issue 28 • aug 29, 2007 • published weekly by global media ... · pdf fileissue 28...
TRANSCRIPT
ISSUE 28 • AUG 29, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
weeklyFILM MUSIC
MORE INSIDE:p:4 signings & projectsp:8 chart Doctor:Do You Know
anY stanDarDs?
p:9 the scoreBoarD
n Brian Tyler’s distinctive fusion of hyperbeat action, orchestral power and good old-fashioned melody put an inventive, Asian-flavored action spell on War. p:5
Veteran director and actor Clint East-wood, who is also composing the music for his own films, has volunteered to re-score the Sundance hit, Grace Is Gone.
The Weinstein Company has confirmed to Film Music Weekly that Eastwood is indeed contributing the original score to the film, which is directed by James C. Strouse and pro-duced by John Cusack, who is also the main star of the film. The film was shown at the Sun-dance Film Festival in January, with a score by
Max Richter, and picked up for distribution by The Weinstein Company. According to the Los Angeles Times, Eastwood offered to score the film after a screening of it and the new score should be ready in time for the film’s theatri-cal release on October 5.
Original composer Max Richter, whose oth-er credits include independent picture Henry May Long and various episodes of TV series Night Stalker, says that he has been advised that he “should make no comment on this situ-
ation at the moment.”
W h i l e Clint East-wood has written mu-sic for all of his own films since the ear-ly 90s, he has never scored a film by another director.
ClintEastwoodVolunteerstoRe-ScoreSundanceHit
AudioImpressionsReleasesRealtimeOrchestraStrings
CDReview:BrianTyler’s‘War’
Audio Impressions has announced the upcoming release of its Realtime Or-chestra Strings ($3,499), a full string library of 70 Stradivarius and other prized instruments. The library consists of 18 Vio-lin I, 16 Violin II, 14 Viola, 12 Cello, and 10 Bass. The library is also available as a plug and play turn-key system including all necessary software, three custom VisionDAW com-puters and an audio interface for $11,999 US.
The company’s DVZ process allows com-posers to duplicate the physical note divisions that exist within a live orchestral performance, and its Space technology lets users continu-ously vary the size, shape, and acoustics of the recorded environment in real-time. Users can place each player anywhere within the stereo to 7.1 environments without changing samples or hardware configuration.
Price,ArnoldScore‘Crush’
James Bond composer David Arnold has composed the theme and fellow UK composer Michael Price the score for Agent Crush, a new animated adventure film scheduled to premier next year.
Michael Price recently recorded the score with conductor Nicholas Dodd – Arnold’s long-time collaborator – leading the London Metro-politan Orchestra through a number of rollick-ing 007-ish cues.
The film is directed by first-time feature film helmer Sean Robinson and features a voice cast including Brian Cox, Neve Campbell, Ioan Gruf-fudd – and Roger Moore! Fantastic Films Inter-national is set to distribute the film worldwide next year.
Composer Michael Price has worked with David Arnold before, contributing additional music to Hot Fuzz last year. His other compos-ing credits include the new thriller Sugarhouse and the Danish drama The Judge. Price has also worked extensively as a music editor, most nota-bly on the Lord of the Rings trilogy and more re-cently on The Last Legion and Children of Men.
According to the company, all possible com-binations of ensembles and playing styles are available upon launch, with full automation via AU or VST plug-ins on any sequencer and computer. Deposits are now being accepted for product shipments which will be made before October 1.
For more information, visit
www.audioimpressions.com
�� ISSUE��8�•�AUG.�9,��007 weeklyFILM MUSIC
Publisher:�Mark Northam Editor:�Mikael Carlsson�
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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 MUSIC This�Week�on
FMRFILM MUSIC RADIO
ON THE SCORE
ROB ZOMBIE AND TYLER BATES
Film�music�journalist�Daniel�Sch-weiger�interviews�director-writer�
ROB�ZOMBIE�and�composer�TYLER�BATES,�who�team�for�a�
terrifying�new�spin�on�the�sound�of�HALLOWEEN.�
TUNE IN HERE!
