May 29, 2007 - Film Music Magazine

FILM MUSIC weekly
ISSUE 17 • MAY 29, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
Up and coming composers YFCC Finalists
named fellowship winners Announced
n The five finalists for the Eighth Annual TCM
n Composers David Fleming and Bryan Senti
are the winners of the 19th Annual BMI Foundation Pete Carpenter Fellowships, it was announced by BMI Foundation President Ralph
N. Jackson. 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 in-
clude such television themes and scores as
The A-Team, Magnum P.I., The Rockford
Files, Hardcastle and McCormick, Hunter
and Riptide.
Fellowship winners are given the opportunity to intern with veteran BMI composer
Mike Post in his Los Angeles studio and meet
with other distinguished theatrical, film and
TV composers. p:3
Young Film Composers Competition have been chosen after the third round of judging in Los Angeles.
The TCM Young Film Composers Competition is sponsored by Film Music Magazine and
received over 800 entries this year, an all-time
high for the competition. The winner will receive
$15,000 and will be mentored through the process
of creating a new score for a classic restored silent
film by veteran film composer Hans Zimmer. p:5
Tyler avoids musical convention in ‘Bug’
© 2007 Lionsgate
SCORE OF THE WEEK
BUG
Brian Tyler
n Brian Tyler’s second
”Bug” is a film about paranoia and composer Brian Tyler was encouraged by director William Friedkin to think ”out of the
box” when creating the score for the film.
“Mostly elegiac”
Despite its triumphant orchestral charges,
Basil Poledouris’ “Red Dawn” is a
mostly elegiac affair. p:11
score for legendary
director William Friedkin, Bug, is a work that
avoids musical convention. The composer
says that Friedkin is a
filmmaker who always
challenges him, and
for Bug, Tyler went the
furthest out of the box
than ever before. The
exploration of unusal
rhythms (”certainly the
most complicated and
confusing metric patterns for me so far”)
is something it shares
with the previous Friedking/Tyler collaboarion.
In our interview Tyler
also speaks about his
other upcoming scores,
inculding John Rambo.
p:9
MORE INSIDE:
p:3 Elfman to receive Honorary Doctorate
p:5 Alan Silvestri concert details
announced
p:12 Technology: Wallander Instruments
p:14 THE SCOREBOARD
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are the voice of the industry,
reflecting the views of the film
and television music industry at
large rather than any particular
industry organization or society.
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FILM MUSIC weekly
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This Week on
FMR
FILM MUSIC RADIO
ON THE SCORE:
Mychael and Jeff Danna
Film music journalist Daniel
Schweiger interviews the
composing brothers Mychael
and Jeff Danna, who team up
for the prosecution in Fracture.
INSIDE THE BUSINESS:
DOUG WOOD
Join host Mark Northam for
an candid, in-depth interview
with composer and music library owner Doug Wood about
his ASCAP Board candidacy
and more. Also hear interviews with Dan Kimpel, John
Braheny and Samm Brown III.
TUNE IN HERE!
ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Fleming and Senti named
Carpenter Fellowship winners
David Fleming and Bryan Senti
n Composers David Fleming and
Bryan Senti are the winners of the
19th Annual BMI Foundation Pete
Carpenter Fellowships, it was announced by BMI Foundation President Ralph N. Jackson. 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.
Fellowship winners are given
the opportunity to intern with veteran BMI composer Mike Post in
his Los Angeles studio and meet
with other distinguished theatri-
OPENING THIS WEEK
cal, film and TV composers. Post,
Carpenter’s longtime writing partner, has penned some of the most
memorable television themes in
television history, including Hill
Street Blues, The A-Team, Magnum P.I., NYPD Blue, Law and
Order, L.A. Law, The Rockford Files,
Quantum Leap and City of Angels.
David Fleming first became involved in composition during his
high school years in upstate New
York. While writing a piece for a
friend’s video project, he realized he
had a particular interest in scoring
to visual. After high school, David
was accepted into the studio composition program at the music conservatory at Purchase College, where
he recently finished his junior year.
At school, he has concentrated on
composing for film and television
with Emmy-winning composer Allyson Bellink. This past year he
also earned an internship at Eargoo, a Manhattan-based company
that specializes in original music,
sound design, and general postproduction for commercials. Out-
side of school and work, David enjoys recording and performing with
his band, The Locomotive Espada.
Bryan Senti has been commissioned by Lisa Moore of Bang on a
Can and the Norfolk Chamber Music Festival and has had his work
performed in Europe, Australia, and
throughout the United States. He has
scored numerous independent films,
and has composed dance works, rock
songs, and a body of concert of music.
Recent endeavors include a student
fellowship at the Ostrava Days Festival in the Czech Republic and the
American Pavilion Student Filmmaker Program at the Cannes Film
Festival. As a complement to his musical abilities, Bryan also received a
master’s in arts management from
Carnegie Mellon University, and has
published research in the field of arts
policy. He is a master’s student in
composition at Yale School of Music,
studying with Ingram Marshall. He
is also co-founder of a new music
production company, Found Objects
Music Production, that is planning to launch this summer. mn
Elfman to receive
Honorary Doctorate
Danny Elfman will receive
a Honorary Doctorate from
the North Carolina School
of the Arts.
