April 1, 2008 - Film Music Magazine

FILM MUSIC weekly
ISSUE 57 • APRIL 1, 2008 • A Global Media Online Publication • www.filmmusicweekly.com
Harry Fox Collections Totaled
$394 Million in 2007
n The Harry Fox Agency has an-
nounced that its 2007 royalty collections totaled $393.5 million, a
3.7% increase from 2006.
The Harry Fox Agency issues
mechanical licenses - the right to
reproduce a musical composition
on a CD, record or tape - on behalf of
music publishers. HFA issued over
1.51 million mechanical licenses
in the year, bringing the total
number of licenses under HFA’s
administration to over 13.9 million. The company represents almost 35,000 publishers, with over
1.9 million songs available for licensing.
“In the context of a declining
market for CDs, HFA’s continued
positive performance validates
our efforts over the past several
years to upgrade our technology
and business approach to licensing and, most important, to collections and compliance examination
results,” said Gary Churgin, HFA
President & CEO.
ASCAP Expo Final Schedule
Announced
n ASCAP has announced the final
schedule for its “I Create Music
Expo” being held April 10-12, 2008
in Los Angeles at The Renaissance Hollywood Hotel. Registration for the 3-day event is $450
and includes panels, exhibits, and
“chances to rub elbows with the
best in the music business” according to ASCAP’s website.
The Expo features panels
and speakers primarily made up
of songwriters, music publishers
and artists, including some score
composers. Panel topics range
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
JOBS:
from discussions about career
opportunities to subjects including mechanical royalties, music
licensing, concert music and jazz,
library music, self-publishing and
much more.
Also featured at the Expo are
technology exhibits by Gibson, Roland, Apple, Notion, and others.
A special bonus of the Expo
this year are opportunities for
attendees to perform at the
Korg Acoustic Stage, the closing reception at the Highlands, and more. (continued pg.3)
Given its connection to CD
sales, HFA’s revenue streams are
more susceptible to piracy than
performing rights organizations.
Accordingly, HFA revenue has
shown significant volatility in recent years, peaking at $421 million in 2004.
(continued pg.3)
audioMIDI.com Announces
DAW Conference
n audioMIDI.com has announced
a special event focusing on Digital Audio Workstations scheduled for April 26, 2008 in Los
Angeles. “DAWg Day Afternoon
2” will feature industry experts
from Ableton, Apple, Antares,
Cakewalk, Celemony, Digidesign,
IK Multimedia, MOTU,McDSP,
Open Labs, PianoTeq, Propellerhead, Steinberg, Universal Audio
and Waves discussing the latest in digital audio workstation
technology.
The event will also include
product giveaways, comprehensive product demonstrations,
Q&A sessions, and more.
The audioMIDI DAWg Day
Afternoon 2 conference will take
place from 10am to 4pm on April
26th at audioMIDI¹s facility in
Chatsworth, CA. Refreshments,
snacks and free parking are provided - admission to the event
is $10 and is refundable on any
purchase made the day of the
event.
For more information click here
or call (866) 283-4601.
“Kung Fu Panda” (Hans Zimmer & John Powell), “The Reader” (Nico Muhly) and more
Daniel Schweiger reviews “Two by Tiomkin”
“Anatomy Of An Arrangement Part 1: Taking The Call” by Ron Hess
“Updating Your G5 or Mac Pro for 64-bit? Yes? No? Go PC?” by Peter Alexander
Film & TV Music Current Job Listings
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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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FMR
This Week on
FILM MUSIC RADIO
ON THE SCORE
MY LUNCH WITH MAURICE
SUBSCRIPTIONS
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Entire Contents © 2008 Global Media Online, Inc.
Film music journalist Daniel
Schweiger interviews
legendary composer
MAURICE JARRE,
who reflects on his epic career,
and a specially revisited
tribute to
director David Lean.
.
LISTEN NOW
ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly
INDUSTRY NEWS
Harry Fox Collections Totaled
$394 Million in 2007 (continued. from pg 1)
HFA’s emphasis on royalty compliance is showing dividends. Royalty Compliance is the process by which HFA examines the books and
records of licensees to evaluate the accuracy of royalty statements
submitted and payments remitted by licensees, and enters into settlements for additional monies owed. For 2007, Royalty Compliance Examination collections were $21.1 million, or 5.4% of total revenue.
HFA’s numbers also show an accelerating trend towards digital
formats. Of the 1.51 million mechanical licenses issued in 2007, 82%
were for digital formats.
ASCAP Expo Final Schedule
Announced (continued. from pg 1)
The event also features song listening panels, one-on-one sessions,
and the ASCAP 2008 General Membership Meeting at which ASCAP
executives will report on the success of the organization over the past
year.
For a complete list of panels, events and other activities for the
ASCAP I Create Music Expo, visit http://www.ascap.com
Join the new online community where
orchestrators and composers discuss the
art, craft and technology of orchestration.
www.OrchestrationForum.com
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FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
3
LETTERS
Dear Film Music:
I have had an idea for a long time of how runaway/non-union work could be stopped and although I have told this idea to many colleagues - the
response is always “nobody will ever go for that” - well maybe it is time to start a true grassroots effort here. It is really very, very simple.
Here’s how it would work: Any film/television show that goes out of the country to a location where the main reason for going is to avoid unions or
to take advantage of cheaper production costs AND where the film is actually set in the US (for instance, shooting in Toronto where the actual location
of the story is New York) would then make the production ineligible for any award consideration in any category - Oscars, Emmys, SAG awards, Writer’s
Guild Awards and all other industry recognition. This would then make all the people involved in a project have to consider their choice about whether
or not they are willing to just do the gig for a paycheck and accept the fact that there is no possibility of it being recognized by any of the Academys. I
believe that most of the people in this business want the recognition that comes with these awards as much, if not more, that just doing the gig to pay
the bills.
Of course, this means getting all the Academys on board. But it would certainly be interesting to see which groups would put their muscle behind
trying to solve the runaway production issue. Plus, since most of the executives are not Academy members, this would really push to the forefront the
“bottom line is all that matters” thinking that seems to be in their control. I have yet to meet a Composer, Director or Producer who who took their
project out of the country because it was their choice.
As for music, any score that is for an American Film or TV show that is scored out of the country or non-union would then be ineligible for award
consideration. I mean, let’s face it - if James Newton Howard and other A List composers cannot stop their projects going to London, who can? The
AFM threatening orchestrators and conductors loyal to their composers for trying to keep their clients and make a living is not what any of this should
be about. But if the Academy disallowed these scores to be considered for awards, then these major composers might turn down those jobs, or the producers might try to keep the work here so that their films and scores could be recognized.
Of course, it could be that films will then all have European and other non-US locations for a while, but I imagine that would not last too long. US
audiences will tire of films about non-US subjects pretty quickly I imagine.
