ISSUE 29 • SEPT. 5, 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:9 tecHnoLogY

p:11 tHe scoreBoArD

n If you thought the musical relationship between Henry Man-cini and Audrey Hepburn was all champagne kisses and caviar dreams, then you haven’t heard his utterly creepy score for Wait Until Dark. p:8

US performing rights organization BMI has announced record revenues of over $839 million and distribution of over $732 million in royalties for its 2006-2007 fiscal year, an eight percent increase over the prior fiscal year.

The organization also announced that that overhead dropped to 12.7 percent, the lowest in the company¹s history.

According to the organization, the increased usage of BMI’s diverse repertoire throughout many broadcast mediums has, over the past

several years, recast the traditional revenue structure from one dominated by conventional over-the-air broadcasting to a new picture in which cable networks, satellite audio and video services, and digital media contribute increas-ingly significant revenue streams. p:3

BMI Announces Record Revenues of $839 Million

Film & TV Music Award Noms Open

CD Review: Wait Until Dark

Nominations are now open for the Film & TV Music Awards, the industry’s first peer awards program.

From October 1-15, members of the Film & TV Music Academy can vote in each category among the top five nominated people for each category during the nominations phase.

The Film & TV Music Academy is the vot-ing 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 television music industry.

Film & TV Music Academy members can login to the awards site and make nomina-tions using the site’s custom nomination and voting software systems. Nominations can be made and updated any time until midnight September 20.

“We’re thrilled about this new awards program - it’s about time that awards were given to the film and television music indus-try, by the industry. There are enough other awards programs where the inancial 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 indus-try,” said awards founder Mark Northam. For more information visit:

http://www.filmtvmusicawards.com

Alexander University Launches Online Professional Orchestration Courses

A l e x a n d e r University has a n n o u n c e d three online o r c h e s t r a -tion courses in its eLearning program. The P r o f e s s i o n a l Orchestration eLearning series begins on Sep-tember 17 with

Writing For Strings Level 1, followed by Writing For Brass in late October and Writing For Woodwinds in January 2008. Each course runs six weeks and requires an average of 4-6 hours a week of study.

Unlike a traditional college orchestration course which focuses on ranges and turn-ing in exercises, Professional Orchestration requires that the student analyze full-page/full-score examples to learn orchestral scor-ing devices, and, rather than take a test, must turn in a two-minute composition for solo in-strument every 10 days. Compositions, which are based on literary works included in the Professional Orchestration workbook called the Professional Mentor™, will be played by the instructor and critiqued both for play-

ability and compositional skill. Critiques are handled one-on-one through a scheduled tele-phone appointment set up between the stu-dent and the instructor. “We found with adult students that a composition every 10 days was optimum vs. trying to do one-a-week plus the analysis,” explained Peter Alexander, Alexander University CEO.

Teaching the Professional Orchestration™ class is composer Stephen Hill. Stephen received his Bachelor of Music in Theory and Composi-tion (1980) from Ouachita Baptist University where he studied with Dr. W. Francis McBeth, and his Master of Arts in Music Composition (1984) from Cal State University, Los Angeles where he studied privately with the noted com-poser, Dr. Byong Kon Kim.

Other eLearning programs offered include Writing For Strings II and Master MIDI Mock-up Self Study Class for String Orchestra, both of which are home study courses focusing on build-ing MIDI mock-up skills, and The Instant Com-poser: Counterpoint by Fux – Two-Voice Writing taught by Peter Alexander.

To give students the most amount of person-al attention, eLearning courses are capped at ten students. Students completing all the work to the satisfaction of the instructor will earn a certificate of completion. For more information, can call 1-804-733-6122 M-F 10AM to 4:30PM.

Stephen Hill

2� ISSUE�29�•�SEPT.�5,�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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YOUR FEEDBACK We�welcome�feedback�on�any�aspect�of�Film�Music�Weekly.�All�letters�must�include�an�address�and�daytime�phone�number.�We�reserve�the�right�to�edit�letters�for�clarity�and�space�and�to�use�them�in�all�electronic�and�print�editions.�Mail�to:�Film�Music�Weekly,�27023�McBean�Pkwy�Suite�618,�Valencia,�CA�91355�or�email feedback@filmmusicweekly.com

ADVERTISING Our�comprehensive�advertising�programs�offer�premier�visibility�to�film�and�television�music�profes-sionals,�soundtrack�collectors,�and�music�execu-tives�worldwide.�We�offer�competitive�rates�on�a�wide�variety�of�advertising�opportunities�including�display�advertising�and�online�advertising.�For�more�information,�call�1-800-774-3700�or�310-645-9000�or�email�sales@filmmusicweekly.com

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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�29�•�SEPT.�5,�2007� 3weeklyFILM MUSIC

FILM MUSIC NEWS

BMI Announces Record Revenues of $839 Million

US performing rights organization BMI has announced record revenues of over $839 million and distribution of over $732 million in royalties for its 2006-2007 fiscal year, an eight percent increase over the prior fiscal year.

The organization also announced that that overhead dropped to 12.7 percent, the lowest in the company’s history.

According to the organization, the increased usage of BMI¹s di-verse repertoire throughout many broadcast mediums has, over the past several years, recast the tra-ditional revenue structure from one dominated by conventional over-the-air broadcasting to a new picture in which cable net-works, satellite audio and video services, and digital media con-tribute increasingly significant revenue streams. Revenues from cable, satellite audio and video services grew $11 million, and BMI licensed almost 500 new digi-tal media properties and reached long-term agreements with sev-eral major web services.

