September 12, 2007 - Film Music Magazine

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the popular video game, will get an original score by Disturbia composer Geoff Zanelli. The film is produced by 20th Cen- tury Fox and directed by 32-year old.
FILM MUSIC weekly ISSUE 30 • SEPT.12, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com

Creative Emmy Awards to Fenton, Beal, Ross George Fenton, Jeff Beal and William Ross were among the happy recipients of the 59th Primetime Emmy Awards at the Creative Arts Emmys ceremony at the Shrine Auditorium in Los Angeles on Saturday night. Veteran composer George Fenton won the Emmy for “Outstanding Music Composition

for a Series (Original Dramatic Score) for his large-scale orchestral music for the BBC hit series Planet Earth. Jeff Beal won the “Outstanding Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score)” for his “Battleground” score from Nightmares and Dreamscapes: From the Stories of Stephen King. William Ross won for his musical direc-

615 Music Acquires Metro Music Production music library 615 Music has acquired music library Metro Music, it was announced by 615 Music President and CEO Randy Wachtler and Metro Music owner Mitch Coodley. Founded in 1984, 615 Music is a full-service music development, recording, post-production and sound design company with clients that include broadcast and cable television networks and programs, local market TV stations, radio stations and syndicates, advertising agencies and filmmakers. The company both licenses its catalog and creates original works, themes and promotions for television productions. Metro Music was founded by composer, producer and guitarist Mitch Coodley in 1985. The library’s catalog has been geared towards high-end television and film producers and Fortune 500 corporations. According to the company, its music is utilized regularly in over 100 countries worldwide, and can be heard daily and nightly on TV and ra-

dio networks and local affiliates across the U.S. Regarding the deal, 615 Music’s Randy Wachtler said, “Strategically, this acquisition made a great deal of sense for us, and helps us expand 615 Music’s global outreach. I have known Mitch Coodley for many years, and have always admired his music. We are delighted that he will continue to write and produce original new music for Metro. Because we know that his clients have grown to love the Metro library, we have decided to continue to market Metro Music under its own brand name in the coming months. With our marketing expertise, we will have the ability to help extend the reach of the Metro library even further.” Added Mitch Coodley of Metro Music, “I’m a composer and producer first and foremost. This deal will allow me to spend even more time on the creative side of producing the Metro catalog. Randy was looking to continue the Metro sound, and that’s why this deal works so well for me. I know the library is in good hands and that 615 Music will serve us both well in terms of expanding our client base and keeping our long-term clients happy.” With the addition of the Metro library, 615 Music now has 12 production libraries and well over 500 CDS worth of music available to its clients. For more information visit: http://www.615music.com http://www.metromusicinc.com

tion of the 79th Annual Academy Awards. Fenton won an Emmy for the Planet Earth predecessor in 2002, The Blue Planet. Jeff Beal has also won an Emmy before, for his Monk theme in 2003, and he has also had a handful of nominations in the past five years. William Ross’ honor was a first for the composer.

BSX Releases ‘Captain Kronos’ B S X Records, a division of BuySountrax.com has announced the upcoming September 14 release of the score album for Captain Kronos, Vampire Hunter. The release is a limited edition of 2,000 units, and the album is available for pre-orders now. Born in Hampstead, London, in 1927, Laurie Johnson undertook his musical studies at the Royal College of Music, where he would later return as a professor. He embarked on a professional musical career at the age of 21, composing and arranging for a variety of big bands, a love which continues to this day with his jazz ensemble, The London Big Band. Johnson began scoring films and television in 1956, and soon proved to have an affinity for quirky and fantastic films with his scores for Stanley Kubrick’s Dr. Strangelove (1963) and First Men In The Moon (1964). For more information and audio samples, visit: http://www.buysoundtrax.com

CD Review: 3:10 to Yuma

MORE INSIDE:

n About the only Morricone trademarks that Marco Beltrami doesn’t use in his score for 3:10 To Yuma is a wailing female voice and a harmonica. But that being said, Beltrami dumps a whole stagecoach full of gold at Morricone’s feet and rides off into the sunset in style, with his own musical voice more than intact. p:8

p:6 signings & projects p:9 THE CHART DOCTOR: SCORE AND PART PRINTING p:10 THE SCOREBOARD

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ISSUE 30 • SEPT. 12, 2007

FILM MUSIC weekly

FILM MUSIC weekly Publisher: Mark Northam Editor: Mikael Carlsson VP Finance and Operations: Rebecca Lee Art Director: Joshua Young Advertising Sales Manager: Steve Schatzberg Copy Editor: Lisa Rawson Technology Editor: Peter Alexander Soundtrack Review Editor: Daniel Schweiger Website Design: Rakesh Rai Accounting: Tina Chiang Legal Advisor: Patricia Johnson, Esq. Film Music Weekly is published weekly by Global Media Development Group, Inc. Executive and Editorial Office: 27023 McBean Pkwy Suite 618, Valencia, CA 91355. Tel: 310-645-9000 Fax: 310-388-1367, email: [email protected]. We are not responsible for unsolicited material. All Rights Reserved. Reproduction in whole or in part without written permission of the publisher is prohibited. The opinions of contributing writers and editors to this publication do not necessarily reflect the views of Global Media Development Group, Inc. or any of our divisions, management or staff.

FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007

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Film music journalist Daniel Schweiger interviews director-writer ROB ZOMBIE and composer TYLER BATES, who team for a terrifying new spin on the sound of HALLOWEEN.

TUNE IN HERE!

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FILM MUSIC NEWS

Ghent Festival Launches CD Series The Flanders International Film Festival in Ghent, Belgium, has launched a CD series devoted to the works of composers connected to the festival. The first album focuses on music by Craig Armstrong.

The title of the festival’s CD series is “For the Record,” and Craig Armstrong is the first composer to be featured. For the Record: Craig Armstrong features newly recorded suites and themes from films such as Romeo + Juliet, Moulin Rouge, Plunkett and MacLeane, The Quiet American, World Trade Centre, Ray, The Bone Collector and Best Laid Plans. The music is performed by the Flemish Radio Orchestra and Choir, conducted by Dirk Brossé. “The aim is for at least one new recording to be brought onto the market per year, in order to promote film music qualitatively. Therefore, film music composers with a connection to the Ghent Film Festival – those that have attended the festival or had their music performed during the festival – will be selected,” the organizers wrote in a recent press release. For the Record: Craig Armstrong can be obtained at: http://www.filmfestival.be/shop.

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OPENING THIS WEEK THEATRICAL

• Across the Universe (Elliot Goldenthal) • The Brave One (Dario Marianelli) • December Boys (Carlo Giacco) • Eastern Promises (Howard Shore) • Fierce People (Nick Laird-Clowes) • In the Valley of Elah (Mark Isham) • Ira and Abby (Marcelo Zarvos) • King of California (David Robbins) • Moving McAllister (Didier Lean Rachou)

DIRECT-TO-DVD

• Abe and Bruno (Patirck Kirst) • Carolina Moon (Steve Porcaro) • Evading (Wayne Tapia) • The Haunting of #24 (Helen Caddick) • Pirates of Ghost Island (Jason Peri) • White Rainbow (Mark Bonilla)

Silvestri Concert on CD Alan Silvestri’s live concert at the Soncinemad Film Music Festival in Madrid will result in a CD released by the RTVE label in Spain. The Filarmonia Orchestra and Choir of the RTVE performed the music of Alan Silvestri in a hailed concert featuring concert suites from many of the composer’s best-known film scores, including Back to the Future, Forrest Gump and The Mummy Returns. The album will not include the full program from the concert (for instance, the selections from the upcoming film Beowulf is, of course, not included). The CD is scheduled to come out in Spain by the end of September.

ISSUE 30 • SEPT. 12, 2007

FILM MUSIC weekly

FILM MUSIC NEWS

Geoff Zanelli Scores Hitman

THE A-LIST TOP AGENCIES

Hitman, the movie version of the popular video game, will get an original score by Disturbia composer Geoff Zanelli. The film is produced by 20th Century Fox and directed by 32-year old French helmer Xavier Gens. The original Hitman games featured music by Danish composer Jesper Kyd, but according to Zanelli, none of his music will be featured in Zanelli’s original score. However, Franz Schubert’s ‘Ave Maria,’ which was used prominently in the games, will be included in the film. Hitman stars Timothy Olyphant, Dougray Scott and Ulrich Thomsen. It’s scheduled to premier worldwide on November 21. Hitman, 20th Century Fox’ movie In addition to Hitman, Geoff Zanelli has another major asversion of the video game, gets a signment coming up: Outlander, an unusual mix of sci-fi saga score by Geoff Zanelli (Disturbia) and Vikings adventure, starring James Caviezel, Ron Perlman and John Hurt. It’s produced by The Weinstein Company and written and directed by Howard McCain. Geoff Zanelli is represented by Gorfaine-Schwartz. His previous credits include Disturbia, House of D and Secret Window.

The most prolific film music agencies according to the current U.S. box office statistics, September 7-9, 2007: 1 (3). First Artists Management – $18.8m • Superbad (Lyle Workman) - $8.0m • Shoot ‘Em Up (Paul Haslinger) - $5.5m • Rush Hour 3 (Lalo Schifrin) - $5.3m 2 (new)Greenspan Artists Management – $14.1m • 3:10 to Yuma (Marco Beltrami) - $14.1m 3 (1). Soundtrack Music Associates – $10.0m • Halloween (Tyler Bates) - $10.0m 4 (2). Gorfaine-Schwartz Agency – $7.5m • Balls of Fury (Randy Edelman) - $5.7m • Stardust (Ilan Eshkeri) - $1.8m 4 (4). Kraft-Engel Management – $7.5m • The Bourne Ultimatum (John Powell) - $5.5m • Hairspray (Marc Shaiman) - $2.0m 5 (5). Evolution Music Partners – $1.6m • Death Sentence (Charlie Clouser) - $1.6m Source: IMDb

