SCORING NEWS - Film Music Magazine

FILM MUSIC weekly
ISSUE 56 • MARCH 25, 2008 • A Global Media Online Publication • www.filmmusicweekly.com
ASCAP Sues 29 Establishments For
Copyright Infringement
n ASCAP has announced that it
has filed 29 separate infringement
actions against nightclubs, bars
and restaurants in 22 states and
the District of Columbia.
ASCAP says each of the establishments has publicly performed
the copyrighted musical works of
ASCAP’s songwriter, composer and
music publisher members without
obtaining a license from ASCAP to
do so.
“By filing these 29 actions at
the same time, ASCAP is aiming
to heighten awareness among music users and the public that it is
a Federal offense to perform copyrighted music without permission,”
said Vincent Candilora, ASCAP
Senior Vice President of Licensing.
“ASCAP’s priority is to serve as
a voice and advocate for its more
than 315,000 members who are
essentially the smallest of small
business owners. ASCAP not only
has a right to collect license fees
from the users of music, but it also
has a responsibility to its members
to ensure they are adequately compensated for their hard work.”
Of concern to some writers is
the fact that while ASCAP charges
license fees to establishments for
LicenseQuote Releases
Free Music Licensing Calculator
n LicenseQuote.com has released
an online music licensing calculator aimed at labels, producers,
composers, publishers and others
who offer their own music from
websites, online stores and other
online locations.
The current beta version
of LicenseQuote uses a pricing
table based on data from current online licensing sites, and
the company plans on introducing Pro and Advanced versions of
the LicenseQuote calculator that
include the ability of music sell-
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
JOBS:
ers to specify their own pricing
for the different usages quoted
by the calculator.
The basic LicenseQuote (aka
LQ) Music Licensing Calculator
embed widget is free to all music artists, labels and publishers
who have authority to license
their various copyrighted music
materials. LicenseQuote does
not charge any sales commission
percentage fee to the sellers and
is also completely free to all music licensing buyers.
(continued pg.3)
the public performance of all music, only the writers and publishers
of the music picked up in ASCAP’s
surveys and census are paid royalties. Little or no information about
the actual music being played at
nightclubs, bars and restaurants
is collected by ASCAP on a regular basis, according to industry
sources.
(continued pg.3)
Lionsgate Music Promotes
Lenny Wohl
n Lenny Wohl
has been promoted to the
newly-created
position of General Manager
and Executive
Vice President,
Business
Affairs, for Lionsgate Music, it was
announced by Lionsgate Music
President Jay Faires. Wohl will
report to Mr. Faires and to Lionsgate General Counsel and Executive Vice President Business &
Legal Affairs Wayne Levin. Lionsgate Music is an affiliate of independent film studio Lionsgate.
Wohl will continue to serve
as the head of business affairs
for Lionsgate’s music initiatives, heading up negotiations
for agreements in all operations
including publishing, film music,
licensing and new digital media
agreements. In his expanded role,
he will also establish and execute
business and legal affairs strategy for Lionsgate Music.
“Dragonball” (Brian Tyler), “Green Zone” (John Powell) and more
Daniel Schweiger reviews “Doomsday”
“Score No-No’s, Episode 3” by Ron Hess
“Storm Drum 2: Part 2” by Peter Alexander
Film & TV Music Current Jobs Listing
(continued pg.3)
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FILM MUSIC weekly
Publisher: Mark Northam
Editor: Mikael Carlsson
VP Finance and Operations: Rebecca Lee
Art Director: Joshua Young
Advertising Manager: Steve Schatzberg
Copy Editor: Lisa Rawson
Technology Editor: Peter Alexander
Soundtrack Editor: Daniel Schweiger
Customer Service Manager: Robyn Young
Website Design: Rakesh Rai
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Legal Advisor: Patricia Johnson, Esq.
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FMR
This Week on
FILM MUSIC RADIO
ON THE SCORE
MY LUNCH WITH MAURICE
Film music journalist Daniel
Schweiger interviews
legendary composer
MAURICE JARRE,
who reflects on his epic career,
and a specially revisited
tribute to
director David Lean.
.
LISTEN NOW
ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly
INDUSTRY NEWS
ASCAP Sues 29 For Copyright
Infringement (continued. from pg 1)
Lionsgate Music Promotes
Lenny Wohl (continued. from pg 1)
ASCAP has initiated copyright infringement actions against the
following establishments:
“Lenny is a key member of our management team and one of the
architects of our business plan for becoming a premier destination for
the best creative songwriting talent today, whether for use in our film
and TV slate or in a publishing relationship,” said Faires. “His creative
and visionary approach to the business is the perfect complement to
our entrepreneurial culture, and his extensive experience in business
affairs at DreamWorks Music Publishing as well as on the studio side
at DreamWorks Film Music gives him the skill set to translate our
business plan into continued growth, progress and leadership.”
A 17-year veteran of the entertainment industry with experience
in all facets of the music business, Wohl was recruited to join Lionsgate
Music as its Executive Vice President, Business & Legal Affairs, in
June 2007. Prior to joining Lionsgate, he was the executive in charge
of music at DreamWorks, where he ran the film music department for
two years after serving as head of its business and legal affairs activities. He joined DreamWorks in 1996 and was integral to the establishment of all of the Company’s music operations, including its film
music division. While there he helped to build and eventually monetize
DreamWorks’ music publishing affiliate.
Brookside Sports Bar & Grille, Surprise, AZ
Bar 330, Brea, CA
Paulie’s Upper Deck, Redondo Beach, CA
Frankie’s Too!, Falcon, CO
The Guards / Griffin Room, Washington, DC
Matilda’s Pub & Barbie, Newark, DE
Ultra Lounge, West Palm Beach, FL
Best Western - Sea Breeze Lounge, Fernandina Beach, FL
Wrigleyville North, Chicago, IL
Ice Lounge, Indianapolis, IN
Tin Alley Grill, Framingham, MA
The Quarter Bistro & Tavern, Ann Arbor, MI
Scott’s 1029 Bar, Minneapolis, MN
Parrot’s Sports Bar, St. Peters, MO
Black Tie Nightlife, Raleigh, NC
Dexter’s, Riverdale, NJ
One, New York, NY
Cannon’s Black Thorn Inn, Rockville Centre, NY
Fireside Inn, Port Crane, NY
Club Majestic, Tulsa, OK
Emerson’s Pub, York, PA
Charleston Beer Works, Charleston, SC
Chattanooga Food & Drink, Chattanooga, TN
Drillers, Houston, TX
Pat’s Pub, The Colony, TX
Vette’s Sports Grill, Odessa, TX
Five 01 City Grill, Virginia Beach, VA
The Flame, Spokane, WA
Long Wong’s, Milwaukee, WI
LicenseQuote Releases Free
Music Licensing Calculator
(continued. from pg 1)
“Music publishers can use our music licensing calculator to sell,
negotiate and manage their music licensing deals directly from their
own web pages”, said Michael Borges, co-founder and CEO of LicenseQuote.
