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ISSUE 34 • OCT. 9, 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:9 chart Doctor: From actuality to immortality p:10 technology: more on the new Vienna ensemble
CD REVIEW: Lust / Cautionn With such memorable works as Girl with a Pearl Earring, Syriana, Hostage and Birth, French compos-er Alexandre Desplat has shown a real ear for mys-tery that can be as beautifully dark as it is exotically intriguing. p:7
Gorfaine-Schwartz Dominates Box Officen The Gorfaine-Schwartz Agency domi-
nates the film music industry in terms of films and composers represented at the US box office so far this year. And no one comes close to “the big three”, Gorfaine-Schwartz, First Artists and Kraft-Engel.
Film Music Weekly has analyzed the 2007 US box office statistics so far in order to find out
which film composer agencies are the most pro-lific in terms of landing of box office hit assign-ments for their composers – and, if you look at the survey from the other point of view: which agency has the most in-demand composers on their client roster.
It does not come as a surprise that Gorfaine-Schwartz Agency and its agents Michael Gor-
faine, Samuel Schwartz and Cheryl Tiano, dom-inates the box office – with its roster featuring leading names such as John Williams and Hans Zimmer, GSA has been the leading film music agency in Hollywood for many years. FMW ana-lyzed the top 100 films at the 2007 US box office so far, and the total gross for these films is over $6 billion. p:3
Local 47 ‘Victory’ Email Raises Questions;Espinosa Labels NES ‘Scab Orchestra’
n American Federation of Musicians Los Angeles Local 47, in a September 28 email to members, hailed the alleged “can-cellation” of New Era Scoring “scab or-chestra” sessions scheduled for September 22 as a “victory for Local 47.” The Local 47 newsletter failed to mention that the ses-sions actually took place on September 22.
In a September 28 email sent to Local 47 members titled “Local 47 Scuttles Scab Orches-tra Sessions”, Local 47 President Hal Espinosa celebrated what the newsletter calls the “can-cellation” of the New Era Scoring buyout or-chestra sessions scheduled for September 22. While the sessions were forced to move location due to threats of AFM protests, the sessions occurred on September 22 as reported in Film Music Weekly on September 25.
Espinosa could not be reached for comment, and Film Music Magazine was told he was va-cationing in Europe.
In an exclusive interview with Mark Northam on the Film Music Radio show “In-side The Business,” composer and union activist Charles Fernandez labeled the Local 47 “vic-tory” email as “fraudulent,” and said it repre-sented “ineffectual leadership by the Local 47 executive officers who are puppets of the RMA [Recording Musicians Association] leadership.”
Also featured on Film Music Radio is re-
cording artist, educator and Local 47 Executive Board member Dr. Bobby Rodriguez. Rodriguez said the Local 47 Executive Board had no con-trol over emails sent by Local 47, but said the Executive Board was dealing with the best in-formation it had at the time. Rodriguez strongly defended Local 47’s stance towards former Lo-cal 47 members who have chosen financial core status, stating clearly that these people “were not union musicians.” To listen to the show, visit http://www.filmmusicmag.com/itb/
Both Fernandez and Rodriguez spoke at length on the program about Local 47, the RMA, and their individual perspectives on the issues at Local 47 and how Local 47 and the AFM can better serve its membership and the industry at large.
Arnold in Talks to Score Third ‘Narnia’
n David Arnold is currently in talks with Walt Disney Pictures to score the third film in the ongoing Chron-icles of Narnia series, Voyage of the Dawn Treader.
The third Cronicles of Narnia film is not yet in production and Arnold is not officially hired to score the film yet, but both the composer himself and Walt Disney Pictures have con-firmed to Film Music Weekly that the intent is that Arnold shall be signed to the picture.
The Chronicles of Narnia: Voyage of the Dawn Treader will be directed by British vet-eran helmer Michael Apted, who has been working with David Arnold since the James Bond movie The World is Not Enough in 1999 and subsequently on Enough and last year’s Amazing Grace.
It was recently reported that Walt Disney and Walden Media have postponed the start of production of the film from January until sum-mer of next year. The film’s release has been pushed back one year and is now scheduled to open on May 7, 2010.
Like the first film in the series, the second one, Prince Caspian, will get original music by Harry Gregson-Williams. mc
EXCLUSIVE AUDIOMark Northam interviews
composer and union activist Charles Fernandez and recording artist and Local 47 Board member Dr. Bobby Rodriguez this week on
Inside The Business on Film Music
Click to Listen.
