October 2, 2007 - Film Music Magazine

FILM MUSIC weekly
ISSUE 33 • OCT. 2, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
2007 Film & TV Music Awards
Nominations Announced
n The Film & TV Music Academy has an-
nounced the nominees for The 2007 Film
& TV Music Awards, a new peer awards
program for the film and television music industry.
The Film & TV Music Awards program includes awards for a comprehensive list of categories honoring professionals in a wide range
of industry crafts. In addition to the awards
for specific films and television shows, voting
categories also feature recognition for overall
accomplishment and three special awards including awards for educational achievement,
outstanding female composer, and lifetime
achievement. p:3
‘Sweeney Todd’ Gets Musical Garritan Ships
Concert Library
Treatment by Alex Heffes
n Director Tim Burton is currently working with British composer Alex Heffes on the
much anticipated film version of Stephen Sondheim’s musical Sweeney Todd.
With very few exceptions, Tim Burton works
exclusively with Danny
Elfman on his films.
Corpse Bride in 2005 was
their twelfth film together. But on Sweeney Todd,
British composer Alex
Heffes – best known for
his recent The Last King
Alex Heffes
of Scotland score – is the
one who has been hired to provide the additional original score for the Stephen Sondheim
musical.
“My job has been adapting the piece to Tim’s
cinematic vision, writing underscore
and creating new arrangements based on
Sondheim’s themes. It’s one of the all-time great
pieces of music theatre so it’s a been a real pleasure to work on something like this,” comments
Alex Heffes.
Other members of the music team on
Sweeney Todd, which has the undertitle The
Demon Barber of Fleet Street, include orchestrator Jonathan Tunick and music supervisor
Paul Gemignani, music producer Michael Higham, music editor Jock Warhurst and recording
engineer Jake Jackson (the music was recorded
at Air Lyndhurst in London).
The $50 million film is scheduled to pre-
miere during the last week of December. It
stars Johnny Depp, Helena Bonham Carter,
Alan Rickman, Timothy Spall and Sacha Baron
Cohen.
The original musical opened on Broadway
in 1979 and took home several Tony Awards,
including the one for ”Best Musical”. Among
well-known tunes featured in the work are
”The Worst Pies in London,” ”Johanna,” ”Pretty
Women,” and ”A Little Priest.”
Alex Heffes,
who is represented by Evolution
Music
Partners in the
US, has been in
the film music
business for ten
years.
Among
his credits, apart
from The Last
King of Scotland,
are
documentary
Touching
the Void, romantic drama Dear
Frankie, romantic comedy Imagine Me and You,
and TV movie Tsunami: The Aftermath, which
earned the composer his first BAFTA nomination. mc
n Sample developer Garritan
has announced the release of
their Concert and Marching
Band Library, a collection of
concert and marching band
sampled instruments.
The Garritan Concert and Marching Band
Library features a variety of cornets, trombones,
trumpets, baritones, euphoniums, mellophones,
sousaphones, saxes, tenor horns, clarinets, flutes,
piccolo, tubas, marching percussion and more.
Also included are drumline sounds from the Virtual Drumline 2 by Tapspace. The new library
features standardized controls for dynamics and
expression. Ensemble building enables users to
build bands of varying size – from both groups
of instruments or with individual instruments.
According to the company the library can create
marching bands, concert bands, British brass
bands, modern drum and bugle corps, wind orchestras, symphonic bands, wind ensembles, and
more.
Powered by the Native Instruments Kontakt
2 Player, the library runs on a single computer,
Mac or PC platform. A standalone player is included, as well as plug-ins for all major sequencers (VST, DX, AU, RTAS). The library is also optimized for use in Sibelius 5 and Finale 2008 for
direct playback from score.
The Garritan Concert and Marching Band library is priced at $239 and is shipping now. For
more information, visit:
http://www.garritan.com/band.html
CD Review: THE LAST LEGION / AS YOU LIKE IT
MORE INSIDE:
n In an age when composers are becoming afraid to go for full-on orchestral scores, leave it to Patrick Doyle to revel in old-fashioned melodies.
This composer¹s been lucky enough to get one period film after the other to
flex his wonderful sense for melody on. p:8
p:6 signings & projects
p:12 THE CHART DOCTOR:
On Being A Lifesaver
p:13 THE SCOREBOARD
FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
Advertising Sales Manager:
Steve Schatzberg
Copy Editor: Lisa Rawson
Technology Editor: Peter Alexander
Soundtrack Review Editor:
Daniel Schweiger
Website Design: Rakesh Rai
Accounting: Tina Chiang
Legal Advisor: Patricia Johnson, Esq.
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2
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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!
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ON THE SCORE
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Reserved. Entire Contents © 2007 Global Media
Development Group, Inc
This Week on
CHARLIE CLOUSER
Daniel Schweiger interviews
composer CHARLIE CLOUSER,
who gives an industrial rock shock
to the zombies of RESIDENT EVIL:
EXTINCTION
LISTEN NOW!
