire • Lake
Dead • Mr. Blue Sky • Valley of Angels •
Farmhouse.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Grow Your Own.
Nicholas Pike: It’s Alive • Parasomnia.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat • City of Ember.
Steve Porcaro: The Wizard of Gore • Cougar
Club.
John Powell: Horton Hears a Who • Jumper.
Michael Price: Sugarhouse Lane • Agent
Crush • Wild Girl.
Trevor Rabin: Get Smart.
Didier Lean Rachou: How to Rob a Bank •
An American in China.
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & you, Us, Forever • The
Secrets of Jonathan Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Days
of Wrath.
Graham Reynolds: I’ll Come Running.
Zacarías M. de la Riva: The Last of the Just
• The Anarchist’s Wife.
Carmen Rizzo: The Power of the Game.
Matt Robertson: The Forest.
Douglas Romayne: In Zer0: Fragile Wings.
Philippe Rombi: Angel.
Brett Rosenberg: The Skeptic.
Laura Rossi: The Cottage.
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: I Come With the Rain
• On the Road.
Brian Satterwhite: Cowboy Smoke •
Maidenhead.
Mark Sayfritz: Sake.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning Heartache.
David Schommer: War, Inc.
Misha Segal: Lost at War • Shabat Shalom
Maradona.
Marc Shaiman: Slammer • The Bucket List.
Theodore Shapiro: The Mysteries of
Pittsburgh • The Girl in the Park • Semi-Pro
• Tropic Thunder • The Heartbreak Kid •
Nowhereland.
George Shaw: Victim • Sailfish.
Edward Shearmur: Passengers • Bill • College Road Trip • Righteous Kill.
Ryan Shore: Numb • Jack Brooks – Monster
Slayer • Shadows.
Vince Sievers: The Source.
Carlo Siliotto: La Misma Luna • The Ramen
Girl.
Alan Silvestri: G.I. Joe.
Emilie Simon: Survivre avec les loups.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts
• Disgrace.
Damion Smith: Stompin.
Jason Solowsky: 110%: When Blood, Sweat
and Tears Are Not Enough • L.A Takedown •
Unemployed • North by El Norte.
Maarten Spruijt: The Seven of Daran - Battle
of Pareo Rock.
Marc Streitenfeld: Body of Lies.
William T. Stromberg: TV Virus • Army of the
Dead • The Opposite Day (co-composer).
Jina Sumedi: Sextet.
Johan Söderqvist: Walk the Talk • Let the
Right One In.
Joby Talbot: Son of Rambow.
Frédéric Talgorn: Asterix at the Olympic
Games • Dragon Hunters.
Francois Tétaz: Rogue.
Mark Thomas: Tales of the Riverbank.
Gregory Tipri: Secret Society (co-composer).
tomandandy: The Koi Keeper.
John van Tongeren: War Games 2 - The
Dead Code.
Pinar Toprak: Blue World • Dark Castle •
Serbian Scars • Say It In Russian • Ocean
of Pearls.
Jeff Toyne: Shadow in the Trees • Within •
Late in the Game.
Michael Tremante: If I Didn’t Care.
Gregory Tripi & Kyle Batter: Dark Storm •
Termination Point.
Ernest Troost: Crashing.
Brian Tyler: Alien vs. Predator 2 • Rambo •
The Heaven Project.
Shigeru Umebayashi: A Simple Love Story.
Cris Velasco: Prep School.
Waddy Wachtel: Strange Wilderness.
Reinhardt Wagner: L’Heure zéro.
Michael Wandmacher: The Killing Floor •
Train • Never Back Down.
Stephen Warbeck: Flawless • Miguel and
William • The Box Collector.
Matthias Weber: Silent Rhythm.
Richard Wells: The Mutant Chronicles.
Cody Westheimer: Benny Bliss and the
Disciples of Greatness • Hysteria.
Alan Williams: For the Love of a Dog • Act
Your Age • Snow Princess • He Love Her,
She Loves Him Not • The Velveteen Rabbit.
David Williams: The Conjuring.
John Williams: Indiana Jones and the Kingdom of the Crystal Skull • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: Afterthought • The Passage •
Starcrossed.
Austin Wintory: Captain Abu Raed • Mr.
Sadman • Grace.
Debbie Wiseman: Amusement.
