DOCSLIB.ORG

Goldsmith 1929-2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Goldsmith 1929-2004 Volume 9, Number 7 Original Music Soundtracks for Movies and Television Goodbye, David pg. 4 JERRY GOLDSMITH 1929-2004 07> 7225274 93704 $4.95 U.S. • $5.95 Canada v9n07COV.id 1 9/7/04, 3:36:04 PM v9n07COV.id 2 9/7/04, 3:36:07 PM contents AUGUST 2004 DEPARTMENTS COVER STORY 2 Editorial Jerry Goldsmith 1929-2004 Let the Healing Begin. It would be difficult to reflect on both Jerry Goldsmith’s film music legacy and his recent passing without devoting an entire 4 News issue of FSM to him; so that’s what we’ve done. From fan Goodbye, David. letters and remembrances to an in-depth look at his life and 5 Record Label musical legacy, we’ve covered a lot of ground. Just as impor- Round-up tant, we hope you, Jerry’s fans, find it a fitting tribute to a man What’s on the way. whose monumental work meant so much to so many. 5 Now Playing Movies and CDs in The Artist, release. 12 The Gold Standard 6 Concerts Quantifying Jerry Goldsmith’s contribution to film scoring Film music performed isn’t easy...but we’ll try anyway. around the globe. By Jeff Bond 7 Upcoming Film Assignments 19 Goldsmith Without Tears Who’s writing what The imagined, decades-long conversation with Goldsmith for whom. may be over, but his music lives on. By John S. Walsh 9 Mail Bag Lonely Are the Brave. 24 Islands in the Stream 10 Pukas Jerry’s industry contemporaries chime in on If Only It Were True. his life and legacy. Collected by Jeff Bond 33 Score Recent two-word titled 28 Good as Goldsmith His Movies, CDs reviewed including It didn’t get much better than 1960s-era Jerry Goldsmith. The Village, The Terminal, Here’s a closer look at four scores that helped define his style. The Punisher and The By John Takis Clearing. 42 Dear Jerry... FSM’s editor and publisher writes about the letter the never 38 FSM Marketplace penned to his favorite composer. By Lukas Kendall 45 Jerry Unplugged Jerry’s music wasn’t just a score for a film— it was a soundtrack for life. By Jason Comerford Our Music...and More. ON THE COVER: A Patch of Blue Illustration by Shaun Cashman ©2004 Film Score Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/AUGUST and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232 FILM SCORE MONTHLY 1 AUGUST 2004 v9n07Iss.id 1 9/7/04, 4:16:47 PM EDITORIAL Volume 9 • Number 7 Let the Healing Begin EDITORIAL STAFF Editor & Publisher ’m resisting the temptation to use that eral of which we’ve reprinted in this issue’s LUKAS KENDALL tired Dickens quote, but it truly has Mail Bag) from Goldsmith fans who said Executive Editor been a strange mixture of the worst and since learning of his death they have listened JONATHAN Z. KAPLAN best in film music over the past month. more closely, and with more appreciation, to Managing Editor IWith the passing of Jerry Goldsmith, Elmer his music. TIM CURRAN Bernstein and David Raksin, there’s a wound And the same is happening with Elmer, Design Director in the tight-knit world of film music fandom and David, too. Maybe the best way to JOE SIKORYAK that will never fully heal. Sure, you could honor their passings and to appreciate their Supervising Content Consultant argue that neither Jerry nor Elmer was pro- contributions to film music is just to keep AL KAPLAN ducing the career-making work of his glory listening to their music, and to share it with Editor-at-Large JEFF BOND days. And David Raksin had been retired others. Perhaps we should consider it the Copyeditor for about 15 years. Still, there’s no quarrel- inheritance they have bequeathed to us. LAURA ARENDAL ing that a torch has been passed (though to Contributing Writers whom it’s unclear). These guys were the mas- s soon as we got the news of Jerry DOUG ADAMS ters. They were why we love film music. They Goldsmith’s death, we knew we JASON COMERFORD were important. And now they’re gone. would have to put a large tribute LUKE GOLJAN A Death brings us all closer to our own mor- together for this issue. We just didn’t real- ANDREW GRANADE tality. It forces us to deal with loss. It compels ize we’d have too much material to fill it. We MARK GRIFFIN us to hope. And it ultimately helps us appre- wanted to make it personal. We wanted to NICK JOY ciate what we have. In short, death brings make it interesting. More than anything, we STEVEN A. KENNEDY life. And never has that been more apparent wanted to