ISSUE 22 • JULY 5, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com

weeklyFILM MUSIC

MORE INSIDE:p:3 POLL: buyOut recOrding cOntractsp:5 igLesias in cOncertp:12 technOLOgy: PLay hardp:14 chart dOctOr: finding a cOnductOrp:15 the scOrebOard

© 2

007

fox

sea

rc

hli

gh

t

25-year-old Glass protegè scores

n Nico Muhly, a 25-year-old composer who studied for John corigliano and christo-pher rouse and worked on numerous scores for Philip glass, has composed his first ma-jor feature film score in his own right. the film will be released by fox searchlight this week and is entitled Joshua, a psychological drama starring sam rockwell and Vera farmiga. in this week’s “score of the Week” interview, Nico talks extensively about his views of film music, his work for Philip glass and writing music for films as opposed to concert music. p:7Fox Searchlight has picked up distribution of “Joshua,” a psychological drama scored by 25-year-old Nico Muhly.

JoshuaNico Muhly

SCORE OF THE WEEK

GoldsmithDeluxeFromVarèseClubn Varèse Sarabande has announced their lat-est batch of eagerly awaited CD club releases, with two deluxe editions of previously available Varèse titles: The ‘Burbs by Jerry Goldsmith and F/X by Bill Conti. p:11

InternationalWritersEnjoyCatalogSplitsAmongASCAP,BMIandSESAC

MedowElectedtoASCAPBoard

The ASCAP Board of Directors has elected Wind-swept President and CEO Evan Medow to its board to fill the position formerly held by Nicholas Firth.

Medow helped found Windswept Pacific Enter-tainment Co. in 1988 and has served at its succes-sor, Windswept Holdings LLC, as President and CEO since 1991. He was admitted to the Califor-nia Bar in 1968 and worked for Dot Records, ABC Records, and A&M Records’ publishing operation. Mr. Medow has also run his own legal practice and been the president of the Association of Inde-pendent Music Publishers. He also serves on the boards of the National Music Publishers Associa-tion and The Harry Fox Agency.

Officials at ASCAP, BMI and SESAC confirmed that international (non-U.S.) writers have for years enjoyed a significant benefit that is denied to U.S. writers – the ability to split their music catalog between ASCAP, BMI and SESAC and place differ-ent musical works at the society that they believe pays or tracks that particular type of music more favorably.

Currently ASCAP, BMI and SESAC

limit U.S. writers to being a current mem-ber of only one performing rights society at any time, and during the term of the writ-ers’ membership with a society, they have no choice but to place all material they write with that society unless the material is li-censed directly to broadcasters. While U.S. publishers are allowed to be members of both societies simultaneously, U.S. writers are denied that privilege. p:3

� issue �� • JuLy 5, �007 weeklyFILM MUSIC

Publisher: Mark Northam editor: Mikael Carlsson

VP finance and Operations: Rebecca Lee art director: Denise Westmoreland

advertising sales Manager: Steve Schatzberg

copy editor: Lisa Rawson technology editor: Peter Alexander

soundtrack review editor: Daniel Schweiger.

Website design: Rakesh Rai accounting: Tina Chiang

Legal advisor: Patricia Johnson, esq.

film Music Weekly is published weekly by global Media development group, inc.

executive and editorial Office: �70�3 Mcbean Park-way suite 618, Valencia, ca 91355. tel: 310-645-9000 fax: 310-388-1367, email: info@filmmusicweekly.com.

We are not responsible for unsolicited material. all rights reserved. reproduction in whole or in part without written permission of the publisher is prohibited. the opinions of contributing writers and editors to this publication do not necessarily reflect the views of global Media development group, inc. or any of our divisions, management or staff.

YOUR FEEDBACK We welcome feedback on any aspect of film Music Weekly. all letters must include an address and daytime phone number. We reserve the right to edit letters for clarity and space and to use them in all electronic and print editions. Mail to: film Music Weekly, �70�3 Mcbean Parkway suite 618, Valen-cia, ca 91355 or email feedback@filmmusicweekly.com

ADVERTISING Our comprehensive advertising programs offer premier visibility to film and television music profes-sionals, soundtrack collectors, and music execu-tives worldwide. We offer competitive rates on a wide variety of advertising opportunities including display advertising and online advertising. for more information, call 1-800-774-3700 or 310-645-9000 or email sales@filmmusicweekly.com

REPRINTS AND COPYRIGHT PERMISSIONS before quoting or reusing editorial material, or for custom reprints (minimum order 100) contact 310-645-9000 or email reprints@filmmusicweekly.com

SUBSCRIPTIONS subscriptions to film Music Weekly via email are available at no cost. to subscribe, visit our website at www.filmmusicweekly.com and enter your email address in our subscription section.

Film Music Weekly and its logo are trademarks of Global Media Development Group, Inc. All Rights Reserved. Entire Contents © 2007 Global Media Development Group, Inc

weeklyFILM MUSICthis Week on

FMRFILM MUSIC RADIO

ON THE SCORE: LISA GERRARD

film music journalist daniel schweiger interviews Lisa gerrard,

a composer whose haunting vocals have put a transcendent

spin on soundtracks

INSIDE THE BUSINESS: DOUG WOOD

Join host Mark northam for an candid, in-depth interview with

composer and music library owner doug Wood about his ascaP

board candidacy and more. also hear interviews with dan Kimpel,

John braheny and samm brown iii.

TUNE IN HERE!

OurThe Film & TV Music Awards

are the voice of the industry,

reflecting the views of the film

and television music industry at

large rather than any particular

industry organization or society.

Join the industry this year in

nominating and voting for those

people and productions who

truly represent the state of the art

in the categories of composing,

songwriting, music supervision,

orchestration, music editing,

score mixing, contracting, music

editing, performing and more.

issue �� • JuLy 5, �007 3weeklyFILM MUSIC

Officials at ASCAP, BMI and SESAC confirmed that international (non-U.S.) writers have for years enjoyed a significant benefit that is denied to U.S. writers – the ability to split their music catalog between ASCAP, BMI and SESAC and place different musical works at the soci-ety that they believe pays or tracks that particular type of music more favorably.

Currently ASCAP, BMI and SESAC limit U.S. writers to being a current member of only one per-forming rights society at any time, and during the term of the writers’ membership with a society, they have no choice but to place all ma-terial they write with that society unless the material is licensed di-rectly to broadcasters. While U.S. publishers are allowed to be mem-

bers of both societies simultane-ously, U.S. writers are denied that privilege.

While international and U.S. mu-sical works are treated the same by the U.S. societies, only international composers and songwriters are al-lowed to divide their musical works any way they prefer among the U.S. societies, placing their music catalog on a work-by-work basis among the U.S. societies based on which society they feel has better payment rates or performance tracking for each par-ticular work.

For all writers, once a musical work is placed with a U.S. society, it can only be moved to another U.S. so-ciety with the permission of the pub-lisher of the work, and only during the renewal window of the publish-er’s agreement with the U.S. society.

The unique right of interna-tional writers to split their cata-logs between the U.S. performing rights societies on a work-by-work basis also highlights the issue that ASCAP is often designated as the “default” U.S. society by European societies for the collection of per-formance royalties in the U.S. for their members’ music. Some Eu-ropean writers have complained that the ability to choose between ASCAP, BMI and SESAC to rep-resent their catalogs in the U.S. is not well known and say there is not enough information readily avail-able in their home countries about both how to place works with the U.S. societies and what the differ-ences are in tracking and payment rates among the U.S. societies. mn

FILM MUSIC NEWS

FROM THE PUbLISHER

Yes, We Can Talk

Last week’s historic meet-ing of the AFM President

Tom Lee, AFM Local 47’s John Acosta and the New Era Scor-ing buyout reps in Los Angeles proved a very important point: once all the heated rhetoric, anonymous blog sniping and election fodder is removed from the AFM situation, there defi-nitely is room for professionals to talk. And talk they did.