The LicenseQuote Free calculator features include: 17 standard
licensing types, standard pricing profile, description and usage details
shown for each selected license type, instant price calculations, and
the option for custom bid price negotiation inquiry.
For more information visit http://www.licensequote.com
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Special Zip Code search* allows people in
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FILM MUSIC weekly ISSUE 56 • MARCH 25, 2008
3
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Brian Tyler:
Dragonball
20th Century Fox has
confirmed to Film
Music Weekly that
Brian Tyler has been
hired to score the
studio’s upcoming
sci-fi action spectacle, Dragonball, for
release in April, 2009.
James Wong, who previously worked
almost exclusively with the late Shirley
Walker (Final Destination, Willard, Black
Christmas), is directing and has adapted
the screenplay from Akira Toriyama’s
comic about a young boy who sets out to
gather all seven Dragon Balls to save the
world from an evil despot. Justin Chatwin
stars as the boy, Goku, and he is supported by a cast including Emmy Rossum,
James Marsters, Yun-Fat Chow and Jamie
Chung. Brian Tyler recently scored Fox’s
Aliens vs Predator - Requiem, and his
other recent action credits include Rambo,
War and Bangkok Dangerous.
Gast Waltzing:
JCVD
Luxemburg’s finest
film composer, Gast
Waltzing (George
and the Dragon), has
composed the original score for the upcoming Jean-Claude
Van Damme feature,
JCVD, an action comedy produced by Luxemburg-based
company Samsa Film. Mabrouk El Mechri,
who helmed the French comedy Virgil in
2005, directs. The film will be released
on June 4. Waltzing is also providing the
score for Les Dents de la nuit, a Belgian
comedy starring Tchéky Karyo, directed by
Stephen Cafiero and Vincent Lobelle.
Mychael Danna:
The Time Traveler’s
Wife
The Time Traveler’s
Wife, New Line
Cinema’s romantic
time travel drama
starring Eric Bana and
Rachel McAdams, will
get an original score
by Mychael Danna (
4
Little Miss Sunshine, 8mm, Capote), the
studio confirmed to Film Music Weekly
last week. The film is directed by Robert
Schwentke, who previously worked with
James Horner on Flightplan. The story is
based on Audrey Niffenegger’s novel about
a librarian who has a gene that causes
him to involuntarily time travel. New Line
produces together with Brad Pitt’s Plan B
Entertainment. The film is scheduled to
premiere in November.
John Powell:
Green Zone
Working Title Films
has confirmed to
Film Music Weekly
that John Powell, as
expected, is doing
the original score for
Green Zone, the new
film by The
Bourne Ultimatum and United 93 director
Paul Greengrass. The film has also been
known as Imperial Life in the Emerald
City, which is the title of the book by Rajiv
Chandrasekaran it is inspired by. It’s a
thriller, scripted by Brian Helgeland, about
two CIA agents and a reporter who are on
the trail of certain weapons of mass destruction. Matt Damon, Brendan Gleeson,
Amy Ryan, Jason Isaacs and Greg Kinnear
star in the film which will be distributed
by Universal. John Powell’s other recent
projects include the animated Horton
Hears a Who, the war drama Stop Loss
and Disney’s upcoming Bolt.
Stephen Barton:
The Six Wives of
Henry Lefay
Stephen Barton, who
is best known for his
acclaimed Mrs Palfrey
at the Claremont
score, has been hired
to score The Six Wives of Henry Lefay, a
drama comedy starring Tim Allen, Jenna
Elfman, Andie MacDowell and Lindsay
Sloane. The project is helmed by Howard
Michael Gould and this is his first feature
film as a director, his previous credits as a
screenwriter includes Mr. 3000. Most of
the time, Stephen Barton is busy writing
additional music for Harry GregsonWilliams, latest films include Shrek the
Third, Flushed Away and the upcoming
The Chronicles of Narnia: Prince Caspian.
The 25-year-old Barton, who is repped by
Gorfaine-Schwartz, also worked with Sir
Anthony Hopkins, arranging his score for
his feature film Slipstream last year.
by MIKAEL CARLSSON
[email protected]
Nathan Bar:
Broken Lizard’s The
Slammin’ Salmon
Nathan Barr continues his working
relationship with
Broken Lizard, for
whom he previously
scored Club Dread
and Beerfest. He is
going to score Broken
Lizard’s The Slammin’
Salmon, a comedy starring Michael Clarke
Duncan, Cobie Smulders and Lance
Henriksen. The film is directed by Kevin
Heffernan, one of the Broken Lizard members who is making his helming debut
with this film. The story is about a contest
at a Miami restaurant where waiters
compete to earn the most money in one
night. Nathan Barr’s recent scores include
two horror films, Shutter and Tortured. He
is also doing the music for the HBO series
True Blood, starring Anna Paquin.
Erik Godal:
Spring Break ‘83
High school comedy Spring Break ’83,
starring Joe Pantoliano, Aviva, Lee Majors,
Ricky Ullman, Jamie Kennedy, Robert
Davi and Morgan Fairchild, gets an original
score by Erik Godal, a composer who is
busy with many diverse independent film
projects. Besides this film, Godal is also
going to score action movie Deep Gold as
well as two features entitled Holodomer
and Hardland. He recently scored the
drama The Gift for director Elena Krausz,
comedy Ready or Not for Sean Doyle and
Irreversi, a thriller by Michael Gleissner
who is also directing the upcoming Deep
Gold mentioned earlier. Spring Break ’83
is produced by Big Sky Motion Pictures
and helmed by Scott Spiegel, whose
credits include producing the two Hostel
horror films and writing the screenplay for
Evil Dead II with Sam Raimi.
THE SCOREBOARD
LATEST ADDITIONS:
Nathan Barr: Broken Lizard’s The Slammin’
Salmon.
Stephen Barton: The Six Wives of Henry
Lefay.
Sarah Class: The Meerkats.
Mychael Danna: The Time Traveler’s Wife.
Bill Frisell: All Hat.
Erik Godal: Holodomer • Deep Gold •
Spring Break ’83 • Hardland.
Gerard K. Marino: Fuego.
John Powell: Green Zone.
Brian Tyler: Dragonball.
Gast Waltzing: JCVD • Les dents de la
nuit.
COMPLETE LIST:
Panu Aaltio: The Home of Dark Butterflies.
Tree Adams: Emilio.
Andreas Alfredsson / Christian
Sandquist: Possession.
Eric Allaman: Race.
John Altman: The Master Builder • Shoot
on Sight.
Armand Amar: La jeune fille et les loups.
Marco D’Ambrosio: Say Hello to Stan
Talmadge.
David Arnold: How to Loose Friends and
Alienate People • Quantum of Solace • The
Chronicles of Narnia: The Voyage of the
Dawn Treader.
