ISSUE 33 • OCT. 2, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com

weeklyFILM MUSIC

MORE INSIDE:p:6 signings & projectsp:12 THE cHArt Doctor: on Being A LifesAver

p:13 tHe scoreBoArD

n In an age when composers are becoming afraid to go for full-on orches-tral scores, leave it to Patrick Doyle to revel in old-fashioned melodies. This composer¹s been lucky enough to get one period film after the other to flex his wonderful sense for melody on. p:8

n The Film & TV Music Academy has an-nounced the nominees for The 2007 Film & TV Music Awards, a new peer awards program for the film and television mu-sic industry.

The Film & TV Music Awards program in-cludes awards for a comprehensive list of cat-egories honoring professionals in a wide range of industry crafts. In addition to the awards for specific films and television shows, voting

categories also feature recognition for overall accomplishment and three special awards in-cluding awards for educational achievement, outstanding female composer, and lifetime achievement. p:3

2007 Film & TV Music Awards Nominations Announced

CD Review: THE LAST LEGION / AS YOU LIKE IT

‘Sweeney Todd’ Gets Musical Treatment by Alex Heffes

With very few excep-tions, Tim Burton works exclusively with Danny Elfman on his films. Corpse Bride in 2005 was their twelfth film togeth-er. But on Sweeney Todd, British composer Alex Heffes – best known for his recent The Last King of Scotland score – is the

one who has been hired to provide the addi-tional original score for the Stephen Sondheim musical.

“My job has been adapting the piece to Tim’s cinematic vision, writing underscore

and creating new arrangements based on Sondheim’s themes. It’s one of the all-time great pieces of music theatre so it’s a been a real plea-sure to work on something like this,” comments Alex Heffes.

Other members of the music team on Sweeney Todd, which has the undertitle The Demon Barber of Fleet Street, include orches-trator Jonathan Tunick and music supervisor Paul Gemignani, music producer Michael High-am, music editor Jock Warhurst and recording engineer Jake Jackson (the music was recorded at Air Lyndhurst in London).

The $50 million film is scheduled to pre-

miere during the last week of December. It stars Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and Sacha Baron Cohen.

The original musical opened on Broadway in 1979 and took home several Tony Awards, including the one for ”Best Musical”. Among well-known tunes featured in the work are ”The Worst Pies in London,” ”Johanna,” ”Pretty Women,” and ”A Little Priest.”

Alex Heffes, who is repre-sented by Evo-lution Music Partners in the US, has been in the film music business for ten years. Among his credits, apart from The Last King of Scotland, are documen-tary Touching the Void, roman-tic drama Dear Frankie, romantic comedy Imagine Me and You, and TV movie Tsunami: The Aftermath, which earned the composer his first BAFTA nomina-tion. mc

n Director Tim Burton is currently working with British composer Alex Heffes on the much anticipated film version of Stephen Sondheim’s musical Sweeney Todd.

Garritan Ships Concert Library

n Sample developer Garritan has announced the release of their Concert and Marching Band Library, a collection of concert and marching band sampled instruments.

The Garritan Concert and Marching Band Library features a variety of cornets, trombones, trumpets, baritones, euphoniums, mellophones, sousaphones, saxes, tenor horns, clarinets, flutes, piccolo, tubas, marching percussion and more. Also included are drumline sounds from the Vir-tual Drumline 2 by Tapspace. The new library features standardized controls for dynamics and expression. Ensemble building enables users to build bands of varying size – from both groups of instruments or with individual instruments. According to the company the library can create marching bands, concert bands, British brass bands, modern drum and bugle corps, wind or-chestras, symphonic bands, wind ensembles, and more.

Powered by the Native Instruments Kontakt 2 Player, the library runs on a single computer, Mac or PC platform. A standalone player is in-cluded, as well as plug-ins for all major sequenc-ers (VST, DX, AU, RTAS). The library is also op-timized for use in Sibelius 5 and Finale 2008 for direct playback from score.

The Garritan Concert and Marching Band li-brary is priced at $239 and is shipping now. For more information, visit:

http://www.garritan.com/band.html

Alex Heffes

2� ISSUE�33�•�0CT.�2,�2007 weeklyFILM MUSIC

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weeklyFILM MUSICThis Week on

FMRFILM MUSIC RADIOINSIDE THE BUSINESS

NEW ERA SCORING’S GREG TOWNLEY

Mark�Northam�talks�candidly�with�New�Era�Scoring’s�Greg�Townley�about�buyout�orchestra�sessions,�session�rates,�the�AFM,�and�NES’�

plans�for�the�future.

LISTEN NOW!

ON THE SCORE

CHARLIE CLOUSER Daniel Schweiger interviews composer�CHARLIE�CLOUSER,�

who gives an industrial rock shock to the zombies of RESIDENT EVIL:

EXTINCTION

LISTEN NOW!

ISSUE�33�•�OCT.�2,�2007� 3weeklyFILM MUSIC

FILM MUSIC NEWS

The Film & TV Music Academy has an-nounced the nominees for The 2007 Film & TV Music Awards, a new peer awards program for the film and television mu-sic industry.