make it matter. I hope that’s what DARREN MACDONALD KYLE RENICK than with the passing of these three men, we’ve done. We’ve tried to fill the issue with JOHN TAKIS and in particular, Jerry Goldsmith. equal amounts remembrances, anecdotes, JASON VERHAGEN Yes, people are sad, even devastated by the retrospectives and score discussion. The truth JOHN S. WALSH loss of this great artist. But his passing has is that we could probably turn the magazine CARY WONG brought a new life to his music. Let’s face into Goldsmith Score Monthly and never run it, most of us didn’t know Jerry personally. out of material. We still have to finish the BUSINESS STAFF We love to discuss what he was all about, Goldsmith Buyer’s Guide, 1999-2004, which how he did what he did, why he chose the we will do next issue. Editorial & Subscriptions films he chose, or why he acted the way he And speaking of next issue, it looks like 8503 Washington Blvd. acted. The truth is, it’s none of our business. we’ll be taking a month to gather material for Culver City, CA 90232 PH. 310-253-9595 We didn’t get to know that Jerry. Instead, we our Bernstein tribute issue, which means next FAX 310-253-9588 got his music. And that’s what will live on. The month will pretty much be business as usual E-MAIL [email protected] sadness many of us feel that we will never for FSM. Then the issue after that will focus on hear another new Goldsmith score is under- the life and legacy of Elmer Bernstein. Sales & Marketing Manager standable but ultimately self-serving; there’s BOB HEBERT more to his oeuvre of work than any one fan 8503 Washington Blvd. could appreciate in a lifetime. Culver City, CA 90232 So that’s what we’re doing: We’re listen- PH. 323-962-6077 ing, and with a renewed enthusiasm. I can’t FAX 310-253-9588 count the number of letters we received (sev- Tim Curran, Managing Editor Supervising Mail Order Handler MAILMAN AL Our Website Is updated five times weekly! Point your browser at: WWW.FILMSCOREMONTHLY.COM © 2004 Vineyard Haven LLC. Printed in the U.S.A. AUGUST 2004 2 FILM SCORE MONTHLY v9n07Iss.id 2 9/7/04, 4:16:51 PM Make a sound investment in your collection! $16.99 $15.99 $13.99 Get the latest and greatest film music on CD at www.intrada.com. We stock thousands of soundtracks from around the world and post updates as soon as new titles arrive. We guarantee your satisfaction with over 20 years of experience—serving collectors, fans, composers, film music professionals and newcomers! $19.99 expanded 2-CDs $27.99 $17.99 Sign up for our FREE weekly e-mail bulletin of all the latest releases. visit: www.intrada.com e-mail: [email protected] fax: 1-510-336-1615 call: 1-510-336-1612 $16.99 $17.99 $16.99 Intrada Signature Edition Volume 2 Shade By Christopher Young Available in October Christopher Young, a veteran of big-budget orchestral scores, creates a Schifrin-esque jazz world of smoky $19.99 $19.99 2-CDs $29.99 tunes for card players and tricky numbers for heisters and sheisters. The fi lm’s releasing company dropped the original score in favor of other music, but Intrada rescues it for release with a 49-minute CD of sparkling new pieces. $19.99 This volume is limited to 1000 copies $19.99 $19.99 $19.99 Prefer to order by mail? Mail or fax this form for fast service. title quantity price name address city, state, zip telephone# ■ check or money order enclosed (make payable to Intrada) U.S. Mail ($3.50 1st disc, 40¢ for ea. add’l)____________ ■ charge credit card # ____________/ ____________/ ____________/ ____________/ exp. date______/_______ Europe($7.00 1st disc, $2.00 for ea. add’l)____________ California residents please add applicable sales tax____________ Intrada 2220 Mountain Blvd. Suite 220, Oakland CA 94611... Total____________ v9n07Iss.id 3 9/7/04, 4:17:10 PM Concerts Now Playing Record Label Round-Up Upcoming Film Assignments newsprivate parties and earning Herrmann had both turned down his union card at age 15. After the chance to write the score graduating from the University for Otto Preminger’s romantic of Pennsylvania, where he mystery, Laura—Herrmann told studied composition while Newman “Laura wouldn’t lis- earning his tuition through ten to Herrmann, she’d listen to his performing and conducted Debussy.” Raksin had to persuade jazz music for school football Preminger not to use the song games, he moved to New York “Sophisticated Lady” as Laura’s and arranged for dance bands.