� issue 34 • oct. 9, �007 weeklyFILM MUSIC
Publisher: Mark Northam editor: Mikael Carlsson
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weeklyFILM MUSICthis week on
FMRFILM MUSIC RADIO
ON THE SCORE
CHARLIE CLOUSER Daniel schweiger interviews com-poser charlie clouser, who
gives an industrial rock shock to the zombies of
resiDent eVil: eXtinction LISTEN NOW
INSIDE THE BUSINESS
CHARLES FERNANDEZ AND DR. BOBBY RODRIGUEZ
mark northam talks with union activist charles Fernandez and local 47’s Dr. bobby rodriguez about the aFm reaction to new era scoring
LISTEN NOW
issue 34 • oct. 9, �007 3weeklyFILM MUSIC
FILM MUSIC NEWS
Gorfaine-Schwartz Dominates Box Office
1. Gorfaine-Schwartz Agency - $2,128.0m• Shrek the Third (Harry Gregson-Williams)
- $321.0m• Transformers (Steve Jablonsky)- $316.5m• Pirates of the Caribbean: At World’s End
(Hans Zimmer) - $309.4m• Ratatouille (Michael Giacchino) - $203.4m• The Simpsons Movie (Hans Zimmer)
- $182.1m• I Now Pronounce You Chuck and Larry
(Rupert Gregson-Williams) - $119.5m• Blades of Glory (Theodore Shapiro)
- $118.2m• Evan Almighty (John Debney) -$100.3m• Disturbia (Geoff Zanelli) – $80.1m• Shooter (Mark Mancina) - $47.0m• Underdog (Randy Edelman) - $42.8m• Stardust (Ilan Eshkeri) - $37.9m• The Number 23 (Harry Gregson-Williams)
- $35.2m• Balls of Fury (Randy Edelman) - $33.5m• Mr. Brooks (Ramin Djawadi) – $28.6m• Hannibal Rising (Ilan Eshkeri) - $27.7m• War (Brian Tyler) - $22.5m• Mr. Woodcock (Theodore Shapiro) - $22.3m• The Hills Have Eyes 2 (Trevor Moris)
- $20.8m• Georgia Rule (John Debney) - $18.9m• The Hitcher (Steve Jablonsky) - $16.5m• Daddy Day Camp (James Michael Dooley)
- $13.0m• Dragon Wars (Steve Jablonsky)- $10.8m
2. First Artists Management - $1,307.3m• Spider-Man 3 (Christopher Young)
- $336.5m• Rush Hour 3 (Lalo Schifrin) - $138.6m• Superbad (Lyle Workman) - $120.3m• Ocean’s Thirteen (David Holmes) - $117.2m• Ghost Rider (Christopher Young) - $115.8m• Norbit (David Newman) - $95.4m• Surf’s Up (Mychael Danna) - $58.9m• Fracture (Mychael Danna/Jeff Danna)
- $39.0m• Freedom Writers (Mark Isham) - $36.6m• Smokin’ Aces (Clint Mansell) - $35.7m• Breach (Mychael Danna) - $33.1m• The Reaping (John Frizzell) - $25.1m• Hot Fuzz (David Arnold) - $23.6m• Amazing Grace (David Arnold) - $21.3m• Reign Over Me (Rolfe Kent) - $19.7m• Vacancy (Paul Haslinger) - $19.0m• Next (Mark Isham) - $18.0m• Hostel Part II (Nathan Barr) - $17.6m• Shoot ‘Em Up (Paul Haslinger) - $12.7m• I Think I Love My Wife (Marcus Miller)
- $12.6m• Primeval (John Frizzell) - $10.6m
3. Kraft-Engel Management - $988.4m• The Bourne Ultimatum (John Powell)
- $224.5m• Fantastic Four: Rise of the Silver Surfer
(John Ottman) - $131.9m• Hairspray (Marc Shaiman) - $118.1m• Meet the Robinsons (Danny Elfman) - $97.8m
By Mikael Carlsson
The Gorfaine-Schwartz Agency dominates the film music industry in terms of films and composers represented at the US box of-fice so far this year. And no one comes close to “the big three”, Gorfaine-Schwartz, First Artists and Kraft-Engel.
Film Music Weekly has analyzed the 2007 US box office statistics so far in order to find out which film composer agencies are the most prolific in terms of landing of box office hit assignments for their composers – and, if you look at the survey from the other point of view: which agency has the most in-demand composers on their client roster.
It does not come as a surprise that Gorfaine-Schwartz Agency and its agents Michael Gorfaine, Samuel Schwartz and Cheryl Tiano, dominates the box office – with its roster featuring leading names such as John Williams and Hans Zimmer, GSA has been the leading film music agency in Hol-lywood for many years. FMW analyzed the top 100 films at the 2007 US box office so far, and the total gross for these films is over $6 billion. The films scored by GSA composers grossed a total of $2.1 billion. The runner-up, First Artists Management, comes in at $1.3 billion, and number three, Kraft-Engel, worked on films grossing a total of $988 million.
So far though, it’s not a GSA composer who has scored the number one film of the year. First Artists’ composer Christopher Young scored Spider-Man 3 which grossed $336.5m. However, GSA’s composers scored all three runner-ups, also grossing over $300m each: Shrek the Third (Harry Greg-son-Williams), Transformers (Steve Jablonsky) and Pirates of the Caribbean: At World’s End (Hans Zimmer). And Transformers is still in release.
