You Can View the Full Program Here

Total Page:16

File Type:pdf, Size:1020Kb

You Can View the Full Program Here Present THE WOMEN WHO SCORE SOUNDTRACKS LIVE Friday, August 19, 2016 8:00 PM Grand Performances California Plaza 350 South Grand Avenue Downtown Los Angeles Grand Performances and The Alliance for Women Film Composers In Association with The Film Music Society and White Bear PR Last year, Grand Performances found itself in a remarkable position. Following talks with the Alliance for Women Film Composers, we decided that an evening devoted to music Present composed by women would be an exciting addition to our summer series. We were quite surprised to hear that this was going to be the very THE WOMEN WHO first time that a program devoted to female-composed film, tv and video game music would be presented. It also is the first time for SCORE much of this music to be heard live with a magnificent orchestra and chorus. SOUNDTRACKS LIVE Grand Performances is honored to have THE WOMEN WHO SCORE : Featuring the music of SOUNDTRACKS LIVE Lesley Barber, Wendy Blackstone, Kathryn Bostic, as part of our 30th Anniversary Season. Jessica Curry, Miriam Cutler, Sharon Farber, Germaine Franco, Lili Haydn, Laura Karpman, As a free presenter, this event could only take place with Penka Kouneva, Nora Kroll-Rosenbaum, substantial support. Both GP and the Alliance are grateful for all Heather McIntosh, Wendy Melvoin & Lisa Coleman, the assistance for this significant performance. We look forward Julia Newmann, Starr Parodi, Rachel Portman, to future opportunities to share more of this music with audiences Lolita Ritmanis, Nan Schwartz, Shirley Walker, near and far. and Diane Warren Friday, August 19, 2016 8:00 PM California Plaza 350 South Grand Avenue Downtown Los Angeles 5 Program “Safely Home” from Youth Advocate Programs–Troubled Teens and Family Reunification and From Me To You album (2011) WELCOME Music and lyrics by Kathryn Bostic Michael Alexander For orchestra, featuring vocals by the composer at the piano Executive Director, Grand Performances “Heat of the Night” from In the Heat of the Night (1994, television) HOST Music composed by Nan Schwartz Gail Eichenthal For orchestra, featuring Carmen Twillie on vocals, Journalist and Executive Producer at Classical KUSC Dan Fornero on trumpet, and Tim May on guitar Conducted by the composer MUSICAL SELECTIONS Conducted by Nora Kroll-Rosenbaum (except where noted) THE SEEKERS Presented by Rebecca Walker Award-winning writer and one of Time Magazine’s 50 Future Leaders of America OVERTURE Main Title from Batman: Mask of the Phantasm (1993) Music composed by Shirley Walker Main Title from Stockholm, Pennsylvania (2015) Orchestral arrangement by Larry Rench and Lolita Ritmanis Music composed by Nora Kroll-Rosenbaum For orchestra and chorus For orchestra Bones Orchestral Suite (2008-2016) THE PROTECTORS Music composed by Julia Newmann Presented by Dawn Hudson Orchestra arrangement by Cody Westheimer Chief Executive Officer of the For orchestra Academy of Motion Picture Arts & Sciences Main Title from The Cider House Rules (1999) “Plymouth Chorale” / ”Lee’s Theme” from Manchester by Music composed by Rachel Portman the Sea (2016) For orchestra, featuring Mike Lang on piano Music composed by Lesley Barber For orchestra and chorus 6 7 THE HEROES THE ICONS Presented by Victoria Alonso Presented by Gail Eichenthal Marvel Studios award-winning Executive Vice President and Producer Suite from Ethel (2012) Music composed by Miriam Cutler Suite from Warner Bros. Animation Superhero Themes For orchestra Justice League Main Title (2001), Mystery of the Batwoman Main Title (2003), and Supergirl Theme from Superman: The Animated Series (1996) “The Joy of the Waters” from The Festival of Music composed by Lolita Ritmanis the Masters (2015) For orchestra Music composed by Starr Parodi Conducted by the composer For orchestra Conducted by the composer “The Emperor’s Assistant” from Kung Fu Panda 3 (2016, immersive reality ride) “Til It Happens To You” from The Hunting Ground (2015) Music composed by Germaine