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FILM MUSIC NEWS

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SIGNINGS & PROJECTS

Elia Cmiral: Tooth and Nail n Elia Cmiral (Ronin, Stigmata, Wrong Turn) has been hired to score Tooth and Nail, a new horror film by Mark Young, starring Michael Madsen, Vinnie Jones and Robert Carradine. The film is produced by John Sachar and Patrick Durham, taking place in a future, post-apocalyptic world where a group of people fight to survive against vicious cannibals. Cmiral’s other recent scores include Dolph Lundgren’s Missionary Man and The Deaths of Ian Stone. mc

James Brett: Outpost

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G&J SALES AND DISTRIBUTION present an ULTIMATE PICTURES UK production in association with LITTLE WING FILMS ULRICH THOMSEN “THE ROCKET POST” SHAUNA MACDONALD GARY LEWIS KEVIN MCKIDD PATRICK MALAHIDE EDDIE MARSAN CLIVE RUSSELL JIMMY YUILL IAN McNEICE and JOHN WOOD casting director JANEY FOTHERGILL make-up & hair designer ALISON DAVIES costume designer STEWART MEACHEM production designer ALISON RIVA edited by IAN CRAFFORD & BEVERLY MILLS director of photography RICHARD GREATREX, bsc music composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLS line producer ALISON BARNET producers DAVID KENNAWAY CATHERINE DAVIES executive producers ROBERT BEVAN KEITH HAYLEY CHARLIE SAVILL GUY HANDS JULIA HANDS screenplay by JAMES MACINNES and WILLIAM MORRISSEY produced by MARK SHORROCK directed by STEPHEN WHITTAKER

n British composer James Brett, whose previous credits include Gladiatress and Daniel and the Superdogs, has recorded his score for the new action film Outpost, directed by Steve Barker and starring Ray Stevenson, Richard Brake and Julian Wadham. Brett’s music is performed by The London Metropolitan Orchestra. Brett also recently conducted the same orchestra recording Harald Kloser’s score for the forthcoming Roland Emmerich epic 10,000 BC. mc Composers’ web site: www.moviefonics.com

It was a summer’s day on the west c of those days when Scotland is the earth. I had the first demo of Michael a Rocket Post and had driven out to a favou to listen to their musical thoughts, car do grassy knoll above the beach. I remember over again and feeling so uplifted. The boys the love story of Catherine and Gerhard, the and the evocative beauty of the Western Isles cal themes. It was wonderful.

terial on which to comment. Periodically the conductor for the score Robin Page called in to see how the score was progressing and pass useful comments. A highlight of any film score is working with live musicians – in this case we were privileged to record the score with the Royal Philharmonic Orchestra and added Scottish flutes played by the wonderful Francesca Hanley. Another musical highlight was recording the title song of the film with Mae McKenna who brought a real authentic Scottish flavour to the film. The project took five weeks from the first germ of an idea to the fully orchestrated end product. Nigel Clarke & Michael Csányi-Wills March 2007

A NOTE FRO THE PRODU

or: IAN MACLAY

This recording A 2006 G&J Sales & Distribution. Original score © 2003 Nigel Clarke, Michael Csányi-Wills, copyright administered by Air-Edel Associates Ltd. S 2007 MovieScore Media Sweden. All rights reserved.

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A NOTE FROM THE COMPOSERS

Special thanks from MovieScore Media to Alison Wright, Simon Waite, Guy Hands, and Nigel Clarke & Michael Csányi-Wills.

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As so often happens when scoring films, one day you do not know it exists, the next day you are working every hour under the sun. This was the case with The Rocket Post. After a phone call from our agent, we met the film’s producer Mark Shorrock and two days later we were working around the clock. Nonetheless, it was a pleasure to do so as the film has an abundance of romance, beauty and drama set against the backdrop of the Western Isles in Scotland. Sadly the director Stephen Whittaker had passed away before we were brought on board. As a result, Mark put in place Alison Riva as music adviser for this project. Every few days Mark and music supervisor Alison Wright stopped by our studio to hear our ideas. As with all our scores we made synthetic demonstrations of all the cues which gave both Mark and Alison ma-

ON METSOVITIS sic Service) Csá nyi-Wills:

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For those years when Rocket Post remained u score kept the film alive for me and other m you dipped into their gorgeous score, there c financiers would finally release it. Working producer’s joy. They understood immediatel current of strong emotion. And they worke Nigel beavered away orchestrating all the man doing the job of ten men, and all the Michael’s piano playing bringing to lif film. And then there was the day whe Michael and Nigel’s music. I do ho enjoyment from Michael and Ni have all had. – Mark Shorro March 8th, 2007

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ROCKET POST

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• 2. The Islands (2.09) • 5. Impressions (1.55) 8. Building the Rocket (1.44) m Across the Sea (1.37) arty (1.12) • 14. Failure (1.40) 08) • 17. Paint Dance (1.01) istant Shores’ (5.20)

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MUSIC BY

ORIGINAL MOTION PICTURE SOUNDTRACK

NIGEL CLARKE & MICHAEL CSÁNYI-WILLS

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ROCKET POST

PERFORMED BY

THE ROYAL PHILHARMONIC ORCHESTRA

Thematic, romantic, orchestral... British composers Nigel Clarke and Michael Csányi-Wills has composed a wonderful score for The Rocket Post, a romantic orchestral work filled with memorable themes and exciting dramatic writing – performed by the legendary Royal Philharmonic Orchestra and featuring a beautiful song, “Distant Shores”, sung by Mae McKenna. Available on CD and online now!