ISSUE 33 • 0CT. 2, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
2007 Film & TV Music Awards
Nominations Announced
The Film & TV Music Academy has announced the nominees for The 2007 Film
& TV Music Awards, a new peer awards
program for the film and television music industry.
The Film & TV Music Awards program includes awards for a comprehensive list of categories honoring professionals in a wide range
of industry crafts. In addition to the awards
for specific films and television shows, voting
categories also feature recognition for overall
accomplishment and three special awards including awards for educational achievement,
outstanding female composer, and lifetime
achievement. All nominations were made by
members of The Film & TV Music Academy
during the nomination period of September
1-20, 2007. Film & TV Music Academy members will vote online during October 1-15 to
determine the winners. The award winners
will be announced on October 30.
Membership in The Film & TV Music
Academy is open to professionals working in
the film and television music industry worldwide and students working towards a career
in the industry. There is no charge for membership, and registration for membership is
available now at www.filmtvmusicawards.com.
“We are thrilled at the overwhelming response we’ve received for this new awards
program,” said Film & TV Awards founder
Mark Northam of Film Music Magazine. “Our
industry finally has its own inclusive program
open to all in the industry, regardless of location, that enables our industry to recognize
the best and the brightest artistic achievements in a wide variety of professional areas
related to music for film and television.”
All nomination and voting for The Film
& TV Music Awards is done electronically
through the online Film & TV Music Awards
site at http://www.filmtvmusicawards.com
Best Score for a Dramatic Feature Film
Tyler Bates - 300
John Powell - The Bourne Ultimatum
David Shire - Zodiac
Christopher Young - Spider-Man 3
Hans Zimmer - Pirates of the Caribbean- 3: At World’s End
Best Score for an Indie Feature Film
Christopher Lennertz - Tortilla Heaven
Jennifer Kes Remington - Socket
George Shaw - J-ok’el
Ryan Shore - Numb
Austin Wintory - Back Soon
Best Use of a Song in a Feature Film
Camille, “Le Festin” - Ratatouille
Chris Cornell and David Arnold, “You Know My Name” - Casino Royale
Tom Erba and Nathaniel Dawkins, “Bring It On” - Undisputed 2: Last Man Standing
Glen Hansard and Marketa Irglova, “Once” - Once
Moby, “Extreme Ways” - The Bourne Ul-
timatum
Best Score for a Comedy Feature Film
John Debney - Evan Almighty
Randy Edelman - Balls of Fury
Trevor Rabin - Hot Rod
Marc Shaiman - Hairspray
Theodore Shapiro - Blades of Glory
Best Score for a Science-Fiction Feature
Film
Cliff Mansell - The Fountain
John Murphy - 28 Weeks Later
John Murphy - Sunshine
Howard Shore - The Last Mimzy
John Tavener - Children of Men
Best Score for an Animated Feature Film
Mychael Danna - Surf’s Up
Michael Giacchino - Ratatouille
Harry Gregson-Williams - Shrek The Third
John Powell - Happy Feet
Hans Zimmer - The Simpsons
FILM MUSIC weekly ISSUE 33 • OCT. 2, 2007
Best Score for a Short Film
Tom Bailey - Soft
Michael Giacchino - Lifted
Nathan Lanier - Lucifer
Marinho Nobre - The Angel
George Shaw - Hit Me
Best Score for a Student Film
Vivek Maddala - Grasshopper
Erica Procunier - Skinema
Douglas Romayne - Rocketboy
George Shaw - The Revengers
Austin Wintory - Morning Latte
Best Music Supervisor for a Feature Film
Nick Angel - Mr. Bean’s Holiday
George Drakoulias - Zodiac
Liz Gallacher - Stardust
Dave Jordan - Transformers
Randy Spendlove - Dreamgirls
Best Score for a Dramatic TV Program
Sean Callery - 24
Michael Giacchino - Lost
Gary Marlowe - Schuld Und Unschuld
Mark Snow - Smallville
W.G. “Snuffy” Walden - Friday Night Lights
Best Score for a Comedy Television
Program
David Aguirre - Entourage
Jeff Beal - Ugly Betty
Jay Ferguson - The Office
Danny Lux - Boston Legal
Jan Stevens - Scrubs
continued on page 4
3
FILM MUSIC NEWS
Film & TV Music Awards Noms
continued
THE A-LIST
TOP AGENCIES
Best Score for a Reality Television
Program
Russ Landau - Celebrity Survivor
Jeff Lippencott and Mark Williams - The Contender
Jeff Lippencott and Mark Williams - On The Lot
Lee Sanders - The Amazing Race
Cody Westheimer - Chris & John To The Rescue!
