ISSUE 23 • JULY 12, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com

weeklyFILM MUSIC

MORE INSIDE:p:3 SucceSS for SilveStri at Soncinemadp:5 ang lee’S new film luSt cautionp:11 chart doctor: muSic prep StrategieS p:12 technology: notion in motionp:15 the ScoreBoard

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Wall-to-wall horror scoring

n “Behind the Mask is an academic but hilarious deconstruc-tion of the horror genre, from the inside out,” says composer gordy haab, who composed the orchestral score for this film which recently came out on DVD. the film is a combination of a documentary and clas-sic horror film. “since all of the documentary material was purposely spotted to have no mu-sic, we decided that the “film” portions would have wall-to-wall music, and scary music at that, which i personally love to do,” says haab. p:7

‘Behind the Mask: The Rise of Leslie Vernon’ is a horror film combining “mock-umentary” storytelling with classic hor-ror film elements, which allowed composer Gordy Haab to write some “nasty” orchestral music.

Behind the MaskGordy haab

SCORE OF THE WEEK

MichaelGiacchinogoestothetopofthecomposingratpackwithPixar’slatest.

n From the blazing military action of the Medal of Honor computer games to the eerie exotica of Lost and Mission Impossible 3’s spy suspense, Michael Gi-acchino has steadily proven himself as the composer to watch out for, a musician with the ability to inven-tively play any genre. p:10

PatrickDoyletakesover“Mr.Magorium”Air-Edel Associates has confirmed to Film Music Week-

ly that Patrick Doyle has taken over scoring duties on Mr. Magorium’s Wonder Emporium from Alexandre Desplat.

Desplat had to withdraw from the project due to a scheduling conflict – he is currently working on the score for New Line Cinema’s The Golden Compass, another big fantasy film. In a comment to FMW, the producer of Mr. Magorium’s Wonder Emporium, Richard Gladstein, said: “We so enjoyed working with Alexandre – he’s brilliant – and we’re disappointed our post schedule shifted, as did his on The Golden Compass thus rendering him unavail-able for Magorium’s. Fortunately we met with Patrick Doyle and are thrilled to have him board.”

Both films are currently in post-production with pre-miere dates set to November 16 (Mr. Magorium’s Wonder Emporium) and December 7 (The Golden Compass).

Mr. Magorium’s Wonder Emporium, directed by Zach Helm, is a family movie starring Dustin Hoffman, Natalie Portman and Jason Bateman – a film about a magic toy store owned by a 243 year-old eccentric. Patrick Doyle, who is represented by Air-Edel in the UK, is no stranger to fantasy films aimed at the younger audiences: among his recent credits are Eragon, Harry Potter and the Goblet of Fire and Nanny McPhee. Doyle’s other recent scores in-clude The Last Legion and Have Mercy on Us All. mc

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weeklyFILM MUSICthis week on

FMRFILM MUSIC RADIO

ON THE SCORE: MARC SHAIMAN

film music journalist daniel Schweiger interviews marc

Shaiman, who puts the bounce into his musical version

of hairSpray

INSIDE THE BUSINESS: DOUG WOOD

Join host mark northam for an candid, in-depth interview with

composer and music library owner doug wood about his aScap

Board candidacy and more. also hear interviews with dan Kimpel,

John Braheny and Samm Brown iii.

TUNE IN HERE!

OurThe Film & TV Music Awards

are the voice of the industry,

reflecting the views of the film

and television music industry at

large rather than any particular

industry organization or society.

Join the industry this year in

nominating and voting for those

people and productions who

truly represent the state of the art

in the categories of composing,

songwriting, music supervision,

orchestration, music editing,

score mixing, contracting, music

editing, performing and more.

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Film music enthusiasts gathered in Madrid for the 2nd Soncinemad Film Music Festival for what turned out to be a very success-ful three days of seminars and disc signing sessions, with the event’s centerpiece being two outstanding concerts that highlighted the breadth and depth film music encompasses.

Unlike the inaugural Soncinemad Festival a year ago – which was scattered amongst several city center venues – this year’s event was held in one of the cinema auditoria of the state-of-the-art Kinepolis cinema multiplex that is located several miles from the centre of Madrid. Equipped with the latest cinema technology, Kinepolis was ideal venue for the presenting composers to show movie and au-dio clips that illustrated specific aspects of their talks.

The organizing committee brought together a wide variety of composers with an emphasis on diversity being prominent. Composers from countries such as the United States, the United Kingdom, Finland, Ja-pan and Australia who have composed scores for film, television, sporting events, and small-scale European productions through big-budget blockbusters were all represented. And the informal, friendly atmosphere during the Festival encouraged an open discussion from all the composers.

Over the three days, the composer seminars regu-larly delivered memorable highlights. Gabriel Yared, who admitted to being somewhat of a recluse, talked openly of his love for all music and touched upon his dislike of the processes inherent in the mainstream film industry. Both Trevor Jones (through the emotion-ally charged finale of The Mighty) and Christopher Gordon (using the thrilling animated short Ward 13) demonstrated how film music can be used to sustain the momentum of a movie.

Of particular interest to the audience was the pres-ence of Shigeru Umebayashi. Purely a question-and-answer style seminar, Umebayashi was particularly keen to limit the questioning from the chairperson of his talk, preferring instead to take questions from the audience. Umebayashi’s obvious enthusiasm to inter-act with the people who appreciate the music he com-poses was something that was seen from all the com-posers who attended the Festival.

Trevor Jones was particularly vocal on how impor-tant it was for him to speak with the people who ap-preciate his music as heard in his movies as well as on CD. Tuomas Kantelinen who, at short notice, had replaced Alan Silvestri as the final speaker in the sem-inar schedule, gave a humorous insight of a composer making their first tentative steps into Hollywood.

