April 8, 2008 - Film Music Magazine

FILM MUSIC weekly
ISSUE 58 • APRIL 8, 2008 • A Global Media Online Publication • www.filmmusicweekly.com
More than 6,000 Artists from 15
Countries Rally for Radio Royalties
n More than 6,000 international
artists from more than 15 countries have delivered a petition to
Congress urging the prompt enactment of legislation to close a
loophole in U.S. law and grant artists, musicians and record labels
in the United States a right to be
compensated when their music is
played on FM and AM radio.
In a declaration of solidarity
and an indication of the depth of
support in the music community
for securing a long-sought performance right on radio, thousands
of artists add their names to a
diverse coalition within the U.S.
music community – the musicFIRST Coalition – advocating a
change in U.S. policy. Artists from
Ableton
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Australia, Austria, Argentina,
Finland, Greece, Hong Kong, Ireland, Mexico, Norway, Portugal,
Singapore, Sweden, Taiwan and
the United Kingdom signed the
petition.
“It is encouraging that so
many performers from across the
world have taken the time to voice
their support for their American
Spring series is titled “Speed
Composing” and will be delivered on Saturday, April 12 at the
Manhattan Producers Alliance
facility in New York City. Other
seminars include “From Craft to
Commission: Strategies for the
Working Composer” (April 19),
“Music Preparation: Life in the
Trenches” (April 22),, “Sound
Design: Enhancing the Story”
(May 3), and “In the Box: Modern
Digital Audio Workstation Techniques” (May 10).
For more information, visit
http://www.manhatpro.com
“Stone’s War” (Joel Goldsmith), “Stone of Destiny” (Mychael Danna) and more
For color, gray or photographic backgrounds
(continued pg.3)
Manhattan Producers Alliance
Announces Spring Pro Seminars
n Ableton has released a new
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n The Manhattan Producers Alupdate to its Session Drums audio effects for sound design,
liance, a membership collective
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The first seminar in the
SCORING NEWS:
CD REVIEW:
THE CHART DOCTOR:
MUSIC TECHNOLOGY:
JOBS:
friends and colleagues,” said John
Smith, president of the International Federation of Musicians
(FIM). “Many of the musicians
represented within FIM globally
depend on airplay royalties for
a significant part of their livelihoods. They deserve a fair deal
from commercial radio in the US.
Daniel Schweiger reviews “Doctor Who- Season 3”
“Anatomy Of An ArrangementPart 2” by Ron Hess
“Best Service Galaxy II Piano Collection” 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.
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FMR
This Week on
FILM MUSIC RADIO
ON THE SCORE
MY LUNCH WITH MAURICE
SUBSCRIPTIONS
Subscriptions to Film Music Weekly via email are
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Entire Contents © 2008 Global Media Online, Inc.
Film music journalist Daniel
Schweiger interviews
legendary composer
MAURICE JARRE,
who reflects on his epic career,
and a specially revisited
tribute to
director David Lean.
.
LISTEN NOW
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly
INDUSTRY NEWS
Rally for Radio Royalties
(continued. from pg 1)
In FIM’s view, it is unfair that the US is the only western free market
country that does not grant a broadcasting right so that performers
can get paid a fare share of airplay royalties.”
For decades, over-the-air AM and FM broadcasters have enjoyed
an exemption from current copyright law that requires satellite radio,
cable music channels, and Internet webcasters to pay a royalty for the
use of a musical performance. The United States is the only member
country of the Organization of Economic Cooperation and Development (OECD) that currently does not grant artists, musicians and labels a performance right.
The petitions will be delivered to Sen. Patrick Leahy (D-Vt.) and
Rep. Howard Berman (D-Cal.), who, along with Sen. Orrin Hatch (RUtah) and Rep. Darrell Issa (R-Cal.), introduced the “Performance
Rights Act of 2007” in the U. S. House and Senate (H.R. 4789 and S.
2500). The petition will also be delivered to members of the House and
Senate Judiciary Committees.
The signature drive was led overseas by PPL, the U.K. equivalent
of SoundExchange, and IFPI, the global trade organization of the recording industry. National bodies representing the music community
are also backing the campaign, such as AIE – Spanish Performers Collecting Society – that represents 14,000 performing artists in Spain.
“No one tunes into the radio to listen to the commercials, yet corporate radio stations are making billions of dollars attracting listeners
with our music and they don’t pay for it,” said Bartlett.
A copy of the petition and list of international artist signatories
can be found here.
New Stargate CD by Joel
Goldsmith Released
n BuySoundtrax.com has announced the release of a new soundtrack
CD for the direct-to-DVD film Stargate: The Ark of Truth with music
composed by Joel Goldsmith. The CD is released on Freeclyde Records
and is distributed by BuySoundtrax.com
Recorded live with the Seattle Northwest Sinfonia, the CD underscores the conclusion of the Stargate team’s struggle with the Ori, as
well as its ongoing battle with the Replicators. Included with the CD is
a 16-page full-color booklet that includes articles by Robert C. Cooper,
Brad Wright, and Joel Goldsmith. The CD is available for pre-order at
http://www.buysoundtrax.com and ships on April 18, 008. The first 100
copies will be autographed by composer Joel Goldsmith.