I would love to hear what other members of this group think. I believe this is doable IF we are all, in fact, serious about getting the work to stay here
in the US with our labor unions and guilds.
Name Withheld By Request
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ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Hans Zimmer &
John Powell:
Kung Fu Panda
Dreamworks Animation
confirmed to Upcoming
Film Scores today that
the upcoming Kung Fu
Panda gets an original
score co-written by
Hans Zimmer and John
Powell. This marks
Hans Zimmer
the first collaboration in eight years
between the highly
prolific composers,
who worked together
on Dreamworks’ The
Road to El Dorado and
the action thriller Chill
Factor in 1999. Kung
John Powell
Fu Panda is directed by
Mark Osborne and John Stevenson and
features the voices of Jack Black, Jackie
Chan, Dustin Hoffman, Lucy Liu and
Angelina Jolie. The film, which tells the
story about a lazy panda who is forced to
turn into an action hero, is scheduled to
premiere on June 6.
Christophe Beck:
What Happens in
Vegas...
Romantic comedy What
Happens in Vegas...,
starring Cameron Diaz,
Ashton Kutcher and
Queen Latifah, gets an
original score by Christophe Beck, a composer
whose other comedy
credits include License to Wed, School for
Scoundrels and the recent Drillbit Taylor.
The film is directed by Tom Vaughan, who
previously worked with composer Blake
Neely on Starter for 10 in 2006. Vaughan’s
new film centers around a man and a
woman who discover that they’ve gotten
married during a night of debauchery. The
film is scheduled to be released by 20th
Century Fox on May 9.
John Swihart:
The Longshots
John Swihart, who is best known for the
music he’s written for comedies such as
Napoleon Dynamite, Employee of the
Month and The Brothers Solomon, has
been hired to score The Longshots for
Cube Vision and Dimension Films.
The film stars Ice Cube, Keke Palmer
and Tasha Smith and tells the true story
of Jasmine Plummer who was the first
female to play in the Pop Warner football
tournament, at the age of eleven. Fred
Durst, who worked with Swihart on last
year’s The Education of Charlie Banks, directs. The film is scheduled to be released
on July 25. Swihart’s other recent scores
include The Year of Getting to Know Us
and Garden Party.
Nico Muhly:
The Reader
The composer of the
acclaimed score for last
year’s Fox Searchlight
horror hit Joshua, Nico
Muhly, has been hired
to score the new film
of The Hours director
Stephen Daldry, The
Reader. Based on the novel by Bernhard
Schlink, the film stars Kate Winslet and
Ralph Fiennes in a story about a young
man and his obsession with an older
woman who becomes involved in a war
crimes trial. Stephen Daldry previously
worked with Philip Glass on The Hours
and now works with Glass’ assistant composer on his new film, which is scheduled
to premiere in December. Nico Muhly
recently had his score for Joshua released
on CD by MovieScore Media.
James L. Venable:
Zack and Miri Make
a Porno
James L. Venable, who
scored Kevin Smith’s
Jay and Silent Bob
Strike Back and Clerks
II, continues his working
relationship with the
director. He is signed to
score Smith’s new film,
Zack and Miri Make a Porno, a comedy
about two friends, played by Seth Rogen
and Elizabeth Banks, who decide to make
an adult film together to solve their financial problems. Supporting cast members
include former porn star Traci Lords. The
Weinstein Company will release the film
on October 31. Venable also recently
scored Superhero Movie for Weinsteinowned Dimension Films.
Paul Englishby:
An Education
An Education, a BBC drama written by
Nick Hornby and directed by acclaimed
Danish director Lone Scherfig (Italian for
Beginners), gets an original score by Paul
Englishby. He recently scored Miss
FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
by MIKAEL CARLSSON
[email protected]
Pettigrew Lives for a Day and worked as
a music advisor on another Nick Hornby
film, About a Boy. An Education takes
place in London in the 1960s and tells the
story about a teenage girl and her acquiantance with a playboy nearly twice her
age. Rosamund Pike, Emma Thompson,
Peter Sarsgaard, Alfred Molina and Olivia
Williams star in the film, which just began
filming.
Ilan Eshkeri:
Telstar
Ilan Eshkeri has just
recorded his score
for the biographical
feature about Joe Meek,
the songwriter and
producer who was
responsible for such
hit songs as ”Have I
the Right,” ”Johnny, Remember Me” and
”Telstar.” Nick Moran, who is best known
as an actor and writer (he wrote and was
the main star of Amazing Grace), directs
from his own screenplay based on James
Hicks’ play. Main stars include Kevin
Spacey, James Corden and Nick Moran
himself. Eshkeri recorded his score with
the London Metropolitan Orchestra.
Cliff Martinez:
Stiletto
Cliff Martinez, whose
previous credits include
Steven Soderbergh’s
Traffic and Solaris, is
doing the original score
for Stiletto, a thriller
starring Dominique
Swain, Michael Biehn,
D.B. Sweeney, Tom Berenger, Kelly Hu,
Tom Sizemore and William Forsythe.
Directed by Nick Vallelonga (All In), the
noir-ish film tells the story about a female
assassin who is putting the organization of
her lover, a Greek crime boss, in jeopardy.
Cliff Martinez, who is represented by
Soundtrack Music Associates, recently
scored another thriller, Vice starring Michael Madsen and Darryl Hannah, which is
coming out shortly.
THE SCOREBOARD
LATEST ADDITIONS:
Alexandre Azaria: 15 ans et demi.
Lesley Barber: A Thousand Years of Good
Prayers.
Christophe Beck: What Happens in
Vegas...
Marty Beller: Another Gay Sequel (cocomposer).
Benedikt Brydern: The Crown of Vysehrad
• Stag Night.
Kristopher Carter: Broke Sky (co-composer) • Yesterday Was a Lie • Dance of the
Dead.
Mychael Danna: Passchendale.
Ramin Djawadi: Deception.
Danny Elfman: Standard Operating
Procedure.
Paul Englishby: An Education.
Ilan Eshkeri: Telstar.
David A. Hughes: Awaydays.
Jason Livesay: Chasing the Green.
Cliff Martinez: Stiletto.
Dan Miller: Another Gay Sequel (cocomposer).
Tony Morales: Something Is Killing Tate •
Ball Don’t Lie.
Nico Muhly: The Reader.
Marinho Nobre: Sacred Game.
Michael Richard Plowman: Edison and
Leo.
John Powell: Kung Fu Panda (co-composer).
Max Richter: Henry May Long • Waltz with
Bashir.
Christopher Slaski: Proyecto Dos.
John Swihart: The Longshots.
Nic. tenBroek: The Dukes • Magic.
Nerida Tyson-Chew: Cactus.
James L. Venable: Zack and Miri Make a
Porno.
Hans Zimmer: Kung Fu Panda (co-composer).
COMPLETE LIST:
Panu Aaltio: The Home of Dark Butterflies.
Tree Adams: Emilio.