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FILM MUSIC NEWS
THE
ROCKETPOSTTHE
ROCKETPOST
MUSIC BY
NIGEL CLARKE &MICHAEL CSÁNYI-WILLS
MUSIC BY
NIGEL CLARKE &MICHAEL CSÁNYI-WILLS
ORIGINAL MOTIONPICTURE SOUNDTRACKORIGINAL MOTIONPICTURE SOUNDTRACKROCKETROCKET
PERfORMED BY
THE ROYAL PHILHARMONIC ORCHESTRAPERfORMED BY
THE ROYAL PHILHARMONIC ORCHESTRA
British composers Nigel Clarke and Michael Csányi-Willshas composed a wonderful score for The Rocket Post,
a romantic orchestral work filled with memorable themesand exciting dramatic writing – performed by the legendary Royal Philharmonic Orchestra and featuring a beautiful song,
“Distant Shores”, sung by Mae McKenna.Available on CD and online now!
mMovieScore Media
Thematic,romantic,
orchestral...
FreeDownloadofBioShockScore
Garry Schyman’s score for the video game BioShock, discussed in last week’s issue of Film Music Weekly, is now available as a free MP3 download courtesy of 2K Games. The music features a unique combination of early 20th century techniques, aleatoric elements, musique concrète and late romantic virtuoso concertante music. Head over to http://www.2kgames.com/cultofrapture to download the twelve tracks offered free of charge! mc
ScottWritesScoreforSilent‘Hood’
Veteran film composer John Scott (Greystoke, Lionheart, The Final Countdown, Shoot to Kill, King Kong 2) has been commis-sioned to write a new orchestral score for the 1922 silent movie Robin Hood starring Doug-las Fairbanks as the classic hero. The Notting-ham Philharmonic Orchestra will perform the score to picture at the Royal Concert Hall in Nottingham on October 7, with the composer conducting. mc
in association with
4� ISSUE��8�•�AUG.�9,��007 weeklyFILM MUSIC
FILM MUSIC NEWS
SIGNINGS & PROJECTS
Jeff�Beal:�TheDeal
n Jeff Beal, whose previous credits include TV hits such as Rome, Monk and Nightmares and Dreamscapes and features such as Pollock and No Good Deed, has been hired to compose the music for The Deal, a comedy directed by Steven Schachter and with a screenplay by William H. Macy who also stars in the film together with Meg Ryan and Jason Ritter. Beal is also attached to Al Pacino’s new film as a director, Salomaybe?, which is based on Oscar Wilde’s most controversial novel, “Salome.” The cast includes Pacino, Phillip Rhys and Geoffrey Owens. mc
Tyler�Bates:Doomsday
n 300 composer Tyler Bates has been hired to score The Descent director Neil Marshall’s new film, Doomsday. It’s a science-fiction thriller starring Rhona Mitra, Malcolm McDowell and Bob Hoskins, produced by Rogue Pictures. The story is about a lethal virus that spreads and kills
hundreds of thousands, and an elite group of specialists who are recruited to retrieve a cure. Bates’ other upcoming films include Watchmen for director Zack Snyder, and he recently scored the new Halloween movie by Rob Zombie. Bates has also been hired to score the video game Rise of the Argonauts for Liquid Entertainment. mc
Film Music Downloads is the new home for independent film music on the internet. Visit our online store and download the most exciting, entertaining and innovative film scores in high audio quality (320 kbit mp3 format)! Our catalogue is growing quickly and we are add-ing new titles to the store every week. Welcome!
OUR LATEST RELEASES INCLUDE...