Franco Music by Diane Warren, and For orchestra, featuring Karen Han on erhu Lyrics by Lady Gaga Conducted by the composer For orchestra, featuring vocals by the composer at the piano “The End of All Things” from Everybody’s Gone to the Rapture (2015, video game) THE REBELS Music composed by Jessica Curry Presented by Margaret Garcia For orchestra and chorus, featuring Julie Gigante on violin Critically acclaimed Los Angeles-based artist, muralist and educator Girl Bros. Suite (Music from Nurse Jackie, Carnivale, Touch and Heroes) (2006-2014) “The Flight of Redemption” from Children of the Fall (2016), Music composed by Wendy Melvoin When Nietzsche Wept (2007) and The Dove and Lisa Coleman Flyer (2013) For orchestra Music composed by Sharon Farber For orchestra, featuring Navid Kandelousi on kamancheh and Sirvan Manhoubi on oud INTERMISSION Conducted by the composer 8 Main Title from Compliance (2012) Meet Music composed by Heather McIntosh For orchestra, featuring the composer on cello THE Finale from Love Walked In (1997) WOMEN Music composed by Wendy Blackstone For orchestra WHO THE DREAMERS SCORE Presented by Butterscotch Internationally celebrated performing artist and composer Lesley Barber Composer Lesley Barber creates music for film, television and other media. She is a “Powers of 5” from Place Between Places album (2008) multi-instrumentalist, producer, conduc- Music composed by Lili Haydn tor and orchestrator with a focus on hybrid For orchestra, featuring vocals and violin by the Composer scores, combining her signature lush orch- estration and unusual instrumentation with electronica and ever-evolving incorporation “Earth” from The Woman Astronaut album (2015) of various styles. She is best known for her Music composed by Penka Kouneva scores for You Can Count On Me, Mans- For orchestra, featuring Lili Haydn on violin field Park, the Sundance hit documentary Conducted by the composer How To Change The World and the upcoming Manchester by the Sea. Lesley is a member of the Academy of Motion Picture Arts and Sciences. Suite from Underground (2016) Music and Lyrics by Laura Karpman Wendy Blackstone and Raphael Saadiq Dedicated to film scoring from age 18, Wendy For orchestra and chorus, featuring vocalists Raphael was CAA’s first woman film composer client Saadiq, Butterscotch, Carmen Twillie and Taura Stinson and has scored more than 120 films. She has worked with many respected directors the likes of Juan Campanella, David Frankel, Susan Seidelman and Spike Lee. Among her film credits areLove Walked in, New Jer- sey Drive, Dutch Master, the upcoming Lost in Florence, and the TV pilot-turned-film short Dear Diary (Executive Producer Spielberg noting her music “took the show from a 3 to a 9”). Her television credits include five primetime series, among them Profiler and Maybe It’s Me. 10 11 Kathryn Bostic Sharon Farber Composer, vocalist and pianist Kathryn Bos- Versatile three-time Emmy nominee Sharon tic is known for her work in film, TV and live Farber scores for film, television and concert. theater. She is a recipient of many fellow- Among her film credits are When Nietzsche ships and awards including the prestigious Wept, Children of the Fall, The Dove Flyer, 2015 Sundance Time Warner Fellowship as Honor Diaries, and two upcoming features: well as Sundance Fellowships for narrative Mata Hari: Her True Story and The Dark feature and documentary film scoring. She is Return of Time. She has composed concert one of four women (out of a list of 104) who works for the Los Angeles Master Chorale, made the Academy Awards shortlist for Best the Israeli Chamber Orchestra, the Culver Original Score for the 2013 Academy Awards. City Symphony, and the iPalpiti Artists Inter- In addition to her work in film, Bostic has written for Broadway, most notably national, among others. Her work Bestemming: Concerto for Cello, Or- collaborating with the award-winning playwright August Wilson. chestra and Narrator is scheduled for performances internationally. Jessica Curry Germaine Franco Jessica is an internationally acclaimed Composing for