Film Music Weekly - May 6, 2008

FILM MUSIC weekly
ISSUE 62 • MAY 6, 2008 • A Global Media Online Publication • www.filmmusicweekly.com
Garritan Announces
Steinway Sampled Piano Release
Garritan has
announced
that
the
Authorized
Steinway Virtual
Concert
Grand
Piano,
Professional Edition, a
software instrument
developed
in collaboration with Steinway &
n
Sons, has started shipping and is
available now.
The sample library utilized
Steinway Model D Concert Grand
Piano hand-picked by Steinway
and recorded at The Troy Music
Hall.
The library is available in
three versions: The Professional
version offers five different listen-
Varese Sarabande 30th Anniversary
Event Features Top Composers
n Robert Townson’s Varese Sara-
bande Records will be celebrating
its 30th Anniversary with a composer signing at Dark Delicacies
in Burbank, California on Saturday, May 10th at 2 PM. The event
represents the largest gathering
in memory of film composers assembled for a signature event.
Scheduled so far are Varese
artists Michael Giacchino (Speed
Racer), Lalo Schifrin (Rush Hour
2 and 3), Jan A.P. Kaczmarek
(The Visitor), Trevor Rabin (Flyboys), Don Davis (The Matrix),
Chistophe Beck (Elektra), Marco
Beltrami (Scream), John Ott-
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
JOBS:
man (Fantastic Four), Charles
Bernstein (A Nightmare on Elm
Street), Mark Isham (The Mist),
Mychael Danna (Breach), Christopher Young (Ghost Rider), John
Debney (Sin City), Cliff Eidelman (Sisterhood of the Traveling
Pants), Brian Tyler (Children of
Dune), Joel McNeely (Star Wars:
Shadow of the Empire), Varese
head Robert Townson, composer
superagent Richard Kraft (Bucket
List liner notes) and Varese CD
cover artist Matthew Joseph Peak
(Psycho).
With a large turnout expected,
Dark Delicacies will start issuing
tickets for a place in line at 9 AM
(continued pg.3)
ing perspectives, including a player perspective from the bench, a
classical recording perspective, an
under-the-lid perspective, a stage
perspective and a close audience
perspective. The Standard version, which was recently released,
offers two perspectives and a Basic
version for students will be available soon.
The library features complete resonance modeling (both
sustain resonance and sympathetic resonance), virtuosic pedaling (damper, una corda and
sostenuto), soft pedal samples,
multi-stage natural-sounding releases, adjustable-velocity actions,
adjustable mechanical noises,
(continued pg.3)
ASCAP Honors Bergmans at Film &
TV Music Awards May 6
Alan and Marilyn Bergman
n ASCAP has announced it will be-
stow its President and Chairman
and her husband with the ASCAP
Founders Award at the invitationonly ASCAP Film & TV Music
Awards dinner on May 6.
The event, open only to selected composers and others, celebrates ASCAP’s most-performed
film and television music. At the
event to pay tribute to the Bergmans, will be Quincy Jones, Norman Lear, Larry Gelbart, Norman
Jewison, Patty Austin, and Larry
White among others.
During their career, Alan and
Marilyn Bergman have received
four Emmy Awards and their songs
have been nominated for sixteen
Academy Awards, for which they
have won three: “The Windmills
of Your Mind” from The Thomas
Crown Affair in 1968, “The Way
We Were” in 1973, and the score for
Yentl in 1984. “Windmills” and “The
Way We Were” also earned Golden
Globe Awards, and “The Way We
Were” also earned two Grammys.
“My Life in Ruins” (David Newman), “Four Christmases” (Alex Wurman) and more
Daniel Schweiger Reviews “Sudden Impact”
“To Orchestrate Or Not To Orchestrate: What Is The Question?” by Ron Hess
“Something Completely Different” by Peter Alexander
Film & TV Music Current Job Listings
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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
Accounting: Tina Chiang
Legal Advisor: Patricia Johnson, Esq.
