Ableton Releases Orchestral Instruments

FILM MUSIC weekly
ISSUE 63 • MAY 13, 2008 • A Global Media Online Publication • www.filmmusicweekly.com
Ableton Releases
Orchestral Instruments
n Ableton has announced the re-
lease of The Orchestral Instruments which includes four sampled
instrument collections representing the four sections of an orchestra. The Orchestral Instruments
were produced in partnership with
SONiVOX.
The instrument collections are
available individually or as a bundle. The strings, brass, woodwinds
and percussion have been recorded
in a number of velocities and articulations, and are integrated into the
EASTWEST Announces Urban
Ammunition Sound Library
n EASTWEST,
exclusive
U.S. distributor of Zero-G
products, has
announced
Urban
Ammunition, a
collection of
hip-hop and
R&B samples.
Urban Ammunition features
beats, keys, basses, guitars, synths,
strings, licks, fills, percussion,
scratches and other R&B and Hip
Hop samples. The sample collection features 128 full construction
kits with loops and single hits, plus
400 individual drum loops, 100 live
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
JOBS:
drum loops, 300 percussion loops,
40 scratch loops and 100 special
MPC tool loops.
“This huge library will not only
inspire and enhance our users’ productions, it will bring their music to
the next level,” says Doug Rogers,
president and CEO of EASTWEST.
“With the variety of construction
kits as well as individual loops, Urban Ammunition is one of the most
complete Hip Hop and R&B libraries out there.”
Urban Ammunition is priced at
$139.95 and is available as a double
DVD set in Akai MPC compatible,
Acid™ WAV and AIFF Apple Loops
formats. For more information visit
http://www.soundsonline.com
Ableton Live environment and use
a technology called SmartPriming
to manage system resources efficiently.
The instruments include violin, viola, cello, double bass, French
horn, trombone, trumpet, tuba,
flute, clarinet, bassoon, oboe, English horn, vibraphone, marimba,
xylophone, crotales, glockenspiel,
tubular bells, cymbals and timpani.
Many instruments are provided
in solo and ensemble variants and
multiple articulations. (continued pg.3)
Harry Fox Agency Signs
Agreement With RightsFlow
n Music licensing organization The
Harry Fox Agency, Inc. (HFA) and
RightsFlow, a provider of licensing
and royalty services, announced
that they have entered a licensing
arrangement for full-length, permanent digital downloads for music.
“We are very excited to begin
this relationship with HFA,” stated
Patrick Sullivan, President and
CEO of RightsFlow. “Our clients
look to us to provide a turnkey
outsourced solution for publishing
licensing and royalty administration. Working with HFA is a key
step that will allow us to license
and account more swiftly and efficiently, allow our clients to get more
product available for sale, and cre-
ate a greater value for all.”
“This arrangement illustrates
how HFA provides business solutions that facilitate the distribution
of music by enabling RightsFlow to
act as a licensee on behalf of its clients,” said Gary Churgin, President
and CEO of HFA. “Rightsflow will
use HFA’s bulk licensing system to
handle mechanical licensing, ensuring that publishers and songwriters are properly compensated
under U.S. law.”
HFA began offering bulk digital download licensing in 2002.
HFA represents over 1.9 million
songs from almost 35,000 music
publishers for mechanical licensing within the U.S. (continued pg.3)
“Whiteout” (Atli Örvarsson), “Beer For My Horses” (Jeff Cardoni) and more
Daniel Schweiger Reviews Christopher Young
“Conduct Yourself Accordingly, Part 5: Who’s In Charge Here?” by Ron Hess
“Voices of Passion Part 1” by Peter Alexander
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This Week on
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ON THE SCORE
RAMIN DJAWADI
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Film music journalist
Daniel Schweiger
interviews composer
RAMIN DJAWADI,
who pours on the heavy metal
with his superhero score for
“Iron Man.”
LISTEN NOW
ISSUE 63 • MAY 13, 2008
FILM MUSIC weekly
INDUSTRY NEWS
Ableton Releases
Orchestral Instruments
(continued. from pg 1)
Get a free basic listing today on MUSE411 – The Music
Industry Online Directory, and access the industry.
Each instrument is available in a high-fidelity version for studio production and a lower-fidelity configuration for decreased overhead and
instant performance.
The Orchestral Instruments are available from the Ableton webshop with pricing set at $599 for the Orchestral Instruments Collection, $189 each for the Orchestral Strings, Orchestral Brass and Orchestral Woodwinds modules, and $159 for
the Orchestral Percussion module. For more information visit
http://www.ableton.com
Harry Fox Agency
Signs Agreement With
RightsFlow
(continued. from pg 1)
Under American Copyright Law, mechanical licenses are required for music to be distributed through online music services. The current U.S. statutory mechanical rate is 9.1¢ for songs five minutes or less and 1.75¢ per
minute for songs over five minutes.
Free basic listing includes:
•
•
•
•
•
Your name, email, phone and other contact information
Link to your music demo
Your photo
Musical Styles and Instrument(s) Played
Professional Affiliations — Unions, organizations you
belong to
• A description of you, your bio, and much more
Special Zip Code search* allows people in
your area to locate you quickly and easily!
Get your FREE basic listing today!
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* U.S. RESIDENTS
Professional training in the art of contemporary
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Founded in 1997 by multi Emmy Award-winning film/television composer
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“Thomas and the Magic Railroad”), this internationally recognized program is
taught in the USA, Scotland and Denmark by the program's creator.