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SCORING NEWS
THIS WEEK’S MAJOR
SCORING ASSIGNMENTS
Joel Goldsmith:
Stone’s War
Joel Goldsmith has two
new film scores coming
up. He is doing the
music for Stone’s War,
an action thriller written
and directed by Finnish
filmmaker Marko Mäkilaakso, shot in Lithuania and produced
by Media One Entertainment for release
by The Little Film Company in June. The
cast includes Andrew Tiernan and Andreas
Wilson in a story about a platoon of American and Finnish soldiers who discover a
frightening secret deep into the Russian
woods. Joel Goldsmith is also scoring
Stargate: Continuum, a Stargate movie
coming out on DVD this summer, follwing
Stargate: The Ark of Truth, which was
released on March 11. Since the launch of
the Stargate television franchise in 1997,
Goldsmith has been the main composer of
both Stargate SG-1 and Stargate: Atlantis.
Goldsmith is working with his usual orchestrator and conductor, Nicholas Dodd,
on Stargate: Continuum, which is directed
by Stargate veteran Martin Wood.
Mychael Danna:
Stone of Destiny
Canadian composer
Mychael Danna is doing
the score for Stone of
Destiny, directed by
Charles Martin Smith,
who previously worked
with Danna on The
Snow Walker in 2003. Produced by Infinity
Features Entertainment in Canada and
UK’s The Mob Film Company, Stone of
Destiny tells the story of Ian Hamilton, a
Scottish nationalist who wanted to bring
the Stone of Scone back to Scotland from
England in the 1950s. Robert Carlyle, Kate
Mara, Billy Boyd and Charlie Cox star in
the film which is due out later this year.
Mychael Danna is also teaming up again
with Canadian auteur Atom Egoyan, doing
the score for his new film Adoration.
It’s their ninth feature film together (not
counting their episode in the 1991 film
Montréal vu par...), a drama starring Scott
Speedman, Rachel Blanchard and Kenneth
Welsh. In addition to these two films, Mychael Danna is also attached to The Time
Traveler’s Wife and Passchendaele, and is
co-writing the scores for Lakeview Terrace
and The Imaginarium of Doctor Parnassus
with his brother, Jeff Danna.
4
David Julyan
The Descent 2
David Julyan’s dark
orchestral music for
the 2005 horror hit The
Descent is probably his
most acclaimed film
score so far. He has now
confirmed to Upcoming
Film Scores that he will begin work on the
music for the sequel later this year. The
Descent 2 is written and directed by the
editor of the first film, Jon Harris, who is
also editing Eden Lake, another upcoming
feature with music by David Julyan (he
records the score for this one next week).
The Descent sequel, which is scheduled to come out in 2009, is reportedly
continuing the story where the first movie
ended. David Julyan is also attached to a
film called The Daisy Chain, an Irish thriller
starring Samantha Morton. His other
recent credits include War and Outlaw.
THE SCOREBOARD
LATEST ADDITIONS:
Mychael Danna: Stone of Destiny •
Adoration.
Joel Goldsmith: Stargate Continuum •
Stone’s War.
David Julyan: The Daisy Chain • The
Descent 2.
Dana Niu: Conjurer • Hurt.
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: Killshot • 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.
by MIKAEL CARLSSON
mcarlsson@filmmusicweekly.com
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: 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 • The
Forbidden Kingdom.
Kenneth Burgomaster: Garfield’s Fun
Fest • Hero Wanted.
Mickey Bullock: Sportkill • Orville.
Carter Burwell: In Bruges.
Edmund Butt: The Waiting Room.
Niall Byrne: How About You.
Peter Calandra: The Sickness.
Jeff Cardoni: You and I (Finding tATu).
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 •
Harold & Kumar Escape from Guantanamo Bay.
Chandra Cogburn: Fiesta Grand • Orgies and the Meaning of Life • The Bard:
The Story of Robert Burns.
Ron Alan Cohen: Who’s Your Monkey?.
Juan J. Colomer: Dark Honeymoon.
Alfons Conde: No-Do.
Normand Corbeil: Ma fille, mon ange •
Boot Camp • Emotional Arithmetic.
Bruno Coulais: MR 73 • Les Femmes
de l’ombre • Coraline.
Burkhard Dallwitz: The Interrogation of
Harry Wind • Chainsaw.
Jeff Danna: Lakeview Terrace (cocomposer) • The Imaginarium of Doctor
Parnassus (co-composer).
Mychael Danna: Lakeview Terrace
(co-composer) • Stone of Destiny •
Adoration • The Time Traveler’s Wife
• Passchendale • The Imaginarium of
Doctor Parnassus (co-composer).
Carl Davis: The Understudy.
Marcello De Francisci: The Butcher.
Wolfram de Marco: The Lost Tribe.
Jessica de Rooij: Tunnel Rats • Far Cry
• Alone in the Dark II.
John Debney: Big Stan • Bachelor No. 2
• Starship Dave • Swing Vote • Old Dogs
• Sin City 2.
Tim DeLaughter: The Assassination of a
High School President.
Charles Denler: I Am • A Handful of Beans • Nothing But Dreams • Buttermilk
Sky • A Meadowlark Calling • Kate & Co.
Erik Desiderio: He’s Such a Girl • Sons
of Liberty.
Alexandre Desplat: Afterwards • Largo
Winch.
Ramin Djawadi: Deception • Fly Me to
the Moon • The List • Iron Man.
Pino Donaggio: Colpe d’occhio.
James Michael Dooley: The Little Mermaid: Ariel’s Beginning • Impy’s Island 2.
Patrick Doyle: Nim’s Island • Igor.
Christopher Drake: Batman - Gotham
Knight (co-composer).
Ludek Drizhal: Life Goes On • Synapse
• The Next Race: The Remote Viewings •
The Sno Cone Stand Inc.