Best Score for an Animated Television
Program
Alf Clausen - The Simpsons
Christopher Drake - Hellboy Animated: Sword of Storms
Tom Erba - Tom And Jerry Tales
Walter Murphy - Family Guy
James Venable and Jennifer Kes Rem-
ington - The Fosters Home for Imagi-
nary Friends
Best Score for a Television Daytime
Drama
Ken Corday - Days of Our Lives
David Kurtz - The Young and The Rest-
less
David Nichtern - As The World Turns
David Nichtern - One Life To Live
Kenneth Eberhard - Guiding Light
Best Televsion Theme
Sean Callery - 24
Danny Elfman - Desperate Housewives
Tom Erba - Tom and Jerry Tales
Jay Ferguson - The Office
Hans Zimmer - The Contender
Best Score for a Non-Animated Children’s/Educational TV Program
Stephen Edwards - Finding Rin Tin Tin
Gary Koftinoff - Life With Derek
Chris Mangum - Journey to Planet Earth
Best Sore for Science-Fiction Television
Program
Lisa Coleman & Wendy Melvoin - Heroes
Murray Gold - Doctor Who
Laura Karpman - Masters of Science Fiction
Christopher Lennertz - Supernatural
Bear McCreary - Battlestar: Galactica
4
Best Music Supervisor for a Television
Program
Jason Alexander – Entourage
Andrew Gowan - How I Met Your Mother
Christopher Mollere - Kyle XY
Alexandra Patsavas - Mad Men
David Sibley - Desperate Housewives
Best Use of a Song in a Television
Program
Petula Clark, “Downtown” - Lost
Jemaine Clement and Bret McKenzie, “I’m Not Crying” - Flight of the Conchords
Greg Laswell, “High and Low” - Smallville
Gary Marlowe, “Rise” - Kunstfehler
Malvina Reynolds, “Little Boxes” - Weeds
continued on page 5
The most prolific film music agencies according
to the latest US weekend box office statistics.
1 (2). Kraft-Engel Management - $28.4m
• The Kingdom (Danny Elfman) - $17.7m
• Good Luck Chuck (Aaron Zigman) - $6.3m
• Sydney White (Deborah Lurie) - $2.7m
• The Bourne Ultimatum (John Powell) – $1.7m
2 (7). Soundtrack Music Associates - $23.6m
• The Game Plan (Nathan Wang) - $22.7m
• Halloween (Tyler Bates) - $0.9m
3 (1) Evolution Music Partners – $8.0m
• Resident Evil: Extinction (Charlie Clouser) - $8.0m
4 (3). Gorfaine-Schwartz Agency - $8.0m
• Mr. Woodcock (Theodore Shapiro) - $3.0m
• Dragon Wars (Steve Jablonsky) - $1.1m
• Across the Universe (Elliot Goldenthal) - $2.1m
• Transformers (Steve Jablonsky) - $1.2m
• Balls of Fury (Randy Edelman) – $0.6m
5 (5). First Artists Management – $4.3m
• Superbad (Lyle Workman) - $1.7m
• In the Valley of Elah (Mark Isham) - $1.5m
• Rush Hour 3 (Lalo Schifrin) - $1.1m
6 (6) Greenspan Artists Management – $4.1m
• 3:10 to Yuma (Marco Beltrami) - $4.1
7 (4) Air-Edel Associates (UK) - $3.8m
• The Brave One (Dario Marianelli) - $3.8m
Source: Box Office Mojo (BO gross under $0.5m
not included).
ISSUE 33 • 0CT. 2, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Film & TV Music Awards Noms
Best Score for a Documentary Film or
Television Program
Terence Blanchard - When The Levees Broke
George Fenton - Planet Earth
Richard Harvey - Death of a President
Alex Heffes - The Bridge
Erin O’Hara - Sicko
Best Instrumental Performance by a
Soloist in a Film or Television Score
Steve Edwards - The Prestige
Pedro Eustache - Pirates of the Carib-
bean 3: At World’s End
Gary Marlowe - Schuld und Unschuld
Tommy Morgan - Luck of the Draw
Richard Ruttenberg - Gracie
Best Instrumental Performance by an
Orchestra in a Film or Television Score
Hollywood Studio Symphony - Lucifer
Kronos Quartet - The Fountain
London Symphony Orchestra - Eragon
Orchestra Sinfonica de Triests - Schuld Und Unschuld
Skywalker Sound Orchestra - Zodiac
Best Agent
Mike Gorfaine
Maria Machado
Robert Messinger
Mike Rosen
Otto Vavrin II
Best Score Conductor
Pete Anthony
Nicholas Dodd
Bruce Fowler
Damon Intrabartolo
Tim Simonec
Best Contracting
Noah Gladstone
David Low
Peter Rotter
Joyce Ryan
Gina Zimmitti
Best Music Editor
Michael Brake - Survivor
Thomas A. Carlson - The Bourne Ulti-
matum
Kathy Dayak - Brotherhood
Darrell Hall - 300
Joshua Winget - CSI:NY
continued
Best Music Preparation
Ross DeRoche
Vic Fraser
Mark Graham
Steve Juliani
Jo Ann Kane
Best Orchestrator
Jeff Atmajian
Robert Elhai
Bruce Fowler
Dell Hake
Christopher Thomas
Best Performing Rights Society
APRA (Australia)
ASCAP (USA)
BMI (USA)
GEMA (Germany)
SESAC (USA)
Best Score Mixer
David Campbell
Jim Hill
Shawn Murphy
John Rodd
Damon Tedesco
The Film & TV Music Award for
Outstanding Female Composer
Lisa Coleman
Anne Dudley
Silke Matzpohl
Rachel Portman
Debbie Wiseman
The Don B. Ray Educational
Achievement Award
Charles Bernstein
Morten Lauridsen
Christopher Lennertz
Hummie Mann
Christopher Young
The Film & TV Music Lifetime
Achievement Award
John Barry
James Newton Howard
Ennio Morricone
John Williams
Hans Zimmer
For more information on The Film & TV
Music Awards, visit
http://www.FilmTVMusicAwards.com
ALBUMS COMING SOON!
