September 25, 2007 - Film Music Magazine

FILM MUSIC weekly
ISSUE 32 • SEPT.25, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
NES Full Orchestra Buyout
Sessions Begin in Los Angeles
n Saturday marked what may be a new
era of score recording in Los Angeles
with full orchestra buyout recording
sessions by New Era Scoring (NES).
The sessions, held in Hollywood, featured
a 65-piece orchestra of professional record-
ing musicians that have chosen financial
core status (also known as “Beck status”), a
special designation that allows them to work
both union and non-union sessions including
the NES sessions. According to NES, the sessions provided over $45,000 of work for Los
Angeles musicians. The music recorded at
the sessions included action and drama cues
for several composers as well as a main title
theme for a new television series produced by
a production company that is not a signatory
to the AFM. p:3
Charles Bernstein Elected Nuendo 4
Vice President of Academy Announced
n Veteran composer Charles Bernstein has been elected Vice President of the Acad-
n Steinberg Media Technologies has an-
emy of Motion Picture Arts and Sciences, sharing the position with actor Tom Hanks.
nounced a new version of its Nuendo audio production environment.
Nuendo 4 features a new automation systen, preview mode, fill commands, punch logs,
and the new touch collect assistant. The new
MediaBay file management system for audio,
video and other media files is designed to replace external FX database solutions. Also
included in Nuendo 4 is an upgraded set of
38 new surround- and sidechaining-capable
VST3 audio effect plug-ins that cover dynamics, spatial FX and filtering. Standard on each
channel is a new VST3 Channel EQ, and drag
& drop and copy/paste for plug-ins.
“Nuendo 4 empowers audio professionals
by elevating both creativity and productivity to new heights,” comments Steinberg’s
General Manager Andreas Stelling. “The new
functionality accelerates and enhances workflows by increasing efficiency and speed, offering probably the most valuable commodity
in today’s deadline-driven world: more time.
Steinberg is now in the unique position of being able to offer dedicated products for four
different target groups: Nuendo for the post
and pro audio community, Cubase for musicians, composers and producers, p:4
Bernstein is also a member of the
Academy’s Board of Governors and the
Academy Foundation Board of Trustees (where he is the treasurer). Bernstein, who just had his new book, “Movie Music: An Insider’s View” released,
has been a film composer for over 30
years, earning two Emmy nominations. He has scored feature films such
as A Nightmare on Elm Street, Cujo
and Sadat.
Two other film composers are members of the Board of Governors: Bruce
Broughton (Silverado) and Charles
Fox (Nine to Five). The Academy’s music branch is headed by Arthur Hamilton who has the Executive Committee Chair.
The Academy, who of course is best known
for the annual Oscar spectacle, is devoting a
special event this year to film music. In the
series “The Music Soundtrack: A Composers’
Forum of Contemporary Scoring Technique,”
Charles Bernstein hosted a seminar on “Traditional Scores” with Lalo Schifrin and Jan
A.P. Kaczmarek on September 20. This week,
on September 27, Bruce Broughton will moderate a discussion with Mychael Danna, Mark
Isham and Rolfe Kent on “alternative scores,”
and finally on October 4, George S. Clinton,
Michael Giacchino and John Powell will join
music editor Mike Flicker in a seminar on “The
Music Team.” The seminars take place at the
Academy’s Linwood Dunn Theater in Hollywood. mc
CD Review: GODZILLA LIMITED EDITION
MORE INSIDE:
n Whether fans think that Godzilla should have stuck to Tokyo Bay
instead of New York City, one neat thing to emerge from the Americanized spin on Godzilla is Arnold’s full-throttle monster score, which has
finally been unleashed as a limited, two-CD soundtrack from La La Land
Records. p:8
p:6 signings & projects
p:11 THE CHART DOCTOR:
Hiring A Lifesaver
p:12 THE SCOREBOARD
FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
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Copy Editor: Lisa Rawson
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Soundtrack Review Editor:
Daniel Schweiger
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Accounting: Tina Chiang
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This Week on
FMR
FILM MUSIC RADIO
INSIDE THE BUSINESS
NEW ERA SCORING’S
GREG TOWNLEY
Mark Northam talks candidly with
New Era Scoring’s Greg Townley
about buyout orchestra sessions,
session rates, the AFM, and NES’
plans for the future.
LISTEN NOW!
ON THE SCORE
ROB ZOMBIE AND TYLER BATES
Daniel Schweiger interviews
director-writer ROB ZOMBIE and
composer TYLER BATES, who
team for a terrifying new spin on
the sound of HALLOWEEN.
LISTEN NOW!
ISSUE 32 • SEPT. 25, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
NES Full Orchestra Buyout
Sessions Begin in Los Angeles
Saturday
marked what
may be a new
era of score recording in Los
Angeles with
full orchestra
buyout recording sessions by
New Era Scoring (NES).
Greg Townley
The sessions, held in Hollywood, featured
a 65-piece orchestra of professional recording musicians that have chosen financial core
status (also known as “Beck status”), a special
designation that allows them to work both
union and non-union sessions including the
NES sessions. According to NES, the sessions
provided over $45,000 of work for Los Angeles
musicians. The music recorded at the sessions
included action and drama cues for several
composers as well as a main title theme for
a new television series produced by a production company that is not a signatory to the
AFM.
NES has undertaken an aggressive marketing program the company’s founders say
is designed to bring recording work back to
Los Angeles. The program targets non-union
companies who have traditionally recorded
outside of LA in locations including Seattle
and Eastern Europe using buyout recording
contracts.
EXCLUSIVE AUDIO
Mark Northam interviews
Greg Townley of New Era Scoring
this week on InsideThe Business
on Film Music Radio. Click to listen.
FILM MUSIC weekly ISSUE 32 • SEPT. 25, 2007
NES co-founder
Yoav Goren told
Film Music Magazine, “These highly
successful sessions
have emphatically
proven that NES
musicians are right
up there among the
world’s top recording orchestras. By
Yoav Goren
keeping this work
in town, NES not only exceeded our client expectations with excellent recording results,
but we were also able to pump over $45,000
of much needed income into local orchestral
musicians’ pockets.”