Load more

Recommended publications
  • Black Soldiers in Liberal Hollywood
    Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film.
    [Show full text]
  • Of Monsters and Mothers: Representations of Motherhood in ‘Alien’
    Aditya Hans Prasad WGSS 07 Professor Douglas Moody April 2018. Of Monsters and Mothers: Representations of Motherhood in ‘Alien’ Released in 1979, director Ridley Scott’s film Alien is renowned as one of the few science fiction films that surpasses most horror films in its power to terrify an audience. The film centers on the crew of the spaceship ‘Nostromo’, and how the introduction of an unknown alien life form wreaks havoc on the ship. The eponymous Alien individually murders each member of the crew, aside from the primary antagonist Ripley, who manages to escape. Interestingly, the film uses subtle representations of motherhood in order to create a truly scary effect. These representations are incredibly interesting to study, as they tie in to various existing archetypes surrounding motherhood and the concept of the ‘monstrous feminine’. In her essay ‘Alien and the Monstrous Feminine’, Barbara Creed discusses the various notions that surround motherhood. First, she writes about the “ancient archaic figure who gives birth to all living things” (Creed 131). Essentially, she discusses the great mother figures of the mythologies of different cultures—Gaia, Nu Kwa, Mother Earth (Creed 131). These characters embody the concept that mothers are nurturing, loving, and caring. Traditionally, stories, films, and other forms of material reiterate and r mothers in this nature. However, there are many notable exceptions to this representation. For example, the primary antagonist in many Brothers Grimm stories are the evil step-mother, a character completely devoid of the maternal warmth and nurturing character of the traditional mother. In Hindu mythology, the goddess Kali is worshipped as the mother of the universe.
    [Show full text]
  • B R I a N K I N G M U S I C I N D U S T R Y P R O F E S S I O N a L M U S I C I a N - C O M P O S E R - P R O D U C E R
    B R I A N K I N G M U S I C I N D U S T R Y P R O F E S S I O N A L M U S I C I A N - C O M P O S E R - P R O D U C E R Brian’s profile encompasses a wide range of experience in music education and the entertainment industry; in music, BLUE WALL STUDIO - BKM | 1986 -PRESENT film, television, theater and radio. More than 300 live & recorded performances Diverse range of Artists & Musical Styles UNIVERSITY OF SOUTHERN CALIFORNIA Music for Media in NYC, Atlanta, L.A. & Paris For more information; www.bluewallstudio.com • As an administrator, professor and collaborator with USC working with many award-winning faculty and artists, PRODUCTION CREDITS - PARTIAL LIST including Michael Patterson, animation and digital arts, Medeski, Martin and Wood National Medal of Arts recipient, composer, Morton Johnny O’Neil Trio Lauridsen, celebrated filmmaker, founder of Lucasfilm and the subdudes (w/Bonnie Raitt) ILM, George Lucas, and his team at the Skywalker Ranch. The B- 52s Jerry Marotta Joseph Arthur • In music education, composition and sound, with a strong The Indigo Girls focus on establishing relations with industry professionals, R.E.M. including 13-time Oscar nominee, Thomas Newman, and 5- Alan Broadbent time nominee, Dennis Sands - relationships leading to PS Jonah internships in L.A. and fundraising projects with ASCAP, Caroline Aiken BMI, the RMALA and the Musician’s Union local 47. Kristen Hall Michelle Malone & Drag The River Melissa Manchester • In a leadership role, as program director, recruitment Jimmy Webb outcomes aligned with career success for graduates Col.