The coursework includes both theory and methods for writing dramatic
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FILM MUSIC weekly ISSUE 63 • MAY 13, 2008
3
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Hans Zimmer:
Madagascar Escape 2 Africa
The Gorfaine-Schwartz
Agency is now including
Madagascar - Escape 2
Africa in Hans Zimmer’s
filmography, which is
the first official confirmation of Zimmer’s
involvement in the project. It does not
come as a big surprise, however, since
the first film from 2005 was scored by
the same composer. Zimmer has just finished work on another animated feature,
Kung Fu Panda, together with John Powell. The Madagascar sequel is directed by
Eric Darnell, who helmed Antz, and Tom
McGrath who also directed the first film.
The voice cast includes Ben Stiller, Sacha
Baron Cohen, David Schwimmer, Jada
Pinkett Smith and Chris Rock. Dreamworks will release on November 7.
Jeff Cardoni:
Beer For My Horses
Jeff Cardoni (Just Friends, American Pie
Presents: The Naked Mile, Firehouse
Dog) reports on his web site that he
has been signed to score Beer For My
Horses, a comedy directed by Michael
Salomon (not to be confused with Hard
Rain director Mikael Salomon). Starring
Claire Forlani, Tom Skerritt, Barry Corbin
and Willie Nelson, the film tells the story
of two deputies who head off on a road
trip to save a woman from drug lord kidnappers. B4MH Productions produces
for release later this year.
Atli Örvarsson:
Whiteout
Icelandic composer
Atli Örvarsson, who
recently scored
Vantage Point and the
upcoming Babylon A.D.,
adds another action
thriller to his quickly
growing resumee: Whiteout. This is the
new film of Dominic Sena (Gone in Sixty
Seconds, Swordfish, Kalifornia), starring
Kate Beckinsale as a U.S. Marshal who
tracks a killer in Antarctica. Joel Silver
produces and Warner Bros will release
the film later this year. Atli Örvarsson,
who is repped by Gorfaine-Schwartz,
was also recently assigned to Mimi
Leder’s new film, The Code.
4
Chad Fischer:
The Rocker
According to the Gorfaine-Schwartz
Agency, Chad Fischer is doing the
music for The Rocker, a comedy about
a drummer (Rainn Wilson) who gets
the opportunity of his lifetime when his
nephew’s rock band is looking for a new
drummer. Other cast members include
Emma Stone, Christina Applegate, Jane
Lynch and Josh Gad. The film is directed
by UK veteran Peter Cattaneo (The Full
Monty) and scheduled to premiere on
August 1, with distribution in the US
being handled by Fox Atomic. Chad
Fischer, who recently moved from
Greenspan to Gorfaine-Schwartz, is best
known for indie hit Garden State and
recently scored The Babysitters.
Tim DeLaughter:
Visioneers
Polyphonic Spree frontman Tim DeLaughter
is doing the music for
Visioneers, an independent comedy directed
by Jared Drake, starring
Judy Greer, Missi Pyle
and Zach Galifianakis. The story is about
a man who tries to ignore an epidemic
which causes people to explode from
stress (!). Fireside Film produces.
Earlier, we reported that, according to the
Gorfaine-Schwartz Agency, DeLaughter
was going to score Assassination of a
High School President. As it turned out,
DeLaughter didn’t write the music for
this film - the composer on that project
was Daniele Luppi.
Mark Mancina:
Nowhereland
Mark Mancina has
replaced Theodore
Shapiro as the score
composer on the upcoming Eddie Murphy
comedy Nowhereland,
which is now scheduled
to premiere in June 2009, pushed from
its original release date, September
26, 2008. The film is directed by Karey
Kirkpatrick, whose recent credits include
directing the animated Over the Hedge
and writing the script for and producing
The Spiderwick Chronicles. Lorenzo di
Bonaventura produces the film. Mark
Mancina’s other upcoming films include
Stopping Power (Speed director Jan
de Bont’s new action thriller which is
currently being shot in Holland and
Germany), Without a Badge and Like
Dandelion Dust.
by MIKAEL CARLSSON
[email protected]
THE SCOREBOARD
LATEST ADDITIONS
Mark Adler: Hanging Out Hooking Up Falling in Love.
Neil Argo: Black Mountain.
Ádám Balázs: El camino • House of Terror •
Madness is Catching.
Mary Alice Corton: Jump Out Boys •
Lockjaw: Rise of the Kulev Serpent.
Jeff Cardoni: Beer For My Horses.
Jacques Davidovici: 48 heures par jour.
Marcello De Francisci: The Black Waters of
Echo’s Pond • No Bad Days.
Tim DeLaughter: Visioneers.
Chad Fischer: The Rocker.
Ruy Folguera: A Beautiful Life.
Louis Forestieri: The Wrong Mr. Johnson.
Steven Gutheinz: Patriotville • To Live and
Die.
Daniele Luppi: Assassination of a High
School President.
Mark Mancina: Nowhereland.
John Nordstrom: Greta.
Franco Piersanti: Sangue pazzo.
Michael Price: Angus, Thongs and Perfect
Snogging.
Brian Satterwhite: The Children’s War.
Misha Segal: Shadows In Paradise • Opposite Day • Stree Boss.
Stephen Warbeck: Machan.
Gert Wilden Jr.: Memory Books - Damit du
mich nie vergisst...
Christopher Wong: Monk on Fire.
Hans Zimmer: Madagascar - Escape 2
Africa.
Atli Örvarsson: Whiteout.
COMPLETE LIST:
Panu Aaltio: The Home of Dark Butterflies.
Tree Adams: Emilio.
Mark Adler: Hanging Out Hooking Up Falling in Love.
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.
Neil Argo: Black Mountain.