Lee was attacked mercilessly over the last three months

during the run-up to the AFM election by forces closely aligned with AFM Local 47 here in Los Angeles. Make no mistake: they wanted Lee’s head on a pike (professionally speaking, of course) and they spent a lot of time and money trying to make that happen.

A t the event, Tom Lee, John Acosta, and NES reps Greg

Townley and Yoav Goren par-ticipated in 90 minutes of open Q&A from the audience after the prepared questions were answered. All were professional, polished, and willing to talk and work with all parties concerned to help shape the path ahead.

In the end, Lee learned a lot about the NES reps, and the

NES reps learned a lot about Lee and the AFM. They talked, together and to the audience, and they answered questions. And in the end, with the bit-ter personal politics removed, there was progress. The issues were too important and these gentlemen too professional to allow petty personal politics to interfere with an honest, open, necessary forum. It reminds me of a favorite quote from pianist Chick Corea: “When in doubt, communicate.”

MarkNorthamPublisher�

� editor@filmmusicweekly.com

InternationalWritersEnjoyCatalogSplitsAmongASCAP,BMIandSESAC

Respondents to an industry poll conducted by Film Music Magazine have indicated significant support for the concept of the American Federa-tion of Musicians offering buyout re-cording contracts for film, television and video game music recording.

The AFM recently introduced, on a limited basis, a buyout agreement for video game scoring, which the union hopes will recapture a significant amount of video game recording work that currently is recorded in non-AFM locales including Seattle and Eastern Europe.

While international and U.S. mu-sical works are treated the same by the U.S. societies, only international composers and songwriters are al-lowed to divide their musical works any way they prefer among the U.S. societies, placing their music catalog on a work-by-work basis among the U.S. societies based on which society they feel has better payment rates or performance tracking for each particular work. For all writers, once a musical work is placed with a U.S. society, it can only be moved to another U.S. society with the per-mission of the publisher of the work, and only during the renewal win-

dow of the publisher’s agreement with the U.S. society.

A buyout recording agreement differs from a non-buyout agreement primarily in the area of future pay-ments to recording musicians. Under a union buyout agreement, pension and health and welfare payments are paid in addition to scale agreements, but there typically are no provisions for future payments to the recording musicians. A typical union non-buy-out agreement contains provisions for possible future payments for the musicians based on new releases and/or renewal releases of the film or television production that the music is used in.

The issue is of special interest to the fast-growing music library industry that currently avoids AFM recording agreements primarily be-cause of the inability of the library to control the usages of music once it issues blanket licenses to music users. Additionally, music library executives have told Film Music Magazine that it would be difficult to attempt to license recordings with union obligations attached. mn

Poll:71%SayAFMShouldOfferBuyoutRecordingContracts

OPENING THIS WEEK

THEATRICAL

• Introducing the Dwights (Martin armiger) • Joshua (nico Muhly) • License to Wed (christophe beck) • Rescue Dawn (Klaus badelt) • Transformers (steve Jablonsky)

DIRECT-TO-DVD

• Battlespace (Owen arnold) • Disappearances (Jeff claus / Judy hyman) • Earthstorm (sean Murray) • How You Look to Me (Veigar Margeirsson) • Jam (andy Kubiszewski)• Neverwas (Philip glass) • Our Very Own (John swihart) • With You (ted Pedersen)

�� ISSUE�22�•�JULY�5,�2007 weeklyFILM MUSIC

SIGNINGS & PROJECTS

Theodore�Shapiro:�Semi-Pron Theodore Shapiro has two new high-profile scoring gigs coming up. The first one is Semi-Pro, a new sports comedy (Shapiro has scored several of those before, including Dodgeball and the recent Blades of Glory) starring Will Ferrell, Woody Harrelson and André Benjamin. This is a basketball comedy direct-

ed by Kent Alterman, who is also producing ping-pong movie Balls of Fury and Mr. Woodcock, the upcoming Billy Bob Thornton com-edy also scored by Shapiro. Furthermore, Shapiro has been hired to score Ben Stiller’s new film, Tropic Thunder, a comedy starring Stiller, Owen Wilson, Jack Black, Robert Downey Jr and Nick Nolte. Produced by Dreamworks, it tells the story about a group of actors shooting a big-budget war movie who are forced to become the sol-diers they are portraying following a series of freak occurrences. Semi-Pro is scheduled to premiere on February 29 next year, and Tropic Thunder will come out on July 11. mc

FILM MUSIC NEWS

M E G A S AV I N G S !

LAST CHANCE TO BUY!

PLATINUM PRO XP WAS $1595 NOW $595!

GOLD PRO XP WAS $595 NOW $295!

SILVER PRO XP WAS $195 NOW $99.00(For owners of QLSO ORIGINAL EDITIONS)

IncludesGold Original

and Gold Pro XPall for one INCREDIBLE PRICE!!!

NOW!$495

WAS $995.00

IncludesPlatinum Original

and Platinum Pro XPall for one INCREDIBLE PRICE!!!

WAS $3,190.00

NOW!$995

IncludesSilver Original

and Silver Pro XPall for one INCREDIBLE PRICE!!!

WAS $295.00

NOW!$195

Includes:•••••

NOW!$1195

WAS $2380.00

First CD in our new “Discovery Collection”

Two years before the Oscar-nominated score for Pride and Prejudice, Dario Marianelli composed this beautiful score for

the British period drama I Capture the Castle. MovieScore Media now presents the original soundtrack from this film, featuring poetic and romantic orchestral music that ranks

among the best of the hailed composer’s works.

MOVIESCORE MEDIAKnowing the Score

QuintessentialMarianelli

n Composer Elia Cmiral, whose credits inclue Ronin, Stigmata and Bones, just had his of-ficial web site launched at http://www.eliac-miral.com. It features, among other things, a lot of sound clips from his film and television scores and a nice selection of photos. mc

New Web Site forElia Cmiral

issue �� • JuLy 5, �007 5weeklyFILM MUSIC

FILM MUSIC NEWS

THE A-LIST

The hottest composers in Hollywood right now:

1 (�). danny elfman� (3). John Williams 3 (1). hans Zimmer4 (4). ennio Morricone 5 (7). James newton howard6 (5). James horner7 (8). thomas newman8 (19). steve Jablonsky 9 (11). howard shore 10 (9). harry gregson-Williams11 (1�). Michael Penn1� (13). Philip glass13 (new). Michael giacchino 14 (new). nicholas hooper 15 (15). randy newman16 (6). Klaus badelt17 (14). billy corgan18 (10). clint Mansell19 (16). alan silvestri�0 (19). gustavo santaolalla

The list is based on data from Internet Movie Database’s “StarMeter”, showing “who’s popular based on the searches of millions of IMDb users”.

AlbertoIglesias:inConcertinGhent

n A concert with acclaimed Spanish com-poser Alberto Iglesias is one of the highlights of this year’s World S o u n d t r a c k

Awards event in Ghent, Belgium, on October 18-20.