The contribution of “local” composers to Soncinemad has been a feature of both Festivals to date and this year Spanish composers Angel Illarramendi and Carles Cases

gave seminars and their music contributed significantly to the first of two concerts during this Festival. Held in the largest cinema at Kinepolis (seating almost 1,000 people), the Carlos III Chamber Orchestra, conducted by Juan Manuel Alonso, performed a selection of works from most of the composers attending. Illarramendi’s at times somber music, which was probably unfamiliar to the majority of non-Spaniards in the audience, set the scene for this concert; being a more intimate selection of pieces compared with the bombast that would assault the senses during the Alan Silvestri concert the following evening. Christopher Gordon then took his place on the podium to close the first half of the concert, conducting a specifically arranged suite from On The Beach. Carles Cases opened the second half of this “Extraordinary Con-cert” with a selection of his jazz-influenced scores with the composer himself animatedly accompanying the or-chestra on piano. Gabriel Yared then took the podium to conduct suites from his scores The English Patient and The Talented Mr. Ripley. Yared also accompanied por-tions of his suites on piano. The concert concluded with a selection from some of Christopher Young’s most emo-tional scores (e.g., The Shipping News and Murder in the First). Alonso brought the concert to a beautiful conclu-sion with Young’s beautiful love theme from Spider-Man 3. This was a mesmerizing concert and the audience was very appreciative of the composers and the sight of all the participating composers together at the end of the evening will be a lasting memory. p:4

FILM MUSIC NEWS

FROM THE EdITOR

Suddenly...all of these concerts!

Ten years ago, film music in the concert halls was

something rare. I remember going to London to watch John Williams conduct his film scores at the Barbican Centre, with the LSO pumping out one hit af-ter the other – magic! And Jerry Goldsmith’s London concerts were equally fantastic.

Today, especially if you live in Spain, you certainly don’t

have to complain about the “rarity” of film music concerts. Recently, Madrid hosted a fantastic concert with Alan Silvestri and another one with Chris Young, Gabriel Yared and Christopher Gordon. This week, composers Don Davis, Mychael Danna and Sean Callery go to Tenerife to hear their music performed live. And after that, the little town of Úbeda hosts a festival with a concert featur-ing John Powell, David Arnold, Bruce Broughton and several other prominents.

We live in a wonderful time! Fans of film music

– and of game music too – now have the ability to experience their favorite music live, in a context it really never was con-ceived for, which in a way adds to the attraction. Interestingly, a film music concert audience is totally different from the classi-cal music audience, which most symphony orchestras find to be very refreshing. I have seen a lot of musicians’ faces with an amused smile on their lips and with a “now, is this for real?” look in their eyes!

So do we need more film music and game music

concerts? Yes, of course! Just be careful to choose and/or arrange music from films that really work in the concert hall. It’s party time for inventive concert programmers!

MikaelCarlssonEditor�

� editor@filmmusicweekly.com

SuccessforSilvestriatSoncinemad

Alan Silvestri talks to the audience during his concert with the RTVE Philharmonia and Chorus in Madrid last weekend.

MUSIC TECHNOLOGY ANd YOU

By alan rogerSexclusively for film music weekly

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Twenty-four hours later and events moved to the center of Madrid and to the larger Teatro Monumen-tal where Alan Silvestri conducted the RTVE Phil-harmonia and Chorus. Twelve months before, at the same venue, Trevor Jones delighted the audience with his magnificent concert. The Teatro Monumen-tal, as part of Soncinemad 2007, would again be the venue for a most remarkable concert that will stay in the memories of all who were privileged to attend. With specially arranged suites from some of Silves-tri’s most famous scores, the composer guided the or-chestra and chorus and took the audience through a two-hour journey of sheer bliss.

From the moment the first notes of the Back to the Future suite were heard, highlight followed highlight. Whether it was the delicate passages scores such as Contact or Forrest Gump through to the choral works such as The Mummy Returns and The Polar Express, Silvestri’s dance-like conducting style held sway. A particular highlight was to be found about halfway through the first half of the concert. After a robust statement of the main theme from Judge Dredd, the suite progressed into the sustained and powerful osti-nato rhythm from the cue “Block War.” At that moment it seemed that everyone in the auditorium orchestra and audience were together enraptured. At the con-clusion of the suite, the audience let out a huge cheer

and rose to their feet in applause. “Fantastic,” Silvestri mouthed to the orchestra. Fantastic indeed, Mr. Sil-vestri! The concert ended with the eagerly anticipated world premier of a suite of music from Silvestri’s score to the upcoming Robert Zemeckis movie Beowulf. Fin-ishing off on as powerful a statement as the finale of the Judge Dredd suite, the conclusion of the Beowulf suite prompted another extended standing ovation for the composer and orchestra/chorus.

Rather than ending with a much-anticipated en-core, Silvestri chose to end the evening by saying a few words to the audience, highlighting how much he had enjoyed the whole evening’s experience.

