September 12, 2007 - Film Music Magazine

FILM MUSIC weekly
ISSUE 30 • SEPT.12, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
Creative Emmy Awards
to Fenton, Beal, Ross
George Fenton, Jeff Beal and William
Ross were among the happy recipients
of the 59th Primetime Emmy Awards at
the Creative Arts Emmys ceremony at
the Shrine Auditorium in Los Angeles on
Saturday night.
Veteran composer George Fenton won the
Emmy for “Outstanding Music Composition
for a Series (Original Dramatic Score) for his
large-scale orchestral music for the BBC hit
series Planet Earth. Jeff Beal won the “Outstanding Music Composition for a Miniseries,
Movie or a Special (Original Dramatic Score)”
for his “Battleground” score from Nightmares
and Dreamscapes: From the Stories of Stephen
King. William Ross won for his musical direc-
615 Music Acquires Metro Music
Production
music
library
615 Music has
acquired
music
library
Metro
Music, it was announced by 615
Music President
and CEO Randy
Wachtler and Metro Music owner
Mitch Coodley.
Founded in 1984, 615 Music is a full-service
music development, recording, post-production
and sound design company with clients that include broadcast and cable television networks and
programs, local market TV stations, radio stations
and syndicates, advertising agencies and filmmakers. The company both licenses its catalog and
creates original works,
themes and promotions
for television productions.
Metro Music was founded by composer, producer and guitarist Mitch Coodley in 1985. The
library’s catalog has been geared towards high-end
television and film producers and Fortune 500 corporations. According to the company, its music is
utilized regularly in over 100 countries worldwide,
and can be heard daily and nightly on TV and ra-
dio networks and local affiliates across the U.S.
Regarding the deal, 615 Music’s Randy Wachtler said, “Strategically, this acquisition made
a great deal of sense for us, and helps us expand
615 Music’s global outreach. I have known Mitch
Coodley for many years, and have always admired
his music. We are delighted that he will continue
to write and produce original new music for Metro.
Because we know that his clients have grown to
love the Metro library, we have decided to continue
to market Metro Music under its own brand name
in the coming months. With our marketing expertise, we will have the ability to help extend the
reach of the Metro library even further.”
Added Mitch Coodley of Metro Music, “I’m a
composer and producer first and foremost. This
deal will allow me to spend even more time on the
creative side of producing the Metro catalog. Randy was looking to continue the Metro sound, and
that’s why this deal works so well for me. I know
the library is in good hands and that 615 Music
will serve us both well in terms of expanding our
client base and keeping our long-term clients happy.”
With the addition of the Metro library, 615 Music now has 12 production libraries and well over
500 CDS worth of music available to its clients.
For more information visit: http://www.615music.com
http://www.metromusicinc.com
tion of the 79th Annual Academy Awards.
Fenton won an Emmy for the Planet Earth
predecessor in 2002, The Blue Planet. Jeff
Beal has also won an Emmy before, for his
Monk theme in 2003, and he has also had a
handful of nominations in the past five years.
William Ross’ honor was a first for the composer.
BSX Releases
‘Captain Kronos’
B S X
Records,
a
division of
BuySountrax.com has
announced
the upcoming September 14 release of the
score album
for Captain
Kronos, Vampire Hunter. The release is a limited edition of 2,000 units, and the album is
available for pre-orders now.
Born in Hampstead, London, in 1927, Laurie
Johnson undertook his musical studies at the Royal College of Music, where he would later return as
a professor. He embarked on a professional musical career at the age of 21, composing and arranging for a variety of big bands, a love which continues to this day with his jazz ensemble, The London
Big Band. Johnson began scoring films and television in 1956, and soon proved to have an affinity
for quirky and fantastic films with his scores for
Stanley Kubrick’s Dr. Strangelove (1963) and First
Men In The Moon (1964).
For more information and audio samples, visit:
http://www.buysoundtrax.com
CD Review: 3:10 to Yuma
MORE INSIDE:
n About the only Morricone trademarks that Marco Beltrami doesn’t use
in his score for 3:10 To Yuma is a wailing female voice and a harmonica.