The Film & TV Music Awards program in-cludes awards for a comprehensive list of cat-egories honoring professionals in a wide range of industry crafts. In addition to the awards for specific films and television shows, voting categories also feature recognition for overall accomplishment and three special awards in-cluding awards for educational achievement, outstanding female composer, and lifetime

2007 Film & TV Music Awards Nominations Announced

achievement. All nominations were made by members of The Film & TV Music Academy during the nomination period of September 1-20, 2007. Film & TV Music Academy mem-bers will vote online during October 1-15 to determine the winners. The award winners will be announced on October 30.

Membership in The Film & TV Music Academy is open to professionals working in the film and television music industry world-wide and students working towards a career in the industry. There is no charge for mem-bership, and registration for membership is available now at www.filmtvmusicawards.com.

Best Score for a Dramatic Feature Film

Tyler Bates - 300 John Powell - The Bourne Ultimatum David Shire - Zodiac Christopher Young - Spider-Man 3 Hans Zimmer - Pirates of the Caribbean-

3: At World’s End

Best Score for a Comedy Feature Film John Debney - Evan Almighty Randy Edelman - Balls of Fury Trevor Rabin - Hot Rod Marc Shaiman - Hairspray Theodore Shapiro - Blades of Glory

Best Score for a Science-Fiction Feature Film

Cliff Mansell - The Fountain John Murphy - 28 Weeks Later John Murphy - Sunshine Howard Shore - The Last Mimzy John Tavener - Children of Men

Best Score for an Animated Feature Film Mychael Danna - Surf’s Up Michael Giacchino - Ratatouille Harry Gregson-Williams - Shrek The

Third John Powell - Happy Feet Hans Zimmer - The Simpsons

Best Score for an Indie Feature Film Christopher Lennertz - Tortilla Heaven Jennifer Kes Remington - Socket George Shaw - J-ok’el Ryan Shore - Numb Austin Wintory - Back Soon

Best Score for a Short Film Tom Bailey - Soft Michael Giacchino - Lifted Nathan Lanier - Lucifer Marinho Nobre - The Angel George Shaw - Hit Me

Best Score for a Student Film Vivek Maddala - Grasshopper Erica Procunier - Skinema Douglas Romayne - Rocketboy George Shaw - The Revengers Austin Wintory - Morning Latte

Best Music Supervisor for a Feature Film

Nick Angel - Mr. Bean’s Holiday George Drakoulias - Zodiac Liz Gallacher - Stardust Dave Jordan - Transformers Randy Spendlove - Dreamgirls

Best Use of a Song in a Feature Film Camille, “Le Festin” - Ratatouille Chris Cornell and David Arnold, “You

Know My Name” - Casino Royale Tom Erba and Nathaniel Dawkins,

“Bring It On” - Undisputed 2: Last Man Standing

Glen Hansard and Marketa Irglova, “Once” - Once

Moby, “Extreme Ways” - The Bourne Ul- timatum

Best Score for a Dramatic TV Program

Sean Callery - 24 Michael Giacchino - Lost Gary Marlowe - Schuld Und Unschuld Mark Snow - Smallville W.G. “Snuffy” Walden - Friday Night

Lights

Best Score for a Comedy Television Program

David Aguirre - Entourage Jeff Beal - Ugly Betty Jay Ferguson - The Office Danny Lux - Boston Legal Jan Stevens - Scrubs

continued on page 4

“We are thrilled at the overwhelming re-sponse we’ve received for this new awards program,” said Film & TV Awards founder Mark Northam of Film Music Magazine. “Our industry finally has its own inclusive program open to all in the industry, regardless of loca-tion, that enables our industry to recognize the best and the brightest artistic achieve-ments in a wide variety of professional areas related to music for film and television.”

All nomination and voting for The Film & TV Music Awards is done electronically through the online Film & TV Music Awards site at http://www.filmtvmusicawards.com

4� ISSUE�33�•�0CT.�2,�2007 weeklyFILM MUSIC

THE A-LIST

TOP AGENCIES The most prolific film music agencies according to the latest US weekend box office statistics.

1 (2). Kraft-Engel Management - $28.4m •The Kingdom (Danny Elfman) - $17.7m •Good Luck Chuck (Aaron Zigman) - $6.3m •Sydney White (Deborah Lurie) - $2.7m •The Bourne Ultimatum (John Powell) – $1.7m

2 (7). Soundtrack Music Associates - $23.6m •The Game Plan (Nathan Wang) - $22.7m •Halloween (Tyler Bates) - $0.9m

3 (1) Evolution Music Partners – $8.0m •Resident Evil: Extinction (Charlie Clouser) - $8.0m

4 (3). Gorfaine-Schwartz Agency - $8.0m •Mr. Woodcock (Theodore Shapiro) - $3.0m •Dragon Wars (Steve Jablonsky) - $1.1m •Across the Universe (Elliot Goldenthal) - $2.1m •Transformers (Steve Jablonsky) - $1.2m •Balls of Fury (Randy Edelman) – $0.6m

5 (5). First Artists Management – $4.3m •Superbad (Lyle Workman) - $1.7m •In the Valley of Elah (Mark Isham) - $1.5m •Rush Hour 3 (Lalo Schifrin) - $1.1m

6 (6) Greenspan Artists Management – $4.1m •3:10 to Yuma (Marco Beltrami) - $4.1

7 (4) Air-Edel Associates (UK) - $3.8m • The Brave One (Dario Marianelli) - $3.8m

Source: Box Office Mojo (BO gross under $0.5m not included).