Andreas Alfredsson / Christian
Sandquist: Possession.
Eric Allaman: Race.
John Altman: The Master Builder • Shoot
on Sight.
Armand Amar: La jeune fille et les loups.
Marco D’Ambrosio: Say Hello to Stan
Talmadge.
David Arnold: How to Loose Friends and
Alienate People • Quantum of Solace • The
Chronicles of Narnia: The Voyage of the
Dawn Treader.
Alexandre Azaria: 15 ans et demi.
Chris P. Bacon: Space Chimps.
Angelo Badalamenti: The Edge of Love •
Secrets of Love.
Klaus Badelt: Killshot • Starship Troopers:
Marauder • The Scorpion King: Rise of the
Akkadian • Fire Bay • Dragon Hunters •
Heaven and Earth.
Lesley Barber: A Thousand Years of Good
Prayers • Death in Love.
Nathan Barr: Tortured • Broken Lizard’s The
Slammin’ Salmon.
Steve Bartek: The Art of Travel.
Stephen Barton: The Six Wives of Henry
Lefay.
Eef Barzelay: Yellow Handkerchief.
Tyler Bates: The Haunted World of El Superbeasto • Day of the Dead • Watchmen •
The Day the Earth Stood Still.
Jeff Beal: Where God Left His Shoes •
Salomaybe? • The Deal.
Christophe Beck: What Happens in
Vegas...
Marco Beltrami: In the Electric Mist with
Confederate Dead.
5
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.
Jean-Michael Bernard: Cash.
Charles Bernstein: The Cursed.
Doug Besterman: Exit Speed.
Terence Blanchard: Miracle at St. Anna.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory • My Zinc Bed.
Jason Brandt: Something’s Wrong in
Kansas.
Benedikt Brydern: The Crown of Vysehrad
• Stag Night.
David Buckley: Town Creek • The Forbidden Kingdom.
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.
Peter Calandra: The Sickness.
Jeff Cardoni: You and I (Finding tATu).
Kristopher Carter: Yesterday Was a Lie •
Dance of the Dead.
Patrick Cassidy: L’aviatore.
Nigel Clarke & Michael Csányi-Wills: The
Grind.
Sarah Class: The Meerkats.
George S. Clinton: The Love Guru • Harold
& Kumar Escape from Guantanamo Bay.
Chandra Cogburn: Fiesta Grand • Orgies
and the Meaning of Life • The Bard: The
Story of Robert Burns.
Ron Alan Cohen: Who’s Your Monkey?.
Juan J. Colomer: Dark Honeymoon.
Alfons Conde: No-Do.
Normand Corbeil: Ma fille, mon ange •
Boot Camp • Emotional Arithmetic.
Bruno Coulais: MR 73 • Les Femmes de
l’ombre • Coraline.
Burkhard Dallwitz: The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (co-composer) • The Imaginarium of Doctor Parnassus
(co-composer).
Mychael Danna: Lakeview Terrace (cocomposer) • The Time Traveler’s Wife •
Passchendale • The Imaginarium of Doctor
Parnassus (co-composer).
Carl Davis: The Understudy.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Lost Tribe.
Jessica de Rooij: Tunnel Rats • Far Cry •
Alone in the Dark II.
John Debney: Big Stan • Bachelor No. 2 •
Starship Dave • Swing Vote • Old Dogs •
Sin City 2.
Tim DeLaughter: The Assassination of a
High School President.
Charles Denler: I Am • A Handful of Beans
• Nothing But Dreams • Buttermilk Sky • A
Meadowlark Calling • Kate & Co.
Erik Desiderio: He’s Such a Girl • Sons of
Liberty.
Alexandre Desplat: Afterwards • Largo
Winch.
Ramin Djawadi: Deception • Fly Me to the
Moon • The List • Iron Man.
Pino Donaggio: Colpe d’occhio.
James Michael Dooley: The Little Mermaid: Ariel’s Beginning • Impy’s Island 2.
Patrick Doyle: Nim’s Island • Igor.
Christopher Drake: Batman - Gotham
Knight (co-composer).
Ludek Drizhal: Life Goes On • Synapse •
The Next Race: The Remote Viewings • The
6
Sno Cone Stand Inc.
Anne Dudley: Black Water Transit.
Randy Edelman: The Mummy: Tomb of the
Dragon Emperor.
Jonathan Edwards: The Golden Boys.
Steve Edwards: The Neighbor • The Intervention • Sharks in Venice.
Cliff Eidelman: He’s Just Not That Into You.
Danny Elfman: Standard Operating Procedure • Wanted • Hellboy 2: The Golden
Army.
Stephen Endelman: Redbelt.
Paul Englishby: An Education.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Disappeared • Telstar.
Evan Evans: The Mercy Man • You’re
Nobody ‘Til Somebody Kills You • The Poker
Club • Jack Rio.
Nima Fakhara: Lost Dream.
Guy Farley: Knife Edge • The Brøken •
Dylan.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury •
Magdalene • Vivaldi.
Jason Frederick: Good Chemistry • Bears.
Bill Frisell: All Hat.
John Frizzell: Henry Poole Is Here.
Michael Giacchino: Speed Racer • Star
Trek.
Vincent Gillioz: The Appearance of Things
• Portal • Last Breath.
Scott Glasgow: Toxic • The Gene Generation • Lo • The Bridge to Nowhere.
Philip Glass: Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not •
Irreversi • Holodomer • Deep Gold • Spring
Break ’83 • Hardland.
Jonathan Goldsmith: Tenderness • Fatal
Passage.
Christopher Gordon: Mao’s Last Dancer •
Daybreakers.
Adam Gorgoni: Still Waiting.
Jeff Grace: Trigger Man • I Sell the Dead •
Liberty Kid.
John Graham: Long Flat Balls II.
Harry Gregson-Williams: Jolene • The
Chronicles of Narnia: Prince Caspian • GForce • Wolverine.
Rupert Gregson-Williams: You Don’t Mess
With the Zohan • Made of Honor • Bedtime
Stories.
Andrew Gross: Forfeit • National Lampoon’s Bag Boy • Diamond Dog Caper • The
Speed of Thought.
Larry Groupé: Love Lies Bleeding • The
Hungry Woman • Straw Dogs.
Andrea Guerra: The Accidental Husband •
Parlami d’amore • Heart of Fire.
Robert Gulya: Atom Nine Adventures •
Themoleris • 9 and a Half Date.
Steven Gutheinz: Rothenburg.
Todd Haberman: Killer Movie.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus Azteca.
Richard Harvey: Eichmann.
Paul Haslinger: Prom Night • Make It Happen • While She Was Out.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State
of Play.
Reinhold Heil: Blackout (co-composer) •
The International (co-composer).
Christian Henson: Zomerhitte • A Bunch
of Amateurs.
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.
Trevor Horn: Kids in America.