film, television and interactive BAFTA-winning composer of contempo- media, Germaine Franco has worked along- rary classical music and is co-founder of side composers John Powell, Hans Zimmer, renowned games company The Chinese Randy Newman, and Gustavo Santaolalla Room. She often writes for unusual spaces, on 35 blockbuster films. She is a Black Reel and her work has been performed in such Award nominee for her score to Dope, which diverse and high-profile venues as The Old premiered at Cannes. Among her many Vic Tunnels, Sydney Opera House, MOMI works are Shovel Buddies for Awesome- New York, The Royal Opera House and Dur- ness Films, DreamPlace’s Kung Fu Panda ham Cathedral. The Washington Post has Chinese New Year immersive reality ride for described her music as “stupendous” and The Guardian recently praised DreamWorks Animation, and the Hispanic Heritage Awards for The White her “gorgeous orchestral score” for Everybody’s Gone to the Rapture. House. She is a music branch member of the Motion Picture Academy. Miriam Cutler Lili Haydn Emmy-nominated composer Miriam Cutler Rolling Stone called her music “fiery and vir- has scored such award-winning films as tuosic.” George Clinton called her “the Jimi The Hunting Ground, Ethel, Lost in La Man- Hendrix of the violin.” Lili Haydn’s five criti- cha, Thin, Poster Girl, and Ghosts of Abu cally acclaimed records have been favorites Ghraib. She co-produced and scored the on radio, TV and film. She’s collaborated acclaimed One Lucky Elephant, and co-pro- with Jimmy Page & Robert Plant, Roger Wa- duced Grammy-nominated live jazz albums ters, Herbie Hancock and George Clinton’s for Joe Williams and Nina Simone. Miriam P-Funk All Stars. With ten feature films and has served as a juror at Sundance and at documentaries to her scoring credit, a fel- the International Documentary Association lowship to Sundance, and numerous collab- Awards. She is a member of the Motion Picture Academy’s documentary orations with composers Hans Zimmer, Marco Beltrami, and Harry Greg- branch, and is on the board of the Society of Composers & Lyricists.
Recommended publications
  • COURSE CATALOG 2016-2017 Academic Calendar
    COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes.
    [Show full text]
  • WSRC3290 ASCP 2018 Conference Program FA.Indd
    AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 ACKNOWLEDGMENT OF COUNTRY THANKS TO Western Sydney University would like to acknowledge the ≥ Professor Peter Hutchings, Dean of the School of Humanities Burramattagal people of the Darug tribe, who are the traditional and Communication Arts custodians of the land on which Western Sydney University at Jacinta Sassine and the student volunteers Parramatta stands. We respectfully acknowledge the Burramattagal ≥ people’s Ancestors and Elders, past and present and acknowledge ≥ Hannah Stark, Timothy Laurie and student volunteers their 60,000 year unceded occupation of these lands. who organized the PG event ≥ Panel organisers: Dr Suzi Adams and Dr Jeremy Smith; Professor WELCOME Thomas M. Besch; Professor Francesco Borghesi; Dr Sean Bowden; Associate Professor Diego Bubbio; Dr Millicent Churcher; Dr Richard The Conference Organising Committee for 2018 extends a warm Colledge; Dr Ingo Farin; Associate Professor Chris Fleming; Dr John welcome to all our international and Australian participants, and all Hadley; Professor Vanessa Lemm; Professor Li Zhi; Associate Professor others associated with the conference. The ASCP conference is this year hosted by Western Sydney University, at our new Parramatta David Macarthur; Associate Professor Sally Macarthur; Dr Jennifer City campus. The event has been planned and developed across Mensch; Professor Nick Mansfield; Dr Talia Morag; Associate Professor this year by members of the Philosophy Research Initiative. Eric S. Nelson; Professor Ping He; Dr Rebecca Hill; Associate Professor Janice Richardson and Dr Jon Rubin; Dr Marilyn Stendera; Dr Omid Tofighian; Professor Miguel Vatter and Dr Nicholas Heron; Dr Allison CONFERENCE ORGANIZING COMMITTEE Weir; Dr Magdalena Zolkos.