FILM MUSIC NEWS

Best Score for a Reality Television Program

Russ Landau - Celebrity Survivor Jeff Lippencott and Mark Williams -

The Contender Jeff Lippencott and Mark Williams - On

The Lot Lee Sanders - The Amazing Race Cody Westheimer - Chris & John To The

Rescue!

Best Score for a Television Daytime Drama

Ken Corday - Days of Our Lives David Kurtz - The Young and The Rest-

less David Nichtern - As The World Turns David Nichtern - One Life To Live Kenneth Eberhard - Guiding Light

Best Score for a Non-Animated Chil-dren’s/Educational TV Program

Stephen Edwards - Finding Rin Tin Tin Gary Koftinoff - Life With Derek Chris Mangum - Journey to Planet

Earth

Best Sore for Science-Fiction Television Program

Lisa Coleman & Wendy Melvoin - Heroes

Murray Gold - Doctor Who Laura Karpman - Masters of Science

Fiction Christopher Lennertz - Supernatural Bear McCreary - Battlestar: Galactica

Best Score for an Animated Television Program

Alf Clausen - The Simpsons Christopher Drake - Hellboy Animated:

Sword of Storms Tom Erba - Tom And Jerry Tales Walter Murphy - Family Guy James Venable and Jennifer Kes Rem-

ington - The Fosters Home for Imagi- nary Friends

Best Televsion Theme

Sean Callery - 24 Danny Elfman - Desperate Housewives Tom Erba - Tom and Jerry Tales Jay Ferguson - The Office Hans Zimmer - The Contender

Best Music Supervisor for a Television Program

Jason Alexander – Entourage Andrew Gowan - How I Met Your Mother Christopher Mollere - Kyle XY Alexandra Patsavas - Mad Men David Sibley - Desperate Housewives

Best Use of a Song in a Television Program

Petula Clark, “Downtown” - Lost Jemaine Clement and Bret McKenzie,

“I’m Not Crying” - Flight of the Conchords Greg Laswell, “High and Low” - Smallville Gary Marlowe, “Rise” - Kunstfehler Malvina Reynolds, “Little Boxes” -

Weeds

Film & TV Music Awards Noms continued

continued on page 5

ISSUE�33�•�OCT.�2,�2007� 5weeklyFILM MUSIC

FILM MUSIC NEWS

Best Score for a Documentary Film or Television Program

Terence Blanchard - When The Levees Broke

George Fenton - Planet Earth Richard Harvey - Death of a President Alex Heffes - The Bridge Erin O’Hara - Sicko

Best Instrumental Performance by a Soloist in a Film or Television Score

Steve Edwards - The Prestige Pedro Eustache - Pirates of the Carib-

bean 3: At World’s End Gary Marlowe - Schuld und Unschuld Tommy Morgan - Luck of the Draw Richard Ruttenberg - Gracie

Best Instrumental Performance by an Orchestra in a Film or Television Score

Hollywood Studio Symphony - Lucifer Kronos Quartet - The Fountain London Symphony Orchestra - Eragon Orchestra Sinfonica de Triests - Schuld

Und Unschuld Skywalker Sound Orchestra - Zodiac

Best Agent Mike Gorfaine Maria Machado Robert Messinger Mike Rosen Otto Vavrin II

Best Score Conductor Pete Anthony Nicholas Dodd Bruce Fowler Damon Intrabartolo Tim Simonec

Best Contracting Noah Gladstone David Low Peter Rotter Joyce Ryan Gina Zimmitti

Best Music Editor

Michael Brake - Survivor Thomas A. Carlson - The Bourne Ulti-

matum Kathy Dayak - Brotherhood Darrell Hall - 300 Joshua Winget - CSI:NY

Best Music Preparation Ross DeRoche Vic Fraser Mark Graham Steve Juliani Jo Ann Kane

Best Orchestrator Jeff Atmajian Robert Elhai Bruce Fowler Dell Hake Christopher Thomas

Best Performing Rights Society APRA (Australia) ASCAP (USA) BMI (USA) GEMA (Germany) SESAC (USA)

Best Score Mixer David Campbell Jim Hill Shawn Murphy John Rodd Damon Tedesco

The Film & TV Music Award for Outstanding Female Composer

Lisa Coleman Anne Dudley Silke Matzpohl Rachel Portman Debbie Wiseman

The Don B. Ray Educational Achievement Award

Charles Bernstein Morten Lauridsen Christopher Lennertz Hummie Mann Christopher Young