Film Music Weekly is published weekly by
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3/11/08 7:42:44 PM
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FMR
This Week on
FILM MUSIC RADIO
ON THE SCORE
SOUNDTRACK LABELS
FEATURING
ROBERT TOWNSoN AND
LUKAS KENDALL
Film music journalist Daniel
Schweiger interviews
ROBERT TOWNSON and
LUKAS KENDALL,
the heavy soundtrack hitters
behind Varese Sarabande
Records and
Film Score Monthly.
LISTEN NOW
2
ISSUE 62 • MAY 6, 2008
FILM MUSIC weekly
INDUSTRY NEWS
Garritan Announces
Steinway Sampled
Piano Release
Varese Sarabande 30th
Anniversary Event Features
Top Composers
historical tunings and Scala file import, MIDI playback and record in
standalone, ambience reverb, 3 band EQ, proportional sustain pedaling,
and copy protection that requires no dongles or challenge response.
Powered by the ARIA Player, the Garritan Authorized Steinway Virtual Concert Grand runs on Mac Intel OS X 10.4 and higher and Windows
XP/Vista (both 32 and 64 bits), standalone and plug-in (VST, Audio Units,
RTAS), and is supported by notation programs.
“This was a very important project for Steinway & Sons,” states Gary
Green, Vice President Business Development and Customer Satisfaction.
“We have long recognized the need for a Steinway sampled sound set
that would best reflect the complex architectures of the Steinway sound.
We also understand the importance of quality samples and their use by
amateur music enthusiasts, as well as prominent producers, composers,
recording studios and other venues. We were extremely fortunate to have
Gary Garritan work with us on this technically and musically complex
project. While both Steinway & Sons and Gary Garritan recognize that
nothing can replace the actual Steinway piano, we are extremely delighted that there is now a sampling product that comes closest to capturing
the distinctive Steinway sound that we are proud to endorse.”
The Authorized Steinway Virtual Concert Grand Piano is priced at
US$399 for the Professional Version. For more information and to hear
demos, visit http://garritan.com/steinway.html
the morning of the signing. Purchase of the Varese 30th Anniversary
CD will be needed to attend. Those not able to visit the event will still
be able to pre-order signed CDs through the Dark Delicacies website.
Photography will also be permitted.
For more information, visit the Dark Delicacies website, or the news
section of the Varese Sarabande.
(continued. from pg 1)
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Industry Online Directory, and access the industry.
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• A description of you, your bio, and much more
Special Zip Code search* allows people in
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(continued. from pg 1)
SONiVOX Announces
“Anatomy” Sound Library
n Boston based soundware developer SONiVOX
has announced the immediate availability of
their latest offering, “Anatomy.” The company
describes Anatomy as a re-imagination of the
human form as an infinite template of sound, offering over eight-hundred playable instruments
that transform the human body into a collection
of physiological melody and rhythm.
The instruments in the Anatomy package
are divided into two groups: “Man” includes the
organic perspective including hundreds of leads,
pads, kits, and effects including real-time controllers, including everything from singing to screaming and snoring to roaring; “Machine” includes what the company describes as “interpretations of the human
condition as it might be perceived through the binary brain cells of a
bloodless future race,” and includes agitated androids, slumbering cyborgs who dream of electric sheep, and cinemascapes of hallucinatory
terror and funhouse anxiety.
The package also includes body percussion featuring snaps, claps,
foot stomps, and heartbeat, Foley an FX including blips, burps, gurgles,
growls, groans, and nostril snorts., laughing, moaning and simulated
emotional breakdowns.
Anatomy works with Native Instruments’ Kontakt 2 or Kontakt 3
and is available immediately at a MSRP of US$219.00
Free samples of selected Kontakt format intruments from Anatomy as well as MP3 demos are available from the SONiVX website at
www.sonivoxmi.com
Join the new online community
where orchestrators and composers discuss the art,
craft and technology of orchestration.
www.OrchestrationForum.com
* U.S. RESIDENTS
FILM MUSIC weekly ISSUE 62 • MAY 6, 2008
3
SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
David Newman:
My Life in Ruins
David Newman is doing
the original score for
Donald Petrie’s new
comedy, My Life in
Ruins, starring Richard
Dreyfuss and Nia Vardalos. Newman previously
scored Petrie’s 2003 comedy How to
Lose a Guy in 10 Days and his recent
filmography is dominated by films in this
genre: Welcome Home Roscoe Jenkins,
Norbit, Monster-in-Law. My Life in Ruins
tells the story about a tour guide working
amongst the Grecian ruins.