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XXXUSVFTQFDDPN ISSUE 30 • SEPT. 12, 2007

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NEW SOUNDTRACKS

Marco Beltrami Scores “3:10 To Yuma” Composer: Marco Beltrami Labels: Lionsgate Suggested Retail Prices: $ 9.99 (on iTunes) Grade: B+

ALBUM REVIEW By: DANIEL SCHWEIGER Soundtrack Editor

It’s easy for just about any composer to mimic the Spaghetti Western sound of Ennio Morricone. And probably every busy musician has used the maestro’s voice one occasion or other. Just break out the steel guitar, the shakers, the mournful trumpet and the anvil. In fact, about the only Morricone trademarks that Marco Beltrami doesn’t use in his score for 3:10 To Yuma is a wailing female voice and a harmonica. But that being said, it’s one thing to rip off Morricone, and another to pay homage to him. And Beltrami dumps a whole stagecoach full of gold at Morricone’s feet. Then he rides off into the sunset in style, with his own musical voice more than intact. In Hollywood, Marco Beltrami’s can usually be found applying roaring, musical stabs to horror scores like three Scream films, The Faculty, The Omen and Underworld: Evolution, or keeping a percussive beat to the action of XXX 2, Terminator 3, and Live Free And Die Hard. While he can really rise to the occasion on soundtracks like Mimic and Hellboy, Beltrami’s the kind of composer who does a style so well that he keeps getting pulled back in. But when given the shot to do something truly unique like The Minus Man or The Dangerous Lives Of Altar Boys, Beltrami truly shines. And now that he’s been really allowed to go for the Spaghetti pistols, Beltrami tears apart 3:10 To Yuma with a surprising, and welcome vengeance. This isn’t to say that Beltrami hasn’t ridden the range before, as he did on the enthrallingly bizarre score for a contempo western called The Three Burials Of Melquiades Estrada. While Yuma shares that film’s man-of-the west ethic, this is a score that’s far more of a straight shooter, a white hat / black hat opus that delivers the expected goods with a somber, psychological depth. Yet there’s surprisingly little onscreen that would signal the Spaghetti Western approach, as Yuma’s good guy isn’t driven by a wrong done long ago, as are anti-heroes of any Sergio Leone western. But when you hear that electric guitar rip away, and the anvil drop like a gunshot, then damn if this angle

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ALBUMS COMING SOON! OUT THIS WEEK • Bill and Ted’s Bogus Journey (David New man) - Intrada • The Brave One (Dario Marianelli) – Varèse Sarabande • Captain Kronos: Vampire Hunter (Laurie Johnson) - Buysoundtrax • Dragon Wars (Steve Jablonsky) – Milan • Eastern Promises (Howard Shore) - Sony • Stardust (Ilan Eshkeri) – Decca • Symphonic Electronic: The Film Music of Erik Desiderio – Film Music Downloads • The Unforgiven: Classic Western Scores from United Artists (various) – Film Score Monthly SEPTEMBER 18 • Across the Universe (Beatles/Elliot Golden thal) – Interscope • The Last Winter (Jeff Grace/Anton Sanko) – MovieScore Media SEPTEMBER 25 • Flood (Debbie Wiseman) – Silva Screen • The Kingdom (Danny Elfman) – Varèse Sarabande • Lust, Caution (Alexandre Desplat) – Decca NEW Musica de Cine 2: Alan Silvestri – RTVE (Spain) • Michael Clayton (James Newton Howard) – Varèse Sarabande • Sea of Dreams (Luis Bacalov) – Varèse Sarabande

doesn’t work like a charm. Beltrami plays his Morricone-isms with a sly, and violent passion that takes you right back to the glory days of Once Upon A Time In The West, the score which Yuma owes the biggest tip of the its hat to. But where Morricone’s scores are famed for their long, mournful string lines, Beltrami is after something darker here. Like his action and horror work, the composer keeps things on an evil simmer. Yuma is all about tension and attack, the music having long, brooding lulls in it before blasting into action, the characters strutting to their destiny as a Mexican-style horn wails for the climactic shootout. And Beltrami knows just when to pull that Morricone magic out from his duster, as his cool, sinister orchestra plays the perceived villainy of Russell Crowe’s outlaw, and the unavoidably tender nature of his rancher-turned-captor. Everyone’s going to their destinies here, an elegiac feel that makes Yuma far more than the Spaghetti pastiche it could have been. Exceptionally well spotted in the film, and giving it no end of energy, 3:10 To Yuma stands as one of the neater western scores in a while. And more importantly for Marco Beltrami, it’s a score that says there’s a new kid in town. A composer whose talent for other genres, and hopefully more westerns, is just waiting be unleashed.

Click here for the 3:10 To Yuma soundtrack.