But that being said, Beltrami dumps a whole stagecoach full of gold at
Morricone’s feet and rides off into the sunset in style, with his own musical
voice more than intact. p:8
p:6 signings & projects
p:9 THE CHART DOCTOR:
SCORE AND PART PRINTING
p:10 THE SCOREBOARD
2
ISSUE 30 • SEPT. 12, 2007
FILM MUSIC weekly
FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
Advertising Sales Manager:
Steve Schatzberg
Copy Editor: Lisa Rawson
Technology Editor: Peter Alexander
Soundtrack Review Editor:
Daniel Schweiger
Website Design: Rakesh Rai
Accounting: Tina Chiang
Legal Advisor: Patricia Johnson, Esq.
Film Music Weekly is published weekly by Global
Media Development Group, Inc.
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or any of our divisions, management or staff.
FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007
YOUR FEEDBACK
We welcome feedback on any aspect of Film Music
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This Week on
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ROB ZOMBIE AND TYLER BATES
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Film music journalist Daniel Schweiger interviews director-writer
ROB ZOMBIE and composer
TYLER BATES, who team for a
terrifying new spin on the sound of
HALLOWEEN.
TUNE IN HERE!
3
FILM MUSIC NEWS
Ghent Festival Launches
CD Series
The Flanders International Film Festival in Ghent, Belgium, has launched a CD
series devoted to the works of composers connected to the festival. The first album
focuses on music by Craig Armstrong.
The title of the festival’s CD
series is “For the Record,” and
Craig Armstrong is the first
composer to be featured. For the
Record: Craig Armstrong features newly recorded suites and
themes from films such as Romeo
+ Juliet, Moulin Rouge, Plunkett
and MacLeane, The Quiet American, World Trade Centre, Ray,
The Bone Collector and Best Laid
Plans. The music is performed by
the Flemish Radio Orchestra and
Choir, conducted by Dirk Brossé.
“The aim is for at least one
new recording to be brought onto
the market per year, in order to
promote film music qualitatively.
Therefore, film music composers
with a connection to the Ghent
Film Festival – those that have
attended the festival or had their
music performed during the festival – will be selected,” the organizers wrote in a recent press
release.
For the Record: Craig Armstrong can be obtained at: http://www.filmfestival.be/shop.
4
OPENING THIS WEEK
THEATRICAL
• Across the Universe (Elliot Goldenthal)
• The Brave One (Dario Marianelli)
• December Boys (Carlo Giacco)
• Eastern Promises (Howard Shore)
• Fierce People (Nick Laird-Clowes)
• In the Valley of Elah (Mark Isham)
• Ira and Abby (Marcelo Zarvos)
• King of California (David Robbins)
• Moving McAllister (Didier Lean Rachou)
DIRECT-TO-DVD
• Abe and Bruno (Patirck Kirst)
• Carolina Moon (Steve Porcaro)
• Evading (Wayne Tapia)
• The Haunting of #24 (Helen Caddick)
• Pirates of Ghost Island (Jason Peri)
• White Rainbow (Mark Bonilla)
Silvestri Concert
on CD
Alan Silvestri’s live concert at the
Soncinemad Film Music Festival in Madrid will result in a CD released by the
RTVE label in Spain.
The Filarmonia Orchestra and Choir of the
RTVE performed the music of Alan Silvestri in
a hailed concert featuring concert suites from
many of the composer’s best-known film scores,
including Back to the Future, Forrest Gump
and The Mummy Returns. The album will not
include the full program from the concert (for
instance, the selections from the upcoming film
Beowulf is, of course, not included).
The CD is scheduled to come out in Spain
by the end of September.
ISSUE 30 • SEPT. 12, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Geoff Zanelli Scores Hitman
THE A-LIST
TOP AGENCIES
Hitman, the movie version of
the popular video game, will get
an original score by Disturbia
composer Geoff Zanelli.
The film is produced by 20th Century Fox and directed by 32-year old
French helmer Xavier Gens. The original Hitman games featured music by
Danish composer Jesper Kyd, but according to Zanelli, none of his music
will be featured in Zanelli’s original
score. However, Franz Schubert’s ‘Ave
Maria,’ which was used prominently
in the games, will be included in the
film. Hitman stars Timothy Olyphant, Dougray Scott and Ulrich Thomsen. It’s scheduled to premier worldwide on November 21.