Alex Wurman:
Four Christmases
Alex Wurman is doing
the music for comedy
Four Christmases, featuring an impressive
cast including Reese
Witherspoon, Jon
Favreau, Vince Vaughn,
Robert Duvall, Kristin Chenoweth, Mary
Steenburgen and Sissy Spacek. Seth
Gordon (The King of Kong: A Fistful of
Quarters) directs from a script about a
couple who struggle to visit all four of
their divorced parents on Christmas Day.
Also coming up for Alex Wurman is crime
drama Real Men Cry, starring Ethan
Hawke, Amanda Peet and Mark Ruffalo,
and Stephen Polk’s indie drama Baggage.
Gabriel Yared:
Shanghai
Gabriel Yared will
continue his working relationship with
Swedish director Mikael
Håfström, for whom
he scored 1408 last
year. His new film is
entitled Shanghai, is set during WW2
and revolves around an American who
travels to Shanghai following the death of
a good friend.
Hossein Amini (The Four Feathers) has
written the screenplay and the cast
includes John Cusack and Ken Watanabe.
The film begins shooting in London next
week and is set for a Christmas Day
release. The film is being made with
funding from The Weinstein Co’s $285
million Asian film fund.
4
Christian Henson:
The Secret of
Moonacre
British composer Christian Henson (Severance,
Chasing Liberty, It’s
a Boy Girl Thing), is
currently finishing work
on his score for The
Secret of Moonacre, a
fantasy family movie based on Elizabeth
Goudge’s novel. Hungarian filmmaker
Gabor Csupo (Bridge to Terabithia) directs
and the cast includes Ioan Gruffudd,
Tim Curry, Dakota Blue Richards and
Natascha McElhone. The film is set in
the 1840’s and tells the story about a 13
year old girl who journeys to Moonacre
Manor and discovers that she is the last
Moon Princess - the beloved story is
a classic fantasy adventure filled with
magic and mystery. The film is scheduled
to premiere on August 8. Christian
Henson recently scored the Dutch
romantic drama Zomerhitte and is also
doing the music for British TV series Lost
in Austen, starring Jemima Rooper, Alex
Kingston, Hugh Bonneville, Tom Riley and
Perdita Weeks.
Marco Beltrami:
Amusement
Marco Beltrami has
scored Amusement, the
upcoming horror film directed by John Simpson
(Freeze Frame). Beltrami
replaced Debbie Wiseman as the composer
on the film after she had to withdraw due
to conflicting schedules. Amusement is
a classic stalker thriller, to be released
by Picturehouse Entertainment and
New Line Cinema in September. Stars
include Jessica Lucas, Katheryn Winnick
and Laura Breckenridge. Beltrami has
also written the music for The Hurt
Locker, Kathryn Bigelow’s Iraq war thriller
starring Ralph Fiennes, Guy Pearce and
David Morse.
THE SCOREBOARD
LATEST ADDITIONS
Marco Beltrami: Amusement
Jacques Davidovici: 48 heures par jour.
Christian Henson: The Secret of
Moonacre
David Newman: My Life in Ruins
Brian Satterwhite: The Children’s War.
Gert Wilden Jr.: Memory Books - Damit
du mich nie vergisst...
Alex Wurman: Four Christmases
Gabriel Yared: Shanghai
by MIKAEL CARLSSON
mcarlsson@filmmusicweekly.com
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.
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.
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.
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.
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 Butcher.
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 Girl • Starship Dave • Swing Vote
• Old Dogs • Hotel for 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
• 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.
ISSUE 62 • MAY 6, 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.
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.
Annette Focks: Krabat.
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.
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: Rothenburg.
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.
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.
FILM MUSIC weekly ISSUE 62 • MAY 6, 2008
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.
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: 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: Nothing Is Private •
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.
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.
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.
