issue 31 sept.19, 2007 published weekly by global … · issue 31 • sept.19, 2007 • published...
TRANSCRIPT
ISSUE 31 • SEPT.19, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com
weeklyFILM MUSIC
MORE INSIDE:p:5 signings & projectsp:10 THE cHArt Doctor: Don’t get cAugHt in A BinD
p:11 tHe scoreBoArD
n You can file Skinwalkers under the great-score-for-probably-awful-mov-ie file, but when you listen to this rampaging, symphonically rich score by Andrew Lockington, you’d assume that it was tailored for an epic summer blockbuster instead of a shaggy dog werewolf flick.. p:7
The American Federation of Musicians is reporting a “dramatic increase” in the volume of videogame scoring projects uti-lizing large orchestras after implement-ing a new buyout scoring agreement for videogames. Contractors and videogame composers contacted by Film Music Mag-azine also report an increase in AFM vid-
eogame scoring agreements since the new buyout agreement was made available.
“AFM musicians have for many years pro-vided the highest quality music for cinema productions, sound recordings and many other categories within the entertainment industry. The AFM has stood by these musicians, ensur-ing they are fairly compensated for their sig-
nificant contributions,” said AFM International President Thomas F. Lee.
Lee continued, “The same excellence in musicianship is demanded in the video game world. These agreements will enable video game companies to have access to the best pro-fessional recording musicians in the U.S. and Canada, while offering... p:3
AFM Reports “Dramatic Increase” in Scoring With New Videogame Buyout Agreement
CD Review: Skinwalkers
Apple Releases Logic StudioApple has
released Logic Studio, a com-p r e h e n s i v e suite of profes-sional tools for music creation, production and
performance in studio and live scenari-os. Logic Studio features Logic Pro 8, a major upgrade that combines a new in-terface and introduces MainStage, a new live performance application for using a Macintosh computer as a live rig.
Logic Studio also includes Apple’s Sound-track Pro 2 pro audio post production soft-ware; Studio Instruments; Studio Effects, and Studio Sound Library.
“From the fun and intuitive GarageBand to the all new Logic Studio, there’s never been a better time to be a musician on the Mac,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “For less than $500, Logic Studio transforms the Mac into the most powerful musical instrument in the world.”
A central feature of Logic Studio is Logic Pro 8 which utilizes a single-window interface for instant access to music creation and pro-duction functions, including snap-to-transient selection and sample accurate editing direct-
ly in the Arrange window. Also included are audio production tools such as Quick Swipe Comping and dynamic channel strip creation designed to speed up common tasks. Logic Pro 8 also includes end-to-end surround produc-tion capabilities with surround panning con-trols, multichannel tracks and busses, and support for True Surround software instru-
ments and effects. Logic Studio is now available for a sug-
gested retail price of $499. Registered Logic Pro 7 users can upgrade to Logic Studio for $199. Customers who purchased Logic Pro 7 on or after August 1, 2007 are eligible for a free upgrade to Logic Studio ($9.95 shipping & handling). Full system requirements and more information on Logic Studio including a list of certified, compatible hardware and soft-ware, can be found at:
http://www.apple.com/logicstudio.
Christopher YoungGets Career Award
Spider-Man 3 com-poser Christopher Young was honored at the 13th Annual Temecula Val-ley International Film & Music Festvial with the award for Outstanding Career Achivement in Film Composing.
The black tie gala took place on September 16 at the Pachanga Resort and Casino Ball-room. Young joins a prominent company of musicians and film personalities who have re-ceived previous Career Achievement Awards at the festival: Dionne Warwick, Robert Wise, Carl Reiner, John Badham, Rita Coolidge, Bil-ly Preston, and Diane Ladd, to name a few.
Christopher Young’s latest blockbuster film score was Spider-Man 3. He has written mu-sic for over 80 films, contributing particularly influential works in the horror and thriller genres: Hellraiser, The Fly II, Jennifer 8, The Grudge and Ghost Rider. He has also scored dramas such as The Shipping News and Mur-der in the First and comedies such as The Man Wno Knew Too Little and Lucky You.