Chris P. Bacon: Space Chimps.
Angelo Badalamenti: The Edge of Love •
Secrets of Love.
Klaus Badelt: Killshot • Starship Troopers:
Marauder • The Scorpion King: Rise of the
Akkadian • Fire Bay • Dragon Hunters •
Heaven and Earth.
Lesley Barber: Death in Love.
Nathan Barr: Tortured • Broken Lizard’s The
Slammin’ Salmon.
Steve Bartek: The Art of Travel.
Stephen Barton: The Six Wives of Henry
Lefay.
Eef Barzelay: Yellow Handkerchief.
Tyler Bates: The Haunted World of El Superbeasto • Day of the Dead • Watchmen •
The Day the Earth Stood Still.
Jeff Beal: Where God Left His Shoes •
Salomaybe? • The Deal.
Marco Beltrami: In the Electric Mist with
Confederate Dead.
Jean-Michael Bernard: Cash.
Charles Bernstein: The Cursed.
Doug Besterman: Exit Speed.
Terence Blanchard: Miracle at St. Anna.
Scott Bomar: Maggie Lynn.
Simon Boswell: Bathory • My Zinc Bed.
Jason Brandt: Something’s Wrong in
Kansas.
David Buckley: Town Creek • The Forbidden Kingdom.
Kenneth Burgomaster: Garfield’s Fun Fest
• Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: In Bruges.
Edmund Butt: The Waiting Room.
Niall Byrne: How About You.
Peter Calandra: The Sickness.
Jeff Cardoni: You and I (Finding tATu).
Patrick Cassidy: L’aviatore.
Nigel Clarke & Michael Csányi-Wills: The
Grind.
Sarah Class: The Meerkats.
George S. Clinton: The Love Guru • Harold
& Kumar Escape from Guantanamo Bay.
Chandra Cogburn: Fiesta Grand • Orgies
and the Meaning of Life • The Bard: The
Story of Robert Burns.
Ron Alan Cohen: Who’s Your Monkey?.
Juan J. Colomer: Dark Honeymoon.
Alfons Conde: No-Do.
Normand Corbeil: Ma fille, mon ange •
Boot Camp • Emotional Arithmetic.
Bruno Coulais: MR 73 • Les Femmes de
l’ombre • Coraline.
Burkhard Dallwitz: The Interrogation of
ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly
Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources.
The list is limited to feature film scoring assignments. New additions are highlighted in red print.
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (co-composer) • The Imaginarium of Doctor Parnassus
(co-composer).
Mychael Danna: Lakeview Terrace (cocomposer) • The Time Traveler’s Wife •
The Imaginarium of Doctor Parnassus
(co-composer).
Carl Davis: The Understudy.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Lost Tribe.
Jessica de Rooij: Tunnel Rats • Far Cry •
Alone in the Dark II.
John Debney: Big Stan • Bachelor No. 2 •
Starship Dave • Swing Vote • Old Dogs •
Sin City 2.
Tim DeLaughter: The Assassination of a
High School President.
Charles Denler: I Am • A Handful of Beans
• Nothing But Dreams • Buttermilk Sky • A
Meadowlark Calling • Kate & Co.
Erik Desiderio: He’s Such a Girl • Sons of
Liberty.
Alexandre Desplat: Afterwards • Largo
Winch.
Ramin Djawadi: Fly Me to the Moon • The
List • Iron Man.
Pino Donaggio: Colpe d’occhio.
James Michael Dooley: The Little Mermaid: Ariel’s Beginning • Impy’s Island 2.
Patrick Doyle: Nim’s Island • Igor.
Christopher Drake: Batman - Gotham
Knight (co-composer).
Ludek Drizhal: Life Goes On • Synapse •
The Next Race: The Remote Viewings • The
Sno Cone Stand Inc.
Anne Dudley: Black Water Transit.
Randy Edelman: The Mummy: Tomb of the
Dragon Emperor.
Jonathan Edwards: The Golden Boys.
Steve Edwards: The Neighbor • The Intervention • Sharks in Venice.
Cliff Eidelman: He’s Just Not That Into You.
Danny Elfman: Wanted • Hellboy 2: The
Golden Army.
Stephen Endelman: Redbelt.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Disappeared.
Evan Evans: The Mercy Man • You’re
Nobody ‘Til Somebody Kills You • The Poker
Club • Jack Rio.
Nima Fakhara: Lost Dream.
Guy Farley: Knife Edge • The Brøken •
Dylan.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury •
Magdalene • Vivaldi.
Jason Frederick: Good Chemistry • Bears.
Bill Frisell: All Hat.
John Frizzell: Henry Poole Is Here.
Michael Giacchino: Speed Racer • Star
Trek.
Vincent Gillioz: The Appearance of Things
• Portal • Last Breath.
Scott Glasgow: Toxic • The Gene Generation • Lo • The Bridge to Nowhere.
Philip Glass: Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not •
Irreversi • Holodomer • Deep Gold • Spring
Break ’83 • Hardland.
Jonathan Goldsmith: Tenderness • Fatal
Passage.
Christopher Gordon: Mao’s Last Dancer •
Daybreakers.
Adam Gorgoni: Still Waiting.
Jeff Grace: Trigger Man • I Sell the Dead •
Liberty Kid.
John Graham: Long Flat Balls II.
Harry Gregson-Williams: Jolene • The
Chronicles of Narnia: Prince Caspian • GForce • Wolverine.
Rupert Gregson-Williams: You Don’t
Mess With the Zohan • Made of Honor •
Bedtime Stories.
Andrew Gross: Forfeit • National Lampoon’s Bag Boy • Diamond Dog Caper •
The Speed of Thought.
Larry Groupé: Love Lies Bleeding • The
Hungry Woman • Straw Dogs.
Andrea Guerra: The Accidental Husband •
Parlami d’amore • Heart of Fire.
Robert Gulya: Atom Nine Adventures •
Themoleris • 9 and a Half Date.
Steven Gutheinz: Rothenburg.
Todd Haberman: Killer Movie.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus Azteca.
Richard Harvey: Eichmann.
Paul Haslinger: Prom Night • Make It Happen • While She Was Out.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy • State
of Play.
Reinhold Heil: Blackout (co-composer) •
The International (co-composer).
Christian Henson: Zomerhitte • A Bunch
of Amateurs.
Eric Hester: The Utopian Society • Lost
Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With
the Devil.
Ben Holbrook: Kiss the Bride.
Trevor Horn: Kids in America.
James Horner: The Boy in Striped Pyjamas
• Avatar.
Richard Horowitz: Kandisha • The Whisperers.
James Newton Howard: The Happening •
The Dark Knight (co-composer) • Defiance
• Confessions of a Shopaholic.
Terry Huud: Plaguers.
Søren Hyldgaard: Red.
Alberto Iglesias: The Argentine • Guerrilla.