THEATRICAL
• Gracie (Mark Isham)
• Knocked Up (Joe Henry)
• Mr. Brooks (Ramin Djawadi)
DIRECT-TO-DVD
• Be My Baby (Kennard Ramsey)
• The Call of Cthulhu (Ben Holbrook/Troy Sterling Nies/Nicholas
Pavkovic)
• Defenceless (George Papanicolaou)
• Final Patient (Ron Burns)
• The Foursome (Chris Ainscough)
• Kill House (Jonathan Miller)
• My Brother (John Califra)
Elfman, who has been writing
film music for over 20 years and
is one of the top composers in
Hollywood, will receive the doctorate on June 2 and will give a
commencement address to the
school’s college graduates. The
school chancellor, Hollywood
Bowl conductor John Mauceri,
has collaborated with Elfman
on Serenada Schizophrana, the
composer’s first concert work
that was later adapted into a
film score for the IMAX production Deep Sea 3-D.
Elfman is best known for his
scores for the films of Tim Burton,
including Edward Scissorhands,
FROM THE PUBLISHER
No More Free
Music
T
he latest discussion by
record industry about
seeking performer’s royalties
(royalties paid to labels and
artists) from radio stations
brings to mind a similar situation that composers in this
country have to deal with – the
blatant public for-profit use of
film music while a legal “exception” prevents our collectives
– ASCAP and BMI, specifically,
from pursuing performing
rights royalties for these public
performances of music… I’m
referring of course to music in
films that are shown in U.S.
movie theatres.
W
hile almost everywhere
else in the world theatres pay a public performance
fee to the royalty societies,
a disastrous legal precedent
stemming from, according
to historian Russell Sanjek,
an attempt by ASCAP in the
1940s to triple the “seat tax”
charged to movie theatres,
prevents it here. That’s right…
composers and songwriters
used to receive performance
royalties from US movie
theater performances of films
through the royalty collectives
until this legal decision. The
movie theaters fought back
and won, and the big losers of
course were composers. The
decision was “Alden Rochelle v.
ASCAP” and it has cost composers millions of dollars.
I
Batman and Nightmare Before
Christmas. His other top movies
include the first two Spider-Man
films, Good Will Hunting, Chicago
and Men in Black.
mc
t’s time for composers as an
industry to decide if we’re
going to attempt to overturn
this awful “free pass” for the
movie theater companies. If we
don’t do something, how long
will it be before some enterprising corporate attorney decides
to try and widen this exemption
to include television networks,
cable stations, and more? As
much as we seem so reluctant
to get together and acting as an
industry, maybe it’s time we do.
Mark Northam
Publisher
[email protected]
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
Providing professional training in the art of
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Founded in 1997 by two-time Emmy Awardwinning film/television composer Hummie Mann,
(“Robin Hood: Men in Tights”, “In Cold Blood”,
“Cyberworld 3d” Imax Film), this internationally
recognized program - taught by the
program's creator - offers both theory
and methods for writing dramatic music
for motion pictures, television, video
games and other media as well as indepth, first hand knowledge and tools to
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Experience this invaluable program in the
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Recent graduates of The Pacific NW Film Scoring Program offer the following feedback;
“…It has been about a year since I graduated from Hummie's class. In that time I have scored 13 short films, one of which is
at Sundance this year, and I just finished conducting the recording of my first feature film score with a small string orchestra
at Capitol Records in Hollywood.”
“…I have already earned a Master's Degree in Music, but the material I learned from Hummie Mann at the Pacific Northwest
Film Scoring Program has been some of the most useful and practical instruction I have been given.”
“…This course was stimulating and well-defined, and conducted with flair & intellect. No stale academia here!!!”
“…As far as we all know, this is the only place in the world where budding film composers can score for an orchestra and
have the incredible learning experience of all that is involved in the process, guided by a composer who makes his
living this way. An incredible in-depth, hands-on journey.”
Students recently completing the Pacific NW Film Scoring Summer Intensive Program had this to say;
“…The most practical course an aspiring film composer can take.”
“…I can’t imagine how I could have learned this much about film scoring so quickly in any other way.”
“…The amount of practical knowledge and tools that were conveyed were well beyond
what I expected or paid for!”
For additional information and to register please visit our website at
www.pnwfilmmusic.com
or call 206.230.0222 or 800.546.8611
ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Over 800 YFCC
entries–five finalists
announced
The five finalists for the
Eighth Annual TCM Young
Film Composers Competition have been chosen
after the third round of
judging in Los Angeles.
The TCM Young Film Composers Competition is sponsored
by Film Music Magazine and
received over 800 entries this
year, an all-time high for the
competition. The winner will receive $15,000 and will be mentored through the process of creating a new score for a classic
restored silent film by veteran
film composer Hans Zimmer.
The five finalists will be
flown to Los Angeles in July to
compete for the grand prize that
will be announced at a special
The 2007
Young Film
Composers
Finalists
Jaebon Hwang- Long Island
City, NY
Garth Neustadter - Appleton,
WI
James Schafer - Rancho
Cucamonga, CA
Jeremy Schrepple - Los
Angeles, CA
Edward White - London, UK
YFCC Awards Dinner following
The Composer Expo on July 25
at The Skirball Cultural Center
in Los Angeles.
mn
Alan Silvestri
concert details
announced
The Soncinemad film music
festival in Madrid has
announced details for the
exclusive Alan Silvestri concert
that is the highlight of the
festival this year.