Anne Dudley: Black Water Transit.
Randy Edelman: The Mummy: Tomb of
the Dragon Emperor.
Jonathan Edwards: The Golden Boys.
Steve Edwards: The Neighbor • The
Intervention • Sharks in Venice.
Cliff Eidelman: He’s Just Not That Into
You.
Danny Elfman: Standard Operating
Procedure • Wanted • Hellboy 2: The
Golden Army.
Stephen Endelman: Redbelt.
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: Knife Edge • The Brøken •
Dylan.
Chad Fischer: The Babysitters.
Robert Folk: Kung Pow: Tongue of Fury
• Magdalene • Vivaldi.
Jason Frederick: Good Chemistry •
Bears.
Bill Frisell: All Hat.
John Frizzell: Henry Poole Is Here.
Michael Giacchino: Speed Racer • Star
Trek.
Vincent Gillioz: The Appearance of
Things • Portal • Last Breath.
Scott Glasgow: Toxic • The Gene Generation • Lo • The Bridge to Nowhere.
Philip Glass: Les animaux amoreux.
Erik Godal: The Gift • Ready Or Not •
Irreversi • Holodomer • Deep Gold •
Spring Break ’83 • Hardland.
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.
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly
Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources.
The list is limited to feature film scoring assignments. New additions are highlighted in red print.
John Graham: Long Flat Balls II.
Harry Gregson-Williams: Jolene • The
Chronicles of Narnia: Prince Caspian •
G-Force • Wolverine.
Rupert Gregson-Williams: You Don’t
Mess With the Zohan • Made of Honor •
Bedtime Stories.
Andrew Gross: Forfeit • National
Lampoon’s Bag Boy • Diamond Dog
Caper • The Speed of Thought.
Larry Groupé: Love Lies Bleeding • The
Hungry Woman • Straw Dogs.
Andrea Guerra: The Accidental Husband • Parlami d’amore • Heart of Fire.
Robert Gulya: Atom Nine Adventures •
Themoleris • 9 and a Half Date.
Steven Gutheinz: Rothenburg.
Todd Haberman: Killer Movie.
Richard Hartley: Diamond Dead.
Paul Hartwig: Holiday Beach • Tyrannosaurus Azteca.
Richard Harvey: Eichmann.
Paul Haslinger: Prom Night • Make It
Happen • While She Was Out.
Paul Heard: Clubbed.
Alex Heffes: My Enemy’s Enemy •
State of Play.
Reinhold Heil: Blackout (co-composer) •
The International (co-composer).
Christian Henson: Zomerhitte • A
Bunch of Amateurs.
Eric Hester: The Utopian Society • Lost
Mission • Frail.
Tom Hiel: A Plumm Summer.
David Hirschfelder: Shake Hands With
the Devil.
Ben Holbrook: Kiss the Bride.
Trevor Horn: Kids in America.
James Horner: The Boy in Striped
Pyjamas • Avatar.
Richard Horowitz: Kandisha • The
Whisperers.
James Newton Howard: The Happening • The Dark Knight (co-composer) •
Defiance • Confessions of a Shopaholic.
David A. Hughes: Awaydays.
Terry Huud: Plaguers.
Søren Hyldgaard: Red.
Alberto Iglesias: The Argentine • Guerrilla.
Mark Isham: Pride and Glory • The
Express.
Corey Allen Jackson: Idiots and Angels.
James Jandrisch: American Venus.
Adrian Johnston: Sparkle • Brideshead
Revisited.
Bobby Johnston: Hotel California •
Happiness Runs • Spooner.
Evan Jolly: Tonight Is Cancelled.
Tim Jones: Cryptid.
David Julyan: Eden Lake • The Daisy
Chain • The Descent 2.
George Kallis: Antigravity.
Jan A.P. Kaczmarek: The Visitor.
Tuomas Kantelinen: Arn - Riket vid
vägens slut.
Yagmur Kaplan: The Elder Son • The
Lodge • Broken Windows.
Laura Karpman: Out at the Wedding •
Ace Ventura 3.
Kenji Kawai: L – Change the World •
Orochi • The Sky Crawlers.
Rolfe Kent: The Lucky Ones.
Wojciech Kilar: Black Sun.
Mark Kilian: Before the Rains • Traitor.
David Kitay: Shanghai Kiss • Blonde
Ambition.
Johnny Klimek: Blackout (co-composer)
• The International (co-composer).
Abel Korzeniowski: Terms.
Penka Kouneva: Midnight Movie • The
Gold and the Beautiful.
Ivan Koutikov: Wanted Undead Or Alive
• Living Hell.
Robert J. Kral: Batman - Gotham Knight
(co-composer).
Aryavarta Kumar: The Rapture • Greater Threat.
Nathan Larson: August • Choke.
Jim Latham: Greetings from the Shore
• Swishbucklers • Parental Guidance
Suggested.
James Lavino: Woodpecker.
Craig Leon: Maestro.
Geoff Levin: Triloquist • The Rat Thing •
Agenda • The Fallen.
James S. Levine: Otis.
Michael A. Levine: Columbus Day.
Krishna Levy: Le nouveau protocole.
Gary Lionelli: Oswald’s Ghost.
Jason 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.
Helen Jane Long: Surveillance.
Erik Lundborg: Absolute Trust.
Daniele Luppi: Hell Ride.
Deborah Lurie: Spring Breakdown.
Vivek Maddala: They Turned Our Desert
Into Fire.