James Horner: The Boy in Striped Pyjamas
• Avatar.
Richard Horowitz: Kandisha • The Whisperers.
James Newton Howard: The Happening •
The Dark Knight (co-composer) • Defiance •
Confessions of a Shopaholic.
David A. Hughes: Awaydays.
Terry Huud: Plaguers.
Søren Hyldgaard: Red.
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: Hotel California • Happiness Runs • Spooner.
Evan Jolly: Tonight Is Cancelled.
Tim Jones: Cryptid.
David Julyan: Eden Lake.
George Kallis: Antigravity.
Jan A.P. Kaczmarek: The Visitor.
Tuomas Kantelinen: Arn - Riket vid vägens
slut.
Yagmur Kaplan: The Elder Son • The Lodge
• Broken Windows.
Laura Karpman: Out at the Wedding • Ace
Ventura 3.
Kenji Kawai: L – Change the World •
Orochi • The Sky Crawlers.
Rolfe Kent: The Lucky Ones.
Wojciech Kilar: Black Sun.
Mark Kilian: Before the Rains • Traitor.
David Kitay: Shanghai Kiss • Blonde
Ambition.
Johnny Klimek: Blackout (co-composer) •
The International (co-composer).
Abel Korzeniowski: Terms.
Penka Kouneva: Midnight Movie • The
Gold and the Beautiful.
Ivan Koutikov: Wanted Undead Or Alive •
Living Hell.
Robert J. Kral: Batman - Gotham Knight
(co-composer).
Aryavarta Kumar: The Rapture • Greater
Threat.
Nathan Larson: August • Choke.
Jim Latham: Greetings from the Shore •
Swishbucklers • Parental Guidance Suggested.
James Lavino: Woodpecker.
Craig Leon: Maestro.
Geoff Levin: Triloquist • The Rat Thing •
Agenda • The Fallen.
James S. Levine: Otis.
Michael A. Levine: Columbus Day.
Krishna Levy: Le nouveau protocole.
Gary Lionelli: Oswald’s Ghost.
Jason Livesay: Bounty (co-composer) •
Limbo Lounge (co-composer) • Chasing the
Green • Little Iron Men (co-composer).
Nolan Livesay: Bounty (co-composer) •
Limbo Lounge (co-composer) • Little Iron
Men (co-composer).
Andrew Lockington: Journey 3-D • One
Week.
Henning Lohner: Kleiner Dodo • Love
Comes Lately.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Daniele Luppi: Hell Ride.
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.
David Mansfield: Then She Found Me •
The Guitar.
Kevin Manthei: Batman - Gotham Knight
(co-composer).
Dario Marianelli: Far North • Hippie Hippie
Shake • The Soloist.
Anthony Marinelli: Grizzly Park • Footsteps.
Gerard K. Marino: Fuego.
Gary Marlowe: Los Pereyra • Das echo
der Schuld.
Phil Marshall: Live.
Cliff Martinez: Stiletto.
Richard Marvin: The Narrows • Dead Like
Me • Picture This! • A Fork in the Road.
John McCarthy: The Stone Angel.
Bear McCreary: Rest Stop 2.
Michael McCuiston: Broke Sky (cocomposer).
Don McGlashan: Dean Spanley.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Taken • Dorothy Mills.
Matt Messina: 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: The Key Man • Trumbo • On
the Hook • Wherever You Are.
Angelo Milli: Máncora • Paraiso Travel.
Sheldon Mirowitz: Renewal • Operation
Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really Hate
My Job • St. Trinian’s.
Tony Morales: Something Is Killing Tate •
Ball Don’t Lie.
John Morgan: The Opposite Day (cocomposer).
Paul Leonard-Morgan: Popcorn.
Cyril Morin: Un coeur simple.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo •
Cloudy with a Chance of Meatballs.
Hélène Muddiman: Skin.
Nico Muhly: The Reader.
Sean Murray: The Lost • Clean Break.
Gregor Narholz: Shadowheart.
Peter Nashel: Carriers.
Javier Navarrete: Mirrors • Inkheart •
Fireflies in the Garden.
Blake Neely: Elvis and Anabelle • The Great
Buck Howard • Surfer Dude.
Roger Neill: Take • Scar.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog
Princess.
Thomas Newman: Nothing Is Private •
ISSUE 57 • APRIL 1, 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.
Wall-E • Revolutionary Road.
David James Nielsen: Reclaiming the
Blade.
Stefan Nilsson: Heaven’s Heart.
Marinho Nobre: Left for Dead • Sacred
Game.
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: The Canyon • Running the
Sahara • South of the Border.
Mark Petrie: The Road to Empire • Valley of
Angels • Farmhouse.
Barrington Pheloung: Incendiary.
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.
Michael Richard Plowman: Edison and
Leo.
Conrad Pope: In My Sleep.
Steve Porcaro: The Wizard of Gore •
Cougar Club.
John Powell: Hancock • Stop Loss • Green
Zone • Kung Fu Panda (co-composer) • Bolt.
Michael Price: Sugarhouse Lane • Agent
Crush • Wild Girl.
Alec Puro: The Thacker Case.
Trevor Rabin: Get Smart.
Didier Lean Rachou: An American in China.
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: The Secrets of Jonathan
Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Days
of Wrath • The Ruins • Street Kings.
Graham Reynolds: I’ll Come Running.
Max Richter: Henry May Long • Waltz with
Bashir.
Lolita Ritmanis: Broke Sky (co-composer).
Zacarías M. de la Riva: The Last of the
Just • The Anarchist’s Wife • Carmo.
Carmen Rizzo: The Power of the Game.
David Robbins: War, Inc. • The Dot Man •
The Playground.
Matt Robertson: The Forest.
Douglas Romayne: In Zer0: Fragile Wings.
Philippe Rombi: Bienvenue chez les Ch’tis.
Brett Rosenberg: The Skeptic.
William Ross: Our Lady of Victory.
Laura Rossi: The Cottage • Broken Lines.
David Glen Russell: Contamination.
David Russo: Pig Hunt.
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.
Mark Sayfritz: Sake • The Shepherd.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning Heartache.
Misha Segal: Lost at War • Shabat Shalom
Maradona.
Marc Shaiman: Slammer.
Theodore Shapiro: The Mysteries of Pittsburgh • The Girl in the Park • Tropic Thunder
• Nowhereland • Marley & Me.
George Shaw: Victim • Sailfish.
Edward Shearmur: Passengers • Meet Bill
• Righteous Kill.
Ryan Shore: Numb • Jack Brooks – Monster Slayer • Shadows.
Vince Sievers: The Source.
Carlo Siliotto: The Ramen Girl.
FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
Alan Silvestri: G.I. Joe • A Christmas Carol.
Emilie Simon: Survivre avec les loups.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts
• Disgrace.
Christopher Slaski: Proyecto Dos.
Damion Smith: Stompin.