The 120 piece Philarmonia Orchestra
and RTVE Choir, conducted by Alan
Silvestri, will perform suites conceived for the concert. The provisional programme includes themes and
suites from the Back to the Future
trilogy, Judge Dredd, The Mummy
Returns, Forrest Gump, The Quick
and the Dead, Contact, Cast Away,
Fools Rush In, Mouse Hunt, Van Helsing, Polar Express and The Abyss.
The concert takes place at the
Teatro Monumental in Madrid on
June 30. Another concert takes place
on June 29 featuring music by, among
others, Gabriel Yared, Christopher
Young and Christopher Gordon. mc
THE A-LIST
The hottest composers in
Hollywood right now:
1 (1). Danny Elfman
2 (2). John Williams
3 (3). Hans Zimmer
4 (5). Ennio Morricone
5 (15). John Murphy
6 (7). James Newton Howard
8 (4). Christopher Young
9 (6). James Horner
10 (9). Clint Mansell
11 (8). Thomas Newman
12 (10). Howard Shore
13 (14). Harry Gregson-Williams
14 (11). Philip Glass
15 (13). Randy Newman
16 (12). Michael Penn
17 (new). Alan Silvestri
18 (19). Klaus Badelt
19 (20). Billy Corgan
20 (16). Gustavo Santaolalla
The list is based on data from
Internet Movie Database’s
“StarMeter”, showing “who’s
popular based on the searches
of millions of IMDb users”.
MovieScore Media presents the Original Motion Picture Soundtrack
Frighteningly beautiful – beautifully frightening!
Music Composed, Orchestrated and Conducted by
CHRISTOPHER SLASKI
Also featuring music by Trevor Duncan • Available now on CD and online!
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
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ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
FILM MUSIC NEWS
Mammoth horn section
on new Alex North CD
One of legendary composer
Alex North’s most
extravagnt scores,
The Devil’s Brigade,
has been released
on CD by Intrada
Records.
The Devil’s Brigade
was a world war II
movie that came out in
1968, and it was unusual in terms of the music
due to the extraordinary
orchestrations.
Alex North, the composer whose milestone
scores include A Streetcar Named
Desire, Spartacus and Cleopatra,
wrote for a wind-heavy orchestra
with a crazy French horn section
of 24 pieces.
Ravel.
In two-color.
Intrada’s release features
the complete score, including
compositions that were never
used in the final cut of the film.
The pressing is limited to 2,000
copies. mc
Quick Study - Only How Ravel Orchestrated:
Mother Goose Suite comes with a bonus color-coded score
showing how Ravel went from piano to full orchestra.
Quintessential
Marianelli
First CD in our new “Discovery Collection”
Two years before the Oscar-nominated score for Pride and
Prejudice, Dario Marianelli composed this beautiful score for
the British period drama I Capture the Castle. MovieScore
Media now presents the original soundtrack from this film,
featuring poetic and romantic orchestral music that ranks
among the best of the hailed composer’s works.
MOVIESCORE MEDIA
Knowing the Score
The piano part is marked with yellow for the treble clef and blue for the bass
clef. The score is marked showing how Ravel orchestrated the piano part.
Bars 1-4: the melody (in yellow) is assigned to Flute 2. The counterline (in
blue) is assigned to a muted French horn in unison with muted pizz Violas.
At bar 4, the bass part is assigned to both the Basses and Clarinet 2 which
sustains the pitch for several bars.
At bars 5-6: the melody moves to Flute 1, and in a brilliant coloristic stroke,
the chromatic counterline is assigned to Flute 2. In the right hand, there’s a
D4 that sounds on each quarter note, but Ravel has the Oboe sustain it. That
same D4 is also cleverly assigned to the Harp by having the first half note D4
played open and the second as an harmonic. The bass part goes to the Cellos.
Note that in bar 5 the Basses are assigned an harmonic. Which pitch does it
sound? Is it in the piano part?
You’ll have to order to find out. (To order, visit our web site or call 1-804-7336122 Monday through Friday from 10AM to 4:30PM Eastern Time).
X X X U S V F T Q F D D P N
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
SCORE OF THE WEEK
Avoiding musical
conventions
BRIAN TYLER scores BUG
BY MIKAEL CARLSSON
Bug is your second feature for esteemed director
William Friedkin, having scored his action film
The Hunted in 2003. Can you tell me how your
working relationship has developed and what
similarities and differences there were between
The Hunted and Bug?
Well, the thing that is most similar is that Billy always
challenges me. On The Hunted he wanted to push the
boundaries of what I knew to be action music. For Bug, we
sat down at the beginning at started to map out the path
for the music. Friedkin enjoys exploring the experimental
side of music and Bug was the furthest out of the box that
I have ever gone. He wanted to make sure that I felt free
to explore the outer edge of what I considered to be music
in the first place. He would come to my studio and we
would really delve into the experimental side of composition. And then we would go outside and shoot some hoops.