Local 47 Battles “Scab Orchestra” Sessions
The orchestra sessions had originally
been scheduled for September 22 at Mt. Saint
Mary’s college in Los Angeles, but on Thursday were moved to Hollywood after representatives from Local 47 of the American Federation of Musicians informed the church and the
Archdiocese of Los Angeles Country of their
intent to send protestors to the sessions.
Regarding the NES sessions, Local 47’s
John Acosta told Film Music Magazine, “We
were going to perform a perfectly legal activity, which is informational leafleting. As a
courtesy we thought it useful to inform the
property owners of our intent. This is an ongoing battle that we are prepared to continue for
as long as it takes. There is no doubt that NES
will sneak in a session here and there with
their scab orchestra. Non-union dates happen
all the time.”
Greg Townley of NES responded, “NES
OPENING THIS WEEK
THEATRICAL
• The Dead One (Tony Humecke)
• A Dog’s Breakfast (Tim Williams)
• The Flying Scotsman (Martin Phipps)
• The Gymnast (Craig Richey)
• Pittsburgh (David Gregory Byrne)
• Straightheads (Ilan Eshkeri)
DIRECT-TO-DVD
• Curse of Alcatraz (Nick Rivera)
• The Ferryman (Frank Ilfman)
• Fractured (Darin Ellsworth)
• Macbeth (John Clifford White)
• Street Thief (Phirefonics)
sessions are a legal and safe environment for
our musicians as well as our clients. Using
derogatory comments such as these further
perpetuates the disrespect the local has for its
talented musicians, as well as prospective clients who often see the current situation with
the union as too difficult to work with here in
LA The NES orchestra team is proud of their
choice and courageous in their efforts to take a
stand to effect a needed change of policy here
in our industry. We will continue to offer a professional and elegantly uncomplicated option
for our clients to record in LA.”
A “news flash” email circulated by the LA
Recording Musicians Association (RMA) Friday congratulated Local 47 on a “job well done”
in getting the sessions “cancelled” and labeled
NES as “anti-musician” and “union-busters.”
The email did not address the loss of $45,000
in wages to Los Angeles recording musicians
had the sessions actually been cancelled, and
RMA officials did not respond to a request for
comment. continued on pg. 4
3
FILM MUSIC NEWS
NES Orchestra Sessions
Hollywood Sessions a Success
The sessions were moved to Hollywood
and were held on Saturday, september 22. A
group of composers and prospective clients in
attendance at the sessions to observe the orchestra told Film Music Magazine they considered the sessions a complete success. The
orchestra was highly motivated and quickly
sight-read the parts including some very difficult action cues that put the brass players to
the test – they performed well and the entire
orchestra was tight, handling complex rhythmic cues with only a few rehearsal takes.
One composer who was invited as a guest
to the sessions told Film Music Magazine,
“The orchestra sounds fantastic, and we’re
right here in Hollywood. It doesn’t get any
better than this.”
One of the orchestra players at the session who regularly plays on first-call union
and non-union sessions commented, “NES
has arrived. This is definitely one way to stop
the work from going to Seattle and Europe.”
(continued)
Technically the sessions were recorded
on a mobile 32-track ProTools system at
96k including high-end Neve, Millenia and
Grace pre-amps. The mobile recording setup
includes a wide variety of tube and ribbon
microphones, bars and beat monitors for the
conductor and the orchestra, a four-bus cue
matrix and a 5.1 control room. The ProTools
recording template is a custom configuration handling all cue mixes, prelays, a 5.1
stem matrix and stereo submix capability.
The cues that were recorded included live
tracks mixed with pre-recorded electronic
tracks, with the live orchestra overdubbed
and stacked.
NES says that musicians who want to
learn more about electing financial core status and becoming eligible for NES orchestral recording sessions, and composers and
production company executives interested
in full orchestra recording under a buyout
agreement in Los Angeles with NES can get
complete information on the NES website at
http://www.newerascoring.com
Steinberg Introduces Nuendo 4
Steinberg Media Technologies has announced a new version of its Nuendo audio production environment.
Nuendo 4 features a new automation systen, preview mode,
fill commands, punch logs, and the new touch
collect assistant. The new MediaBay file management system for audio, video and other media files is designed to replace external FX database solutions. Also included in Nuendo 4 is an
upgraded set of 38 new surround- and sidechaining-capable VST3 audio effect plug-ins that cover dynamics, spatial FX and filtering. Standard
on each channel is a new VST3 Channel EQ, and
drag & drop and copy/paste for plug-ins.
“Nuendo 4 empowers audio professionals by
elevating both creativity and productivity to new
heights,” comments Steinberg’s General Manager Andreas Stelling. “The new functionality accelerates and enhances workflows by increasing
efficiency and speed, offering probably the most
valuable commodity in today’s deadline-driven
world: more time. Steinberg is now in the unique
position of being able to offer dedicated products
for four different target groups: Nuendo for the
post and pro audio community, Cubase for musicians, composers and producers, WaveLab for
audio editors and mastering engineers, and Sequel for entry-level music creation enthusiasts.”
Nuendo 4 is compatible with Windows XP,
Windows Vista and both Intel and PPC-based
Macintosh computers running Mac OS10.4 and
is priced at $1799.99 MSRP. The product will be
available in October, 2007. For more information,
visit http://www.stienberg.net
THE A-LIST
TOP AGENCIES
The most prolific film music agencies according
to the latest US weekend box office statistics.