Mark Isham: Pride and Glory • The
Express.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Brideshead
Revisited.
Bobby Johnston: Hotel California • Happiness Runs • Spooner.
Evan Jolly: Tonight Is Cancelled.
Tim Jones: Cryptid.
David Julyan: Eden Lake.
George Kallis: Antigravity.
Jan A.P. Kaczmarek: The Visitor.
Tuomas Kantelinen: Arn - Riket vid vägens
slut.
Yagmur Kaplan: The Elder Son • The
Lodge • Broken Windows.
Laura Karpman: Out at the Wedding • Ace
Ventura 3.
FILM MUSIC weekly ISSUE 56 • MARCH 25, 2008
Kenji Kawai: L – Change the World •
Orochi • The Sky Crawlers.
Rolfe Kent: The Lucky Ones.
Wojciech Kilar: Black Sun.
Mark Kilian: Before the Rains • Traitor.
David Kitay: Shanghai Kiss • Blonde
Ambition.
Johnny Klimek: Blackout (co-composer) •
The International (co-composer).
Abel Korzeniowski: Terms.
Penka Kouneva: Midnight Movie • The
Gold and the Beautiful.
Ivan Koutikov: Wanted Undead Or Alive •
Living Hell.
Robert J. Kral: Batman - Gotham Knight
(co-composer).
Aryavarta Kumar: The Rapture • Greater
Threat.
Nathan Larson: August • Choke.
Jim Latham: Greetings from the Shore •
Swishbucklers • Parental Guidance Suggested.
James Lavino: Woodpecker.
Craig Leon: Maestro.
Geoff Levin: Triloquist • The Rat Thing •
Agenda • The Fallen.
James S. Levine: Otis.
Michael A. Levine: Columbus Day.
Krishna Levy: Le nouveau protocole.
Gary Lionelli: Oswald’s Ghost.
Jason & Nolan Livesay: Bounty • Limbo
Lounge • Little Iron Men.
Andrew Lockington: Step • Journey 3-D
• One Week.
Henning Lohner: Kleiner Dodo • Love
Comes Lately.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Daniele Luppi: Hell Ride.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert
Into Fire.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • Camille • Without a Badge • Like Dandelion Dust.
Aram Mandossian: The Last Resort.
Harry Manfredini: Black Friday • iMurders
• Impulse • Anna Nicole • Dead and Gone.
David Mansfield: Then She Found Me •
The Guitar.
Kevin Manthei: Batman - Gotham Knight
(co-composer).
Dario Marianelli: Far North • Hippie Hippie
Shake • The Soloist.
Anthony Marinelli: Grizzly Park • Footsteps.
Gerard K. Marino: Fuego.
Gary Marlowe: Los Pereyra • Das echo
der Schuld.
Phil Marshall: Live.
Richard Marvin: The Narrows • Dead Like
Me • Picture This! • A Fork in the Road.
John McCarthy: The Stone Angel.
Bear McCreary: Rest Stop 2.
Don McGlashan: Dean Spanley.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Taken • Dorothy Mills.
Matt Messina: The Least of These.
Guy Michelmore: Doctor Strange • Bono,
Bob, Brian and Me.
Randy Miller: Last Time Forever • Shanghai Red • Second Chance Season.
Robert Miller: The Key Man • Trumbo • On
the Hook • Wherever You Are.
Angelo Milli: Máncora • Paraiso Travel.
Sheldon Mirowitz: Renewal • Operation
Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really Hate
My Job • St. Trinian’s.
John Morgan: The Opposite Day (cocomposer).
Paul Leonard-Morgan: Popcorn.
Cyril Morin: Un coeur simple.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo •
Cloudy with a Chance of Meatballs.
Hélène Muddiman: Skin.
Sean Murray: The Lost • Clean Break.
Gregor Narholz: Shadowheart.
Peter Nashel: Carriers.
Javier Navarrete: Mirrors • Inkheart •
Fireflies in the Garden.
Blake Neely: Elvis and Anabelle • The
Great Buck Howard • Surfer Dude.
Roger Neill: Take • Scar.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The Frog
Princess.
Thomas Newman: Nothing Is Private •
Wall-E • Revolutionary Road.
David James Nielsen: Reclaiming the
Blade.
Stefan Nilsson: Heaven’s Heart.
Marinho Nobre: Left for Dead.
Adam Nordén: Everybody’s Dancing •
Wolf • De Gales hus.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers
• A Perfect Season • The Sensei.
John Ottman: Valkyrie.
John Paesano: Shamrock Boy.
Heitor Pereira: The Canyon • Running the
Sahara • South of the Border.
Mark Petrie: The Road to Empire • Valley of
Angels • Farmhouse.
Barrington Pheloung: Incendiary.
Leigh Phillips: War Made Easy • Still Life.
Martin Phipps: Grow Your Own.
Nicholas Pike: It’s Alive • Parasomnia.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat • City of
Ember.
Conrad Pope: In My Sleep.
Steve Porcaro: The Wizard of Gore •
Cougar Club.
John Powell: Hancock • Stop Loss • Green
Zone • Bolt.
Michael Price: Sugarhouse Lane • Agent
Crush • Wild Girl.
Alec Puro: The Thacker Case.
Trevor Rabin: Get Smart.
Didier Lean Rachou: An American in
China.
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: The Secrets of Jonathan
Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Days
of Wrath • The Ruins • Street Kings.
Graham Reynolds: I’ll Come Running.
Zacarías M. de la Riva: The Last of the
Just • The Anarchist’s Wife • Carmo.
5
Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources.
The list is limited to feature film scoring assignments. New additions are highlighted in red print.
Carmen Rizzo: The Power of the Game.
David Robbins: War, Inc. • The Dot Man •
The Playground.
Matt Robertson: The Forest.
Douglas Romayne: In Zer0: Fragile Wings.
Philippe Rombi: Bienvenue chez les Ch’tis.
Brett Rosenberg: The Skeptic.
William Ross: Our Lady of Victory.
Laura Rossi: The Cottage • Broken Lines.
David Glen Russell: Contamination.
David Russo: Pig Hunt.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What
We Did on Our Holidays.
Anton Sanko: Life in Flight.
Gustavo Santaolalla: I Come With the
Rain • On the Road.
Brian Satterwhite: Cowboy Smoke.
Mark Sayfritz: Sake • The Shepherd.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning Heartache.
Misha Segal: Lost at War • Shabat Shalom
Maradona.
Marc Shaiman: Slammer.
Theodore Shapiro: The Mysteries of Pittsburgh • The Girl in the Park • Tropic Thunder
• Nowhereland • Marley & Me.
George Shaw: Victim • Sailfish.
Edward Shearmur: Passengers • Meet Bill
• Righteous Kill.
Ryan Shore: Numb • Jack Brooks – Monster Slayer • Shadows.
Vince Sievers: The Source.