Nuno Malo: Mr. Hobb’s House.
Mark Mancina: Sheepish • Camille •
Without a Badge • Like Dandelion Dust.
Aram Mandossian: The Last Resort.
Harry Manfredini: Black Friday • iMurders • Impulse • Anna Nicole • Dead
and Gone.
David Mansfield: Then She Found Me •
The Guitar.
Kevin Manthei: Batman - Gotham
Knight (co-composer).
Dario Marianelli: Far North • Hippie
Hippie Shake • The Soloist.
Anthony Marinelli: Grizzly Park •
Footsteps.
Gerard K. Marino: Fuego.
Gary Marlowe: Los Pereyra • Das echo
der Schuld.
Phil Marshall: Live.
Cliff Martinez: Stiletto.
Richard Marvin: The Narrows • Dead
FILM MUSIC weekly ISSUE 58 • APRIL 8, 2008
Like Me • Picture This! • A Fork in the
Road.
John McCarthy: The Stone Angel.
Bear McCreary: Rest Stop 2.
Michael McCuiston: Broke Sky (cocomposer).
Don McGlashan: Dean Spanley.
Joel McNeely: The Tinkerbell Movie.
Nathaniel Mechaly: Taken • Dorothy
Mills.
Matt Messina: The Least of These.
Guy Michelmore: Doctor Strange •
Bono, Bob, Brian and Me.
Randy Miller: Last Time Forever •
Shanghai Red • Second Chance Season.
Robert Miller: The Key Man • Trumbo •
On the Hook • Wherever You Are.
Angelo Milli: Máncora • Paraiso Travel.
Sheldon Mirowitz: Renewal • Operation Filmmaker.
Richard G. Mitchell: Almost Heaven.
Charlie Mole: Fade to Black • I Really
Hate My Job • St. Trinian’s.
Tony Morales: Something Is Killing Tate
• Ball Don’t Lie.
John Morgan: The Opposite Day (cocomposer).
Paul Leonard-Morgan: Popcorn.
Cyril Morin: Un coeur simple.
Trevor Morris: Matching Blue • Krews.
Mark Mothersbaugh: Quid Pro Quo •
Cloudy with a Chance of Meatballs.
Hélène Muddiman: Skin.
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.
Joey Newman: Safe Harbour.
Randy Newman: Leatherheads • The
Frog Princess.
Thomas Newman: Nothing Is Private •
Wall-E • Revolutionary Road.
David James Nielsen: Reclaiming the
Blade.
Stefan Nilsson: Heaven’s Heart.
Dana Niu: Conjurer • Hurt.
Marinho Nobre: Left for Dead • Sacred
Game.
Adam Nordén: Everybody’s Dancing •
Wolf • De Gales hus.
Julian Nott: Heavy Petting.
Paul Oakenfold: Victims.
Dean Ogden: Oranges • Knuckle Draggers • A Perfect Season • The Sensei.
John Ottman: Valkyrie.
John Paesano: Shamrock Boy.
Heitor Pereira: The Canyon • Running
the Sahara • South of the Border.
Mark Petrie: The Road to Empire • Valley
of Angels • Farmhouse.
Barrington Pheloung: Incendiary.
Leigh Phillips: War Made Easy • Still
Life.
Martin Phipps: Grow Your Own.
Nicholas Pike: It’s Alive • Parasomnia.
Nicola Piovani: Odette Toulemonde.
Douglas Pipes: Trick r’ Treat • City of
Ember.
Michael Richard Plowman: Edison
and Leo.
Conrad Pope: In My Sleep.
Steve Porcaro: The Wizard of Gore •
Cougar Club.
John Powell: Hancock • Stop Loss •
Green Zone • Kung Fu Panda (co-composer) • Bolt.
Michael Price: Sugarhouse Lane •
Agent Crush • Wild Girl.
Alec Puro: The Thacker Case.
Trevor Rabin: Get Smart.
Didier Lean Rachou: An American in
China.
Brian Ralston: Graduation • 9/Tenths.
Jasper Randall: The Secrets of Jonathan Sperry.
Joe Renzetti: 39 • Universal Signs.
Graeme Revell: Pineapple Express
• Days of Wrath • The Ruins • Street
Kings.
Graham Reynolds: I’ll Come Running.
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: The Cottage • Broken
Lines.
David Glen Russell: Contamination.
David Russo: Pig Hunt.
Hitoshi Sakamoto: Romeo x Juliet.
H. Scott Salinas: Strictly Sexual • What
We Did on Our Holidays.
Anton Sanko: Life in Flight.
Gustavo Santaolalla: I Come With the
Rain • On the Road.
Brian Satterwhite: Cowboy Smoke.
Mark Sayfritz: Sake • The Shepherd.
Brad Sayles: The Bracelet of Bordeaux.
Dominik Scherrer: Good Morning
Heartache.
Misha Segal: Lost at War • Shabat
Shalom Maradona.
Marc Shaiman: Slammer.
Theodore Shapiro: The Mysteries of
Pittsburgh • The Girl in the Park • Tropic
Thunder • Nowhereland • Marley & Me.
George Shaw: Victim • Sailfish.
Edward Shearmur: Passengers • Meet
Bill • Righteous Kill.
Ryan Shore: Numb • Jack Brooks –
Monster Slayer • Shadows.
Vince Sievers: The Source.
5
Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources.
The list is limited to feature film scoring assignments. New additions are highlighted in red print.
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.
Mark Snow: The X-Files 2.