David Arnold: How to Loose Friends and
Alienate People • Quantum of Solace •
The Chronicles of Narnia: The Voyage of the
Dawn Treader.
Alexandre Azaria: 15 ans et demi.
Chris P. Bacon: Space Chimps.
Angelo Badalamenti: The Edge of Love •
Secrets of Love.
Klaus Badelt: Starship Troopers: Marauder
• The Scorpion King: Rise of the Akkadian
• Fire Bay • Dragon Hunters • Heaven and
Earth.
Ádám Balázs: El camino • House of Terror •
Madness is Catching.
Lesley Barber: A Thousand Years of Good
Prayers • 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.
Christophe Beck: What Happens in Vegas...
Marco Beltrami: Amusement • The Hurt
Locker • 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.
Benedikt Brydern: The Crown of Vysehrad
• Stag Night.
David Buckley: Town Creek.
Kenneth Burgomaster: Garfield’s Fun Fest.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: In Bruges.
Edmund Butt: The Waiting Room.
Niall Byrne: How About You.
Peter Calandra: The Sickness.
Jeff Cardoni: This Is Not Miami • Beer For
My Horses.
Kristopher Carter: Yesterday Was a Lie •
Dance of the Dead.
Patrick Cassidy: L’aviatore.
Nigel Clarke & Michael Csányi-Wills: The
Grind.
Sarah Class: The Meerkats.
George S. Clinton: The Love Guru.
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.
Jane Antonia Cornish: Every Little Step.
Mary Alice Corton: Jump Out Boys •
Lockjaw: Rise of the Kulev Serpent.
Bruno Coulais: MR 73 • Les Femmes de
l’ombre • Coraline.
Miriam Cutler: Bloodline • Chris & Don: A
Love Story • One Lucky Elephant • A
Powerful Noise • One Bad Cat: The
Reverend Albert Wagner Story • Absolutely
Safe.
Burkhard Dallwitz: The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (co-composer) • The Imaginarium of Doctor Parnassus
(co-composer).
Mychael Danna: Lakeview Terrace
(co-composer) • Stone of Destiny •
Adoration • The Time Traveler’s Wife •
Passchendaele • The Imaginarium of Doctor
Parnassus (co-composer).
Jacques Davidovici: 48 heures par jour.
Carl Davis: The Understudy.
Marcello De Francisci: The Black Waters of
Echo’s Pond • No Bad Days.
Wolfram de Marco: The Lost Tribe.
Jessica de Rooij: Tunnel Rats • Far Cry •
Alone in the Dark II.
John Debney: Big Stan • My Best Friend’s
ISSUE 63 • MAY 13, 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.
Girl • Starship Dave • Swing Vote • Old
Dogs • Hotel for Dogs • Sin City 2.
Tim DeLaughter: Visioneers.
Charles Denler: I Am • A Handful of Beans
• Nothing But Dreams • Buttermilk Sky • A
Meadowlark Calling • Kate & Co • Killer’s
Freedom • Johnny Kidd.
Erik Desiderio: He’s Such a Girl • Sons of
Liberty.
Alexandre Desplat: Afterwards • Largo
Winch.
Ramin Djawadi: Fly Me to the Moon.
Pino Donaggio: Colpe d’occhio.
James Michael Dooley: The Little
Mermaid: Ariel’s Beginning • Impy’s Island
2.
Patrick Doyle: 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 • Shark in Venice • Direct
Contact.
Cliff Eidelman: He’s Just Not That Into You.
Danny Elfman: Wanted • Hellboy 2: The
Golden Army.
Paul Englishby: An Education.
Tom Erba: Chinaman’s Chance.
Ilan Eshkeri: The Disappeared • Telstar.
Evan Evans: The Mercy Man • You’re
Nobody ‘Til Somebody Kills You • The Poker
Club • Jack Rio.
Nima Fakhara: Lost Dream.
Guy Farley: The Flock • Knife Edge • The
Brøken • I Know You Know.
Chad Fischer: The Babysitters • The Rocker.
Annette Focks: Krabat.
Ruy Folguera: A Beautiful Life.
Robert Folk: Kung Pow: Tongue of Fury •
Magdalene • Vivaldi.
Louis Forestieri: The Wrong Mr. Johnson.
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.
Elliot Goldenthal: Public Enemies.
Joel Goldsmith: Stargate Continuum •
Stone’s War.
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: Escape.
Harry Gregson-Williams: Jolene • Em •
The Chronicles of Narnia: Prince Caspian •
G-Force • The Taking of Pelham 123 •
X-Men: Wolverine.
Rupert Gregson-Williams: You Don’t Mess
With the Zohan • Bedtime Stories.
Andrew Gross: National Lampoon’s Bag
Boy • Diamond Dog Caper • The Speed of
Thought • The Prince and Me 3.
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: Patriotville • To Live and
Die.
Gordy Haab: The Shiftling (co-composer) •
Witches’ Night • Pornstar.
Todd Haberman: Killer Movie.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus Azteca.
Richard Harvey: Eichmann.
Paul Haslinger: 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 • The Secret
of Moonacre • A Bunch of Amateurs.
Eric Hester: The Utopian Society • Lost Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With the
Devil.
Andrew Hollander: Weather Girl • Serious
Moonlight.
Trevor Horn: Kids in America.
James Horner: The Boy in Striped Pyjamas
• Avatar.
Richard Horowitz: Kandisha • The
Whisperers • Tobruk.
James Newton Howard: The Happening •
The Dark Knight (co-composer) • Defiance •
Confessions of a Shopaholic.
David A. Hughes: Awaydays.
Terry Huud: Plaguers.