1 (new) Evolution Music Partners – $24.0m
• Resident Evil: Extinction (Charlie Clouser) -$24.0m
2 (6). Kraft-Engel Management - $22.8m
• Good Luck Chuck (Aaron Zigman) - $14.0m
• Sydney White (Deborah Lurie) - $5.3m
• The Bourne Ultimatum (John Powell) – $2.8m
• Hairspray (Marc Shaiman) - $0.7m
3 (2). Gorfaine-Schwartz Agency - $13.3m
• Mr. Woodcock (Theodore Shapiro) - $5.0m
• Dragon Wars (Steve Jablonsky) - $2.5m
• Across the Universe (Elliot Goldenthal) -$2.1m
• Balls of Fury (Randy Edelman) – $1.7m
• Transformers (Steve Jablonsky) - $1.4m
• Stardust (Ilan Eshkeri) - $0.6m
4 (1) Air-Edel Associates (UK) - $ m
• The Brave One (Dario Marianelli) - $7.4m
5 (3). First Artists Management – $7.4m
• Superbad (Lyle Workman) - $3.1m
• Rush Hour 3 (Lalo Schifrin) - $2.2m
• In the Valley of Elah (Mark Isham) - $1.3m
• Shoot ‘Em Up (Paul Haslinger) - $0.8m
6 (4) Greenspan Artists Management – $6.4m
• 3:10 to Yuma (Marco Beltrami) - $6.4m
7 (5). Soundtrack Music Associates - $2.2m
• Halloween (Tyler Bates) - $2.2m
Source: Box Office Mojo
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4
ISSUE 32 • SEPT. 25, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Deutsche Grammophon
Santaolalla and Söderqvist
Releases Two Film Scores Collaborate on Bier Score
Prestigious classical record label Deustche
Grammophon will release two film scores on
CD in October, one by Alberto Iglesias and
one by Osvaldo Golijov.
It’s highly unusual that Deustche Grammophon produces soundtrack albums, but recently the
high-quality label has followed the example set by
competing classical labels Sony and Decca: looking at the cross-over
market of film scores. Last year, DG released Alexandre Desplat’s
The Painted Veil and Tan Dun’s The Banquet, both of them featuring pianist Lang Lang, and now the label released another two film
scores: Alberto Iglesias’ The Kite Runner and Osvaldo Golijov’s Youth
Without Youth.
Iglesias’ score is written for the new film by
Stranger Than Fiction director Marc Forster, while
Golijov’s music comes from Francis Ford Coppola’s
first film as a director since The Rainmaker ten
years ago. Youth Without Youth stars Tim Roth and
Alexandra Maria Lara in a mysterious love story
set in Europe before WWII. Osvaldo Golijov is an
Argentinian composer who has had several of his concert works released by Deutsche Grammophon prior to the Youth Without Youth
soundtrack. mc
Academy Award-winning composer
Gustavo Santaolalla and Swedish composer Johan Söderqvist have collaborated
on the score for Danish director Susanne
Bier’s much anticipated U.S. helming debut, Things We Lost in the Fire.
Gustavo Santaolalla, the Argentinian composer who won Oscars for Babel and Brokeback
Mountain, has written the themes and Johan
Söderqvist, who won the UCMF Film Music
Award at the Cannes Film Festival for Susanne
Bier’s Brothers, the score for Things We Lost in
the Fire, a Dreamworks production starring Halle Berry, Benicio del
Toro and David Duchovny.
The film is scheduled to open on October 19 and tells the story about
a man who is invited to live with the widow of his best friend. Susanne
Bier has worked extensively with Johan Söderqvist throughout her career – Things We Lost in the Fire is their seventh film together. Directing
her first film in the U.S. gave her the opportunity to work with one of
the hottest composers in Hollywood right now, Gustavo Santaolalla, but
she also wanted to continue working with Söderqvist, with whom she
recently worked on After the Wedding. The result was a collaboration
between two composers from two different continents. mc
Film Music Downloads is the new home for independent film music on the internet. Visit our online store and download the most exciting,
entertaining and innovative film scores in high audio quality (320 kbit mp3 format)! Our catalogue is growing quickly and we are adding new titles to the store every week. Welcome!
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CARNAVAL DE SODOMA
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Robert Gulya
www.filmmusicdownloads.com
FILM MUSIC weekly ISSUE 32 • SEPT. 25, 2007
5
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FILM MUSIC NEWS
SIGNINGS & PROJECTS
Graeme Revell:
Pineapple Express
n Graeme Revell has just finished work on Pineapple Express, an action comedy directed by David
Gordon Green (Undertow), starring Seth Rogen (who
also wrote the story) and James Franco. The film is
not scheduled to open until next summer. Revell has
also recently scored a documentary on the genocide in Sudan called Darfur Now, narrated by Don Cheadle. Upcoming assignments for Revell include Days of Wrath, a drama written and directed by Celia Fox, starring
Laurence Fishburne, Ricardo Chavira and Jeffrey Dean Morgan. mc
David Kitay:
Blonde Ambition
Pete Carpenter Fellowship winner James Woodward (c) is congratulated
by Post and Livingston.
ellowship winners
n David Kitay, who has scored many successful
comedies (Scary Movie, Look Who’s Talking, Bad
Santa), has written the score for Blonde Ambition,
a romantic comedy starring Luke Wilson, Jessica
RachaelinLeigh
and Penelope
Ann
1985 Cook
to support
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enjoys surfing off Simpson,
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Miller.
Scott
Marshall (Georgia Rule)
directs the and
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performance,
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coast.
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ISSUE 2 • FEBRUARY 12, 2007
FILM MUSIC weekly
ISSUE 32 • SEPT. 25, 2007
FILM MUSIC weekly
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FILM MUSIC weekly ISSUE 32 • SEPT. 25, 2007
7
NEW SOUNDTRACKS
GODZILLA
ALBUMS COMING SOON!
LIMITED EDITION
Composer: David Arnold
Label:La La Land
Suggested Retail Price: $14.99
Grade: B+
ALBUM REVIEW
By: DANIEL SCHWEIGER
Soundtrack Editor
When Roland Emmerich and Dean Devlin
gave Godzilla a cultural makeover, turning it from
a man-like Japanese A-bomb beast into the reptilian result of French nuclear testing, one of the
people to take a stab at the mythical beast was
English composer David Arnold. And whether
fans think that Godzilla should have stuck to Tokyo Bay instead of New York City, one neat thing
to emerge from the Americanized spin on Godzilla is Arnold’s full-throttle monster score, which
has finally been unleashed as a limited, two-CD
soundtrack from La La Land Records.
