ISSUE 30 • SEPT.12, 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:9 THE cHArt Doctor: score AnD pArt printing

p:10 tHe scoreBoArD

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

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 “Out-standing 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-

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 com-poser.

Creative Emmy Awards to Fenton, Beal, Ross

CD Review: 3:10 to Yuma

615 Music Acquires Metro MusicP r o d u c t i o n

music library 615 Music has acquired music library Metro Music, it was an-nounced by 615 Music President and CEO Randy Wachtler and Met-ro 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 in-clude broadcast and cable television networks and programs, local market TV stations, radio stations and syndicates, advertising agencies and filmmak-ers. The company both licenses its catalog and creates original works, themes and promotions for television produc-tions.

Metro Music was founded by composer, pro-ducer and guitarist Mitch Coodley in 1985. The library’s catalog has been geared towards high-end television and film producers and Fortune 500 cor-porations. 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 Wa-

chtler 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 exper-tise, 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. Ran-dy 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 hap-py.”

With the addition of the Metro library, 615 Mu-sic 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

BSX Releases ‘Captain Kronos’

B S X Records, a division of B u y S o u n -trax.com has announced the upcom-ing Septem-ber 14 re-lease of the score album for Captain Kronos, Vampire Hunter. The release is a lim-ited 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 Roy-al College of Music, where he would later return as a professor. He embarked on a professional musi-cal career at the age of 21, composing and arrang-ing for a variety of big bands, a love which contin-ues to this day with his jazz ensemble, The London Big Band. Johnson began scoring films and televi-sion 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

2� ISSUE�30�•�SEPT.�12,�2007 weeklyFILM MUSIC

ISSUE�30�•�SEPT.�12,�2007� 3weeklyFILM MUSIC

Publisher:�Mark Northam Editor:�Mikael Carlsson

VP�Finance�and�Operations:�Rebecca Lee Art�Director:�Joshua Young Advertising�Sales�Manager:

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weeklyFILM MUSIC This�Week�on

FMRFILM MUSIC RADIO

ON THE SCORE

ROB ZOMBIE AND TYLER BATES

Film�music�journalist�Daniel�Sch-weiger�interviews�director-writer�ROB�ZOMBIE�and�composer�TYLER�BATES,�who�team�for�a�

terrifying�new�spin�on�the�sound�of�HALLOWEEN.�

TUNE IN HERE!

4� ISSUE�30�•�SEPT.�12,�2007 weeklyFILM MUSIC

FILM MUSIC NEWS

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)

OPENING THIS WEEK

Silvestri Concerton CD

Alan Silvestri’s live concert at the Soncinemad Film Music Festival in Ma-drid 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.

Ghent Festival Launches CD Series

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 fea-tures newly recorded suites and themes from films such as Romeo + Juliet, Moulin Rouge, Plunkett and MacLeane, The Quiet Ameri-can, 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 fes-tival – will be selected,” the or-ganizers wrote in a recent press release.

For the Record: Craig Armstrong can be obtained at: http://www.filmfestival.be/shop.

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.

ISSUE�30�•�SEPT.�12,�2007� 5weeklyFILM MUSIC

FILM MUSIC NEWS

Film Music Downloads is the new home for independent film music on the internet. Visit our online store and download the most exciting, entertaining and innovative film scores in high audio quality (320 kbit mp3 format)! Our catalogue is growing quickly and we are add-ing new titles to the store every week. Welcome!

OUR LATEST RELEASES INCLUDE...

CARNAVAL DE SODOMADavid Mansfield

THE TOYBOX Miguel dʼOliveira

THE LEGEND TRIP Leigh Phillips

ROCK HAVEN Jack Curtis Dubowsky

S.O.S. LOVERobert Gulya

www.filmmusicdownloads.com

THE A-LIST TOP AGENCIES

The most prolific film music agencies according to the current U.S. box office statistics, Septem-ber 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

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 Cen-tury Fox and directed by 32-year old French helmer Xavier Gens. The origi-nal Hitman games featured music by Danish composer Jesper Kyd, but ac-cording 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 Ul-rich Thomsen. It’s scheduled to premier worldwide on Novem-ber 21.

In addition to Hitman, Geoff Zanelli has another major as-signment coming up: Outlander, an unusual mix of sci-fi saga 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.

Geoff Zanelli Scores Hitman

Hitman, 20th Century Fox’ movie version of the video game, gets a score by Geoff Zanelli (Disturbia)

6� ISSUE�30�•�SEPT.�12,�2007 weeklyFILM MUSIC

EastWest is clearing out its inventory to make way for the new EW Play sample player. All the QLSO inventory

has got to go! And you benefit. Buy now for FREE upgrade to Play upon release.