An example of Gorfaine-Schwartz strength in the industry is that their box office domination is so striking despite the fact that three of their primary composers – John Williams, James Horner and James Newton Howard – haven’t had a single new film out so far this year. Now, there is still two months of premieres left to include in the final 2007 statistics, and the list here will change – among “hot” films remaining this year are Saw IV(Charlie Clouser/ Evolution Music Partners), I Am Legend and Michael Clayton (both by James Newton Howard, GSA), National Treasure: Book of Secrets (Trevor Rabin/Kraft-Engel) and Elizabeth: The Golden Age (Craig Armstrong/First Artists).
• Bridge to Terabithia (Aaron Zigman) - $82.3m
• Licence to Wed (Christophe Beck)- $43.8m• Because I Said So (David Kitay)- $42.7m• No Reservations (Philip Glass)– $42.5m• Epic Movie (Edward Shearmur) - $39.7m• The Messengers (Joseph LoDuca) - $35.4m• The Kingdom (Danny Elfman) - $31.4m• Good Luck Chuck (Aaron Zigman) - $29.1m• Catch and Release (BT) - $15.5m• Alpha Dog (Aaron Zigman) - $15.2m• The Invasion (John Ottman) - $15.1m• Hot Rod (Trevor Rabin) - $13.9m• Evening (Jan A.P. Kaczmarek) - $12.5m
4. Soundtrack Music Associates $480.0m• 300 (Tyler Bates) - $210.6m• Halloween (Tyler Bates) – $57.1m• Teenage Mutant Ninja Turtles (Klaus
Badelt) - $54.1m• Premonition (Klaus Badelt) - $47.9m• The Game Plan (Nathan Wang)- $42.8m• 28 Weeks Later (John Murphy)- $28.6m• Reno 911: Miami (Craig Wedren) - $20.3m• Becoming Jane (Adrian Johnston) - $18.6m
5. Greenspan Artists Management- $421.5m• Wild Hogs (Teddy Castellucci)- $168.3m• Live Free or Die Hard (Marco Beltrami)
- $134.4m• Are We Done Yet? (Teddy Castellucci)
- $49.6m• 3:10 to Yuma (Marco Beltrami) - $48.6m• The Invisible (Marco Beltrami) - $20.6m
TOP 10 AGENCIES: 2007 The most prolific film music agencies according to the 2007 US box office statistics so far.
4 issue 34 • oct. 9, �007 weeklyFILM MUSIC
FILM MUSIC NEWS
OPENING THIS WEEK
THEATRICAL
• Elizabeth: The Golden Age (craig armstrong/ a.r. rah man)• Fat Girls (chris gubisch)• The Final Season (nathan wang)• Lars and the Real Girl (David torn)• Sleuth (Patrick Doyle)• Terror’s Advocate (jorge arriagada)• Tyler Perry’s Why Did I Get Married (aaron Zigman)• We Own the Night (wojciech Kilar)
DIRECT-TO-DVD
• Deadwood Park (mario Viele)
• Welcome to Paradise (tor hyams)
SIGNINGS & PROJECTS
atli Örvarsson: Babylon A.D.n Iceland-born composer Atli Örvarsson is quickly emerging as a major talent to watch in Hollywood. As we’ve reported earlier, he has been hired to score the action film Vantage Point with Hans Zimmer as a music consultant. Now, Film Music Weekly can reveal that Örvarsson will score another major action opus: Babylon A.D. directed by French filmmaker Ma-thieu Kassovitz (Gothika, La Haine). This is a sci-fi adventure starring Vin Diesel, Michelle Yeoh and Gérard Depardieu.