The 13th Annual Temecula Valley Interna-tional Film & Music Festival was presented by Cinema Entertainment Alliance, a nonprofit arts and education organization dedicated to celebrating world cinema and music. mc
2� ISSUE�31�•�SEPT.�19,�2007 weeklyFILM MUSIC
Publisher:�Mark Northam Editor:�Mikael Carlsson
VP�Finance�and�Operations:�Rebecca Lee Art�Director:�Joshua Young Advertising�Sales�Manager:
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Film Music Weekly and its logo are trademarks of Global Media Development Group, Inc. All Rights Reserved. Entire Contents © 2007 Global Media Development Group, Inc
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!
ISSUE�31�•�SEPT.�19,�2007� 3weeklyFILM MUSIC
FILM MUSIC NEWS
AFM Reports “Dramatic Increase” in Scoring With New Videogame Buyout Agreement
“AFM musicians have for many years provided the high-est quality music for cinema productions, sound recordings and many other categories within the entertainment indus-try. The AFM has stood by these musicians, ensuring they are fairly compensated for their significant contributions,” said AFM International President Thomas F. Lee.
Lee continued, “The same excellence in musicianship is demanded in the video game world. These agreements will enable video game companies to have access to the best pro-fessional recording musicians in the U.S. and Canada, while offering more work and important benefits for our members.”
“The musicians of the AFM are the finest recording musicians in the world. Their musicianship and speed is truly amazing. I will always fight to record every project on a union contract to make sure that those who con-tribute their artistry and prowess to a score are rewarded properly for their hard work,” commented Christopher Lennertz, a composer with Sonic Fuel.
“The new video game approach is both bold and courageous in its design. The sudden flood of work we are ex-periencing is a direct result of this global and forward thinking contract. I applaud the AFM for finally opening the spigot of video game recording to our membership,” said a San Francisco violinist who played in a recent scoring session.
Dave Weiss, a New York recording musician is also optimistic about the new videogame work. “NY area com-posers and developers are now using Union talent here in NYC, whereas before, the high likelihood was that video game work would have gone overseas, non-union, or on a synth. This is a good start, on which we can build for more employment opportunities in the future for AFM members.”
Jay Schaffner, Local 802 (NYC) Recording Department Supervisor, speaks to the potential for increased work for AFM members: “We have had a very positive response to the Game Agreement – from people who have in the past recorded Game Music in New York (nearly all non-union); from game com-posers who live in the area and look forward to doing more work here rather than halfway around the world; and from film composers who are striking out into this arena for the first time. This is all good news for Local 802 members because of the potential increase in recording work.”
Janet Ketchum, contractor, also sings the praises of the new approach. “I recently contracted orchestras for a stream of video game work recorded at Skywalker Ranch, which produced more than $450,000 in musicians’ and music prep wages with increased pension, health and welfare over the course of the summer,” says Ms. Ketchum. “This is a victory for all AFM recording musicians.”
The American Federation of Musicians is reporting a “dramatic increase” in the vol-ume of videogame scoring projects utilizing large orchestras after implementing a new buyout scoring agreement for videogames. Contractors and videogame composers con-tacted by Film Music Magazine also report an increase in AFM videogame scoring agree-ments since the new buyout agreement was made available.