Now $1,995.00Platinum Pro Bundle / QL RA / Symphonic Choirs / Bosendorfer 290 PMI

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Recommended by winners of the Academy®, Grammy® and Emmy® Awards, Professional Orchestration is the first multi-volume series in orchestration from an American publisher that teaches the devices and orchestral combinations known by only a privileged few. It’s also the only orchestration book whose instrumentation notes were checked and edited by members of the Hollywood studio musician elite. Includes 875-page

book, 10+ hours of DRM free MP3 audio files, String Positions booklet, Professional Mentor workbook, 13 MP3s with Matching MIDI Files of Solo Instruments teaching you MIDI Mock-up skills courtesy the Vienna Symphonic Library! . All for $99.00

Six week course taught by Stephen Hill. Class nearly filled!Begins September 16th. $295.00 - plus materials.

Six week course. Begins September 26th. $145.00 - plus materials.

FILM MUSIC NEWS

prod. master:sales order:acct mgr:artist:bus. rel.:contact:ofa date:

mITH

E R

OC

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el Clarke &

Michael C

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

BAR CODE HERE!

THE

ROCKETPOSTTHE

ROCKETPOST

MUSIC BY

NIGEL CLARKE &MICHAEL CSÁNYI-WILLS

MUSIC BY

NIGEL CLARKE &MICHAEL CSÁNYI-WILLS

ORIGINAL MOTIONPICTURE SOUNDTRACKORIGINAL MOTIONPICTURE SOUNDTRACK

1. Distant Shores (Traighean Fad as)* (4.47) • 2. The Islands (2.09)3. Catherine’s Visit (2.10) • 4. Betrayal (3.54) • 5. Impressions (1.55)6. Betrothed (1.52) • 7. Heart Broken (2.23) • 8. Building the Rocket (1.44)9. First Love (1.32) • 10. Kiss (2.46) • 11. From Across the Sea (1.37)12. Whale Rescue (4.09) • 13. Sir Ramsay’s Party (1.12) • 14. Failure (1.40)15. First Flight (2.55) • 16. Heinz’s Threat (2.08) • 17. Paint Dance (1.01)18. Zucker’s Death (3.31) • 19. Together & `Distant Shores’ (5.20)

Music composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLSScore performed by ROYAL PHILHARMONIC ORCHESTRALeader: ROLF WILSON • Conducted by ROBIN PAGECeltic Flutes: FRANCESCA HANLEY • Voice: MAE MCKENNADrums: SIMON ALLEN • Piano: MICHAEL CSÁNYI-WILLSOrchestration: NIGEL CLARKEProgramming: MICHAEL CSÁNYI-WILLS & CHRISTIAN HENSONOriginal score produced by NIGEL CLARKE andMICHAEL CSÁNYI-WILLS for Air EdelMusic supervision: ALISON WRIGHT for Air-EdelScore recorded and mixed by GEOFF FOSTER at Air Lyndhurst,London, and Air Edel Studios, LondonAssistant sound engineers: JAKE JACKSON & ION METSOVITISMusic Preparation: JILL STREATER (Global Music Service)Technical assistant to Nigel Clarke and Michael Csá nyi-Wills:KARIM FANOUS

Executive album producer: MIKAEL CARLSSON

Royal Philharmonic Orchestra: Managing Director: IAN MACLAYRecordings Manager: ELSA TATEVOSSIANMusic Advisor: ALISON RIVA • Music Produced on Sibelius 2Music Processing System • Music Samples Courtesy of(Celtic) Zero-G Ltd, UK“Distant Shores (Traighean Fad as)”: Music by Nigel ClarkeMichael Csányi-Wills & Mae McKenna • Lyrics by MichaelCsányi-Wills • Scottish Gaelic Translation by DonaldMacKillop • Performed by Mae McKenna

Compact disc manufactured byOasis Disc Manufacturing.Distribution: Screen Archives Entertainment(www.screenarchives.com).

THE

ROCKETPOSTTHE

ROCKETPOST

q

A NOTE FROMTHE COMPOSERSAs 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. Af-ter 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 stu-dio to hear our ideas. As with all our scores we made synthetic demonstrations of all the cues which gave both Mark and Alison ma-

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 won-derful 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

Composers’ web site: www.moviefonics.com

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

ANOTE FROM

THE PRODUCER

It was a summer’s day on the west coast of Scotland, one of those days when Scotland is the most beautiful place on

earth. I had the first demo of Michael and Nigel’s music for The Rocket Post and had driven out to a favourite beach on Loch Linnhe

to listen to their musical thoughts, car doors open whilst seated on a grassy knoll above the beach. I remember playing the themes over and

over again and feeling so uplifted. The boys had captured the romance of the love story of Catherine and Gerhard, the success of the rocket’s launch and the evocative beauty of the Western Isles with their three distinctive musi-cal themes. It was wonderful.