Carlo Siliotto: The Ramen Girl.
Alan Silvestri: G.I. Joe • A Christmas
Carol.
Emilie Simon: Survivre avec les loups.
Marcus Sjöwall: Dreamkiller.
Cezary Skubiszewski: Death Defying Acts
• Disgrace.
Damion Smith: Stompin.
Mark Snow: The X-Files 2.
Jason Solowsky: L.A Takedown • Strawberries For The Homeless • Tamales And
Gumbo • The Sweep • Exodus?
Maarten Spruijt: The Seven of Daran Battle of Pareo Rock.
Fred Story: Children of All Ages.
Marc Streitenfeld: Body of Lies.
William T. Stromberg: TV Virus • Army
of the Dead • The Opposite Day (cocomposer).
Johan Söderqvist: Walk the Talk • Let the
Right One In • The Invisible.
Joby Talbot: Son of Rambow.
Frédéric Talgorn: Hexe Lilli.
Mark Thomas: Tales of the Riverbank.
tomandandy: The Koi Keeper.
John van Tongeren: War Games 2 - The
Dead Code.
Pinar Toprak: Blue World • Dark Castle •
Serbian Scars • Say It In Russian • Ocean
of Pearls.
David Torn: The Wackness.
Jeff Toyne: Within • Late in the Game.
Michael Tremante: If I Didn’t Care.
Ernest Troost: Crashing.
Tom Tykwer: The International (co-composer).
Brian Tyler: The Heaven Project • Dragonball.
Shigeru Umebayashi: A Simple Love
Story • Absurdistan.
Cris Velasco: Prep School.
Fernando Velázquez: Shiver.
James L. Venable: Superhero Movie.
Reinhardt Wagner: Faubourg 36.
Gast Waltzing: JCVD • Les dents de la
nuit.
Michael Wandmacher: Train • Chain Letter.
Stephen Warbeck: Flawless • The Box
Collector.
Matthias Weber: Silent Rhythm.
Craig Wedren: Little Big Men.
Richard Wells: The Mutant Chronicles.
Cody Westheimer: Benny Bliss and the
Disciples of Greatness • Hysteria.
Alan Williams: For the Love of a Dog • Act
Your Age • Snow Princess • He Love Her,
She Loves Him Not • The Velveteen Rabbit.
David Williams: The Conjuring.
John Williams: Indiana Jones and the Kingdom of the Crystal Skull • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: The Passage • Star Crossed.
Austin Wintory: Captain Abu Raed • Back
Soon • Mr. Sadman • Grace.
Debbie Wiseman: Amusement • The Hide.
Chris Wood: Zombies Ate My Prom Date.
Lyle Workman: Forgetting Sarah Marshall.
Alex Wurman: Five Dollars a Day • The
Promotion.
Gabriel Yared: Manolete • The No. 1 Ladies
Detective Agency • Adam Resurrected.
Christopher Young: A Tale of Two Sisters.
Geoff Zanelli: Delgo • Outlander • Ghost
Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Lake City • Flash of Genius
• Blue Powder.
Hans Zimmer: Frost/Nixon • Casi Divas
• Kung Fu Panda • The Dark Knight (cocomposer).
Atli Örvarsson: Babylon A.D.
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ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly
CD REVIEW
by DANIEL SCHWEIGER
[email protected]
Tyler Bates Escapes
from New York
Title: Doomsday
Composer: Tyler Bates
Label: Lakeshore
Suggested Retail Price: $14.99
Grade: B+
D
oomsday might be a pastiche of every
post-apocalyptic/war/zombie/biker flick/
medieval adventure ever made. And I still
might be forgetting some genres to boot. But
what makes Neil Marshall’s film work like
goofy gangbusters is the pure imagination
he puts into every fanboy classic he’s splooging over. The same thing can be said of Tyler
Bates’ score for Doomsday, even if it’s a lot
more honestly original as to how it pays tribute
to John Carpenter’s Escape From New York’s
synth sound, and then evolves it to today’s
orchestral-rock action groove – a musical
hybrid that Bates’ score for 300 has played no
small part in.
You can say that Carpenter truly put electronic scoring on the map with his strippeddown score for 1978’s Halloween, the cold synth
chill of its theme making the soundtrack far
more effective than if it was performed by a
hundred strings. And when Carpenter hit 1998
NYC with 1981’s Escape, the director-composer
amped up the percussive muscle of his machines, creating a massively atmospheric score
that might be the ultimate representation of
the 1980’s rocking synth action sound.
Tyler Bates certainly has a lot more musical toys to play with 27 years later. So it’s no
mean feat for him to strip down his energetically dense approach on such scores as Dawn
Of The Dead, The Devil’s Rejects and Slither
to find that old Carpenter groove again. It’s a
scary atmosphere that mixes dark drone ambience with percussive hits and a mean guitar
attitude, music that conveys a very bad future
along with the take-no-crap attitude of one
pissed-off hero. The fact that Marshall’s done
a sex change on Snake Plissken for Doomsday
may account for such girlie additions as a
female chorus, and a true feeling of tragedy for
the plague-stricken Scotland she hails from.
FILM MUSIC weekly ISSUE 56 • MARCH 25, 2008
When that kind of primitive synth flair has
long gone out of favor, it’s particularly cool to
hear it renewed with the flair of Doomsday,
especially when it’s mixed with a real sense of
drama and creativity. And that goes a long way
towards making Marshall’s movie-copy energy
seem almost as fresh as its music.
While Marshall’s putting every favorite
flick through a hilariously bloody grinder,
Bates is out to pay tribute instead of doing
a knock-off. It’s something he’s more than
showed he could do by replicating the 70’s
blaxploitation funk for Baadasssss. And what’s
even better here is the true sense of musical construction he’s given to Doomsday as
it plunges into its plague-stricken heart of
darkness. Tyler at first ventures out in full
Carpenter glory for “Boat,” a taking-care-ofbusiness shootout cue whose high-pitched rock
percussion theme is pure Plissken, even if it’s
a hot chick who’s wearing the eyepatch. Then
in “Piss & Vinegar,” Bates tunes the Carpenter edge to a beautiful, Vangelis-like synth
lament. You can even hear a Keith Emerson
Nighthawks groove as Doomsday Doomsday’s
soldiers enter the Glasgow hot zone. And just
as the film keeps eating up more genre favorites than it can possible swallow, Bates’ music
keeps you guessing as to where the hell it will
salute next.
It’s certainly a journey that never bores as
an orchestra finally rears its head in “Hospital
Battle,” a trumpeting, ever-accelerating cue
that’s an action trailer standard waiting to
happen. Then in “Strung Up,” Bates reduces
his sound to a dark, haunting female voice.