Jason Solowsky: L.A Takedown •
Strawberries For The Homeless • Tamales And Gumbo • The Sweep • Exodus?
Maarten Spruijt: The Seven of Daran Battle of Pareo Rock.
Fred Story: Children of All Ages.
Marc Streitenfeld: Body of Lies.
William T. Stromberg: TV Virus • Army
of the Dead • The Opposite Day (cocomposer).
John Swihart: The Longshots.
Johan Söderqvist: Walk the Talk • Let
the Right One In • The Invisible.
Joby Talbot: Son of Rambow.
Frédéric Talgorn: 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.
Tom Tykwer: The International (cocomposer).
Brian Tyler: The Heaven Project •
Dragonball.
Nerida Tyson-Chew: Cactus.
Shigeru Umebayashi: A Simple Love
Story • Absurdistan.
Cris Velasco: Prep School.
Fernando Velázquez: Shiver.
James L. Venable: Superhero Movie •
Zack and Miri Make a Porno.
Reinhardt Wagner: Faubourg 36.
Gast Waltzing: JCVD • Les dents de
la nuit.
Michael Wandmacher: Train • Chain
Letter.
Stephen Warbeck: Flawless • The Box
Collector.
Matthias Weber: Silent Rhythm.
Craig Wedren: Little Big Men.
Richard Wells: The Mutant Chronicles.
Cody Westheimer: Benny Bliss and the
Disciples of Greatness • Hysteria.
Alan Williams: For the Love of a Dog •
Act Your Age • Snow Princess • He Love
Her, She Loves Him Not • The Velveteen
Rabbit.
David Williams: The Conjuring.
John Williams: Indiana Jones and the
Kingdom of the Crystal Skull • Lincoln.
Patrick Williams: Mikey and Dolores.
Tim Williams: The Passage • Star
Crossed.
Austin Wintory: Captain Abu Raed •
Back Soon • Mr. Sadman • Grace.
Debbie Wiseman: Amusement • The
Hide.
Chris Wood: Zombies Ate My Prom
Date.
Lyle Workman: Forgetting Sarah
Marshall.
Alex Wurman: Five Dollars a Day • The
Promotion.
Gabriel Yared: Manolete • The No. 1
Ladies Detective Agency • Adam Resurrected.
Christopher Young: A Tale of Two
Sisters.
Geoff Zanelli: Delgo • Outlander •
Ghost Town.
Marcelo Zarvos: What Just Happened?
Aaron Zigman: Lake City • Flash of
Genius • Blue Powder.
Hans Zimmer: Frost/Nixon • Casi Divas
• Kung Fu Panda (co-composer) • The
Dark Knight (co-composer).
Atli Örvarsson: Babylon A.D.
Classicalandfilmmusic
Production company with 20 years tradition and experiences , recording,
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Our own „Film Symphony Orchestra Prague“ with excellent players
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Full service for clients: studio,orchestra booking, conductors, great engineer with
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All staff speaking english.
Studio 1 equiped by Pre-amps and mixing console Neve V48, Lexicon 480,
Pro-Tools HD 192kHZ 7.3 version 48 in/out.
Wide collection of Neumann microphones, incl. the tube mics.
Steinway piano year 1907.
Our prices are a fifth of London, Boston or New York.
Clients: Dream Works, Sony Pictures, BBC production,Fine Line Media,
Wellspring Media, A.R.Rahman, John Califra, J.M.Williams and many others.
2 Grammy nominations for Soundtrack to the „ONCE“ movie .
OSCAR for the best film music- song „Falling Slowly“.
Contact:
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tel: + 420 605 287 386, + 420 603 502 500
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6
3/11/08 7:42:44 PM
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly
CD REVIEW
by DANIEL SCHWEIGER
dschweiger@filmmusicweekly.com
Murray Gold’s Music
Continues to Spiff Up
the T.A.R.D.I.S.
Title: Doctor Who- Season 3
Composer: Murray Gold
Label: Silva Screen Archives Entertainment
Suggested Retail Price: $13.99
Grade: A
T
V’s science fiction scoring has certainly
been journeying to diverse and eclectic
places, from the irritating yodeling of Wendy
and Lisa’s music for Heroes to the brilliantly
anti-traditional scoring that Bear McCreary
has applied to Battlestar Galactica. And for
three seasons, Murray Gold’s all-over-theconstellation stylings for Doctor Who have
occupied their own, wonderful niche. From
the start, Gold’s been given a musical budget
that accords with the Doctor’s souped-up
T.A.R.D.I.S. But more importantly, this brash
revamping of the long-running Time Lord
has allowed for crazed storylines that have
opened up new worlds of melodic potential.
And with this new collection of Season 3’s
best tracks, Gold continues to amaze with an
ability to have his music land at any place,
time or planet – all with his distinctively
playful voice uniting the swings of his musical stories.
The great thing about listening to Silva’s
new Doctor Who compilations is that you
have no idea where Gold’s music will take
you. And Season 3 just might be the coolest
ride of them all. The first stop here is the
percussive symphonic stylings of the “All the
Strange Creatures” trailer music, which the
BBC’s National Orchestra of Wales belts out
with aplomb. And no matter where the album
takes you from here, Murray Gold’s opening choice sets the tone for strong, driving
themes that keep a tonal continuity, whether
the composer’s venturing to metal, 40’s jazz
or the orchestrally epic.