Søren Hyldgaard: Red.
Alberto Iglesias: The Argentine • Guerrilla.
Ángel Illarramendi: Todos estamos
invitados • La buena nueva.
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.
Trevor Jones: Three and Out.
David Julyan: Eden Lake • The Daisy Chain
• The Descent 2.
George Kallis: Antigravity.
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.
Kenji Kawai: L – Change the World • Orochi
• The Sky Crawlers.
Rolfe Kent: The Lucky Ones.
Wojciech Kilar: Black Sun.
FILM MUSIC weekly ISSUE 63 • MAY 13, 2008
Mark Kilian: Before the Rains • Traitor.
Kevin Kiner: Star Wars: The Clone Wars.
David Kitay: Shanghai Kiss • Blonde
Ambition.
Johnny Klimek: Blackout (co-composer) •
The International (co-composer).
Harald Kloser: 2012 (co-composer).
Abel Korzeniowski: Terms • Terra • Tickling
Leo.
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 Livesay: Bounty (co-composer) •
Limbo Lounge (co-composer) • Chasing the
Green • Little Iron Men (co-composer).
Nolan Livesay: Bounty (co-composer) •
Limbo Lounge (co-composer) • Little Iron
Men (co-composer).
Andrew Lockington: Journey 3-D • One
Week.
Henning Lohner: Kleiner Dodo • Love
Comes Lately • Night Train • Marcello
Marcello.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Daniele Luppi: Hell Ride • Assassination of
a High School President.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert
Into Fire.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • Camille •
Nowhereland • Without a Badge • Like
Dandelion Dust.
Aram Mandossian: The Last Resort.
Harry Manfredini: Black Friday • iMurders •
Impulse • Anna Nicole • Dead and Gone.
David Mansfield: 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.
Cliff Martinez: Stiletto.
Richard Marvin: The Narrows • Dead Like
Me • Picture This! • A Fork in the Road.
John McCarthy: The Stone Angel.
Bear McCreary: Rest Stop 2.
Michael McCuiston: Broke Sky
(co-composer).
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 • Second Coming.
Sheldon Mirowitz: Renewal • Operation
Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really Hate
My Job • St. Trinian’s.
Tony Morales: Something Is Killing Tate •
Ball Don’t Lie.
John Morgan: The Opposite Day
(co-composer).
Paul Leonard-Morgan: Popcorn.
Cyril Morin: Un coeur simple.
Ennio Morricone: Il demoni di San
Pietroburgo.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo •
Cloudy with a Chance of Meatballs.
Hélène Muddiman: Skin.
Nico Muhly: The Reader.
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.
David Newman: My Life in Ruins.
Joey Newman: Safe Harbour.
Randy Newman: The Frog Princess.
Thomas Newman: Wall-E • Revolutionary
Road.
Kyle Newmaster: The Shiftling (co-composer) • Reservations • Star Wars: Secret of the
Rebellion • Blood Shot.
David James Nielsen: Reclaiming the
Blade.
Stefan Nilsson: Heaven’s Heart.
Dana Niu: Conjurer • Hurt.
Marinho Nobre: Left for Dead • Sacred
Game.
Adam Nordén: Everybody’s Dancing • De
Gales hus.
John Nordstrom: Greta.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers
• A Perfect Season • The Sensei.
John Ottman: Valkyrie.
John Paesano: Shamrock Boy.
Michael Penn: American Teen.
Heitor Pereira: The Canyon • Running the
Sahara • Berverly Hills Chihuahua.
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.
Franco Piersanti: Sangue pazzo.
Nicholas Pike: It’s Alive • Parasomnia.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat • City of
Ember.
Michael Richard Plowman: Edison and
Leo.
Conrad Pope: In My Sleep.
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.
Steve Porcaro: The Wizard of Gore •
Cougar Club.
Rachel Portman: The Duchess.
John Powell: Hancock • Green Zone •
Kung Fu Panda (co-composer) • Bolt.
Zbigniew Preisner: Anonyma - Eine Frau in
Berlin.
Michael Price: Agent Crush • Wild Girl •
Angus, Thongs and Perfect Snogging.
Alec Puro: The Thacker Case.
Trevor Rabin: Get Smart.
Didier Lean Rachou: An American in China.
Brian Ralston: 9/Tenths.
Jasper Randall: The Secrets of Jonathan
Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express • Days
of Wrath.
Graham Reynolds: I’ll Come Running.
Max Richter: Henry May Long • Waltz with
Bashir.
Lolita Ritmanis: Broke Sky (co-composer).
Zacarías M. de la Riva: The Last of the Just
• The Anarchist’s Wife • Carmo.
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: 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.
Ralph Sall: Hamlet 2.
Anton Sanko: Life in Flight • One.
Gustavo Santaolalla: I Come With the Rain
6
• On the Road.
Brian Satterwhite: Cowboy Smoke • The
Children’s War.
Mark Sayfritz: Sake • The Shepherd.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning
Heartache.
Misha Segal: Lost at War • Shabat Shalom
Maradona • Shadows In Paradise •
Opposite Day • Stree Boss.
Marc Shaiman: Slammer.
Theodore Shapiro: The Mysteries of
Pittsburgh • The Girl in the Park • Tropic
Thunder • 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.
Christopher Slaski: Proyecto Dos.
Damion Smith: Stompin.
Dennis Smith: Major Movie Star.
Mark Snow: The X-Files 2.
Jason Solowsky: 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 (co-composer).
John Swihart: The Longshots.
Johan Söderqvist: Walk the Talk • Let the
Right One In • The Invisible • Effi.