The Film & TV Music Lifetime Achievement Award

John Barry James Newton Howard Ennio Morricone John Williams Hans Zimmer

For more information on The Film & TV Music Awards, visit

http://www.FilmTVMusicAwards.com

OUT THIS WEEK •BadBoys:LimitedEdition(MarkMancina) – La-La Land •DaninRealLife(SondreLerche)-Capitol •TheMonsterSquad(BruceBroughton)– Intrada •WrongTurn2:DeadEnd(BearMcCreary)– La-La Land

OCTOBER 9 •BehindtheGates(ShootingDogs)(Dario Marianelli) – MovieScore Media •Elizabeth:TheGoldenAge(Craig Armstrong/A.R. Rahman) - Decca •IntheValleyofElah(MarkIsham)–Varèse Sarabande •TheJaneAustenBookClub(AaronZig- man)–VarèseSarabande •MusicfromthePiratesoftheCaribbean Trilogy (Hans Zimmer/Klaus Badelt et al) – Silva Screen •ReturntoHouseonHauntedHill(Frederik Wiedmann)–VarèseSarabande •Sleuth(PatrickDoyle)–VarèseSarabande •Transformers(SteveJablonsky)–Warner Bros.

OCTOBER 16 •AtomNineAdventures(RobertGulya)– MovieScore Media NEW Reservation Road (Mark Isham) - Lake shore NEWVampireConspiracy(JosephMartin)– InezRecords*

OCTOBER 23 •BattlestarGalactica:Season3(BearMc- Creary) – La-La Land •Superman:Doomsday(RobertJ.Kral)–La- La Land NEW The Witches Hammer (Mark Conrad Chambers)–FilmMusicDownloads*

OCTOBER 30 NEW Bobby (Mark Isham) - Lakeshore •HauntingVillisca(DavidJamesNielsen)– MovieScore Media •TheKiteRunner(AlbertoIglesias)– Deutsche Grammophon •YouthWithoutYouth(OsvaldoGolijov)– Deutsche Grammophon

NOVEMBER 6 •TheLordoftheRings:TheReturnofthe King – The Complete Recordings (Howard Shore) - Reprise •StarWars:30thAnniversaryCollector’sEdi -tion (John Williams) – Sony

NOVEMBER 13 •GeorgeandtheDragon(GastWaltzing)(DiscoveryCollectionVol.2)–MovieScore Media

NOVEMBER 20 •Enchanted(AlanMenken)–WaltDisney Records

NOVEMBER 27 •LikeMinds(MurderousIntent)(Carlo Giacco) – MovieScore Media

*Denotesalbumavailableexclusivelyonline.

ALBUMS COMING SOON!Film & TV Music Awards Noms continued

6� ISSUE�33�•�0CT.�2,�2007 weeklyFILM MUSIC

FILM MUSIC NEWS

New Composer Mockup Service Announced

n The Composer Collective (TCC), a new organiza-tion made up of film and televi-sion compos-ers and others, has announced a new composi-tion realization/mockup service offering full or-chestral mock-ups at $25 per hour.

The organization is located in the west San Fernando Valley in Los Angeles and was created by composer Evan Evans, son of jazz piano giant Bill Evans.

“TCC is a place where an unknown com-poser like John Corigliano, could have gotten a film score, just out of college,” says Evans.

“It’s a place where talent can emerge despite wherever you are on the ladder.”

Evans and Matt Gates, a film composer who recently joined Evans at The Composer Collective, decided to offer TCC’s state-of-the-art staffed mockup division to other film and classical composers. According to TCC, their prior clients include Bruce Broughton, Basil Poledouris, Thomas Newman, Disney Theme Parks, Jeff Rona, Steven Scott Smalley, and Lalo Schifrin.

For $25 per hour, TCC offers a quick-turn-around fully rendered mockup of a composi-tion, working from client source materials in-cluding original paper sketches, scores, parts, PDFs, MIDI files, sequences, notation files (ie: Finale, Sibelius), or other formats.

The service quotes between 3 and 6 hours to mockup a full minute of orchestral music with a “Hollywood blockbuster” full orchestra. Most cues can be delivered overnight via digi-tal delivery, or next day FedEx. Rush services are available for $50 an hour. Varying degrees

8 ISSUE 2 • FEBRUARY 12, 2007 weeklyFILM MUSIC

FILM MUSIC NEWS

BMI names fellowship winnersJohn Kaefer and James Woodward winners of the Pete Carpenter FellowshipComposers John Kaefer and James Woodward have been named the winners of the 18th Annual Pete Carpenter Fellowships, it was announ-ced by BMI Foundation Presi-dent Ralph N. Jackson.

Composer John Kaefer has been recognized for his scores for film and television, as well as for his chamber, choral and orchestral concert works. He has composed, produced and orchestrated music for film and network/cable tele-vision projects, including Room Service (starring Howie Mandel and debuting at Sundance), To Kill A Bore (shown at Cannes) and Dance School (documentary), among others.

He recently worked with leg-endary BMI television composer W.G. Snuffy Walden (West Wing, Studio 60, Friday Night Lights)

in his Calabasas studio. Addition-ally, Kaefer serves as the Creative Director and a principal composer for DreamArtists Studios, a film/television music production house based in New York.