Revenues from eating-and-drinking establishments, hospi-tality, retail andservice establish-ments also increased substantially, reaching more than $93 million. BMI’s foreign revenue benefited from increased market-share and favorable exchange rates, growing

to more than $227 million.“The dynamic growth and continued popu-

larity of the BMI catalog have made these out-standing financial results possible at a time of unprecedented change in the media and entertainment business,” said BMI¹s Presi-dent and CEO Del Bryant. “Our success is a reflection of developing win-win businesssolu-tions for both our affiliated songwriters and

Sonivox Expands DVI Virtual Instruments

Sonivox, formerly Sonic Implants, has an-nounced the expansion of their Downloadable Virtual Instrument (DVI) line of products and will now offer 46 downloadable virtual instru-ments.

Each Sonivox DVI product is download-able and instantly playable as a plug-in or as a standalone instrument. Some of the latest DVI offerings include orchestral stings, brass, eth-nic tonal & percussion instruments, electronic instruments, guitars and basses.

The Sonivox DVIs are PC, standalone, VSTi and RTAS and are priced from $11.95 to $79.95. The company states that Macin-tosh compatibility will follow this fall. The DVIs are available at Sonivox’s online store at

http://www.sonivoxmi.com.

our customers, enabling us to respond to sig-nificant changes in our business environment that are part of the continued transition from the analog world to the digital.”

BMI’s fiscal year runs from July 1 to June 30. BMI’s financial information excludes Landmark Digital Services, LLC, a wholly owned subsidiary.

BMI President and CEO Del R. Bryant

4� ISSUE�29�•�SEPT.�5,�2007 weeklyFILM MUSIC

ISSUE�29�•�SEPT.�5,�2007� 5weeklyFILM MUSIC

FILM MUSIC NEWS

SIGNINGS & PROJECTS

Alex�Heffes: State of Play

n British composer Alex Heffes has been hired to do the music for State of Play, according to his agency in the U.S., Evolution Music Partners. The film is directed by Kevin Macdonald, with whom Heffes worked on the ac-claimed The Last King of Scotland, and stars Brad Pitt. It’s an adaptation of an award-winning miniseries produced by BBC which is scheduled to be distributed by Universal Pictures next year. Heffes recently also scored Mac-donald’s new documentary, My Enemy’s Enemy. mc

Ilan�Eshkeri:Thor

n DNA Music, Ilan Eshkeri’s agency in the UK, claims that the com-poser is already attached to Stardust director Matthew Vaughn’s next film, Thor, produced by Marvel Enterprises. Based on the comic books by Stan Lee, the film will tell the story about medical student Don-ald Blake and his alterego, the Norse warrior, Thor. Eshkeri recently wrote an epic symphonic score for Vaughn’s Stardust, to be released on CD by Decca Records next week. mc

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

OUR LATEST RELEASES INCLUDE...

CARNAVAL DE SODOMADavid Mansfield

THE TOYBOX Miguel dʼOliveira

THE LEGEND TRIP Leigh Phillips

ROCK HAVEN Jack Curtis Dubowsky

S.O.S. LOVERobert Gulya

www.filmmusicdownloads.com

THE A-LIST TOP AGENCIES

The most prolific film music agencies according to the current U.S. box office statistics, August 31-September 3, 2007:

1 (new). Soundtrack Music Associates - $32.5m •Halloween (Tyler Bates) - $32.5m

2 (2). Gorfaine-Schwartz Agency - $26.2m •Balls of Fury (Randy Edelman) – $14.0m •War (Brian Tyler) - $4.6m •The Simpsons Movie (Hans Zimmer) - $3.8m •Stardust(IlanEshkeri)-$3.8m

3 (1). First Artists Management – $25.3m •Superbad(LyleWorkman)-$15.2m •Rush Hour 3 (Lalo Schifrin) - $10.1m

4 (3). Kraft-Engel Management - $16.3m •The Bourne Ultimatum (John Powell) –$13.1m •Hairspray (Marc Shaiman) – $3.2m

5 (new). Evolution Music Partners - $5.5m •Death Sentence (Charlie Clouser) - $5.5m Source: IMDb

6� ISSUE�29�•�SEPT.�5,�2007 weeklyFILM MUSIC

Learn from aMaster of Orchestration.

MAURICE RAVELHis music is alive and well and still influencing film composers today.

But what about you?

How Ravel Orchestrated: Mother Goose Suite may be the one

book you must have in your library with its newly engraved score, complete analysis, and CD of the recorded performance licensed from the Grammy winning Naxos Recordings. It was composed by a Frenchman passionate about sound and color, who spent hours questioning musicians and pondering musical combinations in his imagination, hearing internally how to voice the low end of the clarinet with the celeste, muted French horn with pizzicato violas,

rising string ensembles that lift you into the heavenlies (hello E.T.) then anchor you to earth with the entrance of the basses, love at first sight, happily ever after, the sound of the orient, and many more devices and combinations in this one score that originally started out life as a four-hand piano piece for children.

There are five suites matched to their original short story (several of which are surprisingly violent to the point you might not want to read them to your own children!): The Sleeping Beauty In The Woods, Little Tom Thumb, Little Ugly: Empress of The Pagodas, Beauty & The Beast, and The Fairy Garden.

In one book, you get the story, the score, and a very practical orchestration analysis with techniques you can apply immediately in your writing, and can test out through sequencing with your libraries. Such learning! There’s also a bonus piece written by one of Ravel’s favorites, Edgar Allan Poe.

For easy study, the score is 8.5 x 14, and you can download a bonus PDF version that you can mark up to your heart’s content.

