Full Credit List Chronological from 2007 Film and Tv
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Impreza World Soundtrack Awards W Gandawie Stała Się Inspiracją Dla Powstania Podobnych W Całej Europie
Impreza World Soundtrack Awards w Gandawie stała się inspiracją dla powstania podobnych w całej Europie Melinda Newman Z wyjątkiem kilku najbardziej znanych nazwisk, większość kompozytorów ciężko pracuje w cieniu największych gwiazd i reżyserów filmowych. Wyjątek stanowi sześć europejskich festiwali muzyki filmowej, podczas których to oni – oraz ich muzyka – są w centrum zainteresowania i błyszczą w świetle reflektorów. Podczas tegorocznej drugiej edycji Międzynarodowego Festiwalu Muzyki Filmowej w hiszpańskiej Kordobie, rozdawanie autografów „trwało trzy godziny”, jak wspomina Mike Todd, starszy dyrektor ds. muzyki filmowej i telewizyjnej oraz nowych mediów ASCAP (Amerykańskie Stowarzyszenie Kompozytorów, Autorów i Wydawców). – Twórcy muzyki filmowej są tam traktowani jak gwiazdy rocka. Wiceprezes BMI ds. relacji z branżą filmową/telewizyjną, Doreen Ringer Ross, wspomina jak podczas jednego z festiwali kompozytor Christophera Lennertz otrzymał „owację na stojąco”, idąc do łazienki. „Dziadkiem” tych spotkań promujących kompozytorów pozostaje Flamandzki Międzynarodowy Festiwal Filmowy (znany również jako Film Fest Ghent) odbywający się w Gandawie w Belgii, którego kulminację stanowią różnorodne koncerty muzyki na żywo z udziałem zaproszonych filmowych maestro – organizowane już od 1985 roku – oraz impreza World Soundtrack Awards, zorganizowana po raz pierwszy w roku 2001. W październiku tego roku festiwal filmowy kończy 40 lat – okazja ta zostanie uczczona czterdziestoma 1-minutowymi utworami autorstwa 40 różnych kompozytorów, które zostaną odegrane na żywo. Pośród ich twórców znaleźli się zdobywcy Oskara: Mychael Danna, Dario Marianelli, Rachel Portman, Gustavo Santaolalla i Gabriel Yared. Drugim najstarszym festiwalem jest ten odbywający się w Kordobie, który przeniósł się tam w ubiegłym roku po siedmiu latach w Ubedzie. Fimucite, festiwal odbywający się na Teneryfie na Wyspach Kanaryjskich w lipcu obchodził swoją siódmą edycję. -
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 ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
To Rock Or Not Torock?
v7n3cov 4/21/02 10:12 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 3 Exclusive interview with Tom Conti! TOTO ROCK ROCK OROR NOTNOT TOROCK?TOROCK? CanCan youyou smellsmell whatwhat JohnJohn DebneyDebney isis cooking?cooking? JOHNWILLIAMSJOHNWILLIAMS’’ HOOKHOOK ReturnReturn toto NeverlandNeverland DIALECTDIALECT OFOF DESIREDESIRE TheThe eroticerotic voicevoice ofof ItalianItalian cinemacinema THETHE MANWHO CAN-CAN-CANCAN-CAN-CAN MeetMeet thethe maestromaestro ofof MoulinMoulin Rouge!Rouge! PLUSPLUS HowardHoward ShoreShore && RandyRandy NewmanNewman getget theirs!theirs! 03> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n3cov 4 /19/02 4 :29 PM P age c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Summer Edition: August 20, 2002 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n03 issue 4/19/02 3:09 PM Page 1 CONTENTS MARCH/APRIL 2002 cover story departments 14 To Rock or Not to Rock? 2 Editorial Like it or hate it (okay, hate it), the rock score is Happy 70th, Maestro! here to stay. -
Trevor Morris
TREVOR MORRIS COMPOSER Trevor Morris is one of the most prolific and versatile composers in Hollywood. He has scored music for numerous feature films and won two EMMY awards for outstanding composition for his work in Television. Internationally renowned for his music on The Tudors, The Borgias, Vikings and the hit NBC television series Taken, Trevor is a stylistically and musically inventive soundtrack creator. Trevor’s unique musical voice can be heard on his recent film scores which include The Delicacy, Hunter Killer, Asura, Olympus Has Fallen, London Has Fallen, and Immortals. And further Television compositions including Another Life, Condor, Castlevania, The Pillars oF the Earth for Tony and Ridley Scott, Emerald City and Iron Fist for Marvel Television. Trevor has also worked as a