The organizers of the festival, which takes place during the Gh-ent International Film Festival, announced several contents of this year’s program last week. The con-cert with Iglesias, the composer of scores such as The Constant Gar-dener, Talk to Her and All About My Mother, is the result of his win last year at the World Soundtrack Awards, when he was acclaimed as Composer of the Year. The concert in Ghent on October 19, featur-ing the Flemish Radio Orchestra, will focus on Iglesias’ long-time

collaboration with director Pedro Almodóvar.

The night before, Academy Award winner Gustavo San-taolalla and his Bajofondo Tango Club will perform music by the composer of Brokeback Mountain and Babel. On October 20, the 7th World Soundtrack Awards take place with special guests Mychael Danna and Evanthia Reboutsika already confirmed. mc

TheCueSheetIndexOnline

n The Film Music Society’s journal, The Cue Sheet, has been around since 1984. Now, on the society’s official web site (http://www.

filmmusicsociety.com), a new in-dex of all articles (in searchable PDF format) has been made avail-able. The Cue Sheet has featured interviews with such esteemed

composers as Andre Previn, Hugo Friedhofer, Ernest Gold, Elmer Bernstein, Jerry Goldsmith and Maurice Jarre. The upcoming two issues will feature special articles on Shirley Walker and Miklós Rózsa. mc

ConcertprogramforÚbedafestivaln The BSO Spirit Society has announced the concert program for the film music concert taking place during the 3rd Film Music Conference in Úbeda, Spain, on July 19-22. The program includes selections from Young Sherlock Holmes and Silverado by Bruce Broughton, Casino Royale and Stargate by David Arnold, Cut-throat Island and Lair by John Debney, Ice Age: The Meltdown, X-Men III: The Last Stand, Chicken Run and PS. I Love You by John Powell, Pan’s Labyrinth by Javier Navarret and Alatriste by Roque Baños. mc

6 issue �� • JuLy 5, �007 weeklyFILM MUSIC

Providing professional training in the art of

contemporary film scoring

Founded in 1997 by two-time Emmy Award-

winning film/television composer Hummie Mann,

(“Robin Hood: Men in Tights”, “In Cold Blood”,

“Cyberworld 3d” Imax Film), this internationally

recognized program - taught by the

program's creator - offers both theory

and methods for writing dramatic music

for motion pictures, television, video

games and other media as well as in-

depth, first hand knowledge and tools to

succeed in the film scoring industry.

Recent graduates of The Pacific NW Film Scoring Program offer the following feedback;

“…It has been about a year since I graduated from Hummie's class. In that time I have scored 13 short films, one of which is

at Sundance this year, and I just finished conducting the recording of my first feature film score with a small string orchestra

at Capitol Records in Hollywood.”

“…I have already earned a Master's Degree in Music, but the material I learned from Hummie Mann at the Pacific Northwest

Film Scoring Program has been some of the most useful and practical instruction I have been given.”

“…This course was stimulating and well-defined, and conducted with flair & intellect. No stale academia here!!!”

“…As far as we all know, this is the only place in the world where budding film composers can score for an orchestra and

have the incredible learning experience of all that is involved in the process, guided by a composer who makes his

living this way. An incredible in-depth, hands-on journey.”

Students recently completing the Pacific NW Film Scoring Summer Intensive Program had this to say;

“…The most practical course an aspiring film composer can take.”

“…I can’t imagine how I could have learned this much about film scoring so quickly in any other way.”

“…The amount of practical knowledge and tools that were conveyed were well beyond

what I expected or paid for!”

For additional information and to register please visit our website at

www.pnwfilmmusic.com

or call 206.230.0222 or 800.546.8611

Experience this invaluable program in the

“2007 Two-Week Summer Intensive Session”July 9th ~ 20th

Seattle, Washington

Register

Now

issue �� • JuLy 5, �007 7weeklyFILM MUSIC

SCORE OF THE WEEK

by MiKaeL carLssOn

Before we get into your score for Joshua, can you tell us a little about your background and your work together with Philip Glass? I can see on your resume that you worked on several of his scores, including The hours, Notes on a scandal and secret Window. What are the most important things you’ve learned from Philip Glass when it comes to approaching a film musically?

He’s certainly got a very special style and quite unusual approach to film music! Perhaps you’ve learned a few tricks from John Coriglia-no, who has also done a few fantastic film scores? First of all, Philip and John have the same approach to scoring films, even though Philip scores a lot more; they are essentially concert composers who score films (rather than film composers). I think this is an important distinc-tion; I don’t think there is much worse than music in films sounding like film music – it’s basically the same as when you’re watching a film and you’re aware that there is act-ing happening. Anyway, Philip, in particular, is great to work with because he has a very practical approach to scoring a film; all of the more radical decisions are made quietly (“let’s bridge all these scenes with one giant piece

of music”) and then the score itself feels like variations on a theme. His music for The Hours works like that; thematically the music insists on the connection be-tween the three women. Once we have that as a given, I think writing each individual cue was very simple for Philip. I also love how happy Philip is to throw out music; that has always been a huge inspiration. “You don’t like it? I’ll write another!” is such a good attitude to have. As for Corigliano, I thought a lot about his score for Altered States when writing Joshua; the idea of otherworldly sounds being contained in the orchestra is something I’m pretty happy with – avoiding gratuitous use of synthesiz-ers to express “creepy,” etc. John is such a master of the orchestra that I think he needs a very special kind of film to take full advantage of his facilities, which is why The Red Violin worked so well, I think.

Just like Philip Glass, you’ve done a lot of other types of music, haven’t you? Can you tell me a little about your music for the concert hall and theater? What’s your main ambition with your music – what do you want to express?

My main emotional program in my music in all genres is, I think, to tease the emotions out of patterns, and to identify the patterns of emotions. I know that sounds

Nico Muhly’sbest-known films:1. secret Window (Midi supervisor) �. the hours (score coordinator) 3. the Manchurian candidate (orchestrator) 4. notes on a scandal (assistant conductor, music preparation) 5. the fog of War (assistant) 6. undertow (assistant conduc tor, chorus preparation) 7. drawing restraint (score preparation) 8. Joshua (composer) 9. choking Man (composer) 10. cricket head (composer) source: iMdbnico Muhly is represented by hothouse Music.

THE TOP 10:NICOMuhlyFrom Glass To Joshua

NICOMuhlyscoresJOShuA

© 2

007

fox

sea

rc

hli

gh

t

8 issue �� • JuLy 5, �007 weeklyFILM MUSIC

circular, but that’s sort of how I think about it. Concert music and theater music have a lot of potential for suc-cessful cross-pollination; I think it’s important to be able to work in both. Right now, I’m writing a ballet, which is a combination of a bunch of difference concerns, most importantly, the physical body, which is something that you can forget about in writing concert music, where the composer functions as a sort of brain floating in a jar.

Furthermore, you’ve worked as a conductor and arranger for such great artists as antony of antony and the Johnsons and Björk. how impor-tant is it for you to work in that field too – and do you think that it might have an influence on your voice in film music?

This kind of work is totally important and fun and hard. I really like making arrangements because it feels like somebody asking you to dress them. A lot of popular music has arrangements that function like jeans and a t-shirt, which is great, classic . . . and then a lot of more experimental artists have more complicated needs; Ant-ony, for example, and I just worked on a show with the Brooklyn Philharmonic at BAM consisting of a bunch of his songs with very complicated, costumey orchestral clothing. Working on this project taught me so much about how to think about a soloist in the context of its accompaniment. Björk’s music is fascinating to me be-cause it can exist in so many different iterations – here’s an arrangement for ten horns, here’s an arrangement for piano solo, here’s an arrangement for electronic bells and a harpsichord – the idea that there is a central nugget running through all these different variations is really useful when thinking about film music, too, where mate-rial needs to repeat and develop in more “obvious” ways than in the abstract embrace of the concert hall.

how did you get the opportunity to score Joshua? It seems to be a very special film – can you de-scribe it from your point of view?