OCTOBER 2 • Behind the Gates (Dario Marianelli) – Movi eScore Media NEW Dan in Real Life (Sondre Lerche) - Capitol • The Monster Squad (Bruce Broughton) – Intrada OCTOBER 9 • In the Valley of Elah (Mark Isham) – Varèse Sarabande • The Jane Austen Book Club (Aaron Zig man) – Varèse Sarabande • Music from the Pirates of the Caribbean Trilogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen • Return to House on Haunted Hill (Frederik Wiedmann) – Varèse Sarabande • Sleuth (Patrick Doyle) – Varèse Sarabande • Transformers (Steve Jablonsky) – Warner Bros. OCTOBER 16 • Atom Nine Adven tures (Robert Gulya) – MovieScore Media





OCTOBER 23 • Battlestar Galactica: Season 3 (Bear Mc Creary) – La-La Land • Haunting Villisca (David James Nielsen) – MovieScore Media • Superman: Doomsday (Robert J. Kral) – La- La Land NOVEMBER 6 NEW Star Wars: 30th Anniversary Collector’s Edition (John Williams) – Sony

Courtesy of iFmagazine.com

ISSUE 30 • SEPT. 12, 2007

FILM MUSIC weekly

The Chart Doctor

Professional And Affordable Score And Part Printing

By Ron Hess For the next couple of weeks, let’s assume that you’ll be the copyist on your project. Part of music prep is the organized reproduction and binding of all scores and parts in such a way as to be easily sight-read with silent page turns. Traditionally, most well-run and -financed copying houses had a healthy investment in very expensive, industrial-strength repro and binding equipment. If you haven’t, your scores and parts can still look as if you had with just a little extra, intelligent effort. And remember, the more your parts look like they were given the A-list treatment, the more your players and conductor will give you that same treatment in return. What do you need to pull off a cognac effect on a beer budget? Basically, a modest laser printer (or a high-resolution inkjet,) a goodly supply of the right kinds of paper, rolls of paper or masking tape, and a razor blade. Oh, and also a good reproduction service bureau (such as the ubiquitous FedEx/Kinko’s) in the neighborhood. Even though the computer and copier worlds have blessed the 8.5”x11” “letter”-sized paper standard, performing musicians have long preferred something bigger and sturdier. Let ‘em know you’re serious when you walk in with parts printed on 9.5”x12.5”, 80- to 100lb. paper, off-pure-white to some degree (for glare considerations) and smooth (for easy onthe-spot pencil fixes.) With the advent of doit-yourself publishing, paper vendors who can supply you with the special paper you need are now commonplace. For printing parts, my choice in the Los Angeles area is Kelly Paper #2167A. It comes in huge sheets which they will cut into 8 equal subsections of exactly 9.5”x12.5”.

FILM MUSIC weekly ISSUE 30 • SEPT. 12, 2007

Score paper size was always a victim of practicality, with pencil-and-straightedge orchestrators struggling with preprinted pages whose dimensions were dictated by the number of staves needed. With computer notation, the mechanism is reversed, with one size (tabloid, or 11”x17”) accommodating infinitely flexible staff sizes and layouts. Purchase heavier stock, and some variant of off-white to cut down on glare. Before you get chin-deep in your project, scout your local repro service bureaus for self-service copiers that (a) have a bypass paper supply capability which can accommodate anything up to 11”x17”, (b) possibly can enlarge by independent percentages in two different dimensions (say, by 112% lengthwise and 119% widthwise) like the Xerox Document Centers do, and (c) can be used 24 hours a day, just in case. If you’re really smart (wellllllll, let’s just say “prudently paranoid,”) line up more than one bureau, as self-service machines get heavy use and frequently are (or should be) off-line for maintenance (and always precisely when you need them). With paper stock and facilities lined up, you can do your initial printing of score and part pages with your home or office laser or inkjet printer, formatted to whatever most logically fits on either letter- or legal-sized standard paper (parts and small-ensemble scores on letter, larger groups on legal). With scores, resist the temptation to hide empty staves and then put multiple systems on a page. Think of your conductor and what will visually tell him the most at a glance. With parts, see my previous columns about spreading the music out for maximum advantage. Then, take all that output over to your selected repro house and

blow it up onto your stock of larger, heavier paper. For a perfect translation going from letter to 9.5”x11”, enlarge the length by 114% and the width by 112%. If your machine can’t do this little miracle, simply enlarge the whole thing by 112%. Similarly, when going from legal to tabloid, enlarge the length by 121% and the width by 129%, (or compromise with 121%). If possible, and despite this technical sleight-of-hand, you won’t be able to tell the difference visually, and your margins will still match perfectly. Use one side of the paper only (more later). When copying multipage duped parts, like ten copies of Violin 1, have the copier collate the output so you won’t have to later when you tape them together. That’s it! With copiers that can accept a bypass paper supply of your heavier custom paper, usually by a small stack fed through the side of the unit, you can automate the process and be in and out of the joint in minutes, not hours. And, since you’re providing the paper, save your client some budget by asking for a small discount on the per-copy fee, perhaps 10%. Next week: Score and part binding strategies that will give you noise-free page turns in less time. n Ron Hess works as a studio conductor, orchestrator, copyist and score supervisor in Los Angeles, where he’s well-known for his quick ability to ferret out the most hidden performance problems and spot score glitches rapidly. He holds a Master’s Degree from the New England Conservatory, and is considered one of the top Finale experts in Los Angeles. Email Ron at [email protected]