It is remarkable to think that Soncinemad is only in its second year and the success of the Festival is in large part due to the hard work of the Organiz-ing Committee. As well as attracting a diverse group of composers, the organizers have been able to gen-erate an atmosphere at the Festival that is both relaxed and professional. Soncinemad 2007 was a truly remarkable experience with untold numbers of wonderful memories. The Organizing Committee is already looking towards Soncinemad 2008 and it is confident that next year is going to be even better than this year. I’m sure they’ll succeed. I’ll be there and I recommend a trip to Madrid in 2008 to support such a wonderful event. mc

FILM MUSIC NEWS

SuccessforSilvestriatSoncinemad OPENING THIS WEEK

THEATRICAL

• harry potter and the order of the phoenix (nicholas hooper) • Shortcut to happiness (christopher young) • talk to me (terence Blanchard)

DIRECT-TO-DVD

• Brutal (Joseph Bauer) • the contractor (nicholas pike) • dancing in twilight (Scott Szabo) • the last Stand (Jim mcKeever) • the last time (randy edelman) • mirror wars (david robbins)

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alexandre desplat: Lust,Cautionn French composer Alexandre Desplat has composed the original music for the new film by Brokeback Mountain director Ang Lee, entitled Lust, Caution. It’s a romantic thriller produced by Focus

Features, starring Joan Chen and Tony Leung, with a screenplay adapted from Eileen Chang’s short story by Crouching Tiger, Hidden Dragon screenwriter Wang Hui-Ling. The film is scheduled to come out on August 29. Desplat’s other upcoming films include New Line Cinema’s epic fantasy adventure The Golden Compass. mc

AngLee’snewfilm,“LustCaution,”getsanoriginalscorecomposedbyAlexandreDesplat.

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SIGNINGS & PROJECTS

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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!

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Thematic,romantic,

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6 iSSue �3 • July 1�, �007 weeklyFILM MUSIC

FILM MUSIC NEWSSIGNINGS & PROJECTS THE A-LIST

The hottest composers in Hollywood right now:

1 (�). danny elfman

� (3). John williams

3 (8). Steve Jablonsky

4 (3). hans Zimmer

5 (4). ennio morricone

6 (6). James horner

7 (5). James newton howard

8 (7). thomas newman

9 (13). michael giacchino

10 (14). nicholas hooper

11 (17). Billy corgan

1� (new). marco Beltrami

13 (15). randy newman

14 (11). michael penn

15 (9). howard Shore

16 (10). harry gregson-williams

17 (16). Klaus Badelt

18 (19). alan Silvestri

19 (1�). philip glass

�0 (18). clint mansell

The list is based on data from Internet Movie Database’s “StarMeter”, showing “who’s popular based on the searches of millions of IMDb users”.

atli Örvarsson:VantagePointn Atli Örvarsson composes the original score and Hans Zim-mer is credited as a music consultant on Vantage Point, a thriller telling the story about an at-

tempted assassination of the US president from five different perspectives. The film, which stars William Hurt, Matthew Fox, Forest Whitaker, Dennis Quaid and Sigourney Weaver, is directed by Pete Travis whose previous credits include TV productions Cold Feet and Henry VIII. 37-year-old Atli Örvarsson, who was born in Iceland, has been working for Hans Zimmer on his latest scores for Pirates of the Caribbean: At World’s End, The Simpsons and The Holiday providing additional music. His other credits include Stuart Little 3 and Dead Above Ground. Like Zimmer, Örvarsson is represented by Gorfaine-Schwartz. Vantage Point will be released by Columbia Pictures on February 15 next year. mc

anton Sanko: LifeinFlightn Anton Sanko, a com-poser whose previous credits include Saving Face and Strangeland, has been hired to score Life in Flight, a romantic drama

starring Patrick Wilson, Amy Smart and Lynn Collins. Plum Pictures (Lonesome Jim) produces and the film is written and directed by Tracey Hecht who is making her feature film debut. Sanko, who is represented by Evolution Music Partners, also recently scored Steep, a feature documentary about extreme skiing, and the horror film Delirious for director Tom DiCillo. mc

Frighteningly beautiful – beautifully frightening!Music Composed, Orchestrated and Conducted by

CHRISTOPHER SLASKIAlso featuring music by Trevor Duncan • Available now on CD and online!

MovieScore Media presents the Original Motion Picture Soundtrack

Jessica de rooij:Postaln 26-year-old German composer Jessica de Rooij, who worked together with Henning Lohner on the scores for BloodRayne and In the Name of the King: A Dun-geon Siege Tale, has several solo scores coming up. Working for German director Uwe Boll, she has re-cently recorded the orchestral score for Postal, an ac-tion comedy starring Zack Ward, Dave Foley and Ralf Moeller. Furthermore, de Rooij is doing the music for BloodRayne II: Deliverance, an adventure film based on the videogame Far Cry, and Vietnam War movie Tunnel Rats, all of them for Uwe Boll. mc

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SCORE OF THE WEEK

By miKael carlSSon

Gordy, perhaps we should begin with a little in-troduction. i suppose Gordy haab is a new name to most fans of film music, but you have in fact scored over 45 films so far. Can you tell us a little about your background and how you became involved in film scoring?

I suppose I have always been interested in film music as far back as I can remember. I think I was about seven or eight years old when I decided it was what I wanted to do. It was after seeing E.T. three or four times. I knew every note of the score but at that time couldn’t tell you the main character’s name. I guess I was just very tuned in to music in films...particularly great scores. I focused on it since then. I studied music composition from a pretty early age and had written my first piece for full orchestra by the time I was 14, and this piece opened many doors for me into studying at the university level. I was about to begin my master’s at Manhattan School of

Music when I found out I had been accepted to USC in Los Angeles. Knowing eventually I would move to LA, I made the last-minute decision to attend USC’s film scor-ing program. I worked with many student film makers, and it was here where I first began to score to picture. After graduating from USC, I decided to stay in LA and give my dream a shot. I was jogging one day and stopped to look at a yard sale, where I met a writer named Marc Zicree. Turns out he ran a weekly meeting comprised of around 50 film makers, directors, writers, producers, etc. He invited me to attend, so I did. I can trace just about every professional position in my career thus far back to this group somehow or another, except ironically enough, Behind the Mask.

so how did you get the assignment to score Be-hind the Mask: the Rise of Leslie Vernon?