OUT THIS WEEK
• Bad Boys: Limited Edition (Mark Mancina) – La-La Land
• Dan in Real Life (Sondre Lerche) - Capitol
• The Monster Squad (Bruce Broughton) – Intrada
• Wrong Turn 2: Dead End (Bear McCreary) – La-La Land
OCTOBER 9
• Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore Media
• Elizabeth: The Golden Age (Craig Armstrong/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
NEW Reservation Road (Mark Isham) - Lake
shore
NEW Vampire Conspiracy (Joseph Martin) – Inez Records*
OCTOBER 23
• Battlestar Galactica: Season 3 (Bear Mc-
Creary) – La-La Land
• Superman: Doomsday (Robert J. Kral) – La-
La Land
NEW The Witches Hammer (Mark Conrad Chambers) – Film Music Downloads*
OCTOBER 30
NEW Bobby (Mark Isham) - Lakeshore
• Haunting Villisca (David James Nielsen) – MovieScore Media
• The Kite Runner (Alberto Iglesias) – Deutsche Grammophon
• 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
• Enchanted (Alan Menken) – Walt Disney Records
NOVEMBER 27
• Like Minds (Murderous Intent) (Carlo Giacco) – MovieScore Media
* Denotes album available exclusively online.
FILM MUSIC weekly ISSUE 33 • OCT. 2, 2007
5
FILM MUSIC NEWS
FILM MUSIC NEWS
New
Composer Mockup Service Announced
Photo : Tokiwa Takehiko
n The Composer
“It’s a place where talent can emerge despite
of rough quality may be requested, to save on
Collective (TCC),
wherever you are on the ladder.”
time, if finished quality is not necessary. Eva new organizaEvans and Matt Gates, a film composer
ans notes that, “smaller sized compositions
tion made up of
who recently joined Evans at The Composer
may not affect the amount of time needed to
film and televiCollective, decided to offer TCC’s state-of-theproduce finished results, as the realization
sion
composart staffed mockup division to other film and
time is determined more by the complexity of
ers and others,
classical composers. According to TCC, their
the underlying composition, than the number
has announced
prior clients include Bruce Broughton, Basil
of tracks or staves.”
a new composiPoledouris, Thomas Newman, Disney Theme
Mockups provided by the service can be
tion realization/
Parks, Jeff Rona, Steven Scott Smalley, and
mastered and mixed to client tastes. Sample
mockup service
Lalo Schifrin.
locked audio stems can be created to be used
offering full orFor $25 per hour, TCC offers a quick-turnas guidetracks (prelays) for sessions or can
chestral mockaround fully rendered mockup of a composiserve as main tracks that can be “sweetened”
ups at $25 per
tion, working from client source materials inwith additional live layers. TCC’s Gates adds,
hour.
original
paper
scores, parts,
“Inwinner
many James
cases our
tracks are
good
enough for
Evan
Evans
Pete
Carpenter Fellowship
winner John Kaefer cluding
(l) is pictured
with
BMI’ssketches,
Pete Carpenter
Fellowship
Woodward
(c) is
congratulated
files,
sequences,
files (ie: final deliver by themselves.”
Linda Livingston and BMI composer Mike Post inPDFs,
Post’sMIDI
Burbank
studio.
by notation
Post and Livingston.
The organization is located in the west
Finale, Sibelius), or other formats.
To contact The Composer Collective email
San Fernando Valley in Los Angeles and was
The service quotes between 3 and 6 hours
[email protected] or call
created by composer Evan Evans, son of jazz
to mockup a full minute of orchestral music
(310) 691-8163. For more information on The
piano giant Bill Evans.
with a “Hollywood blockbuster” full orchestra.