Hitman, 20th Century Fox’ movie
In addition to Hitman, Geoff Zanelli has another major asversion of the video game, gets a
signment coming up: Outlander, an unusual mix of sci-fi saga
score by Geoff Zanelli (Disturbia)
and Vikings adventure, starring James Caviezel, Ron Perlman
and John Hurt. It’s produced by The Weinstein Company and written and directed by Howard
McCain.
Geoff Zanelli is represented by Gorfaine-Schwartz. His previous credits include Disturbia,
House of D and Secret Window.
The most prolific film music agencies according
to the current U.S. box office statistics, September 7-9, 2007:
1 (3). First Artists Management – $18.8m
• Superbad (Lyle Workman) - $8.0m
• Shoot ‘Em Up (Paul Haslinger) - $5.5m
• Rush Hour 3 (Lalo Schifrin) - $5.3m
2 (new)Greenspan Artists Management – $14.1m
• 3:10 to Yuma (Marco Beltrami) - $14.1m
3 (1). Soundtrack Music Associates – $10.0m
• Halloween (Tyler Bates) - $10.0m
4 (2). Gorfaine-Schwartz Agency – $7.5m
• Balls of Fury (Randy Edelman) - $5.7m
• Stardust (Ilan Eshkeri) - $1.8m
4 (4). Kraft-Engel Management – $7.5m
• The Bourne Ultimatum (John Powell) - $5.5m
• Hairspray (Marc Shaiman) - $2.0m
5 (5). Evolution Music Partners – $1.6m
• Death Sentence (Charlie Clouser) - $1.6m
Source: IMDb
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FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007
5
FILM MUSIC NEWS
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SIGNINGS & PROJECTS
Elia Cmiral:
Tooth and Nail
n Elia Cmiral (Ronin, Stigmata, Wrong Turn) has
been hired to score Tooth and Nail, a new horror
film by Mark Young, starring Michael Madsen, Vinnie Jones and Robert Carradine. The film is produced by John Sachar and Patrick Durham, taking
place in a future, post-apocalyptic world where a
group of people fight to survive against vicious cannibals. Cmiral’s other
recent scores include Dolph Lundgren’s Missionary Man and The Deaths
of Ian Stone. mc
James Brett:
Outpost
$PNQPTFS1SP#VOEMFXBT
Now $1,995.00
Platinum Pro Bundle / QL RA /
G&J SALES AND DISTRIBUTION present an ULTIMATE PICTURES UK production
in association with LITTLE WING FILMS ULRICH THOMSEN “THE ROCKET POST” SHAUNA
MACDONALD GARY LEWIS KEVIN MCKIDD PATRICK MALAHIDE
EDDIE MARSAN CLIVE RUSSELL JIMMY YUILL IAN McNEICE and JOHN WOOD
casting director JANEY FOTHERGILL make-up & hair designer ALISON DAVIES costume designer
STEWART MEACHEM production designer ALISON RIVA
edited by IAN CRAFFORD & BEVERLY MILLS director of photography RICHARD GREATREX, bsc
music composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLS line producer ALISON BARNET
producers DAVID KENNAWAY CATHERINE DAVIES executive producers ROBERT BEVAN
KEITH HAYLEY CHARLIE SAVILL GUY HANDS JULIA HANDS screenplay by JAMES MACINNES
and WILLIAM MORRISSEY produced by MARK SHORROCK directed by STEPHEN WHITTAKER
n British composer James Brett, whose previous credits include Gladiatress and Daniel and
the Superdogs, has recorded his score for the new
action film Outpost, directed by Steve Barker and
starring Ray Stevenson, Richard Brake and Julian
Wadham. Brett’s music is performed by The London Metropolitan Orchestra. Brett also recently conducted the same orchestra recording Harald Kloser’s score for the forthcoming Roland Emmerich epic 10,000 BC. mc
Composers’ web site: www.moviefonics.com
It was a summer’s day on the west c
of those days when Scotland is the
earth. I had the first demo of Michael a
Rocket Post and had driven out to a favou
to listen to their musical thoughts, car do
grassy knoll above the beach. I remember
over again and feeling so uplifted. The boys
the love story of Catherine and Gerhard, the
and the evocative beauty of the Western Isles
cal themes. It was wonderful.