    [Show full text]
  • CSA Interview MASTER
    Amin Bhatia & Ari Posner – Canadian Screen Award Nominees Best Original Music for a Series – X-Company: Black Flag SCGC member Janal Bechthold catches up with the Canadian Screen Award nominees Amin Bhatia and Ari Posner to give you a little look into their process of scoring for the TV series, X-Company. This is their second nomination, having received a Best Original Score nomination for the series in 2016. X-Company is an “emotionally-driven character drama, set in the thrilling and dangerous world of WWII espionage and covert operations. It follows the stories of five highly skilled young recruits.” ~CBC.ca SCGC: How is the premise of X-Company meaningful to you? AB & AP: As a Canadian, to learn about how Camp X in Whitby Ontario and our intelligence forces helped to defeat the Nazi regime was very inspiring. It needs to be said that especially this year we've become acutely aware of world events in the US and how this story is an uncomfortable foreshadowing of what could repeat itself if we do not pay attention. SCGC: What was the biggest challenge you faced during this project? AB & AP: For this particular episode ,"Black Flag", our heroes had to assassinate a high-ranking German general during a night at the Opera. So it created many musical challenges, ranging from ritzy jazz themes and remixes, operatic rearrangements of Gabriel Fauré, ambient terror, orchestral action, and pure tragedy with a Nazi reprisal attack on innocent citizens. Thanks to the co-ordination of the cast and crew we actually wrote the source music months before to be used as playback on set as well as helping the picture editors set the pace and feel of the show.
    [Show full text]
  • Nature of Elliot Goldenthal's Music
    The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art.
    [Show full text]
  • Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
    FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers.
    [Show full text]
  • Schreef Score Voor Alberta NUMMER
    FILMMUZIEKMAGAZINE DANIËL LOHUES – Schreef score voor Alberta NUMMER 191 – 46ste JAARGANG – MAART 2017 1 Score 191 Maart 2017 46ste jaargang ISSN-nummer: 0921- 2612 Het e-zine Score is een uitgave van de stichting FILMMUZIEKMAGAZINE Cinemusica, het Nederlands Centrum voor Filmmuziek REDACTIONEEL Informatienummer: +31 050-5251991 Filmcomponisten hebben allen hun eigen muzikale achter- grond. Meestal gaat een opleiding in de klassieke muziek E-mail: vooraf aan het bestaan van een filmcomponist, althans zo [email protected] denkt het grote publiek nog maar al te vaak. Een treffend voorbeeld is de Amerikaan Aaron Copland die een dergelijke opleiding genoot en naar Hollywood reisde om daar enkele Kernredactie: Paul memorabele scores te schrijven. Dat de werkelijkheid anders Stevelmans en Sijbold kan zijn, bewijzen enkele van de componisten die werden Tonkens genomineerd voor een Oscar dit jaar. De een komt uit de Aan Score 191 werkten avant-gardistische muziekwereld, een ander uit de alternatie- mee: Paul Stevelmans ve popwereld en weer een ander heeft een opleiding in de en Sijbold Tonkens klassieke muziek achter de rug. Dichterbij huis zien we dat Daniël Lohues zijn eigen muzikale Eindredactie: Paul ontwikkeling kent: de singer-songwriter heeft de laatste jaren Stevelmans voorzichtig aan de weg getimmerd als componist voor film. Deze Score begint met een interview met Lohues. Filmmu- ziek betekent niet per definitie een symfonische score, maar Vormgeving: Paul kent vele verschillende stijlen en daar mogen we heel blij mee Stevelmans zijn. Met dank aan: Daniël Lohues, Coen ter Wol- INHOUDSOPGAVE beek, Reyer Boxem (fo- to’s Daniël Lohues), 3 Daniël Lohues - Interview Marco Beltrami, Costa Communications, AMPAS 7 Marco Beltrami - Interview 10 In memoriam: Jan Stoeckart 13 Aaron Copland - Portret 17 Oscar 2017 23 Boekbespreking 24 Recensies 2 VAN IMPROVISATIE NAAR FILMSCORE Daniël Lohues over zijn muziek voor Alberta Als zanger en liedjesschrijver heeft Daniël Lohues al meer dan twee decennia zijn sporen ruimschoots verdiend.