It’s only a pit stop before Doomsday makes an
explosive graduation to symphonic rock with
an exhilarating “Train Escape.” Yet it’s the ancient stuff that truly seems to bring out Bates’
metal god beast, as he more than showed with
the Korngold-meets-metal sound of 300. And
when Doomsday ends up providing Bates with
knights on horseback and gladiator games, he
truly unleashes a kitchen sink of musical heck
with “Same Shit, Different Era,” an industrialsymphonic rage cue that King Xerxes himself
would go ape over.
As it deliciously eats every musical genre
it comes across, Doomsday resembles the
musical equivalent of that big fleshy thing that
Tetsuo ends up as at the climax of Akira, a
non-stop, all-absorbing behemoth that finally
brings all of its ideas together for a delirious
car escape back to civilization – orchestra,
rock and religioso themes making the musical
stakes about the survival of humanity itself.
While John Carpenter may have played Snake
Plissken’s more-than-similar mission with a
lot less instruments at the end of Escape From
New York, there’s no denying the insane power,
and enjoyment that Bates uses to sum up this
wonderfully nutty salute to the sci-fi favorites
of 80’s yesteryear. But while Neil Marshall’s
accomplished a wet dream of a rip-off onscreen,
Bates’ true accomplishment here is paying
homage with an honest sense of creativity. He’s
taken the John Carpenter sound to the next
level with Doomsday. And if Carpenter had the
musical budget to play with way back then,
Escape From New York might have sounded a
lot like Doomsday. And that’s probably the best
compliment this die-hard, old-school electronic fan can give to Tyler Bates’ thrilling score.
Doomsday is 1980’s synth Memorex, and
then some.
n
GET THE CD HERE:
•http://www.amazon.com
7
8
ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
[email protected]
Score No-No’s, Episode 3
I
’ve been asked on occasion from what sources
I derive my column fodder. Some is the
result of reader inquiry (keep it up; I can’t
always intuit what you need...). Some is from
polling my colleagues, and some is simply the
result of going through my musical life with
my eyes (and my interest) open. When I was
learning my craft (still am) I did this with the
sheet music I read from high school on. When I
began work as a copyist, I studied the orchestrational techniques that were laid out for me
like a feast before a barbarian. When it comes
to learning orchestration and notation, there’s
no substitute for hand-copying scores. The
pace forces you to drink in the wisdom staring you in the face. Thank God Mendelssohn
didn’t have notation software, as he would have
missed the fundamental enlightenment that he
got from hand-copying Bach scores. Here are
some random issues which have recently called
attention to themselves:
When proofreading a colleague’s
“handwritten” font
output, I noticed that
it used a capital “F”
for its “forte” dynamic
marking. I actually
called to ask what
this symbol meant, as it never occurred to me
what it was. Even when we did it by hand,
we didn’t go that far trying to be innovative.
When I inquired further, my client told me
that there was no lower-case “F” included for
such use with that font. I suspect its developer
never actually played a lot of hand-copied sheet
music, or this kind of thing wouldn’t have happened. Check your handwritten fonts carefully.
Your intention may be to make it easier on your
player, but you do no favors when you cause
questions instead of avoid them.
With another client, I found someone had
placed chord symbols, due to overcrowding, below the staff to which they belonged. Similarly,
on a published classical piece, I saw rehearsal
FILM MUSIC weekly ISSUE 56 • MARCH 25, 2008
letters placed below the double-barline (you do
use them for major sections, don’t you?) In both
situations, players instinctively, visually orient
themselves knowing that these elements go
above the staff. Since computers make all page
layout (including vertical staff position) adjustable, there is no “clutter” excuse anymore.
This next one probably deserves its own
column. When using “8va” (and the “loco” which
undoes it), choose your “punch-in” and “punchout” locations carefully. Without going into the
aesthetics of when and why, at the moment let’s
just look at how to use them most effectively. I
know it sounds too simple to be true, but the
way to best decide what works for players is to
simply play through the questionable section in
your mind. I sometimes think that, if enough
people took a moment to religiously use that
approach, I’d be happily out of a job. Here
(Example 1) is what one arranger put in his/
her score:
Frequently where to get out is more
problematic that where to get in. In this case,
the difficulty in correctly identifying which “F”
octave follows the end of the “8va” outweighs
the advantage of the momentary pause (time
to think) on the previous note (C). While realizing that the notes dip rather low, my solution
has the larger advantage of maintaining the
melodic contour (making correct sight-reading
easier) and the much longer pause on the whole
note in bar 3 allows the eye to more easily
orient to the correct octave of the notes in bar
4. Sounds like a lot of fuss over trivialities, but
great sight reading costs, and here is one of the
thousands of places where you pay up.
And now a few tidbits. Like dynamics
for rhythm section players. It’s a crapshoot
whether they’ll heed them (good players do, and
great players don’t need ‘em due to their hyperawareness and anticipation of what the horns
will do) but we need to give them. We have no
room to grouse about the “Loud, Louder, and
Oh, God!” big band if we don’t. Besides, good
arranging uses variety, including volume levels.
A side-advantage of handwritten scores is
that empty bars truly look empty (unless you
were one of the pin-heads who filled all 3,192
empty bars with whole rests...) so get in the
habit of adjusting your software settings to
remove rests in empty bars. Of course, you will
have to put them back individually in midphrase empty bars, but the visual advantage
to the conductor (eyes drawn only to the active
stuff) is well worth the effort.
“Four measures per system on parts.” Yeah,
a rough maximum for reasons we’ve discussed.
However, don’t let your software get away with
its penchant for occasionally putting only one or
two bars in a system,
causing unnecessary
visual leaping around the
page.
Coming soon: From a
recent arranging gig, an “over-the-shoulder,”
multi-part examination of one man’s approach
to getting started, incorporating the familiar
among the unfamiliar, pacing, variety, the joy of
limitations, and migrating from what you know
into what you don’t.
n Ron Hess works as a studio conductor, orchestrator,
copyist and score supervisor in Los Angeles, where he’s
well-known for his quick ability to ferret out the most hidden performance problems and spot score glitches rapidly.
He holds a Master’s Degree from the New England Conservatory, and is considered one of the top Finale experts
in Los Angeles. Email your questions to Ron at
[email protected]
9
MUSIC TECHNOLOGY
by PETER LAWRENCE ALEXANDER
[email protected]
Storm Drum 2 - Part 2
I
n the past week, I’ve had more time to work
with Storm Drum 2. As a general comment,
people coming into my studio are mightily
impressed with the quality of sound EastWest
has achieved in these recordings.
System Specs
Although I’ve covered this previously, I
want to review a few points. First, regardless
of the platform, you need 2GB of RAM if you’re
using the Instruments internally within a
sequencing program. To take full advantage
of what SD2 can do, or really any of the other
PLAY libraries, you need 4GB or better.
On the Mac, you should run PLAY products in standalone mode using Soundflower.
On the PC, there are issues with individual
sequencing programs that are moving to 64bit.
However, whether it’s PLAY or the Vienna Instruments, issues are minimized when either
of these programs are run on a separate farm
system.