How Ravel Orchestrated: Mother Goose Suite book/CD combination, is a mere $49.95 (including the bonus score). A downloadable PDF edition is also available for just $39.95. To order, visit our web site or call 1-804-733-6122 (Monday through Friday from 10AM to 4:30PM Eastern Daylight Time).

FILM MUSIC NEWS

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

mITH

E R

OC

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T PO

ST • Nig

el Clarke &

Michael C

sányi-Wills

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

BAR CODE HERE!

THE

ROCKETPOSTTHE

ROCKETPOST

MUSIC BY

NIGEL CLARKE &MICHAEL CSÁNYI-WILLS

MUSIC BY

NIGEL CLARKE &MICHAEL CSÁNYI-WILLS

ORIGINAL MOTIONPICTURE SOUNDTRACKORIGINAL MOTIONPICTURE SOUNDTRACK

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

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

Executive album producer: MIKAEL CARLSSON

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

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

THE

ROCKETPOSTTHE

ROCKETPOST

q

A NOTE FROMTHE COMPOSERSAs so often happens when scoring films, one day you do not know it exists, the next day you are working every hour under the sun. This was the case with The Rocket Post. Af-ter a phone call from our agent, we met the film’s producer Mark Shorrock and two days later we were working around the clock. Nonetheless, it was a pleasure to do so as the film has an abundance of romance, beauty and drama set against the backdrop of the Western Isles in Scotland. Sadly the director Stephen Whittaker had passed away before we were brought on board. As a result, Mark put in place Alison Riva as music adviser for this project. Every few days Mark and music supervisor Alison Wright stopped by our stu-dio to hear our ideas. As with all our scores we made synthetic demonstrations of all the cues which gave both Mark and Alison ma-

terial on which to comment. Periodically the conductor for the score Robin Page called in to see how the score was progressing and pass useful comments. A highlight of any film score is working with live musicians – in this case we were privileged to record the score with the Royal Philharmonic Orchestra and added Scottish flutes played by the won-derful Francesca Hanley. Another musical highlight was recording the title song of the film with Mae McKenna who brought a real authentic Scottish flavour to the film. The project took five weeks from the first germ of an idea to the fully orchestrated end product.

Nigel Clarke & Michael Csányi-Wills March 2007

Composers’ web site: www.moviefonics.com

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

ANOTE FROM

THE PRODUCER

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

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

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

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

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

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

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

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

March 8th, 2007.

THE

ROCKETPOSTTHE

ROCKETPOST

G&J SALES AND DISTRIBUTION present an ULTIMATE PICTURES UK productionin association with LITTLE WING FILMS ULRICH THOMSEN “THE ROCKET POST” SHAUNA MACDONALD GARY LEWIS KEVIN MCKIDD PATRICK MALAHIDE EDDIE MARSAN CLIVE RUSSELL JIMMY YUILL IAN McNEICE and JOHN WOODcasting director JANEY FOTHERGILL make-up & hair designer ALISON DAVIES costume designer STEWART MEACHEM production designer ALISON RIVAedited by IAN CRAFFORD & BEVERLY MILLS director of photography RICHARD GREATREX, bscmusic composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLS line producer ALISON BARNET producers DAVID KENNAWAY CATHERINE DAVIES executive producers ROBERT BEVANKEITH HAYLEY CHARLIE SAVILL GUY HANDS JULIA HANDS screenplay by JAMES MACINNES and WILLIAM MORRISSEY produced by MARK SHORROCK directed by STEPHEN WHITTAKER

PERFORMED BY

THE ROYAL PHILHARMONIC ORCHESTRAPERFORMED BY

THE ROYAL PHILHARMONIC ORCHESTRA

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

a romantic orchestral work filled with memorable themesand exciting dramatic writing – performed by the legendary Royal Philharmonic Orchestra and featuring a beautiful song,

“Distant Shores”, sung by Mae McKenna.Available on CD and online now!

mMovieScore Media

Thematic,romantic,

orchestral...

Nathan�Barr: Tortured

n With the stories of the two Hostel films in mind, it doesn’t come as a surprise that Nathan Barr has been hired to score a film called Torture. The com-poser of the two Hostel scores is scoring this film, which is actually more of a dramatic crime thriller. It tells the story about an FBI agent who faces a

moral dilemma when he’s asked to torture a criminal. Emmanuelle Chiriqui and Laurence Fishburne star in the film, which is directed by Nolan Lebovitz. mc

Abel�Korzeniowski: Terra

n The animated adventure Terra, featuring the voices of Luke Wilson, Chris Wilson, Brian Cox, Evan Rachel Wood and James Garner, gets an original score by Polish composer Abel Korzenio-wski (The Half Life of Timofey Berezin). The film is produced by MeniThings LLC and Snoot Enter-tainment and directed by Aristomenis Tsirbas, a

digital effects wizard who has worked as an artist on films such as Hellboy and Titanic. mc

ISSUE�29�•�SEPT.�5,�2007� 7weeklyFILM MUSIC

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8� ISSUE�29�•�SEPT.�5,�2007 weeklyFILM MUSIC

NEW SOUNDTRACKS

Henry Mancini Plays Blind Woman’s Bluff

ALBUM REVIEW

By: DANIEL SCHWEIGER Soundtrack Editor

Composer: Henry Mancini Label: Film Score Monthly Suggested Retail Price: $ 19.95 Grade: B+

If you thought the musical relationship be-tween Henry Mancini and Audrey Hepburn was all champagne kisses and caviar dreams, then you haven’t heard his utterly creepy score for Wait Until Dark. That isn’t to say that Mancini didn’t have experience scaring women before, as evidenced by his full-blooded suspense for such diverse genre films as Creature From The Black Lagoon, Tarantula and Experiment In Terror. But mostly, Mancini would be known as Mr. Cocktail Jazz - providing peppy, romantic comedy for such movies as The Pink Panther and The Great Race.