I met Sean Presant, the Behind the Mask editor, at a friend and fellow composer’s concert. Sean was an old friend of this composer, Peter Knell. I told him that I

Gordy Haab’sbest-known films:

1. Behind the mask: the rise of leslie vernon (�006)�. complete guide to guys (�006)3. ryan vs. dorkman � (short, �007)4. 3 Below (�005)5. causality (short, �004)6. the works (�004)7. Such great Joy (short, �005)8. a can of paint (short, �004)9. Sarah at twelve (short, �00�10. the Shiftling (�007) Source: imdb

THE TOP 10:NiCoMuhLy

Haab Gets Behind the MaskGorDyhAAbscores

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loved working on horror films, at which point he told me about Behind the Mask. I, of course, gave him a CD to pass to the director, Scott Glosserman, and the rest is his-tory I suppose.

Please describe Behind the Mask from your point of view. What is the film about, how did you respond to it and what triggered your musical instincts when watching it for the first time?

Behind the Mask is an academic but hilarious decon-struction of the horror genre, from the inside out. It is a film about a group of student film makers that decide to shoot their student documentary on the day-to-day life of upstart psycho slasher, Leslie Vernon. The film is set in a world where Freddy Krueger and Micheal Meyers, etc., are not just from the movies, but real characters that make new headlines. Leslie Vernon idolizes these iconic slashers and aspires to improve upon their popular reigns of terror. Leslie is also a very likable funny char-acter, giving the film one more dimension of brilliance. It is shot like a documentary (handheld video) from the perspective of the student film makers until Leslie starts to spell out his plan. Then it switches to classic horror film mode –omnipresent camera angles, etc. – and this is where I came in. Whenever it made this switch, score would come in to aide the transition and add to the fear of what he was actually describing. The film has some fun twists and is both funny and scary/disturbing in that you, as an audience, begin to like Leslie so much, that you find yourself sort of cheering for him when he begins to act out his plan.

a horror film with a comic twist sometimes gives the composer an opportunity to really go over the top. since it’s all for fun, you can really stretch

the limits and create some very nasty music. Can we apply this on Behind the Mask?

Absolutely. In fact that was exactly my approach. Since all of the documentary material was purposely spotted to have no music, we decided that the “film” por-tions would have wall-to-wall music, and scary music at that, which I personally love to do.

It’s a film that also makes a lot of references to other slasher classics such as A Nightmare on Elm Street and Friday the 13th. So, did you make any funny musical in-jokes with the classic horror film score stuff by Charles Bernstein, Harry Manfredini, Chris Young and others? Since Leslie’s character was essentially trying to pull from all of his heroes – Freddy, Michael, Jason – I decided that the score would do so as well, so I made a point to utilize some of the elements of these classic horror film scores. Not verbatim of course, but I allowed myself to be inspired by them in the same way Leslie was inspired by their characters. I’m a fan of these classic films, so work-ing this way was quite easy for me and also a lot of fun.

What was the most difficult aspects of scoring Behind the Mask?

For me the most difficult aspect of the score was keep-ing the music going. Since the score was not only playing as a device to help the scares and suspense, but also as a technical device to help separate the documentary from the horror film. In order to do this, it needed to be wall-to-wall music when in film mode. Even in moments where I may have normally spotted to have no music. So the trick was to keep music going, but be very detailed with dy-namics and orchestration in order to not get in the way when it was underscore. In the big moments, I really got

Plot outline: the next great psycho horror slasher has given a documentary crew exclusive access to his life as he plans his reign of terror over the sleepy town of glen echo, all the while decon-structing the conventions and archetypes of the horror genre for them. Director: Scott glosserman. Producer: Scott glosserman. Stars: nathan Baesel, angela goethals, robert englund, Scott wilson, Zelda rubinstein. Production companies:glen echo entertainment, code entertainment.

THE FILM:bEhiNDthEMASk:thEriSEoFLESLiEVErNoN

SCORE OF THE WEEK

• gordy co-directs an or-chestra, novo philharmonic, together with fellow compos-ers dave chiappetta and Kyle newmaster, with whom he has written the scores for ryan vs dorkman � and the Shiftling. • gordy has been the head of music for 5minutehorror.com.• he arranged and conducted the orchestral music on Julia migenes’ album “alter ego.”

DID YOU KNOW?

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to open up and go for it though...that was fun.

the score for Behind the Mask is a pretty big orchestral score – not an electronic orchestral mock-up which clearly domi-nates most low-budget horror films these days. did you record this with your own orchestra, novo Philharmonic? Can you tell us a little about that project?

I decided that it would be important to use a live orchestra if we were going to successfully throw back to the classic scores, since many of them did use orchestra. I did use members of Novo, the orchestra I co-direct, but not the full group. It was more like a 30-piece orchestra,

onto which I layered solo instruments in a separate session. It also utilizes some synth elements, but their purpose was not to fill in what was lacking from the size of the orchestra like a normal hybrid score, but to actually be their own instrument, again like some of the classic horror scores. I also utilized some of my own vocalizations, whispering “Leslie Vernon” and reversing it, and the sounds of an instru-ment I built specifically for Behind the Mask from large pieces of scrap metal and pipes.

how important for you is it to record an orchestral score with real musicians?

Very important. I know that I may be “old

school” in this thinking, but I do not believe that sample-based scores have come close to imitating the heart and emotion that a group of real people bring to a score. I believe this so much so that in low-budget situations, I have always sacrificed a larger portion of my own fee to make this happen. I really believe that qual-ity eventually prevails, and tend to write my music accordingly.

another spectacular orchestral score you’ve recorded recently is for the short film Ryan vs dorkman 2. that’s a very unusual and special project – please tell us all about it!