He has a mean shot from the far right corner.
I’m sure William Friedkin, who scored The Exorcist with Polish avant garde and had the marvelous Don Ellis writing a spectacular jazz score for
French Connection, has pretty strong opinions
about the function of music in films? What kind of
discussions have you had about this?
Convention is not something that Friedkin encourages. One aspect of scoring that we were both fond of
was the use of music in Jean-Luc Godard’s film Week
End from 1967. The music was to be at times supportive
and at times incongruent with what was going onscreen
– really intrusive, actually. It was that idea of unpredictability that we wanted to utilize, but with a completely
different template of the music itself. As for ideas for this
score, the music was to be a unique blend of things – jazz,
baroque, and industrial minimalism – obviously styles
that contradict each other emotionally.
Paranoia, illusions, insects, haunting war memories... Bug doesn’t seem to be a very pleasant
story! What elements of this film did you focus on
musically?
The story is strangely haunting and beautifully sad in its
own way. The story is driven by Agnes’ (Ashley Judd) guilt
over losing her son years before. The dark specter of paranoia is represented musically by an unease, imbalance.
THE TOP 10:
BRIAN TYLER
When you score a thriller like this one, how much
of your work is about establishing an overall
atmosphere for the film?
The atmosphere was very important in this case. Sometimes dark, sometimes primal, but always a little bit off.
Since you’ve estblished this relationship with William Friedkin, were you able to get involved in
Bug at an earlier stage than usual? Did you have
more time to score the film and perhaps begin
working even from the script?
Yes, I read the script early on and was thinking of
ideas as I went. As a basic idea, I thought it would be interesting to incorporate unlike styles of music for the film
since the tone of the movie is paranoia and confusion.
How much music did you write for Bug? What
can you tell us about the music – in The Hunted,
you were able to explore some very neat rhythmorientated orchestral music. In Bug, did you find
similar opportunities to develop a strong musical
idea like that?
I wrote much more music for Bug than is used in the
movie. I approached the film differently than any other
scoring assignment in that way. Similarly to The Hunted,
I delved into extremely odd rhythms – certainly the most
complicated and confusing metric patterns for me so far.
It was a lot of fun composing! And the instruments used
were interesting as well. Saxophone, cello, piano, prepared piano, air conditioning wall units, drums, squelched
radio, feedback, harmonica, and messed up tape loops.
Can you tell us a little about your team members
and the people you worked with on Bug? Did Robert Elhai orchestrate as usual, for instance? Can
you describe Keith Power’s role in the process?
Well, for this film I worked mostly in isolation. No orchestrators. Keith Power was a technical consultant on
Brian Tyler’s best-known
projects:
1. Constantine (2005)
2. Frailty (2001)
3. Bubba Ho-tep (2002)
4. The Fast and the Furious:
Tokyo Drift (2006)
5. Timeline (2003)
6. The Hunted (2003)
7. Godsend (2004)
8. Darkness Falls (2003)
9. The Final Cut (2004)
10. Paparazzi (2004)
Source: IMDb
Brian Tyler is represented by
Gorfaine-Schwartz Agency.
THE SCORE:
BUG
Composer: Brian Tyler.
Other team members:
David Falzone (music
supervisor), Keith Power
(technical consultant).
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
© 2007 Lionsgate
THE FILM:
BUG
Plot outline: A paranoid,
unhinged, war veteran who
sees insects everywhere
holes up with a lonely
woman in a spooky Oklahoma motel room.
Director: William Friedkin.
Producers: Kimberly C
Anderson, Michael Burns,
Gary Huckabay, Malcolm
Petal, Andreas Schardt,
Holly Wiersma.
Stars: Ashley Judd, Michael
Shannon, Lynn Collins,
Brian F. O’Byrne, Harry
Connick Jr.
Production companies:
Lions Gate Films, L.I.F.T
Production.
this and worked on my studio rig to make sure everything
ran smoothly. He was also a great sounding board to see if
I had completely lost my mind on any cues I wrote.
I have to ask you about another recent score of
yours – War. You recorded this with the London
Symphony Orchestra - can you tell me a little
about that experience?
It was fantastic. They played the score amazingly. Power and passion. It was very inspiring standing up in front
of them waving the baton around having them play my
music so well. And it was very cool talking to them about
their sessions for the original Star Wars and with the
Beatles. Amazing pedigree, very nice people. And incredible musicianship. The score is big, robust, and intense. I
hope people enjoy it because I am really proud of it.
Also, you’ve recently been hired to score the upcoming new Rambo film, directed by Sly Stallone!
How did you get this assignment, and are you
ready to answer the question every soundtrack
fan out there has for you: will you use Jerry Goldsmith’s original themes from the first three films?
The producer of the film called me up one day and
the conversation went something like this: “I am sitting
here listening to your music with Sly and we think its
great. Do you want to come in and meet with Sly about
John Rambo?” As a big Rambo fan, I thought it might be
a practical joke. But I accepted and much to my delight
I met with Sly the next day. He is extremely intelligent
and insightful and is a fantastic guy. He also had my
CDs in the CD player – I think Timeline, The Hunted,
Children of Dune, The Greatest Game Ever Played. We
listened to First Blood. We chatted about the movies.