    [Show full text]
  • Christopher Young: El Simbiòtic Házael González
    Bandes de so Christopher Young: el simbiòtic Házael González vui dirigirem la nostra mi­ A rada sobre un compositor amb un nom que sempre ens sona i que poca gent podrá identificar amb un treball que no siguí fantastic o terrorífíc quant a temàtica o a qualitats. Ens referím, és ciar, a Chris­ topher Young, de qui ara s'aca- ba d'estrenar ni més ni menys que Spider-Man 3 (Sam Raimi, 2007): en aquesta pel-licula, l'Home Aranya s'enfronta a un èsser extraterrestre que té pro- pietats simbiòtiques respecte del eos a qué s'afegeix, és a dir, que du a terme una mena de fusió Í amplifica tant els seus propís poders com els del seu portador. I això, justament, és el que ha fet Young aquesta ve­ gada: perqué, si ho recordeu, les altres dues parts anteriors (Spider-Man, 2002, i Spider- Man 2, 2004) portaven música de Danny Elfman (encara que a la segona part, Christopher Young ja hi havía parti­ at 1600, Dwíght H. Little, 1997), Hard Rain (Mikael cipât afegint-h¡ dues petites peces addícionals), un Salomon, 1998), Leyenda Urbana (Urban Legend, veli amie del director que va fer una feina mes que Jamie Blanks, 1998), La Trampa (Entrapment, Jon destacada; ara, Young hà hagut de recollir moites Amiel, 1999), o Jóvenes Prodigiosos (Wonder Boys, de les composícions elfmanianes (per no parlar de Curtís Hanson, 2000). I desprès, continuant amb co­ les cançonetes afegídes) i començar a recosír i reta­ ses com Operación Swordfish (Swordfish, Dominic llar, donant-h¡ un nou i personal toc.
    [Show full text]
  • The Retriever, Issue 1, Volume 39
    18 Features August 31, 2004 THE RETRIEVER Alien vs. Predator: as usual, humans screwed it up Courtesy of 20th Century Fox DOUGLAS MILLER After some groundbreaking discoveries on Retriever Weekly Editorial Staff the part of the humans, three Predators show up and it is revealed that the temple functions as prov- Many of the staple genre franchises that chil- ing ground for young Predator warriors. As the dren of the 1980’s grew up with like Nightmare on first alien warriors are born, chaos ensues – with Elm street or Halloween are now over twenty years Weyland’s team stuck right in the middle. Of old and are beginning to loose appeal, both with course, lots of people and monsters die. their original audience and the next generation of Observant fans will notice that Anderson’s filmgoers. One technique Hollywood has been story is very similar his own Resident Evil, but it exploiting recently to breath life into dying fran- works much better here. His premise is actually chises is to combine the keystone character from sort of interesting – especially ideas like Predator one’s with another’s – usually ending up with a involvement in our own development. Anderson “versus” film. Freddy vs. Jason was the first, and tries to allow his story to unfold and build in the now we have Alien vs. Predator, which certainly style of Alien, withholding the monsters almost will not be the last. Already, the studios have toyed altogether until the second half of the film. This around with making Superman vs. Batman, does not exactly work.
    [Show full text]
  • Television Academy Awards
    2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth.