It’s a Star Wars fan film that is a sequel to Ryan vs Dorkman 1, which was made by Mi-chael “Dorkman” Scott and Ryan Weiber, es-sentially for fun. It is a short film about the two of them fighting in a factory with light sabers. It gained so much popularity on YouTube, that they decided to make a sequel. I had just fin-ished scoring a horror film called Monkeys Paw for Michael Scott. He told me about the sequel he was making and knowing the original ma-terial, I jumped right on it. I decided to work with fellow composer Kyle Newmaster, who is another co-director for the Novo Philharmonic. We are both visionary composers and go-get-ters, so thought it would be a fun collaboration and would lighten the load of organizing some-thing so large for a small film. We all put our heads together and decided to approach the millions of fans of the first Ryan vs Dorkman to try to raise money for the score. We were able to raise quite a bit – enough to book a full orchestra of A-list musicians, and Capitol Stu-dios for a day. We really went all out on this score. And I can confidently say it is some of my proudest work. And the film itself is absolutely amazing! I highly recommend checking it out on YouTube. In the short time it has been out, it has already received almost 1.5 million hits on YouTube alone! There is also a music only version on YouTube.

What do you have coming up now?

Kyle and I just finished collaborating on an-other score for the sci-fi film, The Shiftling. I just finished the score for another horror fea-ture called, Witches Night – which was a very ambitious score. I’m starting two new features this month, one is a horror film called Ten-ebrous, and the second is a dark comedy drama called Pornstar. All are very exciting films.

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From the blazing military ac-tion of the Medal of Honor computer games to the eerie exotica of Lost and Mission Impossible 3’s spy suspense, Mi-chael Giacchino has steadily proven himself as the composer to watch out for, a musician with the ability to inventively play any genre. Even when we’ve heard the style before, Giacchino’s talent for orchestral melody can make it seem fresh – as he showed with his ability to repli-cate John Barry’s Bond sound to a T for The In-credibles. Now with director Brad Bird’s latest outing, Ratatouille, Giacchino truly finds his inner rodent.

Probably the only Disney-favored composer who can claim to being a publicist for the stu-dio, Giacchino’s score for Ratatouille is near the top of the Pixar’s musical pack – as is the movie itself. Imagine Blake Edwards in his Pink Pan-ther prime, and you’ll have an idea of the clas-sic sophistication, and bravura slapstick that Brad Bird has given to a rodent who wants to cook. It’s a cutesy premise that promised to be even more dreadful than Cars, but the adult so-phistication that Bird gives Ratatouille makes this a charmer for all ages, a nimbleness in no small part helped by Giacchino’s stylistically dexterous score.

If there’s any composing ghost who haunts Ratatouille with the helpfulness of its hero’s gastronomic guardian angel, then it’s the lush jazz of Henry Mancini. In numerous Edwards productions from the Pink Panther series to The Party and The Great Chase, Mancini’s bubbly approach was to not so much hit the visual com-edy as it was to play it with sneaky kid gloves. He was all about the romance of comedy as op-posed to getting beaned by a cream pie, and it’s an approach that Giacchino’s effortlessly mas-tered here with only subtle Mancini-isms. Those who thought the composer more than borrowed from John Barry the last time out for Bird will find that criticism silenced here.

If ever a composer used the shiniest instru-ments of an orchestra to play one of nature’s

filthiest ro-dents, then Giacchino de-lightfully pulls off the trick. Whether Remy is avoiding hurled knives, or becoming a human’s pup-petmaster to en-sure the perfect vegetarian dish, Remy the rat is

embodied with skittering strings, rapidly blowed flutes and an inquisitive na-ture. It’s nobly energetic music for a hero who’s on guard for his life at every second, yet deter-mined to rise to something better in the City of Lights. And with a soupcon of Parisian styl-ings as his backdrop, Giacchino plays France in all of its romantic glory. Instead of hearing the same old clichés, the French-specific instru-ments and bouncy tunes here convey the true essence of Le Jazz Hot.

Simply put, Ratatouille is easily the best Franco-romantic score since Julie Andrews tried to keep her femininity in disguise for Vic-tor Victoria. Except it’s a human disguising a rat here. And there’s no doubt that Mancini (or Blake Edwards) wouldn’t be pleased with how Giacchino can use a violin gesture, or a full, lush orchestra to communicate classic, jazzy slapstick. There’s no mistaking bumbling vil-lainy, sweet romance or the scent of good eat-ing in his clever approach. And when the music becomes the rush of fondly remembered child-hood food, the instant, remarkable emotion that Ratatouille conveys is pure Disney magic.

Like the best Parisian champagne, there’s a delightful effervescence to Ratatouille. And better yet, it sounds like nothing the composer has done yet. With so many scores for talking toon animals that are annoyingly overdone, it’s great to have a soundtrack and film like Rata-touille that doesn’t underestimate our intel-ligence, or music’s ability to nimbly play ani-mated comedy. One can only savor the musical ingredients that Michael Giacchino has yet to combine after this savory confection.

To buy the Ratatouille soundtrack, go to:www click here to buy the Ratatouille soundtrack

courtesy of ifmagazine.com

COMING SOON!JULY 17

• anne of the indies (franz waxman) – varèse Sarabande cd club

• the ‘Burbs: the deluxe edition (Jerry goldsmith) – varèse Sarabande cd club

• cannon for cordoba / from noon till three (elmer Bernstein) – varèse Sarabande cd club

• f/X: the deluxe edition (Bill conti) – varèse Sarabande cd club

• hostel part ii (nathan Barr) – varèse Sarabande

• les misérables (alex north) – varèse Sarabande cd club• rock haven (Jack curtis dubowsky) – de Stijl (online)• S.o.S. love (robert gulya) – inez (online)

JULY 24

• Babylon 5: the lost tales (christopher franke) – varèse Sarabande

• film music masterworks: film music by maurice Jarre (maurice Jarre) – Silva Screen

• film music masterworks: film music by nino rota (nino rota) – Silva Screen

• Shadow in the trees (Jeff toyne) – movieScore media

• the Simpsons (hans Zimmer) – adrenaline

JULY 31

• i Know who Killed me (Joel mcneely) – varèse Sarabande

• rush hour 3 (lalo Schifrin) – varèse Sarabande

• Skinwalkers (andrew lockington) – movieScore media

• 300: collector’s edition (tyler Bates) – warner Bros.