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Neal Acree: Hallowed Ground. Tree Adams: Keith. Eric Allaman: Race. John Altman: The Master Builder. Craig Armstrong: The Golden Age (co-composer). Angelo Badalamenti: The Eye • The Edge of Love. Klaus Badelt: Heaven and Earth • Killshot. Roque Baños: The Last of the Just. Nathan Barr: Watching the Detectives •Tortured. Tyler Bates: The Haunted World of El Superbeasto • Day of the Dead • Watchmen • Doomsday. Jeff Beal: Where God Left His Shoes • Salomaybe? • The Deal. Christophe Beck: Drillbit Taylor • The Seeker: The Dark Is Rising. Marco Beltrami: In the Electric Mist with Confederate Dead. Charles Bernstein: Bull Run • Let My People Go. Jean-Michel Bernard: Be Kind Rewind. Scott Bomar: Maggie Lynn. Simon Boswell: Bathory. Jason Brandt: Something’s Wrong in Kansas. David Bridie: Gone. Kenneth Burgomaster: Garfield Gets Real • Hero Wanted. Mickey Bullock: Sportkill • Orville. Carter Burwell: No Country for Old Men. Niall Byrne: How About You. Brian Cachia: Gabriel. Peter Calandra: The Sickness. Jeff Cardoni: Firehouse Dog • Save Me. Sam Cardon: A House Divided • The Dance • Mummies. Teddy Castellucci: Are We Done Yet?. Nick Cave: The Assassination of Jesse James by the Coward Robert Ford (co-composer). Jamie Christopherson: Ghost Image. Nigel Clarke/Michael Csányi-Wills: The Grind. Charlie Clouser: Resident Evil: Extinction • Saw IV. Elia Cmiral: The Deaths of Ian • Missionary Man • Tooth and Nail. Graham Collins: Black Kissinger. Joseph Conlan: American Pastime. Ry Cooder: : Charlie Wilson’s War. Normand Corbeil: Ma fille, mon ange • Boot Camp • Emotional Arithmetic. Jane Antonia Cornich: Island of Lost Souls • Solstice. Burkhard Dallwitz: Romeo and Me • Taking Tiger Mountain • The Interrogation of Harry Wind • Chainsaw. Jeff Danna: Closing the Ring • C7. Mychael Danna: Fracture. Marcello De Francisci: The Butcher. Wolfram de Marco: The Tribe. Jessica de Rooij: Postal • BloodRayne II: Deliverance • Tunnel Rats • Far Cry.. John Debney: Evan Almighty • Big Stan • Sin City 2 • Sin City 3 • Iron Man. Alexandre Desplat: His Dark Materials: The Golden Compass • Lust, Caution. Ramin Djawadi: Fly Me to the Moon • The Tourist. James Michael Dooley: Bachelor Party 2. Patrick Doyle: Mr. Magorium’s Wonder Emporium. Ludek Drizhal: Life Goes On • Badland. Jack Curtis Dubowsky: Rock Haven. Anne Dudley: The Walker. Robert Duncan: Shattered. Clint Eastwood: Grace Is Gone. Randy Edelman: 27 Dresses. Steve Edwards: Finding Rin-Tin-Tin • The Neighbor. Danny Elfman: The Sixth Element • The Kingdom • Hellboy 2. Warren Ellis: The Assassination of Jesse James by the Coward Robert Ford (co-composer). Paul Englishby: Magicians. Tobias Enhus: Paragraph 78. Tom Erba: Chinaman’s Chance. Ilan Eshkeri: The Virgin Territories • Straightheads • Strength and Honour. Evan Evans: The Mercy Man. Nima Fakhara: Lost Dream. Sharon Farber: When Nietzsche Wept. Guy Farley: The Flock • The Christmas Miracle of Jonathan Toomey • Knife Edge • Dot Com • The Broken • Dylan. Louis Febre: Tenderness. George Fenton: Fool’s Gold. Chad Fischer: The Babysitters. Robert Folk: Kung Pow: Tongue of Fury • Magdalene • Vivaldi. John Frizzell: Careless • First Born. Michael Giacchino: Star Trek XI. Richard Gibbs: Cleaner. Vincent Gillioz: Pray for Morning • L’Ecart • Séance • Say It in Russian. Scott Glasgow: Hack! • Toxic • The Gene Generation • Bone Dry. Philip Glass: Cassandra’s Dream • Les animaux amoreux. Erik Godal: The Gift • Ready Or Not. Elliot Goldenthal: Across the Universe. Howard Goodall: Mr Bean’s Holiday. Adam Gorgoni: Starting Out in the Evening. Jeff Grace: The Last Winter • Triggerman • I Sell the Dead • Liberty Kid. Harry Gregson-Williams: Gone, Baby, Gone • Jolene • The Chronicles of Narnia: Prince Caspian. Rupert Gregson-Williams: I Know Pronounce You Chuck and Larry • Bee Movie • You Don’t Mess With the Zohan. Andrew Gross: Forfeit. Larry Groupé: Resurrecting the Champ • Love Lies Bleeding. Andrea Guerra: L’uomo di vetro. Robert Gulya: Atom Nine Adventures. Steven Gutheinz: Rothenburg. Richard Hartley: Diamond Dead.