With over 28 cues on hand, it’s difficult
FILM MUSIC weekly ISSUE 58 • APRIL 8, 2008
to choose the musical favorites from Season
3, as every handpicked cue impresses. But
definite highlights include the surging chorus
and pounding orchestra of “Drowning Dry”
from “The Shakespeare Code.” The Crouch
End Festival Chorus belts out imposing, unknowable lyrics for “Evolution of the Daleks,”
while “The Dream of A Normal Death”
lyrical voices take us to an angelic afterlife.
A surf guitar drives “The Futurekind,” as
a whacked-out synths jam with a swirling
orchestra on “The Master Vainglorious.” “Just
Scarecrows to War” uses whistle and a march
motif to take the Doctor to WW1, while the
grandiose strains of “Martha’s Quest” is the
stuff of fantasy epics. It’s a sound that’s as
big as the gentle, religioso chorus of “Abide
with Me” (from “Gridlock”), a hymn that
brings Season 3’s album to a gentle, memorable end.
What’s so great about Gold’s approach
is that he’s going for the cinema instead of
the television set, showing a lush talent for
the orchestra that makes it a wonder he
hasn’t landed a major Hollywood score – yet.
But as big as many of the cues are here, it’s
the truly eccentric stuff that really makes
this album a joy. The Hammond organ and
shuffling percussion of “Gridlocked Cassini”
could be right at home in a Fellini movie,
while the slightly off-key whistling of “Only
Martha Knows” (from “Human Nature /
Family Blood”) is cute in the best way. A
muffled piano on “Miss Joan Redfern” (from
“The Family of Blood”) is eerily moving. But
perhaps the CD’s biggest left turn is “The
Master Tape,” whose metal power chords and
escalating, out-of-control orchestra turn the
Doctor’s ultimate foe into a zonked rock god.
One melody that does pop up throughout
Season 3’s soundtrack is “Martha’s Theme,”
which plays the Doctor’s new companion with
haunted voices and strings, an almost tragic
vibe that tells of secrets waiting to be revealed. Then with “Martha Triumphant,” she
leaves the Doctor’s side to a jazzy, grandiloquent orchestral accompaniment that practically screams “I am Woman!” Martha’s no
shrinking violet sidekick, especially thanks
to Gold’s proud treatment of her. Special note
can also be made Yamit Mamo’s beautiful
voice the big band jazz tune “My Angel Puts
the Devil in Me,” or the catchy, contempo
jingle of “The Stowaway.” It’s Doctor Who’s
amiable version of an Xmas standard, whose
chorus includes Gold and 007 composer
David Arnold.
As Doctor Who continues to morph with
new faces, adventures and a spin-off series,
we can only hope that Murray Gold stays
along for the ride. When sci-fi TV is progressively entering a dark zone that would send
even Kafka shrieking for some musical happy
time, it’s nice to have episodic scores that
are unabashedly fun. And yet again, Gold
delivers on the musical possibilities of the
Doctor’s wild ride.
n
GET THE CD HERE:
• http://www.amazon.com
7
8
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly
THE CHART DOCTOR
by RON HESS
rhess@filmmusicweekly.com
Anatomy Of An Arrangement Part 2:
Getting Started By Getting Organized
L
ast week we went through the process of
fielding the arranging work call and using
it to your advantage by asking the smart
creative questions that will get you underway
intelligently and efficiently. Ok, you’ve got the
gig. Now what?
One of my first positions here in L.A. was
as the copyist for Dee Barton, a name perhaps
unfamiliar to you, but an absolutely fearless bear of a composer with film credits for
earlier Clint Eastwood pics, jazz compositions
for Stan Kenton, and as leader of the most
testosterone-blessed big band I have ever
heard. He told me that, when he sat down to
write, if he was not particularly led by an idea,
he would occupy his mind with the gruntwork
of setting up his (pencil) score pages (clefs,
barlines, credits, etc.) simply because it got
him moving until an idea emerged. When arranging, I do something similar, although the
existence of templates now makes the setup
process go much faster, so I’m really talking
about something else.
As arrangers, we owe a certain hierarchy
of loyalties when we set out to borrow someone else’s button and sew a shirt on it. The
original tune and/or composer, any preceding
artist(s), my client, the eventual listener, and
my own creative identity all have a stake in
what I will do. In this situation, my client was
cool enough that he did some of my homework
for me, unsolicited, by providing a couple of
purchased lead-sheet arrangements and three
non-corresponding audio files of each tune, so
I had plenty of material from which to study.
What I did was to input the most interesting
(harmonically sophisticated) version into my
template (melody and chords on a dedicated
treble clef staff) and then add four additional
blank staves below it. I then changed the key
to match one of the other published editions,
and added that version’s melody and chords
FILM MUSIC weekly ISSUE 58 • APRIL 8, 2008
parallel to and below the previous one. I then
did a quick takedown of anything of interest
in the changes, melody, form, or style from the
three audio versions on the three remaining
extra staves, changing the key of the score
each time to match what I was currently
inputting. Any form or style elements I put in
verbally.
What I ended up with were five complete
versions of the tune, running parallel for easy
visual comparison, and all in the same key,
but each with their own elemental variants
that made them interesting ... or not. (Obviously at this point only one of the staves was
playback-enabled.) I took my cue from Desi
Arnaz’s invention of the Moviola, the threeheaded movie-playback monster, capable
of viewing three rolls of film (from three
different camera angles on the original “I
Love Lucy” show), individually or in parallel,
making it practical to access, view, and plan
edits more quickly and on a much greater
amount of film than before, which in turn led
to his entire multi-cam revolution in successfully filming weekly shows in front of a live
audience. Every bit the advance for television
that multi-tracking was for audio recording.