Mark Snow: The X-Files 2.
Jason Solowsky: L.A Takedown • Strawberries For The Homeless • Tamales And
Gumbo • The Sweep • Exodus?
Maarten Spruijt: The Seven of Daran Battle of Pareo Rock.
Fred Story: Children of All Ages.
Marc Streitenfeld: Body of Lies.
William T. Stromberg: TV Virus • Army of
the Dead • The Opposite Day (co-composer).
John Swihart: The Longshots.
Johan Söderqvist: Walk the Talk • Let the
Right One In • The Invisible.
Joby Talbot: Son of Rambow.
Frédéric Talgorn: Hexe Lilli.
Nic. tenBroek: The Dukes • Magic.
Mark Thomas: Tales of the Riverbank.
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.
David Torn: The Wackness.
Jeff Toyne: Within • Late in the Game.
Michael Tremante: If I Didn’t Care.
Ernest Troost: Crashing.
Tom Tykwer: The International (co-composer).
Brian Tyler: The Heaven Project • Dragonball.
Nerida Tyson-Chew: Cactus.
Shigeru Umebayashi: A Simple Love Story
• Absurdistan.
Cris Velasco: Prep School.
Fernando Velázquez: Shiver.
James L. Venable: Superhero Movie • Zack
and Miri Make a Porno.
Reinhardt Wagner: Faubourg 36.
Gast Waltzing: JCVD • Les dents de la
nuit.
Michael Wandmacher: Train • Chain Letter.
Stephen Warbeck: Flawless • The Box
Collector.
Matthias Weber: Silent Rhythm.
Craig Wedren: Little Big Men.
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: The Passage • Star Crossed.
Austin Wintory: Captain Abu Raed • Back
Soon • Mr. Sadman • Grace.
Debbie Wiseman: Amusement • The Hide.
Chris Wood: Zombies Ate My Prom Date.
Lyle Workman: Forgetting Sarah Marshall.
Alex Wurman: Five Dollars a Day • The
Promotion.
Gabriel Yared: Manolete • The No. 1 Ladies
Detective Agency • Adam Resurrected.
Christopher Young: A Tale of Two Sisters.
Geoff Zanelli: Delgo • Outlander • Ghost
Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Lake City • Flash of Genius
• Blue Powder.
Hans Zimmer: Frost/Nixon • Casi Divas •
Kung Fu Panda (co-composer) • The Dark
Knight (co-composer).
Atli Örvarsson: Babylon A.D.
7
CD REVIEW
by DANIEL SCHWEIGER
[email protected]
A Legendary Composer Guns It
Out at High Noon, then Walks
Like an Egyptian
Title: Two by Tiomkin
Composer: Dimitri Tiomkin
Labels: Film Score Monthly / Screen
Archives Entertainment
Suggested Retail Price: $19.95 / $24.95
Grade: A
F
or a composer who hailed from the
Ukraine, Dimitri Tiomkin sure loved the
old west. Like the great concert hall composers who blazed a new musical path in the
untamed wilderness of Hollywood, Tiomkin
had been fed on the operatic strains of Wagner’s demigods and dragons — a melodically
muscular sound that he capably transferred
to such purely American heroes as the brave
sheriff, daring cowboy, and stand-by-your-man
farmwife. It was an epic sound that filled such
memorable westerns as Duel In The Sun, Red
River, Rio Bravo, The Unforgiven and Gunfight At The O.K. Corral. But perhaps none
of Tiomkin’s western scores has had the epic
cache of High Noon. Gary Cooper was the lawman left alone by a cowardly town to face off
against a villainous posse — a huge metaphor
at the 1952 time for leftie film intellectuals
abandoned to the anti-Commie witch hunts.
But never mind all that, as Tiomkin’s score
for High Noon is concerned with the western
here-and-now of a stalwart sheriff faced with
impossible odds, a tremendously suspenseful
sound that’s now heard in its original glory on
this Screen Archives release.
Though selections from Tiomkin’s score
have been performed many times over on
re-recordings, it’s especially nice to finally get
the original High Noon tapes 56 years after
the fact. Sure the sound might be a bit musty,
and the players might make the occasional
sidestep in their enthusiasm. But there’s no
denying the power of listening to the real deal,
which packs the kind of orchestral punch that
any two-fisted sheriff would appreciate.
8
Composed at a time when “hit” songs were
insidiously integrating themselves into movie
soundtracks, Tiomkin was asked to base his
High Noon score around “Do Not Forsake
Me,” a tune written by Ned Washington
(“When You Wish Upon a Star”) that spells
out the predicament that Marshall Will Kane
(Cooper) faces from the impending outlaws.
While the lyrics might not be as memorable as
Washington’s latter ditty for Rawhide, Tiomkin wasn’t so old school that he couldn’t put a
memorably romantic theme against the song,
and then integrate it throughout the score
like a fateful country Greek chorus that even
Johnny Cash would envy. And as voiced by
western crooner Tex Ritter (also humorously
heard here trying to get it right with Tiomkin), “Do Not Forsake Me” proved a textbook
example of how to make an unnecessary pop
tune into one of the cinema’s most memorable
integrations of song and score, a melody that
proves the backbone for all of High Noon.
Where most western scores of the time
were about outward action, High Noon continues to stand out for its inward, suspenseful
approach. While there are robust Mexican
rhythms and romantic flourishes, most of
the score plays the impending doom of the
outlaws’ arrival by train. The score is a ticking clock of suspense, ominous, tones that
Tiomkin sets up through hoofbeats, striking
low piano chords, and pulses that literally
telegraph the suspense. But for all of the
tension at hand. Tiomkin is also well aware
of the western score conventions, which come
across here with a wistful harmonica, a player
piano and an accordion. Sure doom might be
coming for Will Kane, but Tiomkin is sure
to provide the melodically romantic release
when needed.
When the big musical showdown finally
arrives, Dimitri Tiomkin lets lose with furiously valiant blasts of the orchestra. And as
“Do Not Forsake Me” turns into a symbol of
thematic righteousness, High Noon shows
why it’s remained a highlight of western scoring. Sure the streets of Hadleyville may be
an entirely different playing field for Tiomkin
than the Germanic operas that first inspired
his musical greatness. But their heroic spirit
is right there in the shining, symphonic badge
of Gary Cooper.
The word “epic” might be an understatement when it comes to Tiomkin’s thundering
score for 1955’s Land Of The Pharoahs — a
film that is to camp fiestas what High Noon
is to legitimately great westerns. But that
isn’t to say this Howard Hawks production
isn’t great, gaudy fun, especially in the energy
that radiates from Tiomkin’s balls-out score.
Next to Duel In The Sun, this was probably
the hugest soundtrack that Tiomkin would
compose until such latter big screen scores
as Giant, The Alamo and 55 Days At Peking.