I read the script and loved it. And yes, expect to hear
Jerry’s touch!
What else are you working on at the moment?
Well, I am just finishing up the score for Bangkok
Dangerous starring Nic Cage. I am really happy with
how this score came out – thematic, epic, heartfelt, and
exciting. The film was an interesting canvas for my to
compose to since it has very little dialogue. Nic
Cage is a hitman in Thailand and does not speak
the language and he falls in love with a Thai girl who
is deaf-mute. So the music had to tell the story. It was a
great challenge and I gave it my all. William Sherak and
Jason Shuman produced the film – I had worked with
them before and it was a wonderful experience as always.
They are great producers and friends to the artist. And it
was really cool working with the Pang Brothers whom I
had admired for quite some time. I also finished up scoring Justin Lin’s Finishing the Game, which is a mockumentary about the making of Bruce Lee’s last film. The
score is 100% 1970s fun, rock, and disco. I played all the
instruments and completely dove into that world. All the
recording techniques were straight out of 1977. It was a
pure joy. Now I am scoring Aliens vs Predator 2 and that
is absolutely incredible to work on. The Brothers Strause
are directing this like men possessed. It is absolute grit
and grime and the feel of the original films. The music is
going to be along those lines. Bringing it back old school
style!! Those orchestral sessions are going to be insane
and I am completely looking forward to it! n
10ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
NEW SOUNDTRACKS
Poledouris classic
plays it for real
• Red Dawn (Basil Poledouris)
– Intrada Records.
ALBUM REVIEW
By DANIEL SCHWEIGER
Sure he did some wonderful “girlie”
scores like Lassie, The Blue Lagoon
and Summer Lovers. But if Basil
Poledouris excelled in one musical
style, than it was blood and thunder. From the Prokofiev-styled
mayhem of Conan the Barbarian
to the Fascist thrills of Starship
Troopers and Robocop’s mean meld
of electronic and orchestral percussion. Poledouris knew how to
deal in melodic payback. And it’s
crowd-pleasing soundtracks like
these that shared a relentless orchestral momentum, full of brassy,
sweeping pleasure as revenge was
meted out.
Yet the dearly missed Poledouris
was a gentle bear of a guy himself,
albeit one who knew how to play
the mythic, he-man sound like few
other composers. All congratulatory
hell would be unleashed, but with
a deep-hearted emotion that could
make the biggest bruiser shed a
tear. It was a talent that made Poledouris a perfect compatriot for director John Milius, with whom he’d
score the manly, war-mongering
fantasies Conan, Farewell to the
King and Flight of the Intruder.
Perhaps the most notorious collaboration of these two USC surfing
buddies would be 1984’s Red Dawn.
Sure, peacenik critics yucked it up
when a bunch of school kids wiped
out hordes of Russian invaders in
the American heartland. But those
pundits weren’t the red-blooded
teen audiences who’ve since made
Dawn a right wing classic. There’s
certainly no mistaking the film’s
political colors as Poledouris’ trumpeting theme sweeps over its opening clouds, from which Russian
paratroopers will soon descend
upon the future stars of Dirty
Dancing, Some King of Wonderful
and Secret Admirer.
Yet oddly enough, Red Dawn is
a mostly elegiac affair, especially
now that we get to hear Poledouris’
music in all of its glory on Intrada’s
re-issue (not-so-ironically of the
first CD soundtrack they put out
over two decades ago). Sure there
are the triumphant orchestral
charges that made a generation of
Commie-fighting hopefuls scream
“Wolverines!” But great stretches
of this score deal with its teen
fighters mulling over a destroyed
American way of life, and their
butchered relatives. It’s a fight
that will end badly for them, and
Poledouris continually reminds us
with an abundance of haunting,
melodic poignancy.
Red Dawn’s premise might be ludicrous to anyone but members of the
NRA or The John Birch Society. But
Poledouris’ music plays it for real,
with a dramatic intensity that ground
the film in understandable emotion.
For while Poledouris and Milius often
dealt with manly subjects, their true
gift was in finding a mythic vulnerability to their steely-eyed characters,
whether they were swinging a sword,
firing a bazooka, or just riding a surfboard in their first collaboration Big
Wednesday – whose mix of lush somberness and heroism Dawn hearkens
to the most.
But make no mistake that Red
Dawn’s music stints on yahoo militarism, as numerous, rousing cues
turn its ragtag teen heroes into Russian-killing men, all with the kind
of symphonic guts and drumroll glory that’s helped Red Dawn’s rightwing pleasures endure well beyond
the fall of the Iron Curtain. And I
suspect that the great action scores
of Basil Poledouris will continue to
incite our musical machismo long
far after the cement blocks of the
Berlin Wall have turned to dust.
n
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
COMING SOON!