Richard Harvey: Legend of King Naresuan. Paul Haslinger: Gardener of Eden. Paul Heard: Clubbed. Alex Heffes: My Enemy’s Enemy • State of Play. Paul Hepker: Rendition (co-composer). Eric Hester: Lost Mission • Frail. Tom Hiel: A Plumm Summer. David Hirschfelder: Shake Hands With the Devil. Ben Holbrook: Kiss the Bride. Lee Holdridge: I Have Never Forgotten You - The Life and Legacy of Simon Wiesenthal. Andrew Hollander: East Broadway. James Horner: The Spiderwick Chronicles.• Avatar • In Bloom. Richard Horowitz: Genghis Khan. James Newton Howard: Michael Clayton • The Waterhorse • I Am Legend • The Happening. Terry Huud: Plaguers. Alberto Iglesias: Her Majestic Minor • The Kite Runner. Mark Isham: Pride and Glory • Reservation Road • Lions for Lambs. Steve Jablonsky: D-War. James Jandrisch: American Venus. Adrian Johnston: Sparkle. Bobby Johnston: American Fork • Stuck. Tim Jones: Cryptid. Trevor Jones: Fields of Freedom • The Power of the Dark Crystal. David Julyan: Outlaw • Waz. John Kaefer: Room Service (co-composer). Matthew Kajcienski: Room Service (co-composer). George Kallis: Highlander: The Source • Antigravity. Tuomas Kantelinen: Quest for a Heart • The Knight Templar • Mongol. Laura Karpman: Man in the Chair • Out at the Wedding. Rolfe Kent: Fred Claus • Spring Break in Bosnia • Sex and Death 101. Wojciech Kilar: We Own the Night. Mark Kilian: Rendition (co-composer) • Before the Rains. David Kitay: Because I Said So • Shanghai Kiss. Harald Kloser: 10,000 BC. Abel Korzeniowski: Terra. Penka Kouneva: The Third Nail • Richard III. Ivan Koutikov: Wanted Undead Or Alive • Living Hell. Aryavarta Kumar: The Rapture • Greater Threat. Christopher Lennertz: The Comebacks • Alvin and the Chipmunks • The Perfect Christmas • Hunting and Fishing. Sondre Lerche: Dan in Real Life. Michael A. Levine: Adrift in Manhattan. Christopher Libertino: Off the Grid – Life on the Mesa • The Forgotten Kingdom. Andrew Lockington: Step • How She Move • Journey 3-D. Joseph LoDuca: Bar Starz • My Name Is Bruce • Ocean of Pearls • Boogeyman 2. Henning Lohner: In the Name of the King: A Dungeon Siege Tale • Timber Falls. Steve London: Decoys 2: Alien Seduction • Kaw. Helen Jane Long: Surveillance. Erik Lundborg: Absolute Trust. Deborah Lurie: Spring Breakdown. Vivek Maddala: They Turned Our Desert Into Fire. Nuno Malo: Mr. Hobb’s House. Mark Mancina: Sheepish • August Rush • Camille • Without a Badge • Like Dandelion Dust. Harry Manfredini: Dead and Gone • That’s Amore. David Mansfield: Carnaval de Sodoma • Then She Found Me • The Guitar. Dario Marianelli: We Are Together • Goodbye Bafana • Atonement • Shrooms • The Brave One. Anthony Marinelli: Grizzly Park. Cliff Martinez: First Snow • Vice. John McCarthy: The Stone Angel. Mark McKenzie: The Redemption of Sarah Cain. Joel McNeely: The Tinkerbell Movie. Nathaniel Mechaly: Sans moi. Alan Menken: Enchanted • The Frog Princess. Matt Messina: Juno • The Least of These. Guy Michelmore: Doctor Strange. Bryan E. Miller: Fissure. Randy Miller: Last Time Forever • Shanghai Red • Second Chance Season. Robert Miller: Teeth • The Key Man • Trumbo. Charlie Mole: Fade to Black • I Really Hate My Job • St. Trinian’s. Deborah Mollison: Infinite Justice. Paul Leonard-Morgan: Popcorn. Andrea Morricone: Raul – Diritto di uccidere • Veronica Decides to Die. Trevor Morris: Matching Blue. Mark Mothersbaugh: Mama’s Boy • Quid Pro Quo • Fanboys. Sean Murray: The Lost • Clean Break. Peter Nashel: Wedding Daze. Javier Navarrete: His Majesty Minor. Blake Neely: Elvis and Anabelle. Roger Neill: Take • Scar. Joey Newman: Safe Harbour. Randy Newman: Leatherheads • The Frog Princess. Thomas Newman: Nothing Is Private. Marinho Nobre: Left for Dead. Julian Nott: Heavy Petting. Paul Oakenfold: Victims. Dean Ogden: Oranges • Knuckle Draggers • A Perfect Season. John Ottman: Valkyrie. Atli Örvarsson: Vantage Point. John Paesano: Shamrock Boy. Heitor Pereira: Illegal Tender • Blind Dating • Suburban Girl • Run-