Though Arnold had the crime thriller The
Young Americans on his resume, it was Emmerich
and Devlin who really opened Hollywood up to the
budding composer with Stargate. And the chance
the directing-writing-producing duo took on the
largely unproven Arnold paid off handsomely,
resulting in one of the most astonishingly rich orchestral “debuts” in big-budget history. Filled with
some of the lushest, epic action scoring since Raiders Of The Lost Ark, Arnold went even bigger with
his next Emmerich-Devlin project Independence
Day for which he composed what is arguably the
ultimate patriotic alien apocalypse score.
While David Arnold would go on to become the
next-gen 007 composer with the likes of Casino
Royale and Die Another Day (not to mention mastering the funk of Zoolander and Shaft), the not-so
guilty pleasures of his Godzilla soundtrack have
remained his hidden treasure – until now. With a
planned album never materializing after the film’s
release (and only a highly collectible promo available), this new La La Land release gives 3,000
Arnold fans the chance to hear David Arnold at
his high-octane orchestral best, with two CD’s of
Godzilla in its completely unleashed glory.
Godzilla’s music had mostly been a fearsome,
slow-moving march under the baton of Akira Ifukube, who’d scored a majority of the original Toho
classics. But Arnold’s penchant for symphonic
adrenalin would be akin to slipping the Big G a
dozer-full of uppers. Suddenly the lizard was running full-speed down the streets of Manhattan,
and swimming like a pissed alligator through the
Hudson River, its rampage helped out in no small
part by Arnold’s glorious bombast. As one of the
few young composing Turks who could get away
with way too many notes, Godzilla positively
roars with fun themes, military derring-do and
8
goofy humor.
In retrospect, Godzilla sounds like Independence Day without the dread, going for a “wow”
factor instead of fear when it came to delineating the monster. But as stated in Dan Goldwasser’s enjoyable liner notes, this sense of monstrous
wonder happened at the last minute, due to an
audience-friendly change of musical approach.
And if stuff like this caused an overall sense of
breathlessness to Godzilla that nears exhaustion,
it’s because Arnold was continuously chasing lastminute effects shots to put music to. But in retrospect, it’s this delirious quality that makes the
score even more enjoyable, with the action almost
tumbling over itself in long, hyper-percussive sections. You can almost sense that Arnold’s inadvertently doing some gonzo take on the knowing portentousness of the “big creature” score, a slightly
satirical quality that makes Godzilla all the more
enjoyable as a listen.
Though as divorced as possible from what
Ifukube would have done here, there’s a real oldschool magic to Arnold’s Godzilla, from its big,
unabashed themes to heroic military action and
choral hosannas that turn the Big G into an ersatz King Kong at his finest, and final hour. It’s
big music for big music’s sake, as performed by a
composer who’s out to fight the good melodic fight
in the face of a sound effects arsenal. That Arnold
triumphed in the big-budget arena on films like
Godzilla says a lot about how he’s one of the few
practitioners of the unabashed melody. In the end,
the Godzilla score is as titanic, and fun as a skyscraper-sized lizard.
Godzilla represents the tip of the iceberg for
the numerous, cool releases that La La Land
has been putting out with thankful regularity
– among them a complete Spaceballs, the glorious fantasy music of The Dark Crystal, the neoSpaghetti stylings of Hang ‘Em High and the
collected horror works of Jay Barnes Luckett,
whose memorable scores for such Lucky McKee films as May position her as the only black
woman to specialize in horror scoring. Be sure to
check them all out at the La La Land home page.
Click here for the Godzilla: Limited Edition
soundtrack.
OUT THIS WEEK
NEW Bloodrayne II: Deliverance (Jessica de Rooij) – Music2Gold / Film Music Down
loads
• Flood (Debbie Wiseman) – Silva Screen
• The Kingdom (Danny Elfman) – Varèse Sarabande
• Lust, Caution (Alexandre Desplat) – Decca
• Musica de Cine 2: Alan Silvestri – RTVE (Spain)
• Michael Clayton (James Newton Howard) – Varèse Sarabande
NEW Resurrecting the Champ (Larry Groupé) - Rykodisc
• Sea of Dreams (Luis Bacalov) – Varèse Sarabande
NEW Silk (Ryuici Sakamoto) – Remstar (Canada)
NEW Street Thief (Phirefonics) – Film Music Downlaods
OCTOBER 2
• Dan in Real Life (Sondre Lerche) - Capitol
• The Monster Squad (Bruce Broughton) – Intrada
OCTOBER 9
• Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore Media
• Elizabeth: The Golden Age (Craig Arm
strong/A.R. Rahman) - Decca
• In the Valley of Elah (Mark Isham) – Varèse Sarabande
• The Jane Austen Book Club (Aaron Zig-
man) – Varèse Sarabande
• Music from the Pirates of the Caribbean Trilogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen
• Return to House on Haunted Hill (Frederik Wiedmann) – Varèse Sarabande
• Sleuth (Patrick Doyle) – Varèse Sarabande
• Transformers (Steve Jablonsky) – Warner Bros.
OCTOBER 16
• Atom Nine Adventures (Robert Gulya) – MovieScore Media
OCTOBER 23
• Battlestar Galactica: Season 3 (Bear Mc
Creary) – La-La Land
• Superman: Doomsday (Robert J. Kral) – La-
La Land
OCTOBER 30
• Haunting Villisca (David James Nielsen) – MovieScore Media
NEW The Kite Runner (Alberto Iglesias) – Deutsche Grammophon
NEW Youth Without Youth (Osvaldo Golijov) – Deutsche Grammophon
NOVEMBER 6
• The Lord of the Rings: The Return of the King – The Complete Recordings (Howard Shore) - Reprise
• Star Wars: 30th Anniversary Collector’s Edi
tion (John Williams) – Sony
NOVEMBER 13
• George and the Dragon (Gast Waltzing) (Discovery Collection Vol. 2) – MovieScore Media
NOVEMBER 20
NEW Enchanted (Alan Menken) – Walt Dis-
ney Records
Courtesy of iFmagazine.com
ISSUE 32 • SEPT. 25, 2007
FILM MUSIC weekly
TECHNOLOGY
It’s beginning to look a lot like
Christmas – well, sorta…
MUSIC TECHNOLOGY AND YOU
By PETER LAWRENCE ALEXANDER
Hard to believe that we’re just days away
from:
•Fourth Quarter (October 1)
•Holiday music (formerly known as Christmas music) being played in Wal-
Mart (October 15)
•The World Series (TBA)
•Halloween (October 31)
•Thanksgiving
•Black Friday
•My Birthday (December 2)
•Christmas (December 25)
What prompted such seasonal thinking
is the number of updates and major new
releases suddenly being announced. Since
it can’t be Back to School, and no goblin
décor is appearing on the packaging in anticipation of Trick or Treat, then it must be
Christmas.