THEATRICAL • Across the Universe (Elliot Goldenthal) • Eastern Promises (Howard Shore) • Into the Wild (Michael Brooks) • The Jane Austen Book Club (Aaron Zigman) • The Last Winter (Jeff Grace/Anton Sanko) • Resident Evil: Extinction (Charlie Clouser)
DIRECT-TO-DVD • The Dead One (Tony Humecke) • A Dog’s Breakfast (Tim Williams) • The Flying Scotsman (Martin Phipps) • The Gymnast (Craig Richey) • Pittsburgh (David Gregory Byrne) • Straightheads (Ilan Eshkeri)
OPENING THIS WEEK
AFM President Thomas F. Lee
4� ISSUE�31�•�SEPT.�19,�2007 weeklyFILM MUSIC
FILM MUSIC NEWS
THE A-LIST TOP AGENCIES
The most prolific film music agencies according to the current U.S. box office statistics, Septem-ber 14-16, 2007:
1 (new) Air-Edel Associates (UK) - $14.0m • The Brave One (Dario Marianelli) - $14.0m
2 (4). Gorfaine-Schwartz Agency - $12.4m • Mr. Woodcock (Theodore Shapiro) - $9.1m • Balls of Fury (Randy Edelman) – $3.3m
3 (1). First Artists Management – $11.1m • Superbad (Lyle Workman) - $5.2m • Rush Hour 3 (Lalo Schifrin) - $3.3m • Shoot ‘Em Up (Paul Haslinger) - $2.6m
4 (2) Greenspan Artists Management – $9.1m • 3:10 to Yuma (Marco Beltrami) - $9.1m
5 (3). Soundtrack Music Associates - $5.0m • Halloween (Tyler Bates) - $5.0m
6 (4). Kraft-Engel Management - $4.2m • The Bourne Ultimatum (John Powell) – $4.2m
Source: IMDb
Mikis Theodorakis to ReceiveLifetime Achievement Award
Greek composer Mikis Theodorakis, whose classic film scores include Zorba the Greek and Serpico, will receive the Lifetime Achievement Award at the World Soundtrack Awards in Belgium in Octo-ber.
Born in 1925, Theodorakis is one of Greece’s best-known musicians and an icon in its cul-tural life for more than 40 years – he has also been active as a politician and a member of the parliament and minister.
Internationally, he became a well-known
composer with a unique voice thanks to his film scores Zorba the Greek, Z and Serpico.
The award will be handed out to Theodora-kis during the Ghent International Film Festi-val in Belgium on October 20. The Flemish Ra-dio Orchestra, conducted by Dirk Brossé, will perform music from Zorba the Greek in honor of the composer. mc
For more information about the World
Soundtrack Awards, visit: http://www.worldsoundtrackawards.com
Randy Edelman Hired to Score The Mummy 3
Randy Edel-man follows up Jerry Gold-smith’s and Alan Silvestri’s scores in Uni-versal’s Mum-my feature film series, scoring Rob Cohen’s upcoming The Mummy: Tomb of the Dragon Emperor.
Veteran com-poser Randy Edelman and director Rob Cohen have worked together on many films, beginning with Dragon: The Bruce Lee Story in 1993. Since then, Edelman has written the music for another three of his films, and The Mum-my 3 will be their fifth collaboration. Bren-dan Fraser returns to the franchise, and other cast members include Maria Bello, Jet Li, Michelle Yeoh and John Hannah.
Randy Edelman, who is represented by Gorfaine-Schwartz Agency, has recently scored comedies Balls of Fury, Underdog and The Last Time. He is also doing the music for 27 Dresses, a romantic comedy directed by Anne Fletcher and scheduled to be released next year by Fox 2000. The Mummy: Tomb of the Dragon Emperor will premiere on Au-gust 1 next year. The signing of Edelman to the picture has been confirmed to Film Mu-sic Weekly by Universal Pictures. mc
Sonivox has an-nounced the release of their Symphonic Harp sample library for the Kontakt plat-form.
The Sonivox Harp, re-corded in the same space
as Sonivox’s Symphonic Collection, is a collection of sampled harp tones and glis-sandi including a variety of programming features.
“We’re excited to be able to offer our Symphonic Harp in Kontakt2 format. On top of what was already an excellent product, the Kontakt2 glissandi scripting really gives our users the kind of flexibili-ty and performance they crave,” says Pete Drawbridge, Senior Soundware Engineer at Sonivox.
For more information, visit: http://www.sonivoxmi.com
Film & TV Music Award Noms Close Sep. 20
Nominations for the 2007 Film & TV Music Awards will close at midnight Thursday September 20. Film & TV Music Academy members worldwide can nominate people for the awards program online using the organization’s custom online nomi-nation and voting systems.