And you could build the pyramids on the
gusto with which Tiomkin hits the Egyptian
empire. Choruses and brass sections of what
seem to be a few thousand musicians sound
off as stone block-carrying extras mix it up
with Joan Collins’ cheesecake, a balance of
spectacle and ancient soap opera that works
(Continued pg 9)
brilliantly.
ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly
CD REVIEW
Two by Tiomkin
But if Tiomkin’s musical pyramid building paved the way for such biblical scores as
The Ten Commandments and Ben Hur (not
to mention Stargate), the use or raging brass
and voices is probably a lot more fun here.
Pharaoh’s montage sequences build to a fever
pitch of spectacle, the voices and players
almost careening out of control at conveying
the glory of it all. And in an ancient Hollywood era when scores were lathered onto
pictures by the pound, Tiomkin’s ability to
keep Pharoah’s nearly two hours of music
interesting, if not enthralling, is a testament
to his skill of the leitmotif. If a movie can
boast of having a cast of thousands, Tiomkin
seems to have a theme for all one of them,
effortlessly switching between their emotions
(continued from pg 8)
of valor, strain and skullduggery. Yet as he
hits every turn of the story with imperious
orchestrations and exotic beauty, Tiomkin
also knows when to rein the lush thunder in,
switching from moments of brass-squelching
majesty to subtle, poetic drama.
Elmer Bernstein first resurrected Land
Of The Pharaohs for his film music collection
in the 1970’s, but could only understandably
put out a few bricks in Tiomkin’s towering
pyramid. Now after putting out that stellar
tribute in their deluxe set of Bernstein’s
recordings, Film Score Monthly has gotten
around to the real thing, releasing a complete
Land Of The Pharaohs as a jewel in their
archival crown. And just as the Egyptians
hoped to keep their mummies fresh for
the afterlife, producer Lukas Kendall has
restored Pharaohs with amazing musical vitality. Between this and High Noon,
Dimitri Tiomkin couldn’t hope for better
presentations to show off his legacy as one of
the greatest kings to rule an age of robust orchestral scoring. And thanks to releases like
these, it will never turn to dust. Even though
he came from the Ukraine, Tiomkin understands the international language of the
musical dream machine like no composer’s
business.
n
GET THE CD’S HERE:
• http://www.screenarchives.com
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FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
3/11/08 7:42:44 PM
9
10
ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
[email protected]
Anatomy Of An Arrangement
Part 1: Taking The Call
I
was recently asked by a friend and colleague of over 10 years’ standing to arrange
3 Latin standards for his next instrumental
solo CD. It occurred to me that it might
prove interesting for you to follow along, not
with the construction of the actual notes, but
rather with the strategy for systematically
and logically getting through the stages necessary for successfully “getting the job done.”
My first step in any such deal is taking
the call, and asking the questions which help
me to decide whether to accept the assignment and, once I do, how do I proceed in the
right directions so that I don’t take any unnecessary detours that waste time and/or money.
Here are the ones I asked, in order, and why
they are important:
1) What are my deadlines? All the
money or career perks in the world mean
exactly zilch if I don’t have the time to do
it, and do it well.
2) What is the budget? Union or no?
Sounds greedy, but keep in mind that
dollar signs aren’t the only way to assess
a project. For instance, it may also pay
off with: (a) relationships with a new
artist/client and/or producer, (b) chances
to break new stylistic/technical/artistic
ground, (c) new and different demo material on someone else’s dime, (d) union benefit contributions (minimal paychecks may
nevertheless tip the balance in qualifying
for your health insurance, etc.,) and (e)
a chance to affect your current momentum. Busy is almost always better than
idle and, as with dating, it’s uncanny how
differently you are perceived (and sought)
when you are in a state of doing rather
than waiting.
3) Do you have confidence in the
project/producer/soloist/client?
As Hume Cronyn said, never take a
project you don’t believe in, unless you’re
broke. My corollary to that is: Once you
take a gig, take all of it, not just the part
FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
you think the actual budget is paying for.
No one remembers how much you might
be shorted, but everyone will remember
when your client is. In my case, budget
was adequate, haggling was unnecessary,
and I decided to take the job, so on to the
following:
4) Can I get all pertinent contact info
for the artist, producer, or whoever
is the ultimate creative authority on
the project, and can I use it? This may
seem obvious, but when I have questions, I
want them answered, definitively and now.
Fortunately, my friend wore all the hats
on this project, and communication was no
problem.
5) What is the intended target use for
the project? Here, it was radio airplay.
What format or station so I can sample
their flavor and playlist? What level of
musical sophistication? Better to gauge
the target audience correctly before putting in the time and sweat and possibly
being wrong.
6) Are there any specific elements
desired by the client? In my case, certain instrumental colors and artists were
to be featured in key places, so forewarned
is forearmed.
7) Are there previous recordings by
this artist that I can audition to see
what worked in previous collaborations? This can save an incredible
amount of chit-chat.
8) With complete candor, what are
my limitations? Far from resenting
them, Igor Stravinsky revelled in working
within a limited palette, as carte blanche
were not friendly words to him. Look at
some of his quirky orchestrations and you
will see what I mean. He much preferred
to let his enormous creativity wrestle
with externally imposed boundaries
rather than to start from scratch. There
is a lesson for all of us here. In my case,
I was given a double-string quartet with
added contrabass, a Latin rhythm section,
marimba, and an optional flute soloist.
Plenty to work with.
9) Who will be the players? Translate:
What specialized stylistic/artistic/ethnic/
technical factors would they be bringing
to the party? Do they read notation and
how well? (Initially, the rhythm dates
were to be held in Central America, so I
wanted both to give them all the detail I
could, while making use of their cultural
artistry.)
10) With reasonable accuracy, how
long are my tracks to be? Sounds like
a stupid question, but every producer/
artist has a different construction scheme
for his/her CD. Copyright/composer-profitability considerations sometimes limit the
number of tracks, affecting how much media capacity is to be used, affecting track
lengths, affecting arrangement forms,
affecting ... you get the idea. Here, three
minutes per track, which had to be modified in one case, but more on that later.
Do you see how lining up your factual
ducks early on will avoid train wrecks later?
Think through all phases of your contribution,
get your questions answered adequately, and
then you can proceed without fear or uncertainty affecting your creativity.
Next week: Organizing your resources and
getting started.
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]
11
MUSIC TECHNOLOGY
by PETER LAWRENCE ALEXANDER
[email protected]
Updating Your G5 or Mac Pro for
64-bit? Yes? No? Go PC?
S
o far, our ongoing look at transitioning to
64-bit has primarily focused on RAM. However, after counting up the 64-bit libraries in line
to review in the coming weeks, I discovered that
I’m running out of space (aka capacity) on the
hard drives in my Mac G5 which is the system
I’m using to review 64-bit programs.
When the EastWest Quantum Leap Pianos
arrived for review, I was a little surprised to see
that it needed a total space of 283GB (per the
Soundsonline website).