terial on which to comment. Periodically the
conductor for the score Robin Page called in
to see how the score was progressing and
pass useful comments. A highlight of any
film score is working with live musicians – in
this case we were privileged to record the
score with the Royal Philharmonic Orchestra
and added Scottish flutes played by the wonderful Francesca Hanley. Another musical
highlight was recording the title song of the
film with Mae McKenna who brought a real
authentic Scottish flavour to the film. The
project took five weeks from the first germ of
an idea to the fully orchestrated end product.
Nigel Clarke & Michael Csányi-Wills
March 2007
A
NOTE FRO
THE PRODU
or: IAN MACLAY
This recording A 2006 G&J
Sales & Distribution. Original
score © 2003 Nigel Clarke,
Michael Csányi-Wills, copyright administered by Air-Edel
Associates Ltd.
S 2007 MovieScore Media
Sweden. All rights reserved.
Nigel Clarke
by Michael
nald
MMS-07006
BAR CODE HERE!
ent
A NOTE FROM
THE COMPOSERS
Special thanks from MovieScore Media to
Alison Wright, Simon Waite, Guy Hands,
and Nigel Clarke & Michael Csányi-Wills.
N
d on Sibelius 2
tesy of
As so often happens when scoring films, one
day you do not know it exists, the next day
you are working every hour under the sun.
This was the case with The Rocket Post. After a phone call from our agent, we met the
film’s producer Mark Shorrock and two days
later we were working around the clock.
Nonetheless, it was a pleasure to do so as the
film has an abundance of romance, beauty
and drama set against the backdrop of the
Western Isles in Scotland. Sadly the director
Stephen Whittaker had passed away before
we were brought on board. As a result, Mark
put in place Alison Riva as music adviser for
this project. Every few days Mark and music
supervisor Alison Wright stopped by our studio to hear our ideas. As with all our scores
we made synthetic demonstrations of all the
cues which gave both Mark and Alison ma-
ON METSOVITIS
sic Service)
Csá nyi-Wills:
THE
For those years when Rocket Post remained u
score kept the film alive for me and other m
you dipped into their gorgeous score, there c
financiers would finally release it. Working
producer’s joy. They understood immediatel
current of strong emotion. And they worke
Nigel beavered away orchestrating all the
man doing the job of ten men, and all the
Michael’s piano playing bringing to lif
film. And then there was the day whe
Michael and Nigel’s music. I do ho
enjoyment from Michael and Ni
have all had. – Mark Shorro
March 8th, 2007
HRISTIAN HENSON
d
del
at Air Lyndhurst,
ROCKET
POST
ROCKET
POST
ITHE ROCKET POST • Nigel Clarke & Michael Csányi-Wills
HAEL CSÁNYI-WILLS
ORCHESTRA
PAGE
MAE MCKENNA
ÁNYI-WILLS
THE
m
• 2. The Islands (2.09)
• 5. Impressions (1.55)
8. Building the Rocket (1.44)
m Across the Sea (1.37)
arty (1.12) • 14. Failure (1.40)
08) • 17. Paint Dance (1.01)
istant Shores’ (5.20)
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MUSIC BY
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PICTURE SOUNDTRACK
NIGEL CLARKE &
MICHAEL CSÁNYI-WILLS
THE
ROCKET
POST
PERFORMED BY
THE ROYAL PHILHARMONIC ORCHESTRA
Thematic,
romantic,
orchestral...
British composers Nigel Clarke and Michael Csányi-Wills
has composed a wonderful score for The Rocket Post,
a romantic orchestral work filled with memorable themes
and exciting dramatic writing – performed by the legendary
Royal Philharmonic Orchestra and featuring a beautiful song,
“Distant Shores”, sung by Mae McKenna.