co-producer/ conductor/ orchestrator on films including Black Hawk Down, The Last Samurai, The Ring Two, Pirates of the Caribbean, and Batman Begins and collaborated with Tony and Ridley Scott, Neil Jordan, Luc Besson, Jerry Bruckheimer, Antoine Fuqua, Tarsem Singh Dandwar, as well as composers James Newton Howard and Hans Zimmer. Trevor is also a Concert Conductor, conducting his music in live concert performances around the globe, including Film Music Festivals in Cordoba Spain, Tenerife Spain, Los Angeles, and Krakow Poland where he conducted a 100-piece orchestra and choir for over 12,000 fans. Trevor has been nominated 5 times for the prestigious EMMY awards, and won twice. As well as being nominated at the World Soundtrack Awards in Ghent for the ‘Discovery of the Year ‘composer award for the film Immortals. Trevor is a British/Canadian dual citizen, based in Los Angeles. -
Robfreeman Recordingramones
Rob Freeman (center) recording Ramones at Plaza Sound Studios 1976 THIRTY YEARS AGO Ramones collided with a piece of 2” magnetic tape like a downhill semi with no brakes slamming into a brick wall. While many memories of recording the Ramones’ first album remain vivid, others, undoubtedly, have dulled or even faded away. This might be due in part to the passing of years, but, moreover, I attribute it to the fact that the entire experience flew through my life at the breakneck speed of one of the band’s rapid-fire songs following a heady “One, two, three, four!” Most album recording projects of the day averaged four to six weeks to complete; Ramones, with its purported budget of only $6000, zoomed by in just over a week— start to finish, mixed and remixed. Much has been documented about the Ramones since their first album rocked the New York punk scene. A Google search of the Internet yields untold numbers of web pages filled with a myriad of Ramones facts and an equal number of fictions. (No, Ramones was not recorded on the Radio City Music Hall stage as is so widely reported…read on.) But my perspective on recording Ramones is unique, and I hope to provide some insight of a different nature. I paint my recollections in broad strokes with the following… It was snowy and cold as usual in early February 1976. The trek up to Plaza Sound Studios followed its usual path: an escape into the warm refuge of Radio City Music Hall through the stage door entrance, a slow creep up the private elevator to the sixth floor, a trudge up another flight -
Sound Track Cologne
EUROPE’S LEADING EVENT ON MUSIC AND SOUND IN FILM, TV, GAMES AND MEDIA Wilbert Roget, II • Workshop Discussion Reality Check/Sync • Catherine Grieves Reality Check • Challenges for the implementation of the Working with Virtual Instruments • Chris Hein Carmine Street Guitars Davíð Þór Jónsson • Workshop Discussion Ever After • Case Study Creating the Soundscape of Anno 1800 Lolita Ritmanis • Workshop Discussion Diego Baldenweg with Nora Baldenweg and Sound Design & Music • Kraftwerk 3D – An FILMFORUM NRW Wilbert Roget, II has written diverse scores with Catherine Grieves is an experienced music su - Creative.Composers.Connection EU Copyright Directive Christian Hein and Bernd Keul demonstrate Official German Cinema Premiere Pianist, musician and composer Davíð Þór Germany, after the zombie apocalypse: In this talk Stefan Randelshofer, Audio Director EMMY Award -winning Lolita Ritmanis is one of Lionel Baldenweg • Workshop Discussion Immersive Audio Adventure IM MUSEUM memorable themes, including Call of Duty: pervisor and composer agent. Recent music Members of the track15 female composers The new EU Copyright Directive, finally the MIDI production of a beautiful orchestral Doc., D: Ron Mann, CA 2019, 80’ Jónsson is this year’s winner of the HARPA Weimar and Jena stand as last bastions of hu - at Ubisoft Blue Byte, will offer an in-depth look the most sought-after composers for animated The siblings also known as GREAT GARBO, Tom Ammermann has created Kraftwerk’s com - LUDWIG CONSILIUM WWII, Mortal Kombat 11, Lara Croft and the supervision credits include the BAFTA nomi - collective speak about composer teams. The adopted in April 2019, provides - next to re - composition: Christian explains techniques A small, inconspicuous guitar shop in Green - Nordic Film Composers Award , the joint Film manity. -