CARNAVAL DE SODOMADavid Mansfield
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www.filmmusicdownloads.com
THE A-LIST
TOP AGENCIES
The most prolific film music agencies according to the current U.S. box office statistics, August 24-26, 2007:
1 (1). First Artists Management - $30.2m • Superbad (Lyle Workman) - $18.0m • Rush Hour 3 (Lalo Schifrin) - $12.2m
2 (3). Gorfaine-Schwartz Agency - $20.6m • War (Brian Tyler) - $10.0m • The Simpsons Movie (Hans Zimmer) - $4.4m • Stardust (Ilan Eshkeri) - $4.0m • Underdog (Randy Edelman) - $2.2m
3 (2). Kraft-Engel Management - $18.9m • The Bourne Ultimatum (John Powell) - $12.4m • Hairspray (Marc Shaiman) - $3.4m • The Invasion (John Ottman) - $3.1m
4 (4). Cool Music Ltd (UK) - $2.5m • Harry Potter and the Order of the Phoenix (Nicholas Hooper) - $2.5m
Source: IMDb
ISSUE��8�•�AUG.�9,��007� 5weeklyFILM MUSIC
NEW SOUNDTRACKS
AYakuzaBeatPropelsBrianTyler’sLatestActionVehicle
ALBUM REVIEW
By: DANIEL SCHWEIGER Soundtrack Editor
Composer: Brian Tyler Labels: Lionsgate Suggested Retail Prices: $ 13.99 Grade: B
Best known among horror genre circles for his inventive horror scores to Bubba Ho-Tep and Constantine (and with even greater geek fame to come with Alien Vs. Predator 2), Brian Tyler’s distinctive fusion of hyperbeat action, orchestral power and good old-fashioned melody put an inventive, Asian-flavored action spell on The Fast and the Furious: To-kyo Drift. Now with War, and his forthcoming soundtracks for Bangkok Dangerous and John Rambo, Brian Tyler has become the musical Seifu of Far East mayhem. Indeed, If John Pow-ell is the go-to guy when you want rhythm for an American spy running through the streets of Tangier, then Tyler’s War shows that there’s no better composer who can translate hyper-beats for the Yakuza and Triad game.
Both criminal organizations are in a bloody throwdown for War, which translates to ludi-crous entertainment in any action fan’s lan-guage. And thrumming throughout its assorted gunplay, impalements and explosions is Tyler’s score, which has the same fun and nasty atti-tude as any inscrutable character in the film. But then again, half the battle in a score like War is getting heard amidst the mayhem. And Tyler’s lucky to have a good mix here, letting his score play like gangsta club music on Ninja Night. Like Powell’s Bourne scores (which War owes a wink and a sacrificial thumb to), Tyler’s beat-driven approach keeps things hopping, a mean musical pace that helps propel War like no one’s business.
Like any Asian crime flick where cops and mobsters are meting out violence with the speed of sound, the score is all about keeping time with the action. A composer can choose to musically “hit” every bit of mayhem or play against it – choices that can turn the musician into a runner in a hopeless race of catch-up, or make him come across like someone who’s thrown in the towel in favor of music’s sake. But like such Gaijin composers as Lalo Schi-frin (Enter the Dragon), Christopher Young (Rapid Fire) and Massive Attack (Unleashed)
who’ve done notable work in the Asian action arena, Brian Tyler’s choice is to go somewhere in the middle. The result is a score that goes for both the onscreen bloodshed and the emo-tional fury that’s driving it. And the result is a surprisingly energetic and cohesive sound that doesn’t play favorites when it comes to the Yakuza or the Triads. Instead, Tyler drop kicks both Japanese and Chinese rhythms one mean beat – an East meets West approach that’s up-to-the-technological minute in its approach to musical mayhem.
Whether his action scores use this approach or not, Tyler’s work from the guitar stylings of Six-String Samurai to Timeline’s symphonic battles and Paparazzi’s twisted strings have never dropped the melodic ball. And War is no exception. It’s rhythm with a sense of venge-ful purpose, one that comes through in even the most propulsive cues. Rock licks and Asian percussion is the name of the game here, and War plays like a hell-bent foot chase through Asian streets, a sensibility that Tyler has more than nailed after Tokyo Drift. While the mood here is far more sinister, the musical action is always on target, not to mention interesting. And while Tyler might not exactly be re-in-venting the Oriental action wheel with a score like War, he’s making this tricked-out car go at ramming speed.
You can click HERE to grab War’s hard copy off of Amazon. But if beat junkies and Asian action fans want even more of Brian Tyler’s badass moves, then they should download the complete War soundtrack from iTunes.