THE SCORE BOARD

ning the Sahara. Mark Petrie: The Road to Empire • Lake Dead • Mr Blue Sky • Valley of Angels. Barrington Pheloung: And When Did You Last See Your Father?. Leigh Phillips: War Made Easy • Still Life. Martin Phipps: Growing Your Own. Nicholas Pike: The Shooter • Parasomnia. Antonio Pinto: Love in the Time of Cholera. Nicola Piovani: Odette Toulemonde. Douglas Pipes: Trick r’ Treat. Steve Porcaro: The Wizard of Gore • Cougar Club. Rachel Portman: The Feast of Love. John Powell: Horton Hears a Who • P.S. I Love You. Michael Price: Sugarhouse Lane • Agent Crush. Trevor Rabin: National Treasure 2: The Book of Secrets • Get Smart. Didier Lean Rachou: How to Rob a Bank • An American in China • Moving McAllister. A.R. Rahman: The Golden Age (co-composer). Brian Ralston: Graduation • 9/Tenths. Jasper Randall: Me & You, Us, Forever • The Secrets of Jonathan Sperry. Brian Reitzell: 30 Days of Night. Joe Renzetti: 39 • Universal Signs. Graham Reynolds: I’ll Come Running. Carmen Rizzo: The Power of the Game. Matt Robertson: The Forest. Philippe Rombi: Angel. Jeff Rona: Whisper. Brett Rosenberg: The Skeptic. David Glen Russell: Contamination. Hitoshi Sakamoto: Romeo x Juliet. H. Scott Salinas: Strictly Sexual • What We Did on Our Holidays. Anton Sanko: Life in Flight Brian Satterwhite: Cowboy Smoke • Maidenhead. Mark Sayfritz: sake. Brad Sayles: The Bracelet of Bordeaux. David Schommer: War, Inc. Marc Shaiman: Slammer • The Bucket List. Theodore Shapiro: Mr Woodcock • The Mysteries of Pittsburgh • The Girl in the Park • Semi-Pro • Tropic Thunder. George Shaw: Victim • Sailfish. Edward Shearmur: 88 Minutes • Dedication • The Other Boleyn Girl. Howard Shore: Eastern Promises. Ryan Shore: The Girl Next Door • Numb • Jack Brooks – Monster Slayer. Carlo Siliotto: La MIsma Luna • The Ramen Girl. Alan Silvestri: Beowulf. Samuel Sim: Awake. Marcus Sjöwall: Dreamkiller. Cezary Skubiszewski: Death Defying Acts • Disgrace. BC Smith: Greetings from the Shore. Damion Smith: Stompin. Jason Solowsky: 110%: When Blood, Sweat and Tears Are Not Enough • The Deepening • L.A Takedown • Unemployed • North by El Norte. Mark Hinton Stewart: Man from Earth. Marc Streitenfeld: American Gangster. William T. Stromberg: TV Virus • Army of the Dead. Jina Sumedi: Sextet. Mark Suozzo: The Nanny Diaries. Johan Söderqvist: Walk the Talk. Joby Talbot: Son of Rambow. Frederic Talgorn: Asterix at the Olympic Games • Largo Winch • Dragon Hunters. Francois Tétaz: Rogue. Mark Thomas: Moondance Alexander • Tales of the Riverbank. tomandandy: The Koi Keeper. Pinar Toprak: Blue World • Dark Castle • Serbian Scars. Jeff Toyne: Shadow in the Trees • Within • Fast Company. Thanh Tran: Cult. Michael Tremante: If I Didn’t Care. Gregory Tripi & Kyle Batter: Dark Storm • Termination Point. Ernest Troost: Crashing. Brian Tyler: Bangkok Dangerous • War • Finishing the Game • Alien vs. Predator 2 • John Rambo • The Heaven Project. Shigeru Umebayashi: A Simple Love Story. Johan van der Voet: Clocking Paper. John Van Tongeren: War Games 2 - The Dead Code Waddy Wachtel: Strange Wilderness. Benjamin Wallfisch: The Escapist. Michael Wandmacher: The Killing Floor • Man of Two Havanas • Train. Nathan Wang: Daddy’s Little Girl • The Final Season. Stephen Warbeck: Flawless • Miguel and William. Matthias Weber: Silent Rhythm • Weekend Interrupted. Cody Westheimer: Benny Bliss and the Disciples of Greatness • Hysteria. Alan Williams: Angst • Snow Princess • He Love Her, She Loves Him Not. David Williams: The Conjuring. John Williams: Indiana Jones IV • Lincoln. Patrick Williams: Mikey and Dolores. Tim Williams: Afterthought • A Dog’s Breakfast. Debbie Wiseman: Flood • Amusement. Alex Wurman: The Baker • Bernard and Doris • Baggage • Quebec. Gabriel Yared: Manolete • 1408. Christopher Young: Sleepwalking. Geoff Zanelli: Delgo • Hitman • Outlander. Marcelo Zarvos: The Air I Breathe • You Kill Me. Aaron Zigman: The Martian Child • Good Luck Chuck • Jane Austen Book Club.

Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to [email protected].