The film, a co-production between 20th Century Fox and Canal Plus, is scheduled to premiere on February 29 next year. Örvarsson is represented by Gorfaine-Schwartz. mc
stephen barton: Call of Duty 4n Activision announced last week that Stephen Barton (Mrs. Palfrey at the Claremont) has written the score and Harry Greg-son-Williams (The Chronicles of Narnia, the Shrek trilogy, The Number 23), the themes for their upcoming video game Call of Duty 4: Modern Warfare. Stephen Barton has been a member of Gregson-Williams’ film scoring team for 2003. Although Greg-son-Williams is best known for his high-profile feature film scores, he has written several game scores before, including Metal Gear Solid. The previous releases in the Call of Duty series had music by Graeme Revell and Joel Goldsmith. The game hits stores on November 5th. mc
David arnold:How to Loose Friends and Alienate Peoplen David Arnold’s next feature film, How to Loose Friends and Alienate People, is a British comedy directed by Robert B. Weide who is best known for the Curb Your Enthusiasm TV series. The film stars Megan Fox, Kirsten Dunst, Simon Pegg and Jeff Bridges and is based on writer Toby Young’s memoir about his struggle to fit in at a high-profile New York magazine. Produced by Number 9 Films and Film 4, the film is scheduled to premiere in October next year. mc
jesper Kyd:La Passion de Jeanne d’Arc
n Danish composer Jesper Kyd, who wrote the music for the Hitman video games, composed a new score for the classic Danish silent La Passion de Jeanne d’Arc, directed by Carl Theodor Dreyer in 1928. The film was shown at the Danish Film Festival in Los Angeles on October 4, accompanied by Kyd’s new score. mc
6. Cool Music (UK) - $290.2m
• Harry Potter and the Order of the Phoenix (Nicholas Hooper) - $290.2
7. Evolution Music Partners - $256.9m
• 1408 (Gabriel Yared) – 72.0m• Stomp the Yard (Sam Retzer/Tim Boland)
- $61.4m• Resident Evil: Extinction (Charlie
Clouser) - $43.5m• Zodiac (David Shire) - $33.1m• Waitress (Andrew Hollander) - $19.0m• Dead Silence (Charlie Clouser) - $16.6m• The Lives of Others (Gabriel Yared)- $11.3m
8. Air-Edel Associates (UK) - $34.3m
• The Brave One (Dario Marianelli) - $34.3m
9. William Morris Agency - $31.4m• Daddy’s Little Girls (Brian McKnight)
– $31.4m
10. Bully Music - $15.6m• Happily N’Ever After (Paul Buckley)
- $15.6m
Source: Box Office Mojo
TOP 10 AGENCIES: 2007 continued
issue 34 • oct. 9, �007 5weeklyFILM MUSIC
FILM MUSIC NEWS
Alexander University’s Online Classwith Stephen Hill is booking now.
Over a six week period, you’ll learn about brass by writing for brass, not doing a bunch of useless academic exercises. Two-minute compositions due every 10 days are for solo French horn, trumpet, trombone and tuba. Classes are limited to 6 for maximum attention. Our Writing For Strings Class filled up in a week. So act now and reserve your space so you’re not left out. Click here for overview and class details: WRITING FOR BRASS
78 DRM-free MP3s with an average of a 20 minute concert per solo instrument. Covers Solo flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, bass trombone, tuba, violin, viola, cello, bass, harp and percussion. You’ll hear the music of old favorites like Bach, Handel, Haydn, Mozart, Albinoni, Schumann, Brahms, and Rimsky-Korsakov.
But you’ll also hear the work of such 20th Century composers as Elliot Carter, Xenakis, Carl Nielsen, John Cage, Kalevi Aho, Claude Debussy, Gordon Jacob, Marcel Grandjany, Benjamin Britten, Zoltan Kodaly, Eduard Lalo, Sir Edward Elgar, Shostakovich, Yi Chen, Hindemith, Max Reger, Glazunov, Saint-Saens, Haukur Tomasson, and others.
Because these MP3s are DRM-free, you can listen to them on any MP3 player or computer, from iPod to Zen to Zune! Even XBox! If your car stereo CD player reads MP3s, you can burn this entire collection to CD and listen while you drive.
Normally, you’d pay around $80 or more for a pack-age like this. Our special educational price: $24.95. Click here to order: CONCERT AUDIO PACKAGE
Training That Gets Results.
8 ISSUE 2 • FEBRUARY 12, 2007 weeklyFILM MUSIC
FILMMUSIC NEWS
BMI names fellowship winnersJohn Kaefer and James Woodward winners of the Pete Carpenter FellowshipComposers John Kaefer and James Woodward have been named the winners of the 18th Annual Pete Carpenter Fellowships, it was announ-ced by BMI Foundation Presi-dent Ralph N. Jackson.
Composer John Kaefer has beenrecognized for his scores for filmand television, as well as for hischamber, choral and orchestralconcert works. He has composed,produced and orchestrated musicfor film and network/cable tele-vision projects, including RoomService (starring Howie Mandeland debuting at Sundance), ToKill A Bore (shown at Cannes)and Dance School (documentary),among others.
He recently worked with leg-endary BMI television composerW.G. Snuffy Walden (West Wing,Studio 60, Friday Night Lights)
in his Calabasas studio. Addition-ally, Kaefer serves as the CreativeDirector and a principal composerfor DreamArtists Studios, a film/television music production housebased in New York.
Composer James Woodwardis a native of California and be-gan writing music in Wisconsin.A string bassist and pianist, hestudied composition with StephenHartke, Ronald Foster and JohnDowney.
His music has been performedby the Milwaukee Youth Sympho-ny Orchestra, the USC SymphonyOrchestra, the United StatesArmy Orchestra, and other en-sembles across the United Statesand Europe.
Woodward recently completedwriting the music for a short filmdirected by Gentry Smith, is per-forming for various films and proj-ects in the Los Angeles area, and
enjoys surfing off the SouthernCalifornia coast.