    [Show full text]
  • Mixed Folios
    mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs
    [Show full text]
  • A Place Called Home Is Not a Charity, Itls a Partnership
    As economic crises and social prob- and inspire their minds, bodies and spirits and to develop strong values lems take their toll across the country that will serve them throughout their lives. and around the world, neighborhoods Like many not-for-profit organizations, our budget has seen a dip in this like South Central L.A. are hardest hit. time of economic crisis, but the need around us continues to grow. So, we We are seeing high unemployment, crime, are finding new ways to partner with our supporters, our members and our depression, and the volatility and violence community to make a greater difference every day. that accompany these fac- When you share your tors. At APCH, youth and energy and resources with families who are facing hard A PLACE CALLED HOME APCH, what you give is times are welcomed and multiplied by the energy empowered as partners in IS NOT A CHARITY, and resources that every improving their own lives, other donor and volun- the neighborhood, and the IT’S A PARTNERSHIP FOR teer and member brings. world. Each boy and girl The Center is alive with en- who crosses our threshold POSITIVE CHANGE. ergy, creativity and achieve- finds the opportunity and ment and you are a part of support to further his or her it. We hope you will enjoy education and develop his or her skills and this newsletter and that the stories will call out to you. Your talents to manifest dreams and goals into partnership is needed in our new APCH Home Garden, with tutoring, reality.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • GARY KRAUSE Music Editor FILM CREDITS
    GARY KRAUSE Music Editor Emmy Award winning Music Editor, Gary L. Krause has been an active member of the Motion Picture Editors Guild, Academy of Television Arts and Sciences, and Motion Picture Sound Editors for over 20 years. His career has allowed him to work at movie studios, scoring stages, and recording studios all over the globe including Walt Disney Studios, Warner Bros. Studios, Universal Pictures Studios, Paramount Pictures Studios, Sony Pictures Studios, Twentieth Century Fox Studios, Lucas Film/ Skywalker Ranch, Barbra Streisand Scoring Stage, Clint Eastwood Scoring Stage, Paramount Scoring Stage, Todd AO Scoring Stage, Capitol Records, The Village Studios, Conway Studios, Abbey Road, Studio City Sound, and Signet Sound. He has worked directly with many prominent film makers which include Justin Lin, James Wan, F. Gary Gray, Francis Lawrence, Sylvester Stallone, William Friedken, Richard Donner, Bill Paxton, Alex Kurtzman, Peter Lenkov, and Brian Tyler. Gary began his career as a musician working at the world famous West LA Music, ushering in the digital recording era. While there he worked with many prominent artists, producers and composers such as Hans Zimmer’s Remote Control (formerly known as Media Ventures), Columbia Pictures, David Foster, Brenda Russell, Christopher Cross, Greg Wells, Anthony Hopkins, Ronald and Nancy Reagan, Donny Osmond, Ringo Star, John Debney, Danny Elfman, William Ross and Charlie Fox. He left West LA Music to join Todd AO Sound in 1996, where he collaborated with many talented colleagues and honed his editorial and mixing skills working on many film and television projects. He segued from sound editorial to music editorial in the late 90’s - early 2000’s to assist A-List composer Brian Tyler with the launch of his then nascent career.
    [Show full text]
  • Dead Zone Back to the Beach I Scored! the 250 Greatest
    Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ ��������������������������
    [Show full text]
  • Compact Disc C6604 2016 5-27.Pdf
    CDI -4frl-; 53-=;­ PROGRAM f God Only Knows ...................!.?J..................................................... Brian Wilson and Tony Asher (.:;'-5: 2 Country Song ............................ :.~.............................................................................. Dave Holland 3 AScream in the ShirtS ................:.:'.:..!........................................................................... Dan Dean 4- People Make the World Go 'Round ............J..C.€l?. ........................... Thorn Bell and Linda Creed ~ SanJuan ................................~:..1.f?:........................................................................... Tom Collier CDl-1f /"r-l f;3 3 I Slipped Disc. .......................... I..':.~~....................................Teddy Wilson and Benny Goodman ~ ~'~~ L- Anyone Who Had aHeart .................'.....0......................................... Burt Bacharach and Hal David. 3 Genesee ......................................Cf?~.~0.........................................................................Tom Collier 1" Scrapple from the Apple .................JP::.f..1........................................................... Charlie Parker r; 1M (o-f£ ~ .&-r La., sT (t;'; I'-f ) - 60·n~fonj~ ~ TOM COLI.IER, vibes / marimba Professor Tom Collier has appeared in concert and on recordings with many important jazz and popular artists including Eddie Daniels, Ry Cooder, Earl "Fatha" Hines, Roger Kellaway, Emil Richards, Don Grusin, Frank Zappa, Victor Feldman, Howard Roberts, Ernie Watts,
    [Show full text]