The top five nominations in each of over 30 award categories will be an-nounced on October 1, and from October 1 through October 15, members of the Film & TV Music Academy can cast their votes.
“We’re thrilled about this new awards program – it’s about time that awards were given to the film and television mu-sic industry, by the film and television music industry. There are enough other awards programs where the financial success of a show or movie seems to be the primary emphasis – with the Film & TV Music Awards, the focus is exclusively on the quality of the music as judged by one’s peers in the industry,” said awards founder Mark Northam.
The Film & TV Music Academy is the voting body that has been created for the awards. Membership is available at no cost and is open to anyone working in or studying to work in the film and televi-sion music industry worldwide.
To join The Film & TV Music Academy or nominate people for Film & TV Music Awards, visit:
http://www.filmtvmusicawards.com
Sonivox Releases Sonic Implants Symphonic Harp for Kontakt
ISSUE�31�•�SEPT.�19,�2007� 5weeklyFILM 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.
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Six week course taught by Stephen Hill. Class nearly filled!Begins September 16th. $295.00 - plus materials.
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FILM MUSIC NEWS
Hans�Zimmer: Frost/Nixon
n Universal Pictures has confirmed to Film Music Weekly that Hans Zimmer will score Ron Howard’s political drama Frost/Nixon. This will be their third film together – the majority of Howard’s films have been scored by James Horner, but he has also worked with composers such as Randy Newman, John Wil-liams and Thomas Newman. Hans Zimmer
wrote the acclaimed score for Howard’s hit film version of The Da Vinci Code last year. He is currently also involved as a music consultant on Vantage Point, which is currently being scored by one of his previous team members, Atli Örvarsson. mc
Jeff�Rona: The Gathering
n Jeff Rona is currently scoring a miniseries for Sony Television called The Gathering. It’s a thriller series about a man who searches for his wife who has disappeared without a trace. Peter Fonda, Peter Gallagher, Jamie-Lynn Sigler and Jenna Boyd stars in the se-ries which will air on Lifetime. Rona, whose previous credits include feature films White
Squall, Exit Wounds and The In-Crowd, has also recently written the music for Highlander director Russel Mulcahy’s TV movie Crash n’ Burn starring David Moscow and Erik Palladino. mc
SIGNINGS & PROJECTS
Michael�Wandmacher: Get Some
n Michael Wandmacher reunites with the di-rector of Cry Wolf, Jeff Wadlow. He has been hired to score his new film, Get Some, an ac-tion flick starring Djimon Housou, Sean Faris and Amber Heard. Cry Wolf, released in 2005, featured a stylish score that was a landmark in Wandmacher’s career, followed last year by The Killing Floor. His other credits include Max Keeble’s Big Move and the video games Madagascar and Over the Hedge. Wandmach-
er is also doing the score for Gideon Raff ’s Train, starring Thora Birch and Derek Magyar. mc
6� ISSUE�31�•�SEPT.�19,�2007 weeklyFILM MUSIC
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ISSUE�31�•�SEPT.�19,�2007� 7weeklyFILM MUSIC
NEW SOUNDTRACKS
Skinwalkers
ALBUM REVIEW
By: DANIEL SCHWEIGER Soundtrack Editor
Composer: Andrew Lockington Labels: Movie Score Media Suggested Retail Prices: 19.95 Grade: B+
It takes a determined man to run a “hard copy” soundtrack label, especially in a world where sending scores to the sonically inferior land of iTunes has become the rage – when studios deem that score worthy enough to be released at all. So credit goes to Mikael Carlsson and his Movie Score Media label for un-leashing exceptional scores to movies you’ll probably never see – among them I Capture the Castle, The Rocket Post and Shadow in the Trees. But it’s harder to think of a cooler release for the label than Skinwalkers. Like Joel McNeely’s more-than-worthy sound-track to another box office disaster called I Know Who Killed Me, you can file Skinwalkers under the great-score-for-probably-awful-movie file. Because when you listen to this rampaging, symphonically rich score, you’d assume that it was tailored for an epic summer blockbuster in-stead of a shaggy dog werewolf flick.