Frédéric Talgorn: Mes Stars et moi • Hexe
Lilli.
Nic. tenBroek: The Dukes • Magic.
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.
Marcus Trumpp: Blood: The Last Vampire.
Tom Tykwer: The International (co-composer).
Brian Tyler: The Heaven Project • The Killing
Room • The Fast and the Furious 4 •
Dragonball.
Christopher Tyng: Finding Amanda.
Nerida Tyson-Chew: Cactus.
Shigeru Umebayashi: A Simple Love Story
• Absurdistan.
Cris Velasco: Prep School.
Fernando Velázquez: Shiver.
James L. Venable: Zack and Miri Make a
Porno.
Joseph Vitarelli: Kit Kittredge: An American
Girl Mystery.
Reinhardt Wagner: Faubourg 36.
Gast Waltzing: JCVD • Les dents de la nuit.
Thomas Wander: 2012 (co-composer).
Michael Wandmacher: Train • Chain Letter
• My Bloody Valentine 3-D.
Stephen Warbeck: Flawless • The Box
Collector • Machan.
Matthias Weber: Silent Rhythm.
Craig Wedren: Little Big Men.
Richard Wells: The Mutant Chronicles.
Cody Westheimer: Benny Bliss and the
Disciples of Greatness • Hysteria.
Gert Wilden Jr.: Memory Books - Damit du
mich nie vergisst...
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: Back Soon • Mr. Sadman •
Grace • Live Evil • 3-Day Weekend.
Debbie Wiseman: Amusement • The Hide.
Christopher Wong: Monk on Fire.
Chris Wood: Zombies Ate My Prom Date.
Alex Wurman: Five Dollars a Day • The
Promotion • Real Men Cry • Baggage • Four
Christmases.
Gabriel Yared: Manolete • The No. 1 Ladies
Detective Agency • Adam Resurrected •
Shanghai.
Christopher Young: The Uninvited • Drag
Me to Hell.
Geoff Zanelli: Delgo • Outlander • Ghost
Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Sex and the City: The Movie
• Lake City • Flash of Genius • Blue Powder
• My Sister’s Keeper.
Hans Zimmer: Frost/Nixon • Casi Divas •
Kung Fu Panda (co-composer) • The Dark
Knight (co-composer) • Madagascar - Escape 2 Africa.
Atli Örvarsson: Babylon A.D. • The Code •
Whiteout.
ISSUE 63 • MAY 13, 2008
FILM MUSIC weekly
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7
CD REVIEW
by DANIEL SCHWEIGER
[email protected]
A Composer Visits
The Heartland, Then Commits
Jazzy Murder
Composer: Christopher Young
Label: Buysoundtrax
Suggested Retail Price: $15.95
Grade: B+
W
hen you get to know a great, sly bear of
a composer named Christopher Young,
you’ll both see and hear a drive for perfection
that is straight-jacket worthy in its relentlessness. After all, who would release a “rejected”
soundtrack twice, add more lite jazz to a
forgotten score, put out a demo for a soundtrack that never happened, give new life to the
musical suspense of a movie no one’s heard of,
or indulge in a new age groove? Yet all of these
seemingly insane acts are on display in a flurry
of new, under-the-radar Young releases, with
each paying off handsomely for fans better
used to the composer’s furious darkness in such
works as Hellraiser, Ghost Rider, Swordfish
and Spider-Man 3. Now it’s time for Young’s
listeners to take a sometimes-sinister chill pill
with Scenes Of The Crime, a “revisited” In Too
Deep, piano sketches from An Unfinished Life
and the nicely bucolic Sleepwalking.
Christopher Young’s liner notes here give
a perceptive, and self-deprecating insight into
why he re-works his material, often years after
the fact. The oldest example is In Too Deep, a
1999 urban suspenser that saw much of Young’s
melody replaced with minimalism, as well as
his song “Give Me A Reason” verboten by the
suits from being used in any form on its original Varese Sarabande release. But thanks to
Young’s seamless instrumental additions, Deep
is finally seeing the light with a cool film noir
groove. You can positively smell the cigarette
smoke, and feel the wet asphalt in the sultry
Saxes, relaxed (if sinister) percussion, and lush
strings that spell out cool doom for a cop/robber relationship. And Young’s “Reason” proves
itself to have the atmospheric stuff of an R & B
standard, its ode to cruel fate powerfully sung
by Dave Hollister. As an equal to Young’s song
“Up Against the Wind” (which sent Queen Latifah to her demise in Set It Off), Deep’s tune once
again shows that Young is one of the best jazz
composers in the business, whether it be the
urban rhythms of In Too Deep and Set It Off, or
the lounge lizard sound of Rounders, Shade and
8
The Big Kahuna. And though Young’s turned
In Too Deep into something resembling an easy
listening CD, as opposed to a film score, it’s a
concept that complements his original work
instead of selling it out. And abetted with new,
sensual brass, this In Too Deep might be the
closest thing that Young has come to a makeout album for the hip-hop generation.
There’s more suspense than sex in Scenes
Of The Crime, a Jeff Bridges mob meller. But
if this film (directed by a music supervisor no
less) is sleeping somewhere with the fishes,
one can always create their own dangerously melodic tale given Young’s electric guitar
grooves, be-bop riffs, harmonica and militaristic
feel. Able to take such unlikely instruments
and make them work in mean tandem, Scenes
proves to be another gem in Young’s noir arsenal. But perhaps even more interesting is this
CD’s companion score A Child’s Game, which is
a codename for Hide And Seek. Though a scheduling conflict caused the score to ultimately
(and effectively) get done by John Ottman,
Christopher Young has always been a believer
in saving his demos. Some people’s sketches are
the equivalent of a finished painting in Young’s
hands. And as he’s shown in such scores as
Flowers In The Attic and Bless The Child, Young
has a real way of playing a child’s innocence in
lethal peril. Bells, a child’s voice and dissonant
strings weave a creepy, thematic lullaby around
Dakota Fanning. Yet Young’s favorite instrument here is the music box, which gets several
solo workouts at album’s end. Rarely has the
toy’s chimes hidden such evil as in Young’s
crafty wind-ups.