Courtesy�of�iFmagazine.com
OPENING THIS WEEK
THEATRICAL
• Balls of Fury (Randy Edelman) • Death Sentence (Charlie Clouser) • Halloween (Tyler Bates) • The Nines (Alex Wurman)
DIRECT-TO-DVD
• Confess (Scott Jakobi) • Frankenstein vs the Creature from Blood Cove (Mel Lewis) • I Love Miami (Hector Ruiz) • LOL (Kevin Bewersdorf) • Return to Halloweentown (Kennth Burgo master)
OUT THIS WEEK • Balls of Fury (Randy Edelman) – Varèse Sarabande • Carnaval de Sodoma (David Mansfield) – Film Music Downloads • Dexter (Daniel Licht) - Milan • Prison Break (Ramin Djawadi) – Varèse Sarabande • Shoot Em Up (Paul Haslinger) – Varèse Sarabande • The Ten (Craig Wedren) – Commotion • Vacancy (Paul Haslinger) – Commotion
SEPTEMBER 4 NEW The Hunting Party (Rolfe Kent) – Lake shore NEW The Brothers Solomon (John Swihart) - Lakeshore
SEPTEMBER 11 • The Brave One (Dario Marianelli) – Varèse Sarabande • Dragon Wars (Steve Jablonsky) – Milan NEW Eastern Promises (Howard Shore) - Sony • Stardust (Ilan Eshkeri) – Decca
SEPTEMBER 18 NEW Across the Universe (Beatles/Elliot Goldenthal) - Interscope
SEPTEMBER 25 • The Kingdom (Danny Elfman) – Varèse Sarabande NEW Lust, Caution (Alexandre Desplat) - Decca • Michael Clayton (James Newton Howard) – Varèse Sarabande • Sea of Dreams (Luis Bacalov) – Varèse Sarabande
OCTOBER 2 NEW The Last Winter (Jeff Grace/Anton Sanko) – MovieScore Media • The Monster Squad (Bruce Broughton) - Intrada
OCTOBER 16 • Haunting Villisca (David James Nielsen) – MovieScore Media
OCTOBER 23 NEW Battlestar Galactica: Season 3 (Bear McCreary) – La-La Land • Superman: Doomsday (Robert J. Kral) – La-La Land
ALBUMS COMING SOON!
ISSUE��8�•�AUG.�9,��007� 7weeklyFILM MUSIC
MUSIC TECHNOLOGY AND YOU
Sibelius Part 2 Is Sibelius Really Easy to Learn?
TECHNOLOGY
By�PETER�LAWRENCE�ALEXANDER
One of Sibelius’ big claims is how easy it is to learn. But is it really?
I put the claim to the test first by going through the start guide and then viewing a ma-jority of the instructional videos that come pack-aged with Sibelius 5. First, here’s a list of the videos:
• Finding your way around• Starting a new score• Note input• Selecting and copying• Lyrics and other text• Adding markings• Ideas• Dynamic parts• Focus, Panorama and Properties• Layout and house style• Publishing on the Internet• Playback• Sibelius Sounds and KP2• Video• Worksheets• Color and graphics import• Exporting graphics
All of these are tutorials were presented in a problem/solution format. Sibelius’ teaching ap-proach is the same as the one I created for the Finale books I wrote: teach the program first by learning to work with templates. Sibelius starts you off with 60, including one for film scoring.
One comment on the film scoring template: It’s not bad, but a bit over-complete. If you’re used to working with a Judy Green or Valle Music pad, you’re restricted to a maximum 11 x 17 size (what Sibelius calls “tabloid”). To output an 11 x 17 sheet in your studio requires a laser printer,
which I priced at $499 and up starting with the HP LaserJet 5000N. The next best option is hav-ing large score output handled by FedEx Kinko’s or OfficeMax where Xerox DocuTechs are avail-able that can handle large paper output.
There are a few things I find missing from the video tutorials that should be added. One is demonstrating how to delete bars. When you go to the Sibelius website, you find this is among the leading questions. And rightly so since Si-belius doesn’t always use standard Windows commands. To delete, you’d think you’d just highlight the bars then hit either DELETE or BACKSPACE. Not so. It’s CTRL + DELETE.
Next, a tutorial is needed for showing how to create layers, especially two-parts per stave. Once you know how to do this, you can handle most chores from a Bach chorale to basic divisi writing in the Strings.
Third, a dedicated tutorial for setting up a lead sheet is a must. There is a tutorial covering lyrics and other text, but having one just for lead sheets would be more ideal.
One set of templates noticeably missing are just blank pads with 8 to 10 staves per page, not pre-ruled. I had Max Tofone, music editor for my How Ravel Orchestrated: Mother Goose Suite (and an expert in Sibelius), do a tutorial for cre-ating such a pad. From start to finish, it took 25 steps and 25 screen shots.