I shouldn’t cast stones at a movie I’ll likely never see. But I can definitely say that Andrew Lockington’s score for Skinwalkers will be get-ting plenty of spins on my CD player. Hearing its real talent for full-blood orchestration, the first thought that hits the seasoned soundtrack lis-tener is “Who the heck is this guy?” The answer is that Lockington got his chops as an orchestra-tor for Jeff Danna on Ride With the Devil and The Boondock Saints, all before scoring such in-dies as Saint Ralph and Cake. I never saw those movies either, but Andrew Lockington sure was doing something right to land this far bigger assignment. And no matter its gross, Skinwalk-ers music has an astonishing richness that just might stand as the best lupine score since Pino Donaggio’s beastly strings for The Howling.
But perhaps the better idea to understand Skinwalkers’ come-from-nowhere impact is to look at the early work of James Horner and Christopher Young, composers who got their breaks doing orchestral scores for such low-budget horror as Humanoids from the Deep and The Dorm that Dripped Blood – scores that overlooked their goofy subjects to go for the me-lodic jugular. And in Skinwalkers’ case, Locking-ton tears it out – conjuring a hypnotic, moonlit world that often bursts into savage action. Ex-otic percussion, rock-tinged samples and lush orchestrations fight for dominance, yet coalesce into an impressive whole. It’s a musical beast
that’s at once noble, yet capable of ripping you to exciting shreds at the next instant.
To be sure there are ghosts that walk no-ticeably about in Skinwalkers, among them Don Davis’ brassy action writing for the Ma-trix films, and the simmering rhythms of Hans Zimmer and James Newton Howard’s score for Batman Begins. But it would be hard to expect a completely original animal from any new-bie composer. And Lockington’s talent is more than fearsome on its own, creating a dense, in-toxicating atmosphere. There’s a real emotional poignancy to Skinwalkers, one that plays crea-tures who probably regret their curse, all while pitted against monsters that revel in the taste of flesh. Lockington also fills the score out with nicely atmospheric touches, from brass imitat-ing a werewolf ’s cries to a country fiddle for the movie’s rustic setting. But it’s the exotic per-cussion that tell us these beasties have been around long before America was settled, even if a trumpet gives across the sense of unholy, if probably unintended patriotism. About the only thing missing from Skinwalkers are discernable themes – an increasingly rare creature in film scoring as a whole.
It’s great to come across new talent, espe-cially in a movie with the title of Skinwalkers. Here’s to Movie Score Media for letting me discover Andrew Lockington, who’s certain not to be cursed scoring in the box office shadows. Like a werewolf ’s cry in the full-moon night, Lockington’s impressive abilities are destined to be heard far beyond its furry confines here. In fact, it positively howls with the many musical shapes it has yet to take.
Click here for the Skinwalkers limited edition soundtrack.
Courtesy�of�iFmagazine.com
OUT THIS WEEK
• Across the Universe (Beatles/Elliot Golden- thal) – Interscope • The Last Winter (Jeff Grace/Anton Sanko) – MovieScore Media • Right at Your Door (tomandandy) - Lake shore
SEPTEMBER 25 • Flood (Debbie Wiseman) – Silva Screen • The Kingdom (Danny Elfman) – Varèse Sarabande • Lust, Caution (Alexandre Desplat) – Decca • Musica de Cine 2: Alan Silvestri – RTVE (Spain) • Michael Clayton (James Newton Howard) – Varèse Sarabande • Sea of Dreams (Luis Bacalov) – Varèse Sarabande
OCTOBER 2 • Dan in Real Life (Sondre Lerche) - Capitol • The Monster Squad (Bruce Broughton) – Intrada
OCTOBER 9 • Behind the Gates (Shooting Dogs) (Dario Marianelli) – MovieScore Media NEW Elizabeth: The Golden Age (Craig Armstrong/A.R. Rahman) - Decca • 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 Adventures (Robert Gulya) – MovieScore Media
OCTOBER 23 NEW 30 Days of Night (Brian Reitzell) – Varèse Sarabande • Battlestar Galactica: Season 3 (Bear Mc Creary) – La-La Land • Superman: Doomsday (Robert J. Kral) – La-La Land
OCTOBER 30 • Haunting Villisca (David James Nielsen) – MovieScore Media
NOVEMBER 6 NEW The Lord of the Rings: The Return of the King – The Complete Recordings (Howard Shore) - Reprise • Star Wars: 30th Anniversary Collector’s Edition (John Williams) – Sony
NOVEMBER 13 NEW George and the Dragon (Gast Waltz ing) (Discovery Collection Vol. 2) – Movi eScore Media
NOVEMBER 27 NEW Like Minds (Murderous Intent) (Carlo Giacco) – MovieScore Media
ALBUMS COMING SOON!