But if one lady put Mancini on the Hollywood map, it was Audrey Hepburn. Mancini’s talent for gossamer melody was a perfect fit for this starlet’s slim, intoxicating frame. In Breakfast At Tiffany’s, Mancini beautifully captured the party girl sadness of her Holly Golightly. Then in the wonderful Hithcockian romp Charade, Mancini piled on the compassion for a woman widowed by a ne’er-do-well husband. Marital strife would also let Mancini take a melancholy trip with Hepburn in Two For The Road, his always-affec-tionate music cementing her rep as Hollywood’s sweetheart.

Mancini was no doubt surprised when Hep-burn personally asked him to take the kid gloves off for 1967’s Wait Until Dark, a film in which she’d shatter her comely image to play a blind woman at the mercy of dope-hunting hoods. While Hepburn went to great lengths to prove her abil-ity to play a terrified (not to mention sightless) heroine, Mancini already had the suspense chops down on scores like Gunn and Arabesque to han-dle this assignment. And his approach for Wait Until Dark would play both horror and sympa-thy, in a decidedly striking way.

For Dark’s main theme, Mancini combined whistling with two pianos - one playing in tune, and the other decidedly off of it. The eerily re-sponding piano keys resulted in a naturally unnerving sound, embodying someone at once in synch with the world, but at the same time separated from it by disability. And when shorn of instrumental accompaniment, this piano motif would become even more haunting and suspense-ful. Mancini’s macabre experimentalism for Wait Until Dark would help make it into a classic of the woman-in-peril genre.

With the Dark’s dope hidden in a doll, the music also takes on a perverse, child-like qual-ity, especially with its use of whistling and music box bells. There’s also an undeniable 60’s qual-ity to its use of “hip” jazz instruments like the guitar, Novachord and harpsichord, all of which are pitch-perfect for the deranged beatnik mas-termind (Alan Arkin) who terrifies Hepburn. Yet Mancini’s score for Wait Until Dark isn’t all grim, as source cues for Hepburn’s brownstone apart-ment deliver the cocktail stylings that he played for her in far nicer pictures.

Few composers used lush strings like Manci-ni, and what’s delightful about Dark is seeing the orchestra slowly transform itself from empathy to outright terror, a calculated approach that mu-sically becomes the mindgames that are played on Hepburn, a con that ultimately becomes dead-ly. It’s a transformation into melodic darkness that finally goes for the throat in the memorable climax, as Hepburn plunges her apartment (and the movie screen along with her) into complete darkness - Mancini’s orchestra waiting for the moment when she’ll succeed in killing the bad guy, or be killed by him.

While Wait Until Dark managed to be as grisly as an Audrey Hepburn movie could get (until the horrid Bloodline came along), it’s in-conceivable that Henry Mancini could write with anything but intoxicating melody for the picture. And the result is a score that manages to be both disturbing, and pleasant at the same time. While Wait Until Dark confirmed Hepburn’s astonish-ing range as an actress, its score would also show that Mancini could play lethal stylings as well as lounge music. Audrey did indeed choose wisely in a composer whose music could outfit her with an evening gown, and then put a knife into her hand at the next moment.

Click here for the Wait Until Dark soundtrack.

Courtesy�of�iFmagazine.com

OPENING THIS WEEK THEATRICAL

•3:10 to Yuma (Marco Beltrami) •The Brothers Solomon (John Swihart) •Fierce People(NickLaird-Clowes) •Hatchet (Andy Garfield) •The Hunting Party (Rolfe Kent) •In the Shadow of the Moon (Philip Shep -pard) •Shoot Em Up (Paul Haslinger)

DIRECT-TO-DVD •Curse of the Wolf (Jess Burchill) •Demons from Her Past (Steve Gurevitch) •The Murder Game (Carl Johnson) •Secret of the Cave (John Carta) •Steel Toes (Benoit Groulx)

OUT THIS WEEK •TheHuntingParty(RolfeKent)–Lakeshore •TheBrothersSolomon(JohnSwihart)- Lakeshore

SEPTEMBER 11 •TheBraveOne(DarioMarianelli)–Varèse Sarabande •DragonWars(SteveJablonsky)–Milan •EasternPromises(HowardShore)-Sony •Stardust(IlanEshkeri)–Decca NEW Symphonic Electronic: The Film Music ofErikDesiderio–FilmMusicDownloads

SEPTEMBER 18 •AcrosstheUniverse(Beatles/ElliotGolden thal) – Interscope •TheLastWinter(JeffGrace/AntonSanko)– MovieScore Media

SEPTEMBER 25 NEW Flood (Debbie Wiseman) – Silva Screen •TheKingdom(DannyElfman)–Varèse Sarabande •Lust,Caution(AlexandreDesplat)-Decca •MichaelClayton(JamesNewtonHoward)– VarèseSarabande •SeaofDreams(LuisBacalov)–Varèse Sarabande

OCTOBER 2 NEW Behind the Gates (Dario Marianelli) – MovieScore Media •TheMonsterSquad(BruceBroughton)– Intrada

OCTOBER 9 NEWIntheValleyofElah(MarkIsham)– VarèseSarabande NEW TheJaneAustenBookClub(Aaron Zigman)–VarèseSarabande

ALBUMS COMING SOON!