One feature Notion has that I wish Sibelius had is the ability to set the number of bars you want during setup.
Once you have these additional video tutori-als, then I think you really have a fast learning program for most basic issues.
What if you need tech support?
Well, I was less than thrilled with the online support. As a test, I keyed in my reg number
as requested. In fact, I keyed in it four times four different ways, and each time, the system bounced me out saying I wasn’t registered, when indeed I was.
I next called tech support in the USA. Once my reg number was recognized, I received excel-lent help from Carlos, who knew exactly what he was doing. However, my elapsed time to do a task that took less than 5 seconds was over 40 minutes by the time I tried to find it in the man-ual, in the video tutorials, online, and by calling tech support.
Building Your Skills
Once you’ve mastered the basics, to maxi-mize your learning time, define the kind of mu-sic document you want to create, find examples, then attempt to replicate it in Sibelius, taking notes as to what your steps are.
For orchestral work in films, you’ll want to learn how to set up four bars to the page. For non-film orchestral works and piano, to me, there’s only one source to study: works published by Durand in Paris. Durand’s engravings of Ravel, Debussy, and piano works in general are great art. They are beautiful, and the page turns fall in the most gracious places.
For PVG (piano-vocal-guitar), look at Hal Leonard or Cherry Lane.
Conclusion
Though it has its moments, Sibelius is genu-inely a fast learning program and one worth the time investment to learn and master.
� ���n Peter Alexander is preparing to score The Good Samaritan. His most recent books are How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.
8� ISSUE��8�•�AUG.�9,��007 weeklyFILM MUSIC
THE CHART DOCTOR
Do You Know Any Standards?
BY�RON�HESS
It’s a common question when hiring side-men. It’s meant to find out whether the ques-tionee knows by heart a collection of tunes which have become recognized, accepted, and appreciated by other players and the audi-ences who foot the bills. It’s a good one in the notation game too, referring to practices which have come to be accepted historically by majority rule of both the writers and the readers of notated music within a certain market.
I received an e-mail from a reader who asked about “how-to” references that would teach the conventions of commercial nota-tion to someone who unsuccessfully tried to go there by studying the standard texts on classical practices. Here’s the rub: In today’s music industry, with symphony orchestras worldwide dabbling in the commercial re-cording field, and commercial recording mu-sicians dealing with the output of notation software that in most cases defaults stylisti-cally to classical practices, the newcomer is truly caught in a bind. Oh well, maybe I’ll just have to keep writing...
Despite some study in classical notation in graduate school (Boston’s bastion of tradi-tion, the New England Conservatory) my real initiation came in the trenches of commercial copying houses where I worked, by necessity, when I first hit LA. This was still pen-and-ink time, folks, and one’s paycheck hinged on one’s success at emulating a certain hand-me-down commercial style. In those analog days, nothing went on the paper that wasn’t personally hand-crafted; hence, nothing got taken for granted.
Now, with computers, it’s just too easy to let your software dictate your style of out
put, with the result that players in certain markets, who spent decades responding to one style, being forced to sight-read another. Personally, I want every conceivable advan-tage on my (and my clients’) sessions. So, I don’t serve my software, but rather make my software serve me by incorporating many bits of style I had to learn when I did it by hand: oversize time signatures, generous page layout to leave room for alterations, bar numbers for (and underneath) every measure, articulations solely above the staff, double bars at every meter change, 8-stave title pages on parts with 10-stave subse-quent pages, transposed parts without key signatures, 9.5”x12.5” page sizes, 1/2” page margins, and lowered priority on convenient page turns, among many, many others. And for scores: retaining even empty staves on all pages, untransposed scores, extremely over-sized time signatures, page layout of 4 bars per page (versus highly compacted classical scores,) and single-sided printing, etc.
So how does one learn the standards of a particular industry in a geographic area? How-to books are shortcuts and may, by trying to serve a national or international readership, be too universal. You want what works in your backyard. So go to sessions lo-cally and look closely at what they’re playing. If it’s a funk tune that has the look and feel of a Mozart symphony, then it was probably done by a software owner, not a copyist or or-chestrator who is a software user. And the same is true even more for scores. Commer-cial orchestrations, because they were the last to escape the state of done-by-hand, can be even more idiosyncratic.