Given the impact of the Writer’s strike (no
bucks, no Buck Rogers as they say at NASA),
composers today aren’t flush with cash.
32GB, you need two (2) 4GB RAM sticks to
start off with 8GB of RAM, which is about
$600 street price. You can get a Dual Core
Xeon for about $275.
Right here you’re at $1350US plus the
case and drives. Video is on the motherboard
which is OK for a farm system.
If you plan your system this way, then as
the number of PLAY products expand, expand
your RAM as needed.
the Browser section of PLAY, click the sounds
you want. For each new sound, click Add.
Then you must assign them to a MIDI channel
in the Player. This is a two-step procedure.
In the player, click on the window below
and bring up the sound you just loaded. Once
you’ve assigned the MIDI channels (see next
paragraph and screenshot), you’ll come to this
drop down window to move between sounds
and add effects.
Back to SD2
As I experimented in
loading MIDI Performances it
became clear that the experience of others is correct: inside
Logic you run out of RAM. So,
that just means you download the freeware
program called Soundflower. It takes a little to
grasp it. But it’s not a hardship to download
and install. So look at doing that to really
maximize the opportunities of
SD2 on the Mac.
Under Channel, make the MIDI Channel assignment. Now set up your sequencer
accordingly.
How the SD2 Sounds Are
Organized
So what do you do?
Answering that question for myself, I came
up with several answers. If you’re on a Power
PC G5, max out your motherboard to 8GB. In
short, bloom where you are.
If you’re buying a new PC system, you
have two options. One is to get a system that
handles up to 8GB of RAM. Depending on the
source, that’s $2500 or so.
But in looking down the road, a more wise
purchase is getting a motherboard that can
handle 16GB to 32GB of RAM. For the PC, this
means a server board.
Today, a reasonably priced server motherboard that handles up to 32GB is the Asus
DSBF-D 5000P Dual-Core Xeon FBDIMM
Video Dual Gigabit SATA 3Gb/s RAID with
a street price of about $475. Note: I’m not
endorsing this board because I haven’t tested it.
I call it to your attention for price point only.
This Asus motherboard has eight slots.
That means it can be either 6GB or 24GB
depending on how you configure the RAM.
There’s dual channel (for up to 16GB) and
quad channel for 32GB. To plan ahead for
10
There are seven categories
of SD2 sounds each with one to
several dozen mini-categories in
each:
•
•
•
•
•
•
•
Drumkit and Related
Ethnic Drums
Ethnic Metals
MIDI Perf multis
Sound Design Percussion
Woods and Shakers
Zendrum Programs
Setting Up
Setup is very similar to Kontakt in that
in one instance you can have from one sound
up to 16 loaded. (by comparison, VSL’s Vienna
Instruments player is modeled after the Logic
EXS24 with one sound or performance per
instance - two totally different concepts). I set
up a three-instrument performance: Malaysian
Djembe, Cajun Triangle, and Taiko.
Setting up Performance is easy as pie. In
Applying Reverb & Other Effects
For each MIDI channel/sound, you can assign individual reverb along with other effects.
Also, you can turn on and off the Reverb, Stereo Spreader, Delay and Filter (which is a low
pass band filter). Warning! Bring the volume
down as you assign reverb in PLAY as some of
the percussion sounds are so reverberant that
I can see the cones on the KRK VXT8s bulge
out!
Nick Phoenix said in the tutorials that
he thought the Impulse Responses for the
included convolution reverb were very good.
He’s right. They are. And you get very, very
practical IRs that have a very clean sound.
(Continued pg 11)
ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Storm Drum 2 - Part 2
I also want to clarify about why some of the
effects are labeled L, R or LR.
Said EastWest’s Jonathan Kranz, “Basically the responses that have L, R, and LR
settings pertain to where in the space that
IR is recorded (from the player’s perspective).
The L is an IR taken from the left side of the
space, the R from the right side, and the LR is
the center. Note that these swap when playing back (because it is the player’s perspective). This gives the user that much more
ability to place the instruments in the mix
where they want them spatially, with realistic
impulses from that part of the space.”
(continued from pg 10)
knob is turned to the right, the wider the apparent source of the sound, making it harder
to pinpoint in the stereo field. The Left and
Right buttons specify the source of the input
for this control, the left or right channel. Note
that by clicking the button that is on, you can
turn it off, which means that neither channel
is selected.”
Delay
Sensitivity (see earlier screenshot)
The delay is very good. But I have a minor
criticism here of the controls for both delay
and reverb. You have knobs to make changes
but no numeric calibration to tell you what
the settings are. It’s all by feel. With reverb,
that’s OK to a point, but given the mathematics behind delay, you need more. So if you
want delay, experiment here, but consider
using the digital delay in your main program
for more finesse.
Stereo Spread
For this I’m quoting from the manual,
“The knob in this set of controls affects the
apparent width of the sound of the instrument within the soundscape. Turning the
knob all the way to the left makes the sound
seem to come from a specific location as
indicated by the Pan control. The more this
FILM MUSIC weekly ISSUE 56 • MARCH 25, 2008
Says the manual, “This control defines
a mapping between the velocity of the MIDI
notes and the velocity of the notes that sound.
Being able to control the sensitivity is primarily useful when
playing live, for example on a keyboard,
drum pad, or Zendrum.
“Suppose you want to use mostly percussion sounds at the high end of the velocity
range (maybe 80 to 120, out of 127) for some
instrument, but find it difficult to play the
keyboard in a way that lets you consistently
play the sounds you want. Drag up with the
mouse over the Sensitivity graph so the graph
looks like the picture at the left. A medium
touch on the keyboard sounds louder than it
would otherwise and a wider range of touches
will all generate sounds in the louder range
you want. Conversely, drag the graph down-
ward to gain more control over the lower half
of the velocity range.”
Lack of Programming Features
Some on the various forums have criticized that PLAY does not have all the programming editing controls they’d like to see.
In working with what’s here, I think you
have to keep in perspective that EastWest has
focused on the four most important features:
the sound, the selection, the reverb, and ease
of use. Those are the four most important
quality control points and they did them all
outstandingly, if there is such a word.
Special Note: MIDI Performances and
Logic
If you’re sequencing in Logic, to bring in
a MIDI Performance, just drag and drop it in
place. Don’t Open or Import. If you do, Logic
assigns GarageBand instruments to each
track of the MIDI Performance. Dragging and
Dropping lets you bypass that.
Conclusion
If you’re doing Film/TV work, ya gotta
have it. The sounds are really that amazing.
n Peter Alexander is the author of the critically acclaimed
Professional Orchestration 2A: Orchestrating the Melody
Within the String Section, How Ravel Orchestrated: Mother
Goose Suite, and Writing and Performing Christian Music:
God’s Plan and Purpose for the Church. You can write him
at [email protected].