Smart guy, that Desi.
Why did I go to this extra bit of work
when the human urge (and its potential for
pressure-induced writer’s block) was to get
creating? Simply to quickly assemble in an
organized way the assets of what was already
known before diving into what wasn’t, both as
a source of useful ideas and to act as a springboard for invention. One can’t convincingly
break new ground if one doesn’t have intimate
knowledge (or at least a road map) of the old.
Plus, a good arranger must do a certain dance
with his listener, tantalizing him with familiar, comfortable hints of the old interspersed
with all of the new.
Step two was to also take stock of and
organize what I knew about the forces for
which I’d be arranging. In this case, I had to
take a close look at the featured instrument
(oboe) and its limitations (where it sings and
where it squeaks and honks), as well as the
range, stylistic, and flexibility demands of the
melody, and how all of these would dictate
other aspects of the arrangement such as
starting key, whether or not to modulate,
which modulation would make the soloist
stronger at the end, which key relationships
made for a relaxed, homogeneous string
section tone and performance, potentials for
improvisation, and so on, and on, and on... .
The list at times seemed endless, but to ignore
it might have been fatal. Plus, the client had
requests of his own (what to feature on the
intros, possible added colors, styles, etc.) All of
these had to be collated for easy reference and
eventual verification.
At this point, and with a minimum of
time and wasted creative effort, I had my
assets established and accessible at a glance:
the building blocks of the original tune, my
complete analysis of the needs and limitations
of my soloists and ensemble, and the thoughts
and expectations of the client/artist. Time to
establish the broad strokes and then start filling in the holes… .
Next week: Creating a new set of “building
blocks.”
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
Best Service Galaxy II Piano Collection
I
f there’s a best-kept secret in the world of
sample library collections it’s Best Service.
Best Service consistently creates great usable
libraries. And even through the financial differences of the dollar vs. the Euro, Best Service
creates libraries of enduring value. Such is the
case with the new Galaxy II Piano Collection
which includes a Galaxy Steinway in both stereo and 5.1 surround, the Vienna Grand Imperial Bosendorfer 290 with the extra octave, and
the 1929 German Baby Grand Bluthner.
The library is in 24-bit. It introduces Sympathetic String Resonance with real overtones,
Sostenuto and Redamper pedal functions, 13
velocity zones, real Soft Pedal samples, and
adjustable Hammer, Pedal, Damper and String
Noises.
All the pianos are in the Kontakt 2 player.
Each piano has specially designed pop piano
sounds, a warp section for sound design, and
a built-in convolution reverb with rooms, halls
and ambiences.
Each of the three pianos comes with the
main sound, Styles, Pads, Warped Sounds and
Really Warped sounds (so warped you don’t
know it’s a piano replication). Styles represent
various performance scenarios shaped by a
compressor.
Street price is under $350US.
System Tested With
I tested this with a Yamaha S90 keyboard,
Dual 2.7GHz Mac G5, RME Fireface 800, KRK
VXT8 monitors and Logic 8. The KRKs have
been ideal for these reviews because their frequency range covers virtually the full orchestral spectrum from basses to piccolo.
How Tested
First, I cheated. My mother-in-law is a classically trained pianist and I had her play all
three pianos. I then tested each with Hanon exercises, the Berklee Level 1 keyboard manual,
scales, and a Debussy MIDI example created in
Sibelius and imported into Logic.
Vienna Grand Imperial Bösendorfer 290
The original Bösendorfer 290 was 9’6” long
and had an extended octave with 97 keys. The
10
number 290 represents its length in centimeters. The Bösendorfer’s sound is considered to
be dark rich when compared to the Steinway
or Yamaha. The Imperial Grand contains nine
extra bass notes after the last pitch; A. These
were added so that Busoni’s transcriptions of
J.S. Bach’s organ works requiring the 32’ bass
pipes could be performed.
1929 German Baby Grand Bluthner
Bluthner Piano was started in Germany in
1853. The company is still going today. Owners
of the Bluthner include Johannes Brahms,
Gustav Mahler, Béla Bartók, Claude Debussy,
Max Reger, Richard Wagner, Johann Strauss,
Pyotr Ilyich Tchaikovsky, Dmitri Shostakovich,
Andrew Lloyd Webber, Wilhelm Kempff, Yehudi
Menuhin, Wilhelm Furtwängler, and Marlene
Dietrich. A Bluthner at Abbey Road in London
was used on a number of Beatles’ tracks. Bluthners are known for their singing tone.
Steinway Model D 270
This is one of the best-known Steinway
Concert Grand Pianos. It was recorded in
Belgium. Needless to say, Steinways are still
made today. I found details on the Model D at
the Steinway website. In this sampled collection, the Steinway is recorded both in stereo
and surround.
Colors
The Vienna Grand Imperial is a very
powerful elegant sound. If you want to do a
dramatic cue with staccato punches in the low
end using a 12-tone row, this is your piano. I
was particularly impressed with how natural
sounding the upper end is.
The Bluthner is a very elegant sound;
softer, and a little duller when compared to the
Vienna Grand Imperial and the Steinway. Noodling with seventh and ninth chords produced
a lovely warm sound.
The Steinway is the brighter sounding of
the three. It’s clearly the workhorse and is very
flexible. In comparison to the other two, if I had
to assign an adjective to describe the sound,
I think it would be happy. There’s a lilting
quality to the sound. Noodling around with the
same seventh and ninth chords I didn’t feel
the intimacy or the elegance that the Bluthner
captured. The chording struck me as being
more incisive.