I ended up working on Joshua because George [Ratliff, director] sent me a script and we met up; I think I prob-ably reminded him of a slightly less dangerous version of the main character – I was a child pianist, too, and obsessed with Egypt, and museums, and ... I guess it seemed like I was appropriate. The film is about a fam-ily crisis perpetrated by a jealous, talented, boy who is quicker than both his parents and schoolmates and uses his guiles to trick them into doing his bidding; a devilish composer, basically.

so I guess that the fact that the main protagonist in the film, the small boy, is a piano prodigy did have some kind of impact on your approach?

Yes, we divided up the score into “piano music” and “not piano music.” The piano music was mainly written just before and during filming. A lot of the more austere, aggressive single-note playing that Joshua does on stage outlines the harmonic structures for the instrumental music. I wanted to give the impression that the music he plays on the piano – his proclivities there – inform the atmosphere inside his family’s apartment. The instru-mental score has a bunch of ideas, but, primarily, there is something that I call “high anxiety” and something else called “low anxiety.” “High anxiety” is music for Abby, Joshua’s mother – this is the chirping, relentless beacon of a mother’s sixth sense that something is wrong at home. This music belongs to violins and flutes; nota-bly, the piccolo pulses that start about a minute into the score. The “low anxiety” is a more masculine, physical, loyal, and protective music that attends to Brad, Joshua’s father. We also hear this music at the very beginning of the score. Then there is music for Joshua – piano music that he plays on-screen (which was written before/during filming), and low, unfathomable drones of childhood con-fusion and jealousy. Then there are some shorter pieces that belong to the city, urban pastorales. A lot of the mu-sic is about establishing and rooting the possibility for tension, and then letting the acting do the actual work of

Plot outline: a psychologi-cal thriller in which a suc-cessful young Manhattan family is torn apart.Director: george ratliff. Producer: Johnathan dorfmanStars: sam rockwell,Vera farmiga, celia Weston, dallas robert,Michael McKean. Production companies: atO Pictures,fox searchlight.

THE FILM:JOShuA

SCORE OF THE WEEK

• nico Muhly is �5 years old and has studied for such acclaimed composers as John corigliano and christo-pher rouse. • nico first earned a degree in english Literature at the columbia university, and then received a Masters in Music from the Juilliard school. • nico Muhly has written numerous concert works, including fits and bursts (premiered by the american symphony Orchestra) and by all Means.

DID YOU KNOW?

© 2

007

fox

sea

rc

hli

gh

t

issue �� • JuLy 5, �007 9weeklyFILM MUSIC

creating it; landscapes for tension. Then, after one particular post-partum depression episode, the score suddenly becomes the oppressive at-mosphere itself; the last quarter of the score is very dense, like a sky just before a thunder-storm.

Given the fact that you write quite a lot of concert music, what do you find to be rewarding working on a film? and what specific challenges do you have to deal with in film, as opposed to writing music “for its own sake”?

Writing film music is satisfying because of the way you get to record it; in concert music, you rarely get to have so much fun with a mu-sic mix. You can achieve totally unnatural bal-ances where a flute can sing above a handful of horns, or, specifically in the case of Joshua, an army of brass can sound muted below a solo violin sitting in the back of the seconds; this is one of many specific delights in film music. Al-so, the collaborative aspect can be challenging and rewarding in the best possible way; being able to take whatever your “personal” style is as a composer and make it serve a director’s vi-sion is one of the most generous ways to pres-ent your music, I think. That said, the biggest challenges in scoring a film, for me, are the his-tory of film music and the communication bar-rier between musicians and non-musicians. I think there are some really wretched tradi-tions in film music, particularly in horror/sus-pense and romantic comedy, that somehow have been allowed to continue for years ... I’m talking specifically about those high strings and those huge orchestra hits that sound like the patch, “orchestra hit” on 80s keyboards. As far as I’m concerned, there are two genius sus-

pense scores and those are The Shining and Rosemary’s Baby. Both of these are so incred-ibly simple that you wonder where we ever got the tradition of modern slasher music; then, of course, you rewind to Hermann’s beauti-ful scores for Hitchcock and you realize, of course, that’s where it’s coming from. But it is very, very, very hard to write that kind of music successfully, and I really can’t think of a more modern example than Psycho that works. So, scoring a film is to be pitted against enor-mously wonderful scores from the past – which is true of concert music – as well as against a history and expectation that comes from the genre of film music itself. This second expecta-tion is something that I find particularly dif-ficult to deal with; certain “suspensey” sounds strike me as invented traditions, like tying flowers onto a wedding-cake server, or Hawai-ian Shirt Fridays, or something. Film people take these things very seriously and you find yourself wondering where it even came from, and in films, also, the collaborative nature can become slightly perverted when you have a di-rector, seven producers, an editor, the editor’s mistress, the director’s children, the assistant director’s grandmother all with something to say about the bassoon part. I’ve never experi-enced this kind of thing personally but I have heard tell. The nature of the beast, too, is that composers are showing directors synthesized worktapes, where nothing sounds like it will sound, so there is always this abstract fear that everything is going to change between the MIDI worktapes and the finals, which, of course, happens, because there is such a huge difference between MIDI and real people.

What specific instructions did the direc-tor, George Ratliff, have for you? Many

directors know exactly what they don’t want – so where did he tell you not to go?

Well, George and I were pretty much on the same page about what we wanted to be in the score. There is this one particular piano piece, and we both agreed that if I figured out how that went, a lot of the rest of the score would fall into place. I knew that he wanted a lot of the grunt work for the suspense to be done by the strings, which was great; I’m all in favor of that. I knew that he wanted to avoid a lot of the bells and church-like anxiety that one might be tempted to provide given the script. I also knew that he wanted a lot of the music to “lead” with the piano, which is a great instruc-tion for me.

Do you feel that you would like to score more films in the future? You recently scored another film, Choking Man, for a pretty experienced director, steve Bar-ron who previously directed such big hollywood films as the original Teenage Mutant Ninja Turtles movie and Cone-heads! What can you tell me about that score?

I’d love to score more films – I learn a lot while I’m doing it. And my friends like playing in the band because we can all turn up in jeans. Working with Steve Barron was so fun, by the way. He is the nicest, nicest, nicest, and was very brave to have chosen to work with me! I was, like, 20 years old and had never really scored a film. He gave me a bunch of really re-ally specific instructions (like “use guitar” and “I want this character to have a whole internal soundscape that is different from everybody else’s”) and then left me alone. Along with Dan Bora, the engineer/sound designer I worked with on that as well as on Joshua, I figured out a whole landscape of bells, gongs, guitar, and toy piano – the eventual sound is like a dilapi-dated museum of children’s toys. That score is incredibly melancholic, which is a much more complex emotion to get at than you’d think; if Joshua was about controlling energy, Chok-ing Man was about creating little windstorms of varying size inside an enclosed space. I’m really happy with that score. We recorded it on January 2nd when it was negative 7 million degrees and my roommate and I had just been on this road trip to Bourbon Country, KY, and the score has a very specific flavor as a result. I think Steve also made that Take On Me video, which is the best thing that ever happened.