11
MUSIC WANTED
Current Film & TV Music Job Listings
From The Film Music Network
POP AND ORCHESTRAL UNDERSCORE NEEDED BY
LA TV MUSIC LIBRARY
L.A. based television music library in use on several high
profile network and cable production seeks Instrumental
underscore that is 1. current on-the-radio pop sounding
(rock, hip-hop, pop, etc.), or 2. dramatic orchestral/contemporary film score sounding.
COMPOSER NEEDED ASAP TO CREATE 20S/40S JAZZ
TRACKS WITH VOCALS
Experienced composer needed immediately by television
network to create
1920s/1940s sounding jazz music with vocals in the style
of Jo Stafford, Patti Page, etc.
MUSIC LICENSING ORG SEEKS COMPOSERS AND
MUSIC
Established Film & TV music licensing organization seeks
world class composers and music of all genres for expanding licensing operations into new Cable TV markets
and independent films.
INSTRUMENTAL MUSIC NEEDED ASAP FOR
IN-STORE PRODUCT DISPLAY
Advertising agency seeking instrumental music immediately for in-store product displays for a major national
company. Looking for simple instrumental music that is
somewhat “pop” oriented.
SCORE COMPOSER NEEDED FOR DRAMATIC SHORT
FEATURE
Score composer needed immediately for low-budget
dramatic short feature about a male prostitute who runs
into the 10 year old son of his client. Both of them lacking emotional comfort and find a friend in each other to
overcome each their monsters.
JAZZ FUSION TRACKS NEEDED FOR FEATURE FILM
English language feature film being produced for Bollywood (Indian film industry) seeks jazz fusion instrumental
tracks immediately.
EURO MUSIC LIB SEEKS NEW COMPOSERS AND
MUSIC
Established European Music Library seeks new composers & music of all genres for placement in TV/Film/Commercials. Composer/Artist must own 100% of Master
Recording. Recording must be broadcast quality.
EMOTIONAL FOLKSY SONG W/VOCALS NEEDED
FOR PBS DOCUMENTARY
PBS television documentary by award-winning director is
seeking an emotional “folksy style” song with vocals that
could be described as “sappy” and a “tear-jerker” with
heightened emotions of sadness and/or loss.
AMERICAN FOLK MUSIC NEEDED FOR PBS
DOCUMENTARY
American instrumental folk music needed immediately
for PBS television documentary by award-winning director.
AMERICANA CLASSICAL MUSIC NEEDED FOR PBS
DOCUMENTARY
Classical music written since 1900 with an “Americana”
sound needed for PBS television documentary by awardwinning director.
INSTRUMENTAL NEW AGE AND METAPHYSICAL
MUSIC NEEDED FOR SHORT FEATURE
Short feature for top documentary filmmaker currently in
post production needs New Age and Metaphysical instrumental music that works under dialog. No vocals.
MUSIC NEEDED FOR 2 NEW INFOMERCIALS
LA based production company seeks music immediately
for two new television infomercials for fitness products.
Seeking multiple music tracks with no vocals. Music
should be be “upbeat, energetic, contemporary sounding
instrumental pop”.
SPANISH AND CLASSICAL GUITAR MUSIC NEEDED
FOR SHORT FEATURE
Short feature currently in post production needs Spanish
and/or classical guitar music that works under dialog. No
vocals. Looking for both Spanish flavored acoustic guitar
music and classical acoustic guitar music.
METAL AND HIP-HOP TRACKS NEEDED IMMEDIATELY
FOR INDIE FEATURE FILM
Metal and hip-hop tracks are needed immediately for
independent feature film. Will consider instrumental or
vocal tracks.
NYC MUSIC PRODUCTION COMPANY SEEKS
FULL-TIME STAFF MEMBER
New York City based music production house is seeking
a candidate for a full-time position. Our work is largely
comprised of composing and licensing music for advertising, film, television, and record production. This is a very
fast paced environment!
INSTRUMENTAL CLASSICAL MUSIC NEEDED FOR
FEATURE FILM
English language feature film being produced for Bollywood (Indian film industry) seeks classical music instrumental tracks immediately. No vocals or choirs - should
be instrumental - either small group (chamber ensemble,
etc) or larger group.
HARPSICHORD MUSIC NEEDED FOR
DOCUMENTARY SHORT FEATURE
Documentary short feature currently in post production
needs harpsichord music urgently. Must work under
dialogue/visuals, can be classical sounding or modern.
ECLECTIC 60S/70S MUSIC NEEDED FOR
DOCUMENTARY FEATURE FILM
Studio documentary feature seeking eclectic 1960s/1970s
sounding music with and without vocals for a documentary feature film currently in post-production.
ONLINE MUSIC LIBRARY SEEKS INSTRUMENTAL
TRACKS
Very well established online music library seeks master
quality instrumental music of many flavors and styles.
Mixes must be outstanding. 50/50 sync split and writers
keep 100% of writer share of performance royalties.
INDIE FEATURE SEEKS CONTEMPORARY COUNTRY
SONG W/VOCALS
Indie low budget feature is seeking an upbeat country
song with vocals, not melancholy, not alt-country or old
school, but contemporary country style. Male or Female
vocal OK.
INSTRUMENTAL SCI-FI MUSIC NEEDED FOR SHORT
FEATURE
Top NYC based film school seeks music or composer
immediately for a science-fiction oriented short feature
about a man and woman communicating telepathically,
and the man has a split personality.
INTENSE INSTRUMENTAL MUSIC NEEDED FOR
SHORT FEATURE
Top NYC based film school seeks music or composer immediately for a short feature about a a girl who fantasizes
about a man, then at end discovers he is blind.
MUSIC LIBRARY SEEKS COMPOSERS IMMEDIATELY
Hollywood based production music library is seeking
composers to compose original rock tracks for upcoming
CD releases.
PATRIOTIC PD MUSIC NEEDED FOR INDIE FEATURE
FILM
Indie feature filmmaker looking for recordings of patriotic
public domain music. Music ideas include: Marine’s
Hymn, William Tell Overture, Dixie, 1812 Overture, Stars
and Stripes Forever, The Star Spangled Banner.
MUSIC LICENSING CO SEEKS INDIE MUSIC TO
REPRESENT
San Francisco music licensing company is looking for
good quality music from independent labels and artists to
represent non-exclusively.
SONGS NEEDED IMMEDIATELY FOR MAJOR TV
COMMERCIAL CAMPAIGN
Production company seeking songs immediately for a
client doing a major television commercial campaign.
The jobs listed above are currently listed as open and available on The Film Music Network Industry Job Board. To
get more details and submit for any of these jobs, visit http://www.filmmusic.net and select the job from the open job
listings on the site home page. To receive job listings by email, sign up for the Film Music JobWire at: http://www.
filmmusic.net - locate “Join our Mailing List” on the left side column of the page.
12
ISSUE 56 • MARCH 25, 2008
FILM MUSIC weekly