ISSUE�29�•�SEPT.�5,�2007� 9weeklyFILM MUSIC

MUSIC TECHNOLOGY AND YOU

X Marks the Spot with Xsample K2 Orchestral Library

TECHNOLOGY

By�PETER�LAWRENCE�ALEXANDER

Xsample of Germany has announced their new K2 Solo Instrument Orchestral Library that’s also programmed to work Finale’s Hu-man Emotion feature. When available in early September (according to Best Service), the li-brary will be available only as a digital down-load for prices ranging from $59 to $89. Pur-chasers get a 10% discount when buying two products from the Xsample Kontakt2 Library and a 50% discount: crossgrade for users of the first Xsample Library (Akai, EOS, Giga).

The following downloads, priced from $59 - $89, will be available: Solo Violin Solo Viola Solo Cello Solo Doublebass

Xsample Kontakt2 Library Woodwinds Woodwinds 1 (Flute, Oboe, Clarinet, Bas- soon) Woodwinds 2 (Piccolo, English Horn,Bass Clarinet, Contrabassoon) Woodwinds 3 (Bass Flute, Oboe d’amore)

Xsample Kontakt2 Library Stringed Instruments Concert Harp

Xsample Kontakt2 Library Keyed Instru-ments Steinway B Piano Celesta, Spinet, Clavichord, Toy Piano

Xsample Kontakt2 Library Percussion Percussion Mallets (Marimbaphone, Xylophone, Vibra phone, Glockenspiel, Crotales)

Highlights of the new Xsample K2 library in-clude:

All articulations in one instrument – saves need of having multiple articulations spread over several tracks.

Easy handling of the numerous key-switches through a Kontakt2 script and global occupied keyswitches. For example, “sul pont” for violin, viola, violoncello and dou-blebass is always on the same key.

Several instrument-variations with stereo, mono, and reduced. Advantages: Faster loading-times when using the reduced variations.

Adaptation for Finale 2007 / 2008 which augments the existing sound library. Check out the short scores and the match-ing music demos. The playback of the notated scores are exclusive through Human Playback from Finale 2007c with Kontakt 2.1 VST.

Here are some examples from Finale, pro-duced by Xsample, showing what the library is capable of performing. In this library, standard and natural vibrato are terms describing sus-tain. Many of the articulations round out what might be called “effects” and as such, comple-ment the existing Garritan library packaged with Finale 2007

Solo Strings

Woodwinds

Celesta

Harp

Click here for demos.

Click here for articulation list.

Pricing

I think the pricing will look high to some. How-ever, keep in mind that you can use the library independently within K2. And it’s also worth remembering that neither Finale (MMUS) nor Sibelius (AVID) make public their installation numbers. As a result, programming a complete orchestra of solo instruments for just Finale is a serious entrepreneurial investment (read guess) which people at Make Music should ap-preciate and support.

For more info: www.xsample.de

Note: This Labor Day article was written somewhere in Dixie before preparing the rub and firing up the grill to barbecue chicken. No NFL referee or chef from the Food Network was hurt in its preparation.

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.

10� ISSUE�29�•�SEPT.�5,�2007 weeklyFILM MUSIC

THE CHART DOCTOR

Takedowns: They’re Not Just For Wrestlers

BY�RON�HESS

Sooner or later in your career, you will be asked to transcribe something from au-dio alone, a task called a “takedown.” Most of you cringe at the prospect, but you really shouldn’t. Work is work. Only in this case, it also pays dividends beyond the paycheck that can go on for the rest of your career. Simply put, there is no better route to developing the trained ears of a master musician than as a by-product of time spent aurally dismantling and reassembling unfamiliar material. All the ear-training programs in the world, with their out-of-context drills and sterile environ-ments, are roughly akin to learning to speak and write solely by reading a dictionary.

My career as an audio sleuth began in my high school rock bands, where it always fell to me to figure out the horn parts to songs by Blood, Sweat & Tears, Chicago, Tower of Power, Cold Blood, Steely Dan, etc. I loved the music so much that it really didn’t seem like work. The dirt-simple tools I used then were a two-speed Rheem reel-to-reel tape deck, two pairs of headphones (the left can of #1 on my left ear and the right can of #2 on my right,) a Hammond home organ, manu-script paper, a pencil, and lots of erasers. It looked ridiculous but it did allow me to hear both the music (at half-speed and an octave down) and the keyboard for reference.

I didn’t realize it then, but my ears were growing. By the time I got to college, I could skip all the ear-training programs. And though when I later came to L.A., as a player, my first real money gig turned out to be tran-scribing, note for note, the entire library of synthestrated cues for the original animated series, “Inspector Gadget.” The Everest of my takedown gigs, though, came years later in recreating the entire Beatles’ “White Album,” note for bloody note (including the backward tape loops of “Revolution 9,”) and conducting its performance with a live orchestra and the band Rockola.

The tools available to help you today are light years from what I started with. Soft-ware to slow down audio without chang-ing its pitch are everywhere. My favorite is Roni Music’s Amazing Slow Downer (Mac/Win; http://www.ronimusic.com/.) It lets you manipulate the EQ and the left/right mix, remove vocals, flexibly loop the excerpt, ad-vance through the audio in bite-sized chunks. and work its miracles from either an audio file or an audio CD. And, since takedown work is really one huge editing session, with your time split evenly between hastily notat-ing snippets of audio and then editing them to perfection, use notation software. It beats erasers. Plus, when you’re finally done, the last thing you feel like doing is recopying it to make it readable...