8� ISSUE�31�•�SEPT.�19,�2007 weeklyFILM MUSIC
MUSIC TECHNOLOGY AND YOU
Logic 8 Changes the Game of Sequencing
TECHNOLOGY
By�PETER�LAWRENCE�ALEXANDER
On April 12 I received an e-news from MarketWatch telling me in a single line that Apple (a member of the Sonic Control Mu-sicTech 23) had released the update to a mu-sic production program called Logic. There was no further story or commentary, even after I clicked on the link taking me to the MarketWatch website. There was only the single line announcement. This motivated my curiosity to see if any financial site had published the release and if so, had anyone really grasped or understood the significance of Logic 8 and its importance the music com-munity at large, and its contribution to help-ing Apple move more systems?
Over the past few days I went to Bar-rons, Bloomberg, Google Finance, Reuters, the Wall Street Journal, and Yahoo Finance. Of these six sites, only Reuters had the press release listed, but you had to search for it. It was under the Apple stock quote at Press Releases.
Then I went the next step and checked the various music forums to check the gen-eral reaction. Actually, it was rather ho-hum. Roughly half the posts were complaining that it wasn’t a very significant update, and some puffed that they’d rather wait until Logic 9 before updating. One poster said that this was really Logic 7.5.
But overall, reaction to Logic 8 among users who’ve upgraded is extremely posi-tive. Many orders in the U.S. are arriving within two days of ordering. And one happy note is that there are few instances of bugs. Of course, it’s software, so there are a few bugs here and there, but overall, statistically speaking, virtually no complaints.
But my thesis question, whether to a com-poser or a financial analyst assigned to cover Apple is this, “Do you see the significance of the update and how the game of sequencing software is now changed?”
Here’s my take in a nutshell.
After spending several days reviewing materials on the Apple site and download-ing the manuals and reading through them, it’s clear to me that there isn’t a single se-quencing program that’s Logic’s equal. What comes with Logic 8 is so utterly complete, that after spending time in Rodale’s Syn-onym Finder looking for worthy adjectives, I couldn’t find any. Racking my brain for days to describe Logic 8, all I could come up with was the word totality.
And for pricing. Get ready for reversed sticker shock.
The features went up, while the price went down to $495 list with a $199 upgrade. And upgrades are available as far back as Logic 5, Mac or PC.
Uhh, but like wait, Santa, there’s more.
Checking out the specs, you can run Log-ic 8 on a MacMini with 2GB of RAM costing $799. Get the monitor at BestBuy or Staples, add audio card and USB MIDI keyboard, shake, don’t stir.
That’s right. For $1,300 you can have both Logic and a MacMini with 2GB of RAM. By comparison for the same money, with Logic 7, you could have the software for $995, a hard drive and a Tootsie Roll.
Obviously, with 100 million units in the field, the iPod is going to be the attention getter. But in its own way, so can Logic. With the iPod, I don’t a need a Mac. But with Log-ic, you gotta have a Mac.
So what Apple has is one major bundling opportunity to bring in new customers.
Apple’s published a 57-page PDF called Logic Studio: Product Overview that gives you the broad summary. Here, you see not only the updates to Logic 8, but also that Logic 8 now comes bundled with several im-pressive bonus programs. (For accuracy I’m quoting below from the Logic brochure).