Composer Collective’s composer mockup ser“TCC is a place where an unknown comMost cues can be delivered overnight via digivice, visit:
poser like John Corigliano, could have gotten
tal delivery, or next day FedEx. Rush services
http://www.thecomposercollective.com/
a film score, just out of college,” says Evans.
are available for $50 an hour. Varying degrees
mockupstudio.
Composers John Kaefer and
in his Calabasas studio. Addition- enjoys surfing off the Southern
in 1985 to support the creation,
James Woodward have been
performance, and study of music
ally, Kaefer serves as the Creative
California coast.
named the winners of the
through awards, scholarships,
Director and a principal composer
The BMI Foundation, Inc. is a
SIGNINGS
& PROJECTS
commissions and grants.
mn
for DreamArtists Studios, a film/
not-for-profit corporation founded
18th Annual
Pete Carpenter
television music production house
Fellowships, it was announced by BMI Foundation Presi- based in New York.
Composer James Woodward
dent Ralph N. Jackson.
is a native of California and beComposer John Kaefer has been gan writing music in Wisconsin.
recognized for his scores for film
A string bassist and pianist, he
n Walt Disney Pictures has confirmed to Film Muand television, as well as for his studied composition with Stephen
sic Weekly that Thomas Newman has been signed to
chamber, choral and orchestral Hartke, Ronald Foster and John
score the upcoming Pixar movie, Wall-E. He is rejoinconcert works. He has composed, Downey.
ing Finding Nemo director Andrew Stanton in an animated sci-fi adproduced and orchestrated music
His music has been performed
venture,
place
in the year 2700,
a robot
who discovers
the
for taking
film and
network/cable
tele- about
by the
Milwaukee
Youth Symphotrue meaning
of his “life.”
The film
is expected
to premier
on June
27
vision projects,
including
Room
ny Orchestra,
the USC
Symphony
next year.
Servicemc
(starring Howie Mandel Orchestra, the United States
BMI names fellowship winners
John Kaefer and James Woodward winners of the Pete Carpenter Fellowship
Thomas Newman:
Wall-E
and debuting at Sundance), To Army Orchestra, and other enKill A Bore (shown at Cannes) sembles across the United States
and Dance School (documentary), and Europe.
among others.
Woodward recently completed
He recently worked with leg- writing the music for a short film
n television
Accordingcomposer
to the Gorfaine-Schwartz
Agency,
Harry
endary BMI
directed by Gentry
Smith,
is perW.G. Snuffy
Walden (West Wing,
forming
formusic
various
and projGregson-Williams
will compose
the
forfilms
G-Force,
Studio 60,the
Friday
Night Walt
Lights)
ects in the
Los Angelesaction
area, and
upcoming
Disney/Jerry
Bruckheimer
movie directed by visual fx wizard Hoyt Yeatman.
Gregson-Williams’ other upcoming films include Jolene and the second
THE
PETE
CARPENTER
FELLOWSHIP
Chronicles
of Narnia
installment.
mc
Harry Gregson-Williams:
G-Force
• The Fellowship, open to aspiring film and television composers under the
age of 35, was established by the BMI Foundation and Carpenter’s family,
colleagues and friends to honor the late composer whose credits include such
television themes and scores as The A-Team, Magnum P.I., The Rockford Files,
Hardcastle and McCormick, Hunter and Riptide.
Alec Puro:
The Good Night
Fellowship
winnersold
are given
the opportunity
to intern with
renowned
BMI
n Alec•Puro,
a 32-year
composer
whose previous
credits
include
composer Mike Post in his Los Angeles studio and meet with other distinadditional
music for Pauly Shore Is Dead and TV series Chicago Hope
guished theatrical, film and TV composers. A stipend for travel and living
and Theexpenses
Real World,
gets his big break in the business with The Good
is also part of the award.
Night, a feature film written and directed by Jake Paltrow (yes, he is
• Mike
Carpenter’s
writing
partner,
has penned
some
of the
the brother
of Post,
Gwyneth)
andlongtime
starring
Penélope
Cruz,
Martin
Freeman
most memorable theme songs in television history, including Hill Street Blues,
and Gwyneth Paltrow. It’s a romantic drama comedy about a former
The A-Team, Magnum P.I., NYPD Blue, Law and Order, L.A. Law, The Rockford
pop starFiles,
whoQuantum
experiences
a mid-life
crisis. The film will be released on
Leap and
City of Angels.