    [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]
  • Chronology of Lolita
    Chronology of Lolita CHRONOLOGY OF LOLITA This chronology is based on information gathered from the text of Nabokov’s Lolita as well as from the chronological reconstructions prepared by Carl Proffer in his Keys to Lolita and Dieter Zimmer’s online chronology at <http://www.d-e-zimmer.de/LolitaUSA/LoChrono.htm> (last accessed on No- vember 13, 2008). For a discussion of the problems of chronology in the novel, see Zimmer’s site. The page numbers in parenthesis refer to passages in the text where the information on chronology can be found. 1910 Humbert Humbert born in Paris, France (9) 1911 Clare Quilty born in Ocean City, Maryland (31) 1913 Humbert’s mother dies from a lightning strike (10) 1923 Summer: Humbert and Annabel Leigh have romance (11) Autumn: Humbert attends lycée in Lyon (11) December (?): Annabel dies in Corfu (13) 1934 Charlotte Becker and Harold E. Haze honeymoon in Veracruz, Mexico; Dolores Haze conceived on this trip (57, 100) 1935 January 1: Dolores Haze born in Pisky, a town in the Midwest (65, 46) April: Humbert has brief relationship with Monique, a Parisian prostitute (23) Humbert marries Valeria Zborovski (25, 30) 1937 Dolly’s brother born (68) 1939 Dolly’s brother dies (68) Humbert receives inheritance from relative in America (27) Valeria discloses to Humbert that she is having an affair; divorce proceedings ensue (27, 32) xv Chronology of Lolita 1940 Winter: Humbert spends winter in Portugal (32) Spring: Humbert arrives in United States and takes up job devising and editing perfume ads (32) Over next two years
    [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]
  • May 2018 Newsletter
    May 15, 2018 Creators of Film and Television Music NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on The President’s Corner Journey’s End from Charley Londoño My term as president of the California Copyright Conference (“CCC”) has been one of the most rewarding and fast-moving periods of my life. When I was elected as president, I spoke about (1) increasing membership; (2) increasing the visibility of the John Braheny Scholarship Fund; and (3) providing quality panels with interesting topics. Rarely is reality better than the dream. However, in this case, I believe, collectively as an organization, the CCC surpassed imagination. I wish space permitted me to list all of the accomplishments with specificity, but, I think the growth in membership, increased donations to the scholarship fund, and increased attendance at our panels, speaks volumes of the CCC’s accomplishments. Moreover, to add to the CCC’s accomplishments, the Apollo Awards, as well as the CCC’s Mentorship/Ambassador program, were both launched this year and have now become staples of the CCC’s initiatives. No one succeeds in this business without the help of others, and, I would like to thank the CCC’s officers, board, and members for a successful year. My heart is humbled by the amazing privilege of service as your president. Thank you for the opportunity and the journey. Best, J. Charley Londoño, Esq. President, California Copyright Conference (2017-2018) !1 Suggested Reading 10 GREAT FILM SCORES BY FEMALE COMPOSERS & Female Composers & Artists Are Gaining Ground in Television CrucialMusic & UNIVERSAL MUSIC PUBLISHING GROUP proud co-sponsors of : "Creators of Film and Television Music" Co-moderators : Jonathan David Neal — Composer and SCL Recording Secretary Jonathan David Neal is a composer and orchestrator with 25+ years’ experience in composing music for film, TV and recording projects.