The BMI Foundation, Inc. is anot-for-profit corporation founded
in 1985 to support the creation,performance, and study of musicthrough awards, scholarships,commissions and grants. mn
Pete Carpenter Fellowship winner John Kaefer (l) is pictured with BMI’sLinda Livingston and BMI composer Mike Post in Post’s Burbank studio.
Pete Carpenter Fellowship winner James Woodward (c) is congratulatedby Post and Livingston.
THE PETE CARPENTER FELLOWSHIP• The Fellowship, open to aspiring film and television composers under the age of 35, was established by the BMI Foundation and Carpenter’s family,colleagues and friends to honor the late composer whose credits include such television themes and scores as The A-Team, Magnum P.I., The Rockford Files, Hardcastle and McCormick, Hunter and Riptide.
• Fellowship winners are given the opportunity to intern with renowned BMI composer Mike Post in his Los Angeles studio and meet with other distin-guished theatrical, film and TV composers. A stipend for travel and living expenses is also part of the award.
• Mike Post, Carpenter’s longtime writing partner, has penned some of the most memorable theme songs in television history, including Hill Street Blues, The A-Team, Magnum P.I., NYPD Blue, Law and Order, L.A. Law, The Rockford Files, Quantum Leap and City of Angels.
harry manfredinin Veteran composer and hor-ror specialist Harry Manfredini (Friday the 13th) is busy scor-ing a variety of films, including lots of genre films. Among his latest assignments are Black Friday, a horror film directed by Ethan Terra and starring Kane Hodder, Bridget Mar-quardt and Sage Stallone, and iMurders, a thriller directed by Robbie Bryan. Manfredini is also going to score a romantic thriller entitled Impulse, and he recently finished work on Anna Nicole (a biopic about Anna Nicole Smith) and Dead and Gone (another horror pic-ture). mc
SIGNINGS & PROJECTS
issue 34 • oct. 9, �007 7weeklyFILM MUSIC
With such memorable works as Girl with a Pearl Earring, Syriana, Hostage and Birth, French composer Alexandre Desplat has shown a real ear for mystery that can be as beautifully dark as it is exotically intriguing. It’s a talent that proves to be another winning combination for Lust / Caution, his palpably erotic score for Ang Lee’s NC-17 WW2 spy drama. But unlike this year’s similarly themed Black Book, Lust’s flesh-baring tale of female espionage is decid-edly more depressing. As usual for Lee, Lust / Caution is heavy (and long) psychological going, where the protagonists are undone by some truly heavy petting. Thankfully, Alexan-dre Desplat’s score gives us the film noir satis-faction that Lust is intent on not getting up, in spite of its numerous, angry sex scenes.
Desplat is a true master of playing a film’s subtext, as well as its atmosphere. And he’s cer-tainly got a lot to work with here, as Ang Lee has loaded Lust / Caution with a Hitchcockian vibe of love and betrayal that would be right at home in his WW2 thriller Notorious (though its Suspicion that plays onscreen here). Lust is a slow, sinister dance between an enemy agent and the woman who’s sent in to set up his death – with her allure as the weapon – something which Desplat picks up on by conjuring a waltz rhythm. Glamorous smoke also blows through the screen as freely as air, and Desplat grabs the film’s visual strengths to create an enticing fatalism, the kind of music that’s drawn glam-orous dames and bad men together since the day black and white was applied to film noir.
The fact that this is taking place in Japa-nese-occupied Shanghai is mostly immaterial to Desplat’s approach. Like his last China-set score for The Painted Veil, Lust / Caution uses subtle Oriental flavors to favor a more classi-cally symphonic “thriller” sound. Everything is as delicate and poised as the two characters eye each other suspiciously before ripping off
their elegant clothes. And like its score noir cousins Body Heat and Basic Instinct, Lust / Caution generates a palpable, erotic beauty in the build-up. But like the film’s title, Desplat never lets his music give in to real pleasure. Even during the slaphappy bump and grind, Desplat is playing sadness and danger, letting the characters’ agonized whimpers taking care of the more carnal sounds.
Increasingly few composers can write great themes – or themes alone for that matter. Perhaps it’s a French thing, but Desplat con-tinues to impress as one of the great melody-makers working in film today. Lust / Caution once again brings out numerous, hypnotically memorable themes, all tinged with a gossamer sadness that tells us things aren’t going to end well for anyone here. But at least musically, it will be a dangerously sensual ride to the end of the affair. Desplat creates an enormously suspenseful score without obviously trying for it, knowing how to use light strings, wind in-struments and bells to sound like the rustle of clothes against anticipating flesh. And in other cues, the orchestra hangs ominously over the characters, its danger played like a breathless-ly beating heart.
While Ang Lee’s Lust / Caution remains too cool for school in the end (despite its over-explicit sex), elegant restraint proves to be the key to Desplat’s excellent score. His is the true power of suggestion, when a melodrama’s deli-cately plucked harp, lightly-played strings, and memorable themes did more to get a rise out of moviegoers than the sight of the actors’ sweaty bodies tangled in Twister-like intercourse. In-deed, classy make-out music doesn’t get better than this.
