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1. Sci-Fi and Fantasy
How Film & TV Music Communicate – Vol. III – text copyright © 2015 Brian Morrell Chapter 1 SCIENCE FICTION & FANTASY This chapter deals in detail with the sci-fi / fantasy genre and analyses the music for a number of films where music plays an integral role in articulating the story and the underlying context and narrative. Films and music analysed include A Perfect Sense (Max Richter) Contagion (Cliff Martinez) K-Pax (Edward Shearmur) Limitless (Paul Leonard-Morgan) The Mothman Prophecies (Tomandandy) Shore) The 13 th Floor (Harald Klosser) Pleasantville (Randy Newman) Signs (James Newton Howard) The Adjustment Bureau (Thomas Newman) The Core (Christopher Young) The Village (James Newton Howard) Volcano (Alan Silvestri) The Event (Scott Starrett) Super 8 (Michael Giacchano) A PERFECT SENSE Max Richter A Perfect Sense is a story about two people who fall in love just as an epidemic begins to gradually rob the world’s population of their senses, one by one. The epidemic sweeps the globe, gradually rendering the public unable to function. First, people start crying for no reason. After drying up their tears, they notice they have lost their ability to smell; this is followed eventually by a loss of taste, hearing and finally, sight. The epidemic itself is not given a major part in the movie. The film focuses instead on the two lovers and the rest of the people dealing with the situation. This in part explains the functionality of the music, which is meant to underpin the emotional context of the movie, rather than the science fiction. The main protagonists are a scientist (Susan) and a chef (Michael). -
International Production Notes
INTERNATIONAL PRODUCTION NOTES PUBLICITY CONTACT Julia Benaroya Lionsgate +1 310-255-3095 [email protected] US RELEASE DATE: SEPTEMBER 28, 2018 RUNNING TIME: 89 MINUTES TABLE OF CONTENTS PRODUCTION INFORMATION ..................................... 4 ABOUT THE CAST ................................................ 14 ABOUT THE FILMMAKERS ..................................... 18 END CREDITS ...................................................... 26 3 PRODUCTION INFORMATION In this terrifying thrill ride, college student Natalie is visiting her childhood best friend Brooke and her roommate Taylor. If it was any other time of year these three and their boyfriends might be heading to a concert or bar, but it is Halloween which means that like everyone else they will be bound for Hell Fest – a sprawling labyrinth of rides, games and mazes that travels the country and happens to be in town. Every year thousands follow Hell Fest to experience fear at the ghoulish carnival of nightmares. But for one visitor, Hell Fest is not the attraction – it is a hunting ground. An opportunity to slay in plain view of a gawking audience, too caught up in the terrifyingly fun atmosphere to recognize the horrific reality playing out before their eyes. As the body count and frenzied excitement of the crowds continue to rise, he turns his masked gaze to Natalie, Brooke, Taylor and their boyfriends who will fight to survive the night. CBS FILMS and TUCKER TOOLEY ENTERTAINMENT present a VALHALLA MOTION PICTURES production HELL FEST Starring Amy Forsyth, Reign Edwards, Bex Taylor-Klaus and Tony Todd. Casting by Deanna Brigidi, CSA and Lisa Mae Fincannon. Music by Bear McCreary. Costume Designer Eulyn C. Hufkie. Editors Gregory Plotkin, ACE and David Egan. -
Jeroen Van Veen MAX RICHTER B.1966 from 1994 Until 2004 I Frequently Played Concerts with the Dutch Based DJ Paul Solo Piano Music Adriaanse
RICHTER SOLO PIANO MUSIC PLAYED BY Jeroen van Veen MAX RICHTER b.1966 From 1994 until 2004 I frequently played concerts with the Dutch based DJ Paul Solo Piano Music Adriaanse. From time to time we listened to the music of Max Richter; the music he produced was somehow what we did, only we used classical music and remixed that with clicks and cut’s. The name Max Richter came across a few times more; 1. Andras 4’51 11. Leo’s Journal 1’53 when I was working at my Minimal Piano Collection I discovered many pieces for 2. The Blue Notebooks 1’21 12. The Tartu Piano 2’27 four pianos and more dedicated to the Piano Circus; guess what: the Ensemble was 3. Circles from the rue Simon- 13. The Twins (Prague) 2’42 co-founded by Max! A few of these pieces I recorded on my Album Minimal Piano Crubellier 1’10 14. Vladimir’s Blues 2’03 Collection II (BC8551). 