Find a rehearsal band with a library done
before the rise of PC homogenization. Per haps look at your local college’s music library or on the Internet. If you know a commer-cial arranger or player who has been at it for more than 15 years, see if you can bor-row from his collection of personal favorites. While adopting a player’s viewpoint, inhale the style, the look, and the effect that the no-tation has on you. Absorb the craftsmanship (while ignoring the compromises) that came with the hike-and-not-sprint pace of hand copying. Then, alter your templates and soft-ware settings accordingly. In short, teach your computer what you may never have been taught yourself. Software is just a tool; don’t let it be the master. And, while we’re at it, always remember that in the world of notation, as with most things under the sun, context is everything. Provide your players with what they’re accustomed to, and you’ve just given yourself and/or your client another advantage.
On a different topic, if you, dear readers, have a specific but unaddressed need from this column, go ahead and e-mail me about it, being as specific as you can. If possible, in a future column I’ll try to get you the answers or at least point at where they can be found.
n Ron Hess works as a studio conductor, orches-trator, 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 consid-ered one of the top Finale experts in Los Angeles.
Email Ron at [email protected]
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).Angelo Badalamenti: The�Eye�•�The�Edge�of�Love.Klaus Badelt: Heaven�and�Earth�•�Killshot.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�•�Doomsday.Jeff Beal: He�Was�a�Quiet�Man�•�Where�God�Left�His�Shoes�•�Salomaybe?�•�The�Deal.Christophe Beck: Drillbit�Taylor�•�The�Dark�Is�Rising.Marco Beltrami: In�the�Electric�Mist�with�Confederate�Dead�•�3:10�to�Yuma.�Charles Bernstein: Bull�Run�•�Let�My�People�Go.Jean-Michel Bernard: Be�Kind�Rewind.Scott Bomar: Maggie�Lynn.Simon Boswell: Bathory.Jason Brandt: Something’s�Wrong�in�Kansas.David Bridie: Gone.Kenneth Burgomaster: Garfield�Gets�Real�•�Hero�Wanted.�Mickey Bullock: Sportkill�•�Orville.Carter Burwell: No�Country�for�Old�Men.Niall Byrne: How�About�You.Brian Cachia: Gabriel.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).Jamie Christopherson: Ghost�Image.Nigel Clarke/Michael Csányi-Wills: �The�Grind.Charlie Clouser: Death�Sentence�•�Resident�Evil:�Extinction�•�Saw�IV.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�•�Emotional�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.Jessica de Rooij:�Postal�•�BloodRayne�II:�Deliverance�•�Tunnel�Rats�•�Far�Cry..John Debney: Evan�Almighty�•�Big�Stan�•�Sin�City���•�Sin�City�3�•�Iron�Man.Alexandre Desplat: His�Dark�Materials:�The�Golden�Compass�•�Lust,�Caution.Ramin Djawadi: Fly�Me�to�the�Moon�•�The�Tourist.James Michael Dooley:�Bachelor�Party��.Patrick Doyle: Mr.�Magorium’s�Wonder�Emporium.Ludek Drizhal: Life�Goes�On�•�Badland.Jack Curtis Dubowsky:�Rock�Haven.Anne Dudley: The�Walker.Robert Duncan: Shattered.Clint Eastwood: Grace�Is�Gone.Randy Edelman: Balls�of�Fury�•��7�Dresses.Steve Edwards: Finding�Rin-Tin-Tin�•�The�Neighbor.Danny Elfman: The�Sixth�Element�•�The�Kingdom�•�Hellboy��.Warren Ellis: The�Assassination�of�Jesse�James�by�the�Coward�Robert�Ford�(co-composer).Paul Englishby: Magicians.Tobias Enhus: Paragraph�78.Tom Erba: Chinaman’s�Chance.Ilan Eshkeri: The�Virgin�Territories�•�Straightheads�•�Strength�and�Honour.Evan Evans: The�Mercy�Man.Nima Fakhara: Lost�Dream.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.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: Cassandra’s�Dream�•�Les�animaux�amoreux.Erik Godal: The�Gift�•�Ready�Or�Not.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�•�You�Don’t�Mess�With�the�Zohan.�Andrew Gross: Forfeit.Larry Groupé: Resurrecting�the�Champ�•�Love�Lies�Bleeding.Andrea Guerra: L’uomo�di�vetro.