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: Sugarhouse Lane • Agent
Crush • Wild Girl.
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
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.
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 • 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.
6
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.
Christopher Slaski: Proyecto Dos.
Damion Smith: Stompin.
Dennis Smith: Major Movie Star.
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 (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.
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.
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).
Atli Örvarsson: Babylon A.D. • The Code.
ISSUE 62 • MAY 6, 2008
FILM MUSIC weekly
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7
CD REVIEW
by DANIEL SCHWEIGER
dschweiger@filmmusicweekly.com
Lalo Schifrin
Releases
His Darkest
Dirty Harry Score
Title: Sudden Impact
Composer: Lalo Schifrin
Label: Aleph
Suggested Retail Price: $14.98
Grade: B+
F
rom Bullit speeding over the hills of San
Francisco to the men from U.N.C.L.E. taking down THRUSH, crime-fighting jazz and
Lalo Schifrin have gone together like a man
and his magnum. But if one character embodied Schifrin’s thrilling dark grooves, then it
was Harry Callahan, the inspector who redefined the cop film as a brutal arena for justice
in 1971’s Dirty Harry. And Schifrin’s groove
got down and mean with him, from the grinding rock guitar of Harry’s day making to the
creepy female vocals of the villainous Scorpio.
By fusing hard-broiled jazz, suspenseful
strings and militaristic percussion, Schifrin
had raised the bar for the musical genre of
cop noir that he’d helped to create.
Schifrin’s new, groovily brutal sound
would truly kick crime jazz’s ass through
four Dirty Harry pictures (with a scheduling
conflict turning Jerry Fielding’s exceptionally
scored Enforcer into the series’ only exception). But perhaps no Callahan soundtrack
was more twisted than 1983’s Sudden Impact,
a score that’s as much psycho-thriller horror
as cop noir, and now gets its CD release on
Schifin’s Aleph label. Where Harry had taken
on rapists, radicals thugs and über-vigilante
cops in his past films, the “villain” here was
Sandra Locke’s rape victim, who goes about
enacting lethal payback with no real resistance from Harry (who’s kept plenty busy
blasting away the usual assortment of goons).
And though the decision to essentially make
Harry a secondary player didn’t make Sudden Impact into a particularly effective Dirty
Harry film, it certainly allowed Lalo Schifrin
8
to delve into new, and interesting musical
territory, though you might not expect it to
go there from the cool disco of Impact’s main
title, or the lite jazz groove of the following
cue “Murder by the Sea.”
But as a lot of “nice” pop-oriented cues
tend to do here, “Murder” quickly shifts into
more sinister territory as a deceptively tender
flute, strings and guitar take over, a feminine
sound that is then commanded by suspenseful strings and snares. It’s cool female rage
ready to strike. And like Harry, Lalo Schifrin
is right behind Locke’s mission of revenge.
Tenderness bubbles to the surface now and
then, but mostly we’re talking evil electronics, action percussion and creepy symphonic
dissonance – all as contrasted with the lonely
jazz of Harry’s cop-against-the-world. It’s
a musical match made in vigilante heaven,
simpatico musical emotions that are terrifically detailed in Impact’s liner notes by
album producer Nick Redman. But even more
than that, the contrast of vigilante “romance”
and outright creepiness is right in line with
Schifrin’s Oscar-nominated soundtrack for
The Amityville Horror and his unused Exorcist score. And if he isn’t exactly delivering
the kind of electric guitar thrills of Magnum
Force here, Schifrin fans are sure to find his
dense, nerve-tingling music to be a cool challenge as it’s played on everything from eerie
strings to the sound of rubbed glass.
But that isn’t to say that Sudden Impact
is lacking for musical fun or the jazz-rock
grooves that have always accompanied Dirty
Harry (though his past vibe theme only
makes a brief appearance in ”You’ve Come a
Long Way”). And Schifrin certainly delivers
the excitement with the child-like rhythms
of a merry-go-round. But these horsies are
bound to impale a bad guy at the end. And
Schifrin has fun inverting the “source” music
of a seaside carnival with his dissonance of
the outrage that occurred there. It all comes
together in the cue “Unicorn’s Head” as the
calliope music becomes a symphony of fury
better suited to a fun house from hell. And
then as Harry arrives to provide some assist
in “A Ray of Light,” Schifrin treats Eastwood
as if he was again playing The Man With No
Name, the orchestra singing with a western
save-the-day tone, complete with rock guitar
and Latin brass.