Click here for the Lust / Caution soundtrack Courtesy of iFmagazine.com
ALBUMS COMING SOON
OUT THIS WEEKNEW And When Did You Last See Your Father? (Barrington Pheloung) – Silva Screen• Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore MediaNEW D.O.A. (Dimitri Tiomkin) – Screen Archives• Elizabeth: The Golden Age (Craig Armstrong/ A.R. Rahman) – DeccaNEW El Greco (Ennio Morricone) – GDM CD ClubNEW Hotel/Kaleidoscope (Johnny Keating/ Stanley Myers) - FSM• In the Valley of Elah (Mark Isham) – Varèse SarabandeNEW Lair (John Debney) – iTunes*• The Jane Austen Book Club (Aaron Zigman) – Varèse Sarabande• Music from the Pirates of the Caribbean Triogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen • Return to House on Haunted Hill (Frederik Wiedmann) – Varèse Sarabande• Sleuth (Patrick Doyle) – Varèse Sarabande• Transformers (Steve Jablonsky) – Warner Bros.
OCTOBER 16NEW 100 Greatest TV Themes: Volume 2 (various) – Silva Screen• Atom Nine Adventures (Robert Gulya) – MovieScore Media• Reservation Road (Mark Isham) - Lakeshore• Vampire Conspiracy (Joseph Martin) – Mu- siclinks*• The Witches Hammer (Mark Conrad Cham- bers) – Film Music Downloads*NEW Without a Clue (Henry Mancini) - BSX
OCTOBER 23• Battlestar Galactica: Season 3 (Bear MCreary) – La-La LandNEW The King of California (David Robbins) – Silva ScreenNEW Rendition (Paul Hepker/Mark Kilian) - Milan• Superman: Doomsday (Robert J. Kral) – La- La Land
OCTOBER 30NEW Bee Movie (Rupert Gregson-Williams/ various) - RCA• Bobby (Mark Isham) - Lakeshore• Haunting Villisca (David James Nielsen) – MovieScore Media• The Kite Runner (Alberto Iglesias) – Deutsche Grammophon• Youth Without Youth (Osvaldo Golijov) – Deutsche Grammophon
NOVEMBER 6NEW Doctor Who: Series 3 (Murray Gold) – Silva ScreenNEW The Good Night (Alec Puro) - Commotion• The Lord of the Rings: The Return of the King – The Complete Recordings (Howard Shore) – RepriseNEW Silk (Ryuichi Sakamoto) – Silva Screen• Star Wars: 30th Anniversary Collector’s Edi- tion (John Williams) – Sony
*) Denotes album available exclusively online.
ALBUM REVIEW
Lust / Caution
CD REVIEW
Lust / CautionComposer: Alexandre DesplatLabel: DeccaSuggested Retail Price: $14.99Grade: A
by Daniel schweiger soundtrack editor
issue 34 • oct. 9, �007 9weeklyFILM MUSIC
THE CHART DOCTOR
From Actuality To Immortality
by ron hess
How often do you think about an afterlife for your music? Not from the angle of yet-to-be-invented audio formats, speaker design, or 3-dimensional solid storage media. I mean the written and tangible form we call sheet music which permits future performances. After all, your true audience may not even have been born yet! Shouldn’t your music be saved for posterity if it’s any good (and as tissue for “pos-teriority” if it isn’t)?
For music from the days of pen and ink and vellum and awful-smelling ozalid machines, archival is a simple process of preserving the sheets in a safe environment. Computer nota-tion, for all its advantages, is another story.
Such long-term archival has three factors you must address: storage of existing printouts, hardware warehousing of the data, and viabil-ity of the proprietary software which will allow practical printing and editing of your composi-tions using that data.
For storage of printouts, conventional wis-dom calls for printing on acid-free paper. Since most commercially produced paper is now made with chalk filler and not china clay, it’s almost all acid-free. I’ve heard speculation that toner will flake off after ten years. Since my Boy Scout days left me with a vestigial trace of an eco-mindset, I’ve always minimized pa-per usage by doing uncritical printing on the blank backsides of old notation projects, some of which go back 15 years with no visible flak-ing. Since you won’t know until too late which projects are going to be valuable, and that by (Theodore) Sturgeon’s Law that ninety percent of everything is crap, don’t waste money on in-credibly fancy paper unless the client is paying
for it. If anyone knows of comparative data on the afterlife of ink versus toner, let me know.
Digital storage of visual content holds the most room for growth and development, but you must pay attention to your storage media. The trick is to successively transfer your archives to each newer, more robust medium before the older one dies and leaves you with trouble find-ing or connecting the drive which reads it. My body of computer notation goes back to 1989 or so and thus has been stored initially on floppy disks, transferred to Syquest EZ135 SCSI Drive disks, then hard drives, and finally to optical media (CDs and DVDs).