So what new things are coming to brighten our productions, discombobulate our studios with system integration issues, and to
help with year-end tax deductions?
ments exclusively
•Stand-alone application, ideal for run-
ning Vienna Instruments on external computers
•RTAS (Mac PPC & Intel), VST (PC), AU (Mac PPC & Intel) compatibility for plug-in use with your host sequencer
•Separated server solution that doesn’t address RAM used either by your host sequencer or by Vienna Instruments plug-ins running alongside the se-
quencer and Vienna Ensemble.
•Prepared for 64-bit PCs and Macs
•Master bus, aux busses
•Inserts for VST effect plug-ins
•Power panning
It is important to note that Vienna Ensemble is for Vienna Instruments only. So
if you have other libraries residing on computers with Vienna Instruments, then you
either have to use another host like Forte
from Brainspawn or run Vienna first then
another library, or have a set of machines
dedicated to Vienna and to other programs.
•Note Audition
•No longer requires iLok security
•Expandable and customizable sound li-
brary
•MIDI import
•MusicXML import and export
•MIDI device entry, including step time, stretch time, and real time
•Enter and edit up to 99 verses of lyrics
•Automatic score layout and alignment
•Instrument audio mixer: mute, solo, decay, pan, and balance
•Export to WAV file
•Shortcuts for every element – easily associated through mnemonics or visu-
al appearance
•33 level dynamic resolution from
ppppp to ffffff with intermediate de-
grees
•Timbre sampling at all dynamics and in all ranges
•Playback of custom key signatures,
time signatures, quarter tones, and more
CAKEWALK SONAR 7
NOTION 2.0 UPDATE
THE VIENNA ENSEMBLE
No, we’re not talking about the chamber orchestra. We’re talking about the Vienna Symphonic Library’s new mixer, with
elements of its MIR (multiple impulse response) effects engine, releasing approximately October 25, free, for Vienna Instruments users who download the 2.0 update.
Feature set includes:
•Tailor-made for hosting Vienna Instru-
FILM MUSIC weekly ISSUE 32 • SEPT. 25, 2007
Notion has just released a significant 2.0
update that graciously enough, is free to all
registered users. Three key features include
the end for iLok keys, MIDI import, and the
ability to click and drag notes.
•Click and drag notes
Cakewalk Sonar 7 is now shipping. It
runs on the PC with either XP or Vista, and,
according to the website, on the Mac using
Boot Camp. While there are a number of
new features, to keep a balanced comparison with my article on Logic 8, here’s a list
of the new plug-ins coming with Sonar Producer:
•NEW— LP-64 EQ™ linear phase mas-
tering EQ
9
TECHNOLOGY
•NEW— LP-64 Multiband™ linear phase mastering compressor/limiter
•NEW— Z3TA+™ waveshaping synthe-
sizer
•NEW— VC-64 Vintage Channel™ with sidechaining capabilities
•NEW— Roland V-Vocal™ 1.5 with Pitch to MIDI conversion
•AudioSnap™ multitrack audio quan-
tize
•SurroundBridge™ technology to use stereo FX in surround
•Sonitus Surround Compressor
•POW-r dithering
•PSYN™ II subtractive synthesizer
•Pentagon™ I Analog Modeling Synth
•RXP™ groove instrument with REX file support
•Perfect Space™ Convolution Reverb
•Lexicon® Pantheon™ Reverb
•Surround mixing in over 30 formats
Cakewalk has a series of demonstration videos which it also posted
on YouTube. Click here to see them.
Kontakt 3 is a massive upgrade. Hopefully, they’ve listened to their customers
and gone with larger type fonts so you can
read it. Bifocal gripes aside, Kontakt 3 offers an impressive file import list that also
includes the older Roland CD libraries. For
a complete list of file format imports click
here. Note that K3 does not important from
EastWest’s Play. Click here for a K3 video
overview.
•MIDI loop drag & drop into host appli-
cation
•New Info Pane in the GUI
WHAT IT ALL MEANS
Throughout the late Spring and Summer,
I’ve been writing about the new standards
changes coming that will affect studio setups and system integration issues. We now
have the following standards to deal with:
New features include:
NATIVE INSTRUMENTS KONTAKT 3
•Six Instrument Collections – over 33 GB of sounds
•Ready-to-rock “Performance View” for each of the 1,000 instruments
•Reworked Wave Editor with tools for intuitive looping, slicing and editing
•Freely drawable envelopes per sample
•Improved navigation: Modulation Quick-Jumps, Instrument Navigator
•Over 18 high-end effects
•Enhanced workflow for Scripts with tabbed views
•Universal Import of virtually any sam-
ple format
EastWest – Play
Native Instruments – Kontakt 3
Tascam - GigaStudio
Vienna Symphonic Library – Vienna Instruments/Vienna Ensemble
As of September 15, 2007, all the Vienna
libraries in Giga/Kontakt/EXS/HALion formats have been discontinued – replaced by
the Vienna Instruments. And with Leopard shipping in October, at that point, will
enough libraries be supporting Leopard to
justify making an all Mac studio move?
We’ll have to wait and find out.