JUNE 5
• Lucky You (Christopher Young) – Varèse Sarabande
JUNE 12
• The Lives of Others (Gabriel Yared/Stéphane Moucha) - Varèse Sarabande
JUNE 19
• Bloodsport (Paul Hertzog) - Perseverance
• Evan Almighty (John Debney) – Varèse Sarabande
• Shrek the Third (Harry Gregson-Williams) – Varèse Sarabande
JUNE 26
• Conversations With God (Emilio Kauderer) – Lakeshore
• The Enforcer (Jerry Fielding) - Aleph
• Lady Chatterley (Beatrice Thiriet) - Milan
• Live Free or Die Harder (Marco Beltrami) – Varèse Sarabande
• Peaceful Warrior (Bennett Salvay) – Lakeshore
JULY 3
NEW 1408 (Gabriel Yared) – Varèse Sarabande
JULY 10
• Disturbia (Geoff Zanelli) - Lakeshore
• Harry Potter and the Order of the Phoenix (Nicholas Hooper) – Warner Bros
mc
Courtesy of iFmagazine.com
11
TECHNOLOGY
Wallander Instruments
This week we received a note from
composer Rob Kral (who’s now scoring
the animated Superman: Doomsday
scheduled for Fall Release) tipping us
off about the new Wallander Instruments for Brass.
MUSIC TECHNOLOGY AND YOU
By PETER LAWRENCE ALEXANDER
Rob wrote, “I have been using the new technology of WALLANDER INSTRUMENTS for
about a week now and it is absolutely groundbreaking. It is amazingly realistic and incredibly easy to use, not to mention completely powerful. I’m so excited about it and it’s worked so
well in my Superman score, that I’m at least
serious about saying this, I just might not ever
need to use brass samples again. (Except maybe horn RIPS). You should check it out. It’s incredibly exciting, and as as I type, not too many
Hollywood pros know about it yet. ”
So, thanks to Rob we looked into this by
contacting Arne Wallander of Wallander Instruments in Sweden. Since we just got the
download, this won’t be a review, that will come
later this summer once we have time to really
learn this breakthrough technology.
Explains Mr. Wallander, “The WI Visual Instruments series are collections of virtual in-
1
struments that combine advanced behavioral
modeling with extensive amounts of sound
data extracted from acoustic measurements
and recordings of real instruments.”
1 We’ll start with a screen shot from the
web site:
You see a stage, graphic representation of
virtual instruments, a man, and seats. What
you’re looking at is actually one (1) instance
of WIVI (Wallander Instruments Virtual Instruments – pronounced wiv-vee) showing a
full symphonic setup. The man = the audience.
You set close, near, and far mic positionings by
where you place him (that’s just the start).
Each instrument is set to it s own MIDI
channel.
Notice the trombone in the circle. This is
Tenor Trombone 2. To the right you see Acoustic Settings. Each instrument has its own set of
acoustic settings. To the left, are room settings.
You have a goodly number to select from. Notice that the room height, width and depth are
given in meters. This means you can actually
set the size of your hall.
The + sign means add an instrument, while
the – sign means remove it.
2
n Empty Stage
After launching, this is what it looks
Put the mouse on the staging area, press and
hold down the left button. You can now move
the stage around for a better view.
4
n Adding the French Horn
Clicking the + sign I added the French
horn.
5
n French horn moved
6
n Bell Positioning
7
n Changed Mic
Using the mouse, I repositioned the
French horn to the back of the stage.
Now I’ve slightly changed the bell positioning.
By moving the man (aka the audience),
you change the mic positioning.
As you can see, this is but a taste of what’s
possible.
n Installation
Installation is for PC only at this time, VSTi. If
you’re sequencing on a Mac, on you’re PC you’ll
either need Vstack from Steinberg or Forte
from Brainspawn since WIVI is not free standing. One thing I noticed during installation is
that it happens in the blink of an eye.
like.
3
n Trial Version and Audio Demos
n Changed Stage Positioning
You can find both on the same page.
2
DEMOS
Also Sprach Zarathustra
Tchaikovsky horn
Studio Dry Instruments
Horn Improvisation - Minor
Chords
3
4
Tuba Allegro
Trombone Solo
Trumpet Crescendo
Wreckless Trombone
Trumpet Sordinos
12ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly
n First Thoughts
Overall – whoa.
Rob is running 9 instances of WIVI on one
machine. So the option of setting up a variety of settings is do-able with very efficient
memory usage.
For the sound, very impressive. All of the
brass have several mutes to pick from. The
trumpets in the high register are that bright
piercing sound we’ve all been looking for. Instruments can be detuned to create effective
sounding unisons.
I have only a couple of complaints. I
7
6
5
would love to have the trumpet upper range
extended above C5 to at least E5 allowing
for “scream” trumpets (C3 = Middle C).I’d
also like to see a fourth Trumpet. For jazz,
it would be fantastic to see a Stan Kenton
section of five trumpets, and five trombones.
In listening to the trumpets, I get the sense
that for those who remember Bill Chase, you
could come close to recreating the “Chase”
trumpet section. It’s that realistic.
Tutorials on the web site are very clear,
well documented with many screen shots.
I should also mention that WIVI is de-
The Future is Now.
signed to be used with wind controllers.
n Conclusion
This is a virtual instrument that’s well thought
out musically. Kudos to Mr. Wallander.
Price, $599.00US direct from Mr. Wallander.
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.
Extension
Entertainment Studies & Performing Arts
Study it. Imagine it.Create it.
