James Horner Tells The Story Behind Five Of His Classic Film Scores The lauded movie composer goes deep on Steven Spielberg, Terrence Malick and Rick Moranis. James Horner's back catalogue of film scores is ridiculous. Among his 158 IMDb credits are, most famously, James Cameron's box-office smashers Titanic and Avatar, but his repertoire is much broader and deeper. Horner has worked within just about every genre you might care to name. Horner rarely gives interviews, but for the first-time in 30 years, the English-born, US residing composer is striking out on his own, releasing a concerto entitled 'Pas De Deux'. "In film score work I have a master and despite my best wishes or best conceived plans it all has to go to my employer for approval. 1. "Star Trek has a built-in audience expecting a certain relationship between characters. "The villain stuff, the big effects stuff, the chases, all of that takes care of itself because it's all visually stunning. 2. "It's the intimacies of the storytelling that make it come alive. 3. 4. 5. "Oh my golly.
John Williams conducts circus tain chase from Indiana Jones and the last crusade Interview with Thomas Newman Tuxedoed penguins, dancing chimney sweeps, a housekeeper floating in on an umbrella to tame a household of errant children – all accompanied by some of the most memorable songs to grace a Disney movie, let alone any family film in Hollywood via England history. These confections make for the enduring magic that is “Mary Poppins,” a movie that’s melodiously synonymous with family warmth. However, the real story behind this heartwarming classic was anything but harmonious, especially when “Poppins” decidedly Scrooge-like creator arrived in LA’s magic kingdom like a serving of castor oil – haunted by a childhood that was anything but a fairy tale. Such is the pre-production from hell fable that makes for the ultimate wonderment of “Saving Mr. Banks,” not that the songwriting-scoring team of Richard and Robert Sherman ever thought they’d survive it. “Saving Mr. That’s right. What did “Mary Poppins” mean to you as a kid? Did you study the music of “Mary Poppins” before scoring “Saving Mr.
BBC iPlayer - Sound of Cinema: The Music that Made the Movies: The Big Score Legendary Composer Leonard Bernstein on the Future of Music, Harvard 1973 by Maria Popova “A great new era of eclecticism is at hand.” In the fall of 1972, legendary composer Leonard Bernstein was appointed the Charles Eliot Norton Professor of Poetry at Harvard, his alma mater — a position originally created in 1925 to bring celebrated poets as campus residents and student advisors and previously occupied by such luminaries as T. S. Titled The Unanswered Question, the lectures — covering Musical Phonology, Musical Syntax, Musical Semantics, The Delights and Dangers of Ambiguity, The Twentieth Century Crisis, and The Poetry of Earth — spanned more than 11 hours, all of which are now available online. Bernstein ends the series with a kind of summation of his credo, one he leaves out — or, rather, modifies and makes less prophetic — in the book: Donating = Loving Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. You can also become a one-time patron with a single donation in any amount: Brain Pickings has a free weekly newsletter.
Revenge composer iZLER shares his process to scoring story and character Revenge composer iZLER discusses the creative process behind his work on the show. iZLER conducted a 50-piece orchestra each week for the musically driven show, and his dedication to finding the right melody for "Revenge" hasn't been ignored. Variety described his music as “"smoky, elaborate film noir-inspired compositions," while Beatweek Magazine praised iZLER for making “beautiful music” that "almost acts as another character further enveloping the audience in its grasp.” "Revenge" is set to return for a third season on September 29, 2013, and the album for iZLER's music from Seasons 1 & 2 will be released on August 20, 2013, the same day as the Season 2 DVD release. Get an exclusive free download of "Requiem For Amanda" from the new REVENGE soundtrack. You can learn more about iZLER at his website at www.izler.com ABOUT iZLER: iZLER faithfully composes music that embodies both story and character. Comments
How the Game of Thrones Composer Scored the Massively Epic Music of Pac Rim | Underwire Photo: Max S. Gerber Ramin Djawadi’s got a knack for sonic boom. As the composer for movies like Iron Man and Blade: Trinity and TV shows like Game of Thrones, he’s created a songbook filled with everything from ominous doom-and-gloom tones to fist-pumping musical adrenaline. Now he’s brought his brand of utter badassery to the kaiju-on-mecha saga Pacific Rim. Under the direction of the film’s director Guillermo del Toro and with help from former collaborators like Tom Morello (whose signature guitar work defines the film’s title track) and the RZA (who contributed his songwriting and production skills to a bonus track), Djawadi has crafted a behemoth, 100-plus-minute score that ought to convince even the biggest skeptics and genre purists that this is an apocalypse worth getting jacked up for. Wired asked him about his professional epicification process when it comes to creating soundtracks that are as big – if not bigger – than the stories they vivify. Djawadi: I wish I knew the recipe.
Man Of Steel Soundtrack - Sculptural Percussion - Hans Zimmer How Film Composers Work" If a few scratchy chords conjure up the image of a shower, a knife and an unsuspecting young woman, or a bar of menacing music brings to mind a cruising underwater shark, you've responded to the work of a film composer. In movies like "Psycho" (1960) and "Jaws" (1975), the film composer has provided a musical accompaniment that blends almost unconsciously with speech and action to create a mood [source: Internet Movie Database]. But as invisible as these musical motifs seem at the time, the successful ones can linger long after the credits roll, triggering memories of bold adventure (the "Star Wars" series), ephermeral magic (the "Harry Potter" series) or impending doom and salvation ("The Lord of the Rings" trilogy). Creating the magic is all part of a day's work for film music composers like Danny Elfman, Howard Shore or John Williams. There are plenty of tough decisions and lots of hard work behind creating an apparently seamless film score.
Composer Interview: Mark Mancina How Alexandre Desplat creates a film score in three weeks If you have a full-length feature film in need of a score very quickly Alexandre Desplat may be your composer. The Frenchman has built up an unrivalled reputation in the film world for speed and reliability - with recent credits including The King's Speech, Godzilla and Unbroken. But three films equals less than half his yearly output, he tells the BBC. Alexandre Desplat sits in a small room at Abbey Road studios in London, taking a break before the afternoon's recording session downstairs. Director Tom Hooper awaits, ready to put finishing touches to his third commercial for Jaguar. "The first thing is, you can't write movie music if you don't know how to write quickly," he says. "It's not unusual to have only three weeks to score a picture. "Sometimes it's because another composer has left the project. I ask how he keeps up a strike-rate of three or four movies a year. "Well I think usually I would do six or even 10 scores a year. So does he write music each day?