For Native Instruments, one question
to be answered is how well libraries in K2
format import into K3. This sounds somewhat dumb to consider, until you remember
that not all libraries in K1.54 translated
well into K2. Given that history, in my view,
we need a statement from Native Instruments stating how well the libraries in the
K2 format come across, and whether or not
the scripting from K2 is recognized on import to K3. With K3 now containing 34GB of
samples (per the video), it appears that Native Instruments is taking a page from the
IK Multimedia SampleTank marketing book
by providing a sampler with libraries that
enables K3 to be a complete production system. If the 34GB of sounds are well thought
out and 100% usable, as opposed to being
semi-usable sounds, then this can open a
whole new marketplace for NI.
Ah, well, things to ponder as you hang
your stockings and drink your hot tea with
cookies waiting for Santa to arrive.
n Peter Alexander is preparing to score The Good
Samaritan. His most recent books are How Ravel
Orchestrated: Mother Goose Suite, and Professional
Orchestration. He has also written White Papers on
music education.
10
ISSUE 32 • SEPT. 25, 2007
FILM MUSIC weekly
The Chart Doctor
Hiring A Lifesaver
By Ron Hess
Let’s assume you’ve got your session date,
venue, supervising orchestrator, score proofreader, supervising copyist, conductor, contractor/supervisor and engineer lined up. Unless you are an “A-lister” already, chances are
you will be fulfilling one or more of these jobs
yourself, once the score is written. You might
be conducting or contracting the orchestra
or possibly doing nothing but trying to stay
awake in the booth. Whichever way, you’ll
still need a score supervisor, and if you’re going to hire one, you might as well get your
money’s worth by finding a good one.
If you are in the booth, why hire an extra
set of ears? As the composer, you have all
sorts of responsibilities occupying your attention while the clock is running: conferring
with, feeding, seating, and otherwise entertaining clients (director/producer/songwriter/
performer/etc.), concentrating on the “flavor”
rather than the ingredients of the overall
sound, writing checks, answering questions,
playing diplomat between your team members, and running to the john when something goes wrong. It could be any of a hundred things that will keep you from having
the focus to run quality control on your music
during the critical time when you still have
some affordable control over how it turns out.
When the orchestra packs up their cases, so
do your chances for an easy fix on something.
How do you find the right “booth god”
for your session? As with all critical members of your team, try to find someone
with experience in the role. If you haven’t
done the job yourself, how are you going
to get what you need from someone who
hasn’t either? A logical starting point is
FILM MUSIC weekly ISSUE 32 • SEPT. 25, 2007
your orchestrator, who probably knows
the score almost as well as you do. However,
knowledge of the score is only one consideration. If he is unavailable, or if you cannot
verify his ears, booth experience, or overall
practical musicianship, then you might want
to look further.
As with seeking a conductor, get recommendations. And not just from composers,
either. Recording engineers can be amazingly
good judges of a good score supervisor, as they
work right beside him and are usually experienced enough pros themselves to know one
when they see one in action. When you find a
likely candidate, try to see him/her in action
at another session. It’ll be worth the trip.
Watch the demeanor, the comfort level in
the recording environment, the communication with the conductor, players, engineer,
composer and client. Look at what gets said
(and, perhaps as importantly, what doesn’t
get said) for that fine balance between tenacious musical perfectionism and practical recording wisdom. A chatty booth god can be a
huge time waster. Gauge the professionalism
by looking for a “How can I help?” attitude at
every turn. You’re looking for a savior, not an
ego.
If you can’t see the candidate in action, get
a phone interview. While conversing, try to
get a read on the candidate’s assertiveness potential, overall attitude and diplomatic skills.
Then ask for a resume that reveals the entire
spectrum of musical and technical abilities
that might benefit you when the chips are
down. Experience with takedowns, orchestration and conducting are particular pluses
since they reveal skills with critical listening,
orchestral makeup, and session leadership.
Technical savvy can help separate who knows
what is fixable after the session and who does
not. Essentially, what you want is a musical
jack-of-all-trades and an absolute master of
one: applied concentration.
It’s a good idea to have a brief meeting, on
the phone or just prior to the session. Make
clear the makeup of your “team” and specifically what duties you want to be filled and
what the session strategy is going to be.
For instance, if you always want a full take
of each cue for continuity in editing later,
let your booth god know to overlook any but
the most glaring train wrecks while getting
it. Work out the diplomacies and the session
leadership hierarchy beforehand to prevent
friction. Walk that fine line between stifling
your whistleblower and letting him bog your
session down. But however you do it, be ready
to confer both the mandate and the authority
to save you time and perfect your product.
With stakes as high as they inevitably are
in any ensemble recording session, your score
supervisor can be your last line of defense
against time-bombs lurking in your tracks.
Choose one carefully, let him do the job, and
then sleep well when the session’s over.
n Ron Hess works as a studio conductor, orchestrator, copyist and score supervisor in Los Angeles,
where he’s well-known for his quick ability to ferret
out the most hidden performance problems and spot
score glitches rapidly. He holds a Master’s Degree
from the New England Conservatory, and is considered one of the top Finale experts in Los Angeles.
Email Ron at [email protected]
11
Neal Acree: Hallowed Ground.
Tree Adams: Keith.
Eric Allaman: Race.
John Altman: The Master Builder.
Craig Armstrong: The Golden Age (co-composer).
Angelo Badalamenti: The Eye • The Edge of Love.
Klaus Badelt: Heaven and Earth • Killshot.
Roque Baños: The Last of the Just.
Nathan Barr: Watching the Detectives •Tortured.
Tyler Bates: The Haunted World of El Superbeasto • Day of the Dead •
Watchmen • Doomsday.
Jeff Beal: Where God Left His Shoes • Salomaybe? • The Deal.
Christophe Beck: Drillbit Taylor • The Seeker: The Dark Is Rising.
Marco Beltrami: In the Electric Mist with Confederate Dead.
Doug Besterman: Exit Speed.
Charles Bernstein: Bull Run • Let My People Go.
Jean-Michel Bernard: Be Kind Rewind.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Bridie: Gone.
Kenneth Burgomaster: Garfield Gets Real • Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: No Country for Old Men.