Besides your work in film, what are you working on for the concert hall right now?

I’m writing a ballet for ABT in New York, which I guess is technically concert hall, with added complexities. Down the road, I’m writ-ing a piece for the Chicago Symphony chamber players, and another piece for the Seattle Sym-phony chamber players. mc

© 2

007

fox

sea

rc

hli

gh

t

10 issue �� • JuLy 5, �007 weeklyFILM MUSIC

• SpellboundComposer: Miklós RózsaLabel: IntradaSuggested Retail Price: $22.99Grade: A+

by danieL schWeiger

When Spellbound came out in 1945, most movie scores were awash in huge, romantic orchestras. Whether it was Erich Wolfgang Korngold’s The Adventures Of Robin Hood or Max Steiner’s Now, Voyager, the music of these classics flowed nearly unabated through the picture, the composers’ grand orches-tras playing in the tradition of the European concert halls they’d immigrated from. But as wonderful as these “golden age” scores were, the problem was that they all tended to es-sentially sound the same. In a way, the situa-tion six decades ago wasn’t too different from the complaints that many soundtrack fans are lobbing at today’s soundtracks-by-committee, their gripes being that the same music is being slathered over films, again and again.

Yet, that being said, there were two compos-ers who had a voice in the golden age studio system. Though prolifically working within symphonically lush boundaries, Bernard Herrmann’s work on films like The Devil And Daniel Webster and Citizen Kane had established a dark, sinister voice, one rich in unconventional melody. The other composer to stretch the boundaries of safe musical taste was Hungarian import Miklos Rózsa. Usu-ally the prince of light to Herrmann’s dark-ness, Rózsa had a gift for distinctively exotic rhythms, an approach that distinguished his scores for The Jungle Book and Double In-demnity from the glorious pack.

But if there’s one score to pick from a decade that included such eclectic Rózsa masterworks as The Lost Weekend and Madame Bovary, then it would be 1945’s Spellbound. And if there’s a reason, it’s because Spellbound was one of the first major studio pictures to use the distinctive ooo-weee-oooo sound of the Ther-emin, a pioneering electronic instrument whose inherent weirdness would become a 1950’s

genre scoring stalwart in movies like The Day The Earth Stood Still and It Came From Outer Space. Here, the Theremin is played to a more high-brow effect, as it becomes the sound of Gregory Peck’s potentially deadly neuroses, the spooky vibrations beautifully couched amongst strings.

The other factor which has made Spell-bound go through numerous recordings over the decade (and most famously turned into “The Spellbound Concerto”) is the suspense-fully heartfelt theme, one that’s right up among such instantly identifiable motifs as David Raksin’s Laura and Max Steiner’s Casablan-ca. But the way in which Rózsa develops it through Spellbound is continuously inventive and mesmerizing, even with some cues going for several minutes of continuous music (with one even hitting the 16-minute mark).

Though Rózsa accompanies much of Spell-bound, his music has a distinct, yet ever-chang-ing identity. Even if this would be Rózsa’s only collaboration with Alfred Hitchcock, Spellbound is the musical representation of everything that comprised the master of suspense’s best work. Thematic clues are constantly laid about, breath-lessly taking on importance until the big, stirring revelation. It’s a score that’s at once brooding, romantic and dangerous, one of exceeding musi-cal color in a Hollywood where the musical ap-proach was often black and white. And for Rózsa, Spellbound’s noir sound would be a harbinger of such great thriller scores to come as Brute

Force, The Asphalt Jungle and Eye Of The Needle. And if Hitchcock’s greatest collaboration would be with Herrmann (who was originally supposed to score Spell-bound), the one thing that Rózsa’s score has over latter masterpieces like Vertigo and Psycho is a swoon-ing heart – an edgy, violin-based sentimentality that Bernard would probably have blanched at.

Heard here for the first time in its complete form, Spellbound is a revelation for the often-muddy re-cordings of the past. And credit goes to Intrada and their “Excalibur Col-lection,” whose other yeoman resto-rations have included Ivanhoe and Jason And The Argonauts. Team-ing with the Slovak Radio Symphony Orchestra, album producer Douglass

Fake has a passionate, and sonically clean per-formance that towers above any other rendi-tion of Spellbound. And while some restora-tions performed in the Eastern Block suffer from hollow-sounding recordings, Spellbound is delightfully in your face, with a playing and sound that would easily suit any current score being performed on a Hollywood soundstage. A special shout out here also goes to Theremin soloist Celia Sheen, who exhibits a near-super-natural control over this wonderfully strange, and hard-as-hell instrument to play – one that involves picking at airwaves instead of strings.

Not so ironically, it’s been 100 years since Miklós Rózsa’s birth. And one couldn’t think of a better gift to his fans, as well as Hitchcock devotees, than a Spellbound that finally gets it right in hypnotic spades. As an exemplar of distinctive, golden age scoring, Spellbound retains its power to transfix us with swirling, thematic suspense, all topped off with an oth-erworldly sound that stood in for star-filter romance long before it was co-opted by killer aliens and robots.

To buy the Spellbound soundtrack, go to:

www click here to buy the Spel10lbound soundtrack

courtesy of ifmagazine.com

NEW SOUNDTRACKS

CD REVIEW

ALbUM REVIEW

It’stimetobreakouttheThereminagain,asIntradaissuestheultimatere-doofRózsa’sclassicsuspensescoreforhitchcock.

issue �� • JuLy 5, �007 11weeklyFILM MUSIC

NEW SOUNDTRACKS

n Varèse Sarabande has announced their latest batch of eagerly awaited CD club re-leases, with two deluxe editions of previously available Varèse titles: The ‘Burbs by Jerry Goldsmith and F/X by Bill Conti. The Gold-smith disc (limited to 3,000 copies) features over 60 minutes of mu-sic, more than double the length compared to the previous club re-lease of the score, and the Conti disc (2,000 copies) also features music never before released – in fact, this is the first CD release of F/X which was released by Varèse Sarabande on LP in the 80s. Also released by the Varèse Sarabande CD Club are Alex North’s ear-ly 1952 score for Les Misérables (1,000 copies), Franz Waxman’s Anne of the Indies (also featuring Man on a Tightrope - 1,000 copies) and finally Elmer Bernstein’s Cannon for Cordoba and From Noon Till Three on a double CD (3,000 copies). mc

GoldsmithDeluxeFromVarèseClub

Frighteningly beautiful – beautifully frightening!Music Composed, Orchestrated and Conducted by

CHRISTOPHER SLASKIAlso featuring music by Trevor Duncan • Available now on CD and online!

MovieScore Media presents the Original Motion Picture Soundtrack

COMING SOON!JULY 17• Anne of the Indies (franz Waxman) – Varèse sarabande cd club • The ‘Burbs: The Deluxe Edition (Jerry goldsmith) – Varèse sarabande cd club • Cannon for Cordoba / From Noon Till Three (elmer bernstein) – Varèse sarabande cd club • F/X: The Deluxe Edition (bill conti) – Varèse sarabande cd club • Hostel Part II (nathan barr) – Varèse sarabande • Les Misérables (alex north) – Varèse sarabande cd club • Rock Haven (Jack curtis dubowsky) – de stijl (online) • S.O.S. Love (robert gulya) – inez (online)

JULY 24• Babylon 5: The Lost Tales (christopher franke) – Varèse sarabande • Film Music Masterworks: Film Music by Maurice Jarre (Maurice Jarre) – silva screen • Film Music Masterworks: Film Music by Nino Rota (nino rota) – silva screen • Shadow in the Trees (Jeff toyne) – Moviescore Media • The Simpsons (hans Zimmer) – adrenaline

JULY 31• I Know Who Killed Me (Joel Mcneely) – Varèse sarabande • Rush Hour 3 (Lalo schifrin) – Varèse sarabande • Skinwalkers (andrew Lockington) – Moviescore Media • 300: Collector’s Edition (tyler bates) – Warner bros. mc

1� issue �� • JuLy 5, �007 weeklyFILM MUSIC

TECHNOLOGY

MUSIC TECHNOLOGY AND YOU

by Peter LaWrence aLeXander

We’re still waiting for the packages for a full review, but here’s a first take based on the demos recently posted on Soundsonline.com.