Film Scoring
Spring Quarter Classes begin March 31, 2007
The Music Business
–
–
–
–
Finding Your Place in the Music Business When You’re Not a Musician
International Music Publishing
Music Supervision for Film
The Musician’s Crash Course: A Practical Approach to Understanding
and Succeeding in the New Music Business
– Music Marketing in the New Music Industry Era: Sales, Retail, and
Digital Distribution
– Understanding Contracts and Deals in Today’s Music Industry
Music Technology
– Introduction to Logic Pro (Apple Certified)
– Introduction to Pro Tools
– Composing Computer-Based Electronic Music (Online)
–
–
–
–
–
–
–
–
–
–
–
–
Film Scoring Dialogues: A Seminar with Trevor Rabin
Anatomy of the Film Score: Past and Present
Orchestration I: Introduction to Instrumentation and Orchestral Usage
Orchestration III: Score Analysis and Reduction
Music Editing for Film, Television, and Beyond
Film Scoring I: Form and Function
Film Scoring III: Composing and Conducting to Picture—A Workshop
Synthestration: Producing Orchestral Music with Samplers
Survival Guide for Film and Television Composers
Composing Music for Video Games
Conducting: A Weekend Workshop for Composers
Workshop in Music Notation Using Finale
To enroll, visit uclaextension.edu/entertainmentstudies and
click on “Courses” to select the course of your choice or call
(310) 825-9971 or (818) 784-7006.
CERTIFICATE PROGRAMS OFFERED IN:
The Music Business | Recording Engineering | Film Scoring
Film,Television and Digital Entertainment Media and The Business and Management of Film,Television, and Digital Entertainment Media
uclaextension.edu/entertainmentstudies
FILM MUSIC weekly ISSUE 17 • MAY 29, 2007
6739
ALSO OFFERING CERTIFICATE PROGRAMS IN:
13
Neal Acree: Juncture.
Tree Adams: Keith.
Mark Adler: Noble Son (co-composer) • The Far Side of
Jericho.
Eric Allaman: Race.
John Altman: The Master Builder.
Craig Armstrong: The Golden Age (co-composer).
David Arnold: Hot Fuzz.
Angelo Badalamenti: The Eye • The Edge of Love.
Klaus Badelt: Heaven and Earth.
Roque Baños: The Last of the Just.
Nathan Barr: Rise • Watching the Detectives • Hostel: Part II.
Tyler Bates: The Haunted World of El Superbeasto • Halloween • Day of the Dead • Watchmen.
Jeff Beal: He Was a Quiet Man • Where God Left His Shoes
• The Situation.
Christophe Beck: License to Wed • Drillbit Taylor • The Dark
Is Rising.
Marco Beltrami: Captivity • In the Electric Mist with Confederate Dead • Live Free or Die Hard. • 3:10 to Yuma.
Charles Bernstein: Bull Run • Let My People Go.
Terence Blanchard: Talk To Me.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory.
Jason Brandt: Something’s Wrong in Kansas.
David Bridie: Gone.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: No Country for Old Men.
Niall Byrne: How About You.
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 (cocomposer).
Nigel Clarke/Michael Csányi-Wills: The
Grind.
Charlie Clouser: Death Sentence.
Elia Cmiral: The Deaths of Ian.
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: Surf’s Up • Fracture.
Marcello De Francisci: The Butcher.
John Debney: Evan Almighty • Big Stan • Sin City 2 • Sin City
3 • Iron Man.
Alexandre Desplat: Mr. Magorium’s Wonder Emporium • His
Dark Materials: The Golden Compass.
Ramin Djawadi: Mr. Brooks • Fly Me to the Moon.
James Michael Dooley: Daddy Day Camp.
Patrick Doyle: The Last Legion.
Ludek Drizhal: Life Goes On • Badland.
Jack Curtis Dubowsky: Rock Haven.
Anne Dudley: The Walker.
Robert Duncan: Butterfly on a Wheel.
Randy Edelman: Underdog • Balls of Fury • 27 Dresses.
Steve Edwards: Finding Rin-Tin-Tin.
Danny Elfman: The Sixth Element • The Kingdom.
Warren Ellis: The Assassination of Jesse James by the Coward Robert Ford (co-composer).
Paul Englishby: Magicians.
Tobias Enhus: Paragraph 78.
Ilan Eshkeri: The Virgin Territories • Stardust (co-composer) •
Straightheads • Strength and Honour.
Evan Evans: The Mercy Man.
Sharon Farber: When Nietzsche Wept • The Tribe.
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.
Jason Frederick: Chinaman’s Chance.
John Frizzell: Careless • First Born.
Michael Giacchino: Ratatouille • Star Trek XI.
Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It
in Russian.
Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone
Dry.
Philip Glass: No Reservations • Cassandra’s Dream.
Erik Godal: The Gift.
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.
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.
Andrew Gross: Forfeit.
Larry Groupé: Resurrecting the Champ.
Andrea Guerra: L’uomo di vetro.
Christopher Gunning: La Vie en Rose.
Steven Gutheinz: Rothenburg.
Richard Hartley: Diamond Dead.
Richard Harvey: Legend of King Naresuan.
Paul Haslinger: Gardener of Eden.
Alex Heffes: My Enemy’s Enemy.