Niall Byrne: How About You.
Brian Cachia: Gabriel.
Peter Calandra: The Sickness.
Jeff Cardoni: Firehouse Dog • Save Me.
Sam Cardon: A House Divided • The Dance • Mummies.
Teddy Castellucci: Are We Done Yet?.
Nick Cave: The Assassination of Jesse James by the
Coward Robert Ford (co-composer).
Jamie Christopherson: Ghost Image.
Nigel Clarke/Michael Csányi-Wills: The Grind.
Charlie Clouser: Saw IV.
Elia Cmiral: The Deaths of Ian • Missionary Man • Tooth and Nail.
Graham Collins: Black Kissinger.
Joseph Conlan: American Pastime.
Ry Cooder: : Charlie Wilson’s War.
Normand Corbeil: Ma fille, mon ange • Boot Camp • Emotional
Arithmetic.
Jane Antonia Cornich: Island of Lost Souls • Solstice.
Burkhard Dallwitz: Romeo and Me • Taking Tiger Mountain • The
Interrogation of Harry Wind • Chainsaw.
Jeff Danna: Closing the Ring • C7.
Mychael Danna: Fracture.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Tribe.
Jessica de Rooij: Postal • BloodRayne II: Deliverance • Tunnel Rats
• Far Cry..
John Debney: Evan Almighty • Big Stan • Sin City 2 • Sin City 3 • Iron
Man.
Alexandre Desplat: His Dark Materials: The Golden Compass • Lust,
Caution.
Ramin Djawadi: Fly Me to the Moon • The Tourist.
James Michael Dooley: Bachelor Party 2.
Patrick Doyle: Mr. Magorium’s Wonder Emporium.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Shattered.
Clint Eastwood: Grace Is Gone.
Randy Edelman: 27 Dresses • The Mummy: Tomb of the Dragon
Emperor.
Steve Edwards: Finding Rin-Tin-Tin • The Neighbor.
Danny Elfman: The Sixth Element • The Kingdom • Hellboy 2.
Warren Ellis: The Assassination of Jesse James by the Coward Robert
Ford (co-composer).
Paul Englishby: Magicians.
Tobias Enhus: Paragraph 78.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Virgin Territories • Strength and Honour.
Evan Evans: The Mercy Man • You’re Nobody ’Til Somebody Kills You.
Nima Fakhara: Lost Dream.
Sharon Farber: When Nietzsche Wept.
Guy Farley: The Flock • The Christmas Miracle of Jonathan Toomey •
Knife Edge • Dot Com • The Broken • Dylan.
Louis Febre: Tenderness.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury • Magdalene • Vivaldi.
John Frizzell: Careless • First Born.
Michael Giacchino: Star Trek XI.
Richard Gibbs: Cleaner.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It in Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone Dry.
Philip Glass: Cassandra’s Dream • Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not.
Howard Goodall: Mr Bean’s Holiday.
Adam Gorgoni: Starting Out in the Evening.
Jeff Grace: The Last Winter • Triggerman • I Sell the Dead • Liberty Kid.
Harry Gregson-Williams: Gone, Baby, Gone • Jolene • The Chronicles
of Narnia: Prince Caspian.
Rupert Gregson-Williams: I Know Pronounce You Chuck and Larry •
Bee Movie • You Don’t Mess With the Zohan.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ • Love Lies Bleeding.
Andrea Guerra: L’uomo di vetro.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State of Play.
Paul Hepker: Rendition (co-composer).
Eric Hester: Lost Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the Devil.
Ben Holbrook: Kiss the Bride.
Lee Holdridge: I Have Never Forgotten You - The Life and Legacy of
Simon Wiesenthal.
Andrew Hollander: East Broadway.
James Horner: The Spiderwick Chronicles.• Avatar • In Bloom.
Richard Horowitz: Genghis Khan • Kandisha • The Whisperers.
James Newton Howard: Michael Clayton • The Waterhorse • I Am
Legend • The Happening.
Terry Huud: Plaguers.
Alberto Iglesias: Her Majestic Minor • The Kite Runner.
Mark Isham: Pride and Glory • Reservation Road • Lions for Lambs.
Steve Jablonsky: D-War.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle.
Bobby Johnston: American Fork • Stuck.
Tim Jones: Cryptid.
Trevor Jones: Fields of Freedom • The Power of the Dark Crystal.
David Julyan: Outlaw • Waz.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (co-composer).
George Kallis: Highlander: The Source • Antigravity.
Tuomas Kantelinen: Quest for a Heart • The Knight
Templar • Mongol.
Yagmur Kaplan: The Elder Son • The Lodge • Broken
Windows.
Laura Karpman: Man in the Chair • Out at the Wedding.
Rolfe Kent: Fred Claus • Spring Break in Bosnia • Sex and
Death 101.
Wojciech Kilar: We Own the Night.
Mark Kilian: Rendition (co-composer) • Before the Rains.
David Kitay: Because I Said So • Shanghai Kiss • Blonde Ambition.
Harald Kloser: 10,000 BC.
Abel Korzeniowski: Terra.
Penka Kouneva: The Third Nail • Richard III.
Ivan Koutikov: Wanted Undead Or Alive • Living Hell.
Aryavarta Kumar: The Rapture • Greater Threat.
Christopher Lennertz: The Comebacks • Alvin and the Chipmunks •
The Perfect Christmas • Hunting and Fishing.
Sondre Lerche: Dan in Real Life.
Michael A. Levine: Adrift in Manhattan.
Christopher Libertino: Off the Grid – Life on the Mesa • The Forgotten
Kingdom.
Andrew Lockington: Step • How She Move • Journey 3-D.
Joseph LoDuca: Bar Starz • My Name Is Bruce • Ocean of Pearls •
Boogeyman 2.
Henning Lohner: In the Name of the King: A Dungeon Siege Tale •
Timber Falls.
Steve London: Decoys 2: Alien Seduction • Kaw.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert Into Fire.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • August Rush • Camille • Without a Badge
• Like Dandelion Dust.
Harry Manfredini: Dead and Gone • That’s Amore.