OK, with task and tools in hand, what’s the smartest way to proceed? First, take down one instrument, beginning to end, for continuity. Start with the bass part, since it rarely has competition in its pitch stra-tum, and since it yields so many clues about what’s to follow. Notate it fully, laying out the sections with double-bars and key signa-tures and any key changes. Next, using that part as a guide, notate the chord structure thoroughly. Then, since they will be the next most audible element and will further refine your road map, go after any prominent lead lines and put them in their proper staves.

Do you sense the process? Each step, working from the fundamentals inward, lays a foundation for the steps that follow. Plus, acting as street signs, they become insurance against the ultimate nightmare: getting lost in the piece’s form as you go deeper and deep-er into “audio microscope” mode. The rest of the takedown is like a musical crossword puzzle; just fill in the holes with an ever-shrinking focus.

Using this approach, eventually you may experience an absolutely surreal psycho-

acoustical phenomenon that I call “selec-tive audio nullification.” As you concentrate, systematically register, and finally notate blocks of audio elements, you can find your-self mentally “peeling away” those elements and turning them off, like progressively de-selecting tracks in a mix. Gradually, a more obscure part underneath reveals itself, sort of like hitting the solo button on its mixer track. Transcribing subdued harp parts (of-ten mixed in the background,) inner voices, and voicings in general can really be helped by this method. Try it! As usual, the more you do it, the better and faster you’ll find that you can do it.

Over the years, I’ve found that there is practically nothing that can’t be figured out if approached systematically. And I’ll lay odds I was born with ears no fancier than yours. However, since I’ve never avoided my share of what some consider thankless duty, my “ears” (really my ability to hyper-concen-trate,) have gone “from zero to hero,” opening doors to all sorts of other work: booth super-vision (you can’t catch obscure session clams if your ears can’t dig past the good stuff...) studio conducting (partly booth supervi-sion from the podium,) and music producing (mostly a matter of taste, psychology and, of course, ears.)

Did I say thankless duty? I didn’t mean it. Think of it as weightlifting for the ears, and someone’s paying you to work out. Such a deal!

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

Neal Acree: 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).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�•�Hallo-ween�•�Day�of�the�Dead�•�Watchmen�•�Doomsday.Jeff Beal: He�Was�a�Quiet�Man�•�Where�God�Left�His�Shoes�•�Salo-maybe?�•�The�Deal.Christophe Beck: Drillbit�Taylor�•�The�Dark�Is�Rising.Marco Beltrami: In�the�Electric�Mist�with�Confederate�Dead�•�3:10�to�Yuma.�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.Graham Collins: Black�Kissinger.Joseph Conlan: American�Pastime.Ry Cooder: :�Charlie�Wilson’s�War.Normand Corbeil: Ma�fille,�mon�ange�•�Boot�Camp�•�Emotional�Arithmetic.Jane Antonia Cornich:�Island�of�Lost�Souls�•�Solstice.Burkhard Dallwitz: Romeo�and�Me�•�Taking�Tiger�Mountain�•�The�Interrogation�of�Harry�Wind�•�Chainsaw.Jeff Danna: Closing�the�Ring�•�C7.Mychael Danna: Fracture.Marcello De Francisci:��The�Butcher.Wolfram de Marco: The�Tribe.Jessica de Rooij: Postal�•�BloodRayne�II:�Deliverance�•�Tunnel�Rats�•�Far�Cry..John Debney: Evan�Almighty�•�Big�Stan�•�Sin�City�2�•�Sin�City�3�•�Iron�Man.Alexandre Desplat: His�Dark�Materials:�The�Golden�Compass�•�Lust,�Caution.Ramin Djawadi: Fly�Me�to�the�Moon�•�The�Tourist.James Michael Dooley:�Bachelor�Party�2.Patrick Doyle: Mr.�Magorium’s�Wonder�Emporium.Ludek Drizhal: Life�Goes�On�•�Badland.Jack Curtis Dubowsky:�Rock�Haven.Anne Dudley: The�Walker.Robert Duncan: Shattered.Clint Eastwood: Grace�Is�Gone.Randy Edelman: 27�Dresses.Steve Edwards: Finding�Rin-Tin-Tin�•�The�Neighbor.Danny Elfman: The�Sixth�Element�•�The�Kingdom�•�Hellboy�2.Warren Ellis: The�Assassination�of�Jesse�James�by�the�Coward�Robert�Ford�(co-composer).Paul Englishby: Magicians.Tobias Enhus: Paragraph�78.Tom Erba: Chinaman’s�Chance.Ilan Eshkeri: The�Virgin�Territories�•�Straightheads�•�Strength�and�Honour.Evan Evans: The�Mercy�Man.Nima Fakhara: Lost�Dream.Sharon Farber: When�Nietzsche�Wept.Guy Farley: The�Flock�•�The�Christmas�Miracle�of�Jonathan�Toomey�•�Knife�Edge�•�Dot�Com�•�The�Broken�•�Dylan.Louis Febre: Tenderness.George Fenton: Fool’s�Gold.Chad Fischer: The�Babysitters.Robert Folk: Kung�Pow:�Tongue�of�Fury�•�Magdalene�•�Vivaldi.John Frizzell: Careless�•�First�Born.�Michael Giacchino: Star�Trek�XI.Richard Gibbs: Cleaner.Vincent Gillioz: Pray�for�Morning�•�L’Ecart�•�Séance�•�Say�It�in�Russian.Scott Glasgow: Hack!�•�Toxic�•�The�Gene�Generation�•�Bone�Dry.Philip Glass: Cassandra’s�Dream�•�Les�animaux�amoreux.Erik Godal: The�Gift�• Ready�Or�Not.Elliot Goldenthal: Across�the�Universe.Howard Goodall: Mr�Bean’s�Holiday.�Adam Gorgoni: Starting�Out�in�the�Evening.Jeff Grace: The�Last�Winter�•�Triggerman�•�I�Sell�the�Dead�•�Liberty�Kid.Harry Gregson-Williams: Gone,�Baby,�Gone�•�Jolene�•�The�Chronicles�of�Narnia:�Prince�Caspian.Rupert Gregson-Williams: I�Know�Pronounce�You�Chuck�and�Larry�•�Bee�Movie�•�You�Don’t�Mess�With�the�Zohan.�Andrew Gross: Forfeit.Larry Groupé: Resurrecting�the�Champ�•�Love�Lies�Bleeding.Andrea Guerra: L’uomo�di�vetro.Robert Gulya: Atom�Nine.