Chris Wood: Zombies Ate My Prom Date.
Alex Wurman: Bernard and Doris • Baggage
• Quebec.
Gabriel Yared: Manolete • The No. 1 Ladies
Detective Agency.
Christopher Young: Sleepwalking • Untraceable.
Geoff Zanelli: Delgo • Outlander • Ghost
Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Home for Christmas • Step
Up 2 the Streets • Smart People • Lake City.
Hans Zimmer: Frost/ Nixon • Casi Divas
• Kung Fu Panda • The Dark Knight (cocomposer).
Atli Örvarsson: Vantage Point • Babylon A.D.
5
6
ISSUE 45 • JANUARY 8, 2008
FILM MUSIC weekly
CD REVIEW
by DANIEL SCHWEIGER
[email protected]
The Best Scores of 2007
THE TOP TEN
American Gangster (Marc Streitenfeld Varese): An ultra-hip urban score never lets
up with the thrill of the crime.
Beowulf (Alan Silvestri - Warner Bros.):
With its big, bold themes, this is a soundtrack
for the heroic ages.
The Kite Runner (Alberto Iglesias –
Deutsche Grammophon): The tragedy of
Afghanistan and the bonds of childhood
friendship find a poetic, soaring power.
La Vie en Rose (Christopher Gunning EMI): A gorgeously sad score revels in the
tormented, eternally romantic soul of singing
legend Edith Piaf.
300 (Tyler Bates - Warner Bros.): Spartan
fury gets pumped up with a dynamic mix of
headbanging rock and orchestral thunder.
Honorable Song Mention - Once (Glen
Hansard / Marketa Irglova - Columbia): Even
if these two Irish buskers never find romance,
their tunes make for a beautifully heartfelt
folk opera.
THE RUNNERS-UP
The Assassination of Jesse James by the
Coward Robert Ford (Nick Cave / Warren
Ellis - iTunes): A spare, yet elegantly elegiac
approach to the myth of the western.
Lust / Caution (Alexandre Desplat - Decca): The melodic charms of ways of seduction
finds its erotic instinct like never before.
Eastern Promises (Howard Shore - Sony
Classical): The darkness of the Russian Mafia
gets surprising, and moving tenderness that
sings with the wages of sin.
Ratatouille (Michael Giacchino - Walt
Disney): With a classic comedic vibe worthy of
Henry Mancini’s French farces, this rodent’s
music really cooks.
Enchanted (Alan Menken - Walt Disney):
The king of Disney music has a blast making
fun of the oh-so-happy toons that put him on
top of the Oscar heap.
Sunshine (John Murphy - Unreleased): A
mission to the sun becomes a hypnotic journey
in alternative sci-fi scoring.
Fracture (Jeff and Mychael Danna - Silva
Screen): The sound of the perfect murder
becomes a lushly diabolical nail biter.
Stardust (Ilan Eshkeri - Decca): Storybook
legends come true with a wondrous score that
finds the magic of a fractured fairy tale.
Harry Potter and the Order of the Phoenix
(Nicholas Hooper - Warner Bros.): The dark
magic of Harry’s world takes on an impressive
dramatic gravitas under a new musical wand.
There Will Be Blood (Jonny Greenwood
- Nonesuch): The sound behind Radiohead
strikes gold with an astonishingly modern approach for a turn-of-the-century oil tycoon.
FILM MUSIC weekly ISSUE 45 • JANUARY 8, 2008
The Lookout (James Newton Howard iTunes): The suspense of film noir takes on a
truly rural threat in this gripping, mixed-up
mind trip.
Mr. Magorium’s Wonder Emporium (Aaron
Zigman and Alexandre Desplat- Varese):
Childhood magic has never sounded as pure,
or joyful as it does in this glittering score.
Rescue Dawn (Klaus Badelt - Milan): A
war prisoner’s ordeal becomes a spare, yet
immensely moving lesson in musical existentialism.
Rocket Science (Eef Barzelay - Lakeshore):
A clever, string-driven score wins the argument for inventiveness in the screwball world
of high school debating.
Waitress (Andrew Hollander - Unreleased): The love of pie gets released with
beautiful, folksy warmth.