4. Departure 1’41 15. Written On The Sky I 2’37 On this Album you can hear all his published solo piano music by Chester Music. 5. The Family 2’48 16. Horizon Variations II 3’20 I added one piece Reflection from ‘Waltz with Bashir’. The music is an arrangement/ 6. Fragment 1’56 17. Waltz With Bashir Reflection variation on Schubert’s Piano Sonata in A major, D.959 2nd Movement (Andantino). 7. From the rue Villin 1’30 (End Title) 1’42 I also found another edition of Horizon Variations and I concluded the album with 8. -
Film Guide April 2018
FILM GUIDE APRIL 2018 www.loftcinema.org BEST F(R)IENDS & THE DISASTER ARTIST W/ GREG SESTERO IN PERSON! LAWRENCE OF ARABIA PRESENTED IN 70MM • SUNDAY, APRIL 15 AT NOON! ENJOY BEER & WINE AT THE LOFT CINEMA! We also offer Fresco Pizza*, Tucson Tamale Factory Tamales, Burritos from Tumerico, Ethiopian Wraps from Cafe Desta and Sandwiches from the 4th Ave. Deli, along with organic popcorn, craft chocolate bars, vegan cookies and more! *Pizza served after 5pm daily. APRIL 2018 SPECIAL ENGAGEMENTS 4-23 JOURNALISM ON SCREEN 6 BEER OF THE MONTH: LOFT MEMBERSHIPS 8 FIRESTONE LAGER LOFT JR. 12 BY FIRESTONE WALKER BREWING CO. ESSENTIAL CINEMA 14 ONLY $3.50 ALL THROUGH APRIL! SCIENCE ON SCREEN 16 NATIONAL THEATRE LIVE 17 NEW AT THE LOFT CINEMA! MONTH-LONG SERIES 19-20 The Loft Cinema now offers Closed Captions and Audio LOFT STAFF SELECTS 21 Descriptions for films whenever they are available. Check our COMMUNITY RENTALS 23-24 website to see which films offer this technology. NEW FILMS 25-34 REEL READS SELECTION 32 FILM GUIDES ARE AVAILABLE AT: MONDO MONDAYS 35 • aLoft Hotel • Espresso Art • Revolutionary Grounds • Antigone Books • Fantasy Comics • Rincon Market CULT CLASSICS 36 • Aqua Vita • First American Title • Rocco’s Little Chicago • Art Institute of Tucson • Fresco Pizza • Rogue Theatre THE LOFT CINEMA • AZ Title Security • Fronimos • Santa Barbara Ice Cream 3233 E. Speedway Blvd. • Bentley’s • Heroes & Villains • Shot in the Dark Café Tucson, AZ 85716 • Black Crown Coffee • Hotel Congress • Southern AZ AIDS • Bookman’s • How Sweet It Was -
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. -
Chapter 2 T H E S U B T L E T I E S, I N T R I C a C I E S a N D
How Film & TV Music Communicate – Vol.2 Text © Brian Morrell 2013 Chapter 2 T H E S U B T L E T I E S, I N T R I C A C I E S A N D E X Q U I S I T E T E N S I O N S O F T V M U S I C In this chapter we will examine the music for some notable television dramas and documentaries, all of which have, to varying degrees, subtlety, introspection and /or elements of minimalism as hallmarks of their identity. This needn’t always mean ‘quiet and closed-off’ but that the composers in each case have scored the films using a degree of restraint and sensitivity. In all cases the music has been pivotal in defining the projects commercially and creatively. The television dramas and documentaries analysed are: Lost (Michael Giacchano) The Waking Dead (Bear McCreary) Midnight Man (Ben Bartlett) Twin Peaks (Angelo Badalmenti) Silent Witness (John Harle) Inspector Morse (Barrington Pheloung) Deep Water (Harry Escott) Inspector Lynley Mysteries (Andy Price) Ten Days to War (Daniel Pemberton) Red Riding (Adrian Johnston) Dexter (Rolf Kent and Daniel Licht) Lost Michael Giacchano Lost is an iconic and successful television series which aired between 2004 and 2010. It follows the lives of survivors of a plane crash on a mysterious tropical island somewhere in the South Pacific. Episodes typically feature a storyline on the island as well as a secondary storyline from another point in a character’s life. The enormously evocative and expressive music for Lost is striking both in terms of its style and its narrative function. -
2018 ASCAP Jazz Awards Program Book