By the time that the sexy jazz of “San
Francisco After Dark” arrives to send Harry
and his equal into the sunset, Schifrin’s Sudden Impact has proved itself to be one of the
most psychologically compelling, and provocative of the composer’s Dirty Harry scores.
Blowing away the bad guys has never been
quite so musically challenging for him. But
Schifrin knows how to unload that magnum
like no other cop composer. And as always, the
Impact is exhilarating.
n
GET THE CD HERE:
•http://www.alephrecords.com/main.htm
ISSUE 62 • MAY 6, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
rhess@filmmusicweekly.com
To Orchestrate Or Not To Orchestrate:
What Is The Question?
A
recent thread in Film Music Magazine’s
orchestration forum involved a question on the best way to approach orchestrating a piano piece. The conventional advice
usually involves trying to accommodate and
emulate all the “pianistic” elements by other
instruments. Essentially, that’s re-copying,
however inspired the effort. True, inspired
orchestration, however, must dig far deeper.
Unless the piece from which you are working
was written to either showcase actual piano
technique or to make a musical statement
achievable only by a single performer, recognize that even this piano version was a compromise over some ensemble piece that never
was. Let’s be real: for all its vaunted color
and expressive range, the piano is still only a
single percussion instrument, no match for a
non-consort ensemble of performers.
So, step uno in a true adaptive process is
to recognize that music exists independently
of the clothes that it’s wearing at the moment.
Technically, all music is orchestrated, even
if it’s for an “ensemble” of just one piano. As
such, any “further” adaptation is really just
a tailoring of a new costume for the true underlying musical entity to wear when it takes
the stage.
Given that, when you first undertake to
“re”-orchestrate a piano piece, try to avoid
the temptation to pour all the notes (probably
doubling most of them) into some “A-list”sized orchestral palette, as you won’t learn
the important analytical and philosophical
processes that separate creative orchestration
from mere re-copying. Initially, you should
aim far smaller, both to more easily get a forreal reading by live players (which will teach
you far more, as samples don’t complain or
applaud) and, more importantly, the neces-
FILM MUSIC weekly ISSUE 62 • MAY 6, 2008
sary distillation process will force you to thoroughly analyze and understand the musical
essence underlying the piano performance.
To an orchestration newbie, a woodwind
quintet (flute, oboe, clarinet, French horn,
and bassoon) is a great starting vehicle. It’s
small, every school has at least one, and
every woodwind player either plays in or
knows of one. It has greater agility, a wider
performable pitch range, a more stable tuning
environment, and a larger palette of usable
colors (especially with conceivable doubles of
piccolo, English horn, and bass clarinet) than
either the ubiquitous string quartet or brass
quintet.
Begin by laying out your blank quintet
score, but add the two piano staves at the
bottom, plus three or four blank staves below
them to be a workspace, and you’re all set.
Input the entire piano part on the piano
staves and leave it sacrosanct for reference.
The blank staves below are for exploding
chords, etc.
The basic process, then, is to work backwards from the existing notes and your perception of the effect of the piano performance
and, using the new instrumental colors and
capabilities, try to achieve what you intuit the
composer was thinking before he compromised
by orchestrating it for the piano (subject to the
caveats above). Better still, if you can hear
something all your own, emulate that.
If the piano version at times uses forces
unmatched to the quintet, don’t fret. Almost
every chord or voicing can be boiled down
to a simpler stack of notes that still carries
the harmonic impact. Ask any jazz pianist
or guitarist; they’ve been emulating complex
chordal structures with one hand or 5 or 6
strings for their whole careers. Like a fine
brewer, you just have to boil down something
complex into something simpler that still
conveys the effect. Don’t be afraid to adjust
octaves or add or delete notes to maintain the
effect. The process can be an amazing and
satisfying learning experience, as well as a
lot of fun.