Composer James Woodward is a native of California and be-gan writing music in Wisconsin. A string bassist and pianist, he studied composition with Stephen Hartke, Ronald Foster and John Downey.

His music has been performed by the Milwaukee Youth Sympho-ny Orchestra, the USC Symphony Orchestra, the United States Army Orchestra, and other en-sembles across the United States and Europe.

Woodward recently completed writing the music for a short film directed by Gentry Smith, is per-forming for various films and proj-ects in the Los Angeles area, and

enjoys surfing off the Southern California coast.

The BMI Foundation, Inc. is a not-for-profit corporation founded

in 1985 to support the creation, performance, and study of music through awards, scholarships, commissions and grants. mn

Pete Carpenter Fellowship winner John Kaefer (l) is pictured with BMI’s Linda Livingston and BMI composer Mike Post in Post’s Burbank studio.

Pete Carpenter Fellowship winner James Woodward (c) is congratulated by Post and Livingston.

THE PETE CARPENTER FELLOWSHIP• The Fellowship, open to aspiring film and television composers under the age of 35, was established by the BMI Foundation and Carpenter’s family, colleagues and friends to honor the late composer whose credits include such television themes and scores as The A-Team, Magnum P.I., The Rockford Files, Hardcastle and McCormick, Hunter and Riptide.

• Fellowship winners are given the opportunity to intern with renowned BMI composer Mike Post in his Los Angeles studio and meet with other distin-guished theatrical, film and TV composers. A stipend for travel and living expenses is also part of the award.

• Mike Post, Carpenter’s longtime writing partner, has penned some of the most memorable theme songs in television history, including Hill Street Blues, The A-Team, Magnum P.I., NYPD Blue, Law and Order, L.A. Law, The Rockford Files, Quantum Leap and City of Angels.

of rough quality may be requested, to save on time, if finished quality is not necessary. Ev-ans notes that, “smaller sized compositions may not affect the amount of time needed to produce finished results, as the realization time is determined more by the complexity of the underlying composition, than the number of tracks or staves.”

Mockups provided by the service can be mastered and mixed to client tastes. Sample locked audio stems can be created to be used as guidetracks (prelays) for sessions or can serve as main tracks that can be “sweetened” with additional live layers. TCC’s Gates adds, “In many cases our tracks are good enough for final deliver by themselves.”

To contact The Composer Collective email mockups@thecomposercollective.com or call (310) 691-8163. For more information on The Composer Collective’s composer mockup ser-vice, visit:

http://www.thecomposercollective.com/mockupstudio.

Thomas Newman: Wall-E

n Walt Disney Pictures has confirmed to Film Mu-sic Weekly that Thomas Newman has been signed to score the upcoming Pixar movie, Wall-E. He is rejoin-

ing Finding Nemo director Andrew Stanton in an animated sci-fi ad-venture, taking place in the year 2700, about a robot who discovers the true meaning of his “life.” The film is expected to premier on June 27 next year. mc

SIGNINGS & PROJECTS

Harry�Gregson-Williams: G-Force

n According to the Gorfaine-Schwartz Agency, Harry Gregson-Williams will compose the music for G-Force, the upcoming Walt Disney/Jerry Bruckheimer action movie directed by visual fx wizard Hoyt Yeatman.

Gregson-Williams’ other upcoming films include Jolene and the second Chronicles of Narnia installment. mc

Alec Puro: The Good Night

n Alec Puro, a 32-year old composer whose previous credits include additional music for Pauly Shore Is Dead and TV series Chicago Hope and The Real World, gets his big break in the business with The Good Night, a feature film written and directed by Jake Paltrow (yes, he is the brother of Gwyneth) and starring Penélope Cruz, Martin Freeman and Gwyneth Paltrow. It’s a romantic drama comedy about a former pop star who experiences a mid-life crisis. The film will be released on October 5 in selected theatres in the U.S. mc

Evan Evans

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ISSUE�33�•�OCT.�2,�2007� 7weeklyFILM MUSIC

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8� ISSUE�33�•�0CT.�2,�2007 weeklyFILM MUSIC

NEW SOUNDTRACKS

THE LAST LEGION / AS YOU LIKE ITALBUM REVIEW

By: DANIEL SCHWEIGER Soundtrack Editor

Composer: Patrick Doyle Label:Varese Sarabande Suggested Retail Price: $ 16.98 Grade: B+

In an age when it seems that composers are becoming afraid to go for full-on orchestral scores, leave it to Patrick Doyle to revel in old-fashioned melodies. We’re talking the kind of ripping, too-many-notes string and brass sections that now seem curiously old-fashioned to those not raised on the power of a symphony orchestra. And where many modern-day films are shunning this ap-proach (though not counting currently fantasti-cal ones like the Doyle-scored Harry Potter and The Goblet of Fire), this composer’s been lucky enough to get one period film after the other to flex his wonderful sense for melody on. Now the post-Roman Empire set The Last Legion, and the Shakespearean fantasia of As You Like It dis-play Doyle’s love of symphonic romance in all of its string-driven glory, even if one score is play-ing sweet enchantment, and the other blood and thunder.