BuT FIRsT!

Our Article on SpecsWords have impact. One company posted a

note that they are not liable for incorrect man-ufacturer specs or specs changes.Guitar Center

On a broad note that affects most readers of Film Music Weekly, Guitar Center was pur-chased by Bain Capital for $1.9 billion with an additional $200,000,000 added to cover back debt. Total Purchase: $2.1 billion. You can read Guitar Center financials at Yahoo Finance.

PLAY Hard

MINIsTRY oF RoCK

Hot hot HOT hot hot. I did the ultimate first impressions test. I had two guitarists dial in and listen to the posted demos. One guitar-ist was a pastor whose church runs two wor-ship bands. The other guitarist works for an ad agency in Dallas and spends a good portion of his biweekly check at a local Dallas Guitar Center. Both were floored at what they heard. So was I. Eight demos were posted and they are all superb, each showing off the total ver-satility of this package. I listened to the demos with both studio monitors and speakers built into my laptop. The first demo, Tour de MOR by Troesis Folmann, sold me on the spot. I didn’t need to listen further (even though I did). Ministry of Rock is the ultimate package for songwriters who don’t have a demo band, can’t afford a demo band, or who have players avail-able that don’t have the needed chops. Nick Phoenix’ Modern Rock 1 clinched my purchase desire showing just how stylistically versatile this package can be. Dynasty – Two Steps From Hell also deserves demo kudos. I checked the box specs thinking that vocal samples might be included. No, this is a female vocalist perform-ing with the library. Special mention on the drums. Rock on. This is a true problem/solution package that should make money for users for years to come.

apple’s iPhone

iPhone gives you full Internet access using the Safari browser. The “happy” news for com-posers is that anywhere you go, now almost everyone can reach you. With the 8GB model you can store larger cues and upload to the client’s FTP from the road provided you have access through AT&T. So if the kids are in the car waiting for you to go to Six Flags or Knotts, you can literally “whistle while you work,” in a whole new way. Hint: Starbucks and Panera Bread have WiFi. But, if you try to upload at a Starbucks in a Barnes & Noble, you may have to pay for WiFi access.

EasTWEsT PLaY PaCKaGEs

The first four have been released, but this past week demos were posted. We checked var-ious forums to see potential customer reactions and then listened for ourselves. Demos are posted at www.soundsonline.com.

issue �� • JuLy 5, �007 13weeklyFILM MUSIC

MY TaKE – FoR NoW

What I was reminded of from an arranging perspective, is that a violin might be a violin, but a guitar is not a guitar. You can take good string samples and adapt them to any musical style. Having multiple guitars and basses is no different from expanding an orchestral pack-age to have additional articulations.

EastWest’s notes suggest that these are packages for film, TV and game composers. And that’s true. These are all great arsenals of sound.

But just sitting and listening late at night with no one around made me realize how much latitude a songwriter/composer will have with this package and the other two. I have in my files probably dozens of Christian songs I’ve wanted to produce and record, but I can’t really say that I liked the sample choices available to me that would enable me to achieve the sound I wanted. I have to confess, that changed when I sat alone, undisturbed, and listened to these three packages.

I think these packages, particularly Minis-try of Rock to start, have the potential of bring-ing whole new groups into MIDI and samples.

So, based on the demos I’ve heard so far, I’d start with Ministry of Rock first, hands down. Between Fab Four and Gypsy, I’d pick one based on which projects I either had coming up or just wanted to produce on my own. But ultimately, you’ll want all three because of the stylistic range each package gives you. n

Peter Alexander is preparing to score The Good Samaritan. His most recent books are How 1313 13Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.

GYPsY

This is a very interesting package. Several demos are available. It includes guitars, Gypsy percussion, trombone, solo violin with legato samples, Flamenco dancer footsteps and cas-tanets, accordions, and cimbaloms (an Eastern European hammered dulcimer). Here, East-West sampled one of L.A.’s top session guitar-ists, David Kole for both Gypsy and classical styles. I can only imagine how demanding and exacting these sessions must have been on Mr. Kole. But the end result really shows. Those demos featuring Gypsy’s guitar virtuosity are really first rate. Of everything I’ve heard in these demos, that’s what stands out.

FaB FouR

Fab Four is the sounds of the Beatles using instruments from the period. Only two demos were available at press time. Blackberry Mead-ow is very good, but the demo that says “buy me” is definitely Ticket to Liverpool by Rogers/Alexander (no relation). After listening to Min-istry of Rock, one demo I’d like to hear is with a vocalist. With orchestral, if you have great samples, you can cover a multitude of styles over the centuries because the instruments don’t change. With popular music, the instru-ments don’t change, but the technology of the instruments changes producing different, period-type sounds. So my feeling is that get-ting both Ministry of Rock and Fab Four gives the producing songwriter/composer a depth of styles to access for a variety of projects, from TV/radio commercial work to all kinds of spe-cial projects and independent song production.

14 issue �� • JuLy 5, �007 weeklyFILM MUSIC

THE CHART DOCTOR

A couple of weeks ago, we discussed your essential teammates in your production chain (Who’s On Your Team? June 19, 2007). Let’s assume now that you have decided to hire a conductor rather than do it yourself, but could use some guidance in finding a good one.

What should you want from your conductor? Foremost, he’s there, not to dazzle with fancy choreography or witty reparteè, but to save you money. (For the remainder of this article, let’s use “he” but think “he” or “she,” shall we?) Ev-erything else flows downhill from there. He is there to conserve time (read: “money,”) players’ energy and morale (read: “money,”) quality of performance (read, you guessed it: “money,”) and flexibility in making requested changes (how’d you know? “money!”) Generally, for the added responsibility and the potential for con-serving the budget, double-scale is generally commanded by the session conductor.

To find an effective one, get recommenda-tions from people you trust who have already been in your shoes. If possible, find a way to at-tend a session conducted by one of those recom-mended. Observe the following: Does he run a taut ship? How much does he accomplish on the read-through? Does he use any delay greater than 30 seconds by the booth as a chance to re-hearse? Is he good, really good, at cuing player entrances? (Nothing inspires player confidence more.) Is he quick and competent when catch-

ing and fixing flaws in the performance? Did he prepare adequately ahead of time to avoid his own mistakes? Can he rehearse effectively without the crutch of the click track? Can he communicate requested changes clearly and quickly? Does he keep the tone of the session light? Does he use words only to reinforce stick technique, or does he have to explain every-thing he wants because he has none?

For a quick study on a conductor’s overall effectiveness, watch the players’ eyes closely. After the first few cues, do they really dance with this guy or do they only look up for signs of life on the podium when they need a cutoff at the end of the cue?