AUGUST 14

NEW as you like it (patrick doyle) – varèse Sarabande

NEW the invasion (John ottman) – varèse Sarabande

NEW the last legion (patrick doyle) – varèse Sarabande

NEW a tale of god’s will: a requiem for Katrina (terence Blanchard) – Blue note

AUGUST 28

NEW Balls of fury (randy edelman) – varèse Sarabande

NEW prison Break (ramin djawadi) – varèse Sarabande

NEW Shoot em up (paul haslinger) – varèse Sarabande

SEPTEMBER 11

NEW the Brave one (dario marianelli) – varèse Sarabande

SEPTEMBER 25

NEW the Kingdom (danny elfman) – varèse Sarabande mc

ALbUM REVIEW

MichaelGiacchinogoestothetopofthecomposingratpackwithPixar’slatest

Cd REVIEW

• RatatouilleComposer: Michael GiacchinoLabel: Walt DisneySuggested Retail Price: $12.97Grade: A

By daniel Schweiger

iSSue �3 • July 1�, �007 11weeklyFILM MUSIC

THE CHART dOCTOR

Music Prep Strategies: “Help Your Players Help You, Part 1”

By ron heSS

Let’s assume you compose in a notation program, and use most or all of its features in something approaching an efficient manner. Feel up to doing your own music prep? There’s a reason that an experienced, professional copyist is a valuable member of the production team: hiring one, or learning to think like one when doing the job yourself, is tantamount to an insurance policy for your session. Much of what follows applies to the copyist, but the ear-lier in the process you can incorporate it into the score, the better.

Beyond the basics of correctly transferring score data to the player (notes, rests, dynam-ics, articulations, etc.), there’s another whole dimension of wisdom that the skilled music pre-parer brings to the project. The bet-ter the copyist, the more visual clues (some subtle and some not) he gives the players, and hence the greater the likelihood they will perform at their best and achieve the holy grail of their craft: a perfect sight-read performance. Some involve sim-ply learning long-evolved industry practices; others are just good common sense. Almost all involve Hess’ Rule of Music Prep #2: For max readability, produce sheet music that looks like it sounds. In this and future columns, we will dig into these strategies.

Let’s start with some obvious ones. In the classical world, bar numbers are usually only placed above and at the beginning of each staff. In the studio, they’re placed at every bar, un-der and as close as possible to the bottom of the left barline or the left end of the staff. This al-lows instant, reliable navigation by a roomful of players. Similarly, double bars serve as “hey, look at this” visual aids, so put one before every meter change, even if the orchestrator has left them out. Meter changes can also be empha-

sized with oversized (perhaps 50% larger) time signatures. (Ex. 1)

With ubiquitous bar numbers, you don’t use rehearsal letters, but approach your page lay-out as if you did. Hence, try to always begin major sections or phrases at the beginning of a system. In most film work, accidentals have come to be used in place of key signatures. The usual spread of about 4 bars per system evolved, not out of greed in a page-rate-billed industry, but out of the advantage from eas-ily processed visual note spacing. (Ex. 1) Also, resist using the power of computers to save on the repro budget by cramming 150 bars onto one page; if, at the session, you suddenly need the 2nd trumpet to double the 1st trumpet down an octave for 12 measures starting at bar 72 (a

common occurrence), there’s no room to pencil in the notes.

Similarly, unless the cue is really long, try to combine the traditionally separated 1st and 2nd violin parts as one divisi part. At some point in the session, you may need to order a different split in the 1st and 2nd violin forces This is simple if all players have both staves on their parts; it’s a major pain otherwise. Simi-larly, a multi-stave percussion part allows the player(s) to easily plan the choreography nec-essary for access to all the “toys.”

On a subtler level, scan your score before copying or extraction for obvious aural cues that can guide your players. A violin solo start-ing in bar 27, the loud timpani entrance in bar

36, the brass chord ostinato starting in bar 41, and the two bars of dead silence followed by a tutti entrance in bar 49 can all come in handy. Simply use your notation software to make a hard break before each of these events; instead of one 24-bar rest or region, and even if unla-beled, there will be up to six rests or regions, each with a reinforcing sonic clue as to what’s going on. The result? Stronger, more self-as-sured entrances (even with a marginal conduc-tor) and fewer chances a player (all it takes is one out of 50 or more) will ruin an otherwise acceptable take with a momentary attack of “small brain syndrome.”

Perhaps this taste will give you a glimpse into the mindset of the forward-thinking copy-ist. In the future we will dig into other strat-

egies such as melodic/enharmonic respelling and rhythmic construction to further enhance sight-readability. While your players may not consciously take note of all of your nuances, trust me, you will surely profit from their im-proved performance and attitude. n

Ron Hess works as a studio conductor, orchestrator, copyist and score supervisor in Los Angeles, where he’s well-known for his quick ability to ferret out the most hidden performance problems and spot score glitches rapidly. He holds a Master’s Degree from the New England Conservatory, and is considered one of the top Finale experts in Los Angeles. Email Ron at rhess@filmmusicweekly.com

Example 1

1� iSSue �3 • July 1�, �007 weeklyFILM MUSIC

A while back we took a look at the three top notation programs and how they now work with VSTi’s. This week, for completion, I want to take a brief look at Notion, created by the former head of the Berklee composition de-partment, Jack Jarrett. For those who don’t remember or aren’t aware, a few moons ago, Jack worked with a company out of the northwest called Temporal Acuity Prod-ucts who released Jack’s Music Printer Plus program for the PC.

notion is the next step.