Sword-and-tunic fans are sure to dig Doyle’s soundtrack for The Last Legion, which ranks as the best, unseen adventure gem of this summer. Way better than the similar, and more-is-less King Arthur, Legion transfers the beginnings of Camelot to the fall of the Roman Empire, an

ingenious prequel idea with a wonderfully old-fashioned sense of excitement. One of Legion’s chief assets is Doyle’s score, which proudly wears its symphonically valiant chestplate on its sleeve- though with more than a touch of bittersweet-ness. It’s like hearing a Centurion drinking buddy convince you there’s life after getting the sack. Except here we’re talking the sacking of Rome by the Goths, which effectively puts an end to the

Roman army at the start of The Last Le-gion.

As its heroic stragglers face one peril after the other, Doyle hits everything you’d expect to in an epic score like this- the evil villain march, exotic percussion for the kick-ass warrior-ess, trumpeting nobility for the soldiers, a soaring cho-rus, and the emotionally building music for that last-stand speech. But damn if it all doesn’t work in the awesome, over-the-top way that Doyle’s scores have been kicking it since Dead Again, Fran-kenstein and Needful Things. It’s a kind of scoring that positively sings with big themes, big melody and big emotion, mu-sic that blasts away without any sense of timidity, especially in the soaring or-chestral battle that puts things right at the end of Last Legion. Its thundering, militaristic music gets across the eternal bond of a band of ex-Roman brothers. And while they might be fighting Goths instead of dragons, Doyle’s music has the same fantasy-driven rush of his work to Harry Potter and Er-

agon - which isn’t out of place when you consider its characters are the stuff of legends. And their orchestral spills and thrills belong to a wonderland as firmly rooted in the Saturday Matinee as King Arthur’s court.

The musical setting of As You Like It is traditional Japan by way of Shake-speare. And if it isn’t quite as exciting as The Last Legion, it’s no less rewarding for Doyle’s orchestral invention. This marks the composer’s seventh teaming with the actor-turned-director (with the Sleuth remake to come), and their fifth effort at playing Shakespeare for the masses. And its certainly the most invigorating music that The Bard has gotten, a col-laboration begun with Henry V (in which Doyle also appeared as a musician), and has continued with growing rewards on the operatic Hamlet, the romantic Much Ado About Nothing, the 1920’s stylings of

Love’s Labour’s Lost, and now this similarly out-of-time take on a Shakespeare classic.

In less experienced hands, Branagh’s increas-ingly eccentric Shakespeare films would come off as silly. But thanks to his and Doyle’s skills, the results are more often than not magical. And as a violin dances with delicate Japanese string instruments, the vibe is like being in a magical garden, a place of tranquility and poetry. Just

don’t expect boring, as Doyle’s habit of surging his strings every which emotional way are in full bloom here. You know exactly when someone’s heart is being broken, or mended with Shake-speare’s exquisite sonnets. It’s an East meets West approach that remains enchanting through-out. At times, it seems ready to go into Gilbert and Sullivan mode. But instead of numbers from The Mikado, we get songs like “Under the Greenwood Tree” and “Blow Blow,” with a Koto accompanying strings and lyrical Shakespearean lines. While they might not be as memorable as “Bohemian Rhapsody,” these numbers are entirely pleasant, especially when Doyle lets the chorus finally rip with a full orchestra for “A Lover & His Lass.” Gil-bert, Sullivan and Shakespeare would probably approve on this seemingly radical, yet pleasantly old school approach to making his work interest-ing for a new generation.

And that remains Doyle’s real talent in The Last Legion and As You Like It. It’s a natural abil-ity to show how an orchestral approach, one that’s inconceivably becoming old-fashioned, can be as vital and thrilling as any soundtrack tricked-out with the latest computer-driven samples. And he doesn’t do it better than with subjects that might comes across as being old as the hills, but are a hell of a lot better than movies about morphing robots and swinging spider-men.

Click here to purchase The Last Legion and As You Like It .

Courtesy�of�iFmagazine.com

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MUSIC TECHNOLOGY AND YOU

Sibelius 5.0: Episode 3TECHNOLOGY

By�PETER�LAWRENCE�ALEXANDER

So far I’ve done two articles looking at Sibelius 5.0. Today, I’m reviewing what hap-pened as I imported files from Sibelius 3 and my experience setting up my orchestration for String Orchestra of Erik Satie’s Gymno-pedie #1.

Importing S3 into S5 or: Mozart Goes Okie

Here’s an example from our new series on Transcribing For Orchestra. In this example we have a Mozart piano excerpt adapted to the strings. It was done in Sibelius 3 and im-ported into Sibelius 5. If you look carefully at the Sibelius Player, you’ll see that Vlns 1 and 2 have been assigned to Bajo. Bajo is not a character from Battlestar Gallactica. Bajo is short for Banjo. I brought this up to Sibelius and I was told there is indeed a bug that should be worked out in a soon-to-be-released update.

Score Setup

This example is from my setup of Gym-nopedie #1. The tempo indication is for slow and sad. With that in mind, I set this up for Solo Violin, Solo Viola, and the balance of the strings.