If you don’t get to see him in action, inter-view him. What’s his background? Surpris-ingly, most conductors I’ve seen with degrees in the subject make mediocre studio conduc-tors (as, conversely, I’m sure they feel about studio conductors in the concert hall). If you study the careers of the great orchestral lead-ers, most of them never set out to be conduc-tors, but rather drifted sideways into the job from practical positions as players or compos-ers. It’s the same thing in the studio. A lot of your best come, not from the strings or wood-winds, but from the low brass section. Really. We spend a lot more time than most counting rests while observing conductors and listening to others work out the tricky stuff in rehearsal.

We sit in the back of the orchestra, overlook-ing almost everyone. Consequently, if we’re so inclined, we’ve seen and heard every composi-tional, orchestrational, and conducting trick in the book.

Once you’ve selected and hired your conduc-tor, what does he need in order to get the best possible results for you? Whether he asks for them or not, get him copies of the scores (they can be reduced and left unbound, to save mon-ey) a couple of days ahead of time, along with whatever audio mockups you have given the director for approval. Make sure your copyist knows to tape the scores for silent page turns (essentially, bigger pages make bigger noises.) An orchestra list integrated into a complete seating chart can save time and morale during the session (“Hey you! Not you ...you! Yeah, the fourth bass player in, with the “low C” exten-sion. Yeah! Can you...?”) See what I mean?

Also, work out several click, headphone, and talkback mixes by your engineer to be available. Conductor-only as well as entire-en-semble “talkback” from the booth can be cru-cial. Also keep in reserve an option for conduc-tor-only click. If he’s good, and if the situation warrants it, withholding click from players can force them to think and play like an ensemble instead of a gang of soloists. Budget sufficient studio time for a competent person to get the job done; if your conductor can maintain qual-ity and finish early, reward him with your loy-alty. Conductors are freelancers just like play-ers, with job security a high priority.

Go for the best you can get. Trust me, it will be worth it. In the future, we will look at what strategies to employ, should you opt to perform the role yourself. 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 Ron at rhess@filmmusicweekly.com

Finding and WorkingWith A Conductor

Neal Acree: Juncture • hallowed ground.Tree Adams: Keith.Mark Adler: noble son (co-composer) • the far side of Jericho.Eric Allaman: race.John Altman: the Master builder.Craig Armstrong: the golden age (co-composer).David Arnold: hot fuzz.Angelo Badalamenti: the eye • the edge of Love.Klaus Badelt: heaven and earth.Roque Baños: the Last of the Just.Nathan Barr: Watching the detectives.Tyler Bates: the haunted World of el superbeasto • hallo-ween • day of the dead • Watchmen.Jeff Beal: he Was a Quiet Man • Where god Left his shoes • the situation.Christophe Beck: drillbit taylor • the dark is rising. Marco Beltrami: captivity • in the electric Mist with confeder-ate dead • 3:10 to yuma.Charles Bernstein: bull run • Let My People go.Terence Blanchard: talk to Me.Scott Bomar: Maggie Lynn.Simon Boswell: bathory.Jason Brandt: something’s Wrong in Kansas.David Bridie: gone. Mickey Bullock: sportkill • Orville.Carter Burwell: no country for Old Men.Niall Byrne: how about you.Peter Calandra: the sickness.Jeff Cardoni: firehouse dog • save Me.Sam Cardon: a house divided • the dance • Mummies.Teddy Castellucci: are We done yet?.Nick Cave: the assassination of Jesse James by the coward robert ford (co-composer).Nigel Clarke/Michael Csányi-Wills: the grind.Charlie Clouser: death sentence.Elia Cmiral: the deaths of ian • Missionary Man.Graham Collins: black Kissinger.Joseph Conlan: american Pastime.Ry Cooder: : charlie Wilson’s War.Normand Corbeil: Ma fille, mon ange • boot camp • emo-tional arithmetic.Jane Antonia Cornich: island of Lost souls • solstice.Burkhard Dallwitz: romeo and Me • taking tiger Mountain • the interrogation of harry Wind • chainsaw.Jeff Danna: closing the ring • c7.Mychael Danna: fracture.Marcello De Francisci: the butcher.Wolfram de Marco: the tribe.John Debney: evan almighty • big stan • sin city � • sin city 3 • iron Man.Alexandre Desplat: Mr. Magorium’s Wonder emporium • his dark Materials: the golden compass.Ramin Djawadi: fly Me to the Moon.James Michael Dooley: daddy day camp.Patrick Doyle: the Last Legion.Ludek Drizhal: Life goes On • badland.Jack Curtis Dubowsky: rock haven.Anne Dudley: the Walker.Robert Duncan: butterfly on a Wheel.Randy Edelman: underdog • balls of fury • �7 dresses.Steve Edwards: finding rin-tin-tin.Danny Elfman: the sixth element • the Kingdom • hellboy �.Warren Ellis: the assassination of Jesse James by the cow-ard robert ford (co-composer).Paul Englishby: Magicians.Tobias Enhus: Paragraph 78.Ilan Eshkeri: the Virgin territories • stardust (co-composer) • straightheads • strength and honour.Evan Evans: the Mercy Man.Sharon Farber: When nietzsche Wept.Guy Farley: the flock • the christmas Miracle of Jonathan toomey • Knife edge • dot com • the broken • dylan.Louis Febre: tenderness.George Fenton: fool’s gold.Chad Fischer: the babysitters.Robert Folk: Kung Pow: tongue of fury • Magdalene • Vivaldi.Jason Frederick: chinaman’s chance.John Frizzell: careless • first born. Michael Giacchino: star trek Xi.Richard Gibbs: cleaner.Vincent Gillioz: Pray for Morning • L’ecart • séance • say it in russian.Scott Glasgow: hack! • toxic • the gene generation • bone dry.Philip Glass: no reservations • cassandra’s dream • Les animaux amoreux.David Glen Russell: contamination.Erik Godal: the gift.Elliot Goldenthal: across the universe.Howard Goodall: Mr bean’s holiday.Adam Gorgoni: starting Out in the evening.Jeff Grace: the Last Winter • triggerman • i sell the dead • Liberty Kid.Harry Gregson-Williams: gone, baby, gone • Jolene • the chronicles of narnia: Prince caspian.Rupert Gregson-Williams: i Know Pronounce you chuck and Larry • bee Movie. Andrew Gross: forfeit.Larry Groupé: resurrecting the champ. Andrea Guerra: L’uomo di vetro.

Steven Gutheinz: rothenburg.Richard Hartley: diamond dead.Richard Harvey: Legend of King naresuan.Paul Haslinger: gardener of eden • shoot ’em up.Alex Heffes: My enemy’s enemy.Paul Hepker: rendition (co-composer). Eric Hester: Lost Mission • frail.Tom Hiel: a Plumm summer.David Hirschfelder: shake hands With the devil.Ben Holbrook: Kiss the bride.Lee Holdridge: i have never forgotten you - the Life and Legacy of simon Wiesenthal.Andrew Hollander: east broadway.Nicholas Hooper: harry Potter and Order of the Phoenix.James Horner: the spiderwick chronicles. • avatar.Richard Horowitz: genghis Khan. James Newton Howard: Michael clayton • the Waterhorse • i am Legend.Terry Huud: Plaguers.

Alberto Iglesias: savage grace • her Majestic Minor.Mark Isham: Pride and glory • reservation road • Lions for Lambs.Steve Jablonsky: d-War.James Jandrisch: american Venus.Adrian Johnston: sparkle • becoming Jane.Bobby Johnston: american fork • stuck.Tim Jones: cryptid.Trevor Jones: fields of freedom.David Julyan: Outlaw • Waz.John Kaefer: room service (co-composer).