Notion is probably the most innovative no-tation scoring package on the market with a learning curve that’s so short, it’s almost im-possible to believe. What makes Notion unique is that unlike either Sibelius or Finale where you have to set up a VSTi as you would in any sequencing program, the samples and the nota-tion function in unison as one action. The result is key-play-hear. Once keyed in (or performed in via a MIDI controller), you just hit the play button and hear it. Once the composition is complete, a few keystrokes later you have an outputted .wav file (but with no reverb).

Notion also has the simplest data entry of any program. For example,

W = whole noteQ = quarter noteE = eighth noteS = sixteenth note

What I think is so mind blowing with Notion is that once you’ve installed it on a laptop, you only need a USB keyboard. Otherwise, you can just type in the score. One point about all this is that there’s no MIDI to mess with. Your entire learning curve is focused on the program.

it is very common-sense oriented.

On a PC using XP, Notion can operate with 1GB of RAM doing a full orchestral score. It’s now Vista ready, but keep in mind you need 1GB of RAM just to run Vista. So on a Vista system, 2GB RAM for the suggested minimum. Instal-lation is very quick and when you install it, you also install a solid orchestral set of sounds, all of which were recorded with the London Sym-phony Orchestra in the Abbey Road Studios.

Notion has excellent library support, value

priced. At present, nine libraries are avail-able with the 10th shipping on July 18, 2007. The libraries include Expanded Strings 1, Ex-panded Percussion 1, Harpsichord, Expanded Woodwinds, Expanded Brass, Saxophones, Solo Strings 1, Expanded Mallets, Sessions: Rhythm Section, and Expanded Percussion II. Go here for detailed sound lists. Expansion packages, all of which were recorded at Abbey Road with LSO members, range in price from $29.95 to $89.95.

score setup is very quick.

In the example below, I set up the Strings -> Violin section. In the Preview section, the clef is selected for you. At the bottom of the screen, you can select the number of bars you want or set up a page full or bars – great time saver.

TECHNOLOGY

MUSIC TECHNOLOGY ANd YOU

By peter lawrence aleXander

Notion in Motion

iSSue �3 • July 1�, �007 13weeklyFILM MUSIC

Set up the ensemble and click OK. Your manuscript paper appears and to the right you have your scoring tools which include complex time signatures. In the Expressions box you can select by instrument section and get a fairly complete set of articulations to pick from.

As you input the score, Notion responds to the articulations. So MIDI

editing time is reduced since Notion does it for you as you enter them. Expressions include Dynamics, Articulations, Tempo Markings, Orna-ments/Grace, Strings, Winds/Brass, Percussion, Keyboard/Guitar/Harp. Tying pitches and slurring is very easy.

Print out is a snap, and the notation looks good. Page sizes to print from range from A4 to 11 x 17.

Customer service is excellent. Whether by e-mail or telephone, the tech support people really support the product and are incredibly enthu-siastic about it.

since the LsO was used to record the samples, who is notion for?

I think it depends on what you want to do. What Notion lets you do, especially for students, is put the maximum amount of time on the mu-

sic and the least amount of time needed for the technology. Notion is designed in such a way that the technology never gets in the way of the music.

With students and in the classroom, this is ideal, especially with their new academic pricing plan. For those of us who had orchestration in college, Notion would have been a great thing because the learning curve is so short. Complete the assignment, save as .wav file and then convert that to an MP3 which you e-mail to your prof. – sweet.

Also, with another score reader, using Notion’s nTempo feature, you can build conducting skills to catch subtle nuances. This is a great fea-ture that goes way beyond trying to conduct Beethoven with just a re-hearsal pianist.

With Notion, you can quickly get your score entered and in a manner of minutes, have a decent idea of how things are working. With the num-ber of expansion libraries available, you really have quite the arsenal. Depending on the project, you’re not tied to working in the studio. Go to Barnes & Noble while the rest of the family walks around.

Notion has been used to supplement live orchestral recordings. One recent example was Handel’s Messiah. Go here for more demos. Oddly enough, you find them on the download page.

Meaning no disrespect to Dr. Jarrett, I think Notion could be a pro package, but today, it’s really a prosumer package. Two things put it in that category. The first is that it has no MIDI export. You can import a MIDI file, but not export one. Since Dr. Jarrett taught at Berklee for over a decade, I can’t understand why this feature is continually being left out the request list. The second is that the sounds are very good, but for professional work, the programming needs to be stronger.

Having said that, Notion does provide a great benefit – freedom. I have it on a laptop and it’s great just to get away, do the music and not have to worry about technology. Now that’s a breath of fresh air.

Notion is now priced at $499 street price. n

Peter Alexander is preparing to score The Good Samaritan. His most recent books are How 1313 13Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has also written White Papers on music education.