2018 2018 PAUL WILLIAMS PRESIDENT & CHAIRMAN ELIZABETH MATTHEWS CHIEF EXECUTIVE OFFICER ASCAP BOARD OF DIRECTORS WRITERS JOEL BECKERMAN | RICHARD BELLIS | BRUCE BROUGHTON | DESMOND CHILD | DAN FOLIART | MICHELLE LEWIS MARCUS MILLER | RUDY PÉREZ | ALEX SHAPIRO | JIMMY WEBB | PAUL WILLIAMS | DOUG WOOD PUBLISHERS MARTIN BANDIER | CAROLINE BIENSTOCK | BARRY COBURN | JODY GERSON | ZACH KATZ | DEAN KAY JAMES M. KENDRICK | LEEDS LEVY | MARY MEGAN PEER | JON PLATT | IRWIN Z. ROBINSON THE FOUNDERS AWARD Roscoe Mitchell is an internationally renowned musician, composer, and innovator. His role in the resurrection of long neglected woodwind instruments of extreme register, his innovation as a solo woodwind performer, and his reassertion of the composer into what has traditionally been an improvisational form have placed him at the forefront of contemporary music for over five decades. Mr. Mitchell is a founding member of the Art Ensemble of Chicago, the Association for the Advancement of Creative Musicians and the Trio Space. Additionally, Mr. Mitchell is the founder of the Creative Arts Collective, The Roscoe Mitchell Sextet, The Roscoe Mitchell Quartet, The Roscoe Mitchell Art Ensemble, The Sound Ensemble, The New Chamber Ensemble and the Note Factory. He has recorded over 100 albums and has written hundreds of compositions. His compositions range from classical to contemporary, from passionate and forceful improvisations to ornate orchestral music. His most recent recording, Discussions, was counted among “The 25 Best Classical Music Recordings of 2017” by the New York Times. Also, for five decades, he has designed the Percussion Cage, an elaborate percussion instrument consisting of instruments from around the world, as well as many found instruments. -
Knowledge Organiser
Key Composers Purpose Bernard Hermann James Horner Music in a film is there to set the scene, enhance the AoS3 – Film Music mood, tell the audience things that the visuals cannot, or John Williams Danny Elfman manipulate their feelings. Sound effects are not music! John Barry Alan Silvestri Jerry Goldsmith Howard Shore Key terms Hans Zimmer Leitmotif – A theme for a character Mickey-mousing – When the music fits precisely with action Musical Elements & Common Associations (Musical Cliche’s) Underscore – where music is played at the same time as action Tempo Fast Excitement, action or fast-moving things (eg. A chase scene) Slow Contemplation, rest or slowing-moving things (eg. A funeral procession) Fanfare – short melodies from brass sections playing arpeggios and often accompanied with percussion Melody Ascending Upward movement, or a feeling of hope (eg. Climbing a mountain) Descending Downward movement, or feeling of despair (eg. Movement down a hill) Instruments and common associations (Musical Clichés) Large leaps Distorted or grotesque things (eg. a monster) Woodwind - Natural sounds such as bird song, animals, rivers Harmony Major Happiness, optimism, success Bassoons – Sometimes used for comic effect (i.e. a drunkard) Minor Sadness, seriousness (e.g. a character learns of a loved one’s death) Brass - Soldiers, war, royalty, ceremonial occasions Dissonant Scariness, pain, mental anguish (e.g. a murderer appears) Tuba – Large and slow moving things Rhythm Strong sense of pulse Purposefulness, action (e.g. preparations for a battle) & Metre Harp – Tenderness, love Dance-like rhythms Playfulness, dancing, partying (e.g. a medieval feast) Glockenspiel – Magic, music boxes, fairy tales Irregular rhythms Excitement, unpredictability (e.g. -
Music Theory Through the Lens of Film
Journal of Film Music 5.1-2 (2012) 177-196 ISSN (print) 1087-7142 doi:10.1558/jfm.v5i1-2.177 ISSN (online) 1758-860X ARTICLE Music Theory through the Lens of Film FranK LEhman Tufts University [email protected] Abstract: The encounter of a musical repertoire with a theoretical system benefits the latter even as it serves the former. A robustly applied theoretic apparatus hones our appreciation of a given corpus, especially one such as film music, for which comparatively little analytical attention has been devoted. Just as true, if less frequently offered as a motivator for analysis, is the way in which the chosen music theoretical system stands to see its underlying assumptions clarified and its practical resources enhanced by such contact. The innate programmaticism and aesthetic immediacy of film music makes it especially suited to enrich a number of theoretical practices. A habit particularly ripe for this exposure is tonal hermeneutics: the process of interpreting music through its harmonic