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.
David Holmes: Ocean’s Thirteen.
Nicholas Hooper: Harry Potter and Order of the Phoenix.
James Horner: The Spiderwick Chronicles.
Richard Horowitz: Genghis Khan.
James Newton Howard: Michael Clayton • The Waterhorse
• I Am Legend.
Terry Huud: Plaguers.
Alberto Iglesias: Savage Grace • Her Majestic Minor.
Mark Isham: Pride and Glory • Reservation Road • Gracie.
Steve Jablonsky: D-War • Transformers.
Corey Allen Jackson: God’s Ears • Ogre.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Becoming Jane.
Bobby Johnston: American Fork • Stuck.
Tim Jones: Cryptid.
Trevor Jones: Fields of Freedom.
David Julyan: Outlaw.
Jan A.P, Kaczmarek: Evening.
John Kaefer: Room Service (co-composer).
Matthew Kajcienski: Room Service (cocomposer).
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).
David Kitay: Because I Said So • Shanghai Kiss.
Harald Kloser: 10,000 BC.
Penka Kouneva: The Third Nail • Richard III.
Ivan Koutikov: Wanted Undead Or Alive • Living Hell.
Aryavarta Kumar: The Rapture •
Christopher Lennertz: This Christmas • The Comebacks.
Sondre Lerche: Dan in Real Life.
Michael A. Levine: Adrift in Manhattan.
Christopher Libertino: Off the Grid – Life on the Mesa.
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.
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.
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.
Cliff Martinez: First Snow • Vice.
John McCarthy: The Stone Angel.
Joel McNeely: Fox and the Hound II • The Tinkerbell Movie.
Nathaniel Mechaly: Sans moi.
Alan Menken: Enchanted • The Frog Princess.
Guy Michelmore: Doctor Strange.
Randy Miller: Last Time Forever • Shanghai Red.
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.
Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys.
John Murphy: Sunshine.
Peter Nashel: Wedding Daze.
Blake Neely: Elvis and Anabelle.
Roger Neill: Take • Scar.
Randy Newman: Leatherheads.
Thomas Newman: Nothing Is Private.
Marinho Nobre: Left for Dead.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims • Nobel Son (co-composer).
THE
SCORE
BOARD
Dean Ogden: Oranges.
John Ottman: The Invasion • Fantastic Four: Rise of the
Silver Surfer.
John Paesano: Shamrock Boy.
Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl.
Barrington Pheloung: And When Did You Last See Your Father?.
Leigh Phillips: The Legend Trip • War Made Easy.
Nicholas Pike: The Shooter.
Douglas Pipes: Trick r’ Treat.
Steve Porcaro: The Wizard of Gore • Cougar Club.
Rachel Portman: The Feast of Love.
John Powell: The Bourne Ultimatum • Horton Hears a Who.
Michael Price: Sugarhouse Lane.
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.
Graeme Revell: Marigold.
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.
William Ross: September Dawn.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What We Did on Our
Holidays.
Brian Satterwhite: Cowboy Smoke.
Mark Sayfritz: Until Death.sake.
Brad Sayles: The Bracelet of Bordeaux.
Lalo Schifrin: Rush Hour 3.
Marc Shaiman: Hairpsray • Slammer • The Bucket List.
Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh • The Girl in the Park.
Edward Shearmur: 88 Minutes • Dedication • The Other
Boleyn Girl.
Howard Shore: Eastern Promises.
Ryan Shore: The Girl Next Door • Numb.
Carlo Siliotto: La MIsma Luna • The Ramen Girl.
Alan Silvestri: Beowulf.
Samuel Sim: Awake.
Marcus Sjöwall: Dreamkiller.
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.
Mark Suozzo: The Nanny Diaries.
John Swihart: The Brothers Solomon.
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 • The Third Eye.
Thanh Tran: Cult.
Ernest Troost: Crashing.
Brian Tyler: Time to Kill • War • Finishing the Game • Alien vs.
Predator 2 • John Rambo.
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.
Michael Wandmacher: The Killing Floor • Man of Two Havanas.
Nathan Wang: Daddy’s Little Girl • The Final Season.
Stephen Warbeck: Killshot • Flawless • Miguel and William.
Craig Wedren: The Ten.
Cody Westheimer: Benny Bliss and the Disciples of Greatness.
John Clifford White: Macbeth.
Alan Williams: Angst • Snow Princess • He Love Her, She
Loves Him Not.
David Williams: The Conjuring.
John Williams: Indiana Jones IV • Lincoln.
Tim Williams: Afterthought • A Dog’s Breakfast.
Debbie Wiseman: Flood.
Lyle Workman: Superbad.
Alex Wurman: The Nines • The Baker • Bernard and Doris •
Baggage.
Gabriel Yared: Manolete • 1408.
Geoff Zanelli: Delgo.
Marcelo Zarvos: The Air I Breathe • You Kill Me.
Aaron Zigman: The Martian Child • Good Luck Chuck • Jane
Austen Book Club.
Hans Zimmer: The Simpsons.
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 orange print. Edited by Mikael Carlsson. Updates should be sent to [email protected].
14ISSUE 17 • MAY 29, 2007
FILM MUSIC weekly