COMPOSERS TO WATCH:
Olivier Bernet (Perseopolis),
Scott Bomar (Black Snake Moan),
Tim Curran (Hangman’s House),
Harry Escott / Molly Nyman (A Mighty Heart),
Scott Glasgow (Hack),
Gordy Haab (Behind the Mask),
Christian Henson (Severance),
Jon and Al Kaplan (Just Pals),
Victoria Kelly (Black Sheep),
Penka Kouneva (The Third Nail),
Don MacDonald (Fido),
Blake Neeley (Starter for 10),
Daniel P. Newman (Bryan Loves You),
Yuri Poteyenko (Daywatch),
Brian Reitzell (30 Days of Night),
Francois Tetaz (Rogue),
David Torn (Lars and the Real Girl),
Lyle Workman (Superbad)
n
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8
ISSUE 45 • JANUARY 8, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
[email protected]
Some Random Thoughts,
er,
Some Thoughts on Random
T
he other night I saw a documentary on
legendary Las Vegas cheats that included
a profile of a video slot machine manipulator whose “success” in unfairly beating the
machines was based on insider knowledge
and experience with the software which ran
them and inspired
insight of his
own into how
computers work.
Included was his
discovery that the
computers which
controlled the
games were incapable of generating truly random
events and were
instead using a smaller, finite set of numbers
to generate events which only seemed chancy.
He could cheat because “random” wasn’t
random.
Similarly, when composers and arrangers
ask performers to produce “random” notes
and music, often they put slashes in a group
of measures, mark it “random” or some such
piffle, and think they’ve done their job. Not
so, Kemo Sabe! Consider for a moment: your
objective is to achieve an effect as devoid of
associations with overly-known melodies,
rhythms, colors, effects, etc., as possible. Good
random music sounds fresh because it is not
“anticipatable.” Unlike the Vegas cheat, your
success depends on “random” actually being
random.
The players performing and/or recording
your music, however, tend to be specialists,
recruited by dint of their career success in
predictably reproducing commercially and/
or classically accepted styles, tone qualities,
and instrumental effects, and there’s the
rub. From what well of musical material do
FILM MUSIC weekly ISSUE 45 • JANUARY 8, 2008
you think they will tend to draw when given
slashes and commanded to sound “random”?
Being human, that approach usually results
in a recitation of favorite licks, effects, passages, and almost always a surplus of notes.
Why limit oneself to 14 meaningful notes
when 200 impressive ones will fill the same
space? And why “fill” at all? Doesn’t “random”
also include some silence?
I was once taught by classical composer
Gunther Schuller that the secret to coaxing
randomness from a player is not in giving him
more and more freedom, but rather in more
and more taking it away. The technique is to
so overload his mind (and his fingers) with
specifics and controls which so severely limit
his freedoms that his inevitable failure in perfectly rendering exactly what you’ve notated
will give you the randomness you seek.
In short, you succeed by setting him up to
fail. And that failure, despite the exactitude
experienced by the player, creates the random
“sound” that the listener will experience.
Unfortunately, this means that you have
to do the donkey work of notating all the
specifics that will produce an inevitable but
glorious breakdown. The more random you
want it to sound, the more complex and specific your notation will have to be. In Example
1, which passage do you think will yield the
more random effect? And since you know the
overall flavor you need to achieve, why take a
trial-and-error approach to getting it with the
studio clock running?
Practically speaking, of course, if you are
reading this, you probably do face post-production time issues
of your own that
preclude a perfect
solution. So you
may have to find
a workable compromise somewhere between
the extremes
of either you or
your performer(s)
providing all the
magic. Do the best you can, but recognize that
the more “stuff ” you leave out, the more must
be provided by others, hence the less control
you will have and the greater the compromise
on the final effect. And, in fairness to those
others and your conscience (please don’t take
this lightly), if you share the creative burden,
then do the ethical thing and share some of
the reward. That means more money and
credit (screen and soundtrack recording, if
at all possible) for the player(s). In truly
extreme situations, sharing cue sheet credit
might be appropriate.
As I’ve said many times, there ain’t no free
lunch. And “random” probably isn’t “random.”