David Mansfield: Carnaval de Sodoma • Then She Found Me • The
Guitar.
Dario Marianelli: We Are Together • Goodbye Bafana • Atonement
• Shrooms.
Anthony Marinelli: Grizzly Park.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted.
Matt Messina: Juno • The Least of These.
Guy Michelmore: Doctor Strange.
Bryan E. Miller: Fissure.
Randy Miller: Last Time Forever • Shanghai Red • Second Chance
Season.
Robert Miller: Teeth • The Key Man • Trumbo.
Sheldon Mirowitz: Renewal • Operation Filmmaker.
Charlie Mole: Fade to Black • I Really Hate My Job • St. Trinian’s.
Deborah Mollison: Infinite Justice.
Paul Leonard-Morgan: Popcorn.
Andrea Morricone: Raul – Diritto di uccidere • Veronica Decides to Die.
Trevor Morris: Matching Blue.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys.
Sean Murray: The Lost • Clean Break.
Peter Nashel: Wedding Daze.
Javier Navarrete: His Majesty Minor.
Blake Neely: Elvis and Anabelle.
Roger Neill: Take • Scar.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog Princess.
Thomas Newman: Nothing Is Private.
Marinho Nobre: Left for Dead.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers • A Perfect Season.
John Ottman: Valkyrie.
Atli Örvarsson: Vantage Point.
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl • Running
THE
SCORE
BOARD
the Sahara.
Mark Petrie: The Road to Empire • Lake Dead • Mr Blue Sky • Valley
of Angels.
Barrington Pheloung: And When Did You Last See Your Father?.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Growing Your Own.
Nicholas Pike: The Shooter • Parasomnia.
Antonio Pinto: Love in the Time of Cholera.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat.
Steve Porcaro: The Wizard of Gore • Cougar Club.
Rachel Portman: The Feast of Love.
John Powell: Horton Hears a Who • P.S. I Love You.
Reg Powell: The Ten Commandments.
Michael Price: Sugarhouse Lane • Agent Crush.
Trevor Rabin: National Treasure 2: The Book of Secrets • Get Smart.
Didier Lean Rachou: How to Rob a Bank • An American in China.
A.R. Rahman: The Golden Age (co-composer).
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & You, Us, Forever • The Secrets of Jonathan
Sperry.
Brian Reitzell: 30 Days of Night.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Darfur Now • Days of Wrath.
Graham Reynolds: I’ll Come Running.
Carmen Rizzo: The Power of the Game.
Matt Robertson: The Forest.
Philippe Rombi: Angel.
Jeff Rona: Whisper.
Brett Rosenberg: The Skeptic.
David Glen Russell: Contamination.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What We Did on Our Holidays.
Anton Sanko: Life in Flight.
Gustavo Santaolalla: Things We Lost in the Fire (themes).
Brian Satterwhite: Cowboy Smoke • Maidenhead.
Mark Sayfritz: sake.
Brad Sayles: The Bracelet of Bordeaux.
David Schommer: War, Inc.
Marc Shaiman: Slammer • The Bucket List.
Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh • The
Girl in the Park • Semi-Pro • Tropic Thunder • The Heartbreak Kid.
George Shaw: Victim • Sailfish.
Edward Shearmur: 88 Minutes • Dedication • The Other Boleyn Girl.
Ryan Shore: The Girl Next Door • Numb • Jack Brooks – Monster
Slayer.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
Samuel Sim: Awake.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts • Disgrace.
BC Smith: Greetings from the Shore.
Damion Smith: Stompin.
Jason Solowsky: 110%: When Blood, Sweat and Tears Are Not
Enough • The Deepening • L.A Takedown • Unemployed • North by
El Norte.
Mark Hinton Stewart: Man from Earth.
Marc Streitenfeld: American Gangster.
William T. Stromberg: TV Virus • Army of the Dead.
Jina Sumedi: Sextet.
Mark Suozzo: The Nanny Diaries.
Johan Söderqvist: Walk the Talk • Things We Lost in the Fire • A Man
Comes Home.
Joby Talbot: Son of Rambow.
Frederic Talgorn: Asterix at the Olympic Games • Largo Winch •
Dragon Hunters.
Francois Tétaz: Rogue.
Mark Thomas: Moondance Alexander • Tales of the Riverbank.
tomandandy: The Koi Keeper.
Pinar Toprak: Blue World • Dark Castle • Serbian Scars.
Jeff Toyne: Shadow in the Trees • Within • Fast Company.
Thanh Tran: Cult.
Michael Tremante: If I Didn’t Care.
Gregory Tripi & Kyle Batter: Dark Storm • Termination Point.
Ernest Troost: Crashing.
Brian Tyler: Bangkok Dangerous • War • Finishing the Game • Alien
vs. Predator 2 • John Rambo • The Heaven Project.
Shigeru Umebayashi: A Simple Love Story.
Johan van der Voet: Clocking Paper.
John Van Tongeren: War Games 2 - The Dead Code
Waddy Wachtel: Strange Wilderness.
Benjamin Wallfisch: The Escapist.
Michael Wandmacher: The Killing Floor • Man of Two Havanas • Train
• Get Some.
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Flawless • Miguel and William.
Matthias Weber: Silent Rhythm • Weekend Interrupted.
Cody Westheimer: Benny Bliss and the Disciples of Greatness •
Hysteria.
Alan Williams: Angst • Snow Princess • He Love Her, She Loves
Him Not.
David Williams: The Conjuring.
John Williams: Indiana Jones IV • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: Afterthought.
Debbie Wiseman: Flood • Amusement.
Alex Wurman: The Baker • Bernard and Doris • Baggage • Quebec.
Gabriel Yared: Manolete • 1408.
Christopher Young: Sleepwalking.
Geoff Zanelli: Delgo • Hitman • Outlander.
Marcelo Zarvos: The Air I Breathe • You Kill Me.
Aaron Zigman: The Martian Child • Good Luck Chuck.
Hans Zimmer: Frost/Nixon.
Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments.
New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to [email protected].