relationships. Interpreting cinema through harmony not only sharpens our understanding of various film music idioms, but considerably refines the critical machinery behind its analysis. The theoretical approach focused on here is transformation theory, a system devised for analysis of art music (particularly from the nineteenth century) but nevertheless eminently suited for film music. By attending to the perceptually salient changes rather than static objects of musical discourse, transformation theory avoids some of the bugbears of conventional tonal hermeneutics for film (such as the tyranny of the “15 second rule”) while remaining exceptionally well calibrated towards musical structure and detail. -
P38 2 Layout 1
lifestyle MONDAY, NOVEMBER 10, 2014 Featurs Oscars: Will Christopher Nolan finally land a director nomination? his year’s director race is all about the other British biopic of the year, “The Not look promising Hollywood drama “Birdman or (The pair of actor-directors who could be last- the Oscar virgins. Most of the con- Theory of Everything,” directed by James But the burning question in the race Unexpected Virtue of Ignorance),” minute game changers. Clint Eastwood’s Ttenders in the running-starting Marsh. is if the Academy will finally come to its despite the film’s polarizing third act. “American Sniper” hasn’t officially with Richard Linklater (“Boyhood”) — For Marsh to land a nod, the doc film- senses and honor the Susan Lucci of the He’ll probably land the Paul Thomas screened yet, but those who have seen it have never been nominated in the cate- maker will need to campaign hard with category. At first glance, the odds might Anderson vote, since the director of “The say it’s another strong effort from the gory before. But one caveat to remem- the narrative that his Stephen Hawking not look promising for Christopher Master” will be sitting out of this year’s prolific director, who hasn’t factored into ber: predictors have been wary of declar- story isn’t just a vehicle for stars Eddie Nolan, who was snubbed for “Dark ceremony for his out-there “Inherent this category since 2007’s “Letters from ing any locks in this competition since Redmayne and Felicity Jones. Marsh laid Knight” trilogy and “Inception.” But Vice.” If Chazelle manages to grab the Iwo Jima.” (He definitely isn’t getting the Academy snubbed sure-thing con- the intricate groundwork for creating “Interstellar” is his most Academy-friend- Bennett Miller spot, will there still be nominated for “Jersey Boys.”) And then tenders Ben Affleck (“Argo”) and Kathryn such a true-to-life story that made ly film to date-and I mean that as a com- room for the real Bennett Miller? there’s Angelina Jolie, who makes her Bigelow (“Zero Dark Thirty”) two years Hawking himself cry at a screening. -
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, -
Film Music Week 4 20Th Century Idioms - Jazz
Film Music Week 4 20th Century Idioms - Jazz alternative approaches to the romantic orchestra in 1950s (US & France) – with a special focus on jazz... 1950s It was not until the early 50’s that HW film scores solidly move into the 20th century (idiom). Alex North (influenced by : Bartok, Stravinsky) and Leonard Rosenman (influenced by: Schoenberg, and later, Ligeti) are important influences here. Also of note are Georges Antheil (The Plainsman, 1937) and David Raksin (Force of Evil, 1948). Prendergast suggests that in the 30’s & 40’s the films possessed somewhat operatic or unreal plots that didn’t lend themselves to dissonance or expressionistic ideas. As Hollywood moved towards more realistic portrayals, this music became more appropriate. Alex North, leader in a sparser style (as opposed to Korngold, Steiner, Newman) scored Death of a Salesman (image above)for Elia Kazan on Broadway – this led to North writing the Streetcar film score for Kazan. European influences Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background). • Director Frederico Fellini &composer Nino Rota (many examples) • Director François Truffault & composerGeorges Delerue, • Composer Maurice Jarre (Sundays & Cybele, 1962) and later the • Professionals, 1966, Composer- Ennio Morricone (Serge Leone, jazz background). (continued) Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background).