Like everyone he’s admired from Jerry
Goldsmith to Bernard Herrmann, Christopher
Young has been no stranger to seeing a score
unused because of that good-old term “creative differences.” While his country-flavored
soundtrack for An Unfinished Life may have
gone unfathomably unused, Young was still
able to get it released as a now sold-out Varese
club title. But where he added on instruments
for In Too Deep, Young has now deconstructed
the orchestral Unfinished Life into piano solos.
And on this “piano sketches” version, Young’s
lilting way with the keys proves to be simplicity
at its finest, an engaging, mellow experience
that shows Young’s future as a Windham Hill
artist if he’d so choose. With the numerous
ideas he came up with for Life, this “unplugged”
CD is a mellow, almost hypnotic demonstration
of Young’s talent for memorable themes. On a
more brooding, yet bucolic note, Young’s Sleepwalking (on Lakeshore) has a similar, strippeddown charm that recalls the composer’s early,
mesmerizing folksy score for Bright Angel.
Country guitar strumming mixes with melancholy piano and lightly percolating synths,
abetting the film’s sense of a family lost in the
emotional wilderness. Though it might seem
simpler than Young’s scores of yore, Sleepwalking has a subtle, hypnotic power to it that deftly
encapsulates the title.
With the upcoming thrillers The Uninvited
and Drag Me To Hell are bringing Christopher
Young back to his horrific tricks, the composer’s determination to get his older, almost
unknown work out there with these releases
shows of his versatility for the light and the
dark, a talent that will soon be bringing Young
a well-deserved career achievement award from
BMI. Even with that, one could say it’s madness
to release scores from works that have been
repeatedly kicked around with the kind of biz
abuse that would make a composer try to forget
his well-intended efforts. Thankfully, Christopher Young’s always had the kind of pride in his
scores to release even the most unsung ones,
reworking and reshaping some of them into
things of new musical beauty. And that’s a madness we should all be thankful for.
n
GET THE CD HERE:
•http://www.buysoundtrax.com
ISSUE 63 • MAY 13, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
[email protected]
Conduct Yourself Accordingly, Part 5:
Who’s In Charge Here?
T
he art and craft of studio conducting
may not be dying, but it sure isn’t feeling
very well. Of all the cast of characters in the
recording process, the conductor is the one
which inspires the least automatic respect, and
deservedly so. With the advent of randomaccess digital recording, which is almost always
pegged to some kind of beat structure, the
ubiquitous accompanying click track has allowed anyone strong enough to lift a half-ounce
baton to regard himself as a “conductor.” And
I fear this “dumbing-down” effect may be diluting our expectations from those on the concert
podium, as well.
If you aren’t sure where you stand, please
ask yourself the following questions: (1) When
conducting without click, and the ensemble
momentum pushes or drags the tempo, do you
(with or without stopping) verbally correct
them or do you, by gestures alone, quickly coerce them into the tempo you wish? (2) From
an unbiased examination of video of your own
conducting, do you see yourself pretty much
using the same-sized gestures throughout, regardless of dynamic, especially during silence?
Do you mirror-conduct most of the time with
both hands? If you turn the sound off, will the
video give you the slightest clue as to where
you are in the score?
The key element lacking in much mediocre
conducting is control. Historically, the first
conductor was the ensemble keyboard player
(with a free hand) or the concertmaster (using
his bow). His function was not really interpretive, but organizational (starting and stopping,
cuing entrances, etc.). As music became more
complex and interpretative, conducting evolved
into a stand-alone and pre-eminent role in the
performance. When music moved into the studio, the podium-meister still carried the substantive job of syncing a musical performance
FILM MUSIC weekly ISSUE 63 • MAY 13, 2008
to picture, through the use of streamers, pops,
and (“sigh”) click tracks. Now that technology
has made possible do-it-yourself infinitely and
microscopically variable click tracks that would
have been the envy of any old-school music
editor, communicating all tempo elements to
the studio orchestra is no longer strictly the
conductor’s job. And, since being the absolute
controller of the time has always been the most
fundamental aspect of our craft, separating
mastery from mediocrity, anything further
down the food chain (like dynamics, style,
skilled cuing, etc.) simply dropped off the radar.
Essentially, what many studio conductors
are unconsciously counting on is that the composer, orchestrator and copyist have all done
their jobs perfectly and that the players will
read, think, and interpret sufficiently and in
perfect agreement with one another. This may
happen in a conductor-less chamber ensemble
only with plenty of rehearsal, or in the contemporary A-list studio orchestra, which may
be so facile, enlightened, and experienced that
it can accomplish this miracle with little or no
rehearsal (or astute conducting) at all. Would
any self-respecting artist think of performing
on an instrument that did most of the work,
such as a player piano or a sequenced MIDI
rack? Is not that what so many “semiconductors” are doing on studio podiums every day of
the week?
This is one of those rare times in history
where evolution has gone in a complete circle,
with conductors getting hired (and paid) to
essentially do no more than their player-conductor ancestors did 400 years ago.