Steven Gutheinz: Rothenburg.Richard Hartley: Diamond�Dead.Richard Harvey: Legend�of�King�Naresuan.Paul Haslinger: Gardener�of�Eden�•�Shoot�’Em�Up.Paul Heard: Clubbed.Alex Heffes: My�Enemy’s�Enemy�•�State�of�Play.Paul Hepker: Rendition�(co-composer).�Eric Hester: Lost�Mission�•�Frail.Tom Hiel: A�Plumm�Summer.David Hirschfelder: Shake�Hands�With�the�Devil.Ben Holbrook: Kiss�the�Bride.Lee Holdridge: I�Have�Never�Forgotten�You�-�The�Life�and�Legacy�of�Simon�Wiesenthal.Andrew Hollander: East�Broadway.James Horner: The�Spiderwick�Chronicles.•�Avatar •�In�Bloom.Richard Horowitz: Genghis�Khan.�James Newton Howard:�Michael�Clayton�•�The�Waterhorse�•�I�Am�Legend�•�The�Happening.Terry Huud: Plaguers.Alberto Iglesias: Her�Majestic�Minor�•�The�Kite�Runner.Mark Isham: Pride�and�Glory�•�Reservation�Road�•�Lions�for�Lambs.Steve Jablonsky: D-War.James Jandrisch: American�Venus.Adrian Johnston: Sparkle.

Bobby Johnston: American�Fork�•�Stuck.Tim Jones: Cryptid.Trevor Jones: Fields�of�Freedom�•�The�Power�of�the�Dark�Crystal.David Julyan: Outlaw�•�Waz.John Kaefer: Room�Service�(co-composer).Matthew Kajcienski: Room�Service�(co-composer).�George Kallis: Highlander:�The�Source�•�Antigravity.Tuomas Kantelinen: Quest�for�a�Heart�•�The�Knight�Templar�•�Mongol.Laura Karpman: Man�in�the�Chair�•�Out�at�the�Wedding.

Rolfe Kent: Fred�Claus�•�Spring�Break�in�Bosnia�•�Sex�and�Death�101.Wojciech Kilar: We�Own�the�Night.Mark Kilian: Rendition�(co-composer)�•�Before�the�Rains.David Kitay: Because�I�Said�So�•�Shanghai�Kiss.Harald Kloser: 10,000�BC.Abel Korzeniowski: Terra.Penka Kouneva: The�Third�Nail�•�Richard�III.Ivan Koutikov: Wanted�Undead�Or�Alive�•�Living�Hell.Aryavarta Kumar: The�Rapture�•�Greater�Threat.Christopher Lennertz: The�Comebacks�•�Alvin�and�the�Chipmunks�•�The�Perfect�Christmas�•�Hunting�and�Fishing.Sondre Lerche: Dan�in�Real�Life.Michael A. Levine:�Adrift�in�Manhattan.Christopher Libertino: Off�the�Grid�–�Life�on�the�Mesa�•�The�Forgotten�Kingdom.Andrew Lockington: Step�•�How�She�Move�•�Journey�3-D.Joseph LoDuca: Bar�Starz�•�My�Name�Is�Bruce�•�Ocean�of�Pearls�•�Boogeyman�2.Henning Lohner: In�the�Name�of�the�King:�A�Dungeon�Siege�Tale�•�Timber�Falls.Steve London: Decoys�2:�Alien�Seduction�•�Kaw.Helen Jane Long:�Surveillance.Erik Lundborg: Absolute�Trust.Deborah Lurie: Spring�Breakdown.Vivek Maddala: They�Turned�Our�Desert�Into�Fire.�Nuno Malo: Mr.�Hobb’s�House.Mark Mancina: Sheepish�•�August�Rush�•�Camille�•�Without�a�Badge�•�Like�Dandelion�Dust.Harry Manfredini: Dead�and�Gone�•�That’s�Amore.David Mansfield: Carnaval�de�Sodoma�•�Then�She�Found�Me�•�The�Guitar.Dario Marianelli: We�Are�Together�•�Goodbye�Bafana�•�Atonement�•�Shrooms�•�The�Brave�One.Anthony Marinelli: Grizzly�Park.Cliff Martinez: First�Snow�•�Vice.John McCarthy: The�Stone�Angel.Mark McKenzie: The�Redemption�of�Sarah�Cain.Joel McNeely: The�Tinkerbell�Movie.Nathaniel Mechaly: Sans�moi.Alan Menken: Enchanted�•�The�Frog�Princess.Matt Messina: Juno�•�The�Least�of�These.�Guy Michelmore: Doctor�Strange.Bryan E. Miller:�Fissure.Randy Miller: Last�Time�Forever�•�Shanghai�Red�•�Second�Chance�Season.Robert Miller: Teeth�•�The�Key�Man�•�Trumbo.Charlie Mole: Fade�to�Black�•�I�Really�Hate�My�Job�•�St.�Trinian’s.Deborah Mollison: Infinite�Justice.Paul Leonard-Morgan: Popcorn.Andrea Morricone: Raul�–�Diritto�di�uccidere�•�Veronica�Decides�to�Die.Trevor Morris: Matching�Blue.Mark Mothersbaugh: Mama’s�Boy�•�Quid�Pro�Quo�•�Fanboys.Sean Murray: The�Lost�•�Clean�Break.Peter Nashel: Wedding�Daze.Javier Navarrete: His�Majesty�Minor.Blake Neely: Elvis�and�Anabelle.Roger Neill: Take�•�Scar.Joey Newman: Safe�Harbour.Randy Newman: Leatherheads�•�The�Frog�Princess.Thomas Newman: Nothing�Is�Private.Marinho Nobre: Left�for�Dead.Julian Nott: Heavy�Petting.Paul Oakenfold: Victims�•�Nobel�Son�(co-composer).Dean Ogden: Oranges�• Knuckle�Draggers�•�A�Perfect�Season.John Ottman: Valkyrie.Atli Örvarsson: Vantage�Point.John Paesano: Shamrock�Boy.Heitor Pereira: Illegal�Tender�•�Blind�Dating�•�Suburban�Girl�•�Running�

the�Sahara.Mark Petrie: The�Road�to�Empire�•�Lake�Dead�•�Mr�Blue�Sky�•�Valley�of�Angels.Barrington Pheloung: And�When�Did�You�Last�See�Your�Father?.Leigh Phillips: 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.Nicola Piovani: Odette�Toulemonde.Douglas Pipes: Trick�r’�Treat.Steve Porcaro: The�Wizard�of�Gore�•�Cougar�Club.Rachel Portman: The�Feast�of�Love.John Powell: Horton�Hears�a�Who�•�P.S.�I�Love�You.Michael Price: Sugarhouse�Lane�•�Agent�Crush.Trevor Rabin: National�Treasure�2:�The�Book�of�Secrets�•�Get�Smart.Didier Lean Rachou:�How�to�Rob�a�Bank�•�An�American�in�China�•�Moving�McAllister.A.R. Rahman: The�Golden�Age�(co-composer).Brian Ralston: Graduation�•�9/Tenths.Jasper Randall: Me�&�You,�Us,�Forever�•�The�Secrets�of�Jonathan�Sperry.Brian Reitzell: 30�Days�of�Night.Joe Renzetti: 39�•�Universal�Signs.Graham Reynolds: I’ll�Come�Running.Carmen Rizzo: The�Power�of�the�Game.Matt Robertson: The�Forest.Philippe Rombi: Angel.Jeff Rona: Whisper.Brett Rosenberg: The�Skeptic.William Ross: September�Dawn.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: Until�Death.sake.Brad Sayles: The�Bracelet�of�Bordeaux.David Schommer: War,�Inc.Marc Shaiman: Hairpsray�•�Slammer�•�The�Bucket�List.Theodore Shapiro: Mr�Woodcock�•�The�Mysteries�of�Pittsburgh�•�The�Girl�in�the�Park�•�Semi-Pro�•�Tropic�Thunder.George Shaw: Victim�•�Sailfish.Edward Shearmur: 88�Minutes�•�Dedication�•�The�Other�Boleyn�Girl.�Howard Shore: Eastern�Promises.Ryan Shore: The�Girl�Next�Door�•�Numb�•�Jack�Brooks�–�Monster�Slayer.Carlo Siliotto: La�MIsma�Luna�•�The�Ramen�Girl.Alan Silvestri: Beowulf.Samuel Sim: Awake.Marcus Sjöwall: Dreamkiller.Cezary Skubiszewski: Death�Defying�Acts�•�Disgrace.BC Smith: Greetings�from�the�Shore.Damion Smith: Stompin.Jason Solowsky: 110%:�When�Blood,�Sweat�and�Tears�Are�Not�Enough�•�The�Deepening�•�L.A�Takedown�•�Unemployed�•�North�by�El�Norte.Mark Hinton Stewart: Man�from�Earth.Marc Streitenfeld: American�Gangster.William T. Stromberg:�TV�Virus�•�Army�of�the�Dead.�Jina Sumedi: Sextet.Mark Suozzo: The�Nanny�Diaries.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.Michael Tremante: If�I�Didn’t�Care.�Gregory Tripi & Kyle Batter:�Dark�Storm�•�Termination�Point.Ernest Troost: Crashing.Brian Tyler: Time�to�Kill�•�War�•�Finishing�the�Game�•�Alien�vs.�Predator�2�•�John�Rambo�•�The�Heaven�Project.Shigeru Umebayashi: A�Simple�Love�Story.Johan van der Voet:�Clocking�Paper.John Van Tongeren:�War�Games�2�-�The�Dead�Code�Waddy Wachtel: Strange�Wilderness.Benjamin Wallfisch: The�Escapist.Michael Wandmacher: The�Killing�Floor�•�Man�of�Two�Havanas�•�Train.Nathan Wang: Daddy’s�Little�Girl�•�The�Final�Season.Stephen Warbeck: Flawless�•�Miguel�and�William.Matthias Weber: Silent�Rhythm�• Weekend�Interrupted.Cody Westheimer: Benny�Bliss�and�the�Disciples�of�Greatness.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.Marcelo Zarvos: The�Air�I�Breathe�•�You�Kill�Me.Aaron Zigman: The�Martian�Child�•�Good�Luck�Chuck�•�Jane�Austen�Book�Club.

Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in red print. Edited by Mikael Carlsson. Updates should be sent to editor@filmmusicweekly.com.

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