Available on CD and online now!
m
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ISSUE 30 • SEPT. 12, 2007
FILM MUSIC weekly
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7/15/07
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FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007
7
NEW SOUNDTRACKS
Marco Beltrami Scores
“3:10 To Yuma”
Composer: Marco Beltrami
Labels: Lionsgate
Suggested Retail Prices: $ 9.99 (on iTunes)
Grade: B+
ALBUM REVIEW
By: DANIEL SCHWEIGER
Soundtrack Editor
It’s easy for just about any composer to
mimic the Spaghetti Western sound of Ennio
Morricone. And probably every busy musician has used the maestro’s voice one occasion
or other. Just break out the steel guitar, the
shakers, the mournful trumpet and the anvil.
In fact, about the only Morricone trademarks
that Marco Beltrami doesn’t use in his score for
3:10 To Yuma is a wailing female voice and a
harmonica. But that being said, it’s one thing
to rip off Morricone, and another to pay homage to him. And Beltrami dumps a whole stagecoach full of gold at Morricone’s feet. Then he
rides off into the sunset in style, with his own
musical voice more than intact.
In Hollywood, Marco Beltrami’s can usually be found applying roaring, musical stabs
to horror scores like three Scream films, The
Faculty, The Omen and Underworld: Evolution, or keeping a percussive beat to the action
of XXX 2, Terminator 3, and Live Free And Die
Hard. While he can really rise to the occasion
on soundtracks like Mimic and Hellboy, Beltrami’s the kind of composer who does a style
so well that he keeps getting pulled back in.
But when given the shot to do something truly
unique like The Minus Man or The Dangerous
Lives Of Altar Boys, Beltrami truly shines. And
now that he’s been really allowed to go for the
Spaghetti pistols, Beltrami tears apart 3:10
To Yuma with a surprising, and welcome vengeance.
This isn’t to say that Beltrami hasn’t ridden
the range before, as he did on the enthrallingly
bizarre score for a contempo western called The
Three Burials Of Melquiades Estrada. While
Yuma shares that film’s man-of-the west ethic, this is a score that’s far more of a straight
shooter, a white hat / black hat opus that delivers the expected goods with a somber, psychological depth. Yet there’s surprisingly little
onscreen that would signal the Spaghetti Western approach, as Yuma’s good guy isn’t driven
by a wrong done long ago, as are anti-heroes
of any Sergio Leone western. But when you
hear that electric guitar rip away, and the anvil drop like a gunshot, then damn if this angle
8
ALBUMS COMING SOON!
OUT THIS WEEK
• Bill and Ted’s Bogus Journey (David New
man) - Intrada
• The Brave One (Dario Marianelli) – Varèse Sarabande
• Captain Kronos: Vampire Hunter (Laurie Johnson) - Buysoundtrax
• Dragon Wars (Steve Jablonsky) – Milan
• Eastern Promises (Howard Shore) - Sony
• Stardust (Ilan Eshkeri) – Decca
• Symphonic Electronic: The Film Music of Erik Desiderio – Film Music Downloads
• The Unforgiven: Classic Western Scores from United Artists (various) – Film Score Monthly
SEPTEMBER 18
• Across the Universe (Beatles/Elliot Golden
thal) – Interscope
• The Last Winter (Jeff Grace/Anton Sanko) – MovieScore Media
SEPTEMBER 25
• Flood (Debbie Wiseman) – Silva Screen
• The Kingdom (Danny Elfman) – Varèse Sarabande
• Lust, Caution (Alexandre Desplat) – Decca
NEW Musica de Cine 2: Alan Silvestri – RTVE (Spain)
• Michael Clayton (James Newton Howard) – Varèse Sarabande
• Sea of Dreams (Luis Bacalov) – Varèse Sarabande
doesn’t work like a charm. Beltrami plays his
Morricone-isms with a sly, and violent passion
that takes you right back to the glory days of
Once Upon A Time In The West, the score which
Yuma owes the biggest tip of the its hat to.
But where Morricone’s scores are famed
for their long, mournful string lines, Beltrami
is after something darker here. Like his action
and horror work, the composer keeps things on
an evil simmer. Yuma is all about tension and
attack, the music having long, brooding lulls
in it before blasting into action, the characters
strutting to their destiny as a Mexican-style
horn wails for the climactic shootout. And Beltrami knows just when to pull that Morricone
magic out from his duster, as his cool, sinister
orchestra plays the perceived villainy of Russell Crowe’s outlaw, and the unavoidably tender nature of his rancher-turned-captor. Everyone’s going to their destinies here, an elegiac
feel that makes Yuma far more than the Spaghetti pastiche it could have been.
