Rudy Koppl

Alan Silvestri on Scoring What Lies Beneath

It’s Friday June 2nd 10 a.m. on the Sony Scoring Stage in Culver, Calif. as composer Alan Silvestri begins rehearsal on his first cue of the day ‘The Chase’. Silvestri is currently engaged scoring WHAT LIES BENEATH, his tenth collaboration with director Robert Zemeckis. From ROMANCING THE STONE to the new Dreamworks motion picture WHAT…

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Basil Poledouris: A Man and His Music

Film composer Basil Poledouris unfolded a tapestry of musical styles in over 55 television and motion picture scores. When you have a wide palette of styles and ideas that can fit almost any film genre, your talent is welcome in an industry that demands flexibility. This gift combined with sensitivity can take you a long…

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Danny Elfman on Scoring Red Dragon

As the opening notes to RED DRAGON creep into your mind, you’re welcomed into the adult fairy tale world of composer Danny Elfman. From the strange sound of a muted piano to a deep flute to those frantic orchestral swells and crescendos, Elfman has taken his musically creative realm inside the mind of a serial…

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Don Davis Goes Ballistic

(ba lis’tik) Having its motion determined or describable by the laws of exterior ballistics. Ballistics being the science or study of the motion of projectiles, as bullets, shells, or bombs. In this case, BALLISTIC is the skill fully choreographed human anatomy flying through space, a high tech martial arts adventure starring Lucy Liu and Antonio…

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Don Davis on Scoring Jurassic Park III

Welcome to JURASSIC PARK 3, the third film in a series created by Steven Spielberg, which is now carried on through his storyline by director Joe Johnston. The structure of this film is similar to its predecessors, but now the dinosaurs look meaner, especially with the addition of the evil Spinosaurus with its long jaw…

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Emilio Estevez on Basil Poledouris

How did you meet Basil? I’ve been a fan of his work for years and I was thinking, with a movie with a total budget of 4.2 million dollars, the chances of getting someone like Basil, who does enormous orchestral scores, was slim to none. I don’t really know that many film composers. On the…

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Ernest Troost on Calm at Sunset and Carriers

Somewhere in the depths of Hollywood, in a remote recording studio, some very beautiful but strange sounds emerge. On the video screen you see a jeep travelling down a road towards a compound where everyone is dead. Some sort of biological disaster has happened. The harp player holds a super ball as she rubs it…

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George S. Clinton on Austin Powers

It’s approximately 3PM at the 20th Century Fox Scoring Stage as the orchestral scoring session for the new Austin Powers film THE SPY WHO SHAGGED ME is winding down. As the wild images of this film pass through the multiple video monitors, George Clinton commands the orchestra playing the final cues. From his laid back…

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Hans Zimmer: Scoring M:i-2

It was at the end of April, almost a month before the film’s release, when composer Hans Zimmer most likely began to record his film score to the new Paramount summer blockbuster MISSION: IMPOSSIBLE 2. That being the case, it’s possible that Hans went creatively berserk with his band, jamming at lighting speed into the…

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