Download the Digital Booklet
ELMER BERNSTEIN NICHOLAS BRITELL 01 World Soundtrack Awards Fanfare 1:33 09 Succession (Suite) 4:25 JAMES NEWTON HOWARD MYCHAEL DANNA 02 Red Sparrow Overture 6:36 10 Monsoon Wedding (Suite) 3:15 CARTER BURWELL ALEXANDRE DESPLAT 03 Fear - Main Title 2:32 11 The Imitation Game (Suite) 4:33 ALBERTO IGLESIAS PATRICK DOYLE 04 Hable con ella - Soy Marco 2:17 12 Murder on the Orient Express - Never Forget (Instrumental Version) 4:12 ELLIOT GOLDENTHAL 05 Cobb - The Homecoming 6:16 MICHAEL GIACCHINO 13 Star Trek, into Darkness and Beyond (Suite) 7:23 GABRIEL YARED 06 Troy (Suite) 5:19 ANGELO BADALAMENTI 14 Twin Peaks: Fire Walk with Me - JÓHANN JÓHANNSSON / The Voice of Love 4:02 RUTGER HOEDEMAEKERS 07 When at Last the Wind Lulled 2:13 JOHN WILLIAMS (Arr.) 15 Tribute to the Film Composer 4:25 JOHN WILLIAMS 08 Hook - The Face of Pan 4:06 Performed by BRUSSELS PHILHARMONIC & VLAAMS RADIOKOOR Conducted by DIRK BROSSÉ TWENTY YEARS OF WORLD SOUNDTRACK AWARDS Twenty years ago the World Soundtrack Academy scores achieved an afterlife and gained new handed out the very first World Soundtrack meaning as the result of live performances in Awards. They have since become of paramount front of audiences. Film Fest Ghent has made it importance across the industry. The awards did their point of honour to perpetuate that afterlife not only strengthen Film Fest Ghent’s identity, in Ghent in a series of albums. they have been a composer’s stepping stone to the Oscars, Golden Globes and BAFTAS. If To celebrate the twentieth anniversary of the Europe is now the metropolis of film music, then WSA, the album consists of compositions by Ghent has been the inspiration for it. -
With the London Contemporary Orchestra
Clint Mansell: Moon (15) with the London Contemporary Orchestra Start time: 7.30pm Running time: 1 hour 50 minutes no interval Please note all timings are approximate and subject to change Brit Seaton discusses the history behind the iconic film and Clint Mansell’s score ahead of the performance. While it may be true that sound can’t be heard in space, the soundtrack to Duncan Jones’s Moon, composed by the inimitable Clint Mansell, resonates with a lucid, unearthly atmosphere. For the first time, the London Contemporary Orchestra perform Mansell’s original score side-by-side with a screening of the cult sci-fi film. This special performance celebrates the 50th anniversary of Apollo 11, the first landing on the moon, as well as ten years since the release of Jones’s acclaimed directorial debut. On the far side of the moon, lone astronaut Sam Bell (actor Sam Rockwell) nears the end of his three-year contract at a lunar base mining Helium-3, a substance aiding the Earth’s diminishing energy resources. His robot assistant Gerty being his only company, Sam longs to return home to his family, until a shocking discovery reveals that getting there might be harder than he thought. Moon is an homage to the classic sci-fi genre with a heartfelt, personal story. Mansell recalls receiving Jones’s script ‘out of the blue’ and being immediately struck by its exploration of celestial isolation and loneliness, and the questions it raises about what it means to be human. ‘I still think it’s one of the best — if not the best script I’ve ever read,’ he says. -
Interpv31issue1 1 29 04 (Page 1)
Volume 31 Issue 1 Interpretation, Inc. 11367-1597 U.S.A. Flushing, N.Y. Queens College 31/1 A JOURNAL OF POLITICAL PHILOSOPHY Interpretation Fall 2003 3 Ronald Hamowy Two Whig Views of the American Revolution: Adam Ferguson’s Response to Richard Price Discussion: 37 Patrick Coby Mind Your Own Business: The Trouble with Justice in Plato’s Republic 59 Sean Steel Katabasis in Plato’s Symposium Book Reviews: 85 Martin Yaffe The Beginning of Wisdom: Reading Genesis by Leon R. Kass 93 Mera Flaumenhaft Colloquial Hermeneutics: Eva Brann’s Odyssey 103 Wayne Ambler Our Attraction to Justice Devin Stauffer The Idea of Enlightenment: Hanover, PAHanover, 17331 109 Fall 2003 Fall U.S. POSTAGE U.S. POSTAGE Non-Profit Org. A Post-Mortem Study by Permit No. 4 Robert C. Bartlett PAID A JOURNAL OF POLITICAL PHILOSOPHY Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor Erik Dempsey General Editors Seth G. Benardete (d. 2001) • Charles E. Butterworth • Hilail Gildin • Leonard Grey • Robert Horwitz (d. 1978) • Howard B. White (d. 1974) Consulting Editors Christopher Bruell • Joseph Cropsey • Ernest L. Fortin (d. 2002) • John Hallowell (d. 1992) • Harry V. Jaffa • David Lowenthal • Muhsin Mahdi • Harvey C. Mansfield • Arnaldo Momigliano (d. 1987) • Michael Oakeshott (d. 1990) • Ellis Sandoz • Leo Strauss (d. 1973) • Kenneth W. Thompson International Editors Terence E. Marshall • Heinrich Meier Editors Wayne Ambler • Maurice Auerbach • Robert Bartlett • Fred Baumann • Amy Bonnette • Eric Buzzetti • Susan Collins • Patrick Coby • Elizabeth C’de Baca Eastman • Thomas S. Engeman • Edward J. Erler • Maureen Feder-Marcus • Pamela K. Jensen • Ken Masugi • Carol M. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no. -
UNIVERSITY of CALIFORNIA Santa Barbara Music As a Procedural
UNIVERSITY OF CALIFORNIA Santa Barbara Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Meghan Joyce Tozer Committee in charge: Professor Stefanie Tcharos, Chair Professor Robynn Stilwell Professor David Paul Professor Derek Katz September 2016 The dissertation of Meghan Joyce Tozer is approved. __________________________________________ Robynn Stilwell __________________________________________ Derek Katz __________________________________________ David Paul __________________________________________ Stefanie Tcharos (Committee Chair) June 2016 Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson Copyright © 2016 by Meghan Joyce Tozer iii ACKNOWLEDGEMENTS There are a great many people whose time, expertise, and support made this dissertation possible. First, I would like to thank my advisor, Dr. Stefanie Tcharos. The impact of your patience and knowledge was only outweighed, in the process of writing this dissertation, by the examples you have set for me in the work you do and, frankly, the life you lead. My life will be forever improved because I have had you as a mentor and role model. Dr. Robynn Stilwell, thank you for taking the time to participate in this project so wholeheartedly, for giving me your valuable advice, and for blazing the proverbial trail for women film music scholars everywhere. Drs. Dave Paul and Derek Katz, thank you for the years of guidance you provided as I have developed as a scholar. I want to thank my colleagues at the University of California, Santa Barbara – Emma Parker, Linda Shaver-Gleason, Sasha Metcalf, Scott Dirkse, Vincent Rone, Michael Vitalino, Shannon McCue, Jacob Adams, Michael Joiner, and, I am sure, others – for your careful feedback during workshops, in-person and online, as well as for your comradery and friendship throughout our years together. -
Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J
Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. Eine ganze 6eihe themenbezogener wissenschaftlicher 7eit- schri5en erscheint inzwischen weltweit, 4agungen und 8emenbände zur Film- und wei- ter zur „Medienmusik“ haben geradezu e9ponentiell zugenommen. Es deutet sich an, dass die in der Praxis von ;unst, <nterhaltung und 1piel längst zusammengewachsenen 1in- nesmodalitäten auch in der akademischen 6e=e9ion endlich die Beachtung als multimoda- le und s2nthetische ;unstform >nden, die sie verdienen ? in der @ufnahme eines Aiszipli- nengrenzen übergreifenden ProBekts0 Aie Menge der <ntersuchungen nachzuhalten, ist aufwendig und erfordert enormen 6e- cherche-@ufwand0 Cir biDen darum alle Nutzer_innen, uns auf 3bersehenes hinzuweisen, uns auf Be eigene Beiträge aufmerksam zu machen und uns spezielle bibliographische 1ammlungen zur FerG/gung zu stellen. Es ist geplant, das bibliographische ProBekt der „Bi- bliographie der Filmmusik“ fortzuschreiben, weil es ? auch aufgrund der multidiszipli- nären Beiträge ? zunehmend schwieriger wird das Feld in seiner ganzer Breite zu doku- mentieren.