Neal Acree: Juncture • hallowed ground.Tree Adams: Keith.Mark Adler: noble Son (co-composer) • the far Side of Jericho.Eric Allaman: race.John Altman: the master Builder.Craig Armstrong: the golden age (co-composer).David Arnold: hot fuzz.Angelo Badalamenti: the eye • the edge of love.Klaus Badelt: heaven and earth.Roque Baños: the last of the Just.Nathan Barr: watching the detectives.Tyler Bates: the haunted world of el Superbeasto • hallo-ween • day of the dead • watchmen.Jeff Beal: he was a Quiet man • where god left his Shoes • the Situation.Christophe Beck: drillbit taylor • the dark is rising. Marco Beltrami: captivity • in the electric mist with confeder-ate dead • 3:10 to yuma.Charles Bernstein: Bull run • let my people go.Terence Blanchard: talk to me.Scott Bomar: maggie lynn.Simon Boswell: Bathory.Jason Brandt: Something’s wrong in Kansas.David Bridie: gone. Mickey Bullock: Sportkill • orville.Carter Burwell: no country for old men.Niall Byrne: how about you.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).Nigel Clarke/Michael Csányi-Wills: the grind.Charlie Clouser: death Sentence.Elia Cmiral: the deaths of ian • missionary man.Graham Collins: Black Kissinger.Joseph Conlan: american pastime.Ry Cooder: : charlie wilson’s war.Normand Corbeil: ma fille, mon ange • Boot camp • emo-tional 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 � • Sin city 3 • iron man.Alexandre Desplat: his dark materials: the golden compass • lust, caution.Ramin Djawadi: fly me to the moon.James Michael Dooley: daddy day camp.Patrick Doyle: the last legion • mr. magorium’s wonder emporium.Ludek Drizhal: life goes on • Badland.Jack Curtis Dubowsky: rock haven.Anne Dudley: the walker.Robert Duncan: Butterfly on a wheel.Randy Edelman: underdog • Balls of fury • �7 dresses.Steve Edwards: finding rin-tin-tin the neighbor.Danny Elfman: the Sixth element • the Kingdom • hellboy �.Warren Ellis: the assassination of Jesse James by the cow-ard robert ford (co-composer).Paul Englishby: magicians.Tobias Enhus: paragraph 78.Ilan Eshkeri: the virgin territories • Stardust (co-composer) • Straightheads • Strength and honour.Evan Evans: the mercy man.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.Jason Frederick: chinaman’s chance.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: no reservations • cassandra’s dream • les animaux amoreux.David Glen Russell: contamination.Erik Godal: the gift.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. Andrew Gross: forfeit.Larry Groupé: resurrecting the champ. Andrea Guerra: l’uomo di vetro.

Steven Gutheinz: rothenburg.Richard Hartley: diamond dead.Richard Harvey: legend of King naresuan.Paul Haslinger: gardener of eden • Shoot ’em up.Alex Heffes: my enemy’s enemy.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.Richard Horowitz: genghis Khan. James Newton Howard: michael clayton • the waterhorse • i am legend.Terry Huud: plaguers.Alberto Iglesias: Savage grace • her majestic minor.Mark Isham: pride and glory • reservation road • lions for lambs.Steve Jablonsky: d-war.James Jandrisch: american venus.Adrian Johnston: Sparkle • Becoming Jane.

Bobby Johnston: american fork • Stuck.Tim Jones: cryptid.Trevor Jones: fields of freedom.David Julyan: outlaw • waz.John Kaefer: room Service (co-composer).Matthew Kajcienski: room Service (co-com-poser). 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).David Kitay: Because i Said So • Shanghai Kiss.Harald Kloser: 10,000 Bc.Penka Kouneva: the third nail • richard iii.Ivan Koutikov: wanted undead or alive • living hell.Aryavarta Kumar: the rapture • greater threat.Christopher Lennertz: this christmas • the comebacks.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 �.Henning Lohner: in the name of the King: a dungeon Siege tale • timber falls.Steve London: decoys �: 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: fox and the hound ii • the tinkerbell movie • i Know who Killed me.Nathaniel Mechaly: Sans moi.Alan Menken: enchanted • the frog princess. Guy Michelmore: doctor Strange.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.John Murphy: Sunshine.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 • nobel Son (co-composer).Dean Ogden: oranges.John Ottman: the invasion.Atli Örvarsson: vantage point.John Paesano: Shamrock Boy.

Heitor Pereira: illegal tender • Blind dating • Suburban girl.Barrington Pheloung: and when did you last See your father?.Leigh Phillips: the legend trip • war made easy • Still life.Martin Phipps: growing your own.Nicholas Pike: the Shooter • parasomnia.Antonio Pinto: love in the time of cholera.Douglas Pipes: trick r’ treat.Steve Porcaro: the wizard of gore • cougar club.Rachel Portman: the feast of love.John Powell: the Bourne ultimatum • horton hears a who.Michael Price: Sugarhouse lane.Trevor Rabin: national treasure �: the Book of Secrets • get Smart • hot rod.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.Graeme Revell: marigold.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.William Ross: September dawn.Hitoshi Sakamoto: romeo x Juliet.H. Scott Salinas: Strictly Sexual • what we did on our holidays.Anton Sanko: life in flightBrian Satterwhite: cowboy Smoke.Mark Sayfritz: until death.sake.Brad Sayles: the Bracelet of Bordeaux.Lalo Schifrin: rush hour 3. Marc Shaiman: hairpsray • Slammer • the Bucket list.Theodore Shapiro: mr woodcock • the mysteries of pitts-burgh • 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.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.John Swihart: the Brothers Solomon.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. Gregory Tripi & Kyle Batter: dark Storm • termination point.Ernest Troost: crashing.Brian Tyler: time to Kill • war • finishing the game • alien vs. predator � • John rambo.Shigeru Umebayashi: a Simple love Story.Johan van der Voet: clocking paper.John Van Tongeren: war games � - the dead code Waddy Wachtel: Strange wilderness.Michael Wandmacher: the Killing floor • man of two havanas.Nathan Wang: daddy’s little girl • the final Season.Stephen Warbeck: Killshot • flawless • miguel and william.Matthias Weber: Silent rhythm.Craig Wedren: the ten.Cody Westheimer: Benny Bliss and the disciples of greatness.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.Lyle Workman: Superbad.Alex Wurman: the nines • the Baker • Bernard and doris • Baggage.Gabriel Yared: manolete • 1408.Geoff Zanelli: delgo.Marcelo Zarvos: the air i Breathe • you Kill me.Aaron Zigman: the martian child • good luck chuck • Jane austen Book club.Hans Zimmer: the Simpsons.

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