Of course, individual live players have
their own limitations and liabilities which
you can ignore at your peril: Range (obvious),
breathing (more subtle, but still important),
rests (don’t burn your players out physically
or mentally), doubling just for the sake of
doubling (with small groups, avoid without a
compelling reason), and instrument capabilities (at first, don’t rewrite the rule book; it
evolved for a reason...).
When you get comfortable with this
analyze-dismantle-distill-rebuild process, and
you grow trusting of your own taste and skill,
then foray in the other direction and work
both with progressively larger concepts and
ensembles and more closely following your
own dramatic and musical inspirations. The
more complicated the group, the more geometrically complex will become the matrix of
options and responsibilities with which you
must grapple. But never lose your connection with the “beast within” the music you are
orchestrating. He’s the boss.
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
rhess@filmmusicweekly.com
9
MUSIC TECHNOLOGY
by PETER LAWRENCE ALEXANDER
palexander@filmmusicweekly.com
Something Completely Different
B
ecause of my work in writing orchestration
books, the folks at Rutledge publishing sent
me a great book by Paul Mathews, Chair of the
Department of Music Theory at Peabody Conservatory in Baltimore. Orchestration, An Anthology
of Writings, is a refreshing joy to read, as it’s
filled with many treats working professionals
will appreciate thanks to its inclusion of comments from Gustav Mahler to a young composer,
Stravinsky, Gevaert, Steve Reich, Percy Grainger
(on writing for Concert Band), Charles Koechlin,
and others. Some of these articles have not previously been available in English until now.
Paul has organized his Anthology in six sections:
I. The Early Nineteenth Century: Beethoven’s
Orchestration
II. The Late Nineteenth Century: French and
German Orchestration
III. Interlude: Orchestral Possibilities on the
Eve of the New Music
IV. The Turn of the Twentieth Century: French
and German Orchestration II
V. The Early Twentieth Century: Klangfar
benmelodie and Texture
VI. Later Twentieth Century Innovations
Too often in our pursuit of “bigger is bigger”
in film scoring, we forget that orchestration
has had a progression of writing development
influenced by technology innovation and better
manufacturing standards. The strings were
the first section to be organized and complete
as we know them while the woodwinds, brass
with valves and percussion evolved over time
to become the instruments we know and use
today. As standardization of instrument design
became accepted, writing techniques followed.
Consequently, without a little study, we forget
that the dramatic coloristic writing we’ve grown
so accustomed to in film music progressed from
the Russian composers through the French with
Debussy, Ravel, Satie, and others.
This brings us to a very subtle point of Paul’s
book - how do you really teach orchestration? And
then, how do you really teach orchestration when
using electronic and physical modeling libraries
10
that attempt to replicate the real thing? Within
these questions is the hidden, “But who should I
study first?”
In his First Lesson: Preliminary Instruction,
Belgium teacher F.A. Geveart makes a practical
observation.
“The orchestra of the early symphony does not
admit of chiaroscuro or mixed colors; the various
groups of instruments are juxtaposed without
marked transitions. Since intense passages are
almost excessively filled by bright timbres (violins,
oboe, trumpets), the sonority is all brightness,
sometimes even a little crude. Wind instruments
seldom appear in the foreground and are mostly
restricted to harmonic filling. Thus, by studying
the symphonies of Haydn the student will not
initiate himself with refined, unforeseen combinations. But the student will learn there, better than
anywhere, how to assemble the various parts of
the ensemble and how to obtain a vigorous and
honest sonority with thin resources: qualities
which it is wise to acquire before being tested with
more ambitious enterprises.”
For the composer wanting to score for film,
he will have to study Haydn on this own. Having
read through the syllabi of many schools with
orchestration classes, one does exercises for
grades, not symphonic analysis to build scoring
skills. To even find a Haydn/Mozartian library to
work with, one must buy what some manufacturers insist on calling a “chamber strings” library
when in point of fact the recorded instrumentation isn’t too far from the string section size used
by Mozart.
Berlioz, in his Treatise on Instrumentation,
has a slightly different take. His advice to the
young is to look at contemporary scores first to
know what’s happening, then go back and look
at Haydn.