The last, and most head-scratching element with which to grapple is the question of “host” software. Your first impulse is to archive every-thing using Adobe’s PDF (Portable Document Format). No one anticipates even a fly-by-night outfit like Adobe to disappear anytime soon, and if history teaches us anything, it’s that any triumphant successor will still read the legacy format. But, to be safe, you should re-archive often enough (possibly every 3-4 years) to stay abreast of advancing formats.
But the PDF, for all its ubiquity, is essen-tially an uneditable digital Xerox copy. To re-tain practical edit capability of your composi-tion, you have to maintain the software that generated it. Working backwards, this means you’d better be super careful which software you build your career upon. I have a colleague who did a sizable body of work using Compos-er’s Mosaic by Mark Of The Unicorn. When MOTU inexplicably and utterly ceased Mosaic development on the eve of OS X, his entire ar-chive was orphaned, sort of like having his ga
rage burn down with all his scores inside.
I have always been careful to periodically check the health (and market share) of my most crucial software. Consequently, on my comput-er there are 10 different versions of Finale (go-ing back to 3.5.2!) making my whole digital ar-chive, spanning almost 20 years, available and still usable to me and my clients. Since I also hedge my bet through Sibelius and XML-file-generating plug-ins like Dolet (recordare.com) that allow Finale/Sibelius/Finale interchange, I have several other means of escaping the po-tentially deadly laws of obsolescence.
So, to recap: Store paper, but keep an eye on it. Upgrade your digital media to assure viabil-ity. Use PDFs, but monitor the format. Remem-ber all this when you “VHS or Betamax?” the crucial tools of your trade, and never let your ar-chives outlive the upgrades which will still edit them. Additionally, since your music may out-live you, make it a habit to label everything on your pages (composer and copyright info, page numbers, instrument and project names, etc.). Your heirs will be grateful. And, of course, all the standard backup strategies against short-term workplace disaster still apply.
Here’s to immortality!
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 [email protected]
10 issue 34 • oct. 9, �007 weeklyFILM MUSIC
On September 27, 2007, Herb Tucmandl, president of the Vienna Symphonic Library, posted a mini-overview of what’s coming with the new Vienna Ensemble which is being of-fered as a free update on approximately Oc-tober 25, 2007. The significance of the Vienna Ensemble is that VSL is giving users the op-tion of their virtual mixing board vs. vStack from Steinberg or Forte from Brainspawn. The Vienna Ensemble is completely proprietary. No other instruments can run in it. What you’ll see in these screenshots is the seamless way in which the Vienna Instruments interface with this virtual console.
At the same time, there’s going to be a need for many composers using the Vienna Instru-ments to determine how they’ll system inte-grate Vienna and VSTi’s (virtual studio instru-ments) from other companies. Once Leopard releases in October, the trail should be made c lear as to which way to go. But then again, we are talking about technology… .
System Requirements
Vienna Ensemble will run on 32- and 64-bit systems. Windows XP 64 and Vista 64 are scheduled for release on October 25th. The OSX 32-bit version also releases on October 25 and will work on Leopard, the OSX Leopard 64-bit version will be delayed a little.
Vienna Ensemble: Standalone or Plug-In
Vienna Ensemble can be used as stand-alone, but also used as a plug-in to your host.
To start, plug-in versions are limited to 16 MIDI channels per Vienna Ensemble instance.
When used standalone (on a separate ma-chine), Vienna Ensemble can handle multiple ports (8 ports each 16 MIDI channels). On Mr.
Tucmandl’s test system, he set up four MIDI ports using MIDIoverLAN (MOL) allowing for 64 (16 channels x 4 ports) instances.
Audio Out
Mr. Tucmandl is running 8 stereo pairs (16 audio outs) on his test system. This can be set for each instrument individually. Vienna En-semble is designed to handle 32 stereo outs!
Instrument switching
The Vienna Instruments GUI is coded di-rectly into the Vienna Ensemble. You don’t have to open a VSTi plug-in to switch between different instruments. It’s always there with-out any opening latency. Just click on the de-sired track on the left panel.
Switching from Cello to Flute Track
Selecting Flute
Power Panning
There are two pan modes included. Nor-mal panning is where the volume of left or right channel is lowered. But with the new Power Panning, there’s no loss of stereo in-formation. You get a good overview of the ste-reo positioning of all Vienna Instruments.
Defining Play Ranges
The Vienna Ensemble lets you set the play range for each instrument individually.
For example, you can stack all string sec-tions (violins, violas, cellos, basses) using four different instances but applying to all the same MIDI channel. This enables you to set up your custom string-all patches using any articula-tion you like, even performance legato patches.
Conclusion
Mr. Tucmandl posted that features are subject to change during beta testing. So don’t consider what’s been reported here the finis of what’s to be. But do consider it something to look forward to.