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 your questions to Ron at
[email protected]
9
!LEXANDER5NIVERSITY/NLINE#LASSES
7RITING&OR7OODWINDSWITH3TEPHEN(ILL
2EGISTER.OW#LASS&ILLING5P/NLYSPACESLEFT
2EQUIRED4EXT0ROFESSIONAL/RCHESTRATION0LATINUM,EARNING0ACKAGE
#LICKHEREFORMOREINFO
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REFLECTSTHEMOODANDACTIONOFTHELITERARYWORKASSIGNED
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"EYONDWRITINGFOURNEWCOMPOSITIONSYOULLALSOSTUDYSPECIlCSABOUTEACHINSTRUMENTANDLEARNTHEBASICSOFSCOREREDUCTIONANDANALYSIS
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3ODONTWAIT&ORMAXIMUMATTENTIONCLASSSIZEISRESTRICTEDTOSIXSTUDENTS#LICK!DFORMOREDETAILS
Alexander University: Training that gets results.
10
ISSUE 45 • JANUARY 8, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
by PETER LAWRENCE ALEXANDER
[email protected]
Peering Into 2008
A
fter looking over the news stories for the
past year, I thought it would be appropriate to make some yearly predictions as to
where things are going with music and technology and how that will impact composers.
Lessons From the Writers’ Strike
Both Hewlett-Packard and Wal-Mart
dropped out of the video download market,
citing it as unprofitable. But that’s not stopping
the major networks, and beta site Hulu, from
experimenting with the profitable viability of
downloading content. Hulu, in case you haven’t
heard about it, is a joint venture of NBC
Universal and News Corp., scheduled to launch
in October 2008. Hulu provides programming
from both NBC and FOX, seven different cable
channels and selected movies. With its theme
of, “anytime, anywhere,” the goal is to make
programming available globally. Right now
viewing is restricted to the U.S., but clearance
work is ongoing to make programming available in every country in the world.
But Hulu isn’t alone. With ABC, CBS, and
NBC, you can go to their websites and watch
programming anytime. Right now, many of
these programs are advertiser supported. And
Apple is being challenged by Amazon in the
download war, too.
According to a December 20, 2007 story on
Reuters.com, the Harris Interactive poll found
that 65% of all poll respondents had watched
at least one video on YouTube, 43% watched
programming on a network site, and 35% on a
news site.
One concept must be agreed upon by all
sources: the difference between a download
and watching streaming content. iTunes
sells downloads. So, the creative artist must
determine how much of the download they’re
getting, whether it’s a video or an MP3 music
file. Then, who collects the money?
One thing about computers, it can add really well 1+1+1+1+ to derive the actual number
of paid downloads that took place. No revenue
sharing or “sweeps” needed here, because the
computer keeps the exact number and can
report it monthly. As a result, there’s no reason
royalties can’t be paid out monthly starting 45
days after the close of the month.
But that part’s easy. What’s tough is when
you factor in global viewing with streaming
content. But again, the computer can create
a login count. It knows how many streaming
FILM MUSIC weekly ISSUE 45 • JANUARY 8, 2008
feeds can commence at once. And since web
viewing is global viewing, the concept of market weighting to determine the worth is now
outmoded. There will now be network, regional,
local and web viewing and listening.
Some of this won’t be so easy to track, especially with streaming off of smaller specialty
sites.
What’s unclear from any source, is how
actors, writers, and composers will be compensated.
But there is one other surety. Composers
and songwriters can choose to begin producing
their own individual works, their own programming, and broadcast it on the web. They’ll have
the same promotional issues the networks do,
but if the programming’s quality is good, even
with smaller viewing audiences, there’s no
reason composers can’t be grabbing a bigger
share of the pie.
It will also change the concept of film scoring. Instead of having a few thousand composers to compete with, now there will be a few
million.
own “V-Stack” programs, so if you want to run
programs from both companies simultaneously, you’ll need separate machines for both
companies.
As a result, this will be continued good
news for audio card manufacturers and makers
of mixing boards, that is, until FX Max gets its
act together with connecting software for both
Mac and PC. MIDIoverLAN, created by Music
Works, can do this with MIDI, but not audio.
With this approach, system integration
nightmares should subside, but not for amateur users who opt to run virtual instruments
from multiple companies on the same machine.
For these folks, don’t even think about having
your best bud or the kid down the street who’s
good with video games build you a system, because you’re not going to get the performance
out of it.
Simply put, 2008 is the year of the Specs,
not the year of the Rat (as suggested by the
Chinese zodiac).
Sample Developers
Computing
The trend is moving to inexpensive downloadable products that bypass retail distribution. For example, SONiVOX, Vienna, and ILIO
all have such value-priced opportunities.