“No big deal,” I thought, “I’ll just add another
hard drive.”
“Sorry, P.A.,” replied my tech who is sympathetic with my move from the PC to Paradise,
“with that level of thinking you’ve earned four
Pinocchio’s. Not even the Washington Post or
Matt Drudge goes higher.”
Left on my voice mail was a 3-minute encapsulated ride to reality. I could use an external
Firewire drive. I could use an external USB 2.0
drive. I could use an eSATA card to which I could
connect one to four eSATA drives in parallel or in
a RAID configuration.
For speed, there is a ranked order of priorities for external connections:
•
•
•
•
e-SATA
Firewire 800
USB 2.0
Firewire 400
The best choice is an eSATA card and you
can get one rated for the Mac from $29.95 up.
Next, check to see if the G5 is PCI or Express.
Mac Pro’s are all PCI-X.
Now, here’s the issue. On a computer, typically you have the C-drive for programs and the
D-drive for samples and audio files. One folder
handles the samples and the one folder handles
the audio files.
So with 64-bit, you have to think not just
about RAM, but equally about capacity and cases.
With either the G5 or Mac Pro, the best solution suggested by my tech, John Lithicum, was
using the eSATA cards and eSATA drives. Here
are three eSATA cards for the Mac I found listed
at Newegg.com. I’m not recommending them
because I haven’t tested them. I’m only listing
them for you.
12
•
IOGEAR eSATA 3Gbps External Dual Ports PCI -express Host with RAID Technology Model GICe702S3R5W6
•
SoNNeT TSATAII-X44 PCI-X SATA II Controller Card RAID 0
•
NORCO-4618 PCI-X / PCI eSATA / SATA II / SATA I Controller Card RAID 0/1/5/10/JBOD
In reading customer reviews posted on
Newegg.com, it’s clear that you have to read the
instructions carefully for installation as I saw a
number of posts reflecting “pilot error” that could
be avoided.
Before ordering any expansion card for the
Power PC, you first need to verify which slot you
have on your system. To do that, remove the side
panel and read the ID label under the air deflector. If your system has a PCI-X slot, you’ll see
PCI-X. If you don’t see PCI-X, that means your
system handles PCI cards only.
Here’s an important table from the G5 manual.
Card Types
Supported
PCI
Slot
Card speed
Slots 2, 3, and 4
64-bit, 33MHz
PCI-X
Slots 2 and 3
64-bit, 100MHz
PCI-X
Slot 4
64-bit, 133MHz
The Apple manual warns not to use PCI
cards that only function at 66MHz in a 33MHz
slot as this can damage your Mac.
When ordering, there are some things you
need to know. First, after you’ve determined if
your G5 is PCI-X (all later Macs are PCI-X), you
need the appropriate expansion card.
However, you also need the right cable which
is an eSATA-to-eSATA cable. Except for the
LaCie which comes with the eSATA cable, these
cables are not included when purchasing. So you
have to order them separately.
Given the new libraries coming out, for the
actual drive, you’ll need 750GB or better. The
price difference between 500GB and 750GB is a
jump of about $100 depending on the company.
At 1Terabyte, there is another jump, but I think
it’s better to get either the 750GB or the 1T
version. Remember, you need to keep 20% of the
capacity free. So, on a 750GB drive, that’s 150GB.
On a 500GB drive, that’s 100GB. So, when you
compare price, you really need to compare based
on the amount of space actually available if
you follow the 20% rule. Although a bit more, I
wouldn’t go less than 750GB.
For the money, the 2 Terabyte drive might be
an even better answer. Right now they’re in the
$569US range.
Here’s the Mac price comparison.
On a G5, you can upgrade to 8GB of RAM.
That’s as far as you can go with RAM.
On a Mac Pro and a G5, you can upgrade to a
single 1 Terabyte drive, interface card and cable
for around $400 street price. For a 2 Terabyte
drive the total upgrade cost is about $600.
Where to buy?
Well, in the States, I looked at several operations including Best Buy (who has the drives but
not the cards or cable), CDW and Newegg.
Of the three, I liked CDW the best and
decided to order from them. There were several
reasons why.
You can actually get help on the phone to
help you work out what you need. Maybe you’ve
seen the CDW commercials with the fellow
stranded on the island with a chimp. Well, I
always thought that CDW was for big companies,
but not so. Individuals and small businesses can
use them too. Setup was very quick. And once
done, you call in and get set up with an account
manager.
I was assigned to Peter Glodz, who’s Apple
certified. By the end of the year, all of the account
managers at CDW will also be Apple certified
since CDW is an authorized Apple dealer and
service center. The great thing about this was
that I was able to have a parts discussion I could
not have at either Best Buy or Newegg. Newegg
has it posted that their help line cannot answer
compatibility questions or technical questions.
For that, you have to go to the manufacturer
website and contact support.
(Continued pg 13)
ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Updating Your G5 or Mac Pro for 64-bit? Yes? No? Go PC?
The pricing was very competitive. And in
places where it may be $2-$5 or so more, it’s
worth it to have someone to talk with, especially if you’re not in LA or New York.
After all this, is it worth it financially to
upgrade an older system this way?
I think so. After all, there’s nothing wrong
with the computer. Upgrading the RAM is a
no-brainer.
But here’s my mental bottleneck: with
all this power, you still need the freeware
program Soundflower to run software instruments in standalone mode.
The realistic alternative is still showing up as one or two farm PCs. So besides a
motherboard that can handle up to 32GB of
RAM (in 4GB sticks), you need a case that can
handle multiple drives. For a tower case, a
real sweetie is the Antec P190 EATX matched
with the Supermicro X7DA3 motherboard.
The Antec case handles up to 11 drive bays
and comes with its own 650w-550w dual
power supply. The Supermicro X7DA3 can
handle up to 32GB of RAM. Between the case,
motherboard, CPU, and RAM, you’re up to
FILM MUSIC weekly ISSUE 57 • APRIL 1, 2008
about $1900. Now add hard drives in the 1
Terabyte range with 32MB of cache costing
about $285 or so street, and I think you end
up with a better solution with a farm system
with minimal workarounds.
There are some audio/MIDI considerations. Since the suggested Supermicro
motherboard has Gigabit LAN onboard, use
MIDIoverLAN. There’s no Firewire on this
motherboard. So you either need a Firewire
card or pick an audio card that’s USB or fits
into a PCI slot.
Since you can expand to 11 drive bays –
holy smokes – ya got room to grow!
What I like about this solution is that I’m
not locked into whether any company provides
an audio-LAN setup between the Mac and the
PC. As long as the MIDI is set up between the
Mac and PC, the audio is a piece of cake, since
many of us can successfully reuse cards we
already have.
The idea of having a system that can
potentially handle 128GB of RAM is certainly
a Star-Trekian idea whose time has come. But
unfortunately, no company has provided any
(continued from pg 12)
significant testing beyond how many samples
can be loaded.