There are two places in setup to locate

the Strings selection. If you select Orches-tra Instruments, you get a short list. If you select All Instruments, then Strings, you get the complete list. I set up from this second option.

Now, here’s my final score. I’ve tested this several times and I usually get two possible layouts. The first has the order changed with both solo instruments at the top, and the second is the one here. Although the set-up box shows the labeling of Solo Violin and Solo Violin, that wording doesn’t appear on the score. So you’ll have to add it.

What Do You Call It and Where Is It?

Sibelius is not as fast to learn as it would appear. That’s because it has its own way of defining common terms and concepts and putting them in menu choices that to the novice are bewildering.

Two key concepts for learning Sibelius are understanding that it calls dynam-ics (pp, mf) expressions and that dynamic symbols like crescendo or diminuendo are called lines. For lines, it’s not immedi-ately looking at the menu choices where

you’d find it. It happens to be under Create.

Now click and you get your symbol choices:

One point I want to make about the cre-scendo markings is that besides not think-ing of these as lines, the word “hairpin” is one of those industry insider terms. Why would you think that a crescendo symbol is a hairpin?

ISSUE�33�•�OCT.�2,�2007� 11weeklyFILM MUSIC

This is a little thing, but it’s one of those “little things” that’s kept what I call the MIDI Revolution an insider thing rather than look-ing for ways of simplifying and expressing that can bring millions of buyers into the market. According to U.S. Census stats, roughly 30% of the U.S. ages 15+ are amateur musicians. With a U.S. population of roughly 330 million individuals, that’s a marketplace of tens of millions of potential customers. Now that Si-belius is owned by a publicly traded American company, AVID, hopefully a more “global vil-lage” view will come to development.

pp, crescendo, etc.

Either oddly enough or simply enough, Si-belius calls dynamics, expression. But to find it, you have to look under Text. Looking at the table of contents from the 632-page PDF Ref-erence Guide, there’s no hint on where to look for mp, mf, etc.

Once you understand the instructions from the Reference Guide, adding dynamics is easy enough. Click on the notehead, then CTRL-E (or CMD-E on the Mac), then, holding down CTRL, type in the dynamic you want.

One Hour Later…

The screenshot below tells the story. It took me an hour or more to do the first four bars. Once I had it figured out, I moved much more quickly over the next 30 minutes. You can see from the score that I still have to work on positioning the crescendo/diminuendo marks and stave spacing. That’s next. The Sibelius Soundset

I was not impressed with the included sounds. I thought they were incredibly weak for strings. You can use them to check your harmony and your data entry, but I wouldn’t use them for any kind of demo. This also includes the vocal samples which I tested out with 3-part counterpoint examples.

I installed my Notion 2.0 update shortly be-fore testing Gymopedie #1. After listening to the Sibelius, I decided to see how long it would take me to do the score in Notion and check to see how it would sound. Since both programs are equally priced, this seemed to me a fair comparison.

Notion and Satie

Even with looking up things, it took me about 20 minutes to do the opening bars. As I worked my way down the score, Notion automatically adjust-ed the stave spacings for me. What made Notion

faster to use was the drag-and-drop symbol pal-ette and easy typing in of your pitches. A quarter note is a Q, half note is an H, and so on. Overall, I feel that the enclosed sound set with Notion is much stronger than the Sibelius set. Notion Music has also invested to create their own proprietary sound sets. An excellent selection comes with the program, but Notion has created even more to ex-pand the sonic choices. Click here for details

While I think for this piece that Notion was stronger, I wouldn’t use either for a demo of this work. I would take the time (and will) to mock it up in programs like VSL Appassionata Strings, QLSO with the XP update, or possibly the older Garritan Orchestral Strings which have an elegant Impressionistic sound about them.

Notion or Sibelius?

For today, Sibelius has the edge. However, I’m told that shortly Notion will finally have MIDI Export (which Notion is calling MIDI OUT) and other features which we have to wait until October to find out about. How-ever, given where Notion is at 2.1 compared to Sibelius at 5.0, Sibelius had better not rest on its laurels. And with the great notation improvements in both Cubase 4 and Logic 8 (not to mention comparable pricing at $495), customers may soon be asking why they need Finale, Notion or Sibelius when they can have so much more in Logic 8 or Cubase 4.

n Peter Alexander is preparing to score The Good Samaritan. His most recent books are How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.

TECHNOLOGY

Sibelius 5.0: Episode 3 continued

12� ISSUE�33�•�0CT.�2,�2007 weeklyFILM MUSIC

THE CHART DOCTOR

On Being A Lifesaver

By�RON�HESS

Last week, we looked at why you need a score supervisor, and how to find a good one. But suppose a colleague asks you to play the role yourself? Or suppose that colleague is you?

Before accepting the job, ask yourself: Do I have the powers of concentration and the broad range of experience necessary to do it well? In a worst-case scenario, when the score goes to mix, and some irreparable flaw is dis-covered in the tracks, it’ll be your posterior on the line. And there’s more to the job than sim-ply “digging for clams.”