October 5 in selected theatres in the U.S. mc
6
8
33 • 0CT. 12,
2, 2007
ISSUEISSUE
2 • FEBRUARY
2007
FILM MUSIC
MUSICweekly
weekly
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FILM MUSIC weekly ISSUE 33 • OCT. 2, 2007
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7
NEW SOUNDTRACKS
Composer: Patrick Doyle
Label:Varese Sarabande
Suggested Retail Price: $ 16.98
Grade: B+
ALBUM REVIEW
By: DANIEL SCHWEIGER
Soundtrack Editor
THE LAST LEGION /
AS YOU LIKE IT
In an age when it seems that composers are
becoming afraid to go for full-on orchestral scores,
leave it to Patrick Doyle to revel in old-fashioned
melodies. We’re talking the kind of ripping, toomany-notes string and brass sections that now
seem curiously old-fashioned to those not raised
on the power of a symphony orchestra. And where
many modern-day films are shunning this approach (though not counting currently fantastical ones like the Doyle-scored Harry Potter and
The Goblet of Fire), this composer’s been lucky
enough to get one period film after the other to
flex his wonderful sense for melody on. Now the
post-Roman Empire set The Last Legion, and
the Shakespearean fantasia of As You Like It display Doyle’s love of symphonic romance in all of
its string-driven glory, even if one score is playing sweet enchantment, and the other blood and
thunder.
Sword-and-tunic fans are sure to dig Doyle’s
soundtrack for The Last Legion, which ranks as
the best, unseen adventure gem of this summer.
Way better than the similar, and more-is-less
King Arthur, Legion transfers the beginnings
of Camelot to the fall of the Roman Empire, an
ingenious prequel idea with a wonderfully oldfashioned sense of excitement. One of Legion’s
chief assets is Doyle’s score, which proudly wears
its symphonically valiant chestplate on its sleevethough with more than a touch of bittersweetness. It’s like hearing a Centurion drinking buddy
convince you there’s life after getting the sack.
Except here we’re talking the sacking of Rome
by the Goths, which effectively puts an end to the
8
Roman army at the start of The Last Legion.
As its heroic stragglers face one peril
after the other, Doyle hits everything
you’d expect to in an epic score like thisthe evil villain march, exotic percussion
for the kick-ass warrior-ess, trumpeting
nobility for the soldiers, a soaring chorus, and the emotionally building music
for that last-stand speech. But damn if
it all doesn’t work in the awesome, overthe-top way that Doyle’s scores have
been kicking it since Dead Again, Frankenstein and Needful Things. It’s a kind
of scoring that positively sings with big
themes, big melody and big emotion, music that blasts away without any sense
of timidity, especially in the soaring orchestral battle that puts things right at
the end of Last Legion. Its thundering,
militaristic music gets across the eternal
bond of a band of ex-Roman brothers.
And while they might be fighting Goths instead
of dragons, Doyle’s music has the same fantasydriven rush of his work to Harry Potter and Eragon - which isn’t out of place when you
consider its characters are the stuff of
legends. And their orchestral spills and
thrills belong to a wonderland as firmly
rooted in the Saturday Matinee as King
Arthur’s court.
The musical setting of As You Like
It is traditional Japan by way of Shakespeare. And if it isn’t quite as exciting as
The Last Legion, it’s no less rewarding for
Doyle’s orchestral invention. This marks
the composer’s seventh teaming with the
actor-turned-director (with the Sleuth
remake to come), and their fifth effort
at playing Shakespeare for the masses.
And its certainly the most invigorating
music that The Bard has gotten, a collaboration begun with Henry V (in which
Doyle also appeared as a musician), and
has continued with growing rewards on
the operatic Hamlet, the romantic Much
Ado About Nothing, the 1920’s stylings of
Love’s Labour’s Lost, and now this similarly outof-time take on a Shakespeare classic.
In less experienced hands, Branagh’s increasingly eccentric Shakespeare films would come
off as silly. But thanks to his and Doyle’s skills,
the results are more often than not magical. And
as a violin dances with delicate Japanese string
instruments, the vibe is like being in a magical
garden, a place of tranquility and poetry. Just
don’t expect boring, as Doyle’s habit of surging
his strings every which emotional way are in full
bloom here. You know exactly when someone’s
heart is being broken, or mended with Shakespeare’s exquisite sonnets. It’s an East meets
West approach that remains enchanting throughout. At times, it seems ready to go into Gilbert and
Sullivan mode. But instead of numbers from The
Mikado, we get songs like “Under the Greenwood
Tree” and “Blow Blow,” with a Koto accompanying
strings and lyrical Shakespearean lines. While
they might not be as memorable as “Bohemian
Rhapsody,” these numbers are entirely pleasant,
especially when Doyle lets the chorus finally rip
with a full orchestra for “A Lover & His Lass.” Gilbert, Sullivan and Shakespeare would probably
approve on this seemingly radical, yet pleasantly
old school approach to making his work interesting for a new generation.
And that remains Doyle’s real talent in The
Last Legion and As You Like It. It’s a natural ability to show how an orchestral approach, one that’s
inconceivably becoming old-fashioned, can be as
vital and thrilling as any soundtrack tricked-out
with the latest computer-driven samples. And he
doesn’t do it better than with subjects that might
comes across as being old as the hills, but are a
hell of a lot better than movies about morphing
robots and swinging spider-men.
Click here to purchase The Last Legion and
As You Like It .