The key ingredient in this discussion is
control. Do your gestures exercise it musically
at all times or do you neglectfully surrender
it? And if you think you do have it, how much
of it do you have? Every aspiring conductor
has a fundamental psycho-technical barrier he
must break through to become a good one: to
go from conducting what the players are playing to conducting what they should be playing
(while they are playing what they are playing).
There is a huge difference and it is crucial.
That ability to always be aware of the higher
plane of what the music can be while your ears
are telling you otherwise, and the ability to
constantly pull the performance in that direction is what separates a semi-conductor from a
true leader.
How does one take that leap? Most of the
battle lies simply in becoming aware of what’s
missing when you undertake to conduct live
players, impossible to gauge without them.
Watching yourself through videotape, while
scrupulously minding the points above, can
help you self-diagnose. Players’ opinions, if
honest, may be useful. You can practice trying
to bend the will of a recording, conducting
slightly ahead or behind the performance, to
get the hang of being mentally in two places at
once. Working to have a range in the size and
intensity of your gestures, and making sure
that range means something, can give you control that a mind-numbing sameness can kill.
But it all really boils down to the attitude
you adopt with every beat you conduct, every
time you get on the podium. Ask yourself constantly: “Who’s really in charge here?”
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]
Voices of Passion Part 1
W
hen you think about vocals in film, the
tendency is to think of big dramatic
choirs like those found in Ben Hur, King
of Kings, How Green is My Valley, Duel of
the Fates from Star Wars, The 13th Warrior
and others. For this big choral sound, there
have been several choir libraries in recent
years developed by Eric Persing, Nick Phoenix
and Peter Seidlaczek to capture its essence. One of the next ventures in producing
this big choral sound is from Vienna with their
new Sopranos library, which, as we understand
it, in late 2008 or early 2009 will be released
as a full SATB library within the Vienna
Instruments family. Also in development, with
no announced release date, are the Garritan
Choirs which will feature lyric singing capabilities with multilingual capabilities.
However, in recent years, while the trend
is still to use a big choir, a new trend has
emerged featuring the power of the single
voice.
We can go back to James Horner’s skillful
use of this scoring technique in Apollo 13, and
Hans Zimmer’s in Gladiator, to name two.
How often have composers silently wished
they could capture that sound for their own
productions, especially when budgets don’t
permit the additional of live musicians, and
where producers on the cheap on Craig’s List
are looking for the “big boom” within a $3500
budget requiring 30 minutes or more of music.
Enter EastWest’s Voices of Passion. Not
only is Voices of Passion a genuine problem
solver in this regard, it is, in it’s own right, a
superb musical tool expanding the compositional and production range of the composer
in or out of Hollywood, and therefore, a library
to have.
VOP is part of the PLAY family of software
instruments. So in this first of two parts, I’m
spending time with the PLAY aspect of VOP.
Next week, we’ll look at the musical/production features.
Installation
I’m keeping this in “lay” terms. When you
install the first PLAY library, you’re setting
up a place on the C-drive (or what the PLAY
manual calls the active drive) where all the
10
libraries are stored. You then have the option
later during installation to place the samples
on different drives.
Having already reviewed Storm Drum 2, I
talked about some installation issues that you
can reread online at www.filmmusicmag.com.
Now, with VOP, or any other PLAY library that
would be your second in the series, there are
a couple of issues to take note of. When you
install the second PLAY library, the program
information is automatically installed on the
active drive. But, a couple of screens later,
you’re given the opportunity to install the
samples on a different drive. Unfortunately,
this aspect of the installation is a little unclear
and isn’t clearly explained in the manual.
My suggestion is for EW to post a screenshot or two on the Soundsonline site to clarify
how/where to install the samples to another
drive.
Post-installation, I ran into an issue in
Logic 8 where I couldn’t get PLAY to open.
This was because I had one of the original
disks. The simple cure was to install and run
the most current PLAY update. Once I did
that, I had no problems.
Opening PLAY
Once you open PLAY, you first get the
generic PLAY interface. You click on the
BROWSER button and you’re then taken to
this screen, (Example 1):
EXAMPLE 1
This screen shows the content of your
hard drive and the PLAY libraries that are
installed. On my system, you can see SD2 and
VOP. In this screen you select which PLAY
library you want. Once you select the library
you want, the screen changes color reflecting
that library’s “skin” color. To use a literary
term, you’re then taken to the table of contents
of that library where you pick the sound you
want. For that you click ADD. If you want
more sounds, up to 16 per instance, continue
to click ADD. If you’re trying out sounds or
just want one, after you’ve selected your new
sound, click REPLACE. The new sound is
loaded and the older one is overwritten.
Up to this point, regardless of the PLAY
library, you’re working with the same GUI
(graphical user interface).
But, when you click to go to the GUI
for that specific library, the design slightly
changes.
Here’s SD2
Here’s VOP
Look at the two screenshots and you’ll see
that the interface for each is different, even to
slightly relocating the Browse button.
For further comparison, here’s the new
GUI for QLSO (as posted on the Soundsonline
Forum).
And now Quantum Leap Pianos.
Notice that with QL Pianos, you have the
same mic controls as with QLSO which enables you to “place” QLP appropriately in the
mix with QLSO, Platinum or Gold.
As an overview observation, with Vienna
Instruments, which operates on a similar
precept, there’s only one GUI for every library.
So everything works within that fixed system. With PLAY, the interface changes, based on
the need and design of the program.
Where the Development Path is Leading
Given recent announcements from the
Vienna Symphonic Library, I think it’s clear
that the path being taken by both EastWest
and Vienna, while similar in some regards, is
vastly different.