While there are cheaper and cheaper PCs
on the market (Dell in Guitar Center, HP in
Best Buy, etc.) a true digital audio computer
will remain in the same price category and
slightly higher because of the impact of XP64
and ultimately Vista. With many consumer
motherboards able to handle 8GB of RAM
(memory) and shortly 16GB, the opportunity
to load an entire orchestral template is here as
shown by tests by Vienna and other professionals with similar machines. As we transition
more into 64bit by mid-2008, the opportunity to
have fewer computers in the studio doing more
will have arrived.
The transition won’t be completely easy.
Logic 8 users still have to contend with Logic
only accessing 2GB of RAM while some virtual
instruments will access 4GB, and others, using
Soundflower, will access more. My guess is that
in the end, the PC will be the 64bit-ers love
machine because it will be easier to configure
and RAM will be cheaper than on the Mac
(which, according to one authorized Mac store,
is the same RAM as the PC, but double the
price). This means (for many in film production) sequencing on the Mac and using farm
machines to handle EastWest and Vienna.
Both EastWest and Vienna will have their
Products will stay priced in the low to mid ‘00s.
There will be at least two more string
libraries. EastWest announced their development of a string library that may not be released until 2009, but there’s always hope. We
also hear through the grapevine that GOS II,
now retitled GPO advanced, will be out around
NAMM time, maybe.
However, we will also see another turn
of events and that’s with physical modeling.
Programs from Virsyn, Synful and WIVI are
getting better and better. And the value of
these programs is that not only do they sound
great, they’re not memory intensive. So you’re
paying more, but only using one computer.
Significant production on a laptop with 2GB of
RAM? Getting there.
However, there is a downside to all this.
Unfortunately, I don’t think the number
of people using MIDI sequencing programs
is growing at a fast rate. That’s important
because sample developer sales (Continued pg 12)
11
MUSIC TECHNOLOGY
FILM MUSIC NEWS
Peering Into 2008
(continued from pg 11)
follow sequencing program sales. This is why it will be important for
developers to focus on providing instruction for showing how their
virtual instruments can be used within Sibelius, Overture 4, and other
notation programs accepting VSTi’s. One exception to this will be Finale.
They have a contract giving Native Instruments an exclusive for several
Pete Carpenter Fellowship winner John Kaefer (l) is pictured with BMI’s
years, at least that’s what the salesperson on the Finale sales line told
Linda Livingston and BMI composer Mike Post in Post’s Burbank studio.
me. Academia, the next great sales move, is effectively shut out of other
companies’ virtual instruments, but not Sibelius, and not Overture 4,
both of which are dual platform. And of the two, only Overture 4 is really
sequencing friendly.
If they could just get their marketing act together enough to provide
MIDI import and export, the sleeper program that could dominate notation/sequencing sales is Notion. Notion is easy to use, and is seamless
with
its implementation
of samples
By not completely
Composers
John Kaefer
and andinnotation.
his Calabasas studio. Additionimplementing
MIDI import
export, they’re shooting themselves
James Woodward
haveand
been
ally, Kaefer serves as the Creative
innamed
the footthe
and winners
delaying their
own entrance into both the consumer
of the
Director and a principal composer
and academic marketplace. Someone needs to do the Notion corporate
for DreamArtists Studios, a film/
18th Annual Pete Carpenter
leadership a real favor by sending them historian Barbara Tuchman’s
television music production house
Fellowships, it was announcritically acclaimed, The March of Folly: From Troy to Vietnam. (NOTE
based in New York.
ced
by
BMI
Foundation
PresiTO READERS: I’m only old enough to remember the second war, not the
Composer James Woodward
dent Ralph N. Jackson.
first.)
is a native of California and beIn the absence of this, developers will have to either rely on sequencComposer John Kaefer has been gan writing music in Wisconsin.
ing
software companies
to reach
out to the
broad market,
or develop
recognized
for his scores
for film
A string
bassist and
pianist, he
their
The concept
everyone
wascomposition
Synclavier. with
That’s
and own.
television,
as well
as for understood
his studied
Stephen
really
what the
marketplace
is asking for.