Matthew Kajcienski: room service (co-composer). George Kallis: highlander: the source • antigravity.Tuomas Kantelinen: Quest for a heart • the Knight templar • Mongol.Laura Karpman: Man in the chair • Out at the Wedding.Rolfe Kent: fred claus • spring break in bosnia • sex and death 101.Wojciech Kilar: We Own the night.Mark Kilian: rendition (co-composer).David Kitay: because i said so • shanghai Kiss.Harald Kloser: 10,000 bc.Penka Kouneva: the third nail • richard iii.Ivan Koutikov: Wanted undead Or alive • Living hell.Aryavarta Kumar: the rapture • greater threat.Christopher Lennertz: this christmas • the comebacks.Sondre Lerche: dan in real Life.Michael A. Levine: adrift in Manhattan.Christopher Libertino: Off the grid – Life on the Mesa • the forgotten Kingdom.Andrew Lockington: step • how she Move • Journey 3-d.Joseph LoDuca: bar starz • My name is bruce • Ocean of Pearls • boogeyman �.Henning Lohner: in the name of the King: a dungeon siege tale.Steve London: decoys �: alien seduction • Kaw.Helen Jane Long: surveillance.Erik Lundborg: absolute trust.Deborah Lurie: spring breakdown.Vivek Maddala: they turned Our desert into fire. Nuno Malo: Mr. hobb’s house.Mark Mancina: sheepish • august rush • camille • Without a badge • Like dandelion dust.Harry Manfredini: dead and gone • that’s amore.David Mansfield: carnaval de sodoma • then she found Me • the guitar.Dario Marianelli: We are together • goodbye bafana • atonement • shrooms • the brave One.Anthony Marinelli: grizzly Park.Cliff Martinez: first snow • Vice.John McCarthy: the stone angel.Mark McKenzie: the redemption of sarah cain.Joel McNeely: fox and the hound ii • the tinkerbell Movie • i Know Who Killed Me.Nathaniel Mechaly: sans moi.Alan Menken: enchanted • the frog Princess. Guy Michelmore: doctor strange.Randy Miller: Last time forever • shanghai red • second chance season.Robert Miller: teeth • the Key Man • trumbo.Charlie Mole: fade to black • i really hate My Job • st. trinian’s.Deborah Mollison: infinite Justice.Paul Leonard-Morgan: Popcorn.Andrea Morricone: raul – diritto di uccidere • Veronica decides to die.Trevor Morris: Matching blue.Mark Mothersbaugh: Mama’s boy • Quid Pro Quo • fanboys.John Murphy: sunshine.Sean Murray: the Lost • clean break.Peter Nashel: Wedding daze.Javier Navarrete: his Majesty Minor.Blake Neely: elvis and anabelle.Roger Neill: take • scar.Joey Newman: safe harbour.Randy Newman: Leatherheads • the frog Princess.Thomas Newman: nothing is Private.Marinho Nobre: Left for dead.Julian Nott: heavy Petting.Paul Oakenfold: Victims • nobel son (co-composer).Dean Ogden: Oranges.John Ottman: the invasion.

John Paesano: shamrock boy.Heitor Pereira: illegal tender • blind dating • suburban girl.Barrington Pheloung: and When did you Last see your father?.Leigh Phillips: the Legend trip • War Made easy • still Life.Martin Phipps: growing your Own.Nicholas Pike: the shooter • Parasomnia.Antonio Pinto: Love in the time of cholera.Douglas Pipes: trick r’ treat.Steve Porcaro: the Wizard of gore • cougar club.Rachel Portman: the feast of Love.John Powell: the bourne ultimatum • horton hears a Who.Michael Price: sugarhouse Lane.Trevor Rabin: national treasure �: the book of secrets • get smart • hot rod.Didier Lean Rachou: how to rob a bank • an american in china • Moving Mcallister.A.R. Rahman: the golden age (co-composer).Brian Ralston: graduation • 9/tenths.Jasper Randall: Me & you, us, forever • the secrets of Jonathan sperry.Brian Reitzell: 30 days of night.Joe Renzetti: 39 • universal signs.Graeme Revell: Marigold.Graham Reynolds: i’ll come running.Carmen Rizzo: the Power of the game.Matt Robertson: the forest.Philippe Rombi: angel.Jeff Rona: Whisper.Brett Rosenberg: the skeptic.William Ross: september dawn.Hitoshi Sakamoto: romeo x Juliet.H. Scott Salinas: strictly sexual • What We did on Our holidays.Brian Satterwhite: cowboy smoke.Mark Sayfritz: until death.sake.Brad Sayles: the bracelet of bordeaux.Lalo Schifrin: rush hour 3. Marc Shaiman: hairpsray • slammer • the bucket List.Theodore Shapiro: Mr Woodcock • the Mysteries of Pitts-burgh • the girl in the Park • semi-Pro • tropic thunder.George Shaw: Victim • sailfish.Edward Shearmur: 88 Minutes • dedication • the Other boleyn girl. Howard Shore: eastern Promises.Ryan Shore: the girl next door • numb.Carlo Siliotto: La Misma Luna • the ramen girl.Alan Silvestri: beowulf.Samuel Sim: awake.Marcus Sjöwall: dreamkiller.BC Smith: greetings from the shore.Damion Smith: stompin.Jason Solowsky: 110%: When blood, sweat and tears are not enough • the deepening • L.a takedown • unemployed • north by el norte.Mark Hinton Stewart: Man from earth.Marc Streitenfeld: american gangster.William T. Stromberg: tV Virus • army of the dead. Jina Sumedi: sextet.Mark Suozzo: the nanny diaries.John Swihart: the brothers solomon.Johan Söderqvist: Walk the talk.Joby Talbot: son of rambow.Frederic Talgorn: asterix at the Olympic games • Largo Winch • dragon hunters.Francois Tétaz: rogue.Mark Thomas: Moondance alexander • tales of the riverbank.tomandandy: the Koi Keeper.Pinar Toprak: blue World • dark castle • serbian scars.Jeff Toyne: shadow in the trees • Within • fast company.Thanh Tran: cult. Gregory Tripi & Kyle Batter: dark storm • termination Point.Ernest Troost: crashing.Brian Tyler: time to Kill • War • finishing the game • alien vs. Predator � • John rambo.Shigeru Umebayashi: a simple Love story.Johan van der Voet: clocking Paper.John Van Tongeren: War games � - the dead code Waddy Wachtel: strange Wilderness.Michael Wandmacher: the Killing floor • Man of two havanas.Nathan Wang: daddy’s Little girl • the final season.Stephen Warbeck: Killshot • flawless • Miguel and William.Matthias Weber: silent rhythm.Craig Wedren: the ten.Cody Westheimer: benny bliss and the disciples of greatness.Alan Williams: angst • snow Princess • he Love her, she Loves him not.David Williams: the conjuring.John Williams: indiana Jones iV • Lincoln.Tim Williams: afterthought • a dog’s breakfast.Debbie Wiseman: flood • amusement.Lyle Workman: superbad.Alex Wurman: the nines • the baker • bernard and doris • baggage.Gabriel Yared: Manolete • 1408.Geoff Zanelli: delgo.Marcelo Zarvos: the air i breathe • you Kill Me.Aaron Zigman: the Martian child • good Luck chuck • Jane austen book club.Hans Zimmer: the simpsons.

Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to editor@filmmusicweekly.com.

THE SCOREBOARD