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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Alf Clausen
I was given a directive when I started the series that THE SIMPSONS is not a cartoon, but a drama where the characters are drawn, and that the emotional content of the score should...
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Basil Poledouris
Basil Poledouris believes that film composers “collide” with films on certain occasions. CONAN THE BARBARIAN is an example he cites as this kind of career collision: it was the right film for him to score at that particular moment, it gave him the right kind of inspiration and the result was a highly rewarding experience both for the composer and for the film.
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Soundtrack/Scoring Session
Author:Randall Larson
Tags: Basil Poledouris
Simon Wincer’s eloquent, character-driven western saga, LONESOME DOVE, remains one of the best television mini-series ever broadcast. The brilliant dialog and characterizations from Larry McMurtry’s grand, sweeping novel were translated faithfully and brought to life by a cadre of outstanding performances. Wincer and his producers made the most of their slim budget...
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Bill Whelan
With the international success of RIVERDANCE behind him, Irish composer Bill Whelan’s future in theater music seems assured. With successful film scores such as SOME MOTHER’S SON and DANCING AT LUGHNASA, Whelan is also carving out a notable sideline as a composer for films.
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Bob Cobert
Bob Cobert’s association with producer-director Dan Curtis began in 1966 when the composer was hired to score Curtis’ new Gothic horror soap opera, DARK SHADOWS. Cobert went on to Score all of Curtis’ subsequent TV movies and features, including genre favorites such as THE NIGHT STALKER (1972).
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Bruce Broughton
When New Line Cinema determined to make a big screen version of the popular ‘60s TV show, LOST IN SPACE, they originally looked to John Williams as a likely candidate to score it.
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Carl Davis
Although born in the United States, Carl Davis has become a notable figure in the world of British film music, having scored an impressive variety of television plays which have benefited from his delicate and careful scoring, so unlike the pop commercialism of much American television.
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Soundtrack/Scoring Session
Author:David Hirsch
Tags: Carl Davis
It all began when I opened my mailbox to discover some junk mail addressed to the last occupant of my apartment. Normally, I would have thrown it out. Curiosity, however, got the better of me and I began to scan the list. La and behold, there was a listing for Charlie Chaplin’s CITY LIGHTS
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Christopher Gunning
One of the nicest British film scores of recent years was that of the poignant drama, WHEN THE WHALES CAME, composed by Christopher Gunning. The composer has worked in British film and television music since 1971
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Soundtrack/Scoring Session
Author:Randall D. Larson
Tags: Christopher Lennertz
At only 30 years old, Christopher Lennertz has scored 17 features including the film festival favorite Art House, network television series BRIMSTONE, TOUGH ENOUGH, and THE STRIP, and contributed as an orchestrator or electronic sequencer
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