Exceptionally well spotted in the film, and
giving it no end of energy, 3:10 To Yuma stands
as one of the neater western scores in a while.
And more importantly for Marco Beltrami, it’s
a score that says there’s a new kid in town. A
composer whose talent for other genres, and
hopefully more westerns, is just waiting be unleashed.
Click here for the 3:10 To Yuma soundtrack.
OCTOBER 2
• Behind the Gates (Dario Marianelli) – Movi
eScore Media
NEW Dan in Real Life (Sondre Lerche) - Capitol
• The Monster Squad (Bruce Broughton) – Intrada
OCTOBER 9
• 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 Adven
tures (Robert Gulya) – MovieScore Media
OCTOBER 23
• Battlestar Galactica: Season 3 (Bear Mc
Creary) – La-La Land
• Haunting Villisca (David James Nielsen) – MovieScore Media
• Superman: Doomsday (Robert J. Kral) – La-
La Land
NOVEMBER 6
NEW Star Wars: 30th Anniversary Collector’s Edition (John Williams) – Sony
Courtesy of iFmagazine.com
ISSUE 30 • SEPT. 12, 2007
FILM MUSIC weekly
The Chart Doctor
Professional And Affordable
Score And Part Printing
By Ron Hess
For the next couple of weeks, let’s assume
that you’ll be the copyist on your project. Part
of music prep is the organized reproduction
and binding of all scores and parts in such a
way as to be easily sight-read with silent page
turns. Traditionally, most well-run and -financed copying houses had a healthy investment in very expensive, industrial-strength
repro and binding equipment. If you haven’t,
your scores and parts can still look as if you
had with just a little extra, intelligent effort.
And remember, the more your parts look like
they were given the A-list treatment, the more
your players and conductor will give you that
same treatment in return.
What do you need to pull off a cognac effect
on a beer budget? Basically, a modest laser
printer (or a high-resolution inkjet,) a goodly
supply of the right kinds of paper, rolls of paper or masking tape, and a razor blade. Oh,
and also a good reproduction service bureau
(such as the ubiquitous FedEx/Kinko’s) in the
neighborhood.
Even though the computer and copier
worlds have blessed the 8.5”x11” “letter”-sized
paper standard, performing musicians have
long preferred something bigger and sturdier.
Let ‘em know you’re serious when you walk in
with parts printed on 9.5”x12.5”, 80- to 100lb. paper, off-pure-white to some degree (for
glare considerations) and smooth (for easy onthe-spot pencil fixes.) With the advent of doit-yourself publishing, paper vendors who can
supply you with the special paper you need
are now commonplace. For printing parts, my
choice in the Los Angeles area is Kelly Paper
#2167A. It comes in huge sheets which they
will cut into 8 equal subsections of exactly
9.5”x12.5”.
FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007
Score paper size was always a victim of
practicality, with pencil-and-straightedge orchestrators struggling with preprinted pages
whose dimensions were dictated by the number of staves needed. With computer notation, the mechanism is reversed, with one size
(tabloid, or 11”x17”) accommodating infinitely
flexible staff sizes and layouts. Purchase
heavier stock, and some variant of off-white to
cut down on glare.
Before you get chin-deep in your project,
scout your local repro service bureaus for
self-service copiers that (a) have a bypass
paper supply capability which can accommodate anything up to 11”x17”, (b) possibly can
enlarge by independent percentages in two
different dimensions (say, by 112% lengthwise and 119% widthwise) like the Xerox
Document Centers do, and (c) can be used 24
hours a day, just in case. If you’re really smart
(wellllllll, let’s just say “prudently paranoid,”)
line up more than one bureau, as self-service
machines get heavy use and frequently are (or
should be) off-line for maintenance (and always precisely when you need them).