Having examined my own learning path
in this area, I think on reflection that Geveart
is really on to something, especially when most
sample string libraries start you out with the
full-sized Hollywood orchestra. It takes concert
attendance to find out just how big a sound with
effective linear writing can be created with 12
violins, 4 violas, 4 cellos and 2 basses plus winds
and brass.
Mahler’s letter to young Max Marschalk is a
thought-provoking, wise piece of writing.
“What struck me most is the feature that you
also emphasize in your letter: at present you are
still going in very much for ‘tone and colour.’ This
is a mistake made by all gifted beginners now
composing. I could show you a similar phase in
my own development - Mood-music is dangerous
ground.
Believe me: we must for the time keep being
good to the old principles. Themes - these must be
clear and plastic, so that they can be clearly recognized at any stage of modification or development - and then varied presentation, holding the
attention above all through the logical development of the inner idea, but also by the genuine
opposition of contrasting motives.
That is all still blurred in your work. Next,
you must shake off the pianist. None of this is a
movement for an orchestra - it is conceived for the
piano - and then rearranged for orchestra without
getting free of the trammels of that instrument.
I suffered from that ailment once myself. All
of us nowadays start out from the piano, whereas
the old masters’ origins lay in the violin and the
voice.”
How true today as well are Mahler’s comments!
Mathews then provides us with a wonderful excerpt from Charles Koechlin’s four volume
Treatise on Orchestration, published by Max Eschig in Paris, in classical French on 9 x 12 pages
in 9 point type and smaller. I was delighted to
see this excerpt. Several on the A-list studied
with Koechlin before his death, including Lalo
Schifrin (Mission: Impossible theme and many
others). I’ve had parts of this book translated
for me. And at one time at Alexander Publishing,
we tried to negotiate with Eschig to work out
the translation rights. Eschig is difficult to work
with, as Paul Mathews told me he also discovered.
A classmate of Maurice Ravel’s and an
individual who also orchestrated Khamma for
Debussy, Koechlin had his own thoughts about
where a student should begin.
“The first question to treat after studying the
resources of each individual instrument [editor’s
note: instrumentation] is that of the balance of
instruments with one another and instrumental
groups with one another. Beginners sometimes
write sonorities that are stronger or heavier than
they would prefer, - or sonorities
(Continued pg 11)
ISSUE 62 • MAY 6, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Something Completely
Different:
(continued. from pg 10)
that combine but leave gaps in the orchestra; one notices unintentional oppositions, inconsistencies, inequalities; an instrument predominates when another
was intended, etc.”
Koechlin’s observations are still true today, again, especially when starting off with sample libraries. Even when an experienced orchestrator tries to
work with samples, getting the right balance is a time-consuming, frustrating
chore. Then when going from sampled orchestra to live orchestra, the young
composer is often in shock as to how “small” the live orchestra actually sounds
in comparison to the samples.
Paul Mathews Orchestration, An Anthology of Writings, is a timely book
for those of us engaged in the practice of writing for deadlines. It should also
be a bugle call to academic institutions to seriously review the holes in the
academic instruction of orchestration, the art we live and die by in L.A.
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 palexander@filmmusicweekly.com
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FILM MUSIC weekly ISSUE 62 • MAY 6, 2008
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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.
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).
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 ORIGINAL
MUSIC AND SONGS FOR IMMEDIATE
PUBLISHING
Established Production Music Library seeking original music and songs for immediate
publishing in various Music Libraries.
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 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.
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.
DIGITAL ORCHESTRAL MUSIC NEEDED
FOR INDIE SHORT FEATURE
Orchestral/symphonic music with an edge
needed for “Digital Love of a Robot”, an arthouse indie short feature. Music can have
a “digital” sound or edge to it, but they are
primarily looking for orchestral music - well
produced sampler-based music OK.
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.
ORCHESTRAL MUSIC NEEDED BY
LICENSING COMPANY
Established music licensing company is looking for excellent quality orchestral music from
independent musicians to represent nonexclusively.
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.
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.
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ISSUE 62 • MAY 6, 2008
FILM MUSIC weekly