But until
that Foster
happens
(don’t
chamber,
choral
and orchestral
Hartke,
Ronald
and
John
hold
your works.
breath He
– there’s
more hubris in
a sequencing software firm
concert
has composed,
Downey.
than
in the and
White
House), thenmusic
individual developers
have to
produced
orchestrated
His music will
has either
been performed
develop
their
sequencing platform
to bundle
with their
libraries,
or
for film
andown
network/cable
tele- by
the Milwaukee
Youth
Symphowatch
net profits
slide inRoom
the face of
to sell
atUSC
lowerSymphony
prices.
visiontheir
projects,
including
nyhaving
Orchestra,
the
cial interruptions. Just look at the options available with iTunes and
Windows media player. One of the great delights is listening to Otto’s
Baroque or several dozen other streaming sites. There’s simulcast
radio, streaming music channels through many cable TV services, and
subscriptions from the Naxos Music Library with close to 100,000 CDs
Pete Carpenter Fellowship winner James Woodward (c) is congratulated
online. And with iPhone, you’re no longer stuck in front of a computer to
by Post and Livingston.
listen.
BMI names fellowship winners
Conclusion
One thing’s for certain. I’m guaranteed another year’s worth of
columns!
John Kaefer and James Woodward winners of the Pete Carpenter Fellowship
n Peter Alexander is preparing to score The Good Samaritan. His most recent books are
enjoys surfing off the Southern in 1985 to support the creation,
How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has
performance, and study of music
California coast.
also written White Papers on music education.
through awards, scholarships,
The BMI Foundation, Inc. is a
commissions and grants.
mn
not-for-profit corporation founded
Service (starring Howie Mandel Orchestra, the United States
Education
and debuting at Sundance), To Army Orchestra, and other enKill A Bore (shown at Cannes) sembles across the United States
With
all the
music
schools in the world,
you would think that educaand
Dance
School
(documentary),
and Europe.
tion
would
be the bastion of MIDI, sequencing
and recording
instruction.
among
others.
Woodward
recently
completed
Not so.
sales
calls to
professors
all across
States
you film
HeMaking
recently
worked
with
leg- writing
thethe
music
forgives
a short
lots
of insights,
especially when
department
heads
you bluntly
endary
BMI television
composer
directed
by tell
Gentry
Smith, that
is perthey’re
not going
to implement
many changes
MIDI-aided
W.G. Snuffy
Walden
(West Wing,
formingwith
for various
filmsinstrucand projtion
because
tenured,
to retirement
they’re
Studio
60, being
Friday
Night they’re
Lights)closeects
in the Los and
Angeles
area, and
willing to let the next teaching generation handle it – after they retire.
Despite the hoopla from various circles, don’t look for any significant
educational
movementCARPENTER
for at least another fiveFELLOWSHIP
years, or longer.
THE PETE
• The Fellowship, open to aspiring film and television composers under the
CD age
Sales
of 35, was established by the BMI Foundation and Carpenter’s family,
colleagues and friends to honor the late composer whose credits include such
CD salesthemes
will continue
to as
perform
well but
will also
continue
toFiles,
drop
television
and scores
The A-Team,
Magnum
P.I., The
Rockford
because
as the
post-war
baby
boomers
age, their predilection to buying
Hardcastle
and
McCormick,
Hunter
and Riptide.
music wanes as they pay for their children’s college education, medi• Fellowship winners are given the opportunity to intern with renowned BMI
cal insurance,
retirement
and studio
more.and
Themeet
rising
cost
of distinmedical
composer Mike
Post in hissavings
Los Angeles
with
other
insurance
the need
to finance
medical
issues for
will
put and
a greater
guishedand
theatrical,
film and
TV composers.
A stipend
travel
living
squeeze
on the
economy
than
gasoline. How do I know this? When you
expenses
is also
part of the
award.
examine the reader age stats of the various MIDI print publications,
• Mike Post, Carpenter’s longtime writing partner, has penned some of the
their
average age is 45. Hello AARP.
most memorable theme songs in television history, including Hill Street Blues,
ButA-Team,
what will
happen
music
listening
The
Magnum
P.I.,to
NYPD
Blue,
Law and with
Order,the
L.A.post-war
Law, The baby
Rockford
boomers?
Files, Quantum Leap and City of Angels.
It will go to the Internet with streaming audio with no commer12
8
ISSUE245
• JANUARY12,
8, 2008
ISSUE
• FEBRUARY
2007
FILM MUSIC weekly