Applications
If I could assign a single word to describe
the Galaxy II Collection it would be versatility.
There are three different pianos each with its
own sound and feel. This enables you to select
a piano sound by color, by feel, by power and
projection. If you’re using a piano in a cue or
with any other ensemble, you have the opportunity to select which piano blends best with
whatever instruments you’re selecting.
That is a singular advantage for the Galaxy II
Collection.
Since I only have arranger’s chops (if that)
for keyboard playing, I downloaded from Classical MIDI Archives Debussy’s The Girl With
the Flaxen Hair and The Sunken Cathedral to
compare each sampled piano using the same
two pieces.
On The Girl With the Flaxen Hair, to
me, the clear winner was the 1929 German
Baby Grand for both sound and articulation.
All sounded good, but the pedaling that was
programmed into the file just worked better on
the Bluthner.
For The Sunken Cathedral, the Vienna
Grand Imperial really brought out the power
of the piece as did the Steinway. The difference
between the two is that the Bösendorfer, even
at -10dB in Logic was spiking! Also, the way
the MIDI file was “pedaled” didn’t quite work
in the Bösendorfer’s favor. So of the three, I
thought the Galaxy Steinway worked the best.
The lesson here is not to rely on generic
pedaling. These are very sensitive pianos. Had
these two pieces been performed live on them,
or if the MIDI programming had been created
specifically for them, the pedaling would have
been spot on. So the message here is that
you have to edit for the specific piano sample
vs. relying on a generic pedaling that can be
applied to any piano sound. For the Galaxy
Collection, this is very important since both the
Vienna Grand Imperial and the 1929 German
Baby Grand have special pedaling samples
that weren’t available when these MIDI files
were created.
(Continued pg 11)
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly
MUSIC TECHNOLOGY
Best Service Galaxy II Piano Collection
(continued from pg 10)
Live Performance
Any of these pianos would work well in a live performance setting.
The key for live performance is selecting a really responsive master
MIDI keyboard controller with pedal, along with a good audio card and
sound system.
Editing Features
The Galaxy II Collection comes with plenty of editing power including the ability to add/subtract hammer, damper, pedal and string noise;
tone via colour, warmth and loudness; anatomy where you can configure
playability and tuning, and many other features.
I haven’t touched on these options, extensive as they are, because
my first concern is how well the collection sounds right out of the box
with no tweaking whatsoever. The answer is, it sounds great. The Galaxy
II Collection is a valuable collection for any composer and any style of
music.
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 58 • APRIL 8, 2008
DPOUBDUVT
11
MUSIC WANTED
Current Film & TV Music Job Listings
From The Film Music Network
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 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.
NATIVE AMERICAN INDIAN / WORLD MUSIC
TRACKS NEEDED
Native American Indian/world music track needed for
multiple film projects in production for satellite television network. May consider hiring score composer(s)
to create new tracks.
SCORE COMPOSER NEEDED FOR DRAMATIC
SHORT FEATURE
Score composer needed immediately for low-budget
dramatic short feature about a male prostitute who
runs into the 10 year old son of his client. Both of
them lacking emotional comfort and find a friend in
each other to overcome each their monsters.
PATRIOTIC ORCHESTRAL MUSIC NEEDED ASAP
National ad agency seeks patriotic orchestral instrumental music for a political ad campaign.
ORCHESTRAL COMPOSERS/MUSIC NEEDED
IMMEDIATELY FOR FILM PROJECTS
Experienced film and television composer seeks additional composers working via Internet and orchestral
music to license immediately for film projects.
POP AND ORCHESTRAL UNDERSCORE NEEDED
BY LA TV MUSIC LIBRARY
L.A. based television music library in use on several
high profile network and cable production seeks
Instrumental underscore that is 1. current on-the-radio
pop sounding (rock, hip-hop, pop, etc.), or 2. dramatic
orchestral/contemporary film score sounding.
COMPOSER NEEDED ASAP TO CREATE 20S/40S
JAZZ TRACKS WITH VOCALS
Experienced composer needed immediately by television network to create 1920s/1940s sounding jazz
music with vocals in the style of Jo Stafford, Patti
Page, etc.
12
INSTRUMENTAL CLASSICAL MUSIC NEEDED FOR
FEATURE FILM
English language feature film being produced for
Bollywood (Indian film industry) seeks classical music
instrumental tracks immediately. No vocals or choirs should be instrumental - either small group (chamber
ensemble, etc) or larger group.
JAZZ FUSION TRACKS NEEDED FOR FEATURE
FILM
English language feature film being produced for
Bollywood (Indian film industry) seeks jazz fusion
instrumental tracks immediately.
METAL AND HIP-HOP TRACKS NEEDED
IMMEDIATELY FOR INDIE FEATURE FILM
Metal and hip-hop tracks are needed immediately for
independent feature film. Will consider instrumental
or vocal tracks.
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.
ONLINE MUSIC LIBRARY SEEKS INSTRUMENTAL
TRACKS
Very well established online music library seeks
master quality instrumental music of many flavors and
styles. Mixes must be outstanding. 50/50 sync split
and writers keep 100% of writer share of performance royalties.
MUSIC LICENSING CO SEEKS INDIE MUSIC TO
REPRESENT
San Francisco music licensing company is looking for
good quality music from independent labels and artists to represent non-exclusively.
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.
ISSUE 58 • APRIL 8, 2008
FILM MUSIC weekly