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.
TECHNOLOGY
MUSIC TECHNOLOGY AND YOU
by Peter lawrence aleXanDer
More on the new Vienna Ensemble
Neal Acree: hallowed ground.Tree Adams: Keith.Eric Allaman: race.John Altman: the master builder.Craig Armstrong: the golden age (co-composer).David Arnold: hot Fuzz • how to loose Friends and alienate People.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 • tortured.Tyler Bates: the haunted world of el superbeasto • hallo-ween • Day of the Dead • watchmen.Jeff Beal: 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.Doug Besterman: exit speed.Charles Bernstein: bull run • let my People go.Jean-Michael 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 cow-ard robert Ford (co-composer).Jamie Christopherson: ghost image.Nigel Clarke/Michael Csányi-Wills: the grind.Charlie Clouser: saw iV.Chandra Cogburn: Fiesta grand • orgies and the meaning of life • the bard: the story of robert burns.Elia Cmiral: the Deaths of ian • missionary man • tooth and nail.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.Erik Desiderio: he’s such a girl.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: �7 Dresses • the mummy: tomb of the Dragon emporer.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 • strength and honour.Evan Evans: the mercy man • you’re nobody ‘til somebody Kills you.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 adventures.Steven Gutheinz: rothenburg.
Richard Hartley: Diamond Dead.Richard Harvey: legend of King naresuan.Paul Haslinger: gardener of eden.Paul Heard: clubbed.Alex Heffes: my enemy’s enemy • state of Play.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 • Kandisha • the whisperers. James Newton Howard: michael clayton • the waterhorse • i am legend • the happening.Terry Huud: Plaguers.Alberto Iglesias: her majestic minor • the Kite runner.Mark Isham: Pride and glory • reservation road • lions for lambs.Steve Jablonsky: D-war.Corey Allen jackson: idiots and angels.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.Yagmur Kaplan: the elder son • the lodge • broken windows.Laura Karpman: man in the chair • out at the wed-ding.
Rolfe Kent: Fred claus • spring break in bosnia • sex and Death 101.Wojciech Kilar: we own the night.Mark Kilian: rendition (co-composer) • before the rains.David Kitay: because i said so • shanghai Kiss • blonde ambition.Harald Kloser: 10,000 bc.Abel Korzeniowski: terms.Penka Kouneva: the third nail • richard iii.Ivan Koutikov: wanted undead or alive • living hell.Aryavarta Kumar: the rapture • greater threat.Jim Latham: Greetings from the Shore • Swishbucklers • Parental Guidance Suggested.Christopher Lennertz: the comebacks • alvin and the chipmonks • 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: Black Friday • iMurders • Impulse • Anna Nicole • Dead and Gone.David Mansfield: carnaval de sodoma • then she Found me • the guitar.Dario Marianelli: we are together • goodbye bafana • atonement • shrooms.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. Matt Messina: juno • the least of these.Guy Michelmore: Doctor strange • bono, bob, brian and me.Randy Miller: last time Forever • shanghai red • second chance season.Robert Miller: teeth • the Key man • trumbo.sheldon mirowitz: renewal • operation Filmmaker.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.Dean Ogden: oranges • Knuckle Draggers • a Perfect season.John Ottman: Valkyrie Atli Örvarsson: Vantage Point • babylon a.D.
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: war made easy • still life.Martin Phipps: growing your own.Nicholas Pike: the shooter • Parasomnia.Antonio Pinto: love in the time of cholera.Nicola Piovani: odette toulemonde.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.Reg Powell: the ten commandments.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.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: Pineapple express • Derfur now • Days of wrath.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.David Glen Russell: contamination.Hitoshi Sakamoto: romeo x juliet.H. Scott Salinas: strictly sexual • what we Did on our holidays.Anton Sanko: life in Flight.Gustavo Santaolalla: things we lost in the Fire (themes).Brian Satterwhite: cowboy smoke • maidenhead.Mark Sayfritz: 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 • the heartbreak Kid.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.Cezary Skubiszewski: Death Defying acts • Disgrace.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 • things we lost in the Fire • a man comes home.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: bangkok Dangerous • war • Finishing the game • alien vs. Predator � • 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.Michael Wandmacher: the Killing Floor • man of two havanas • train • get some.Nathan Wang: Daddy’s little girl • the Final season.Stephen Warbeck: Flawless • miguel and william.Matthias Weber: silent rhythm • weekend interupted.Craig Wedren: the ten.Cody Westheimer: benny bliss and the Disciples of greatness • hysteria.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.Debbie Wiseman: Flood • amusement.Alex Wurman: the baker • bernard and Doris • baggage • Quebec..Gabriel Yared: manolete • 1408.Geoff Zanelli: Delgo • hitman • outlander.Marcelo Zarvos: the air i breathe • you Kill me.Aaron Zigman: the martian child • good luck chuck. Hans Zimmer: Frost/ nixon
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