Main Stage - turns the Mac into a pow-erful live rig that lets the customer use their favorite gear to control software instruments and effects in a live performance.
SoundTrack Pro 2 - Powerful editing tools, flexible surround mixing, and an intui-tive interface simplify audio post-production for film and video. Includes dialogue tools and mixing for picture, including surround.
Studio Instruments - Logic Studio of-fers the largest set of instrument plug-ins available in a single box, including 40 in-credible-sounding vintage, synth, and sam-pled instruments.
These studio instruments, called plug-ins or VSTi’s (virtual studio instruments) often sell individually for an average price of $395, or $15,800 if you bought all 40 individually.
Studio Effects - Enhance music produc-tions, live performance, and post-production projects with 80 professional effect plug-ins.
Effects vary in price, so I’m going to aim low and average their worth at about $150 each. That’s $12,000 of effects for all 80 if bought separately.
Studio Sound Library - With the com-plete content from five Jam Pack collections, the entire sound library from Final Cut Stu-dio 2, and enhanced content from Logic Pro 7, the Studio Sound Library offers unprec-edented value. An intuitive new browser lets you quickly find the perfect sound.
On the low side, I rate the enclosed librar-ies as being worth over $1,000 since included Jam Packs retail at $99.00. One interesting feature is the inclusion of what’s called Foley sounds. In case you don’t know the term, sim-plified they are the sounds that go into mov-ies like punches, running, huffing/puffing, rolling stones, and so on. So working with Final Cut Pro, or even audio books, what you have in Logic 8 is a program that brings film scoring and production to the masses.
ISSUE�31�•�SEPT.�19,�2007� 9weeklyFILM MUSIC
Production Utilities - Logic Studio in-cludes two production utilities from Logic Pro 7—WaveBurner, for mastering and au-thoring Red Book audio CDs, and the Apple Loops Utility. Logic Studio includes two ad-ditional production utilities:
• Compressor 3, for encoding Dolby Digital Professional AC-3 files in 2.0 or 5.1 formats
• Impulse Response Utility, for record-ing impulse responses for use in Space De-signer
Based on current prices from competitors, (and I’m quoting low), probably another $695 or better in value.
So here’s what we’re looking at.
With its $495 price point, Logic is a pro-gram that has brought music production to the masses. When you add up the numbers I quoted, if you bought all these plug-ins sepa-rately, even if you cut my price estimates in half, Apple provides at minimum $20,000 of effects and features for $495. If you think $20K is too high, cut it again. The bottom line is that you get a lot of amazing stuff for $495.
Now, Apple hasn’t spelled out these num-bers the way I have. But anyone who’s been around awhile knows that $20K and up is the cost of a Pro Tools rig. And Logic also reads TDM effects.
Then, Logic improved the notation pack-age. So this means that both Avid and Make-Music have competition from a different perspective. You can have either Sibelius 5 or Finale 2008 for a street price of $499 or you can have Logic for $495. Even if the aca-demic prices are a $100 or so lower for these notation programs, so what? What you get with Logic for the extra C-note doesn’t begin to compare.
Now, look, heaven forbid that anyone call me a flip-flopper. But several years ago when Apple bought Logic and killed the PC version, I was madder than cheesecake and comments from a white paper I wrote were published in Wired. Ticked or not ticked, I have to give credit where credit is due.
Logic 8 isn’t just a stunning update, it’s a stunning achievement. Now to see what Apple does to promote it as such.
• New Features in Logic Pro 8 • Logic Pro 8 Getting Started • Logic Pro 8 User Manual • Logic Pro 8 Late-Breaking News • Logic Pro 8 TDM Guide • Logic Pro 8 Control Surfaces Support • Impulse Response Utility User Manual • Installing Logic Studio (Retail) • Installing Logic Studio (Upgrade) • Logic Studio Instruments and Effects • Logic Studio Working With Apogee Hardware • Logic Pro 8 Features • Logic Pro 8 Tech Specs
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
10� ISSUE�31�•�SEPT.�19,�2007 weeklyFILM MUSIC
THE CHART DOCTOR
Don’t Get Caught In A Bind
BY�RON�HESS
Having last week explored phase one of quality sheet music production, let’s now tackle the chores still remaining: binding the score and parts in such a way so as to prevent noisy page turns and exploding scores.