Courtesy of iFmagazine.com
ISSUE 33 • 0CT. 2, 2007
FILM MUSIC weekly
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7/15/07
5:15:30 PM
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FILM MUSIC weekly ISSUE 33 • OCT. 2, 2007
9
TECHNOLOGY
Sibelius 5.0: Episode 3
MUSIC TECHNOLOGY AND YOU
By PETER LAWRENCE ALEXANDER
So far I’ve done two articles looking at
Sibelius 5.0. Today, I’m reviewing what happened as I imported files from Sibelius 3 and
my experience setting up my orchestration
for String Orchestra of Erik Satie’s Gymnopedie #1.
the Strings selection. If you select Orchestra Instruments, you get a short list. If you
select All Instruments, then Strings, you get
the complete list. I set up from this second
option.
you’d find it. It happens to be under Create.
Importing S3 into S5 or: Mozart Goes Okie
Here’s an example from our new series on
Transcribing For Orchestra. In this example
we have a Mozart piano excerpt adapted to
the strings. It was done in Sibelius 3 and imported into Sibelius 5. If you look carefully
at the Sibelius Player, you’ll see that Vlns
1 and 2 have been assigned to Bajo. Bajo is
not a character from Battlestar Gallactica.
Bajo is short for Banjo. I brought this up to
Sibelius and I was told there is indeed a bug
that should be worked out in a soon-to-bereleased update.
Now, here’s my final score. I’ve tested this
several times and I usually get two possible
layouts. The first has the order changed
with both solo instruments at the top, and
the second is the one here. Although the setup box shows the labeling of Solo Violin and
Solo Violin, that wording doesn’t appear on
the score. So you’ll have to add it.
Now click and you get your symbol choices:
Score Setup
This example is from my setup of Gymnopedie #1. The tempo indication is for slow
and sad. With that in mind, I set this up for
Solo Violin, Solo Viola, and the balance of
the strings.
What Do You Call It and Where Is It?
Sibelius is not as fast to learn as it would
appear. That’s because it has its own way of
defining common terms and concepts and
putting them in menu choices that to the
novice are bewildering.
There are two places in setup to locate
10
Two key concepts for learning Sibelius
are understanding that it calls dynamics (pp, mf) expressions and that dynamic
symbols like crescendo or diminuendo are
called lines. For lines, it’s not immediately looking at the menu choices where
One point I want to make about the crescendo markings is that besides not thinking of these as lines, the word “hairpin” is
one of those industry insider terms. Why
would you think that a crescendo symbol is
a hairpin?
ISSUE 33 • 0CT. 2, 2007
FILM MUSIC weekly
TECHNOLOGY
Sibelius 5.0: Episode 3
This is a little thing, but it’s one of those
“little things” that’s kept what I call the MIDI
Revolution an insider thing rather than looking for ways of simplifying and expressing that
can bring millions of buyers into the market.
According to U.S. Census stats, roughly 30%
of the U.S. ages 15+ are amateur musicians.
With a U.S. population of roughly 330 million
individuals, that’s a marketplace of tens of
millions of potential customers. Now that Sibelius is owned by a publicly traded American
company, AVID, hopefully a more “global village” view will come to development.
continued
Once you understand the instructions from
the Reference Guide, adding dynamics is easy
enough. Click on the notehead, then CTRL-E
(or CMD-E on the Mac), then, holding down
CTRL, type in the dynamic you want.
The screenshot below tells the story. It took me
an hour or more to do the first four bars. Once I had
it figured out, I moved much more quickly over the
next 30 minutes. You can see from the score that
I still have to work on positioning the crescendo/
diminuendo marks and stave spacing. That’s next.
faster to use was the drag-and-drop symbol palette and easy typing in of your pitches. A quarter
note is a Q, half note is an H, and so on. Overall,
I feel that the enclosed sound set with Notion is
much stronger than the Sibelius set. Notion Music
has also invested to create their own proprietary
sound sets. An excellent selection comes with the
program, but Notion has created even more to expand the sonic choices. Click here for details
While I think for this piece that Notion was
stronger, I wouldn’t use either for a demo of this
work. I would take the time (and will) to mock it
up in programs like VSL Appassionata Strings,
QLSO with the XP update, or possibly the older
The Sibelius Soundset
Garritan Orchestral Strings which have an
elegant Impressionistic sound about them.
One Hour Later…
pp, crescendo, etc.
Either oddly enough or simply enough, Sibelius calls dynamics, expression. But to find
it, you have to look under Text. Looking at the
table of contents from the 632-page PDF Reference Guide, there’s no hint on where to look
for mp, mf, etc.
I was not impressed with the included sounds.
I thought they were incredibly weak for strings.
You can use them to check your harmony and your
data entry, but I wouldn’t use them for any kind of
demo. This also includes the vocal samples which
I tested out with 3-part counterpoint examples.
I installed my Notion 2.0 update shortly before testing Gymopedie #1. After listening to the
Sibelius, I decided to see how long it would take
me to do the score in Notion and check to see how
it would sound. Since both programs are equally
priced, this seemed to me a fair comparison.