With paper stock and facilities lined up,
you can do your initial printing of score and
part pages with your home or office laser or
inkjet printer, formatted to whatever most logically fits on either letter- or legal-sized standard paper (parts and small-ensemble scores
on letter, larger groups on legal). With scores,
resist the temptation to hide empty staves and
then put multiple systems on a page. Think of
your conductor and what will visually tell him
the most at a glance. With parts, see my previous columns about spreading the music out
for maximum advantage. Then, take all that
output over to your selected repro house and
blow it up onto your stock of larger, heavier
paper.
For a perfect translation going from letter
to 9.5”x11”, enlarge the length by 114% and
the width by 112%. If your machine can’t do
this little miracle, simply enlarge the whole
thing by 112%. Similarly, when going from
legal to tabloid, enlarge the length by 121%
and the width by 129%, (or compromise with
121%). If possible, and despite this technical
sleight-of-hand, you won’t be able to tell the
difference visually, and your margins will still
match perfectly. Use one side of the paper
only (more later). When copying multipage
duped parts, like ten copies of Violin 1, have
the copier collate the output so you won’t have
to later when you tape them together.
That’s it! With copiers that can accept a
bypass paper supply of your heavier custom
paper, usually by a small stack fed through
the side of the unit, you can automate the process and be in and out of the joint in minutes,
not hours. And, since you’re providing the
paper, save your client some budget by asking for a small discount on the per-copy fee,
perhaps 10%.
Next week: Score and part binding strategies that will give you noise-free page turns in
less time.
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]
9
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.
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: Resident Evil: Extinction • 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.
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 • Straightheads • Strength and
Honour.
Evan Evans: The Mercy Man.
Nima Fakhara: Lost Dream.
Sharon Farber: When Nietzsche Wept.
Guy Farley: The Flock • The Christmas Miracle of Jonathan Toomey
• Knife Edge • Dot Com • The Broken • Dylan.
Louis Febre: Tenderness.
George Fenton: Fool’s Gold.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury • Magdalene • Vivaldi.
John Frizzell: Careless • First Born.
Michael Giacchino: Star Trek XI.
Richard Gibbs: Cleaner.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It in
Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone Dry.
Philip Glass: Cassandra’s Dream • Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not.
Elliot Goldenthal: Across the Universe.
Howard Goodall: Mr Bean’s Holiday.
Adam Gorgoni: Starting Out in the Evening.
Jeff Grace: The Last Winter • Triggerman • I Sell the Dead • Liberty
Kid.
Harry Gregson-Williams: Gone, Baby, Gone • Jolene • The
Chronicles of Narnia: Prince Caspian.
Rupert Gregson-Williams: I Know Pronounce You Chuck and Larry
• Bee Movie • You Don’t Mess With the Zohan.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ • Love Lies Bleeding.
Andrea Guerra: L’uomo di vetro.
Robert Gulya: Atom Nine Adventures.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State of Play.
Paul Hepker: Rendition (co-composer).
Eric Hester: Lost Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the Devil.
Ben Holbrook: Kiss the Bride.
Lee Holdridge: I Have Never Forgotten You - The Life and Legacy of
Simon Wiesenthal.
Andrew Hollander: East Broadway.
James Horner: The Spiderwick Chronicles.• Avatar • In Bloom.
Richard Horowitz: Genghis Khan.
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.
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.
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.
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 • The Brave One.
Anthony Marinelli: Grizzly Park.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Mark McKenzie: The Redemption of Sarah Cain.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted • The Frog Princess.
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.
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 • Run-
THE
SCORE
BOARD
ning 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.
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 •
Moving McAllister.
A.R. Rahman: The Golden Age (co-composer).
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: Me & You, Us, Forever • The Secrets of Jonathan
Sperry.
Brian Reitzell: 30 Days of Night.
Joe Renzetti: 39 • Universal Signs.
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
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.
George Shaw: Victim • Sailfish.
Edward Shearmur: 88 Minutes • Dedication • The Other Boleyn
Girl.
Howard Shore: Eastern Promises.
Ryan Shore: The Girl Next Door • Numb • Jack Brooks – Monster
Slayer.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
Samuel Sim: Awake.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts • Disgrace.
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.
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.
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 • A Dog’s Breakfast.
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 • Jane
Austen Book Club.
Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments.
New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to [email protected].