    [Show full text]
  • LOLITA Opéra Imaginaire D’Après La Roman De Vladimir Nabokov Composé Et Arrangé Par Joshua Fineberg
    LOLITA Opéra imaginaire d’après la roman de Vladimir Nabokov composé et arrangé par Joshua Fineberg 1. Argument Spectacle multi-média pour danseurs/acteurs, voix, ensemble, électronique et vidéo Mon travail a longtemps porté sur la question des sources (modèles) de la réalité et de leurs représentations (réalisations) dans les œuvres artistiques. C'est un thème central dans toute la musique spectrale, de la synthèse orchestrale d'un trombone dans Partiels de Grisey à l'analyse/re-synthèse en temps réel de l'ensemble instrumental dans ma propre pièce Empreintes. Ce rapport (du modèle à la représentation) est presque toujours destructif. Le modèle semble pauvre une fois que l'artifice l'a révélé dans une plus riche apparence. Un « original » qui devrait résonner dans sa « légitimité » est accablé par la force de sa transcription. Pour moi, c'est là la vraie histoire racontée par Lolita de Nabokov. L’œuvre de Nabokov a suscité beaucoup de polémiques et a été adaptée en diverses réalisations dramatiques (les plus notables étant deux grands films); cependant ces adaptations se sont toutes concentrées sur ce qui est peut-être l’aspect le moins intéressant du roman – son intrigue. Pour moi, l'idée vraiment essentielle de l’œuvre est la nature en soi destructive de la transcription artistique d'un personnage, d'un événement, d'une scène ou d'un son. Transposant une adolescente réelle en une vision sublimée Humbert la tue de fait et place un double à sa place (ironiquement il la détruit assez complètement dans la réalité). Le vrai personnage féminin est vu seulement de temps en temps et à travers des aperçus furtifs (comme ses yeux rougeoyants, brillant en de rares occasions derrière un masque ornemental).
    [Show full text]
  • Pressive and Photographs So Beautifully, He Is Extremely Strong in This Role,” Comments Masterson
    “YESTERDAY WAS A LIE” PRODUCTION INFORMATION A groundbreaking new noir film, YESTERDAY WAS A LIE is a “soulful and thought- provoking metaphysical journey” (Talking Pictures). Award-winning writer/director James Kerwin -- “one of these young guys on the edge of a digital revolution” (Soundwaves Cinema) -- crafts a thrilling, intricate detective drama that teases the boundaries of reality. Kipleigh Brown “exudes Bacall” (Slice of SciFi) as Hoyle, a girl with a sharp mind and a weak- ness for bourbon who finds herself on the trail of a reclusive genius (John Newton). But her work takes a series of unforeseen twists as events around her grow increasingly fragmented... discon- nected... surreal. With a sexy lounge singer (Chase Masterson) and a loyal partner (Mik Scriba) as her only allies, Hoyle is plunged into a dark world of intrigue and earth-shattering cosmological secrets. Haunted by an ever-present shadow (Peter Mayhew) whom she is destined to face, Hoyle discovers that the most powerful force in the universe -- the power to bend reality, the power to know the truth -- lies within the depths of the human heart. “Like Blade Runner before it, YESTERDAY WAS A LIE manages to meld film noir and science fiction into a fresh new world unlike anything we’ve seen be- fore” (iF Magazine). Also starring Nathan Mobley, Warren Davis, Megan Henning, Jennifer Slimko, and famed ra- dio personality Robert Siegel. 2 ABOUT THE PRODUCTION YESTERDAY WAS A LIE is the brainchild of writer/director James Kerwin, who made a splash in 2000 with his multi-festival-award-winning short film Midsummer.
    [Show full text]