For materials, you will need a single-edged razor blade and the palest 3/4” masking tape you can find. Years ago, we used white Scotch “paper” tape, but if your parts are for one ses-sion only, you can probably save the expense and use masking tape. In either event, prac-tice the following skill: Holding the roll of tape with your strong hand (right, if you’re right-handed,) pull a length of tape out with your other hand, an inch or two longer than the two adjacent and touching sheets you are taping. Apply that end, face down, at the top of the touching edges of paper and, while maintaining tension, lower the roll down until the tape lies along the sheets’ length with an inch or two extending beyond the lower edges of the paper. With your empty hand, smooth the tape down and thus join the pages. Then, with that same hand, take the razor blade and press the cutting edge downward against the exposed, dry side of the tape, parallel with the bottom edges of the paper. While holding the blade down, raise the roll of tape with the oth-er hand and let the blade resist until the tape snaps, resulting in a neat cut precisely at the bottom edges of the paper. Practice this skill for speed and accuracy.
Since static electricity from the pulled tape tends to lift the paper you are trying to tape, I like to work on a sheet of glass (cheap and perfectly flat) on which I’ve laid a couple of strips of removable-strength adhesive. When I lay the pages down to be taped, they stay
put, but are easily liftable for the next place ment. When moving paper, lay the blade and tape roll within inches of the cut location each time. Since you could be facing hundreds of pages needing to be taped, the real speed will come from all your materials behaving nicely with each other.
For parts, you are going to do the “accor-dion” method. To understand this strategy, get a deck of cards. Let’s assume you’ve got a 5-page violin part. Find the ace, deuce, trey, four, and five. Make them all spades for a quick thrill. From left to right, place the ace and deuce, face up, touching at the edges. Us-ing the above method, tape along the long edges to join them. Roll them forward, main-taining the ace-deuce orientation from left to right. Take the trey and place it face down next to the now inverted deuce. Tape the back sides of the two and three. Roll them again so that now the ace-deuce-trey are face up, still going from left to right. Place the four next to the trey and tape the front sides of them. Roll again, with the same orientation, and place the five (face down) next to the inverted four. Tape the back sides and turn the whole string face up. See how you can now fan-fold them away from the taped sides so that you get a stack with the ace on top and page turns after each odd-numbered page?
For scores, it’s a little bit different. Take the same five cards and lay them out, as be-fore, left to right, ace through five. This time all taping will be on the faces of the cards. The ace and deuce will be with the edges touching. For the deuce-trey taping, leave a gap of about 3/16 of an inch, resulting in a bit of the sticky side of the tape exposed toward the backside.
For trey-four, tape with the edges touching. For the four-five (you guessed it,) leave that small gap. Now fold up as before, being scru-pulous about lining up the right sides of the odd pages. What you will notice is a bit of the sticky side of the tape protruding out the left sides between each page. All that remains is to use those sticky protuberances as a sort of poor-man’s binding element by taking run-ning a bead of tape, wider if necessary, along the left edge of the page one, and wrapping around to the back, thus creating a sticky-to-sticky connection which will hold the whole score together, should it happen to fall from the conductor’s music stand as often happens during frantic page turns. For a bit of flair, use colored nylon tape for the outside binding.
With all tape applications, press firmly to avoid wrinkles and you should achieve page turns as silent as the dead. Using the above approaches, and from sheer repetition, you will gain speed and customer satisfaction. As this is enormously repetitive physical work, always keep an eye out for ergonomic solu-tions (work surface and paper angles, stretch-ing beforehand, etc.) to avoid repetitive stress injuries. Nobody wants a job that becomes a pain in the neck!
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 [email protected]
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�•�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�•�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.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.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.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�Forgot-ten�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�•�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.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.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.Reg Powell: The�Ten�Commandments.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.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.�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�•�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�•�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.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 [email protected].
THE SCOREBOARD