For those years when Rocket Post remained unreleased, Michael and Nigel’s score kept the film alive for me and other members of our crew. Whenever you dipped into their gorgeous score, there came hope for the film that the financiers would finally release it. Working with Michael and Nigel was a producer’s joy. They understood immediately our little film and its under-current of strong emotion. And they worked so hard in such little time. Nigel beavered away orchestrating all the parts for the musicians, one

man doing the job of ten men, and all the while in the background Michael’s piano playing bringing to life the quiet power of our

film. And then there was the day when the film came alive to Michael and Nigel’s music. I do hope you get as much

enjoyment from Michael and Nigel’s score as we have all had. – Mark Shorrock, Guernsey

March 8th, 2007.

THE

ROCKETPOSTTHE

ROCKETPOST

G&J SALES AND DISTRIBUTION present an ULTIMATE PICTURES UK productionin 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 WOODcasting director JANEY FOTHERGILL make-up & hair designer ALISON DAVIES costume designer STEWART MEACHEM production designer ALISON RIVAedited by IAN CRAFFORD & BEVERLY MILLS director of photography RICHARD GREATREX, bscmusic composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLS line producer ALISON BARNET producers DAVID KENNAWAY CATHERINE DAVIES executive producers ROBERT BEVANKEITH HAYLEY CHARLIE SAVILL GUY HANDS JULIA HANDS screenplay by JAMES MACINNES and WILLIAM MORRISSEY produced by MARK SHORROCK directed by STEPHEN WHITTAKER

PERFORMED BY

THE ROYAL PHILHARMONIC ORCHESTRAPERFORMED BY

THE ROYAL PHILHARMONIC ORCHESTRA

British composers Nigel Clarke and Michael Csányi-Willshas composed a wonderful score for The Rocket Post,

a romantic orchestral work filled with memorable themesand 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!

mMovieScore Media

Thematic,romantic,

orchestral...

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, Vin-nie Jones and Robert Carradine. The film is pro-duced 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

n British composer James Brett, whose previ-ous 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 Lon-

don Metropolitan Orchestra. Brett also recently conducted the same or-chestra recording Harald Kloser’s score for the forthcoming Roland Em-merich epic 10,000 BC. mc

SIGNINGS & PROJECTS

ISSUE�30�•�SEPT.�12,�2007� 7weeklyFILM MUSIC

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8� ISSUE�30�•�SEPT.�12,�2007 weeklyFILM MUSIC

NEW SOUNDTRACKS

Marco Beltrami Scores “3:10 To Yuma”

ALBUM REVIEW

By: DANIEL SCHWEIGER Soundtrack Editor

Composer: Marco Beltrami Labels: Lionsgate Suggested Retail Prices: $ 9.99 (on iTunes)Grade: B+

It’s easy for just about any composer to mimic the Spaghetti Western sound of Ennio Morricone. And probably every busy musi-cian 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 hom-age to him. And Beltrami dumps a whole stage-coach 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 usu-ally be found applying roaring, musical stabs to horror scores like three Scream films, The Faculty, The Omen and Underworld: Evolu-tion, 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, Bel-trami’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 ven-geance.

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 eth-ic, this is a score that’s far more of a straight shooter, a white hat / black hat opus that de-livers the expected goods with a somber, psy-chological depth. Yet there’s surprisingly little onscreen that would signal the Spaghetti West-ern 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 an-vil drop like a gunshot, then damn if this angle

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 Bel-trami knows just when to pull that Morricone magic out from his duster, as his cool, sinister orchestra plays the perceived villainy of Rus-sell Crowe’s outlaw, and the unavoidably ten-der nature of his rancher-turned-captor. Every-one’s going to their destinies here, an elegiac feel that makes Yuma far more than the Spa-ghetti 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 un-leashed.

Click here for the 3:10 To Yuma soundtrack.

Courtesy�of�iFmagazine.com

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

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

ALBUMS COMING SOON!

ISSUE�30�•�SEPT.�12,�2007� 9weeklyFILM MUSIC

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 -fi-nanced copying houses had a healthy invest-ment 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 pa-per 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 100-lb. paper, off-pure-white to some degree (for glare considerations) and smooth (for easy on-the-spot pencil fixes.) With the advent of do-it-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”.

Score paper size was always a victim of practicality, with pencil-and-straightedge or-chestrators struggling with preprinted pages whose dimensions were dictated by the num-ber of staves needed. With computer nota-tion, 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 accommo-date anything up to 11”x17”, (b) possibly can enlarge by independent percentages in two different dimensions (say, by 112% length-wise 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 al-ways 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 log-ically fits on either letter- or legal-sized stan-dard 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 pre-vious 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 pro-cess 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 ask-ing for a small discount on the per-copy fee, perhaps 10%.

Next week: Score and part binding strate-gies that will give you noise-free page turns in less time.

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.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-

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�FlightBrian 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 editor@filmmusicweekly.com.

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