Robert Gulya: Atom�Nine.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.James Horner: The�Spiderwick�Chronicles.•�Avatar�•�In�Bloom.Richard Horowitz: Genghis�Khan.�James Newton Howard:�Michael�Clayton�•�The�Waterhorse�•�I�Am�Legend�•�The�Happening.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.
Bobby Johnston: American�Fork�•�Stuck.Tim Jones: Cryptid.Trevor Jones: Fields�of�Freedom�•�The�Power�of�the�Dark�Crystal.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: The�Comebacks�•�Alvin�and�the�Chipmunks�•�The�Perfect�Christmas�•�Hunting�and�Fishing.Sondre Lerche: Dan�in�Real�Life.Michael A. Levine:�Adrift�in�Manhattan.Christopher Libertino: Off�the�Grid�–�Life�on�the�Mesa�•�The�Forgot-ten�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�•�Timber�Falls.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: The�Tinkerbell�Movie.Nathaniel Mechaly: Sans�moi.Alan Menken: Enchanted�•�The�Frog�Princess.Matt Messina: Juno�•�The�Least�of�These.�Guy Michelmore: Doctor�Strange.Bryan E. Miller:�Fissure.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.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�•�Knuckle�Draggers�•�A�Perfect�Season.John Ottman: Valkyrie.Atli Örvarsson: Vantage�Point.John Paesano: Shamrock�Boy.Heitor Pereira: Illegal�Tender�•�Blind�Dating�•�Suburban�Girl�•�Run-
ning�the�Sahara.Mark Petrie: The�Road�to�Empire�•�Lake�Dead�•�Mr�Blue�Sky�•�Valley�of�Angels.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: Horton�Hears�a�Who�•�P.S.�I�Love�You.Michael Price: Sugarhouse�Lane�•�Agent�Crush.Trevor Rabin: National�Treasure��:�The�Book�of�Secrets�•�Get�Smart.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.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.David Glen Russell:�Contamination.Hitoshi Sakamoto: Romeo�x�Juliet.H. Scott Salinas:�Strictly�Sexual�•�What�We�Did�on�Our�Holidays.Anton Sanko: Life�in�FlightBrian Satterwhite: Cowboy�Smoke�•�Maidenhead.Mark Sayfritz: Until�Death.sake.Brad Sayles: The�Bracelet�of�Bordeaux.David Schommer: War,�Inc.Marc Shaiman: Hairpsray�•�Slammer�•�The�Bucket�List.Theodore Shapiro: Mr�Woodcock�•�The�Mysteries�of�Pittsburgh�•�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�•�Jack�Brooks�–�Monster�Slayer.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.Michael Tremante: If�I�Didn’t�Care.�Gregory Tripi & Kyle Batter:�Dark�Storm�•�Termination�Point.Ernest Troost: Crashing.Brian Tyler: Time�to�Kill�•�War�•�Finishing�the�Game�•�Alien�vs.�Preda-tor���•�John�Rambo�•�The�Heaven�Project.Shigeru Umebayashi: A�Simple�Love�Story.Johan van der Voet:�Clocking�Paper.John Van Tongeren:�War�Games���-�The�Dead�Code�Waddy Wachtel: Strange�Wilderness.Benjamin Wallfisch: The�Escapist.Michael Wandmacher: The�Killing�Floor�•�Man�of�Two�Havanas�•�Train.Nathan Wang: Daddy’s�Little�Girl�•�The�Final�Season.Stephen Warbeck: Flawless�•�Miguel�and�William.Matthias Weber: Silent�Rhythm�•�Weekend�Interrupted.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.Patrick Williams: Mikey�and�Dolores.Tim Williams: Afterthought�•�A�Dog’s�Breakfast.Debbie Wiseman: Flood�•�Amusement.Alex Wurman: The�Nines�•�The�Baker�•�Bernard�and�Doris�•�Bag-gage�•�Quebec.Gabriel Yared: Manolete�•�1408.Christopher Young: Sleepwalking.Geoff Zanelli: Delgo.Marcelo Zarvos: The�Air�I�Breathe�•�You�Kill�Me.Aaron Zigman: The�Martian�Child�•�Good�Luck�Chuck�•�Jane�Austen�Book�Club.
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 [email protected].
THE SCOREBOARD