That’s a start, but it still leaves the answer
up to those composers willing to pay to be
beta testers to find out the answer, and then
graciously, report it to the rest of us.
On my calculator, here’s how the math works.
If you’ve got an older Mac you’re sequencing on, max out the RAM and the opportunity
to expand via eSATA, then get a PC farm
system with parts that let you upgrade as
you need it. Start with 8GB of RAM and work
your way up as you need it. The same is true
for capacity and hard drives.
As I see it, that’s the way to go … this week.
n Peter Alexander is the author of the critically acclaimed
Professional Orchestration 2A: Orchestrating the Melody
Within the String Section, How Ravel Orchestrated: Mother
Goose Suite, and Writing and Performing Christian Music:
God’s Plan and Purpose for the Church. You can write him
at [email protected].
13
MUSIC WANTED
Current Film & TV Music Job Listings
From The Film Music Network
NATIVE AMERICAN INDIAN / WORLD MUSIC
TRACKS NEEDED
Native American Indian/world music track needed for
multiple film projects in production for satellite television network. May consider hiring score composer(s)
to create new tracks.
PATRIOTIC ORCHESTRAL MUSIC NEEDED ASAP
National ad agency seeks patriotic orchestral instrumental music for a political ad campaign.
ORCHESTRAL COMPOSERS/MUSIC NEEDED
IMMEDIATELY FOR FILM PROJECTS
Experienced film and television composer seeks additional composers working via Internet and orchestral
music to license immediately for film projects.
POP AND ORCHESTRAL UNDERSCORE NEEDED BY
LA TV MUSIC LIBRARY
L.A. based television music library in use on several
high profile network and cable production seeks
Instrumental underscore that is 1. current on-the-radio
pop sounding (rock, hip-hop, pop, etc.), or 2. dramatic
orchestral/contemporary film score sounding.
COMPOSER NEEDED ASAP TO CREATE 20S/40S
JAZZ TRACKS WITH VOCALS
Experienced composer needed immediately by television network to create
1920s/1940s sounding jazz music with vocals in the
style of Jo Stafford, Patti Page, etc.
MUSIC LICENSING ORG SEEKS COMPOSERS AND
MUSIC
Established Film & TV music licensing organization
seeks world class composers and music of all genres
for expanding licensing operations into new Cable TV
markets and independent films.
SCORE COMPOSER NEEDED FOR DRAMATIC
SHORT FEATURE
Score composer needed immediately for low-budget
dramatic short feature about a male prostitute who
runs into the 10 year old son of his client. Both of
them lacking emotional comfort and find a friend in
each other to overcome each their monsters.
INSTRUMENTAL CLASSICAL MUSIC NEEDED FOR
FEATURE FILM
English language feature film being produced for
Bollywood (Indian film industry) seeks classical music
instrumental tracks immediately. No vocals or choirs should be instrumental - either small group (chamber
ensemble, etc) or larger group.
JAZZ FUSION TRACKS NEEDED FOR FEATURE
FILM
English language feature film being produced for
Bollywood (Indian film industry) seeks jazz fusion
instrumental tracks immediately.
METAL AND HIP-HOP TRACKS NEEDED
IMMEDIATELY FOR INDIE FEATURE FILM
Metal and hip-hop tracks are needed immediately for
independent feature film. Will consider instrumental or
vocal tracks.
EURO MUSIC LIB SEEKS NEW COMPOSERS AND
MUSIC
Established European Music Library seeks new
composers & music of all genres for placement in TV/
Film/Commercials. Composer/Artist must own 100%
of Master Recording. Recording must be broadcast
quality.
EMOTIONAL FOLKSY SONG W/VOCALS NEEDED
FOR PBS DOCUMENTARY
PBS television documentary by award-winning director is seeking an emotional “folksy style” song with
vocals that could be described as “sappy” and a
“tear-jerker” with heightened emotions of sadness
and/or loss.
AMERICAN FOLK MUSIC NEEDED FOR PBS
DOCUMENTARY
American instrumental folk music needed immediately
for PBS television documentary by award-winning
director.
AMERICANA CLASSICAL MUSIC NEEDED FOR PBS
DOCUMENTARY
Classical music written since 1900 with an “Americana” sound needed for PBS television documentary
by award-winning director.
INSTRUMENTAL NEW AGE AND METAPHYSICAL
MUSIC NEEDED FOR SHORT FEATURE
Short feature for top documentary filmmaker currently
in post production needs New Age and Metaphysical instrumental music that works under dialog. No
vocals.
SPANISH AND CLASSICAL GUITAR MUSIC NEEDED
FOR SHORT FEATURE
Short feature currently in post production needs
Spanish and/or classical guitar music that works under
dialog. No vocals. Looking for both Spanish flavored
acoustic guitar music and classical acoustic guitar
music.
NYC MUSIC PRODUCTION COMPANY SEEKS
FULL-TIME STAFF MEMBER
New York City based music production house is seeking a candidate for a full-time position. Our work is
largely comprised of composing and licensing music
for advertising, film, television, and record production.
This is a very fast paced environment!
HARPSICHORD MUSIC NEEDED FOR
DOCUMENTARY SHORT FEATURE
Documentary short feature currently in post production needs harpsichord music urgently. Must work
under dialogue/visuals, can be classical sounding or
modern.
ECLECTIC 60S/70S MUSIC NEEDED FOR
DOCUMENTARY FEATURE FILM
Studio documentary feature seeking eclectic
1960s/1970s sounding music with and without vocals
for a documentary feature film currently in postproduction.
ONLINE MUSIC LIBRARY SEEKS INSTRUMENTAL
TRACKS
Very well established online music library seeks
master quality instrumental music of many flavors and
styles. Mixes must be outstanding. 50/50 sync split
and writers keep 100% of writer share of performance
royalties.
MUSIC LICENSING CO SEEKS INDIE MUSIC TO
REPRESENT
San Francisco music licensing company is looking for
good quality music from independent labels and artists to represent non-exclusively.
SONGS NEEDED IMMEDIATELY FOR MAJOR TV
COMMERCIAL CAMPAIGN
Production company seeking songs immediately for a
client doing a major television commercial campaign.
COMPOSERS NEEDED FOR ORCHESTRAL FILM
TRAILERS
Established trailer music production company is seeking new orchestral composers and/or orchestral music
to license for film trailers. Music must be appropriate for feature film trailers - powerful, big, dynamic,
punchy, emotional.
The jobs listed above are currently listed as open and available on The Film Music Network Industry Job Board. To
get more details and submit for any of these jobs, visit http://www.filmmusic.net and select the job from the open job
listings on the site home page. To receive job listings by email, sign up for the Film Music JobWire at: http://www.
filmmusic.net - locate “Join our Mailing List” on the left side column of the page.
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ISSUE 57 • APRIL 1, 2008
FILM MUSIC weekly