Any number of times I have earned my pay (and my client’s grateful loyalty) by pinch-hit-ting for the conductor on a few cues, carefully minding the clock (session and/or breaks) for the contractor, setting and triggering the click for the engineer (or cuing him when to cut it off in mid-take), fixing string voicings on the fly that weren’t working, reproducing and taping another set of violin parts when the seating arrangement unexpectedly mandated it, notifying the engineer when both ends of the harp range were not speaking equally in the mix, being the “bad cop” for the composer or conductor and disciplining the orchestra for time-wasteful behavior (or shaky intona-tion or careless room noise), being the com-poser’s “wingman” and verbally supporting him to the client during breaks, and even gathering up the music after the session for a librarian called away before it was over. I learned to expect that, at any time before, during, or after the session, Somebody Im

portant may suddenly turn to me and plead, essentially, “Booth God! Save my ass!”

And those just involved the unexpected problems that might be threatening Some-body’s day. My real job was always to catch, not only what the composer, conductor, or en-gineer probably caught (and confirm it), but also to dig deeper and find the flaws that noth-ing but a dedicated, highly concentrated, mu-sical set of ears would catch. You remember how I’ve preached that the proper job of music prep is to make the score and parts look like they should sound? The score supervisor’s mandate is to turn this principle around by making sure that the recorded performance sounds like the score looks, without prejudice. If the dynamics run from “pp” to “ff,” then it’s your job to make sure that the ensemble achieves that dynamic range. If the score says “al talone” in the strings, and they didn’t dig so deeply with their bows that you could hear the sound of the rosin scraping, then you have to see to it that they do. Ultra-subtle intona-tion problems, sluggish low strings, defective console circuitry causing almost unnoticeable distortion ... it’s your job to find them all and see that they’re fixed before the musicians start heading for the door.

If you have a background doing takedowns, then your ears are probably already in shape for this kind of work. If you don’t have such a background, you can quickly gauge your pow-ers of concentration and get a quick workout before the session by acquiring the score to some large-scale classical orchestration (some

thing by Strauss, Mahler, Stravinsky, Ives, etc.) and a well-engineered digital recording of that piece. Take a 20-second snippet of the thick-est part of the orchestration and replay it end-lessly, each time concentrating to see if you can audibly isolate the sound of every instru-ment (or section playing in unison) one at a time, from score top to score bottom.

Take this experience into the booth with you and use it to dig that deep. Remember, it’s a clam hunt; the greater your ability to fo-cus, the more goofs you will find, and the more you can fix. Combine this with a well-rounded arsenal of general production skills, and you can become a valuable addition to anyone’s re-cording team.

And, since the clock is the one immutable force which controls our fates in the studio, al-ways be mindful of the score supervisor’s code regarding “the serenity to accept the things I don’t have time to fix, the courage (and skill) to fix the things I can (before the contractor calls a break), and the wisdom to know the dif-ference (and the diplomacy to explain it).”

n Ron Hess works as a studio conductor, orches-trator, 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 consid-ered one of the top Finale experts in Los Angeles. Email Ron at rhess@filmmusicweekly.com

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.Doug Besterman: Exit�Speed.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: 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�•�The�Mummy:�Tomb�of�the�Dragon�Emperor.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�•�Strength�and�Honour.Evan Evans: The�Mercy�Man�•�you’re�Nobody�’Til�Somebody�Kills�you.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.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�•�Kandisha�•�The�Whisperers.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.Corey Allen Jackson:�Idiots�and�Angels.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.Yagmur Kaplan:�The�Elder�Son�•�The�Lodge�•�Broken�Windows.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�•�Blonde�Ambition.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.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.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.Sheldon Mirowitz:�Renewal�•�Operation�Filmmaker.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�• Krews.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�•�Running�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.Reg Powell: The�Ten�Commandments.Michael Price: Sugarhouse�Lane�•�Agent�Crush.Alec Puro: The�Good�Night.Trevor Rabin: National�Treasure�2:�The�Book�of�Secrets�•�Get�Smart.Didier Lean Rachou:�How�to�Rob�a�Bank�•�An�American�in�China.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.Graeme Revell: Pineapple�Express�•�Darfur�Now�•�Days�of�Wrath.Graham Reynolds: I’ll�Come�Running.Carmen Rizzo: The�Power�of�the�Game.Matt Robertson: The�Forest.Philippe Rombi: Angel.Jeff Rona: Whisper.Jessica de Rooij: In�the�Name�of�the�King:�A�Dungeon�Siege�Tale.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.Gustavo Santaolalla: Things�We�Lost�in�the�Fire�(themes).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�•�The�Heartbreak�Kid.George Shaw: Victim�•�Sailfish.Edward Shearmur: 88�Minutes�•�Dedication�•�The�Other�Boleyn�Girl.�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�•�Things�We�Lost�in�the�Fire�•�A�Man�Comes�Home.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�•�Get�Some.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.Austin Wintory: Mr.�Sadman�•�Captain�Abu�Raed.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.Hans Zimmer:�Frost/Nixon.

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 editor@filmmusicweekly.com.

THE SCOREBOARD