With the release of Appassionata Strings
II and the forthcoming Chamber Strings II
(featuring muted strings), Vienna is clearly on
a dedicated path to having the most comprehensive orchestral libraries going. With the
Expanded Brass and Saxophones, Vienna
(if they haven’t realized this yet) now is the
second company to offer composers for concert
band the opportunity to create for the virtual
concert band. This is a very big market and
it will be interesting to see if VSL actively
pursues it.
(Continued pg 11)
ISSUE 63 • MAY 13, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Voices of Passion Part 1
(continued. from pg 10)
By comparison, seeing the development of PLAY up close, demonstrates that EastWest is creating a more well-rounded path of “studio” libraries empowering the composer to produce in multiple styles,
genres and media.
This last point is important because more and more what writer’s
have to do to write full time is to take on varied projects outside film/
TV work, but which require the same dramatic thinking as film/
TV work.
Fortunately, we have tools like Storm Drum 2 and Voices of Passion
that enable you to do just that. And that’s a good thing. NEXT WEEK: Voices of Passion Part II which looks at musical/production usage.
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]
FILM MUSIC weekly ISSUE 63 • MAY 13, 2008
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participate in the royalty system to your maximum benefit.
INTERNATIONAL MUSIC RIGHTS
ORGANIZATION DIRECTORY
2006-2007
A comprehensive international directory
of performing rights and mechanical rights
organizations, featuring contact information for over 130 music rights organizations and societies around the world and a
guide to affiliating directly with international performing rights organizations
Click on Each Guide for Information or
Visit www.gmostore.com
11
MUSIC WANTED
Current Film & TV Music Job Listings
From The Film Music Network
INDIE MUSIC LICENSING CO SEEKS MUSIC
TO REPRESENT
San Francisco music licensing company is looking for good quality music from independent
labels and artists to represent non-exclusively.
COMPOSER NEEDED IMMEDIATELY FOR
SUSPENSE FEATURE FILM
Score composer needed immediately for
psychological suspense feature about a woman
who has strange dreams and visions. Looking
for a dreamy, yet passionate, vibrant, youthful,
alive, exciting sort of sound that is a blend of
electronica, funk, alternative rock and classical.
INDIAN/PAKISTANI INSTRUMENTAL MUSIC
NEEDED FOR DOCUMENTARY FEATURE
Instrumental (no vocals) Indian/Pakistani music
needed for documentary feature film. Should
work OK under dialogue. Will consider all styles/
tempos of Indian and/or Pakistani music.
MEXICAN INSTRUMENTAL MUSIC NEEDED
FOR FEATURE
Instrumental Mexican music needed immediately for feature film. Looking for music that works
well under picture - not too fast, not too much
motion, looking for music that can function well
under dialogue.
ORCHESTRAL AMERICANA MUSIC NEEDED
FOR FEATURE FILM
Orchestral music in the “Americana” style
needed for indie feature film about leaders of
the “green” movement and environmentalism.
Orchestral digital samples OK, but must be very
realistic sounding.
MUSIC LICENSING CO SEEKS FRENCH
SONGS/INSTRUMENTAL MUSIC
IMMEDIATELY
Music licensing company seeks ambient French
vocal and instrumental music for immediate
placement. Looking for music in the style of Edit
Piaf.
TRAVELOGUE MUSIC NEEDED FOR TRAIN
DOCUMENTARY FILIM
Instrumental “old-fashioned travelogue type”
music needed for a historic documentary film
now in production about trains and railroads
- looking for music reminiscent of the 1920s
through the 1950s.
MUSIC LIBRARY SEEKS HOLIDAY/COMEDY/
WORLD/SPECIALTY MUSIC
Expanding Music Library seeks master quality
recordings. Mixes must be top notch. Looking
for the following types of music: Holiday (public
domain OK), Comedy, World Beat, Specialty
(march, patriotic, wedding, etc).
PSYCHOLOGICAL HORROR FEATURE NEEDS
MUSIC IMMEDIATELY
Indie psychological horror feature film is seeking
the following: * Slow, brooding tracks - anything
creepy in the “alternative” (aka alt-rock, etc)
style, * Pop dance music (with or without vocals
is OK)
MUSIC LIBRARY SEEKS ORIGINAL MUSIC
AND SONGS FOR IMMEDIATE PUBLISHING
Established Production Music Library seeking
original music and songs for immediate publishing in various Music Libraries.
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.
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.
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.
MUSIC LICENSING CO SEEKS
INSTRUMENTAL ROCK TRACKS
Music licensing company needs to find instrumental rock tracks similar to Coldplay. We
prefer tracks 2+ minutes in length. Since we’ve
been requested tracks many times in the last
couple of months like Coldplays we’d like to be
prepared for future clients asking for the same
types of tracks.
ORCHESTRAL MUSIC NEEDED BY
LICENSING COMPANY
Established music licensing company is looking
for excellent quality orchestral music from independent musicians to represent non-exclusively.
JAZZY OLD SCHOOL MUSIC NEEDED FOR
INDIE SHORT FEATURE
Instrumental “jazzy old school music” needed
for film noir indie short feature. Think 30s-40s
oriented jazz - not too lively, somewhat dark
sounding. Should work under dialogue.
DIGITAL ORCHESTRAL MUSIC NEEDED FOR
INDIE SHORT FEATURE
Orchestral/symphonic music with an edge needed for “Digital Love of a Robot”, an art-house
indie short feature. Music can have a “digital”
sound or edge to it, but they are primarily looking for orchestral music - well produced samplerbased music OK.
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 63 • MAY 13, 2008
FILM MUSIC weekly