Notion or Sibelius?
For today, Sibelius has the edge. However,
I’m told that shortly Notion will finally have
MIDI Export (which Notion is calling MIDI
OUT) and other features which we have to
wait until October to find out about. However, given where Notion is at 2.1 compared
to Sibelius at 5.0, Sibelius had better not rest
on its laurels. And with the great notation
improvements in both Cubase 4 and Logic 8
(not to mention comparable pricing at $495),
customers may soon be asking why they need
Finale, Notion or Sibelius when they can have
so much more in Logic 8 or Cubase 4.
Notion and Satie
Even with looking up things, it took me about
20 minutes to do the opening bars. As I worked my
way down the score, Notion automatically adjusted the stave spacings for me. What made Notion
FILM MUSIC weekly ISSUE 33 • OCT. 2, 2007
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.
11
The Chart Doctor
On Being A Lifesaver
By Ron Hess
Last week, we looked at why you need a
score supervisor, and how to find a good one.
But suppose a colleague asks you to play the
role yourself? Or suppose that colleague is
you?
Before accepting the job, ask yourself: Do
I have the powers of concentration and the
broad range of experience necessary to do it
well? In a worst-case scenario, when the score
goes to mix, and some irreparable flaw is discovered in the tracks, it’ll be your posterior on
the line. And there’s more to the job than simply “digging for clams.”
Any number of times I have earned my pay
(and my client’s grateful loyalty) by pinch-hitting for the conductor on a few cues, carefully
minding the clock (session and/or breaks) for
the contractor, setting and triggering the click
for the engineer (or cuing him when to cut it
off in mid-take), fixing string voicings on the
fly that weren’t working, reproducing and
taping another set of violin parts when the
seating arrangement unexpectedly mandated
it, notifying the engineer when both ends of
the harp range were not speaking equally in
the mix, being the “bad cop” for the composer
or conductor and disciplining the orchestra
for time-wasteful behavior (or shaky intonation or careless room noise), being the composer’s “wingman” and verbally supporting
him to the client during breaks, and even
gathering up the music after the session for
a librarian called away before it was over. I
learned to expect that, at any time before,
during, or after the session, Somebody Im
12
portant may suddenly turn to me and plead,
essentially, “Booth God! Save my ass!”
And those just involved the unexpected
problems that might be threatening Somebody’s day. My real job was always to catch,
not only what the composer, conductor, or engineer probably caught (and confirm it), but
also to dig deeper and find the flaws that nothing but a dedicated, highly concentrated, musical set of ears would catch. You remember
how I’ve preached that the proper job of music
prep is to make the score and parts look like
they should sound? The score supervisor’s
mandate is to turn this principle around by
making sure that the recorded performance
sounds like the score looks, without prejudice.
If the dynamics run from “pp” to “ff,” then
it’s your job to make sure that the ensemble
achieves that dynamic range. If the score says
“al talone” in the strings, and they didn’t dig
so deeply with their bows that you could hear
the sound of the rosin scraping, then you have
to see to it that they do. Ultra-subtle intonation problems, sluggish low strings, defective
console circuitry causing almost unnoticeable
distortion ... it’s your job to find them all and
see that they’re fixed before the musicians
start heading for the door.
If you have a background doing takedowns,
then your ears are probably already in shape
for this kind of work. If you don’t have such a
background, you can quickly gauge your powers of concentration and get a quick workout
before the session by acquiring the score to
some large-scale classical orchestration (some
thing by Strauss, Mahler, Stravinsky, Ives, etc.)
and a well-engineered digital recording of that
piece. Take a 20-second snippet of the thickest part of the orchestration and replay it endlessly, each time concentrating to see if you
can audibly isolate the sound of every instrument (or section playing in unison) one at a
time, from score top to score bottom.
Take this experience into the booth with
you and use it to dig that deep. Remember,
it’s a clam hunt; the greater your ability to focus, the more goofs you will find, and the more
you can fix. Combine this with a well-rounded
arsenal of general production skills, and you
can become a valuable addition to anyone’s recording team.
And, since the clock is the one immutable
force which controls our fates in the studio, always be mindful of the score supervisor’s code
regarding “the serenity to accept the things I
don’t have time to fix, the courage (and skill)
to fix the things I can (before the contractor
calls a break), and the wisdom to know the difference (and the diplomacy to explain it).”
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]
ISSUE 33 • 0CT. 2, 2007
FILM MUSIC weekly
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 • Krews.
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 Sahara.
Mark Petrie: The Road to Empire • Lake Dead • Mr Blue Sky • Valley
THE
SCORE
BOARD
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.
Alec Puro: The Good Night.
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.
Jessica de Rooij: In the Name of the King: A Dungeon Siege Tale.
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.
Austin Wintory: Mr. Sadman • Captain Abu Raed.
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].